May 14, 2017

If I had two claims to fame, that I would peddle in North America to court celebrity, then the first is that I have shaken the hand of the future British King, Prince Charles and the second is that I went to the same school as Carson, the butler in Downton Abbey. The latter spoke beautiful English. That, I know, would have a bunch of Americans cooing that they ‘loved his accent’. Well this compliment can be returned because on a Thursday afternoon as I was sweeping the drive (welcome to rock n’ roll) and BBC Radio York interviewed Bennie Pete, the leader of The Hot 8 Brass Band. Bennie has a delicious Louisiana drawl acquired from being a resident of N’Awlinz.

Bennie was on the Afternoon Show promoting their gig at the Pocklington Arts Centre that evening. Pocklington is 15 miles east of York and is a small town of 8,500 folk who mainly use this little town as a dormitory whilst they work elsewhere. Around it is farming land and so if it had an economy that drove it then that would be it. Also within it is a prestigious private school that boasts William Wilberforce as one of its former pupils. He led a campaign in the first half of the 19th Century that led to the abolition of slavery in the British Empire being passed by an Act of Parliament in 1833. He’s not unknown in the USA as I actually cycled past a small town in Ohio called Wilberforce, named after him whilst heading to Nashville via the route of the Underground Railroad in 2015.

So listening to Bennie and his Southern tones I still had to pinch myself that Pocklington could attract such international acts. In fact, Pocklington Arts Centre some time ago had become an important venue for Americana acts to visit whilst in the UK and I was so grateful that I didn’t have always have to troop to Manchester, London or Newcastle to see my heroes or heroines.

Hearing Bennie on the radio and then later that night on the stage made me think how special and unusual this place was and that I should write down its magic and the way it brought American music to East Yorkshire. Bennie between songs talked about their tour and how each venue was a new discovery in the UK. When the band pulled into Pocklington and saw its small market square, little shops and general mid 20th Century feel they were bemused. They were used to checking into a hotel and then using the Sat Nav to get to the venue for a sound check. To stroll across the street was a novel experience and they liked it. They also liked the packed 197 seat venue that danced, whooped and shook as they brought their jazz funk to this sleepy town. In fact we surprised ourselves!

Staying in Pocklington is what 95% of what the artists do, even Rosanne Cash, who’d wanted more upmarket accommodation in York was to be found eating fish and chips at one o’clock in the market square after her set. Such is the footfall of Americana legends to Pocklington that Rodney Crowell couldn’t be fitted in because Jim Lauderdale was booked for the night that he had spare on that tour.

If these Americana artists get together back in the USA I wonder if they talk about Pocklington Arts Centre? I think they might – not least because we’re thrilled and grateful that they brought their talent to us.

For me personally, I got to sit, my then 17 year old daughter, in the audience as Chris Smither captivated the audience with his wondrous Train Home album and not only could he play and sing but that insistent foot tapping was haunting. Lucinda Williams needed a bigger venue up the road but she brought her catalogue to an adoring audience as she reeled off the highlights of her recording career. Tift Merritt alternated between acoustic guitar and piano playing her own uplifting soulful Country. Albert Lee told us of his touring with an icon, Don Everly and lastly would Laura Cantrell remember a bloke rambling on about riding a heavily laden bicycle up 1900 feet to Panguitch Lake, Utah on a cold September morning listening to “Queen Of The Coast”? I’d like to think so because I will always treasure her impersonation of someone riding a bike.

Pockington Arts Centre we salute you.

May 12, 2017

John Moreland – Big Bad Luv

John Moreland’s fourth album Big Bad Luv is the kind of slow burner that even on first listen you know contains a few years of pleasure up the road as you continue to discover further delight in the attitude, melodies, voice and not least the profound and expressive sentiments.

The music is crafted with Tchad Blake, who’s produced the Black Keys, U2, Bonnie Raitt and The Artic Monkeys (to barely scratch the surface), on the controls. The sound is understated rock with a blues tinge and so definitely Americana. On his web site they reference The Band and some of that quality and vibe is to be found not least with the organ on, maybe the album highlight, “Love Is Not An Answer”. It is the strong and handsome yet whiskey mellowed tones that captivate as he interprets his world-weary observations. This at least is my take on the verse content but Moreland himself says:

“At the very least my songs have been a way to exorcise negative feelings so that I can move on. And hopefully they provide that same experience to listeners”

‘Lies I Chose To Believe’ hooks you with a great melody but what an opening line:

                                                 “I’ve gone and lost my faith in photographs

                                                 Curse those martyrs that mark my past”

We’re in the presence of a poet as well as a tunesmith and no wonder Jason Isbell name checks this new album on Twitter. “Sallisaw Blue” starts apace and references Oklahoma, his current domicile as well as explains where the Big Bad Luv reference comes from (a neon sign!). A great start with a rolling gait before we take it down to “Old Wounds”… ‘don’t forget to love me in damnation’ may give you a clue as to the song content if the title didn’t. The lighter arrangement of “Every Kind Of Wrong” is acoustic with occasional tasteful slide. “No Glory In Regret” sees Moreland accompany himself also on acoustic guitar and he sings:

                                             “God’s been making deals

                                             While we’re down here spinning our wheels

                                             And using up our little share of luck”

Whilst all eleven of the tracks engage and the album certainly remains strong for the duration the record finishes with “Latchkey Kid”. This beautifully reflects on his previous life as that child with the key but lately:

                                           “And when I look into the mirror, now I see
                                            A man I never knew that I could be”

A real pleasure

(Lastly, this is definitely the album sleeve of the year so far. Love it and maybe I’ll search out the vinyl!)

May 10, 2017

Wishbone Ash – Argus

On December 15th 1972, for a cost of 60 pence, I was sat on an elevated platform (where the Orchestra usually sat) , next to the stage, at Leeds Town Hall where after an opening set by The Average White Band on strolled the band of the moment, Wishbone Ash, debuting their earlier April release – Argus. This record not only became an album of the year but also became one of the seminal rock guitar albums for anyone born in the 50’s. 

As they reached their third album then the ‘sound’ had been honed and the twin guitar passages and harmony vocals became their signature. It helped to have the Production and Engineering skills of the team behind the then stellar Deep Purple at the helm. Add lyrics about medieval warriors complemented by fluid and intoxicating guitar solos then you have the ingredients for bliss. Rock can often rely on the shock and awe of electric guitar and a driving beat to become memorable but this album’s longevity also leans heavily on melody and some exquisite musicianship best illustrated by “Leaf And Stream”.

It wasn’t an era when ‘progressive’ rock bands sought singles but “Blowin’ Free” would maybe their ‘greatest hit’ and the delicious chorus is pure summer apparently written about a Swedish girlfriend of band member Martin Turner. If there was ever a BBC Radio 2 record that you could imagine a few million blokes of a certain vintage telling the wife to shut up as he cranked up the radio on the weekly car trip to Tesco then this is the one.

Today the band still tours in two guises – one is led by lead guitarist Andy Powell, who flourished – every 17 year old’s air guitar fantasy – a Flying V back in the day and the other incarnation is led by original bassist, Martin Turner. I’ve seen both and if you have the chance to see either then you will be rewarded. The band has had many line ups over their career but only these two members tour playing the catalogue. However, whilst that may in theory damage the authenticity then I believe that the enthusiasm, energy and slavish note perfect adherence to the original wonderful records of new members can make the experience better.

In fact I can well recollect, sometime in the early Noughties, spilling my pint at Fibbers in York as I punched the air when the chorus came back in on “The King Will Come”, a slow burning anthem with some intricate guitar passages.

If the combined talents as musicians and songwriters elevated this album to iconic status then the twin leads of Any Powell and Ted Turner set the pace but the insistent and complimentary bass of the other Turner is not to be under estimated – listen to how it drives and solos on “Sometime World” and then note its rough and attractive tones on “Blowin’ Free”. Sticks man, sorry I’ve slipped into Sounds 1974 mode err… I mean, drummer, Steve Upton has his subtleties as well as brawn as witnessed on standout “Warrior”.

As another rock band of the era opined then be good to yourselves, put this album on NOW!

– For the former Member of Parliament for Thurrock (1987 – 1992)

April 25, 2017

Live From Los Angeles – Brandy Clark

I suppose I am back into vinyl, in a small way, mainly because of the complete nostalgic pleasure in thumbing through LP’s and the very size and feel of it. I like the practicality of CD’s and the quality of sound, however a heavy vinyl LP played on a good sound system is audio nirvana. So the strategy has been to collect a few second hand albums that I didn’t have the money to acquire when I was a teenager and also look out for a few new things that were special.

Record Store Day, now in its 10th year generates special releases. These are limited editions that make them scarce and sad old men hover around the shops on April 22nd every year to spend lots of money and then wander out into the daylight with crazed and happy faces clutching albums by Uriah Heep and Budgie. (Yes, I was sorely tempted).

In fact I jest as there are also lots of young people enjoying vinyl – in Week 48 of 2016 there was a greater value of vinyl sold than downloads in the UK. If you’d added the value of second hand vinyl sold as well then digital downloads would have been hit out of the park. Of course streaming is the main way of accessing music nowadays but if I relied on it in Acaster Malbis, with our appalling broadband, then I wouldn’t listen to much.

So I saw that Brandy Clark was releasing a live album for Record Store Day. Breezing into the local emporium – Vinyl Eddie’s – I asked if they would have this on the day? Sharp intake of breath that was code for ‘this is York and why the hell would we stock a Country album even by Johnny Cash, let alone Brandy who?’. They found it on the internet and said it was a US only release but they might know a man… So digging the garden on Sunday I got the call saying that Brandy was in town.

Bliss. An acoustic album with Brandy and her guitar/vocalist accompanist, Miles Aubrey, recorded Live in Los Angeles in September 2016 was mine. Brandy is now making her way as an important Country music artist after long years paying her dues on the way up. The two albums came a long way into her music career and have both been remarkable with blissful traditional country melodies, lyrics that tell stories about love, cheating, drinking and the Country music ‘full nine yards’ of chaos and always a lot of humour, which is a hallmark of much good Country music.

Brandy has earned her time in the spotlight after being a ‘go to’ songwriter. Her credits will be found on the albums by Miranda Lambert, Reba McEntire, Kacey Musgraves, Sheryl Crow, Toby Keith, Keith Urban et al. It was time that she grabbed the mic and had the super trouper pointed in her direction.

So now by herself then each album has gold on it but the highlights are where she finds a sad scene to sing about. On Live From Los Angeles two of the best Country songs ever to have graced these ears appear on each side. “Hold My Hand” tells the story of being at an event with her beau when his beautiful and confident significant ex appears and her partner is embarrassed and uncomfortable. She offers advice that in order to tell her of the fact that he has moved on and is also confident of where he is now, and who he is with, that he should show this by holding her hand.

Since “You’ve Gone To Heaven” is 4½ minutes of heartbreak – a cataloguing of the events and emotions that have befallen a family since her father died. Her beautiful voice on a wonderfully paced and sparsely arranged song just crushes you.

There are other great tracks on the album from her first two albums and all each probably worth a blog.

April 22, 2017

The Best Of The Best Of Chuck Berry – Chuck Berry

2016 was notable for the death of Rock and Pop legends and depending on your record collection then someone you probably collected shuffled off this mortal coil. This year has been collecting casualties and in March Chuck Berry left us.

 Chuck joined the celestial choir at the not too rock ‘n’ roll age of 90 and so maybe his departure wasn’t tragic. However as social media usually explodes and BBC Radio 5Live gets teary over icon departures then Chuck’s legacy to popular music simply puts the others in the shade but didn’t move the needle on the gauge of popular media emotion.

John Lennon, who was well placed to note a tune and social phenomenon when he saw one, said, “if you tried to give rock and roll another name, you might call it ‘Chuck Berry’”.

Charles Edward Anderson Berry started his recording career in 1955 and was in on the ground floor of the birth of rock ‘n’ roll but maybe he more than the other panoply of greats left the most important future Rock imprint for others to copy. From a start in the blues he developed a unique sound, which was exciting to the kids of the day. His songs usually featured an epic guitar riff and his lyrics told the story of American teenagers desires – cars, dance, romance and consumer culture.

Recording abound of his songs by The Beatles, The Rolling Stones, Jimi Hendrix, Elvis Presley, David Bowie, Bruce Springsteen, ELO, Rod Stewart, AC/DC, Linda Ronstadt and others too many to mention. The classic songs include “Johnny B. Goode”, “Rock And Roll Music”, “Maybelline”, “Roll Over Beethoven”, “No Particular Place To Go” and “Sweet Little Sixteen”.

So for me he was vital for the Rock of the Seventies and frankly didn’t music finish after that? I loved the tunes, the novellas and the tongue in cheek humour and all gloriously compiled in just under 3 minutes. If I had doubts about his importance then endless encores by any band I may have seen could often include a Chuck Berry number, after all it was likely to be the ultimate crowd pleaser. (In fact, when I saw The Blues Band in Pocklington on April 21st they played “Nadine”)

In 1978 on my Laker flight to the USA and back I bought some records – old habits die hard as I still view this as part of the American experience – and I collected this $2.97 gem that still lurks in the collection along with several other Chuck Berry releases.

If I was picking my all time favourite then it isn’t on this album – “You Never Can Tell”, not least because of its moment in Pulp Fiction.

April 14, 2017

Imperial Bedroom – Elvis Costello & The Attractions

When this gem was purchased by a pal (Neil Smith) in 1982, as was the habit, it was soon transferred to a C90 cassette and lived in the car. Elvis Costello was, at the time, very much the future of rock ‘n’ roll.

After his arrival as part of the Stiff Record Label explosion in 1976 then I was a fan. Vituperative Rock ‘n’ Roll meets Punk in short 3 minute tuneful burst coupled to his staccato delivery of lyrics with brilliant rhyming couplets and caustic observations of anything and everything. For me it always worked better for me on record rather than live. I well recollect seeing him at Southend’s Cliffs Pavilion and frankly not catching a word as he breathlessly tore through his set at a pace that was definitely Punk. I saw him once again after that but I wondered why I had shelled out my hard earned cash twice.

Imperial Bedroom was Elvis’ 5th album after his recording career started in 1977. Always a tune and wordsmith then this album was different as we saw a real maturing of the talent. From the electric buzz that introduced the album then you can detect that the production and arrangements are a significant shift from the earlier output. Geoff Emerick, of Beatles fame, was at the production helm and comfortable to add strings, accordion, brass, National steel dobro, harpsichord in arrangements that gave a clue as to Elvis’ future genre hoping output. In fact “Loved Ones” is a Beatles arrangement to the core and “All You Need Is Love” horns on “Pidgin English” are familiar.

The album heralded a move from the four-piece sound but as Costello was leading the arrangements then they never lose his indelible ‘sound’.

“Beyond Belief” gives us the first lyrical glimpse of his genius:

“History repeats the old conceits

The glib replies, the same defeats

Keep your finger on important issues

With crocodile tears and a pocketful of tissues”

However for all his cleverness then the ability to slip back to the mundane boy girl tribulations of “Long Honeymoon” show his deft touch:

There’s been a long honeymoon

She thought too late and spoke too soon

There’s no money back guarantee on future happiness

However the music is the brilliance and “Man Out Of Time” brings a dramatic change of pace with its screeching guitar intro and it is here the contribution of The Attractions becomes clear with Pete Thomas’s drumming and Steve Nieve’s keyboards. For the bassist, Bruce Thomas, then look to Almost Blue with his jazzy touches. In fact the early success of Elvis Costello cannot be divorced from the Attractions such was their technical competence, maybe Elvis’ continual reinvention made it a stimulating place to be for the band.

His vocals cannot be underestimated whether coming at you full force or the little boy lost of “Town Cryer” (at this stage in his career it had the most beautiful timbre).

Not a duff track in sight. Important and brilliant.

April 10, 2017

I Got Your Medicine – Shinyribs

The fourth release by Shinyribs of I Got Your Medicine comes with a decision of whether to buy this superb blue-eyed soul rocker or use the money on a ticket to see them live. That’s because this album creates a fierce desire to grab a beer and find your dancing shoes. I can’t help you, it’s a tough call. 

The band leader, vocalist and all round tour de force, Kevin Russell, knows how to deliver a song and if you give him brilliant female vocal backing (Sally Allen & Alice Spence), feel good horns and a tight rhythm section (that can seriously damage your back) then you have a very good time on your hands.

I seriously love the fact that you don’t have to work too hard to inhabit this superb 1970’s retro soul and rock album. It has great personality and if you’re seeking earnest provocative new music then it’s not here, but hey! I’d recommend you start your weekend and give this a spin. 

The first sign that you may start dancing in your seat is “Don’t Leave It A Lie” offering self empowerment to those who’ve been inhibited for too long. The Little Feat swagger is well evident but the later appearance of a flute and ukulele are more of a signature of this well oiled machine. “Trouble, Trouble” sees Kevin lead the band with a soulful vocal and receives a great complementary back up vocal from the ladies. Shinyribs can take the tempo down a notch (and let’s face it all dancers need a slow one to catch their breath and have a chance to smooch) and with “I Knew It All Along” tell the story of unrequited love and the realisation that she’ll never be his. “Hands On Your Hips” continues his love lorn ways with the love of his life starting to stray. These are both classic 70’s soul ballads the like of which you’d have heard before on AM frequencies in a town near you.

The Shinyribs are not averse to a cover and pick Allen Toussaint’s “A Certain Girl”. For this listener, however, it is too soon after the Country Pop nailer by Joy Lynn White of “A Certain Boy” and loses out to the novelty achieved with their coquettish background call and answer chorus but you be the judge.

Special mention must go to the band who seem more than accomplished and have the feel of Leon Russell, Tower of Power & Dr John rolled into one. That’s definitely a team you can believe in. Each track is worthy and I could have mentioned any: such are the quality of the tunes and arrangements. However, all good things come to an end and Shinyribs bring the 48 minute outing to a close with the gospel call of “The Cross Is Boss” that leaves you swaying and clapping in the aisles as the singers lead you home. Hallelujah.

March 19, 2017

Genesis – Foxtrot

‘Walking across the sitting room I turned the television off’… These words from Supper’s Ready on Genesis’ fourth album Foxtrot came into the hire car as I drove through Cleveland, Ohio with Dave Truscott besides me.  Woa! early Genesis on US daytime radio, what a find, I thought. Sadly Dave, a buyer for B & Q who I’d brought across the pond to see some American kitchen cabinetry wasn’t listening but continued to talk over it and so I turned it down and, like a good salesman, listened to his pearls of wisdom.

My trip with Dave was sometime in the early Noughties but this album came my way in 1972 and thereafter I was devoted to Genesis until Peter Gabriel left. I heard them perform this live at the Theatre Royal, Drury Lane, London on January 18th 1974 (I’d first seen the band, second on the bill, in Bradford on October 11th 1972) and it was so epic that I can even remember the location of my seat in this theatre and who I went with. I’ve seen a lot of live music and so for this to stand out is quite something.

At this stage Genesis were a quintessentially English Progressive rock band with that ponderous, multi instrument, textured and thoughtful brand of music delivering songs that talked about science fiction scenarios (“Get ‘Em Out By Friday”),  medieval kings and queens (Time Table) and the usual mixed gibberish of images and heroes (“Watcher Of The Skies”). However it was the seven part Side 2 of “Supper’s Ready” that I’d be begging Kirsty to let me take to my Desert Island and not least the one record I would retrieve from the waves.

Within this sublime 23 minutes we experience the driving and varied percussion of the master sticks man Phil Collins, long before he went on to become a balding latter day Cliff Richards. The prominent and occasionally stabbing bass of Mike Rutherford, the near classical keyboard fills and themes created by Tony Banks with a selection of weapons including the mighty Melloton and the epic swooping and melodic guitar of Steve Hackett that created a whole sound rather than just a riff or a fluent lick or two. And then the incomparable Peter Gabriel with a large selection of vocal styles on one album. I’ve read the band resented that Gabriel became the media’s favourite given the fact they all composed the music and he just sang it but how many blokes were wearing fox’s heads and red evening dresses on stage or then shaving his head down the middle at this time as well as dominating the stage? Within this track we have lyrics that were brilliantly evocative of battles, the devil, God, supersonic scientists, Winston Churchill – all nonsense but each song evoked a picture, a story and even euphoria as we climax with:

                                            ‘Lord of Lord’s,

                                             King of Kings,

                                             Has returned to lead his children home,

                                             To take them to the new Jerusalem.’

Progressive rock got a bad name from trendy music journalists as the decade elapsed and the ability to play your instrument became a badge of shame but frankly some of this stuff  is amongst the best of British popular music. The technical proficiency of the musicians as well as the creative talents to compose meant that it was as varied as a piece of classical music but with a willingness to fuse acoustic, pop, rock, classical and folk. Joyous. 

A masterpiece. A Tony Ives Top 25 album.

March 15, 2017

|Tony Ives

Rag ’n’ Bone Man – Human

On podcasts I had heard Rag n’ Bone Man (Rory Graham) over the last few years but it wasn’t until the release of his album Human, and the accolades rolled in, along with Russell Crowe tweeting about him that I started to take an interest. Fifteen years plying his trade on the English south coast in various guises meant that he’d more than paid his dues when he eventually got in the studio for this project. This experience helps him comfortably interpret a number of styles effortlessly. Rory has a voice that lends itself to soul, rock ballads and the blues. It is a voice that has a gravelly bottom end with a compelling presence and the potential to blow down a building should he choose to let it rip.

What’s a rag and bone man? In post war Britain horse drawn carts used to patrol residential areas collecting scrap and surplus detritus. Originally it had been bones and clothing but latterly it wasn’t unusual to see a poor bedraggled horse lugging metal scrap.

Rory has writing credits on all tracks and given the rock/pop/soul confection then it pleases throughout but there are some highlights over and above the standout Human with its driving beat. Human was co written with the voice behind Ben’s Brother and it explains the quality of the song. Other songs have pop song writing royalty on them but you feel they helped rather than dictated. There must be a word of praise for the production of Mark Crew and Jamie Scott. They really ‘got’ Graham and whilst all the arrangements remain contemporary it is sympathetic and showcases.

Where the backing is simple and he can interpret a great melody then these are the moments when you’d turn it up or tell everyone around you to be quiet. Grace has a piano, guitars and strings in the mix but they compliment each other rather than compete. Skin, has the feel of an Adele song. Against a muffled drum Graham leads the song into a chant and a choir backs him as he opines about love lost. However the one for the multi star rating in my iTunes library will be Die Easy. Anyone bringing straight spine chilling unaccompanied vocal Delta blues music to the top of the charts will always have my attention and devotion.

The big question for Sony will be whether Rory can repeat the success with the next album. Human is a triumph but some great voices have had epic arrivals and then somewhat swift departures – Macy Gray and Duffy come to mind.

(Thanks to Vanessa for giving me the album)

March 6, 2017

Oasis – (What’s The Story) Morning Glory?

Bear with me on this….

If you search through the racks at Charity/Thrift Shops as I do then you’ll always find an old Oasis CD. It seems that everyone had a few when they were in their pomp and now we’re all digital they are surplus. I bought the first couple when the band arrived in 1994 but didn’t stay the course as they kept churning them out (until eventually Noel couldn’t stand his brother any more and departed to pursue other things and no doubt count his money). However the well wasn’t completely dry after (What’s The Story) Morning Glory? and if you find 2002’s Heathen Chemistry for £1 then I would urge you to pocket it.

It’s with this album and the recent release of the film Supersonic about the origins of Oasis and those tumultuous early years that I thought about this album again. It really is a classic by any standards.

Two lads from humble origins in Manchester and Irish ancestry went on to become huge as a rock act. Liam formed the band in 1991 and Noel eventually joined and wrote the songs. You can work out from that who became the leader. Their second release was (What’s The Story) Morning Glory? in 1995. These young men were creating literal chaos wherever they went but with the song writing and guitar of Noel and the voice and attitude of Liam the world became their oyster.

This album took straight guitar rock and Britpop to the masses. Forget the then prevailing Indie with delicate riffs, anodyne lyrics and usually vocalists who couldn’t hold a tune. These boys could offer tunes, guitars, often heartfelt vocals for an anthem and menace.

This album genuinely contains three of British rocks ‘greatest hits’ – “Wonderwall”, “Don’t Look Back In Anger” and “Champagne Supanova”. The record eventually shipped 22 million units and topped the charts in the UK, Australia, Canada, Ireland, New Zealand, Spain, Sweden, Switzerland and even graced the US Billboard 200 at Number 4. It is one of British rock’s high water marks.

“Wonderwall” is a remarkable ballad that starts acoustically before strings appear. Liam’s vocal has the character to own the song and the lyrics and their slightly strange imagery fit the Gallagher brothers well. The lyrics describe ‘an imaginary friend who’s gonna come and save you from yourself’ according to Noel when asked at the time. “Don’t Look Back In Anger” sees Noel take the vocal and for me is the best Oasis track they ever released. There is an uneasy feeling that whilst original there is every influence that Noel had heard in its structure – you’ll think of Imagine with that piano introduction and then further theft from John Lennon with references to ‘revolution from my bed’. Don’t underestimate the rhythm with the drums that drive it and the piercing guitar solos that populate throughout. “Champagne Supanova” is a sumptuous rock ballad with gibberish words, and that’s not me, that’s Noel speaking. Roll With It is a driving rock song and if you want the spirit of Liam with that slightly hoarse but beautiful roar then this is the one.

March 4, 2017

|Tony Ives

David Bowie – Let’s Dance

When David Bowie left us in 2016 I think it touched the lives of any music lover and not necessarily those who knew his records. Such was the respect and recognition of the quality and breadth of his work. He was a recluse for so many years that his music wasn’t in circulation. However such was his stature that when he did briefly reappear latterly with two albums they scooped awards as if they were going out of fashion. I’m sceptical that these records deserved the accolades but not the man.

When I saw him twice in a week, in Doncaster and then Leeds, in 1973. He had ‘just arrived’ after years of hard work that seems to be a vital ingredient for longevity that is overlooked nowadays. It was Ziggy Stardust and Aladdin Sane that I was playing at home at 33rpm and volume eleven. I continued to be happy with him, over the next decade, as he eventually ditched the rock persona and moved into soul, electronica and then sophisticated 1980’s dance. It was in this phase that he conjured up Let’s Dance, his 1983 masterpiece that went on to ship nearly 11 million copies. The music is exceptional but his imagination to approach the musicians, he did, still amazes me. These were unusual picks given his recent output. In very different genres he selected literal icons to help him.

Let’s start with white Texan Stevie Ray Vaughan. He died in 1990 but is revered as a blues legend with a fluid guitar style and empathy for authentic blues as well being an accomplished technician. He’s not just amongst the many blues icons: he is seen as the one who got away with a criminally short time in the spotlight. Bowie saw this little known guitar player at the 1982 Montreux Jazz Festival and pursued him. Had Bowie ever used such a blues guitarist with a licence to roam before on his recordings? All the glorious electric lead guitar flourishes on the album are Stevie’s and not least the incendiary solos on “Let’s Dance” and “Cat People (Putting Out Fire)”.

Next? Iggy Pop had been part of the Berlin set when Bowie was located there making Low and Heroes. In fact Bowie helped write and produce his two biggest albums – Lust For Life and The Idiot. It comes as a surprise to see that Bowie shares songwriting credits on “China Girl” with one James Osterberg Jnr – Iggy to you and me. (In what was an age of MTV then this was my favourite video form the album).

For production duties Bowie selected Nile Rodgers. Here was and is a soul legend – who boasts a string of hit records with everyone from Chic to Sister Sledge to Diana Ross to Duran Duran. A talented guitarist in his own right but an originator of a commercial funk driven sound – what was Bowie think of by letting him steer the ship? Creating magic of course.

Is this my favourite Bowie album? Probably not, but better than most records by anyone else.

February 26, 2017

|Tony Ives

William Michael Morgan – Vinyl

Well of course I’m serious about my music but there are moments of weakness when the sommelier in me reaches for the cheap bottle of plonk and enjoys it. William Michael Morgan’s September 2016 debut release on Warner Bros, Nashville label is such a thirst quencher.

Not that the album is anything short of excellent but there is no ground breaking here and whilst the best studio talent that Nashville has has been corralled around this young man then you’d have to be suspicious that if another beautiful voice had been lined up with this set up then they would have also rattled toward of top of the Billboard charts.

So the Nashville hit machine has chucked out William Michael Morgan, a 23 year old native of Vicksburg, Mississippi who found his way north to Nashville in his teens to learn his trade. I came across his most successful hit single, “I Met A Girl”, on a round up of the 2016’s best Country singles and was immediately drawn to the rich baritone voice and the picture he paints of this girl.

With this poised and beautiful voice, so classic Country, he works with the cream of Nashville’s songwriters (he only gets one joint writing credit on the 11 tracks) and musicians to produce Vinyl. Lots of me shouldn’t like this album…. the Stetson hat, the trendy topical reference to vinyl LP’s and a song about beer. However, Warner Bros have completely nailed this launch with great songs, poignant lyrics, a faultless band and William’s voice and personality.

So what’s on heavy rotation? I love the single “I Met A Girl” along with the follow up of Missing. However, classic Country compositions about loving and losing are available in Loserville and, as Country music can often do, then topics closer to home are aired and in the gentle “I Know Who He Is” where he sings about a father with dementia and his touching love.

If you like Chris Young, George Strait, or dare I say it, Jim Reeves then queue the needle: this is one for you.

February 18, 2017

Joni Mitchell – Court & Spark

I think there is a generation that heard Joni Mitchell for the first time and from that point onwards she became a friend for life and not least a commentator on your own foibles and inner feelings. I know. I was that soldier.

I first found Joni on frosty car rides between Heaton Moor and Manchester Polytechnic, in the winter of 1974, as I steered the Triumph Herald to the city centre. Neil Smith, my fellow lodger at the digs, had a cassette of this classic.

Joni Mitchell: flower child, poet, observer, singer songwriter (yet a jazz musician) and great sultry beauty had been a commercial success before this album but her arrival was with ‘Blue’, still the favourite of many.  I love nearly all her albums but this is the one that I’m grabbing out of the burning house.

The compositions were suited to acoustic, rock band and jazzy piano. They never failed to be illuminated by her swooping vocals with its wide range which touched subjects such as her poor choice in men, heartbreak at being rejected, loneliness, seeking independence, troubled children and always people watching.

By this time, in her career, she could call on a superstar selection of musicians to help her – Larry Carlton, Joe Sample, Robbie Robertson, David Crosby, Graham Nash and Tom Scott’s L A Express. With this band plus sophisticated compositions, interesting arrangements, occasional odd jazz syncopations, mellifluous singing and beautiful melodies then this is a classic contemporary recording.

Written and issued as she entered her 30’s: then by this time the Canadian native had become a resident on the West Coast and along the way had had a child, which she’d given away for adoption, one failed marriage and many relationships. She had a lot to say.

When Rolling Stone deliberated and published its Top 500 Greatest Albums Of All Time then this clocked in at #113. More importantly it makes my Top 25. In fact Jodi is one of the few artists who was able to produce a catalogue of magic over 30 years. Few artists have such longevity other than those recycling the Blues or Rock.

All tracks are engrossing but ‘Down To You’ will be my Desert Island Disc pick but I’ll play ‘People’s Parties’ and ‘Help Me’ a couple of time to make sure I’m sure before I hand in the list.

February 12, 2017

1975 – I Like It When You Sleep, for You Are So Beautiful yet So Unaware of it

World domination by the Manchester four piece is on schedule with their second album from early in 2016. After having come together at the beginning of the century then it wasn’t until 2013 that they released their eponymous debut.

Attractive to mainstream pop radio then the singles have flowed and extensive touring in the UK and the USA has brought them to a wider audience. Their second album spawned a new logo/look and a pretentious title. However for all that then the album is exceptional and Matt Healy, the songwriter, voice and frontman, has variety in his repertoire and spans a number of styles. His lyrics can often be banal but there are some compositions that are reflective of the world he inhabits (Nana).

With songs ranging between straight pop chart pop (Change Of Heart, She’s American & This Must Be My Dream), instrumental electronica (I Like It When You Sleep, for You Are So Beautiful yet So Unaware of it & Please Be Naked), rock (Lost My Head), 1970’s white soul à la David Bowie’s ‘Fame’ (Love Me), 1980’s synthesiser anthems (Paris & The Sound) and acoustic guitar singer songwriter ballads (She Lays Down). It is an album that you will find something to explore for a long time to come.

It takes considerable talent to produce a convincing selection of different sounds. Not least are the production achievements on the album with some simple arrangements but often weaving multi layered vocals, synths, dance grooves (think Chromeo or Jungle), electric guitars and even a trumpet solo (If I Believe You) something that I worry that many of their current fans might not be able to identify! At the helm again was Healy but also the ubiquitous Mike Crossey who has worked with Wolf Alice, Artic Monkeys, Foals, Keane and Jake Bugg – only a few million downloads between this lot!

The album always engages and provides a platform to move into the heavyweight division of rock artists with a fat catalogue of excellent work behind them. Matt revealed in his Rolling Stone interview that he is a mixed up boy with a lot on his mind but let’s hope that the creative juices keep flowing.

February 7, 2017

Art Blakey and the Jazz Messengers – Moanin’

In early October I went into Leeds for a morning interview. I parked up with time to spare and found myself in a very empty Jumbo Records. One of the original record stores that seems to now have an assured future given the new found popularity in vinyl. They were playing some jazz – hard bop. I like a lot of modern jazz but some of it is too sophisticated for me and I seldom feel much of it is something you can listen to unless you’re completely in the mood.

I was.

As I entered Art Blakey and The Jazz Messengers were climbing into the title track ‘Moanin’. The piano was tinkling the signature. Behind was a tight band playing a melody weaving together their various solos. Art Blakey was on drums – the band leader: he had a career of putting together bands of young talent. This was no exception.

Art had an illustrious career in several bands throughout the 1940’s, 50’s & 60’s. Along the way he converted to Islam and managed to fit in four marriages. Busy boy.

In the line up then Benny Golson is on tenor sax but he also writes most of the compositions and keeps his boss happy with ‘The Drum Thunder Suite’ where Art gets to feature, not by way of tedious solos but various flourishes of different styles and syncopations.

Lee Morgan with a clear and mellifluous tone handles the trumpet. He was only 20 years old when this was recorded in 1958. Sadly he never made it past 33 years old as his then common law wife shot him at a jazz club in New York. Due to heavy snowfall, the ambulance was late in getting to the club and he bled to death before he got to hospital – you can see why Hollywood (La La Land) likes 1950’s jazz: it has a story to tell.

Keys are in the capable hands of another youngster, the 22 year old, Bobby Timmons. His style is sparse but he is the man who gets the chorus but that’s when he’s not soaring along with his own solos. It goes without saying that Bobby succumbed to drug and alcohol addiction before he reached his 39th birthday. 

This album never gets discordant, maintains a melody and bears endless repetition. It may be a plce to start if you are tempted by this era of jazz.