2012 MUSIC OVERVIEW: A REVIEW PART IV - LIVE MUSIC

Hey folks. Apologies for not being a tad more brief and being able to complete this overview/review all in one post way back in January. That would have been much neater and more appropriate. But then of course I would have no doubt missed out even more than I already did with those top albums that started it all off. And yes, I know we are now half way through March already (a whole quarter of the way through) but you know, technically if we take it to be the financial year, I am still in time. Cutting it thin I know. There's just so much to look back on and include! It actually makes me dizzy doing so. The year went so quickly and don't even get me started on the speed this one is going at. When thinking about Luke Ritchie's The Water's Edge being the first album I reviewed back in early March I'm like WTFing at this crazy time speed. Surely there must be some kind of 'Big Bad' The Doctor needs to come and sort out. Could it be The Rani did not perish during that Last Great Time War, and is now somehow siphoning off our time? I remember writing that review up just before going to Wales for a weekend break. While there I watched the awesome Norwegian film Troll Hunter. Not sure that needs to be expressed here but if you haven't seen it yet, you should do! I can't recall if it was last year I first saw Scott Pilgrim Vs The World, or if it was 2011. No matter, it is one of those films I can (and do) watch over and over. Again, if you've not seen it, give it a try. Oh dear. Digressing once more. And so early on too. There is no hope! 

Let's crack on before Christmas really does come to smack us in the face again. Do make yourself comfortable and put those feet up. Grab a nice cup of tea or coffee, a beer or glass of wine perhaps. Once again, the below are those that really stuck out as something special last year. However, that doesn't mean I hold any of the other gigs, bands or artists in any less esteem. I'm passionate about live music and enjoy pretty much each and every gig as something unique and individual. As with the albums, I will undoubtedly miss some and for this I apologise in advance.

GIGS

Editors - Birmingham - June

Their latest album has been a long time coming. Originally scheduled for release in October 2012, the departure of Chris Urbanowicz last April set this back and the date has since been revised to some time this year. This gig, one of only two UK dates in Birmingham, had all the same electrifying energy of previous shows. There is something deeply mesmerizing about Tom Smith! As band frontman he exudes such charisma, captivating all in attendance and holding us all in thrall. Oh yes, he maintains a trademark intensity that reverberates out from the stage in tidal waves. The set list included many fan favourites from the previous three albums as well as a few of the new tunes, like Sugar and Nothing. Even with Chris gone now, they sound strong and musically tight. Absolutely fucking* amazing! The band have not long returned from Nashville where they've been recording. Various festival announcements have been made including Reading and Leeds amongst many European ones. *expletive wholly necessary

Thanks to a work colleague who is a friend of the band, I did have the opportunity to attend a big charity gig they were a part of last December (along with The Courteeners, The Temper Trap & others). Sadly due to the timing, finances and work I was unable to make it. Curse my situation!! Come on someone, give me a job doing this please! Apologies. *composes self before continuing* Needless to say when they tour the new album later this year I will certainly be there. At least once, possibly twice, maybe even more. Thankfully the Editors are a band who have been consistent in producing something different with each album so far. It's always better, yes, but with the differences they adopt and utilize, what came before remains as powerful. If that makes sense? I'm really quite excited about this new album and it is definitely going to be one of the highlights of 2013, musically, I think. http://www.editorsofficial.com/

Luke Jackson - Rugby - October

This young man possesses such a power it belies his youth. I'm not afraid to admit I was quite moved by his sensational performance at this solo gig at Rugby Roots Club. I am very much a fan of Luke and believe this year his level of exposure is going to go stratospheric. Not wanting to miss out and given how much I thoroughly enjoyed this October gig I bagged my tickets for his recent local solo show at The Stables in Milton Keynes last month. Even though money is scarce these days and I will have to be even more selective about the gigs I attend this year, there was just no way I was missing out on this one!

I won't repeat my review here other than to point you in its direction >>here<<. It is quite a thorough one at that but I think the quality of what Luke offers music fans deserves a complete and full appraisal. I will say that if this is your kind of music, or even if it isn't what you may typically enjoy, if you go see Luke live you will come away feeling moved I assure you. That power he has possesses some magic that will have you wanting more and quick smart.

There are number of dates up on his website so if he's somewhere near you it makes sense for you to get to a show. It does not make sense to miss out on what will be a musical highlight of 2013 for you. There will of course be more dates going up as the year goes on. Meanwhile and to keep right up to date head to Luke's Facebook page and give it a like. He's regularly posting updates including many a new video. Oh and you can also read my review of the outstanding gig at The Stables >>here<<.

http://www.lukepauljackson.co.uk/

Shearwater - Brighton - March

I've been a fan of this US indie folk rock band ever since stumbling across them thanks to the name of a character in a book I was reading in 2008 (The Castle series by Steph Swainston). I bought their album Rook, which was out that year and I have been hooked ever since. For me, Rook will always be my personal favourite from them but 2012's Animal Joy has some top tunes on it too. Seeing them play live was a dream realised. They didn't do too many dates in the UK but this one in Brighton happened to coincide with me seeing a play about Anne Boleyn there. I snapped up tickets as soon as I saw it advertised and had music writing/coverage been my job I would have been in London for their return in November. Shearwater are underrated in my opinion but they have a loyal fan base spanning the globe. Live, they were superb even though there were a few big changes to the line-up. Didn't matter in the slightest however, as they played like they'd all been together forever. These guys are definitely on the list of bands you MUST try out! Leviathan, Bound shuffled on to my iPod shuffle on a walk home from work just recently. Sublime! http://shearwatermusic.com/

Winter Mountain - Leamington Spa - March

Now, these guys were a real find! I usually tend to read up on the support acts for most shows I attend and check out a few of their tunes beforehand. Not so much to sing along, more to familiarize myself with the sound. I didn't get chance to do this for this Seth Lakeman gig in March so Winter Mountain were a true surprise on the night. Two such interesting and genuinely lovely guys who met while backpacking across the US in opposite directions. They both hopped on a train to Memphis (I think, if memory serves me correct), got talking and the rest is history. Their performance completely blew me away and this year should see them release their debut album on Cara Dillon's Charcoal Records. To whet your appetite you should grab their EP from iTunes by clicking >>here<<. If they happen to be billed to play near you, either as headline or support then make sure you go see them. You will thank me for telling you to do so afterwards.
http://www.wintermountain.co.uk/

Trevor Moss & Hannah Lou - Oxford (Tom McRae) - November

I could have seen this duo at Truck Festival in July had I not been my regular self regards organization. Organized chaos is the way I work, at times, and to be fair it has stood me in good stead. If it's not broke don't fix it. Well, perhaps a tweek here and there wouldn't hurt. I have a diary this year in which I'm being ultra (perhaps just under ultra if I'm honest) organized. Anyway, I'd booked my Tom McRae ticket as soon as he announced he was touring solo to promote Part 2 of his Alphabet of Hurricanes album, From The Lowlands. As always Tom was magnificent but I've reserved this mention for the support because they were phenomenal. Trevor and Hannah-Lou's vocals come together so effortlessly and produce sounds that are just exquisite. They toured endlessly last year as they geared up for and released their album, La Ferme De Fontenaille. A cracking album, four songs from which you can sample via The Proud Surrender EP below. Then get clicking and buying and then along to a gig if there's one nearby. In addition to supporting for Tom McRae, they did their own tour of social clubs and got to support the wonderful Beth Orton amongst so many other marvelous gigs. They are also on the bill for this year's Wood Festival so don't miss out on that one. More about this festival soon.

http://trevormossandhannahlou.com/

An Evening With Gilmore & Roberts

Katriona Gilmore & Jamie Roberts - Wellingborough - October

This was a special night indeed. What a venue too! Tables and chairs laid out making it feel like we were at an awards ceremony. It was as if the walls were made especially for taking in the music and feeding it out to the our ears via direct aural tunnels. Sublime! This would not have been possible but for the deftness of skill from this stunning duo. This tour was primarily to showcase new songs from their most recent release, third album The Innocent Left, but we were treated to a number of other top tunes from the previous two as well. Opening with Jamie's Scarecrow got the feet a-stomping right from the off. With that jig-inducing fiddle combined with the fierce guitar strum as the sad, sorrowful story of the subject's failure is played right into your mind. A booming start for the pictures painted via music and vocals were vivid enough as to be mistaken for hallucination. This brilliance was only extended further as the night went on and the tunes came rolling out from the stage. The second song was another deep character piece, this time from Katriona in the form of a famous military doctor history saw fit to remove. This is one of the beauties of this kind of music, and this kind of act. They write and play songs that entertain, that move but ones which also educate. I'd never heard of Doctor James before hearing this. I read up on her immediately after, such is the level of interest the song invoked within. 

Katriona and Jamie are everything I expected them to be. Two of the most pleasant and humble musicians I've had the pleasure to watch play. Their interaction with the audience never ceased throughout the entire evening. Whether this was via them detailing how and why they came to write certain songs, or when Kat tested us to see if we could guess what her original song Silverscreen was about (I'm not telling), they warm you to them instantly. There was a real sense of getting to know them on a deep personal level. The explanation behind the emotions that shaped some of the songs made them resonate all the more. For example, Letters was written from Kat's great-grandmother's point of view. She was a Dane who worked for the BBC World Service during World War Two. She had countless letters passing through her, all the time yearning for one from her son. Amazing as a recorded track, played live it not only transports you back through time but it pulls tightly on those heartstrings. Likewise, Traveling In Time was for her granddad following the memory loss resulting from the stroke he had. This was an open window right to her soul and one delivered with such grace it's hard not to let a tear or more escape. Particularly as it bought forth feelings about the elder people in my own life, past and present. It is a wonderful gift to immortalize them in songs such as these. Fleetwood Fair took us into an interval with its kick-ass chorus Kat tried to get us all to join in with. To give the audience their due, many did.

It's not exactly uncommon these days but from all I've seen, Jamie's lap tapping guitar skills are amongst the very best. These were demonstrated aptly with The Stealing Arm as it opened up the second half of the evening. This is based on a traditional song from circa 1800, rewritten and worked to a leg-jigging tune.

No Rest For The Wicked told of their not so rock and roll lifestyle of driving up and down the country while on tour. Yes they do love it and admit they'd have it no other way but how there certainly isn't any energy left to chuck TVs out of hotel room windows. And that's when they are lucky enough to have a hotel room instead of kipping on someone's floor or in the vehicle itself after an overpriced meal out of a service station. This was followed by one of my overall favourites, Shuffle and Deal. Everything about this song is sublime. Kat shared how far from being the gambling sort, she learned to play poker at a festival using gravel for chips. The character of the song is a little deeper in trouble than this. Jamie did a grand job standing in for Larkin Poe with his backing vocals. Although they were quite rightly masculine, he delivered them with the gentle grace befitting the song.

Then there were the instrumentals such as Over Snake Pass and Seven Left For Dead. As enjoyable as these tracks are on the album, that enjoyment is quadrupled when seeing them performed live. They really launch themselves into these pieces. Don't get me wrong, the vocals on the others never hide the high quality of their musicianship, both individual or combined, it's just eye-opening to see them play this way.

Their reworking of the traditional False Knight On The Road bought the evening to a hallucinatory close. I don't know how they manage it but while your eyes are never off them as they play and sing, at the same time the images of the girl besting the antagonist are striking. The whole story is played out in full view. Without actual visuals and thanks simply to the skills and abilities of Gilmore & Roberts. It was Jamie's original song Louis Was A Boxer, based on a customer in the Subway sandwich shop he worked in while at university, that provided the encore. At the end Kat thanked everyone for coming out on a very cold Saturday night and urged us all to get our friends and relatives out to support live music  in the future. I went to a lot of gigs throughout 2012 but this was one of the finest, without a doubt. It was my first time seeing this pair but I can assure you it was the first of so very many to come.

They are about to embark upon a Spring Tour so check out the dates at their website and get yourselves along. You won't regret it! They'll also be featuring at some festivals throughout the summer no doubt, before setting out on an Autumn Tour when I hope to catch them again, if not before. http://www.gilmoreroberts.co.uk/

Willy Mason

There were many more gigs from last year of course and you should know me by now - I would love to give them all some space here. I must at the very least give a brief mention about the Willy Mason gig at The Musician in Leicester back in May. If I had the arts of powerful sorcery at my disposal (I'm still on moving a pencil a centimetre off the table), I would have physically relocated this pub down to Northampton, long ago. Or perhaps merely punched out a spatial portal enabling me to step through to it as and when required. These are just little details. But, yes, Willy Mason, what a performance!! Mystical, magical, marvellous music! It was like being transported so effortlessly to the deep south without breaking a sweat. If only every Monday night contained such entertainment. He is mesmerizing live and I urge all who are fans, or even just those who may only listen to him in passing and enjoy his tunes, to get to a show as soon as you can. It was also at this gig I saw the enigmatic Jinnwoo who opened as first support and is definitely someone you should check out!

FESTIVALS

Sadly, I was unable to make it to Beautiful Days last year but I sure made up for that by attending not one, but two other small independent festivals. I always considered Beautiful Days to be a relatively small affair. In comparison to Truck and Bakewell however, Beautiful Days is colossal. The small size of these other two is by no means a bad thing. It serves to make you feel even more directly connected to the musicians and bands you get to see. You can (and should) read my full two part review of Truck and then get to their website to bag your tickets to this year's event. They are flying out. More on that festival soon too.

Bakewell Music Festival was smaller still with an added bonus of stages being under a roof. Good job too as with the 'traditional' wash out of a summer we had last year, there were a number of downpours in between the bursts of sunshine and heat. Here, I saw Seth Lakeman for the second time of the year, always an outstanding first class performance. Other bands/artists that stood out for their quality were Jake Morley, with his lap-tapping guitar and poignant lyrics; Neon Railroad with their rockier sound and some great original songs; Sam Draisey, who performed a few covers with a real flair of originality and who's entire set was outstanding; Ryan Lauder with one of the strongest performances of the weekend. Special mentions for the headliners, Flight Brigadegyp, Gypsy Fire and of course Mr Seth Lakeman, who all made the Saturday night one of heightened merriment. I must give a nod to String Driven Thing's song Hey Jack too because as an Ode to the great Jack Kerouac, it really struck deep with me. Then, as the electrics blew and there was niether amp nor lights, country/soul band Phantom Limb closed the festival in true acoustic and unplugged style. They came down off the stage, hauling their instruments behind them and set up in the middle of the marquee. The remaining audience gathered round for what was a splendid intimate set.

It is back on the Truck for the 'they're so damn good they knock you over sets'. Little did I know at the time but this was one of The Last Republic's final gigs as a band as they disbanded not long after. This was a very sad fact and one I'm still crying over. They were just such a fantastic band playing inspiring and truthful music. Their set at Truck was one of my top highlights! Boat To Row build up such a huge momentum with their multi-instrumental juggernaut and had me knocked over by the force as well as so elated I was almost on the ceiling of that tent. I was looking forward to The Dreaming Spires and enjoyed them so much I went for the repeat acoustic performance in the Merch tent the following day. It was like sardines in a can in that tent but totally worth it. Conor O'Brien and his Villagers captivated me with tunes from debut album Becoming A Jackal and a few from their now released follow up Awayland. Tim Minchin could easily have closed the night with his side-splitting (as in literally and being in need of sowing up afterwards) comedy genius songs including the banned on TV Woody Allen Jesus. 

Due to previous negative press I'd read, I will admit I hadn't been expecting anything too amazing from Saturday night headliners and festival closers The Temper Trap. I was most pleasantly surprised with what we got to see and while they were not the best band overall, they were very close, closing the proceedings in perfect style. The most phenomenal, outstanding and sensational act of the whole event has to be Scottish rock band Frightened Rabbit! It was great to get more intimate with their music on the second stage but they should probably have been on the main stage with the crowd they drew and how much they had the audience in the palm of their hands. The band have recently released their latest album, Pedestrian Verse, which you can buy from their website - http://www.frightenedrabbit.com/.

So, that's about a wrap (not a rap, oh dear, imagining myself rapping is rather amusing - perhaps one day....for charity) for the live overview but like I say all the gigs I went to were pretty amazing. Not to neglect Don Broco outperforming We The Kings, as great as they were. What I could hear over the screaming girls that is.

Until next time folks, Peace to you all.

Oooh...off to see Stornoway on Saturday, oh yes!

JUMP STRAIGHT TO THE OTHER PARTS OF MY 2012 OVERVIEW/REVIEW:

PART I   >>here<<
PART II  >>here<<
PART III >>here<<

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LAKEMAN LIVE WITH A MUSICAL ARMY: EP REVIEW

ARTIST: SETH LAKEMAN
EP: LIVE WITH THE BBC CONCERT ORCHESTRA
LABEL: PROPER RECORDS
TRACKS: 5
WEBSITE: http://www.sethlakeman.co.uk
RELEASED: 3^rd DECEMBER 2012

The title alone should be enough to get you almost wetting yourself in anticipation for this latest release from the prolific contemporary folk troubadour that is Seth Lakeman. His uniquely produced and most recent album Tales From The Barrel House, was simply amazing but this Live EP goes even further. With an angel hoard in the guise of the BBC Concert Orchestra at Seth’s back, expect to be carried off to a heavenly paradise on a white winged Pegasus, with a shower of warm golden rays raining down over you. Wherever you listen, be it on the move or resting up, it has the ability to spin the globe under your feet without moving so much as a single hair on your head. It brings tales directly to you in the form of richly woven tapestries, which swirl and entertain you to the max.

With five of Seth’s well-known songs featured, both fans and anyone new to his music are in for a right royal treat. Opening with Blacksmith’s Prayer (Tales From The Barrel House), the added army of instruments compliment Seth’s mandolin with razor sharp precision. They immediately build up so many intricate layers to the song, you may want to get hold of a map to find your way out of it. You feel so close to that Blacksmith you can feel his sad warm breath on your neck as he laments his dying trade. One thing is for sure, that prayer will not only be heard but also felt with phenomenal force. The urgency of even just the string section half way through manifests the ghosts of all Blacksmiths from everywhere in a desperate bid to be remembered and noticed. It is a sublime goosebumps music moment!

The Lady of the Sea herself graces your presence while flanked by mermaid masses doing synchronised summersaults to the nostalgic nautical notes of this song from Freedom Fields. Buckle up your lifejacket as the mighty ship soars out into the ocean carried along by the tidal waves of a violin chorus wrapped around the bold brass winds. Music was made to be played this way, big, bold and atmospheric. There are Changes (Hearts & Minds) afoot as the third track reins things in somewhat. It’s a good job really, to allow your mind to readjust itself back to reality after such an epic start. The subtlety of it is welcome and the delicacy so many musicians playing at once can achieve is quite breathtaking.

You better dress up in your finest finery for King & Country (Freedom Fields). With its rapturous royal fanfare of an introduction don’t be surprised if you’re left wondering when the King will appear. The layers weaved by the orchestra on this song to accompany Seth’s mandolin, capture the deep personal emotion of the lyrics very well. It wouldn’t have felt right had Kitty Jay not been included on this release and boy does it bring the collection to a perfect close. It is always a pleasure watching Seth play this song at a gig and this version will not disappoint. The thunderous drums crash down with such foreboding menace, as if Gods are stomping across the earth hunting something out. The fast and furious fiddling is present of course but Seth is joined by the string section and together with the wonderful arrangement of the other sections, this version of his own classic will have you out of breath by its end. 

The only thing that would have made this EP better is if it was a) longer or b) if Kitty Jay had sparked a furious and lengthy jamming session between Seth & the strings, or indeed the entire orchestra. Oh, the fiddle-off that could result from such a thing. The energy would be enough to light the world for an eternity! Renewable energy too, of a sort. I have a feeling this live recording will not be every fan’s cup of tea but personally, I cannot praise it enough. With a huge love and appreciation for classically trained musicians it is always delightful to hear them take on more contemporary or unusual genres and get it right. As a Seth fan myself, this provides a new way to experience his music, adding a totally different dimension. I’ve no doubt this was a big challenge for all involved, Seth included, but it is one that really has paid off.

You can pre-order your limited edition signed copy of the EP in various formats from ProperMusic:

On CD

On LP

On 10"

Alternatively you can pre-order it from Amazon >>here<<.

I've actually sent a few questions on to the lovely folk at Prescription PR who I thank for the opportunity of reviewing this record. They have passed them on so I'm hoping they come back with answers so I can edit the little interview into this post. I think it will compliment it nicely. Fingers crossed.

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THE INNOCENT LEFT FOUND GUILTY OF GREATNESS!

ARTIST: GILMORE & ROBERTS

ALBUM: THE INNOCENT LEFT

LABEL: NAVIGATOR RECORDS

TRACKS: 10

WEBSITE: http://www.gilmoreroberts.co.uk

RELEASED: 29^th OCTOBER 2012

I’m a bit of a latecomer to this young folk duo but let me tell you one thing before I continue; after hearing this latest album and seeing them perform live recently, I will be soaking up as much as I can get my hands on from now on! I’m not in the least bit surprised they are an award-winning pair (Best Original Song for Fleetwood Fair – Hancock Award) and if The Innocent Left  doesn’t pick up at least a few awards here and there over the next year then the awarding committees all need sacking and replacing with people who have proper taste.

I love how it manages to make use of traditional folk roots without sounding anything like just another folk record. To its credit, it is much more diverse and versatile. There’s a wonderful rich mixture of sounds bought into the mix thanks not only to the tremendous talents of Katriona Gilmore and Jamie Roberts on their respective violin, mandolin and guitar but courtesy of the featured guests too. With Ben Nicholls (Seth Lakeman) on double bass and Tom Chapman of the Urban Folk Quartet bringing his exceptional percussion skills to the table, the end result is one of charming musical perfection.

Opening with two original songs drawing deep from that folk-inspired well even these have enough passion and creativity poured into them they transcend any simple categorisation. The first amounts to Jamie’s Ode to the Scarecrow with a prominent violin lining the fields as its character is painted in vivid multidimensional colours. You end up really feeling for the sad sorry failure come the final round of what is a beautiful smooth chorus. This leads into Kat’s inspiring tale Doctor James. Based on the true story of military surgeon James Miranda Stuart Barry, this song breathes life into a purposely long forgotten tale. It’s always great to learn new things from music as I’d never before heard this story. After living life as a man and becoming Inspector General in charge of military hospitals, it was discovered he was actually a she and thus why the name was seemingly deleted from history. Music that educates like this should really be used in schools.

The remarkable start moves up to lofty heights with Shuffle & Deal. This song leaps so far ahead you have to race to keep up. And race you will, as far as you have to in order to hear it, even if you were to lose both lungs in the process. It is such a special track and for all the other greats on the album, this one can’t help but stand out a mile. While the opening two keep one foot firmly in the traditional camp, Shuffle & Deal is the first to move so far beyond those boundaries. This only serves to bolster its magnificence and show how comfortable and adept this duo is at just making truly great music. The backing vocals come in the shape of the US sister duo Larkin Poe who sing over Kat’s chorus of simple yet highly emotive stretched out single words. Every millisecond of this song is a work of pure fine art ending with many perfectly placed instruments that hitch along for the ride before it finishes just as delicately as it started. 

It is evident both musicians have worked hard, not only on nailing the perfect musical arrangements but also on the song writing. It is razor sharp. The subject matter covered is a wonderfully varied blend to tantalise all possible tastes. It feels so precise and if there was a mathematical formula for the perfect mix then this album has applied it. That’s not to say it feels in any way rigid as a result. Quite the opposite, there is a breathtaking fluidity that carries you through the whole adventure. At times it renders you lying on a lilo floating gently downstream to the beauty of real-life based Louis Was A Boxer and sat nav tribute, Silver Screen. Yes, a song even about those trusted/troublemaking navigation devices comes courtesy of Kat and is one bathed in the same quality and splendour as the rest. Others grab you by the feet, pull you up and send you flying through invisible rapids, particularly the two instrumentals Seven Left For Dead and Over Snake Pass. Both have magical properties, splicing and dicing their way through multiple dimensions, taking you along for the rip-roaring ride. Then there's Letters, a deeply moving number where the vocals have the power to break your heart. They convey the emotional turmoil of Kat's Danish great-grandmother waiting to hear news of her son as she worked for the BBC World Service during the Second World War.

There’s only one actual traditional song featured in the form of Jamie’s rewriting of False Knight On The Road. Having now heard a number of previous versions by a range of different artists from Steeleye Span, Hart and Prior and even the mighty Fleet Foxes, False Knight blows them all out the water to be quite honest. Finally, there’s irony afoot but with arms as Jamie’s closing ballad, The Stealing Arm is a retelling of John Ashton’s The Thief’s Arm about an amputation that went somewhat rather wrong. It’s a great way to bring the album to a close with its hook-laden chorus that embeds itself inside your head and as ever Jamie’s vocals sound amazing.

This album is a real breath of fresh air. While maintaining all important links to the folk genre it smashes through any walls and divides, crossing safely into many other areas.  To widen its appeal, contemporary folk music has been evolving in a real positive direction thanks to many of today’s talented bands and artists. The Innocent Left reaches the zenith of this evolution with Gilmore and Roberts producing a modern masterpiece. It has a delicious mix of everything required to make it stand out from the rest and is one that you simply must own.  

You can (and you really should) buy your copy now from a number of websites. Just click on the links below:

PROPERMUSIC

AMAZON

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LIVE AT BLUE ROCK IS PURE MUSICAL PERFECTION!

ARTIST: MARY GAUTHIER

ALBUM: LIVE AT BLUE ROCK

LABEL: PROPER

TRACKS: 11

WEBSITE: http://www.marygauthier.com

RELEASED: OCTOBER 2012

WOW! Mary Gauthier’s Live At Blue Rock has blown me away so hard and fast I’m writing this review from a parallel universe. Seriously, an album packed with such heavy quality I certainly wouldn’t want to drop the CD on my foot as I imagine it would do some pretty painful and irreparable damage. Although she’s been releasing music for the last fifteen years to increasing critical acclaim, I was shocked to learn Mary only wrote her first song at the age of thirty five. The album dazzles not only the ears but contains a collection of deeply inspiring songs, each and every one of which delves deep inside the mind. Atmospheric to the point you can smell the American mid west in the air or the beer and whiskey breath of I Drink, or even the burning Sugar Cane. Whether you’re a first time listener or long-time fan, once this album is in your stereo it won’t be leaving for quite some time.
   

The first few tracks set the bar so high I wouldn’t have been surprised if that bar had started orbiting the globe. Yes, there is darkness and brooding in abundance but this is what makes these songs connect so strongly with people. We listen, we appreciate, we learn, we grieve, even. But most importantly, we feel! What we have to be thankful for is that there are musicians out there who can speak to us without commandment and without patronizing but rather with a compassion there should be much more of in this world. This is something Mary does flawlessly through her music.   

Being only the second track on the album it was going to take a hell of a lot to beat Last of the Hobo Kings, for me. While it remains one of my new top favourites of all time, there are many others worthy of such a title. This one in particular however, is one of those songs that stand out a mile, even amongst such a mix of amazing tunes. It has a character and style that renders the vivid images of the true story of Old Steam Train Maury who, ‘knew how the nation was doing by the length of a sidewalk cigarette butt’ as he walked around with his, ‘walking stick sceptre and shredded coffee can crown…’. It sounds like it belongs to the traditional folk pantheon such is the skill with which it was written. It is gorgeous with its delicate mourning country roots, sensational strings and some aptly placed harmonica. It has me going goosebump crazy from start to finish and I could write pages and pages just about this one song but still not do it justice. It really has absolutely everything I’d equate with musical perfection.

Then there’s the heartbreaking and emotional autobiographical song, Blood is Blood. No doubt touching on Mary’s feelings about having been adopted and feeling for a long time like something was missing from her life. It’s that something that roots us into life purpose and gives us a sense of comfort with our identities. It is thus something which everyone can relate to. The song hits you right in the gut first off before covering your heart with its shadow. It nevertheless leaves behind a sense of personal enlightenment demonstrating the secret power therein.

The devastating and tragic story of Karla Faye is told via another song with deep country roots. It draws on the delicate soul of a very lost and troubled young girl. The emotional force with which it is performed, thanks both to Mary’s leading vocals but also Tania Elizabeth’s backing vocals on the chorus and her accompanying violin throughout. It should pull hard on your heart strings and if it doesn’t then you have a cold heart. Not that I’m passing judgement.

Two of Mary’s classic fan favourites also make the cut in I Drink and Drag Queens in Limousines. The first could be a therapeutic way of having accepted alcoholism, the character believing they’ve followed firmly in their father’s footsteps. In reading more about Mary I read somewhere how this song helps remind her about the person she was for a time, and the person she could have ended up as. She admits her life could still follow that path and so the song acts as a deterrent, almost. The second is just as autobiographical as she relates more of her own troubled history with a deeply sincere and engaging performance of the title track from her second studio album. Having mastered the song writing craft to the degree she has, there are always welcome snippets of who she is. These come through in the many character and story songs but with songs like these two, it’s like you get a direct experiential link to her own soul and personality. I feel privileged to share in such an experience.

Don’t be duped by the seemingly overlong final track either. As it’s a live album it would be acceptable if it really was almost fifteen minutes long. However, while the buzzing country number, Wheel Inside The Wheel could bring this colourful collection to an admirable close, there is still one hidden gem to come. Existing fans will know it is of course the cherished and treasured Mercy Now and boy does it close the proceedings in true style by way of a gospel choir on backing vocals. It brings a whole new dimension to the song that will have the finest of your hairs standing on their ends.

These are all valid, deep, personal, articulate, thought provoking and emotive stories. When not about her own life, as incredibly interesting as that remains, there are numerous rich, vibrant characters ranging from dispossessed hobos to those belonging to The Rocket and Cigarette Machine. They’re all bought to life by not only the spectacular lyrics but by Mary’s watertight vocals. Possessing a power and vigour they serve to amplify the immaculate quality. Add to this the intricate and intense violin arrangements, I’d go so far as to say this album offers a real transcendental experience. There’s no mere passive listening. The finished product grabs hold of you by the ears and pulls you right into the heart and soul of all the stories.

Mary pours a torrent of passionate artistic creativity out through her hands to write the way she does. Then she does it all again when performing, captured beautifully by this album. There’s such depth to the whole thing I advise you to don some scuba gear with plenty of spare oxygen tanks because you’ll be listening to this on repeat over and over. From experience, Live At Blue Rock is perfect to introduce you to Mary Gauthier. It will have you checking out her recorded works but only once you’re able to stop playing this one. Even then you’ll have to coax it away from the stereo itself.

I only wish my words could heap enough praise on Live At Blue Rock or indeed upon undeniably one of the best singer-songwriters from across the pond I've had the distinct pleasure to be introduced to since starting to write these reviews. This I don’t just get from this one album, as remarkable as it is. I’ve done a little digging, checked out numerous live videos and read a few interviews. One thing’s for sure, Mary Gauthier is one phenomenal and talented spirit I intend to get to know much better.

Track list: 

 Your Sister Cried ~ Last of the Hobo Kings ~ Blood is Blood ~ Cigarette Machine ~ Our Lady of the Shooting Stars ~ The Rocket ~ Karla Faye ~ I Drink ~ Sugar Cane ~ Drag Queens in Limousines ~ Wheel Inside the Wheel

 

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RUGBY ROOTS OUT REAL TALENT: LUKE JACKSON AT RUGBY ROOTS CLUB - GIG REVIEW

Having been following his music and live video output for a while now, I arrived at Luke Jackson’s headline gig at Rugby Roots Club with rather high expectations. Admittedly, I knew full well he would deliver on each and every one. Suitably prepared to be wowed, he nevertheless managed to blow my expectations right out of the water with an outstanding performance that was nothing less than perfection. Days later and I’m still picking myself up off the floor after being knocked for six by the sheer force of exuberant power on show.     

Starting with the opening track from his debut album, More Than Boys, even I feel a little lost for words at how phenomenal his voice sounded right from the off with Run and Hide. Demonstrating remarkable professionalism there was no need to warm up and get into the swing of things. With an almighty BOOM, I was hit dead on from the first second he began strumming his guitar and the first words to pass his lips. The vocals were faultless throughout the evening but to start with the strength he did makes you instantly aware of the clout he has. Something he will no doubt continue building from through what can only end up being an incredibly successful music career. Indeed, with being so darn good at this young age, I’m struggling to see how it will be possible to get any better. I’m looking forward to seeing how he does it though, because one thing this gig proved is he has a staying power far beyond much I’ve seen from others his age.

Following this sensational start he played a medley of songs patched together consisting of an inspired and wonderful mix of stripped back well-knowns. From U2’s I Still Haven’t Found What I’m Looking For to The Animals’ classic, House of the Rising Sun, the way he makes these flow so effortlessly into each other as one is just sublime. Yes, medleys do this I know but you just watch Luke play this live and you’ll see something different; something special. Always refreshing to see.

Entertaining us with stories about the songs he featured provided a sense of the person behind the music which helps anchor an audience. Joking how rock and roll he was by dedicating the song Kitchener Road to his grandmother, he wrote this after hearing about the name of the road where she once lived after she went back to see what it was like after so many years away. It is a real contemplative number. Then there was reminiscence of a different sort when introducing a song originally written for his college band, The Fox Patrol. Home Is Where The Heart Is may have been completely stripped back for this acoustic show but his ability to alter songs to suit his particular set the way he does, further shows his praiseworthy skills. That said, I’m genuinely excited about hearing the livelier band version, ‘Me and the band go a little bit crazy with that there at the end,’ he commented after it, or words to that effect.

Naturally, many of the songs are about being young and growing up and yet they are written with a reflective maturity that can grab a hold of listeners of any age or at any stage in their lives. For instance, How Does It Feel is about kids growing up and going off into the world to live their lives, but written from the perspective of the parent. It is heartfelt and poignant with a beautifully gentle melody no doubt emphasised all the more when experienced live. Enticing a knowing smile, it features mentions about the things all parents warn their children not to do but things they did and do themselves.  

As brilliant as Bakers Woods is with its youthful simplicity detailing those childhood days climbing trees with friends, it has a slight tinge of melancholy being a reflection on those days long since gone. Being one of his earliest songs it contrasts quite drastically with one of the most recent, Fumes and Faith. This alone shows why Luke has got in abundance, whatever it is that will lead to a very long and successful career. It is a masterfully crafted song with lyrics written from direct razor sharp observation about the state of youth and society as it currently descends into someplace we’d rather it didn’t go to.

The first half was bought to a close with two songs from the aforementioned album. The penultimate Last Train is about a soldier returning home with the heavy weight of how he is going to break the news of his compatriot’s death to his family, a deed he’d promised he would carry out. Luke takes you right into the heart of this scenario and his voice carries the associated emotion superbly. He really makes you live through the cavalcade of feelings. The recorded version is moving enough but up close in his presence, I dare you not to be moved by the resulting performance.

As high as the quality already was, it only increased as the second half kicked off with some rip-roaring riffs courtesy of Fathers Footstep Blues. It was a number that really got the feet and legs a-moving to its deep bluesy rhythm. As if by magic the leagues rolled by on the trail of those riffs with Luke’s dexterous guitar playing fuelling the travel. We weren’t in Rugby anymore but in some dusty blues bar across the Atlantic. It was flawless and so captivating to watch. Whether showcasing more originals from the album like Let It All Out, Big Hill and More Than Boys or playing brand new tunes like the beautiful lamenting love ballad Mary May, everyone was hypnotised by the high calibre of this musical mastermind.

Luke even approaches his cover versions with an innovative flair. I loved his reworking of Sting’s I Hung My Head. While remaining a tribute to the original version, it is nonetheless completely original in and of itself. He managed the same with his rendition of Lonely Boy by the Black Keys in which he exercised the higher end of his remarkable vocal range to glorious effect.

In sum, Luke went so far beyond amazing, amazing was little more than the tiniest speck of a dot to us all there sitting in the cosy room at The Merchant Inn. The venue was wonderfully atmospheric with a crisp and quality sound system, adding to the overall perfection. It created a real intimate ambience, capturing the mood beautifully. Host Richard Barnes made a very valid point at the end of the night when he talked about the kind of quality Luke possesses. This was a chance to catch a small, intimate gig with a rising star of tomorrow because there’s no doubt this hugely talented Canterbury lad will be moving on to huge things. I can appreciate why he fits so well into the Roots categories but be under no illusions, already applying the kind of thoughtful and mature style to his songwriting together with a refreshing originality he is destined to entertain far beyond traditional folkists. It certainly came as no surprise he has been nominated for next year’s BBC Radio 2 Young Folk Award. With performances like this one, his fellow nominees have a lot of work to do if they even want to get close to where he’s at.

Certainly no stranger to the live circuit, this gig however was a way for Luke to further test his rapturous rapport with an audience. To trial what his headline shows will be like and consist of. He nailed it that’s for sure. Luke has the confidence, charisma and the abilities to do this night after night to growing crowds. It’s pretty obvious this is what’s going to happen. All the more helped along by continuing to open for well known and respected artists like Martyn Joseph, Steve Knightley and Show of Hands, exposing him to greater numbers of people.

Even with twenty three numbers I didn’t want it to be over but one thing is for certain, I feel privileged to have been in attendance for such a rare and special evening of exemplary musicianship. I honestly cannot wait for the next time. As remarkable a breakthrough as More Than Boys is and all the well-deserved attention it is receiving, I must make clear there is so much more to Luke Jackson one can and MUST experience. So to finish I’ll break this down into points:

1.      If you don’t have them go and buy his EP Run& Hide and the debut album, More Than Boys. (Or via iTunes - Run & Hide - More Than Boys.)

2.  Get connecting via his website, by keeping updated at his Facebook page and subscribe to the YouTube page.

3.   Get yourself to a show and soon! He is about to embark on a 30 date tour supporting Martyn Joseph so there is no excuse for you to miss out!

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