I reviewed the latest Bob Bradshaw album “American Echoes” fairly recently and I loved the contrast between the raw rock power and the subtlety and delicacy. It was the album of a musician who had learned his craft the difficult way and then gone on to study the subject from an academic viewpoint. It was a background that led him create a very fine piece of work. When we put the call out for 2017 High Fives, Bob was the first to respond with these great recommendations. 

‘”Shotgun’” by Spoon from “Hot Thoughts”

– as pure a shot of smart pop/rock as I’ve heard in a long time. 

 

 

 

 

“Eastern Light” by Tift Merritt from “Stitch Of The World”

– it’s scary how vulnerable Tift Merritt allows herself to sound on “Eastern Light”, a masterclass in expressive singing.

 

“The System Only Dreams In Total Darkness” by The National from “Sleep Well Beast”

– best song on the new album: great singing and arrangement, and a bone-fide guitar solo to boot.

 

 

 

 

Holding On” by The War On Drugs from “A Deeper Understanding”

– I’m sometimes on the fence about Adam Granduciel’s singing and lyrics but the orchestral sweep of Holding On keeps me coming back for another listen.

 

 

 

“Sorry Is Gone” by Jessica Lea Mayfield from “Sorry Is Gone”

– best unexpected ear-worm of the year, this one snuck up on me and then wouldn’t let go…. I’m sorry but sorry is gone.

 

As gigs go, music journalism and photography is about as good as it gets for this ‘wee boy fae East Wemyss’. When you do something for over a decade you’re going to have a few frustrating experiences; what you hope for is that the genuine bangers even up the balance, maybe even tip it into the positive. It’s no exaggeration to say that 2017 has been astonishing year with some moments that would have my eighteen-year-old self wondering how on earth all that happened. But even with the volume anchored at ten, there were some moments when it sneaked up to eleven (‘it’s one higher’). In no particular order, these are some of those moments.

Stone Foundation @Islington Assembly Hall – I’ve been a fan of Stone Foundation since the moment I stuck a promo of their album “To Find the Spirit” in the CD player about four years ago. It hit me with that sucker punch of Hammond and horns from the first bell and followed it up with a hit of pure twenty-first century British soul. I’ve watched as the band’s abilities and sheer bloody hard work have steadily moved them up the rankings. I guess it helps that they’re such a great bunch of people as well.

Their latest album “Street Rituals” was recorded at Paul Weller’s Black Barn studios with Mr Weller guesting on a couple of songs and now they can headline at the bigger London venues. So when they announced a tour gig at Islington Assembly Hall, it looked like a reasonably good punt for a Paul Weller guest appearance, the odds shortening when, collecting my photo pass, I discovered that access to the pit was for the entire set. It wasn’t just limited to one Magic Moment either. Not only did PW join the band to take the lead vocal on the gorgeous “Your Balloon is Rising”, he also appeared later for a cracking version of “What’s Goin’ On” (with a hint of “Something in the Air”). Not only two great performances that might never be repeated, but one of my favourite photos of the year (above). More SF to come…

Southside Johnny and the Asbury Jukes @The Forum, Kentish Town – I first heard Southside Johnny and the Asbury Jukes in 1977 and I was hooked instantly. I’ve never fallen out of love with that voice and the sound of that band (Hammond and horns again, with big rock guitars as well), but I could never have imagined the first time I heard “The Fever” it would mean the start of a long-term relationship rather than a one-night stand. Fast-forward to the second decade of the twenty-first century and things get a bit intense – I was asked to do some green room shots of Gilson Lavis presenting Southside with a pen and ink portrait of himself he’d done a few months before. And then I was asked to interview Gilson about his upcoming New York art exhibition and to take some photos of the gig.

I was in the green room with one of my all-time heroes and his incredible band, shooting the breeze and listening as the band arranged a guest performance with Gilson before being thanked by one of the band for a review I’d written of his side project. HTF did that happen? And then they went on to play a storming set with Gilson guesting on “Key to the Highway”. I still can’t believe it.

Stone Foundation @The Empire – This one’s easy; you can get all the background above. No surprises this time, I knew from the off that Graham Parker was the support for this gig. I’ve always been a huge fan and I was at the gig with my old friend and sometime MusicRiot contributor Steve Jenner and his lovely wife Sue. While I was backstage sorting out my accreditation, I bumped in to Neil Sheasby, bass player and co-songwriter with Stone Foundation, who was also having a ‘pinch myself’ moment because Graham Parker had brought along Dave Robinson, former Stiff Records supremo, who was regaling the band with his seventies music business stories.. One of the things I was sorting out backstage was photo pit access. I mentioned earlier that SF had allowed access for the whole gig in Islington; This time they went one better; they highlighted the songs that would feature guest appearances later in the set and ensured that that the photographers had pit access. That’s proper attention to detail.

The real magic moment came towards the end of the evening with a guest vocal by Graham Parker on his old Ann Peebles cover “I’m Gonna Tear Your Playhouse Down”. Magical because of a stunning performance by everyone on stage, but also because GP hasn’t played with a horn section in years and he’s said GP and The Rumour will never play live again. And a big shout to Jalen N’Gonda, the first support act (who was superb in a Marvin Gaye-style) and popped up during “What’s Goin’ On”. These guys know what they’re doing.

Hannah Aldridge & Jetbone @Windlestock – The night after the gig above as it happens with the same audience plus Mrs M, who can go out because it’s not a school night. Anyone who knows me will know that I’m a huge fan of Hannah Aldridge. She writes powerful and moving songs, she has an incredible voice and she has those cheekbones. I never get tired of photographing Hannah; it’s a different visual image every time, but that bone structure is always there. Anyway, this time she’d brought along Jetbone from Sweden to play a support of their blues-inflected Southern boogie and as her backing band.

I love a chance to photograph artists in different environments and this was a great opportunity. Towards the end of the set Hannah put her guitar to one side (got my interest already), picked up a tambourine (camera in hand) and went into full Janis Joplin mode (jeez, never thought I’d see that). It was a night packed with stunningly good performances (including the opening set by Rebecca Reidtmann), but the tambourine thing made my night.

Dana Immanuel & The Stolen Band (private gig) – I had a significant birthday a few days ago and invited a couple of bands, Deep Blue Sea and Dana Immanuel & The Stolen Band to play at the event. They were both superb. I’ve seen Dana a couple of times and the band is great, the original songs are superb and she knows how to deliver a powerful cover. Now these gigs are difficult, because audience chatter (seriously frowned upon I serious music venues, and rightly so) is almost inevitable as people catch and are perhaps introduced for the first time. Dana and the band took it in their stride and won over a crowd that ranged in ages from three (my great-nephew, who was completely smitten) to eighty-one (my mum and mother-in-law).
They took a short break after a storming first set and returned for a second set with an audience that was particularly noisy. With no introduction they launched into an almost a cappella (a little percussion) two-part harmony version of the Janis Joplin classic “Mercedes Benz” which completely silenced the audience and immediately dragged attention back to the stage. Unconventional certainly, but they had the audience eating out of their hands after that. I’ve seen a lot of classic pieces of stagecraft, but that was probably the finest.

If you’ve got any moments like those that you want to share with us, message us on the Facebook page or email musicriotboy@gmail.com. And thanks for following us.

If you don’t want to read through three to four hundred words, I’ll tell you upfront. This is a great album and, if there was any justice in the world, Matt Patershuk would be making songs instead of bridges for a living. “Same As I Ever Have Been” is a masterclass in creating memorable songs from a variety of starting points. It can be as mundane as the end of a labouring life and the onset of arthritis in “Hot Knuckle Blues” or as fanciful as the downfall and humanisation of a Titan in “Atlas”. Either way, Matt creates songs that are lodged in the memory long after the last chords have reverberated into the distance.

The variety of lyrical topics is matched by the variety of musical stylings across the album, following the raw guitar and sax urban blues of “Cheap Guitar” straight into the Nashville, pedal-steel-laced title track which has more than a hint of Jim Reeves. It’s quite a contrast, but it works in the context of the album.

There’s a current of melancholy running through the album, starting with the opener “Some Times You’ve Got to Do Bad Things to Do Good” (herd of deer and faithful old dog are dispatched) to the mournful closer “Swans”, telling the story of a family of swans torn apart by a musket ball. The realism of the narration steers well clear of “Old Shep”-style mawkishness while still hefting a powerful emotional punch.

But the piece de resistance, creatively and emotionally, comes in the middle of the album with “Memory and the First Law of Thermodynamics”, a slow waltz commemorating the life of his sister Clare, who was the victim of a hit and run driver. It’s a potent combination of metaphysical lyrics (‘All of you floats about in the blue, you’re just less orderly’) and hearbreakingly emotive pedal steel and trilling mandolin. It captures perfectly the grief we’ll all feel at some time and the strategies we use to weaken its hold.

The album is packed full of melancholy references, but still manages to end with a symbolic message of hope, as the swans set off on their journey to a warmer place. Matt Patershuk explores some of the classic American songwriting themes with little twists reality, irony and pure poetry and creates an album that’s honest, inspired and cathartic.

“Same As I Ever Have Been” is out now on Black Hen Music (BHCD0085).

You want to know the way to listen to this album? Open road, windows down, volume up. It’s just a shame the old Capri shuddered to a halt decades ago. It was about the same vintage as the tunes and bands that inspired “Before Dark Clouds”. It’s released on the Jigsaw label, which specialises in recording to analogue tape as the first step in the production process and I have to admit the process works spectacularly well for Austin Gold. And now you’re going to ask, quite rightly, what type of music this is.

Well, it’s the kind of music that I heard a lot of in my teenage years. I’ll name the influences, you can work out my age. The influences that immediately spring to mind are bands that combined stunning rock guitar players with slightly more soulful Hammond players like Jon Lord and Vincent Crane. Combine that with classic rock vocal stylings hinting at Paul Rodgers and David Coverdale, riffs-a-plenty, strong melodies and the occasional flurry of twin lead guitar and you’ve pretty much got it covered. And let’s not forget the occasional power ballad to for a bit of contrast.

The album’s opener is a statement of intent, with a killer guitar riff, subtle hints of Hammond and a huge seventies rock vocal. The chorus is massive, but the real highlight is the middle sixteen which launches a guitar solo contrasted with Hammond swirls and flurries; it stands up on its own, but it evokes the mood of seventies rock perfectly.

All the bases are covered; “The Reason” is funky and energetic, the title song hints at the melody and dynamics of Boston, “Home Ain’t Home” suggests Dave Gilmour’s guitar tone and “See the Light” could be early eighties American AOR (remember that term kids) by the likes of Journey or Foreigner. I’m not suggesting that “Before Dark Clouds” is derivative; the band picks out various elements, combinations of instruments, tones, melodies and rhythms that hark back to that era in the early to mid-seventies when all sorts of styles were melding and meshing and cross-pollinating to create new genres.

Bottom line: this album is beautifully played and constructed and it’s a whole lot of fun.

“Before Dark Clouds” is out now on Jigsaw.

 

No, there’s no sign of a cover of The Cascades’ 1962 hit here; it’s all very much contemporary Americana. Amelia White’s style is very distinctive, and this is emphasised by the spontaneous feel of “Rhythm of the Rain”, which was made in four days at a very  turbulent time in Amelia’s life. When she growls ‘Don’t think too much, people’ at the beginning of the title song, you can take a literal interpretation or a sarcastic one. Either works, it just depends wahich song you’re listening to. It’s certainly never going to be described a bundle of laughs, with “Yuma” and “Sugar Baby” dealing with addiction and “Sinking Sun” staring into depression.

The musical stylings are pretty diverse, ranging from the adult-oriented-rock feel of “Sinking Sun” and “True or Not” to the laid-back Crazy Horse feel of “Supernova”. The album has a more raw, rockier edge than last year’s “Home Sweet Hotel”; although “Sugar Baby” opens with a menacing, ”Deliverance”-style banjo and eventually moves through the gears to “Sticky Fingers”-era Stones. Then there’s the title song, with a backbeat, swampy texture, and a sense of oppression and foreboding contrasted with the folky string band styling of the album’s closer which is enhanced by some nice Hammond organ.

There’s one song that stands out, even on an album packed with powerful songs and performances, and it’s a co-write with Lorne Entress and Lori McKenna. The skittering rhythms of “Said It Like a King” make the song feel like it’s rushing uncontrollably towards an unpleasant revelation; I may be looking for examples of this everywhere at the moment, but this song does sound like it might have been partly inspired by the leader of the free world. It’s about bullying and pulls together vignettes featuring a bully on the school bus, a hellfire preacher and a general delivering unpalatable messages which are accepted because each one “Said it like a king”. It’s a very clever lyrical idea, but the kicker comes in the final verse. No spoilers, you have to listen for yourself.

“Rhythm of the Rain” is an intense experience; even the opening song “Little Cloud Over Little Rock”, peeping into the lives of smalltown Americans having their Friday night fling to a soundtrack of Merle Haggard and George Jones is underpinned by the quiet desperation of the line ‘his friends are coming to drink their unemployment down.’ Is the album downbeat? Yep. Fraught? Sure. Compelling? Utterly.

“Rhythm of the Rain” is released in the UK on White-Wolf Records on Friday October 27th.

Amelia will be touring the UK in November. Check out the dates here.

It’s a musical ‘all you can eat’ buffet; a long-time outsider’s view of American popular music exploring some of the high protein meat dishes, but meandering through some of the more delicately flavoured and textured dishes as well. To add to the complexity, it’s a set of songs created by a self-taught musician who also happens to have studied for a popular music degree. Sophistication and raw rock power are both on the menu for this musical feast. On his previous album, “Whatever You Wanted”, Bob Bradshaw saved the best (in my opinion) for last, closing the album with the wonderful road song, “The Long Ride Home”. On “American Echoes”, he opens with the lovely, acutely-observed “Exotic Dancers Wanted”; all of smalltown America is there as he melds Tom Waits with Bob Seger’s “Mainstreet” to create a quiet classic of a song about desperation, drugs, booze and pole-dancing. He even throws in a W.B. Yeats reference.

To keep the culinary metaphor on the boil, “American Echoes” is a smorgasbord of musical stylings, or a pick ‘n’ mix if prosaic is your preference. It ranges all the way from the out and out rocker “Weight of the World”, with its huge riff, two guitars and The Who stylings to the acoustic ballad “Stella” with a Chris Izaak guitar sound and a vocal that’s a dead ringer for Elvis Costello in lower-register ballad mode.

There’s a bit of lyrical invention as well, to match the musical melange. “My Double and I” is a modern take on the Jekyll and Hyde theme matched up with a laid-back New Orleans jazz groove (with a nod towards Steely Dan’s “East St Louis Toodle-oo”), while “Working on My Protest Song” combines the kind of rhythms Paul Simon discovered in Africa with a mildly sarcastic dig at musicians who opportunistically appropriate protest movements for their ends. And the list goes on.

The bottom line is that Bob Bradshaw has produced another very fine album indeed. “American Echoes” is packed with great lyrical and musical ideas and gets better with repeated plays.

“American Echoes” is released in the on UK Fluke Records on Friday October 20.

It’s six years since the release of her debut album, but Ciara Sidine hasn’t wasted that time; on the evidence of her second album “Unbroken Line”, she’s been constructing a fine bunch of songs that tackle contemporary issues with a deftness and delicacy of touch that evokes some of the great popular songwriters of our time. She’s not just an average singer, she has a fabulous voice that will melt the hardest of hearts, going all the way from delicate (almost fragile) to the bluesy raunch and double entendre of “Lemme Drive Your Train”.

The opener, “Finest Flower”, sets the tone for the album with its haunting combination of melancholy pedal steel and upright creating the setting for a song tackling the iniquities of the Magdalene Laundries. It also shows Ciara’s willingness to experiment, using some grungy ambient sounds in the leadup to the guitar solo. Definitely no one-trick ponies here. The songs are strong and varied, the arrangements work perfectly for the subject matter, but the real clincher is Ciara’s voice. Her range is impressive and she makes the most of it. The laconic shuffle of “2 Hard 2 Get 2 Heaven” features the husky lower end, while the fatalistic acoustic piece “Woman of Constant Sorrow” features a high, keening vocal before building up to a menacing slide solo.

The band moves effortlessly between styles from the slow jazzy country feel of “Watching the Dark” to the gospel rockabilly of “Wooden Bridge”, hinting at the vocal stylings of Patsy Cline and Imelda May respectively. “Let the Rain Fall” references the Stax sound, particularly the clipped Steve Cropper guitar sounds and “Take Me with You”, featuring some particularly lovely harmonies, could have found a home on any of the first four Jackson Browne albums.

There are plenty of things to admire about this album; the songs, the settings, the individual playing and of course the superb vocals. The subtlety and gentleness of the stylings allows Ciara to push home some uncomfortable messages without introducing any harsh corners and in that respect, it’s a very nuanced and sophisticated piece of work.

“Unbroken Line” is released on Friday October 6th.