As good as it is to hear music from new artists, there’s something very satisfying about a new album from someone who’s been around for a while. In the case of Paul Brady, ‘around for a while’ is understating slightly. At the age of seventy and with a career in music spanning over fifty years, he’s someone who knows a thing or two about writing a great song and “Unfinished Business” is exactly the album you would expect from an artist with Paul Brady’s reputation and experience. There are eleven songs: two are interpretations of traditional songs and nine originals which are co-writes with either Paul Muldoon, Sharon Vaughn or Ralph Murphy. It’s a thoroughbred of an album; perfectly proportioned and without an ounce of flab. It’s all about delivering the best possible interpretation of every song. 

What about the raw material, the songs? Well, Paul Brady isn’t resting on his laurels; he’d probably get vertigo if he did. The nine originals here are beautifully crafted pieces of work. I hesitate to use the phrase ‘songwriters’ songwriter’ because of its elitist implications, but Paul Brady’s a master craftsman whose work satisfies the professionals and the fans alike as he glides effortlessly across styles on this deceptively simple but gloriously effective album. And, as if that wasn’t enough, he still has a powerful soulful voice as well. 

The album begins with the title track, and it’s a perfect piece of understatement with some delicate jazzy piano, upright bass and gorgeous harmonies in the chorus with a romantic message. The equally enchanting “Once In a Lifetime” towards the end of the album is in a similar vein, with the addition of some plaintive steel; you won’t hear a better pair of love songs on an album this year. 

But it’s not all love songs on “Unfinished Business”; “I Love You But You Love Him” is a funky take on the ‘opposites attract’ theme, “Maybe Tomorrow” is Celtic-tinged rock while “Say You Don’t Mean” is a pulsing, erudite putdown of a bystander critic. The originals are every bit as good as you would expect from Paul Brady, while the two traditional songs are given fairly modern musical settings, particularly the album’s closer, “Lord Thomas & Lady Ellender” which Paul has apparently been playing live for fifty years. 

One word – superb. 

“Unfinished Business” is released on Friday September 8 on Proper Records.

Let’s get this out of the way right from the start; Sarah Rodriguez, singer and keyboard player with The Hallows, sounds a bit like Kate Bush. There, I’ve said it now. I’m also going to say that she doesn’t do any of the piercing, high-register, polystyrene on a window stuff that Kate Bush inclines towards, so that’s pretty much a win-win. “Of Time and Tides” has an identity and sense of cohesion that isn’t always apparent in early albums. There’s a sense of assurance about the way the album’s produced as well; there’s nothing tentative about this album.

The songs are all strong, well-constructed and with memorable melodies, but the real selling points for the album are the varied arrangements and use of a huge dynamic range throughout. The studio versions of the songs are liberally sprinkled with fairy dust in the form of layered, multi-tracked and counterpoint vocals, strings, samples, acoustic and electric guitars, pianos and synths. Each of the songs has its own distinct character with Sarah’s bold and distinctive vocals creating a cohesive unity for the album.

As you might expect with a trio format of drums (Joe Rodriguez), Dave Pugh (bass) and Sarah Rodriguez (keys and vocals) the basslines are more than just a solid bottom end; there’s plenty of melody there as well. Who needs a lead guitar player anyway? If one song encapsulates the spirit of this album, it’s “Angel”, where strummed acoustic guitars, layered vocals and shimmering guitars give way to an absolutely monstrous bass riff as the band briefly demonstrates its heavy credentials before sliding back into ethereal mode again for the finish of the song.

And a word to the wise here. This isn’t a studio confection; the band’s more than capable of creating a huge sound when they play live and Sarah Rodriguez’s vocals sound, if anything, even better in that situation. You can hear for yourself at these gigs.

“Of Time and Tides” is released on Friday August 25th.

“Angel”? Oh, go on then:

Don’t you just love it when the opening song of an album kicks down the doors and bursts in without even wiping its feet? That’s exactly what “The Hammer and The Heart” does. “Work Hard, Love Harder” is a joyous, uplifting power pop anthem with chiming Byrds/Flaming Groovies guitars and a perfectly simple message; we need more love. You only need to hear it once and you’ll be playing it back mentally for months afterwards. It only needs one tastemaker at Radio Two to get behind this one and millions of people will be singing along; trust me. But I wouldn’t want you to think that “Work Hard…” is the only great song on this album. 

Actually, the term ‘album’ doesn’t really do it justice; the press release describes it as a double album, but it’s really two distinct albums, one uptempo and mainly electric, the other mainly acoustic and with a more contemplative feel. “Work Hard…” opens both albums, with backing from The Bottle Rockets on album one and a string band version backed by The Boxcar Lilies (such a great name) on album two and the two versions highlight the importance of the song to Susan Cattaneo and its place as a pivot for both albums. 

Across the eighteen songs you won’t find even an average one; they’re all superbly crafted and majestically realised and it’s difficult to pick out highlights, but let’s give it a go anyway. “In The Grooves” is a rockabilly stomper looking back to the golden era of the vinyl 45 (complete with Scotty Moore-style guitar solo), while “When Love Goes Right” is a gorgeous duet with Bill Kirchen turning the cliché of young love upside down and telling the story of lasting love. On the folkier second album, you can clearly hear the influence of Joni Mitchell and there are explorations of political and environmental themes in “Eveybody Cryin’ Mercy” and “Field of Stone”. And there’s even a gently-paced Bowie cover (“Space Oddity”) with lovely vocal harmonies to close the second album. 

If you want eighteen classy songs played by some superb musicians, you’ve come to the right place; “The Hammer and the Heart” is an unmissable collection. And how about finishing with a lyric from the album’s anthem: ‘The heart beats louder than the dollar, shines a light in a world gone darker, draws joy in permanent marker’. That’s the message for you; “Work Hard, Love Harder”. 

“The Hammer and the Heart” is released on Friday August 25 2017 on Jersey Girl Records.

“The Spirit of God and Madness” is a perfect example of the way music evolves. Viper Central started their musical life as a traditional bluegrass string band, but on their third album they’re pushing the bluegrass boundaries by incorporating some non-traditional elements into the mix. And there’s a pretty clear demarcation as well; the first half of the album features the more experimental material, including the jazzy shuffle of the opening song “Gold Mine” with its honky-tonk piano solo, “Ned Kelly”, dominated by a menacing over-driven harmonica, and the slow, psychedelia-washed, “Say, Say”. That’s before you even get to the manic melange of “Losing my Mind”, blending Mexican trumpets, jazz mandolin and tempo changes.

The second half of the album is, by and large, more traditional, featuring short instrumentals and tales of the frontier era; “I Won’t be Left” tells the story of a young woman who left Ireland for the USA and walked across The Rockies with three young children. It’s open to debate as to whether this collection gels as a complete album but it’s an interesting effort, and that’s the way music develops, morphs and mutates.

“The Spirit of God and Madness” is released on Friday August 4th.

It came as quite a surprise three years ago when Henrik Freischlader announced his retirement from performing. Fortunately for fans of great guitar playing it was less of a retirement and more of a sabbatical. 2016 saw the release of the album “Openness”, a tour with the trio format and Henrik Freischlader was back. So what does 2017  have in store for us? Well, quite a lot actually, with the fun in the UK beginning with three gigs on the “Blues for Gary” tour, a tribute to Henrik’s hero Gary Moore, where he’s supported by Gary’s former sidemen, Pete Rees and Vic Martin and joined by Moritz Meinschäfer on drums. The three UK dates are: 

Under the Bridge, Chelsea – Friday July 28 

The Tunnels, Bristol – Saturday July 29 

Maryport Blues Festival – Sunday July 30 

But that’s not all, after downsizing to a trio format in 2016, Henrik’s gone in the opposite direction this year, unveiling the Henrik Freischlader Big Band with singers Linda Sutti and Joanne Kasner, Moritz Meinschäfer (drums), Armin Alic (bass), Dániel Szebényi (keyboards), Marco Zügner (saxophone), Harrisen Larner-Main (guitar & vocals). With Henrik, that’s eight people on stage and a huge amount of talent. 

They’re coming to the UK in September for six dates and this is something you really don’t want to miss. Catch them here: 

Band on the Wall, Manchester – Tuesday September 19 

Robin 2, Bilston – Wednesday September 20 

ABC 2, Glasgow – Thursday September 21 

The Flowerpot, Derby – Friday September 22 

The Borderline, London – Saturday September 23 

Komedia, Brighton – Sunday September 24 

Do yourself a favour and try to catch one of these shows; you certainly won’t regret it. 

You never know where the next review’s coming from; could be the inbox, could be the letterbox, could be backstage at a gig. Yeah, it’s the last one. A couple of weeks ago, Glenn Alexander slipped this album into my greasy mitt backstage at The Forum in Kentish Town. Glenn’s the guitar player for Southside Johnny and the Asbury Jukes (amongst other things) and he released this solo album last year produced by the Jukes saxophonist, John Isley. If you’re a Jukes fan and you look at the credits for the album, you’ll recognise most of the names; when you work with world-class musicians in the day job, why not use those guys when you pursue your own vision?

I’m not giving you a detailed biography of Glenn Alexander; you can find that anywhere. All I’m saying is that this album proves conclusively that Glenn is a lot more than just an incredibly good guitar player. The album opens with the fairly straightforward boogie of “If Your Phone Don’t Ring”; it’s great fun, the horns are every bit as good as you expect the New York Horns to be and it’s a joyous start to the show. Without reading the sleeve notes, it’s obvious that the second song “Earl Erastus” is deeply personal for Glenn. It hints at Jerry Reed’s “Amos Moses” and it’s a tribute to Glenn’s granddad, who raised six kids during the Depression; it has huge emotional power and a lovely New Orleans horn coda of his  favourite hymn (I’m guessing) featuring a vocal from Oria Aspen.

From there on in, it’s a melting-pot of the influences flowing over a teenager growing up in the centre of the USA; there’s the funky soul  and Elvis-referencing “Memphis Soul”, the country feel of “I Picked the Wrong Day (To Stop Drinkin’)”, the horn-fired shuffle of “Get A Life” (featuring Southside on harmonica) and the slow blues of “Blues For Me & You”, a duet with Oria Aspen contrasting Glenn’s rough-hewn blues vocal with Oria’s more pure jazz stylings.

You might think that was enough, but there are still surprises to come. The album’s penultimate song, “The Odds Are Good”, proves that Glenn Alexander’s not just about melody and guitar solos; the lyrics are clever, and in the style of Dylan or early Springsteen. This guy is much more than a great rock guitarist, he’s a very gifted songwriter and a pretty good singer in a Joe Walsh kinda style. There’s no real commercial imperative behind this album, it was created for the sheer joy of making music with stunningly good players. Great songs, Hammond and horns; this is the business, what more do you need?

Glenn Alexander & Shadowland” is out now on Rainbow’s Revenge Records.

After his outstanding debut “American Life” in 2015, this must be that difficult second album for Ed Dupas. However difficult its conception (and it sounds like there were a few painful moments), the end result is a fulfilling follow-up to his debut. It’s a progression of course; at times Ed puts his acoustic to one side to add a second over-driven electric to the guitar attack, creating a big widescreen sound that brings to mind early Bruce Hornsby and maybe even “Darkness”-era Springsteen.

And that’s the way the album opens; “Too Big to Fail” is a rocker packed with big, loud guitars delivering Ed’s perfectly crafted song. His lyrics are clever and subtle, combining the “too big to fail” business/sports franchise mantra with subtle allusions to the state of contemporary America; it doesn’t matter how bad things are, ‘love’s too big to fail’. I really hope so. The album’s second song, “Two Wrongs”, continues the two guitar attack with lyrics seamlessly interweaving the increasing isolation of rural America with a short-term, unwise, dalliance; real life might look simple on the surface, but it’s usually messy underneath.

The remainder of the album mixes country and rock stylings to great effect, combining the two perfectly in the title track, which takes up the themes of “The Wild Side of Life” and “Bright Lights, Big City” while giving the story a happy ending (well, maybe). The album’s closer “Hold Me Tight” has echoes of Bob Seger’s acoustic side (well, Ed is based in Ann Arbor) and neatly finishes the journey from the opening rockers to the closing mixture of regret and nostalgia.

I’m rapidly becoming a big fan of Ed Dupas; the delivery is impossible to fault and his songs are superbly crafted with the emphasis on subtle allusion rather than declamation. It’s difficult not to admire a songwriter that trusts his audience to think and interpret for itself and put in a little effort to appreciate the songs.

While I’ve got your attention, I’d just like to point you in the direction of a song from Ed’s 2015 debut album. “Flag” is a beautiful example of the songwriter’s craft and would move the hardest heart. Give it a listen and tell me I’m wrong. Now how about some UK appearances, Ed?

“Tennessee Night” is released in the UK on Friday July 28 on Road Trip Songs.

Nik Barrell scrollerWell, it’s an interesting idea, creating an album filled with only cheerful upbeat songs. Not only that, but Nik Barrell decided to record the entire album in one session using only acoustic instruments and no drums. That sounds like a pretty hard sell in world where the term singer-songwriter often means purveyor of melancholy confessionals, so  how successful is Nik Barrell in realising his vision? Well I guess that depends on the point of view of the listener; if you don’t share his vision and you do like a bit of musical misery, then it’s probably not for you. 

Within the limitations he’s set himself, the album works really well. There are slow songs, uptempo songs, the odd one in waltz time and even the raucous “New Orleans” praising the Big Easy in comparison with other American cities. The band, and particularly the female singers, create some sumptuous settings for the songs. And the songs themselves are great musically but the pessimist or fatalist in me finds the relentless cheerfulness just a little bit cloying, particularly on the final song “People are Good”. In fairness to Nik he stuck to his vision and delivered an album full of upbeat songs and if that’s your thing, you’ll probably love it. 

“Growing Peaches in Oxfordshire” is out on Friday July 7.