For the uninitiated, Layla Zoe is an accomplished Canadian singer-songwriter who has conquered much of Europe with her unique take on the blues.  But there is none of the ‘poor me’ blues here, the writing is both spiritual and positive –even when dealing with ‘bad love’; “But I’ve learned all I could from the drugs and from the booze/ Now I’m learning to love myself with a new way to sing my blues” (“I Choose You”).  Zoe opens with an a cappella version of “Glory, Glory Hallelujah” and this sets the tone, if not the content, to “The Lily”.  She was raised on her father’s diverse record collection and first took to the stage at only fourteen.  Since then Layla has been widely praised for her emotional performances that have been likened to Janis Joplin, although her voice is not so raw.

She has even gained praise from Jeff Healey after working his club in Toronto: “All the compliments, comments and credos going around the city about her are not unfounded.  She is wonderful.”  Clearly though, she has become more than merely a local phenomenon.  This, her seventh album sees her team up very successfully with German guitar hero and multi-instrumentalist Henrik Freischlader, who also plays drums and bass and takes production credit.  The songs are co-written with Layla providing the lyrics and Freischlader, the music, with the exception of the traditional gospel of the opener and Neil Young’s ‘Hey, Hey, My, My’ –a song she fills with the rock ‘n’ roll verve it requires .

There is range and variety with this album; she can soar, she can swoop, essential qualities of a blues singer, but there is real soul here too whether she is chasing down the beautifully sculpted guitar or balladeering.   Every song here has something to offer whether it’s the writing, instrumental, vocal or delivery and more often than not all of these which amounts to quite a high hit rate.  My personal favourite, “Gemini Heart” is a slow burning blues about her own Gemini heart and that of a sometime lover; Layla is a strong believer in astrology and although the track is about a rather one-sided love she affirms “Cause I’m just a strong, sensitive, strong, kind of woman/ Just a Gemini heart.”  Another slower-tempo track, ‘Father’ gives free reign to Henrik’s lead guitar, mirroring the bitter-sweet pain of the love of her father.  Her writing is strong and she has even written a self-published book of poems “Diary of a Firegirl”, proof, were it needed, that her lyrics can also stand alone.  Most of the tracks weigh in at well over five minutes but that’s just how long the songs are, not because of ambling, self-indulgent production, and it helps you to feel that you are getting good value.  “The Lily” is certainly not an ear-busting listen.

Although she is yet to play live in the UK, Layla Zoe said she hopes to come next year as a guest of Freischlader, where I’m sure both will receive a warm welcome but you can catch her on tour in Europe throughout September and October this year at various venues and festivals.  Layla says this is the album she is the most proud of and I’m certain it will garner both critical and popular acclaim, it’s certainly on my list for album of the year.

Out August 30 on Cable Car Records.

Already a hit in their native Niger, Tal National are ready to head to the world stage, beginning their tour in Chicago in September.  This is their first release for FatCat records, due out September 9^th, and it delivers a heady mix of West African drum and guitar based music and Saharan trance; it is their third release.  Due to their heavy performing commitments, up to five hours a night, five days a week, the band is a kind of collective of up to 13 members, although usually only 6 perform at a time.  Their town is on an established trade route in a former French colony and this is reflected in the eclectic music and ethnic diversity of the band, led by musically free-thinking Hamadal ‘Almeida’ Moumine, who is also an ex-football player, part time judge and teacher; African musicians are rarely full-time professionals.   For this album, imagine a throbbing Ali Farka Toure on speed, with talking drum and electric guitars; they have also been compared to Mbalax and Highlife.  “Kaani” is a seamless mix of new compositions and contemporary takes on traditional West African songs, but with no understanding of the lyrics, I can’t tell which is which, a testament to the unique style Tal National bring to all of their music.  The songs are sung out loudly, there is no room here for whispered nuances, but these guys are not studio-based but instead are used to playing the sweaty, noisy clubs of Niamey.

Jamie Carter, a Chicago-based producer was brought in 2011 to record “Kaani” in just two weeks, an astounding feat given that the studio was dilapidated and most of the instruments broken!  The energy of their live performances has been captured here with full force.  Apparently the band would record all day, then step out to their live gigs immediately after, but there are no tired lapses of concentration here just full-on beats and these guys sound like they are on fire throughout the album.  They barely drop pace from the opening title track which initially sounds like the drummers were given different briefs, but repeated listenings reveal a method out of the trancey chaos.” Zigda”, the second track has lovely guitar melodies weaving in and out of the beats.  All but one of the eight tracks weighs in at well over five minutes allowing the songs to build with manic and looping rhythms; it could be an exhausting listen in the wrong environment, but the repetitive musical themes definitely build rather than bore.  If anything, the songs could have been better differentiated maybe by rotating the instruments so that they have a different musical variety; it sounds like no-one wanted to be left out.  Also, some contrasting tempos would have given the CD different themes, but Tal National found their beat and stayed on it and it is uplifting all the way.  Some of the high tuned virtuoso guitar could almost be Hendrix, especially on the last track, “Banganésiba”, which does sound like a finale.  All in all a great listen, but I’d love to catch them live and dance.

Out September 9 on FatCat Records.

Black Casino And The Ghost are a London band formed in 2010, which surprised me as they have the kind of ‘swamp’ rock Americana sound that had me reminiscing about my old Cramps albums, although this is a layered sound with a more sophisticated lyric.

Black Casino and the Ghost are: Elisa Zoot (vocals, piano), Ariel Lerner (guitar), Gary Kilminster (bass) and Paul Winter-Hart (drums).  “Hoboland” is the second single taken from their forthcoming September release, the intriguingly-titled “Some Dogs Think Their Name Is No”.  This is a strong offering that gets my curiosity going for the album.  “Hoboland” has been recorded live and captures that energy very well, but still remains more disciplined than many live recordings and it is self-produced, hinting at talent in the studio as well as with their instruments.  It really sounds as if they are happy with the resulting three minutes of tight, bluesy rock they produce, and as a listener, so am I.

According to their press release, the song is about the moment ‘when dreams turn into obsessions and ambitions become consuming like a virus,’ as the singer looks in vain for Hoboland; although not all of the lyric is completely discernible, it is certainly dark and anthemic-sounding.  It opens with menacing bass guitar and drums before the vocal comes in, ‘Nicotine days and nicotine nights, it might be a phase or just wait and sit tight…’.  The vocal is distinct and unlike any other female vocalist I can think of.  ‘Someone stole my love, like the eye of a scarecrow taken by the bird,’ bewails Elisa and she sounds very present and ‘in’ the story of this energetic song.  The chorus is where the boys join in with ‘Whao-oo Ooh’, etc and is very effective to sing along with especially at their live gigs, if this is anything to go by.  Definitely worth a listen, they deserve more than just indie success, or wait for their album and get both singles and more besides.

Out now as a download.  It’s somewhere between 3 and 4 stars so let’s call it 3½.

This exciting five-piece band from Canterbury headlined the Africana fundraiser tonight, raising money for projects in Kenya.  They formed in 2011 and only a year later, won the accolade of the UK’s best unsigned act.  They describe their music as ‘Fip Fok’ (the title of their first EP), a bouncing hybrid of folk, pop and hip-hop; even checking them out on You Tube before the gig, I was excited about the evening’s entertainment.  They feature a unique set-up of guitar, banjo, double bass, violin and beat-boxing so the sound is unlike anyone else I’ve heard.

The support acts: Brighton’s The Beatnik Horrors and singer songwriter, George Olgivie were good too making the long wait for the headliners a real warm up.  The Beatnik Horrors are a post-Chilli Peppers rock act with 3 guitars and helium vocals from their tom-boy lead singer, Ari playing memorable and distinctive songs.  George Olgivie is an acoustic singer-song-writer with a nice vibrato, playing covers and original material who will release a self-penned EP in July.

It was late in the evening when the Butterfields started  their set; C&TB are used to playing a variety of arenas from busking, which they still do, to thousand-seater theatres, but they seemed particularly at home in this large music pub, having brought some of their loyal tribe with them.  The audience are mainly students who gave them a warm welcome, but the venue is sadly not packed, probably due to the cool, wet weather.  They kick off slowly with Dolly Parton’s “I Will Always Love You”, but turn up the tempo half way through with some impressive beat-boxing.  Then it’s swiftly into Supertramp’s “Breakfast In America”, or their unique twist on it.  The crowd are on their feet and stay there for all of the hour long set  but the fun really began when they launched into seven original songs, starting with “Scarecrow”, apparently a tribute to the band’s variety of long or be-dreadlocked hair.  I was glad I had worn my dancing shoes as I was soon jigging around too, as were, I noticed, the support acts.  The last couple of times I have been at such a lively feel-good gig were Basement Jaxx in Brixton and going back further still, The Pogues in Kilburn on St Patrick’s night in ’87!  It was almost as if C&TB were playing a unique hybrid of both in this festival atmosphere.

Fan favourite “Astronaut” was next, utilising the strong musicianship of each member of the band, including Dulcima the female lead’s vocals.  Percussion duties were entirely the domain of the beat-boxer of the group, who had astounding energy, variety and talent, later soloing in a most entertaining way, but each band member, like in a jazz quintet, got to show their impressive individual skills in a short spot-light.  The next highlight, and there were many, was the new single “Warriors” which went down very well with the crowd and is released this week.  All this and a radio presenter I chatted to, who had interviewed them earlier in the day, confirmed what a nice bunch Coco & The Butterfields are, and they look the part too.

The evening of exuberance concluded with “The Hip Hop Song” and Flo Rida/T-Pain’s “Low”.  I hope the band get the wider audience they deserve; in an era of karaoke pop and synthesised dance, this band are the real thing constructing an original sound with great musicality and a very infectious energy.