‘Into the Light’ is the second John Williams Syndicate album. My only minor reservation about the first album ‘Out of Darkness’ (both titles inspired by the motto of his hometown, Wolverhampton) was that with so many guest performers it lacked a little bit of cohesion. That certainly doesn’t apply to ‘Into the Light’. There’s still a long list of guest performers but John has conjured up a unity for the album with a sixties feel combined with twenty-first century production techniques that makes it feel simultaneously contemporary and nostalgic, drawing on all of his previous experience as record plugger, label manager, head of A&R, producer, songwriter and recording artist.
For the second album, John has stuck with the idea of combining established artists with relative newcomers to the business. There are guest vocals from the legendary Petula Clarke, Claudia Brücken, Nicki Leighton-Thomas and John Moore (of Jesus & Mary Chain and Black Box Recorder fame) while the relative newcomers and under the radar guests are represented by Natasha Panas, rapper/singer Slicko and Isabella Coulstock (currently supporting The Who after a tour supporting Jools Holland). John blends all of these elements together seamlessly with his arrangements and production.
Of the ten tracks on ‘Into the Light’, there isn’t one that has the finger even hovering over the skip button and they work beautifully together, however I do have to mention a few of my own personal highlights. ’You’re My Number One’ works perfectly on all levels; it’s a list song packed with sixties and seventies references driven along by an incredibly catchy guitar hook and a Nicki Leighton-Thomas vocal at the lower end of her range that evokes Marianne Faithfull from her gravelly ‘Broken English’ incarnation. ‘In My Dreams’ is also full of musical and lyrical historical references. Petula Clarke shines vocally on ‘Luminescent’, which is driven along by a simple repeated piano figure, while Claudia Brücken does the same on the Portishead-influenced ‘As Long As You are there for Me’ which builds gradually from a drum pattern and guitar feedback before finishing on stripped-back piano and vocal. ‘I Want to Lose Myself in You’ is a bit of fun that opens with an organ intro that hints at Vanity Fare’s ‘Hitchin’ a Ride’ and maybe ‘I’m Always Touched by your Presence Dear’. Just imagine Blondie with a banjo.
It’s also great to see that John, as he did with ‘Out of Darkness’, is bucking the streaming/download trend. The CD version of this album comes with sumptuous packaging that enhances the musical experience. ‘Into the Light’ succeeds in the same way that St Etienne did in the nineties by capturing the mood and feel of an earlier while era using contemporary production techniques. It’s a tricky one to get right, but this album aces it.
‘Into the Light’ is released on Friday July 28th on Wulfrun Records (Wulfrun2).
Here’s the video for ‘In the Morning Sun’:
SEO – search engine optimization; it’s a hugely important factor in having an online presence. This particular John Williams has spent a long (and hugely productive) time under the radar in the music business. Now he’s released an album under his own name and he has to compete with a world-renowned classical guitarist and an equally-renowned film soundtrack composer. John Williams of the John Williams Syndicate has plugged records, produced records and BBC sessions, headed up an A&R department and made his own records. So it’s about time to make a few calls to former clients, and a few new discoveries, and work on that solo project in the shed at the bottom of the garden.
There are a lot of things to admire about “Out of Darkness”; as you would expect, the quality of the playing is masterful and the standard of the arrangements and production is superb. As well as pulling in vocal contributions from Petula Clark and Claudia Brücken and a co-write with the legendary Iain Matthews, John also enlists upcoming singers Slicko DiCaprio, Amber Prothero and Isabella Coulstock for lead and backing vocals on the album. Which brings me to the only minor criticism I have; with so many different singers and varied musical stylings, it’s difficult to find a sense of musical cohesion across the album as a whole, although there is a theme of renewal, springing out from the penultimate song, “Nothing” which, unusually, has some lyrical popular culture references set against a seventies singer-songwriter arrangement (maybe a hint of Al Stewart) with a vocal that hints at Stephen ‘Tintin’ Duffy’s Lilac Time period. Everything else on the album is a consequence of this rebirth.
Picking out a few standout moments, “Spanish Song”, co-written with Adrian York, Isabella Coulstock and Slicko DiCaprio, is the most contemporary pop song on “Out of the Darkness” with a Latin tinge and some interesting Spanish/English counterpoint vocals. The album’s final song, “Don’t Give Up on Me”, also has a Latin feel; the lyrics are minimal, but the playing is outstanding with lots of mini solos, including a sax/trumpet counterpoint solo; it’s memorable. “You Got Me from Hello” is cool jazz with Latin rhythms in a Carlos Santana/Rob Thomas style, while the piano-led “Luminescent”, with programmed percussion, nods in the direction of early Kate Bush.
This album is a serious musical project from a serious player; even the packaging is lush, with a thirty-two page booklet containing credits, lyrics and some Tim Hobart abstract paintings. The contributions from the established musicians are predictably excellent, but it’s even more gratifying to hear emerging talents like Isabella Coulstock, Amber Prothero and Slicko DiCaprio taking the opportunity to shine.
“Out of Darkness” is out on Friday June 6th on Wulfrun Records (WULFRUN 1).
And just to give you a flavour of the album, here’s the lockdown video for “You Got Me From Hello”:
