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Weekly Reviews For February 19, 2006

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Pyeng Threadgill - Of The Air

Blues, jazz and whatever is the motto of Random Chance, the label that has released this second CD from Pyeng Threadgill, which follows on from her 2004 debut, "Sweet Home, The Music of Robert Johnson". And the tag, 'blues, jazz and whetever' is an accurate one as Pyeng takes us on a, largely, self penned journey through a wide swather of styles.

The one constant are the clear as a bell vocals of Pyeng which are, at times, quite extraordinary. When the music, lyrics and voice all hit a peak simultaneously it's a joy to behold. The downside is that this doesn't happen too often. Just because you're a fantastic singer doesn't make you a fabulous songwriter and too often, the music doesn't reach the heights it thinks it does.

It starts off extremely well with the opening couple of tracks absolutely superb, especially "It's Late", with its swinging Latin vibe, but then the standard of songwriting starts to slide a little with only "Power Trip" and the cover of Fats Waller's "Jitterbug Waltz" hitting the heights of the early numbers. And what is it with Cure cover versions? Never rated them but first Katie Melua covers one of their songs, now we get "Close to Me" from Ms Threadgill. To be fair, it is rather delightful, and maybe I was wrong about Robert Smith all these years, as the song is excellent.

There is a lot to commend this album - the vocals and musical accompaniments are uniformly excellent - but some of the songs just never take off. Next time around (and there will be a next time) I'll be looking for more quality in that department and look forward to Ms Threadgill making the great album she is obviously capable of.

Decoration - Pine


If there's one thing I don't bloody need it's the godawful mid eighties whiny, trenchcoat wearing, skinny white boys who've never got laid moaning about how terrible their lives are when all they need is some acne cream, a Motorhead album and a foot up the arse to kickstart their lives.

The one and only time I bottled someone on stage was when the Smiths played Glastonbury and I wouldn't hesitate to do it again. You won't, therefore, be surprised to know that the late, ungreat John Peel had plenty of time for this lot. Fortunately for my sanity and yours they do actually have a couple of decent tricks up their sleeve.

Trick number one are the excellent, idiosyncratic vocals of Stuart Murray. And trick number two is actually writing melodies which don't sound like they've been scraped off a Linda Barker wallpaper design (hello Coldplay / Athlete / Keane etc etc etc etcbloodyetera). The also write songs of the North (or the South from where I'm sitting) which catch on to the Northern pride emanating from the likes of the Kaiser Chiefs and Maximo Park, after decades of bands apologising for their roots.

So, if you can forgive the gnawing feeling that someone has exhumed David Gedge, sit back and enjoy the splendid lyrics, ignore the fact that people who should know better are trying to revive a scene I personally tried to destroy (hello fey Scottish popsters from 1985) and give them some time to come up with the great song that this EP suggests may be lurking withing their collective souls.

Greg Koch - 4 Days in the South

Greg Koch may mean nothing to you, but this is a guy who is employed to demonstrate Fender guitars worldwide! Which tends to imply he knows his way around a fretboard. Of course, that means nothing without some emotion and creativity to go along with the technical expertise, and you'll be delighted to know that this is not an album dripping with fretboard widdling, but rather a collection of classic blues rock with a few sideways trips into funk and country.

After a ropy opening track it's straight into one of the album highlights - "When Were The Good Old Days?" which is a cracking mix of southern rock and Allmans slide. The next gem is "Thems the Breaks" which is where he shows how could he is on acoustic, slide and lead guitar! The other unmissable number is "The Love Contractor", which is so downright old school blues, it deserves its own subterranean blues bar.

Granted, he's not the best vocalist in the world but with some good songs, some inspirational picking and attitude to spare, this is a bluesy delight.

Robert Walter – Super Heavy Organ


Robert Walter calls his music "soul jazz". This, apart, from being a crap description, doesn't do justice to the music he's producing. For a start it misses out the funk which is inherent to a lot of the tunes and inevitable when you've got one of the greatest drummers ever doing his thang. That's Stanton Moore form Galactic in case you were wondering.

He's also reeled in some top other top New Orleans musicians for the ride with erstwhile Dr John, Professor Longhair and Neville Brothers sidemen taking up their place alongside his super heavy organ. Oh, and before I forget, what a truly dreadful sleeve! Anyway, back to the music which is delightful.

Most of the songs are pure instrumental grooves which could have slid straight out of the early seventies although three of the tracks do have 'vocals' attached. Although it's not singing, more howling, talking and gibbering. But it's all part of the madness that you have to let yourself slide into.

Nearly all the music is self penned bar the Jimmy Page and Robert Plant's song “Poor Tom” with the best track is the last and longest track, “Cabrillo” which adds some Latin vibes into the sdul, funk and jazz we've already been drenched in. Although if you want pure 'fonk' head straight for “Hardware” which is just dirrrrrty!

Emporium - Lisa On The Screen

Well it was recorded in Easter Road, so it has to be good. End of review.

Oh, alright then. The last time we encountered Emporium we said 'Swathed in psychedelic stylings and Dave Greenfield type keyboard rumblings'. Well the rumblings are still there, but there's an air of eighties synth homo-eroticism on the go. I would tell you it was like Soft Cell getting it on with the Stranglers while Brian Wilson watched from his sandpit but, frankly, who can afford the therapy from that kind of mental image.

For your buck you also get "Shine" which is much mellower, more Soft Cell meets the Mamas and the Papas and also "Into The Dark (mellow versio) which is end of the pier whimsical, a tad mad, and the most falsetto-ish of all the falsetto-ish vocals on offer.

It's all rather strange and eccentric but that's what people say about me, so I liked it. You won't hear many other tunes like these, so go get some.

Oh, and I've just read the credits and realised this came out several hunnerd years ago! Still good, though.

Aha, just looked in the envelope and they've a new album out! Makes sense now - will review that sometime soonish.