Reviews

Weekly Reviews For August 19, 2006

Review Index

I am Managing Editor at Metal4Life

I also contribute reviews to getreadytorock

I am also featured reviewer at spacerock.co.uk

I was Editor & reviewer at MetalUK.

New Reviews

James Hammel - Do It All Over Again

Not quite "If I Could Do It All Over Again, I'd Do It All Over You", one of the outstanding album titles of all time, but, ah, this was a trip! Mixing up some delightfully arranged jazz standards with a sprinkling of original material, all done in a simply delightful, sprightly manner.

Now James may not be the greatest singer in the world, but he has voice that is all his own, something all too rare in our homogeneous world. And with the help of some mighty fine musicians he's conjured up some splendid sounds.

It's also a sign of his songwriting strenght that it's the original material that has you reaching for the repeat button. Although you can never have too many versions of "The Way You Look Tonight". Of the originals, the title track is simply fabulous and worth the price of admission all on its own.

Gunnar Madsen - Fall Of Troy


Ah, the pain of a soundtrack without a movie. Now if only that happened to an actual movie Mr Madsen worked on recently. But no, The Break Up" continues an epic run of horrendous Jennifer Aniston movies.

This, however, is the soundtrack that was written for a video game based on the Trojan War. A tad more dramatic and fuller of substance. But the company went belly up leaving Gunnar holding this rather splendid soundtrack that never was. So, what's to be done? Well you release it into an uncaring and unfeeling world, hoping for just a little bit of love to come back your way. Thankfully, this is my website so I don't have to bother with any of that namby pamby pinko left wing liberal flim flam.

And as I'm a lazy bandit I'll use words like brooding, dark and moody, recommend it to those who like Helms Deep trumpet sounds, point out the delightful absence of anything remotely Orlando Bloom or Brad Pitt like, praise it's depth and damn the torpedoes!

Sophia Darcell - Soul Eclectic

Sometimes all you need is a good singer singing. Nothing fancy, nothing clever. Just a voice that calms and soothes you, eases the away the cares of the day. And that's what the voice of Sophia Darcell does on the free and easy EP of smooth, organic, jazzy r'n'b vibes.

In places things get a little funky, hither and thither there's a lazy, jazzy feel. But it's all underpinned by a voice that is just so easy to listen to. A claming balm for the soul, I may just have fallen in love. Take one listen to "7 Seas" and prepare to be equally smitten.

Brian Rolland - Dreams Of Brazil

Difficult as it is, I had to put the phrase hippy claptrap firmly to one side when listening to this excellent jazz / world hybrid album. But that was only because the words New Age appeared on the bio sheet, something guaranteed to have me reaching for my shooting iron.

However, I believe in giving most people a fair hearing and I'm glad I did for classically trained guitarist Brian Rolland is a joy to behear.

Each tune is an aural adventure and exploration of the sounds and nuances of Brazil, each twist and turn enveloping you into the spirit the guitar engenders.

It's a constant delight that reveals more with every play. The absolute highlight is the solo guitar piece, "In A Silent Way", that just ebbs through your consciousness.

Seed - A New Tomorrow

The brothers Steve & Dave Evans are Seed. If they were American this would probably fall into the roots rock section, albeit one with hippy sensibility as they search for love and a better world.

I actually prefer it when they strip the instrumentation back and let the harmonies fly with "The Trouble With You", the album highlight, alongside the big ballad "Cool Things End".

It's not a spectacular album but a lot of the songs end up seeping into you, much like mid - late period Squeeze, drenched as they are, in insistent melodies.

Freemaker - Leaves EP


Usually, a band who proclaim 'no gimmicks, just listen to the music' are eother a combination of boring, untalented and ugly. Or all three. Now there's no denying Freemaker are a bit Shed Seven in their publicity photo and I've never seen them live, so can't tell whether they're boring or not, but there is some evidence of talent at work.

Naturally with the word 'anthemic' being waved in their general direction it all goes a bit Snow Patrol in places but there is a raw, ragged edge fighting through the jangle. If they can rein in some of the C86 guitars, then there's definitely a chance for them to shine.

Kevin Coyne - Carnival

Kevin Coyne was one of many artists associated with John Peel, releasing his first three albums on Peel's Dandelion label. His first critical acclaim came when releasing the disturbing double LP 'Marjory Razorblade' on Richard Branson's Virgin label in 1973. Like Roger Chapman with whom his voice has been compared, he was more popular in Germany in the 1980s than at home and his career now spans more than 30 years with an amazing number of albums released.

'Carnival' is a 2002 release on Ruf Records. I must say I have mixed feelings about this album. It starts off so well with the acerbic 'Stop Picking On Me', the hilarious 'The Wobble' and the wry humour of 'Charlene' sounding like John Prine. However, some of the arrangements that follow are rather bizarre, verging on the dischordant particularly in the uncredited harmonica and cheesy keyboard courtesy of Robert Coyne whose understated guitar underpins much of the music. Some of Kevin Coyne's ideas are terrific but unrealised and he often repeats a lyric over and over again. The soul searching 'Almost Invisible' is as poignant and honest piece of music as you'll hear and in the second part of the album you'll swear you're listening to Van Morrison singing. 'All My Friends' is another stark song that is nevertheless beguiling. Some of the songs like 'Party Party Party' sound like send-ups and rather strange versions of 'Rollin' and Tumblin' (Come to think I've seldom heard a good cover) and 'Sugar Mama' were disorienting, almost incongruous within their surroundings. I much preferred the imagery of the title track as it fitted much better within the whole, apart from the first 3 songs that is that seemed to inhabit a different musical landscape altogether.

I guess it's fair to describe this album as eclectic then and is well worth exploring particularly for Kevin Coyne fans for the first few songs and other highlights here and there. There are glimpses of genius at work on 'Carnival' but unfortunately these moments are mixed-up with some musical dead-ends.

(reviewed by Phil Jackson)

Walter Trout - Full Circle

It is a great pleasure for me to review the first Walter Trout studio album for 5 years as I have been a fan of his particular take on the blues for many years now. Basically, 'Full Circle' is a 'labour of love' with Walter inviting musicians he respects to get together and play with some of the tracks ending up on the CD 'first takes'. In this regard it reminds me of Eric Clapton's 'Blues For Robert J' and, working within an entirely different concept, I would say 'Full Circle' is equally successful.

The joy of hearing Jeff Healey (right speaker) and Walter Trout (left) on 'Working Overtime' with a charged up rhythm section and Hammond organ backing is hard to describe except for one word- brilliant! Before that Walter really gets back to his roots with John Mayall (Walter was a Bluesbreaker for 5 years) on the opener, Walter's song 'She Takes More Than She Gives'.
If you like your blues minus the rock then the acoustic collaboration with Eric Sardinas, 'Firehouse Mama' will appeal.

The year 1973 when Walter took off in his VW Beetle to drive across country to LA was a career defining moment as Walter became the 'white boy' in the Californian blues scene. Later he played for John Lee Hooker and Big Mama Thornton and was a member of Canned Heat for 3 years.

The helpful press release tells us that some mentoring from Carlos Santana helped Walter beat drink and drug addictions and The Walter Trout Band was formed in 1989.

Walter's co-guitarist in The Bluesbreakers Coco Montoya joins Walter on 'Who's Listenin' In?' while the quote from 'Chicago' on 'Slapp Happy' is a good example of the 'humour' Walter talks about in the Junior Watson collaboration which also features upright bass player Jonny Ray Bartel who has played with, among others, Johnny Cash. Such is the pedigree of musician on this CD. West coast bluesman David William Kearny AKA Guitar Shorty contributes 'Wrapped Around Your Finger', a 12-bar on the rock 'n' roll side of blues. Next up is '(The Devil is) A Busy Man' a slow blues by James Harman who brings his own band to the recording. Walter shares the vocals with James and the 7 minutes of music gives ample opportunity for James to play his harmonica and for Walter to demonstrate his fluid, visceral guitar style. Rob Rio's piano is also an outstanding feature of this track. John Mayall is back on 'Highway Song', a rueful ditty about the itinerant lifestyle of a musician with the barrelhouse piano of Danny Timms contributing hugely to the success of this particular take.

Perhaps the most emotive vocal performance on 'Full Circle' is a song by Bernard Allison's Dad Luther 'When Will It Ever Change?', a protest blues that ranks right up there alongside 'A Change Is Gonna' Come' in the annals of blues legend. Anyone not moved by 'I can hear the bells of freedom but I cannot hear them ring' is simply not human and the song has as much relevance now as when first written. Bernard Allison himself has a wonderfully soulful blues voice and I very much enjoyed reviewing his 'Higher Power' album, also on Ruf Records.

Finis Tasby is maybe not a familiar name but he was the bass player with Hooker and Freddie King before forming his own band back in 1979. Finis lays down a mean vocal on Walter's number 'Can't Help Fallin' Apart'. Walter blows a fine harmonica and Deacon Jones provides Hammond B3 on a number written by Erskine Hawkins, a trumpet player and orchestra leader in the 1940s/50s. The number is basically a vehicle for Deacon's organ soloing responded to by Walter of course! It is as the title suggests one for 'After Hours' and was originally conceived as a piano piece. The 8 minutes of 'Clouds on the Horizon' is a collaboration with child prodigy Joe Bonamassa for whom Walter has predicted great things (Joe is 25 now!) The ghost of Hendrix is definitely present on this track and the two gentlemen provide a great vocal foil for one another.

The album concludes with a narration by Larry Keene, a DJ in the 50s and 60s, a man who is never lost for words and whose choice of music inspired Walter to great things. As he says Walter 'absorbed the sounds from a treasure trove'.

This is an unusually long review and I make no apologies for that as it was the only way I could think of to describe the range of blues music on 'Full Circle' and the 'pedigree' of the musicians happy to be associated with Walter Trout. For all blues lovers 'Full Circle' is an absolute must. It will certainly take pride of place in my blues collection.

(reviewed by Phil Jackson)