Reviews

Weekly Reviews For August 26, 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

Sandi Thom - What If I'm Right

I couldn't be bothered with her so called internet hit. I found it caught midway between twee, irritating and novelty. However, there was a resonance to her voice that suggested that she might be more than a one hit wonder, popping up on cheap Channel 4 reminiscence shows ten years down the line.

And "What If I'm Right" is leaps and bounds above that debut, especially the harmonica driven acoustic version you get on CD2. Only problem is CD2 is tarnished with another vacuous cover version of another vacuous Bob Dylan song, the biggest practical joke ever foisted on the record buying public. Which means I'm more likely to end up playing the not so good radio mix on CD1, just to avoid it.

Either way, this is a rather delightful single, not world shaking, but a good song, sung well. Good work, hen.

Battle - Children


Was that it? "Hardly worth crying for" as they would say. It is the sound of now, albeit by the time that the sound of now gets released it's usually the sound of last year.

So we get spiky post punk guitars, Kaiser like declamatory vocals, an acoustic breaksown and a rabble rousing swell that will work a treat live. But it may be all too late.

Victor Noriega - Alay

Album number two from the Seattle based Victor Noriega Trio sees them embarking on a project largely featuring jazz interpretations of traditional Filipino songs. Which is all well and good, but doesn't mean a lot to those of us hearing the music for the first time, with no context.

What I can tell you is that Victor is a driving, dynamic pianist, happy to take chances in rhythms, which makes for some interesting and challenging listening.

My preference is for those moments when the trio slows down, takes a deep breath and allows the spaces in the music to fill the room, as it soes on the magnificently haunting "Bayan Ko".

Willie Hill - Natural Evolution

When it's done well, smooth jazz can be a relaxing yet powerful force. But I suspect most people just bung it on in the background and never actually listen properly. Me, I like to slip the big, comfy headphones on, lie back, close my eyes and think of England. Or is that sex? Whatever.

Either way, this proved to be an absolutely delightful album. Eight instrumentals, four vocal tracks, all imbued with the kind of class money can't buy.

Although it was two of the vocal tracks that really grabbed me with "Each Day" and "Hold On" worthy of instant repeat plays, the former featuring long time cohort Tony Springs and the latter, new kid on the block, Tonya Cagle.

I'll never be a fan of drum programming, not with my background of live, raucous rock n' roll, but Willie does a better job than most. And even without organic percussion, it's still a treat.

Shasta - No More Smoking

I'm not sure it's a wise move to tell folks on your bio that you won a Bob Dylan imitation contest. And you shouldn't mention winning it twice. And definitely, definitely don't say that you finished third.

But it certainly gives you an inkling of the direction that Americana artist Shasta has taken over the years, mildly nasal and honking on his horn - harmonica that is. He has an excellent way with words from the humorous to the heartfelt with equal facility. And unlike his apparent idol, you can actually make out what the words are!

He does stumble sometimes and heads off down the road marked dirge but overall, it's well worth a listen, especially for the fools who fawn over Zimmerman.

Dr Alexander Nicolas - Fidelity


Now see that's a pet peeve of mine. In my world only proper medical practitioners are doctors. With a degree from a proper university, mind, not an internet one. And a doctorate in Educational Administration doesn't count and has no place as a title or in a musical bio.

Which means I had to put this aside for a while, calm down, centre myself, take deep breaths and try again later. For there is no doubting his ability on the saxophone, and when he blows his horn it's easy to hear why people rate him. Although if I collapse in the street and the cry goes up for a doctor, I don't want to be hearing any saxophone solos, let me tell you.

But the record does suffer from some horrible electronic percussion in places which means you value some tracks an awful lot more than others. There's no writing credits to be found on the album so I'm not sure if my favourite, "This Is The Day" really is that old chestnut "Oh Tannenbaum / "The red Flag", but it's a tour de force on the old sax.

If smooth, saxophone jazz is your bag there's a lot to commend this, but be wary of the percussion!

Ray Russell - Goodbye Svengali

By one of life's happy coincidences, 'Goodbye Svengali' arrived from Cuneiform shortly after I had received Ray Rusell's 1972 jazz rock project with The Running Man to review. I was impressed with much of what I heard on The Running Man but what would I make of a much more overtly jazz influenced recording from over 30 years later?

Well, by the time of The Running Man, Ray Russell was already much in demand for session work and TV music scores (already a veteran of the scene!) and has subsequently gone on to play with a plethora of greats, all of whom are listed on the informative website www.rayrussell.co.uk

And how his own prodigious talent allied to his breadth of experience working in the studio and live with so many illustrious artists shows on this mature and richly satisfying recording! In fact it has taken me an unusually long time to write this review as I found that repeated listenings were required to reveal the many treasures of 'Goodbye Svengali'.

Contemporary John McLaughlin went on to form his Mahavishnu Orchestra while Russell's talents have become one of music's best kept secrets but come to think of it this album really is his own Mahavishnu Orchestra, rooted as it is in the 'electric' music of Miles Davis circa 'In A Silent Way' and 'Bitches' Brew'.

'Sevngali' is an anagram of Gil Evans (the nickname was actually first given by saxophonist Gerry Mulligan) and Ray first met Gil Evans when playing in his band in 1983 and struck up a musical and personal friendship that lasted until Evan's death in 1988. It is very moving then that track 4 of this CD is a reworking of Charlie Mingus' 'Goodbye Pork Pie Hat' with Russell accompanying a solo Evans Fender Rhodes piano rendition that he unearthed, a wonderful posthumous duet.

It is Robin Aspland who plays Fender Rhodes on the near 11 minute opener 'Everywhere', an inventive and intriguing Russell original that leaves you feeling you've listened to an entire album already! 'Without A Trace' is necessarily reflective and the fluid beauty and expressionistic quality of Russell's guitar playing is perfectly illustrated. The title track opens fittingly with the trumpet of Gil's son Miles Evans. The double bass is played by Amy Baldwin, Ray's daughter and Gary Husband, veteran of the UK jazz fusion scene is in the drum stool. It is a tribute to the composer and the musicians that this track genuinely sounds like a classic lost Miles Davis as it patiently reaches its climax with bewilderingly deft fretwork by Russell in his own clear, incisive way punctuating the lead trumpet lines and suggesting a pervading sense of sadness and loss

Russell also dabbles in experimental music on 'Wailing Wall', a piece which stylistically has been compared to 'Frippertronics'. The Gary Husband composition Prayer to the Sun/ Fashion Police' is the first overtly heavy rock piece and Russell clearly revels in this (thinking back to The Running Man perhaps). Another veteran with an immaculate musical pedigree, Mo Foster adds some stunning electric bass to this. (The 'who's who' of musicians on this album is a testimony to the regard in which Ray Russell is held). Mo Foster co-writes 'So Far Away' where Russell's e-bow echoes with aching beauty. His twisting of notes on the funky 'Now Here's A Thing' with Aspland's B3 is a joy, a musical excursion of the quality of Jeff Beck's highly acclaimed 'Blow By Blow'. The album ends with just Russell and Husband on the latter's short but touching composition 'Afterglow', a fitting tribute to the legend that was Gil Evans.

There is a bonus track, a live cut of 'Blaize', that really rocks out 4 minutes in with some fantastic guitar runs, Tony Hymas's choppy piano/organ and some dextrous contrabass from Anthony Jackson. Needless to say this is enthusiastically received by the audience!
I am no jazz expert but I know what I like and 'Goodbye Svengal' has got to be right up there with the greatest jazz concept albums.

(reviewed by Phil Jackson)

Sue Foley - New Used Car


I discovered Sue Foley's music through reviewing her live CD 'Change' for Ruf Records- I was astonished to find she'd made quite a few recordings. It only goes to show the depth of undiscovered talent out there!

I was particularly impressed by Sue's ability to lead her band with her singing, song writing and also her guitar playing while embracing a variety of musical styles, common denominator being the blues!

Backed by keyboards, a rhythm section with added percussion the title track, a stirring blues rock really shakes off the cobwebs. Sue writes/ has a hand in writing all the songs on the album except for Terry Gillespie's 'When I Come Back To Ya', a useful addition to her set, sandwiched between the longing blues holler of 'Make It Real' to, for me the highlight of the CD, a 6 minute slow blues entitled 'Absolution' that has the stamp of BB King. 'Mother' is another fine blues composition while the pace changes on the moving ballad 'Long Tomorrow'. The acerbic lyric of 'Little Things' made me laugh (in a nice sort of way) and is a good illustration of how 'close up and personal' Sue's music is.

'Found My Love' sounded to me like Dylan meets Diddley and the guitar playing on 'Deep Freeze' is simply breathtaking (Excuse the pun!) 'Change Your Mind' ends the album in upbeat mode.

'New Used Car' has enough of everything to satisfy even the most weary blues reviewer and is essential addition to your collection. Also, if you get a chance to see Sue play live don't pass on it!

(reviewed by Phil Jackson)