Rhythm & Booze An online music webzine created by music lovers for music lovers.

18 August, 2014

Richard Thompson-Acoustic Classics

Filed under: acoustic,folk,Recorded Reviews,roots — Tags: acoustic classics, new album, Richard Thompson — willmunn @ 19:11

Richard Thompson is something of a legend of music when it comes to roots, folk and even rock, Richard has achieved it all, multi-award winner, critically acclaimed throughout his career and regarded as one of the top guitarists to ever grace the stage.

He’s been releasing albums for forty years plus, whether as part of a band (Fairport Convention), a duo (with his ex wife Linda) or as a solo performer, his back catalogue is second to none.

Acoustic Classics see’s Richard revisit that rich history of recorded music and, as the title suggests, give them something of an acoustic makeover (his first all acoustic album since Small Town Romance, some thirty years ago!!!) taking in well known classics such as I Want To See The Bright Lights and Beeswing as well as reinturpting lesser known material such as the mesmeric From Galway To Graceland.

The project is an intriguing affair, instead of the inventive flights of electric guitar wse now have Richard stripped back, showcasing more finger picking and strong strumed chords framing his compelling songwriting and his warn yet instantly compelling voice, songs such as (the former duet with Linda) aforementioned, I Want To See The Bright Lights is given a new twist in such a stripped format.

With just his acoustic guitar as support, Richard delivers a strong, punchy Wall Of Death, a wonderfully weary sounding, Down Where The Drunkards Roll, to the stunning, intricate guitar work of 1952 Vincent Black Lighting via the acoustic vibrant rock n roll guitar of Valerie.

If you’re already a fan of Richard’s former output, I’m sure you’ve already put this on your wishlist or in your basket, however if your new to Richard Thompson or don’t know where to start with his heavy duty back catalogue, The aptly named, Acoustic Classics serves as a very tasty introduction indeed, highlighting his songwriting, guitar mastery and a handful of geniune classics too boot. Whether you’re new to Richard or a long term fan this is a must buy.

Rhythm & Booze Rating 9

www.richardthompson-music.com

 

31 July, 2014

Various Artists-Bob Dylan In The 80’s Volume One

Filed under: acoustic,alternative,americana,blues,compilation,country,folk,indie,R&B / Soul,Recorded Reviews,reggae,rock,rock n roll,roots,singer-songwriter — Tags: blitzen trapper, bob dylan in the 80's, Bonnie Prince Billy, Built To Spill, Carl Broemel, craig finn, Dawn Landes, Deer Tick, Elvis Perkins, Glan Hansard, Langhorne Slim, lucius, new album, Reggie Watts, various artists — willmunn @ 12:36

Here’s a somewhat strange concept, a covers album of Bob Dylan in what, most people would declare, the poets weakest era (Bob suffered both critically and commerically throughout the decade!!), in fact most music fans maybe fairly ignorant to the majority of Dylan’s 80’s output with the likes of Saved, Knocked Out Loaded and Infidels barely registering on all but the hardened Dylan fans radars.

However producers Jesse Lauter (Elvis Perkins, The Low Anthem) and Sean O’Brien (Dawes, Papa) have set about addressing the forgotten era of Dylan by collaborating with a number of artists and Dylan fans to showcase what you may have been missing.

The album not only is an awareness raising affair for Dylan of the 80’s but also set’s to help raise funds for a fantastic charity, Pencils Of Promise (an organization that builds schools and eductational opportunities in the developing world) by donating a portion of the proceeds of the sale of this album. a win-win situation where purchasers are introduced to some brilliant music and give to the needy.

The compilation itself features a number of big names from the aforementioned Elvis Perkins to Deer Tick, Slash, Craig Finn (Hold Steady) and Dawn Landes & Bonnie “Prince” Billy among others all delivering rousing performances and highlighting the pen of Bob Dylan in the forgotten decade.

The album open’s with a gloriously ramshackle, rustic rendition of Got My Mind Made Up (from Knocked Out Loaded) by Langhorne Slim & The Law who weld together boogie woogie piano, handclaps, strummed acoustics and a raw, rousing,  infectious vocal delivery that sets the mood brilliantly. From there on in we’re treated to a variety of styles and approaches as the various artists reintrupt to their own strengths.

Highlights come thick and fast, from the likes of the gorgeous blissed out soul/reggae version of Brownsville Girl (Knocked Out Loaded) by Reggie Watts, the aforementioned Craig Finn with a brilliant piano led (Springsteen-esque) Sweetheart Like You (Infidels), the twanging country of Ivan & Alyosha’s You Changed By Life (Shot Of Love Outtakes), the beautiful folk lament of Dawn Landes & Bonnie Prince Billy’s understated Dark Eyes (Empire Burlesque) and the glorious alternative indie and muted horn assisted Series Of Dreams (Oh Mercy Outtakes) by Yellowcard. Whilst there’s no way you can review this album without mentioning the wonderfully the ahem, more warped, percussion friendly version of Waiting To Get Beat (Empire Burlesque) by Tea Leaf Green and the insane take on Wiggle Wiggle (Under The Red Sky) by Aaron Freeman (Ween) & Slash, which quite frankly has to be heard to be believed.

The seventeen track affair (24 if you manage to track down the deluxe vinyl edition with the bonus download code) is intriguing, captivating and at times surreal journey through the lesser acclaimed works by the most important songwriter born of this world. And if, as the album’s title suggests this only the first volume, sign me up for the subsequent releases now!!

Rhythm & Booze Rating 10

 

27 March, 2014

The Damn Jammage-Buzzard Left The Bones

Filed under: folk,Recorded Reviews,rock,rock n roll,rockabilly,roots — Tags: new album, the damn jammage — willmunn @ 17:28

Buzzard Left The Bones is the debut album by London cellar dwellers The Damn Jammage, an ensemble from the dark side of the tracks that merge numerous genres from gypsy folk to rock from jazz to punk to create a unique and darkly seductive sound, a sound that both intrigues and chills to the bone.

Picture if you will a seedy club on the wrong side of the tracks, with a maverick DJ spinning a mix of Nick Cave, Gallon Drunk, The Pogues, Barry Adamson, Dream City Film Club, John Murry and Tom Waits. Now imagine a band set up in the corner of the club that welds all those influences together, throws in a heap of attitude, a dose of originality and feature among their number a frontman with the swagger of Jim Jones (of The Jim Jones Revue) and the gravelly voice that can only be achieved by gargling a combination of whisky and sand,conducting from the front. Add to that already potent mix a dusky female counterpart on vocal interplay and harmonies, piano, violin, accordian, mariachi horns, sharp guitar riffs, marching drums, the kitchen sink, etc and you might just have an idea where The Damn Jammage are coming from.

The album opens with a sampled slice of spoken word before No Rest From The Crooked kicks in, a devilish opening salvo, instantly setting the mood with a collision of tinkering piano, stomping drums and frontman Danny Rapscallion’s grizzled Nick Cave meets Waits-esque croon. The track is a glorious ramshackle introduction to the album that careers to a wonderfully  frenzied crescendo whilst the vocals become more a frantic howl before the conclusion.

Following on from the rowdy opening number we’re served up the aforementioned vocal harmonies and sawing violin as the band deliver Life Goes On, showcasing a more subdued side to the band’s sound, before the band deliver an early highlight in the shape of the macabre brilliance of She Drowned, a piano and percussion led oddity that adds a jazzy dramatic anti-folk feel to proceedings, complete with a wonderful male/female vocal hook.

The title track adds a further dimension beginning with a solo guitar being plucked before developing into a widescreen, cinematic dusty Americana number with muted trumpet, that wouldn’t sound out of place on something like The Proposition soundtrack. If You’re Paranoid And You Know It (Clap Your Hands) is a two and half minute, sinister, creepy alternative nursery rhyme that has to be heard to believe, it’s disturbing yet completely compelling and impossible not to hum along to.

Beautiful Drunk is another firm favourite, opening with a rumbling double bass, The Damn Jammage explore that jazz influence further, with New Orleans styled horns and piano complimenting Danny and fellow singer Jasmine Cave as they trade vocal licks. In complete contrast, In My Dreams (I’m Still Drinking With You, The Damn Jammage deliver the perfect 60’s pop homage, with restrained crooned vocals (think Shane MacGowan meets Sinatra) and twangy electric guitar hooks.

Buzzard Left The Bone is an inventive, darkly seductive and ultimately fun romp from start to finish, straddling genres and avoiding classification whilst leaving the listener with a nagging hook and a sly grin welded to their face. If you’ve not heard The Damn Jammage I highly recommend you down tools and take a walk on the wild side.

Rhythm & Booze Rating 10

www.damnjammage.co.uk

http://damnjammage.bandcamp.com/

11 March, 2014

Henry Priestman-The Last Mad Surge Of Youth

Filed under: folk,Recorded Reviews,roots,singer-songwriter — Tags: henry priestman, new album, the last mad surge of youth — willmunn @ 14:51

Henry Priestman is a singer-songwriter with a rich potted history that has seen him open for the Sex Pistols, tour with The Who (with his first band Yachts) and write every song on a triple platinum selling album with The Christians. if that wasn’t enough he’s received production credits on numerous other releases as well as had music featured on adverts, BBC Wildlife TV and the alike.

In more recent times, Henry has begun to embark on something of a solo career and in this time he’s drawn from his varied history to create timeless and diverse music that should find appeal and kinship with all those rockers, punks and folkies that have had to grow up but still have that edge.

The brilliantly named The last Mad Surge Of Youth is the latest album by Henry Priestman and once again showcases Henry’s diversity both as a musician and as a songwriter, this time around there’s foot stomping fiddle laments, blues tinged pop and introspective ballads among the thirteen track affair (if you count the bonus track). But perhaps, the over all feel of the disc is something of reflection, pinpointing to where Henry currently is in his life.

The album opens with the gorgeous, harmony enriched (Lottie Mullan) ode to Henry’s recently deceased mother, At The End of The Day, featuring subtle horns, a shuffling beat and Henry’s weathered croaky vocals, that yank at the heartstrings, whilst the lyrics resonate with anyone who’s ever lost someone close. From a beautiful slice of melancholia, the light and airy True Believer bursts from the speakers with it’s delightful combination of strings and guitar (or is it a banjo) twangs complimenting a lovely choir assisted chorus that can’t fail to lift the darkest of days.

From there, Goodbye Common Sense has something of a stomping rootsy country lilt complete with the aforementioned blazing fiddle and a big sing-a-long chorus, Valentine Song is a widescreen emotive ballad with a harmony fueled opening, swelling orchestral backing and a beautiful honey-rich vocal that simply oozes passion. In My Head is a brilliant dreamers lament complete with parping horns, both Rant ‘n’ Rave and same Circus, Different Clowns hint at a country-blues influences both utilizing harmonica, upbeat rhythm and infectious vocal hook, whilst A Pint Of Bitter And Twisted deserves a mention not only for the fabulous title but also for the wry observational look on life, the lyrical masterclass and the fiery folk groove.

The Last Mad Surge Of Youth is a majestic album from start to finish, a lyrically inspired, observational look on life through all it’s up and downs, that will find kinship with anyone of a certain vintage. A highly recommended lifetime report by one of the nations finest songwriters.

Rhythm & Booze Rating 9

www.henrypriestman.com

 

 

6 February, 2014

Emily Smith-Echoes

Filed under: acoustic,country,folk,Recorded Reviews,roots — Tags: echoes, emily smith, new album — willmunn @ 13:49

Emily-Smith-Promo4_album_1mb

Emily Smith is a Scottish based singer-songwriter and traditional folk interrupter of the highest standard, since her formative years she was highly regarded, named as BBC Scotland’s Young Traditional Musician Of The Year back in 2002 as well as winning and being nominated for numerous other awards throughout her career to date.

Emily’s previous four albums have all been critically acclaimed and on the back of those successes, see has been seen gracing stages across the world taking in prestigious slots at the likes of Cambridge Folk Festival along the way.

In recent times Emily has also been seen on television for her part in the esteemed Transatlantic Sessions, BBC’s songs of praise and on a sky arts program dedicated to Emily.

After releasing a best of compilation last year, Ten Years, she returns with a brand new album that also see’s Emily returning to her love of traditional song. The album also see’s a number of high profile collaborators join to help realize Emily’s vision, with the likes of Jerry Douglas, Kris Drever and Aoife O’Donovan complimenting the gorgeous tones of Emily. Together they’ve helped form an album that weaves a majestic rootsy album that hints at both Emily’s obvious Scottish roots and perhaps more surprisingly a Nashville country twist.

The album opens with the stunning, understated Reres Hill, a beautiful yet somewhat dark ballad that instantly showcases Emily’s mesmeric vocals over a sparse, stripped down mix of plucked and sawed strings, all complimented by a distinctive country flavoured twang and half-murmered male vocals. As opening gambits go, Reres Hill is a simply jaw-dropping, intoxicating track that sends tingles down the spine and urges the listener to fully embrace the full depth of Echoes.

From such glorious beginnings, the album continues in the same rich vein with The Sower’s Song which sees delicate acoustic guitar blend effortlessly with tender heart felt vocal harmonies to bewitch the listener further. King Orfeo showcases that traditional folk/country crossover further with Emily taking a traditional song and giving it an original twist with shuffling drums and lap steel twangs creating a dustbowl Nashville feel.

The album continues on the roots trail with a murder ballad of sorts in the shape of Twa Sisters, that despite the subject matter, has quite an uplifting feel, with it’s hum along melody and effortless vocal refrain. Whilst The Open Door and the piano led, Clerk Saunders are both gorgeous slices of stripped majestic beauty, both showcasing Emily’s heart-wrenching and passionate vocal to full effect, over the spellbinding yet never obtrusive musical arrangements.

Emily Smith’s fifth album, Echoes is a bewitching album from start to finish that should become a firm favourite of roots lovers the world over, whether it’s folk, country or just a love of stripped down acoustic music there’s a great deal to embrace here.

Rhythm & Booze Rating 9

www.emilysmith.org

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