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

23 March, 2015

The Woo Town Hillbillies-Hay Fever

Filed under: acoustic,Blog,bluegrass,blues,country,Recorded Reviews,rock n roll — Tags: Hay fever, new album, the woo town hillbillies — willmunn @ 20:44

The Woo Town Hillbillies are a ramshackle musical collective residing in and around Worcester (or Woo Town, if you’re a local), uniting a combination of bluegrass, country and acoustic blues in a bid to become the counties (and beyond) ultimate roots party band and on the evidence of their debut album, Hay Fever they can’t be too far off.

The band use a combination of guitar, mandolin, banjo, ukulele, double bass, harmonica, various percussion instruments and Kazoo to create an infectious, tongue in cheek, rustic riot, that’ll have even the most hardened cynic smiling like a cheshire cat whilst, trying in vein, to stop their foot tapping along.

Hay Fever opens with On The Road Again, a glorious collision of country blues and rock n roll, complete with twanging strings, rolling double bass, kazoo, washboard and a delightfully weathered yet infectious lead vocal that hooks you in from the off.

As the album continues the band showcase a varied array of influences, Dartmoor Girl could be the illegitimate son of Hayseed Dixie and The Beach Boys uniting frolicking banjo with sun-kissed harmonies, Do You, Do I? sounds like it could have been lifted from Blue Hawaii or from the Doc Pomus (Teenager In Love Fame) songbook as a lovely laid-back 50’s pastiche, Oval Room showcases the band’s instrumental skills with a brilliant slice of deep country blues noir, whilst both 4 A.M Girl and (the album’s lone cover) Salty Dog are both lusty, swaggering anthems perfect for a bar full of jubilant half cut punters in search for a good old sing-song.

Hay Fever is a fun fueled album full of bawdy country, good time roots, heartfelt sing-a-longs and more hooks than the Spanish Armada. Glug a beaker of moonshine, kick off them shoes and join the hillbillies, its party time in Woo Town.

Rhythm & Booze Rating 9

www.facebook.com/WooTownHillbillies

Catch The Woo Town Hillbillies Live In The Woo

10th April-Cap & Gown

18th-Cathedral Chaos with The Delray Rockets, Nigel Clark and Skewwhiff

25th-Rise Records CD Launch

26th-The Chesnut

20 March, 2015

Paul Jeffery-Cuttings From Don Quixote’s Neglected Garden

Filed under: acoustic,folk,jazz,Recorded Reviews,singer-songwriter — Tags: cuttings from don quixote's neglected garden, new album, paul jeffery — willmunn @ 14:08

Paul Jeffery is a singer-songwriter who’s been performing in and around Worcester for a number of years, either as the frontman of The Players, Gandhi’s Walrus or as a solo performer, in each of those guises Paul welds a number of different influences and styles to create a unique and at times off-kilter sound, his guitar tuning often suggests a love of jazz and folk, whilst his distinct vocals emphasis an affinity to the eccentric, maverick ends of the musical spectrum.

The opening number, Placing An Imaginary Hat Upon The Invisible Statue Of John Fahey, is as you’d imagine (if you know anything about John Fahey) a short, yet impressive instrumental piece complete, showcasing Paul’s deft fingerpicking, it’s a nice, lulling acoustic jazz-folk number that sets a gentle, calming mood, which he continues on the equally relaxed Believe, adding his unique croon to the mix whilst his fingers nimbly wander over his acoustics strings, creating a rather nice lament.

Hymn Number Thirty Three And A Third could be a direct continuation (or homage) of the previous track, sure, there’s nice finger picking involved again, but there’s not enough variation to really stand out from the proceeding number and Paul’s vocal limitations work against him as he seems to unable to lift the number. Whilst a track like Broken Boat, which is a nice enough ode  to a now depleted vessel, rather meanders a little longer than necessary, without really ever peaking.

On a more positive note the album’s second instrumental number, The Town At Twilight, once again proves Paul’s worth on the guitar and the sudden time change to an almost bluesy feel adds something of a different dimension to Paul’s sound. Whilst Zimmermania is a stronger folky number with Holly Daffurn’s mournful cello adding to the mood, whilst Paul’s voice sounds better the further he moves through the gears.

And then frustratingly there are those tracks that have promising moments, that for me, are never fully realised, Kerfuffle has a tasty piece of blues slide guitar but then instead of concentrating on that element he can’t help disappearing into another tangent and perhaps over egging the pudding, whilst Golden Flower only takes off towards the end when Paul’s harmonica kicks in, leaving you with the feeling that if Paul perhaps reined it in a little, he could produce something more consistent and user friendly.

I guess the enjoyment of Cuttings From Don Quixote’s Neglected Garden would hinder on what you’re looking for, if you want a big sing-a-long, I suggest you look elsewhere, however if you’re partial to something a little more maverick then there’s a great deal to admire, the guitar work is outstanding throughout and there are genuine standout moments such as the aforementioned Zimmermania, but over the course of an album, I did find myself craving for that all elusive hook.

Paul Jeffery, will be showcasing the album live at the Arts Workshop along with Paul J Rose and Jenny Ludlow at the Arts Workshop on April 24th.

 

19 March, 2015

Cameron Blake-Alone On The World Stage

Filed under: acoustic,folk,Recorded Reviews,singer-songwriter — Tags: alone on the world stage, cameron blake, new album — willmunn @ 11:00

Cameron Blake is a Michigan based troubadour,  who first hit the trail back in 2009 and since then has released three studio albums and one live, whilst enhancing his reputation as something of a poetic wordsmith that takes his cues from the likes of Nick Drake, Dylan and Guthrie among others.

Alone On The World Stage is a somewhat aptly name album, as Cameron presents his heartfelt laments with just his trusty acoustic guitar (and the occasional piano) for company, which not only allows each song to breathe but also focuses on his poetic musings. However the lone troubadour role is something of a double edged sword, yes the stripped down nature focuses the attention on the lyrics and songcraft, but also in the case of a lot of songwriters, an album of this nature can become a little samey, with a need of a bit of fleshing out. Cameron manages to negate the problem by crafting instantly infectious melodies, compelling stories that are all topped off with Cameron’s beautiful aching and expressive vocal that brings each song to live.

The album opens with the mesmeric Rise And Shine, a song that deals with the difficulties in Israeli-Palestinian conflict, Cameron’s lyrics draw the listener in, whilst his voice manages to convey passion and sorrow in equal measure and despite the heavy subject matter Cameron also manages to weave a contagious vocal hook into the proceedings.

From such an impressive opening number, Cameron continues to captivate with a matters of the heart lament in the form of Fireman Snowman, delivering a glorious croon over deft finger picking. The album continues in much the same manner, from the socially conscious highs and lows of North Dakota Oil and the moral decay and strum of Detroit (written around the aftermath of Detroit’s financial bankruptcy) to tales of drinking in Piccadilly Circus, reflection (on the piano led Home Movie and drama of Kabuki Theatre) and the beautiful wonders of child birth (Ultrasound).

Cameron’s songs, both global, social commentary and personal, bewitch from start to finish. His musings are evocative and heartfelt, whilst his stirring vocals yank at the heartstrings or create vivid imagery. Alone On The World Stage is an incredible example of less is more, a stripped down album that grabs at the attention and doesn’t let go until the final strummed chord.

Rhythm & Booze Rating 9

www.cameronblakemusic.com 

13 February, 2015

Marcus Bonfanti-Borrowed Time

Filed under: acoustic,blues,Recorded Reviews — Tags: Borrowed Time, marcus bonafanti, New EP — willmunn @ 13:04

 

‘Borrowed Time’, Marcus Bonfanti EP, 6 track

Borrowed Time, is a collection of songs, performed in a solo acoustic style. The plan was to record during the quiet month of December 2014, when demand for gigs and sessions, unexpectedly eroded possible studio time. As a result, this EP was laid down in a tight, single day of recording, at Abbey Road Studios. ”If you really want to get something done, you’ll get it done. Sometimes you just need that small window of Borrowed Time”.

3 tracks are written by Marcus, 2 with long time collaborator Jake Field, the other track is a traditional song, arranged by Marcus. That traditional song is ‘John Henry‘, the story of the steel worker outworking the machine, but then lays down his hammer and dies. Many have covered it, this is every bit as good as any out there, the lone guitar accompaniment, seems to make it more poignant than most. ‘Layla’, is not that of Clapton fame, its co-written with Field, a lament for a girl in the company of strangers, never finding true love. A tale laid out, over a country riff played out on guitar.

A gruff edge to an already dark voice, ups the tempo slightly for a girl who takes, ‘All She Ever Wants‘, and then moves on, edgy brusque lyrics lend a bit of bite to this song, Marcus at his expressive best, pushed along by the chords underneath. A solid blues riff sets the scene for ‘Snowflake‘, an unlikely title, a reflection on life passing, but again Marcus drives the song along with urging guitar notes under his vocals. A slower ballad follows, ‘Don’t Make Me Miss You‘, has an almost sombre hymnal feel. A Southern country blues, carries the final track ‘The Death Of Me‘, prepared to put everything on line for the sake of the girl, and is jointly written with Jake Field.

Throughout this EP, the well crafted lyrics stand out, Marcus has consistently produced good strong songs, which are performed adeptly on his acoustic guitar. What really makes the difference between this and many other artists writing and producing music, is the voice Marcus Bonfanti has been gifted with, a deep, dark, smoked and sometimes down right gruff ‘instrument’. Like Marmite, no doubt it can be a love/hate thing, Marmite still sells well, especially to people with taste! There is no doubting Marcus’s qualities as a guitarist, the web of chords and plucked notes are perfectly balanced, a fine frame on which is layered the powerful preachings of that distinctive voice. Songs written from life’s experiences, as all the best are, performed with a love for his music, this CD is well worth looking for, but you will have to go to a live show to be able to get one. The recording is excellent, as you would expect from Abbey Road Studios, what could be better than to hear Marcus live, and then take home a superb, well produced and packaged, sample of his talents. This EP will sit very comfortably next to his acclaimed album. It reflects his recognition as the Best Acoustic Artist award presented in 2013 and 2014 British Blues Awards, with Ian Seigal and Babajack as runners up, I think that says everything.

 

Words & Photo Graham Munn

14 January, 2015

Justin Townes Earle-Absent Fathers

Filed under: acoustic,americana,country,Recorded Reviews,rock,roots — Tags: absent fathers, justin townes earle, new album — willmunn @ 11:53

In recent months Singer-songwriter Justin Townes Earle’s stock seems to be on the rise, he released the critically acclaimed (and rightfully so), Single Mothers album, performed across the globe and has now returned with a brand new album, Absent Fathers.

The album was recorded at the same time as Single Mothers in view to the completed project being released as a double album, but as Justin began to sequence the tracks he felt that each half deserved to make their own statement and decided to split the two releases and deliver them a few months apart.

Obviously with the two albums being recorded at the same time, with the same line-up, sound wise they compliment one another quite beautifully, they both have that stunning blend of country, soul and understated rock and lyrically they both share that same autobiographical nature, where Justin lays bare his soul, his upbringing, love and loss on the duo’s confessional tales.

Single Mothers became something of a mainstay of my recent playlist and Absent Fathers is almost certain to much the same. From the opening Farther From Me, Justin captivates, his rich soulful tones tumble from the speakers over a wonderful slow and winding country-tinged ballad, featuring twanging guitars and an instantly infectious shuffling beat, from their pedal steel joins on the gorgeous, aching Americana of Why.

Least I Got The Blues, is a stripped back, world-weary country blues number featuring Justin’s voice over a sparse mix of strummed acoustic guitar and pedal steel, Earle sounds weathered and almost beaten as he delivers a delightfully fragile vocal. Elsewhere Day And Night is another beautiful, subtle, candlelit country soul number, where you can hear the emotion in Justin’s voice as he pours his heart out, both Round The Bend and Someone Will Pay showcase a rougher rock n’ roll edge, but yet despite the more upbeat sound he still unveils lyrical barbed couplets (Round The Bend) such as “And your momma’s only boy, your daddy’s only shame” alluding to his upbringing and absent father. 

Absent Fathers much like its predecessor showcases a singer-songwriter very much at the top of his game, there’s no flashy arrangements or unnecessary flourishes, just stark, poetic portraits, compelling tales and Justin Townes Earle’s evocative worn vocals, stunning, simple and unforgettable.

Rhythm & Booze Rating 10

www.justintownesearle.com

 

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