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Blues musician Seasick Steve emerged onto the scene back in
2006 with his debut solo album, Dog House Music. Helped by a storming
performance on Jools Holland’s annual Hootenanny, the record took off in a big
way, bringing authentic and honest electric blues to a new generation.
Hubcap Music is Seasick‘s fourth studio album in seven years.
A decent output for a young up and coming band but, when you consider Seasick
Steve is now in his early 70’s (he puts himself at either 71 or 72), it becomes
even more impressive. Having waited all his life for the opportunity to share
his music, he’s certainly making the most of it.
Having left home in his early teens, Seasick Steve’s life
has taken him to a myriad of high’s and lows’; jumping freight trains in search
of work, flitting through San Francisco in the 60’s, busking for change in the
Paris Metro before working as a session musician for some of the biggest names
in the music industry (he’s notoriously coy on this subject “because I hate name dropping, and
anyways, they was just jobs.”).
Much of the album is typical Seasick Steve. His forte is driving,
foot stomping, electric blues and you’ll find it hard to sit still when he gets
going. As you would expect of a musician with so much life experience, he
continually draws on his own experiences and those things close to his heart; ‘Down
On The Farm’, is a Bluesy ode to his love of the country life and, on ‘Self
Sufficient Man’, a thumping 12 bar blues, he sings ‘I've been taking care of
myself, since I was 13 years old’; an honest account of having to grow up
quickly in a tough world.
Raw electric blues may be at the albums heart but the soul
is provided in the softer moments. Possibly the stand out track of the record, ‘Purple
Shadows’ is a stunning duet with Country star Elizabeth Cook and Over You, is a
Bluegrass ditty on the inevitable end of a relationship. Seasick even show’s
his soulful side on ‘Coast is Clear’, complete with trumpets and saxophones.
Whereas many of his contemporaries, such as Jack White and
The Black Keys, have developed a sound inspired by the old time Blues Players,
Seasick Steve somehow feels more authentic. He is an old time Blues Player. You know what you’re going to get with
Seasick Steve; let’s be honest, there’s no danger of his style evolving.
However the stand out moments here easily rank up there with his best work, and
it’s an album that you’ll find more depths to each time you listen.
Frank Turner is a man whom divides opinion. As a
musician, his place as front-man of the seminal UK hardcore band Million
Dead cemented him in the hearts and minds of punks globally. Since the
band's dissolution however, he's both won over the naysayers and alienated a
handful of those who held him in such high regard previously. In one fell
acoustic swoop, Turner has gone from politically charged mouthpiece to
folk-punk troubadour and though his ideologies may well have changed, the fact
remains that his music still crackles and sparks with a punk aesthetic that he
will never truly be able to shake. Gone, however, is the face-melting
evisceration and overt politicisation of his previous band's efforts and in
their stead is a charmingly candid insight in to Turner's world. Now with Tape
Deck Heart, his fifth studio album, Frank carries on in much the same
manner as previous effort England Keep My Bones, with both albums
narratives seemingly moving away from that of his earlier releases, now
upholding a higher degree of introspection than before.
The first track on Tape Deck Heart is also the first
single to be taken from the album 'Recovery'. It's pretty standard Turner fare,
and nothing to shout about, however those expecting something similar to 'Peggy
Sang the Blues' won't be disappointed whilst it eases newcomers nicely in to
Turner's blend of paradoxically upbeat, self-deprecating tendencies. However
while it is very much business as usual, Tape Deck Heart is quite easily
also the most removed of Turner's releases; it couldn't be further from the
likes of 'Back in the Day' or 'Photosynthesis' but that isn't strictly a bad
thing. While the 'classics' still go down a treat live, hearing the
instrumentation at Turner's disposal expand album by album has been a treat,
and it's certainly the fullest and most diverse it's ever been here. From the
off-kilter keys in 'Good & Gone' to the woodwind and strings of 'Oh
Brother' it's without a doubt Turner's most adventurous foray yet with 'Broken
Piano' particularly sounding more like a Death Cab For Cutie or Postal
Service, indeed, some especially effective drums on the latter half of the
song serve only to add to the song's overall impact whilst the guitar provides
a spatiality never-before exhibited by Turner.
'Plain Sailing Weather' is one of the particular highlights
of the album. Coming early on it's particularly indicative of earlier Turner
releases; a welcome nod to the fans who have been there since album one or two.
Having had the pleasure of hearing this song live late last year, it's safe to
say that it's explosive chorus goes down fantastically and really is turner at
his pessimistic best. Another song he previewed live is the candid 'Anymore'.
Understated production here allows the guitar to take a back seat in favour of
a vocal track really conveys the candidness lyricism. The song also features a
line which is sure to adorn the tattoo sleeves of Turner's devout fans for
years to come, “I'm not drinking any more/But I'm not drinking any less”
pretty much sums up at least one aspect of Turner's penmanship. Conversely, 'We
Shall Not Overcome' is an upbeat and optimistic affair that turns the table on
some of Turner's more morose numbers. Unfortunately though this is only
featured on the deluxe edition of Tape Deck Heart which includes half as
many songs again as the album itself. While these tracks aren't intrinsic to
the album overall quality, the inclusion of them, Turner has said, is to allow
fans experience everything that went in to the album, whilst the standard
release is “the concise version”. These tracks are nothing out of the ordinary
or exceptional, however 'Tattoos' and 'Time Machine' (the only non-acoustic
bonus track) are worth seeking out online.
As an album Tape Deck Heart couldn't have been concieved
by anyone other than Frank Turner. There's a perfect mix of optimism,
self-deprecation,narrative analogies and everything else that makes a Turner
record what it is. That said however it isn't his strongest release to date,
but there are certainly several songs included that will almost definitely find
themselves included on the inevitable Greatest Hits. Newer fans of
Turner will almost certainly relish in the accessibility of the album, while
older fans might well sour at the prospecting of having heard it all before.
There's certainly no boundaries being broken (apart from the inclusion of
instruments new to Turner's repertoire) but that being said his music hasn't
been about breaking boundaries for a long time. Instead Frank Turner's found a
niche in folk-punk and will continue to reside over it for a long time to come.
‘Who is the greatest guitarist ever?’ is a question that will
rumble on and on and will, quite rightly, never have a definitive answer. I
would argue though that if not the greatest, Jimi Hendrix is without doubt the
most important guitarist in rock and roll history. Hendrix not only challenged the
perception and limits of guitar music, but he also developed his own signature
style and sound. Over 40 years since his death, it’s one that still influences
guitarists to this day.
The announcement that an album of previously unreleased
material from Jimi Hendrix was to be released, split opinion amongst critics
and fans. From a cynical view point, it looks like a shameless cash in. If the
material was any good, why has it been locked away for nearly half a century?
On the other hand, Hendrix is one of the greats and if he had something more to
say, it needs to be heard.
I had mixed feelings before the release but, having heard ‘People,
Hell & Angels’, I can firmly say I’m off the fence. Is it as good and as
instant as the classic Hendrix tracks? No. Is there much here that would
trouble a greatest hits album? Not a huge amount. Is it an absolute pleasure to
hear more from one of the most influential musicians in rock and roll history?
Without a doubt.
The album opener ‘Earth Blues’ starts with a quick,
ascending riff which seamlessly blends into a laid back, funky ‘Crosstown
Traffic’ style rhythm. That distinctive voice comes in soon after and it brings
a shiver down your spine to hear Jimi doing his thing once again.
There are also tantalising glimpses of what might have been
had things gone differently that fateful, final night in Notting Hill in 1970. ‘Let
Me Move You’ is a full on funk track and see’s Jimi rocking a James Brown style
vibe, complete with guttural shrieks and grunts. ‘Mojo Man’ is another
highlight and showcases his skills as a bluesman, albeit with that trademark
Hendrix panache.
There are also clear signs of the influence he left on
others. Hearing ‘Inside Out’, the riff is instantly familiar. It turns out Jimi
did ‘Are You Gonna Go My Way’ years before Lenny Kravitz started out,
ironically, on a career that owes more to Hendrix than anyone else.
This isn’t an album for casual listeners and if you’re new
to Hendrix then it’s probably best to go for a Greatest Hits compilation.
However, if your familiar with Hendrix’s back catalogue or you’re a true music
fan, this is for you. Throughout this record the guitar playing is never short
of exquisite. With Hendrix, it’s often those notes played in between the lick
that make a piece of music so unique and there are so many examples here. Jimi
Hendrix is such a huge figure in the history of Rock and Roll and his influence
is so widely felt, it’s easy to forget he left us aged just 27. Listen to the
intricacies of his playing and the masterful skill he displays over his
instrument and it’s frightening to imagine just how good he might have become.
Had fate taken a different turn that night, the question of the greatest of all
time wouldn’t even be up for dispute.
New York-based band The Strokes really need no
introduction. They've been making their garage-enthused rock 'n' roll since
2001, with their debut EP sparking one of the largest bidding wars amongst
labels in recent history. Their first full length entitled Is This It
has received global critical acclaim and earned the band numerous awards. Now
12 years, four albums and countless airmiles later, the band release their
fifth studio album Comedown Machine. Not only is it a milestone album
for the band, but it marks the end of the bands contract with RCA marking the
end of an era, and the start of something new.
Going off the strength of album opener 'Tap Out' you could
be forgiven for thinking The Strokes have fallen back in to the trappings of
their ill-fated 4th album Angles. However there is something
sufficiently more salient about 'Tap Out' than any of the songs featured on the
aforementioned. However it is a departure from their garage-rock roots.
Something that's upheld by the eclectic and unusually understated 'One Way
Trigger' which features an erratic synth pattern and almost falsetto vocals.
It's certainly different and a far cry from the Television-esque Is
This It but there's still something about the track which remains
particularly Strokes-like.
'Made in Japan' is particularly evocative of pre-First
Impressions of Earth recordings. Casablancas' signature arrogant swagger is
back in almost-full force, although there's a distinct lacking of confidence
when compared to their earlier albums. The last minute of the track is easily
the highlight as the song picks up and features some chunky bass work courtesy
of Nikolai Fraiture.
If 'Made in Japan' is the band almost back to their roots
then the track that follows '80s Comedown Machine' is certainly The Strokes
we've all come to know and love. The chorus even dares to get heavier than most
of their repertoire with a particularly lo-fi vocal making this easily one of
the stand-out tracks from the album and a contender for a further single while
'50-50- is a chance of pace and at a second under five minutes is also the
longest track on Comedown Machine. It's understated vocals coupled with
the excellently produced drums throughout make this a personal highlight and
possibility of a classic in the making. Halfway through the song soars to
unexpected highs and shines with an atypical aesthetic.
Without dissecting and analysing every single track on the
album, it's difficult to convey just what this album sounds like. It's all at
once undeniably The Strokes, but it's not The Strokes as you know them. Given
their contract is up; this could be the band foreshadowing the road their
planning on taking now they're free of the constrains of a label. There's still
elements of the ballsy garage rock there, but there's also a newer, shinier
veneer that the band have encased themselves in. The inclusion of a synth might
well deter people who have buried their heads in the sands of the first two
albums, certainly on their initial listens, but Comedown Machine is an
album that will grow on you. From the preprogrammed Casio-beats to Casablanca's
atypical vocal parts across the majority of the album, it's certainly a bold
move for a band who's last album didn't fair nearly as well as those that
preceded it, but if it's the music they want to make, who are we to stop them.
Eclectic and erratic, different and dance-y, there's surely something for even
the most stringent of fans.
A couple of listens in and the new Peace album already feels
very familiar – yes the songs are memorable, catchy and at times anthemic all
of which help draw you into a new album, and with this being a debut album, a
new band. However, a big part of Peace’s familiarity comes from the fact that
their influences are heavily stamped all over “In Love”. Making notes for this review, my notepad
reads like a list of bands that certain tracks soundlike – Oasis, the Cure,
Stone Roses, My Bloody Valentine, Happy
Mondays, Blur, Charlatans, Smashing Pumpkins & even the Beatles (just
listen to California Daze) are all scribbled down. Don’t get me wrong this doesn’t make it a bad
album and with a touch of that math-rock sound it brings it a bit more into
this century, it’s just a shame they don’t really bring anything new to the
table, considering their hype as being one of the new bands for 2013. It does have a lot of well written upbeat
songs that will keep you going back for one more listen though, the highlights
of the album being “Lovesick”, “Wraith”, “Delicious” & “Toxic”, so if you
want to go and have an enjoyable (just over) half hour full of good melodies and
more than a touch of nostalgia then…… all we are saying is give Peace a chance.
(sorry couldn’t resist that line!)
David Robert Jones, better known
as David Bowie has been gracing the
British public with various blends of his music since 1962. After a
multiplicity of failed releases with several ill-fated blues bands, Bowie
struck out on his own in 1967 and never looked back. His albums have spanned
both genres and generations, garnering him legions of fans across the world.
From his flamboyant androgyny through the 1970s and his involvement with the
new romantics in the 1980s right down to his production of soundtracks and even
starring in films himself there's not much that Bowie hasn't done over the
course of his 50 year career. Now, 45 years after his self titled début, he
releases his 20th studio album, The
Next Day.
Fans awaited this album with
baited breath, given that it's been a decade since he had last released album
and even longer since he last released one worthy of his own legacy. After
quietly leaking 'Where Are We Know?' on his 66th birthday, many
thought The Next Day would be a
continuation of the single. The truth is, the majority of tracks featured
across the album are nothing at all like the single. Whereas 'Where Are We
Know?' is perhaps meant to be Bowie's very own 'Perfect Day' minus the heroin,
the rest of the album is an eclectic mish-mash of varying genres; much like his
career.
Fourth track 'Love is Lost' is
synth heavy and emphatic, a crunchy guitar perpetuates the intro while the
verses are unmistakeably Bowie. The whole song is a dark and broody affair
which encapsulates the alienation ultimately felt by Bowie himself throughout
the course of his career. The song reaches a crashing climax featuring
multi-layered vocals and impressive harmonising that adds to the overall
aesthetic. Track 8, on the other hand, 'I'd Rather Be High' is brilliantly
upbeat and is one of the best vocal performances on the album. A dreamy chorus
springs to mind some of Bowie's earlier work and would be perfectly suited to a
Summer's evening in a beer garden. The guitar leaves behind the chunky riffs
that populate a lot of the tracks on The
Next Day and is melodic and harmonious, taking a cue from some of the more
contemporary indie-pop bands.
'Dancing Out In Space' features
some fantastic brass work, even if the drumming falls a little flat as it
rarely changes. Uplifting and melodic, the silky smooth jazz-fused veneer is
given an edge in the form of Bowie's vocals which are somewhat abrasive,
keeping in fitting with a song that's disconcerting and different, but one
which is sure to grow on you.
'(You Will) Set the World on Fire'
is just all out classic rock. A chunky guitar riff drives the song forward
throughout the first half and hears the vocals sounding particularly sleazy.
The second half of the album however, takes a change as he's joined on vocals
by Gail Ann Dorsey and Janice Pendarvis, and though the driving guitars are
still there, particularly in the solo, the male/female dichotomy gives further
edge to a song that would have come off as formulaic and filler without it.
'You Feel So Lonely You Could Die'
is perhaps the song on the album most similar to first single 'Where Are We
Now?'with a higher degree of optimism and much more uplifting. The song closes
spectacularly with further appearances from Dorsey and Pendarvis.
Long time fans of Bowie, who felt
somewhat slighted by the single take from The
Next Day will be pleased to know that this album is a veritable orgy of
different influences and moods, rarely starying in to the slow and mournful
realms exhibited by 'Where Are We Know?' In fact, unlike many of Bowie's
contemporaries, whom try and capture the sounds of their heyday and rehash the
same old formula, here Bowie has branched out and incorporated a multitude of
styles across the 14 tracks. While not quite reaching the same levels of
avant-garde of some of his 1990s outings, The
Next Day is still quite an experimental album, particularly with last track
'Heat' which needs to be heard to understood; words won't do it justice. This
album earned Bowie his first number one since 1993's Black Tie White Noise and it's easy to see why. This whole album is
something that needs to be listened to in it's entirety several times to allow
the almost bipolar nature of it to fully sink in. This isn't Bowie at his best,
but it's bloody close and a damn fine comeback album.
