Machine Gun Baby
For the ones we knew E.P.
Angela Macari O’Looney
M.G.B. are an Indie/Rock band from North Dublin. Together since 2007, they are a four piece with a powerful sound.
Members are Stewart Keegan, Mark and Shane Ryan and Tony King. Keegan has a vocal style that is perfect for rock. The band describe their sound as Foo Fighters meet Kings of Leon on E Street, with a twist of U2 filtering through here and there.
I experienced this excellent and memorable act when they performed a set at Blue Syndrome’s last show in 2010. I remember how riveted I was by their sound.
This debut CD marks the beginning of the exciting things ahead for M.G.B. and on it you can hear the result of their hard work, determination and the pure love for what they do.
Judgement Day
This number begins with a very effective riff performed on guitars in sync. It’s a slow but dramatic rock number, with slices of harmony throughout adding to the fab melody line, which Keegan sings with his distinctive voice. He reminds me a little of The Flaws lead singer Paul Finn with his clarity and confidence.
Track Eight
A very U2-ish intro takes you into this choppy number. Guitars are superb, particularly the throbbing baseline. Riffs are catchy and the chorus explosive with drums becoming extra dramatic with startling paradiddles galore!
A short lead solo is performed, with backing ahs adding to the atmosphere. Stewart’s passionate vocals are also commendable here.
On My Way
Haunting oohs are a key feature in this slower number. Drums are powerfully effective, with lots of rolls and the beat vibrant, with bashing cymbals for the more dramatic bits.
A pulsating guitar riff is repeated throughout that is very appealing too.
The Rescue
I enjoy the melody line of this song. Baseline is fab and drums too. The sweet guitar riff intro is repeated throughout and I like this feature in M.G.B’s material. It is probably my favourite of their songs. Stewart sings the memorable chorus with his unique panache and it’s impossible to avoid swaying and singing along!
On The Fence
An acoustic guitar belts out the chords for the first verse of this laid back number. Harmony is delicious, plus the gradual build up of percussion and sound. The melody is excellent, lead guitar superb with a distortion laden solo involved in the proceedings that is magical.
This band are anthemic rock at it’s finest at a time when this really laid back but magnetic type of music isn’t quite as plentiful as it once was. I find each facet of M.G.B. likeable. Stewart’s great vocal style, the harmonies, exciting drums, guitars and baseline and the je ne sais quoi that gives a band quality and makes you come back for more!
Thursday, March 31, 2011
Songwriters festival in Belfast 2011(review also on irishunsigned.com)
Brian Kennedy, John Reid, Gareth Dunlop and Stephen Maguire,
7th Belfast National Songwriters festival,
The Crescent Arts Centre, Belfast,
23/ 02/11
An invitation was extended to me for this event and at first I thought; ‘Nashville in Northern Ireland’ and very Country music orientated. I wasn’t too sure if I’d like it.
But after I looked at the names involved, I realised that these singer/songwriters wrote most of my favourite songs. I also found the idea of a visit to this great Cultural Jewel in Ireland’s treasury quite irresistible!
I decided to go, taking my friend with me and I’m so glad I did. I had an unforgettable experience and only wished I could have stayed for the entire festival. I will be going back next year for certain!
On the site of an old girls College, The Crescent Arts Centre is right in the heart of this great City, where my own mother once gigged as a singer and where my Grandfather and Great grandparents lived. The Arts Centre is an attractive building and we got a warm welcome inside and were shown into the airy auditorium.
A generous turnout arrived and once people were seated, Joe Duffy introduced the evening’s entertainment. This began with a singer/songwriter who moved to Canada from Belfast.
Stephen Maguire
Nominated in the 2011 Saskatchewan Awards, this young man has played support to acts such as Nanci Griffith and also Grammy award winning BJ Thomas. Stephen performed his first solo concert in Belfast’s Ulster Hall, with Northern Irish band Cahuna in 1998. He also played support to Westlife during their Unbreakable tour along with Unity.
His style is laid back and has a folk/Soul/Pop feel to it and his influences would include Van Morrison, with whom his father Patrick played as a musician. Stephen performed with an acoustic guitar and a little bit of programming. His first number was called Irish Soul.
This choppy song involved superb guitar and his vocals were powerful and uplifting.
He continued with a slower number; I feel empty inside.
This was a sweet love song, with romantic lyrics and a delicious melody line.
Stephen’s vocals are unique and really flexible, as he performs. I enjoyed how he could alter his style to suit the dynamics of each song.
After thanking The Arts Centre for the invite, Stephen did a number based around the City where he grew up. It was called The Streets of Belfast.
The chorus was wonderful, with excellent lyrics and I loved the cheerful beat.
Do you see me
This was a laid back song and Stephen’s delivery was unbelievably soothing.
He used plucky guitar in True, which is a gorgeous number. It’s a love song with a really catchy melody line.
My favourite song from his set Leaving was inspired by the feelings he experienced when he boarded the plane that took him to Canada, where he now lives. He talks about the pull on his heartstrings as his plane left the ground after the goodbyes with his family. I love how he paints the sad picture with his wonderful lyrics and his pouring out of emotion here.
Brian Kennedy/ Gareth Dunlop/John Reid
After a brief interval, Joe Duffy the MC introduced the next portion of this really special night. As he introduced each, they arrived onstage.
The lads were performing a combined set of their own songs in an In-the-round set, where each would give a little insight into what inspired their chosen piece.
John Reid
John began with a song that was made famous by Irish band Westlife, but was written by himself. He told how he never imagined this number would take flight and reach the fame it achieved.
Unbreakable
I loved this simple acoustic version and John performed the wonderful key change, which lifted it right up. This finished on a beautiful chord played by his fabulous accompanist John Themis on guitar.
Originally from Glasgow, John wrote many well known hits for superstars such as Tina Turner, Rod Stewart, Lionel Richie, Il Divo. He also wrote A moment like this, which was X-Factor winner Leona Lewis’s popular debut single.
Brian Kennedy
Brian Kennedy recently celebrated twenty years in the music business and released an album The very best of Brian Kennedy in honour of this. His soulful vocals and memorable melody lines are well known world wide. He received a Lifetime achievement award in the 2010 Meteor awards.
Captured was Brian’s first song. This has a lovely exotic but laid back rhythm and I liked how he uses a minimum of extras for sound, yet delivers with unbelievable power. I enjoy the tone of his guitar and his playing style too. He builds up to a dynamic chorus, with effective stops here and there and subtle key changes that are a particularly pleasant feature in most of his music.
Gareth Dunlop
Gareth Dunlop’s first number was called Just don’t feel like home to me. I enjoyed his plucked style guitar and how he bends notes so beautifully. His chord combinations were superb throughout this lovely velvety blues song. I like his vocal style which has a hint of grittiness, but can adapt to whatever he’s singing.
Gareth, born in Belfast, is a professional songwriter and spends much of his time in America, where he records and performs. He has performed alongside names such as Nanci Griffith, Snow Patrol, Imelda May, Jools Holland and Jeff Beck.
John was next and he introduced his song by explaining how he found inspiration from certain singers, which gave him the drive it took to create his wonderful compositions.
He mentioned Glenn Campbell and Michael Jackson, whom he described as stars that have influenced music greatly.
He performed You are not alone and this simple, stripped back rendition of an incredibly sweet number was awe inspiring. His wonderful accompanist added extra magic on guitar.
Brian told the story of how he was inspired by a store he used to frequent called Arleen’s Grocery. He then performed Christopher Street, a song that he wrote about New York. From his new album, this has wonderful descriptions.
He played delicious bending notes on guitar, with catchy riffs adding to the mood and a delectable choppy tempo.
I find the lyrics very touching and you can imagine the lonely feeling of being in the big Apple in wintertime alone. I’ve been here a week, but it feels like more and God knows how long I’ll last.
Then he describes the madness, but also how things go quiet at night time;Now Christopher Street has quietened down. Seems even New York needs to sleep sometimes. One of these nights when I put out the lights, I’ll find you waitin’ to love me.
Gareth did a lovely number called One tree hill. This involves plucked guitar notes and beautiful lyrics.
It was John’s turn again and he performed Always in my heart, where his guitarist played exotic sliding chords. John’s vocals were impressive as he went right up the register to higher notes and back down again. Wow!
Brian borrowed Gareth’s guitar now and performed a song Silver hearts on chains, that he composed as he was going through a market area on tour. He saw silver hearts on chains and this inspired the song. With a delightful trickling intro, this number developed and I particularly felt touched by the lyrics; Like a teardrop made of silver.
Gareth did Help me keep the walls from falling down, which is a fast rolling number. I enjoyed the sense of movement here. He has a way of holding your attention when he sings and you feel that you’re the only person in the room with him!
Wichita Lineman, made famous by Glenn Campbell was John Reid’s next choice. His performance of this Jimmy Webb number was flawless and I noticed Brian adding a touch of backing vocals that set it off to great advantage. I absolutely love that wonderful high note in the chorus, the guitar break and cleverly placed dramatic notes throughout this piece. You could hear a pin drop in the Crescent Arts Centre at this amazing moment!
Next was Hollow, from his album The Great War of Words which Brian chose to do. He explains Joni Mitchell’s unique guitar tuning technique, which has influenced a lot of his music. So this homage was very special and Brian’s performance was heartfelt. With lovely chord combinations and the rhythmic beat, this was superb from beginning to end.
Gareth performed a romantic love song with wistful lyrics. His vocals were sweet here and his guitar technique appealing in this number he referred to as The Cat Song. I like the line You’re my favourite song to sing.
John Reid told an anecdote about his next choice and I felt very intrigued by his way of drawing you into the story of each of his songs, which are almost like huge turning points in his life. I felt I was in the presence of greatness, as I looked up at these three legendary artists.
A moment like this
Once again I wanted to weep on hearing the heady chords and trickling notation that John’s Guitarist played. This gentleman never said a word all night, but his fingers across the frets of his instrument said it all for me!
John lovingly poured out this ballad and as far as I’m concerned, his performance of his own song is way superior to any other singer. What a vocal range!
Brian continued with a song called So what if it rains, which he wrote with Callum McCall. This was very passionately performed and I enjoyed how he created rain drop style notation on his acoustic. My favourite line here was Every night I make a promise to myself and then break it. There’s always very poignant lyrics in his stuff and each melody line is addictive. I could listen to his voice forever with its effortless glides up to the top notes and soothing quality.
Firefly
This is a song from Gareth’s album and his guitar is really amazing here. It builds up, with big chords gradually developing. It has an interesting three four tempo and delicious riffs throughout.
Stephen Maguire came back onstage to join the group for the finale. The lads chose a Van Morrison number; Crazy Love
A divine slice of lead was injected into this by John Reid’s guitarist John Themis and with the lads sharing verses, it was a real treat. The audience joined in for the last chorus and an elaborate wind down with jazzy notation left each person with a memory of one very special night among genuinely great musicians!
7th Belfast National Songwriters festival,
The Crescent Arts Centre, Belfast,
23/ 02/11
An invitation was extended to me for this event and at first I thought; ‘Nashville in Northern Ireland’ and very Country music orientated. I wasn’t too sure if I’d like it.
But after I looked at the names involved, I realised that these singer/songwriters wrote most of my favourite songs. I also found the idea of a visit to this great Cultural Jewel in Ireland’s treasury quite irresistible!
I decided to go, taking my friend with me and I’m so glad I did. I had an unforgettable experience and only wished I could have stayed for the entire festival. I will be going back next year for certain!
On the site of an old girls College, The Crescent Arts Centre is right in the heart of this great City, where my own mother once gigged as a singer and where my Grandfather and Great grandparents lived. The Arts Centre is an attractive building and we got a warm welcome inside and were shown into the airy auditorium.
A generous turnout arrived and once people were seated, Joe Duffy introduced the evening’s entertainment. This began with a singer/songwriter who moved to Canada from Belfast.
Stephen Maguire
Nominated in the 2011 Saskatchewan Awards, this young man has played support to acts such as Nanci Griffith and also Grammy award winning BJ Thomas. Stephen performed his first solo concert in Belfast’s Ulster Hall, with Northern Irish band Cahuna in 1998. He also played support to Westlife during their Unbreakable tour along with Unity.
His style is laid back and has a folk/Soul/Pop feel to it and his influences would include Van Morrison, with whom his father Patrick played as a musician. Stephen performed with an acoustic guitar and a little bit of programming. His first number was called Irish Soul.
This choppy song involved superb guitar and his vocals were powerful and uplifting.
He continued with a slower number; I feel empty inside.
This was a sweet love song, with romantic lyrics and a delicious melody line.
Stephen’s vocals are unique and really flexible, as he performs. I enjoyed how he could alter his style to suit the dynamics of each song.
After thanking The Arts Centre for the invite, Stephen did a number based around the City where he grew up. It was called The Streets of Belfast.
The chorus was wonderful, with excellent lyrics and I loved the cheerful beat.
Do you see me
This was a laid back song and Stephen’s delivery was unbelievably soothing.
He used plucky guitar in True, which is a gorgeous number. It’s a love song with a really catchy melody line.
My favourite song from his set Leaving was inspired by the feelings he experienced when he boarded the plane that took him to Canada, where he now lives. He talks about the pull on his heartstrings as his plane left the ground after the goodbyes with his family. I love how he paints the sad picture with his wonderful lyrics and his pouring out of emotion here.
Brian Kennedy/ Gareth Dunlop/John Reid
After a brief interval, Joe Duffy the MC introduced the next portion of this really special night. As he introduced each, they arrived onstage.
The lads were performing a combined set of their own songs in an In-the-round set, where each would give a little insight into what inspired their chosen piece.
John Reid
John began with a song that was made famous by Irish band Westlife, but was written by himself. He told how he never imagined this number would take flight and reach the fame it achieved.
Unbreakable
I loved this simple acoustic version and John performed the wonderful key change, which lifted it right up. This finished on a beautiful chord played by his fabulous accompanist John Themis on guitar.
Originally from Glasgow, John wrote many well known hits for superstars such as Tina Turner, Rod Stewart, Lionel Richie, Il Divo. He also wrote A moment like this, which was X-Factor winner Leona Lewis’s popular debut single.
Brian Kennedy
Brian Kennedy recently celebrated twenty years in the music business and released an album The very best of Brian Kennedy in honour of this. His soulful vocals and memorable melody lines are well known world wide. He received a Lifetime achievement award in the 2010 Meteor awards.
Captured was Brian’s first song. This has a lovely exotic but laid back rhythm and I liked how he uses a minimum of extras for sound, yet delivers with unbelievable power. I enjoy the tone of his guitar and his playing style too. He builds up to a dynamic chorus, with effective stops here and there and subtle key changes that are a particularly pleasant feature in most of his music.
Gareth Dunlop
Gareth Dunlop’s first number was called Just don’t feel like home to me. I enjoyed his plucked style guitar and how he bends notes so beautifully. His chord combinations were superb throughout this lovely velvety blues song. I like his vocal style which has a hint of grittiness, but can adapt to whatever he’s singing.
Gareth, born in Belfast, is a professional songwriter and spends much of his time in America, where he records and performs. He has performed alongside names such as Nanci Griffith, Snow Patrol, Imelda May, Jools Holland and Jeff Beck.
John was next and he introduced his song by explaining how he found inspiration from certain singers, which gave him the drive it took to create his wonderful compositions.
He mentioned Glenn Campbell and Michael Jackson, whom he described as stars that have influenced music greatly.
He performed You are not alone and this simple, stripped back rendition of an incredibly sweet number was awe inspiring. His wonderful accompanist added extra magic on guitar.
Brian told the story of how he was inspired by a store he used to frequent called Arleen’s Grocery. He then performed Christopher Street, a song that he wrote about New York. From his new album, this has wonderful descriptions.
He played delicious bending notes on guitar, with catchy riffs adding to the mood and a delectable choppy tempo.
I find the lyrics very touching and you can imagine the lonely feeling of being in the big Apple in wintertime alone. I’ve been here a week, but it feels like more and God knows how long I’ll last.
Then he describes the madness, but also how things go quiet at night time;Now Christopher Street has quietened down. Seems even New York needs to sleep sometimes. One of these nights when I put out the lights, I’ll find you waitin’ to love me.
Gareth did a lovely number called One tree hill. This involves plucked guitar notes and beautiful lyrics.
It was John’s turn again and he performed Always in my heart, where his guitarist played exotic sliding chords. John’s vocals were impressive as he went right up the register to higher notes and back down again. Wow!
Brian borrowed Gareth’s guitar now and performed a song Silver hearts on chains, that he composed as he was going through a market area on tour. He saw silver hearts on chains and this inspired the song. With a delightful trickling intro, this number developed and I particularly felt touched by the lyrics; Like a teardrop made of silver.
Gareth did Help me keep the walls from falling down, which is a fast rolling number. I enjoyed the sense of movement here. He has a way of holding your attention when he sings and you feel that you’re the only person in the room with him!
Wichita Lineman, made famous by Glenn Campbell was John Reid’s next choice. His performance of this Jimmy Webb number was flawless and I noticed Brian adding a touch of backing vocals that set it off to great advantage. I absolutely love that wonderful high note in the chorus, the guitar break and cleverly placed dramatic notes throughout this piece. You could hear a pin drop in the Crescent Arts Centre at this amazing moment!
Next was Hollow, from his album The Great War of Words which Brian chose to do. He explains Joni Mitchell’s unique guitar tuning technique, which has influenced a lot of his music. So this homage was very special and Brian’s performance was heartfelt. With lovely chord combinations and the rhythmic beat, this was superb from beginning to end.
Gareth performed a romantic love song with wistful lyrics. His vocals were sweet here and his guitar technique appealing in this number he referred to as The Cat Song. I like the line You’re my favourite song to sing.
John Reid told an anecdote about his next choice and I felt very intrigued by his way of drawing you into the story of each of his songs, which are almost like huge turning points in his life. I felt I was in the presence of greatness, as I looked up at these three legendary artists.
A moment like this
Once again I wanted to weep on hearing the heady chords and trickling notation that John’s Guitarist played. This gentleman never said a word all night, but his fingers across the frets of his instrument said it all for me!
John lovingly poured out this ballad and as far as I’m concerned, his performance of his own song is way superior to any other singer. What a vocal range!
Brian continued with a song called So what if it rains, which he wrote with Callum McCall. This was very passionately performed and I enjoyed how he created rain drop style notation on his acoustic. My favourite line here was Every night I make a promise to myself and then break it. There’s always very poignant lyrics in his stuff and each melody line is addictive. I could listen to his voice forever with its effortless glides up to the top notes and soothing quality.
Firefly
This is a song from Gareth’s album and his guitar is really amazing here. It builds up, with big chords gradually developing. It has an interesting three four tempo and delicious riffs throughout.
Stephen Maguire came back onstage to join the group for the finale. The lads chose a Van Morrison number; Crazy Love
A divine slice of lead was injected into this by John Reid’s guitarist John Themis and with the lads sharing verses, it was a real treat. The audience joined in for the last chorus and an elaborate wind down with jazzy notation left each person with a memory of one very special night among genuinely great musicians!
Stewart Kenny/ From Home CD (review also on irishunsigned.com)
Stewart Kenny
From Home
Angela Macari O’Looney
Stewart Kenny has a knack for composing beautiful melody lines, touching lyrics and excellent arrangements. This CD is a new collection of songs Stewart has been working on over the last few months.
Thirteen easy going tracks make great listening and his vocals which are light and clear pour out the soulful tracks, or belt out the more upbeat numbers with charisma and the right infusion of harmony.
We Gotta Go
The opening track is a choppy number with a brass section intro. It has a catchy refrain, with a dash of harmony in just the right places. Saxophone features throughout this song and adds personality. I like the enthusiastic lyrics; You gotta move your feet to the beat, dance around all about the street.
A trickling acoustic guitar takes you into Baby’s smile, which is a sweet number composed by Alan Kenny. The lyrics seem to tell the story of the loss of a child and the pain and suffering of the parents. Harmony is wonderful in the simple refrain for the chorus; Please bring back baby’s smile. A guitar solo is performed that’s complex but short.
Piano lends beauty to Come back home, which is a sad love song with a wonderful melody line. The tempo is laid back, with some trickling notation and appealing riffs that add to the momentum.
Two Lives
This song is about relationship struggle and although it begins slowly, it picks up for the second verse. Harmony throughout adds charm to this love song, with instrumentals very appealing too.
In Changing my ways I particularly like the change of pace, when a sweet riff on synth fiddle alters the dynamics. Strings give a big sound and Guitar is really exceptional, with a solo that is probably the highlight for me.
Anne Marie Papin’s lyrics in Is he to blame are very poignant. It’s a melancholic number with harmony delicious. Acoustic guitar chords provide a slow rhythm. Drums and percussion fall in with this rhythm and Stewart’s telling of the dramatic love tale is sung with his usual ease!
An upbeat intro takes you into one of the more cheerful songs on this album.Take me as I am is catchy, with some great electric guitar bits in it. I also love the jazzy tempo, plus piano which also lends to the atmosphere of this really enjoyable piece. It’s jointly composed by Stewart and his wife, Anne Marie Papin. I love how it ends on a gorgeous jazz chord!
Listen to me now is probably one of my favourite songs. It’s choppy, with Stewart’s lyrics hopeful and his vocals powerful. Guitar solo is brilliant and the reggae style rhythm hypnotic. I find it enjoyable and full of enthusiasm.
Calming the mood down again, On my way again has trickling acoustic guitar, a candy sweet melody line and close harmony that lends to the gentle, soothing atmosphere. A solo performed on oboe or clarinet uplifts, as dynamic builds up in this track. Layered harmony towards the end gives this lovely song an ethereal quality.
So it’s not too late
A vibrant piano intro, with a cheerful beat and baseline take you into this song. I like the catchy pop chorus. The mood of the lyrics is one of hope; don’t put out the fire, don’t put out the fire, don’t put out the fire. So it’s not too late. Chord combinations, the resounding guitar riff and musical arrangement in general are excellent. Tommy Kenny jointly composed this song with Stewart. Backing vocals add to the full sound.
Time
Heavenly guitar notation in this song and the philosophical lyrics add to its charm. I also love the elaborate classical style guitar solo. Stewart’s ability to captivate the listener as he sings no matter what the song is, gives him a special-ness that is outstanding!
A jazzy piano intro takes you into Moving along, which is a treat after all the deep and complex songs. It has a bouncy tempo and the melody line is brilliant. I love this number. I particularly love the sweet little hooks on guitar that provide extra character to this fun, finger- clicking piece!
Romantic, soft and seductive, Together involves wonderful jazz guitar, piano and percussion that chops out the sexy Latino style rhythm. It’s a perfect number to finish off a top class set of songs.
I find it difficult to pick a favourite among the songs on this new collection from Stewart. His debut album I’ve fallen so far proved a huge success. From Dublin, he has been composing and performing from a very young age. With the added diverse styles of Anne Marie Papin, Alan and Tommy Kenny, there’s never a dull moment on this latest endeavour, which is easily as entertaining as his first album.
From Home
Angela Macari O’Looney
Stewart Kenny has a knack for composing beautiful melody lines, touching lyrics and excellent arrangements. This CD is a new collection of songs Stewart has been working on over the last few months.
Thirteen easy going tracks make great listening and his vocals which are light and clear pour out the soulful tracks, or belt out the more upbeat numbers with charisma and the right infusion of harmony.
We Gotta Go
The opening track is a choppy number with a brass section intro. It has a catchy refrain, with a dash of harmony in just the right places. Saxophone features throughout this song and adds personality. I like the enthusiastic lyrics; You gotta move your feet to the beat, dance around all about the street.
A trickling acoustic guitar takes you into Baby’s smile, which is a sweet number composed by Alan Kenny. The lyrics seem to tell the story of the loss of a child and the pain and suffering of the parents. Harmony is wonderful in the simple refrain for the chorus; Please bring back baby’s smile. A guitar solo is performed that’s complex but short.
Piano lends beauty to Come back home, which is a sad love song with a wonderful melody line. The tempo is laid back, with some trickling notation and appealing riffs that add to the momentum.
Two Lives
This song is about relationship struggle and although it begins slowly, it picks up for the second verse. Harmony throughout adds charm to this love song, with instrumentals very appealing too.
In Changing my ways I particularly like the change of pace, when a sweet riff on synth fiddle alters the dynamics. Strings give a big sound and Guitar is really exceptional, with a solo that is probably the highlight for me.
Anne Marie Papin’s lyrics in Is he to blame are very poignant. It’s a melancholic number with harmony delicious. Acoustic guitar chords provide a slow rhythm. Drums and percussion fall in with this rhythm and Stewart’s telling of the dramatic love tale is sung with his usual ease!
An upbeat intro takes you into one of the more cheerful songs on this album.Take me as I am is catchy, with some great electric guitar bits in it. I also love the jazzy tempo, plus piano which also lends to the atmosphere of this really enjoyable piece. It’s jointly composed by Stewart and his wife, Anne Marie Papin. I love how it ends on a gorgeous jazz chord!
Listen to me now is probably one of my favourite songs. It’s choppy, with Stewart’s lyrics hopeful and his vocals powerful. Guitar solo is brilliant and the reggae style rhythm hypnotic. I find it enjoyable and full of enthusiasm.
Calming the mood down again, On my way again has trickling acoustic guitar, a candy sweet melody line and close harmony that lends to the gentle, soothing atmosphere. A solo performed on oboe or clarinet uplifts, as dynamic builds up in this track. Layered harmony towards the end gives this lovely song an ethereal quality.
So it’s not too late
A vibrant piano intro, with a cheerful beat and baseline take you into this song. I like the catchy pop chorus. The mood of the lyrics is one of hope; don’t put out the fire, don’t put out the fire, don’t put out the fire. So it’s not too late. Chord combinations, the resounding guitar riff and musical arrangement in general are excellent. Tommy Kenny jointly composed this song with Stewart. Backing vocals add to the full sound.
Time
Heavenly guitar notation in this song and the philosophical lyrics add to its charm. I also love the elaborate classical style guitar solo. Stewart’s ability to captivate the listener as he sings no matter what the song is, gives him a special-ness that is outstanding!
A jazzy piano intro takes you into Moving along, which is a treat after all the deep and complex songs. It has a bouncy tempo and the melody line is brilliant. I love this number. I particularly love the sweet little hooks on guitar that provide extra character to this fun, finger- clicking piece!
Romantic, soft and seductive, Together involves wonderful jazz guitar, piano and percussion that chops out the sexy Latino style rhythm. It’s a perfect number to finish off a top class set of songs.
I find it difficult to pick a favourite among the songs on this new collection from Stewart. His debut album I’ve fallen so far proved a huge success. From Dublin, he has been composing and performing from a very young age. With the added diverse styles of Anne Marie Papin, Alan and Tommy Kenny, there’s never a dull moment on this latest endeavour, which is easily as entertaining as his first album.
Saturday, March 26, 2011
Simon Fagan gig review(also see irishunsigned.com)
Simon Fagan
Outside Looking in Launch gig
The Grand Social
19/02/11
Angela Macari O’Looney
One of our most gifted singer/songwriters, Simon Fagan goes from strength to strength. He has come a long way in a short time and the hard graft he puts into his craft pays enormous dividends in that he is extremely popular and can keep reinventing new ideas with his music, which is really quite special. Not only this, Simon has endless musical talent including amazing ability as a trumpet player.
He is also fortunate enough to be surrounded by a great band, with each musician top of the range!
I have become a devotee of this young man’s fabulous music and made sure not to miss the launch of his new album Outside looking in.
Arriving early, I made my way to the upstairs venue in plenty of time to see the first set, which was performed by Maggie Hildrick.
She began with She Knows, a bouncy number with a simple yet catchy melody line. This involves an appealing key change and was a great starter.
Maggie continued with a song called Sweet Rose of the Night, which has trickling acoustic guitar throughout.
Down by the Sea had wonderfully descriptive lyrics and gorgeous chord combinations.
Maggie performed a cover of country number Jolene. She began with a few bars from Althea and Donna’s Upton Top Rankingand then went into the first verse of Jolene, which added a bit of interest. Her performance of this classic love song was excellent and she got a little help from the audience.
She continued with Banks of the Liffey which was a catchy number about Dublin City and was very appropriate considering the venue. With just her acoustic guitar, she was quite captivating and she finished her set with a song called Flesh and Mind. The descriptions in her lyrics were excellent and her guitar playing very soothing.
Gypsies on the Autobahn
As I awaited the second set, I had a little look at my surroundings. I like the tent style ceiling in this venue and really admire the excellent lighting, generous size stage and the airy atmosphere there.
Gypsies on the Autobahn are a young Alt/Indie/Pop band who perform the most delectable harmonies in their songs. All members sing for each number, which creates a full, crisp sound.
They are James Smith-Lead vocals, Dan Smith-Drums, Niall Mooney-Lead Guitar and Gary Quinn-Bass.
We’re not ourselves was their first song. This opens up with a guitar riff, joined by drums, then the entire band blast out the chorus. This was a fantastic start to a brilliant set.
They did Protect your light next. This involves a thumping beat, a fab lead solo and a rich baseline. James’s vocal style is unusual, but quite enjoyable just the same. He has an interesting lilt as he performs the lovely chorus of this number, with backing vocals excellent.
Appreciative Hearts was next. Lots of close harmonic oohs take you into this. The vocals are wonderful in this number, which begins slowly, but builds up to a fast anthem. I loved the in sync riff throughout.
The lads were astounding and went on to do Suited Suitors which has an interesting echoic chorus, a punchy tempo and an alternating beat where Gary performs a dramatic roll. Then they did Blackthorn tree. This was probably my favourite number, with its delicious harmonies, riffs and hooks that totally lift it.
They did Always forever, Strength of two and Hidden.
Each song was just awe inspiring and in a way they reminded me of one of my favourite Irish Indie bands The Kinetics.
Their choruses are brilliant, vocals exciting and I consider them an extremely promising act!
Simon Fagan
This was my first experience of Simon performing with his full band and I knew it would be an unforgettable show.
A wonderful spiritual style intro opened up the set. With gorgeous trickling acoustic guitar and beautiful harmony, Simon did Something I don’t know. Dynamic builds up gradually, till the keyboards, baseline and beat become unbelievably powerful. All the band members do soulful backing vocals in this catchy song and the whole thing is very uplifting!
Peter McGuire-Lead guitar/Vocals, Ben Shorten-Keys/Vocals, Chris Byrne-Bass and Gary Nethaway-Drums are Simon’s band.
Memphis began with sustained chords on Korg, while Simon on acoustic guitar and the other guitars performed choppy rhythm. This lovely song from the album has a wonderful chorus and close harmony. Simon slides his voice up to falsetto at certain points. There’s a pullback of instruments as Simon and the lads blast out the last chorus.
Electric guitar is superb in Plastic Compass, where Peter uses slider to add atmosphere. It has a delicious riff. Three part harmonies are just perfect in the chorus. With the full band, the sound is big in this and the catchy riff throughout is brilliant. I enjoy how there are lots of interesting changes and the lovely refrain of No I don’t care, I don’t need you.
They did Won’t let go, which has a choppy beat and a delicious sense of movement in it. Trickling guitar is lovely here and the tempo alternates a little for the verse. I think of The Eagles when I hear this dramatic, harmonic type of song, with a lot of slider used in the lead guitar and voluminous rhythm guitar chords. Simon and his band have an amazing charisma about them, becoming more magical with each song they do!
After this they did the title track from the new album Outside looking In. With just guitar and no drums, this pretty love song has a soulful quality to it. The melody line is folksy, with choral style harmonies in the chorus beautiful. The guitar chords are fab and it’s the simplicity of it that makes this song so special!
Simon did a delicious rendition of Cindy Lauper’s True Colours, which I thoroughly enjoyed. With just keyboards, acoustic guitar and a little help from the audience in the chorus, this was a really memorable moment.
He did a Ryan Adams number called Sweet Carolina. This number is soothing and really suits Simon’s vocals. Backing vocals in the chorus were excellent.
After this Simon did a number I’m particularly fond of called Jenny. This begins with just Simon playing his acoustic, drums coming in subtle to add a beat. Gradually each instrument joins in, with divine chord combinations lifting the song right up. An in sync riff is performed by Keys and lead guitar. Harmony is yet again astounding and for the final chorus instruments drop back.
The remaining numbers of this totally amazing set were I shall be released, Love don’t work, Tired of trying, Never really cried.
Scorching Lead solos were performed by Cian in most of these and elaborate fretwork that was awesome to watch. Chris also performed busy baselines and Ben’s imaginative flourishes on Keys were superb.
They opened up the second last song Water’s Edge with a big resounding note, followed by harmonic vocals.
Due for release as a single, this number involves trickling acoustic guitar that builds up to a rolling rhythm. It’s a really spiritual and very impressive song, with a fab melody line and a great bit towards the end, where Simon sings a refrain She runs, runs away and I know her name., while his band continue with choral style oohs.
Last but not least was Damn Honey, which was released last year as a single. It’s a popular number with Simon’s fans and he got a fantastic response as everyone joined in with the chorus. Close harmony sung by the band added to the NRG and they did a mock finish, to come back with one last thunderous chorus.
Simon studied trumpet at the Royal Irish Academy and also Drama in The Royal Scottish Academy. His music style is a mish mash of Roots, Folk/Rock and he has a huge range of influences which include people like Van the man, Miles Davis, Stevie Wonder, Jeff Buckley and many more.
He has opened shows for Lionel Richie, Smokie Robinson and Laura Izibor. Simon has toured extensively and his album is sure to increase his already enormous fan base.
I also love how he makes sure to come down and thank his audience personally and chats away at the end of the gig. He’s an artist I never tire of and know I’ll continue following for a long time.
Outside Looking in Launch gig
The Grand Social
19/02/11
Angela Macari O’Looney
One of our most gifted singer/songwriters, Simon Fagan goes from strength to strength. He has come a long way in a short time and the hard graft he puts into his craft pays enormous dividends in that he is extremely popular and can keep reinventing new ideas with his music, which is really quite special. Not only this, Simon has endless musical talent including amazing ability as a trumpet player.
He is also fortunate enough to be surrounded by a great band, with each musician top of the range!
I have become a devotee of this young man’s fabulous music and made sure not to miss the launch of his new album Outside looking in.
Arriving early, I made my way to the upstairs venue in plenty of time to see the first set, which was performed by Maggie Hildrick.
She began with She Knows, a bouncy number with a simple yet catchy melody line. This involves an appealing key change and was a great starter.
Maggie continued with a song called Sweet Rose of the Night, which has trickling acoustic guitar throughout.
Down by the Sea had wonderfully descriptive lyrics and gorgeous chord combinations.
Maggie performed a cover of country number Jolene. She began with a few bars from Althea and Donna’s Upton Top Rankingand then went into the first verse of Jolene, which added a bit of interest. Her performance of this classic love song was excellent and she got a little help from the audience.
She continued with Banks of the Liffey which was a catchy number about Dublin City and was very appropriate considering the venue. With just her acoustic guitar, she was quite captivating and she finished her set with a song called Flesh and Mind. The descriptions in her lyrics were excellent and her guitar playing very soothing.
Gypsies on the Autobahn
As I awaited the second set, I had a little look at my surroundings. I like the tent style ceiling in this venue and really admire the excellent lighting, generous size stage and the airy atmosphere there.
Gypsies on the Autobahn are a young Alt/Indie/Pop band who perform the most delectable harmonies in their songs. All members sing for each number, which creates a full, crisp sound.
They are James Smith-Lead vocals, Dan Smith-Drums, Niall Mooney-Lead Guitar and Gary Quinn-Bass.
We’re not ourselves was their first song. This opens up with a guitar riff, joined by drums, then the entire band blast out the chorus. This was a fantastic start to a brilliant set.
They did Protect your light next. This involves a thumping beat, a fab lead solo and a rich baseline. James’s vocal style is unusual, but quite enjoyable just the same. He has an interesting lilt as he performs the lovely chorus of this number, with backing vocals excellent.
Appreciative Hearts was next. Lots of close harmonic oohs take you into this. The vocals are wonderful in this number, which begins slowly, but builds up to a fast anthem. I loved the in sync riff throughout.
The lads were astounding and went on to do Suited Suitors which has an interesting echoic chorus, a punchy tempo and an alternating beat where Gary performs a dramatic roll. Then they did Blackthorn tree. This was probably my favourite number, with its delicious harmonies, riffs and hooks that totally lift it.
They did Always forever, Strength of two and Hidden.
Each song was just awe inspiring and in a way they reminded me of one of my favourite Irish Indie bands The Kinetics.
Their choruses are brilliant, vocals exciting and I consider them an extremely promising act!
Simon Fagan
This was my first experience of Simon performing with his full band and I knew it would be an unforgettable show.
A wonderful spiritual style intro opened up the set. With gorgeous trickling acoustic guitar and beautiful harmony, Simon did Something I don’t know. Dynamic builds up gradually, till the keyboards, baseline and beat become unbelievably powerful. All the band members do soulful backing vocals in this catchy song and the whole thing is very uplifting!
Peter McGuire-Lead guitar/Vocals, Ben Shorten-Keys/Vocals, Chris Byrne-Bass and Gary Nethaway-Drums are Simon’s band.
Memphis began with sustained chords on Korg, while Simon on acoustic guitar and the other guitars performed choppy rhythm. This lovely song from the album has a wonderful chorus and close harmony. Simon slides his voice up to falsetto at certain points. There’s a pullback of instruments as Simon and the lads blast out the last chorus.
Electric guitar is superb in Plastic Compass, where Peter uses slider to add atmosphere. It has a delicious riff. Three part harmonies are just perfect in the chorus. With the full band, the sound is big in this and the catchy riff throughout is brilliant. I enjoy how there are lots of interesting changes and the lovely refrain of No I don’t care, I don’t need you.
They did Won’t let go, which has a choppy beat and a delicious sense of movement in it. Trickling guitar is lovely here and the tempo alternates a little for the verse. I think of The Eagles when I hear this dramatic, harmonic type of song, with a lot of slider used in the lead guitar and voluminous rhythm guitar chords. Simon and his band have an amazing charisma about them, becoming more magical with each song they do!
After this they did the title track from the new album Outside looking In. With just guitar and no drums, this pretty love song has a soulful quality to it. The melody line is folksy, with choral style harmonies in the chorus beautiful. The guitar chords are fab and it’s the simplicity of it that makes this song so special!
Simon did a delicious rendition of Cindy Lauper’s True Colours, which I thoroughly enjoyed. With just keyboards, acoustic guitar and a little help from the audience in the chorus, this was a really memorable moment.
He did a Ryan Adams number called Sweet Carolina. This number is soothing and really suits Simon’s vocals. Backing vocals in the chorus were excellent.
After this Simon did a number I’m particularly fond of called Jenny. This begins with just Simon playing his acoustic, drums coming in subtle to add a beat. Gradually each instrument joins in, with divine chord combinations lifting the song right up. An in sync riff is performed by Keys and lead guitar. Harmony is yet again astounding and for the final chorus instruments drop back.
The remaining numbers of this totally amazing set were I shall be released, Love don’t work, Tired of trying, Never really cried.
Scorching Lead solos were performed by Cian in most of these and elaborate fretwork that was awesome to watch. Chris also performed busy baselines and Ben’s imaginative flourishes on Keys were superb.
They opened up the second last song Water’s Edge with a big resounding note, followed by harmonic vocals.
Due for release as a single, this number involves trickling acoustic guitar that builds up to a rolling rhythm. It’s a really spiritual and very impressive song, with a fab melody line and a great bit towards the end, where Simon sings a refrain She runs, runs away and I know her name., while his band continue with choral style oohs.
Last but not least was Damn Honey, which was released last year as a single. It’s a popular number with Simon’s fans and he got a fantastic response as everyone joined in with the chorus. Close harmony sung by the band added to the NRG and they did a mock finish, to come back with one last thunderous chorus.
Simon studied trumpet at the Royal Irish Academy and also Drama in The Royal Scottish Academy. His music style is a mish mash of Roots, Folk/Rock and he has a huge range of influences which include people like Van the man, Miles Davis, Stevie Wonder, Jeff Buckley and many more.
He has opened shows for Lionel Richie, Smokie Robinson and Laura Izibor. Simon has toured extensively and his album is sure to increase his already enormous fan base.
I also love how he makes sure to come down and thank his audience personally and chats away at the end of the gig. He’s an artist I never tire of and know I’ll continue following for a long time.
Saturday, March 5, 2011
Cathy Davey CD review
Cathy Davey
The Nameless
Angela Macari O’Looney
Her unique vocal style and endless talent as a musician and songwriter leave Cathy Davey one of Ireland’s jewels where female artistes are concerned. Tantalizing rhythms, candy sweet melody lines and her flirtatious, elfin delivery leave your head in a spin long after you’ve heard them. Out on her own, it’s not at all surprising she’s been chosen with the cream of the crop for the choice finals of 2011.
This album is her third and was a smash hit immediately after its release in May 2010. Cathy’s second album Tales of Silversleeve was short listed for the Choice Music award for Irish album of the Year in 2007.
Her achievements include representing Ireland at Eurosonic music Festival in Groningen, Netherlands in ’08, appearing in the South by Southwest festival in Austin, Texas, and several live performances on such gigs as Electric Picnic and Indiependance.
She has appeared on The Music Show at the R.D.S., on RTE’s Late Late show and performed guest vocals on certain tracks from The Duckworth Lewis method album, which was a choice music finalist last year. Cathy also guest appeared on Bang goes the Knighthood, by The Divine Comedy. Neil Hannon performs and is involved in arrangements on this album.
Davey isn’t comfortable with being compared to other female singers. I agree with her entirely, having listened to and enjoyed each number in this new collection. Seeing her perform live twice at The Music Show, I find Cathy to have a charm all her own. Each song is entertaining and involves clever lyrics and incredible arrangements and her newfound interest in the banjo is evident.
The Nameless
The title track from this CD, this number begins with a hummed intro, accompanied by harpsichord notes and plucked strings. It has a dramatic melody line and trickling notation throughout, which gives it a moody atmosphere.
Backing vocals continue the hummed intro during the chorus, with the dynamic gradually lifting and for a split second the minors turn to majors in this powerful piece.
A military style drumbeat adds to the sobriety of this song which is a lament of sorts.
Army of Tears
String arrangements by Cathy and Shaun Davey are superb in this song. It reminds me of a theatrical tango, with sombre notation and choppy rhythm. Descriptions are fantastic and convey a sense of despair then alarm, where she personifies her tears as an Army that could threaten the whole world there are so many of them. I like the way the pace alters to a military march for the army part of the song.
Also impressive is the part where a chorus of harmonic oohs lend to the scene that the lyrics paint; The whole world will have its day with my Army of tears.
Cathy’s vocals are extremely flexible and here you can hear them change from light to punchy and powerful!
In he comes
The vocal hook in the intro here is delightful and also plucky guitar notation, which continues throughout the entire piece.
The choppy pace is wonderful and the melody line haunting and memorable.
Cathy’s vocals take on a Japanese quality, where she wavers across the elaborate lilting notes of the chorus. Percussion is exciting and drums dynamic, with backing harmonies extremely effective. It’s an age old love story about the woman’s devotion to her man, who totally takes her for granted.
Habit
Cathy’s banjo comes to the fore in this beautiful number and flavours it, along with the slinky beat.
In this she inspires in me memories of musician/singer Kate Bush with a temptress style that is very alluring.
My favourite line in this amazing piece is where she dumps the guy; Leave your keys out in the door as you leave, so next in line can creep beside me easily.
What a perfect way of saying ‘You’re dumped’!
Then you hear the rattle of a set of keys.
The ooh refrain in Little Red gives it an old fashioned pop song feel.
Cathy and Shaun Davey add string arrangements to this number and it suddenly switches from a catchy pop number to a fabulous orchestral masterpiece!
The melody line is candy sweet and the dancey beat cheerful. Cathy’s vocals are feminine and a tad reminiscent of American singer Cindy Lauper’s girlish charm.
Happy Slapping
The happy notes and percussive style intro give this song a ‘couldn’t care less’ mood. Whistling adds to the upbeat atmosphere and also harmonic backing vocals. Despite the sweetness of the melody line, lyrics have bitterness in them and are poignant.
She describes how totally dependant on one another a couple can become, so that if they part, life becomes meaningless; When you’re alone do you just sit and weep, or do you keep the fire lit with photographs of you and me.
Cathy’s banjo is infused throughout this track and lends to the happy slappiness.
Beginning with just percussion chopping out a beat, Dog is a fun number, where a delicious baseline frames each seductive note. The bosanova style rhythm of the chorus is wonderful and you can hear the banjo do things that are quite novel, with Neil Hannon’s piano coming in to the scene later on. The harmonies are absolutely gorgeous and equally so the chord combinations which are exotically sexy.
Bad Weather reminds me of Mamas and Papas number ‘Dream a little Dream of me’. It’s a wonderful slow piece, with divine guitars in it. Piano comes in with delicious chords and notation. Key changes are incredibly effective here and the musical arrangement awe inspiring.
The instrumental for the middle eight is soothing and with harmonic oohs lifting it up it’s a key feature.
Brushes on drums create a sense of smoothness and Cathy’s vocals are Smokey and enticing, with superb harmony added to put the icing on this tantalizing cake.
Here, the jazzy woman emerges from the fey-like creature and demonstrates this lady’s ability to adapt her vocals to suit the song. Descriptions in the lyrics are just as amazing as the musical content; your rattle is melody and rhyme, sweeter than honey to my ears. No don’t disappear. Play away without fear, and then maybe he’ll call it a day.
The Touch is a twelve bar blues, with lots of minor chords in it. Cathy maintains her jazzy vocal style in this number, with the piano (Cormac Curran), drums, guitar and banjo all giving the scene a sense of deep, moody gloom.
Wild Rum begins with a scary Hello, Hello that is quite threatening. I totally adore this number, with its p…d off quality!
Drums and percussion are splendid, as is the input from electric guitar. The thumping chopped out beat gives a sense of tragedy and the cynicism of the lyrics is brilliant.
The chorus of flute that comes in for the middle eight puts a sharpness into this melancholic piece and then for the final chorus, double bass(Joe Csibi) and backing vocals add to the miserable atmosphere.
A gentle guitar intro takes you into Lay Your Hand, which is a wonderful love song.
With a beautiful melody line and Neil Hannon’s excellent string arrangement, this song builds up into a heart breakingly appealing piece. A sweet guitar solo comes in before the last chorus. Cathy’s vocals are velvety smooth as she pours out the romantic lines, with the orchestra lending to the moment. My favourite line is;Language is hard, language is cold, language is too rude and angular. No no, we need another language for our lips.
Three simple chords dominate the chorus for Universe tipping, which is a softly sung number with heavenly backing vocals. Very laid back, this piece is vocally tricky, with the melody line memorable and haunting.
Beginning with sweet oohs, End of the End has a pretty three four tempo. This number is a pleasantly blissful finale to the album. Cathy uses her delivery of the lyrics to create the scene and as she sings the word Blow, you can almost see autumn leaves blowing across the garden and the house being torn from its foundation. Lovely choral style La la la backing vocals also uplift in this song.
Subtle key changes feature and drums, guitar and bass are really effective throughout.
Cathy’s imaginative illustrations can be seen inside the album cover, which unfurls like a newspaper, and is the pink colour of the Financial Times. Each song is placed like a section of the newspaper and as you read the print, you find yourself having to decipher each line. It’s one way of grabbing your attention and making you listen to each song.
A monochromatic photo of the lady herself is depicted on the cover, with a sultry look and her profile in repose.
Orchestra are: Alan Smale-Leader Violin, David Mackenzie-Violin, Adele Johnson- Viola, Martin Johnson-Cello, Joe Csibi-Double Bass.
Neil Hannon performs piano on The Touch, Conor O’Brien on other tracks.
Cathy performs on a number of instruments in different places and mixing for End of the End.
The Nameless
Angela Macari O’Looney
Her unique vocal style and endless talent as a musician and songwriter leave Cathy Davey one of Ireland’s jewels where female artistes are concerned. Tantalizing rhythms, candy sweet melody lines and her flirtatious, elfin delivery leave your head in a spin long after you’ve heard them. Out on her own, it’s not at all surprising she’s been chosen with the cream of the crop for the choice finals of 2011.
This album is her third and was a smash hit immediately after its release in May 2010. Cathy’s second album Tales of Silversleeve was short listed for the Choice Music award for Irish album of the Year in 2007.
Her achievements include representing Ireland at Eurosonic music Festival in Groningen, Netherlands in ’08, appearing in the South by Southwest festival in Austin, Texas, and several live performances on such gigs as Electric Picnic and Indiependance.
She has appeared on The Music Show at the R.D.S., on RTE’s Late Late show and performed guest vocals on certain tracks from The Duckworth Lewis method album, which was a choice music finalist last year. Cathy also guest appeared on Bang goes the Knighthood, by The Divine Comedy. Neil Hannon performs and is involved in arrangements on this album.
Davey isn’t comfortable with being compared to other female singers. I agree with her entirely, having listened to and enjoyed each number in this new collection. Seeing her perform live twice at The Music Show, I find Cathy to have a charm all her own. Each song is entertaining and involves clever lyrics and incredible arrangements and her newfound interest in the banjo is evident.
The Nameless
The title track from this CD, this number begins with a hummed intro, accompanied by harpsichord notes and plucked strings. It has a dramatic melody line and trickling notation throughout, which gives it a moody atmosphere.
Backing vocals continue the hummed intro during the chorus, with the dynamic gradually lifting and for a split second the minors turn to majors in this powerful piece.
A military style drumbeat adds to the sobriety of this song which is a lament of sorts.
Army of Tears
String arrangements by Cathy and Shaun Davey are superb in this song. It reminds me of a theatrical tango, with sombre notation and choppy rhythm. Descriptions are fantastic and convey a sense of despair then alarm, where she personifies her tears as an Army that could threaten the whole world there are so many of them. I like the way the pace alters to a military march for the army part of the song.
Also impressive is the part where a chorus of harmonic oohs lend to the scene that the lyrics paint; The whole world will have its day with my Army of tears.
Cathy’s vocals are extremely flexible and here you can hear them change from light to punchy and powerful!
In he comes
The vocal hook in the intro here is delightful and also plucky guitar notation, which continues throughout the entire piece.
The choppy pace is wonderful and the melody line haunting and memorable.
Cathy’s vocals take on a Japanese quality, where she wavers across the elaborate lilting notes of the chorus. Percussion is exciting and drums dynamic, with backing harmonies extremely effective. It’s an age old love story about the woman’s devotion to her man, who totally takes her for granted.
Habit
Cathy’s banjo comes to the fore in this beautiful number and flavours it, along with the slinky beat.
In this she inspires in me memories of musician/singer Kate Bush with a temptress style that is very alluring.
My favourite line in this amazing piece is where she dumps the guy; Leave your keys out in the door as you leave, so next in line can creep beside me easily.
What a perfect way of saying ‘You’re dumped’!
Then you hear the rattle of a set of keys.
The ooh refrain in Little Red gives it an old fashioned pop song feel.
Cathy and Shaun Davey add string arrangements to this number and it suddenly switches from a catchy pop number to a fabulous orchestral masterpiece!
The melody line is candy sweet and the dancey beat cheerful. Cathy’s vocals are feminine and a tad reminiscent of American singer Cindy Lauper’s girlish charm.
Happy Slapping
The happy notes and percussive style intro give this song a ‘couldn’t care less’ mood. Whistling adds to the upbeat atmosphere and also harmonic backing vocals. Despite the sweetness of the melody line, lyrics have bitterness in them and are poignant.
She describes how totally dependant on one another a couple can become, so that if they part, life becomes meaningless; When you’re alone do you just sit and weep, or do you keep the fire lit with photographs of you and me.
Cathy’s banjo is infused throughout this track and lends to the happy slappiness.
Beginning with just percussion chopping out a beat, Dog is a fun number, where a delicious baseline frames each seductive note. The bosanova style rhythm of the chorus is wonderful and you can hear the banjo do things that are quite novel, with Neil Hannon’s piano coming in to the scene later on. The harmonies are absolutely gorgeous and equally so the chord combinations which are exotically sexy.
Bad Weather reminds me of Mamas and Papas number ‘Dream a little Dream of me’. It’s a wonderful slow piece, with divine guitars in it. Piano comes in with delicious chords and notation. Key changes are incredibly effective here and the musical arrangement awe inspiring.
The instrumental for the middle eight is soothing and with harmonic oohs lifting it up it’s a key feature.
Brushes on drums create a sense of smoothness and Cathy’s vocals are Smokey and enticing, with superb harmony added to put the icing on this tantalizing cake.
Here, the jazzy woman emerges from the fey-like creature and demonstrates this lady’s ability to adapt her vocals to suit the song. Descriptions in the lyrics are just as amazing as the musical content; your rattle is melody and rhyme, sweeter than honey to my ears. No don’t disappear. Play away without fear, and then maybe he’ll call it a day.
The Touch is a twelve bar blues, with lots of minor chords in it. Cathy maintains her jazzy vocal style in this number, with the piano (Cormac Curran), drums, guitar and banjo all giving the scene a sense of deep, moody gloom.
Wild Rum begins with a scary Hello, Hello that is quite threatening. I totally adore this number, with its p…d off quality!
Drums and percussion are splendid, as is the input from electric guitar. The thumping chopped out beat gives a sense of tragedy and the cynicism of the lyrics is brilliant.
The chorus of flute that comes in for the middle eight puts a sharpness into this melancholic piece and then for the final chorus, double bass(Joe Csibi) and backing vocals add to the miserable atmosphere.
A gentle guitar intro takes you into Lay Your Hand, which is a wonderful love song.
With a beautiful melody line and Neil Hannon’s excellent string arrangement, this song builds up into a heart breakingly appealing piece. A sweet guitar solo comes in before the last chorus. Cathy’s vocals are velvety smooth as she pours out the romantic lines, with the orchestra lending to the moment. My favourite line is;Language is hard, language is cold, language is too rude and angular. No no, we need another language for our lips.
Three simple chords dominate the chorus for Universe tipping, which is a softly sung number with heavenly backing vocals. Very laid back, this piece is vocally tricky, with the melody line memorable and haunting.
Beginning with sweet oohs, End of the End has a pretty three four tempo. This number is a pleasantly blissful finale to the album. Cathy uses her delivery of the lyrics to create the scene and as she sings the word Blow, you can almost see autumn leaves blowing across the garden and the house being torn from its foundation. Lovely choral style La la la backing vocals also uplift in this song.
Subtle key changes feature and drums, guitar and bass are really effective throughout.
Cathy’s imaginative illustrations can be seen inside the album cover, which unfurls like a newspaper, and is the pink colour of the Financial Times. Each song is placed like a section of the newspaper and as you read the print, you find yourself having to decipher each line. It’s one way of grabbing your attention and making you listen to each song.
A monochromatic photo of the lady herself is depicted on the cover, with a sultry look and her profile in repose.
Orchestra are: Alan Smale-Leader Violin, David Mackenzie-Violin, Adele Johnson- Viola, Martin Johnson-Cello, Joe Csibi-Double Bass.
Neil Hannon performs piano on The Touch, Conor O’Brien on other tracks.
Cathy performs on a number of instruments in different places and mixing for End of the End.
Thursday, March 3, 2011
choice music finalistsFight Like Apes
Fight Like Apes
The body of Christ and the Legs of Tina Turner
Angela Macari O’Looney (irishunsigned.com)
FLApes, fronted by Mary-Kate (MayKay) Gerraghty, can be broadly described as Alternative Rock. However, they are a hybrid which simply couldn’t be compared with anything or anyone else musically. Categorizing or putting them in a genre is impossible because they are a force to be reckoned with; A one off!
Other members of FLApes are Jamie Fox (Pockets)- Keys/Vocals, Tom Ryan-Bass and Lee Boylan-Drums/Vocals/Trumpet. Former Drummer Adrian Mullan left the band in 2010.
This act have an astounding history since their formation in ’06. This includes touring the U.K. with The Von Bondies, The Ting Tings, The Prodigy and Kasabian, nominations for Meteor and Choice music prizes, several TV and media appearances and the list goes on.
Debut album Fight Like Apes and the mystery of the Golden Medallion was a huge success and nominated for Irish Album of the Year in 2008. Earlier recordings include debut E.P. How am I supposed to kill you if you have all the guns and David Carradine is a bounty hunter whose robotic arm hates you crotch.
This album, released in 2010 not only has a controversial title, but contains rather hair raising lyrics in most songs. However, if you can rake through the many profanities, blood curdling descriptions and extreme attempts to embarrass or shock, there actually is quite impressive instrumental content lurking in there!
Come on, Let’s talk about our feelings
On the style of Jake Summers from their debut album, this number begins slowly, building up to an explosive wall of electronic sound. Refrains performed by the members of the band add appeal and the beat, synth riffs and MayKay’s unique portrayal of a love story gone wrong, are all key features. I like the bit at the end where the entire band sing out in unison; Please accept our sincerest apologies to Mom and Dad.
Jenny Kelly
Very punky, this fast number involves superb twin keyboards and an amazing elaborate synth solo that is the most outstanding feature. Drums perform some energetic stuff too and I really enjoy Tom’s baseline here. MayKay does that barbed, sweet but cynical vocal style that only she can use to get her point across. Yet here and there a heady rock vocal filters through for the more passionate bits. Distortion laden bass, blasted out drums and crashing cymbals put the cherry on the top!
Pull off Your Arms and let’s play in Your Blood
Beginning with a sample from some American TV programme, this number’s title is a warning of what is coming. Big drum rolls, vibrating bass and synth take you into the song.
The C and F words are key features too, along with the imaginative synth instrumental. My favourite bit is where things speed up and the band explode into the chorus with the line; Pull off your arms and let’s play in your blood!
More American TV at the beginning of Hoo Ha Henry has the desired irritating effect that I expect is intended!
Blips and beeps on synths and a busy baseline accompany MayKay’s vocals and things build up, with Lee’s performance on drums sensational. Lyrics are a little obscure and crazy, but I adore the little splashes between lines and the eventual onslaught of hammering beats and powerful instrumentals, finishing with a final lingering blast of sound.
Kathmandu (Face it, You’re Caviar, I’m Hotdogs)
My favourite track from the album, this has a delightful melody line, wonderful Cello performed by Joanna Quail and I truly enjoy MayKay’s delivery of the catchy chorus. When she’s not shouting abuse, she has a lovely voice. Keyboards are wonderful here too, with drums adding dramatic chops.
I find this piece delicious from start to finish. It must be the Tina Turners legs part of the CD!
Beginning with lovely guitar, followed by haunting notation on synth, Thank God you weren’t thirsty (Lightbulb) starts off pretty laid back. A rolling beat comes in and the dynamic increases, with a catchy whistling style riff presiding. I like the lyrics; My heart is all grey, please stay stay stay away from anyone’s heart or their brain. Would that be o.k.?
MayKay’s vocals go from calm to blasting and desperate as she sings out the dramatic middle eight. She goes calm for the last chorus, where everything winds down again.
Discords and blasted out instrumentals dominate the intro and chorus of Poached Eggs.
Drums are exciting throughout, baseline too and it tends to increase in dynamic, to decrease again. This is a feature of most of FLApes numbers. There isn’t any foul language in this number, but the lyrics should still come with an X Rated warning for the iffy innuendo!
A sweet introduction where a sample is used from Bert the Turtle takes you into Captain A-bomb. Lee Boylan does some exceptional drumming in this. I like the lyrics in this number and the melody line. I particularly love the bit where things speed up to a fast punky beat and the entire band perform the chorus. I enjoy the quirky synth throughout too and the constantly alternating mood.
Robotic style instrumentals dominate for Waking up with Robocop. Samples are used throughout that include ringing telephones and a variety of sounds. The verse is done as a monotonous one note melody line. Fluctuating rhythm and bass help the atmosphere in this song and Pockets performs quite a lot of the vocals, which is a nice change.
The lyrics of Indie Monster are hilarious, although wouldn’t be too popular with Indie lovers or fans of The View. The intro is elaborate and catchy. Drums are brilliant again; synth too in this fast moving anger induced number, which MayKay performs with conviction. One of the cynical lines is; You look like a hairstyle/ You look like a boy named Kyle. I guess these tantrums beat psychotherapy!
Z + H5 Together at last
Hooker victims politely remove the brains is only a sample of the weird lyrics in this number, where MayKay and Pockets sing a catchy and harmonious chorus. Trickling style Keys and guitar notation are quite simple, but catchy. Lots of distortion is used in the instrumentals during the chorus. Everything slows down and each line is more obscure than the previous one. Fresh meat’s gonna change your life, fresh meat’s gonna make things alright. This line is repeated in the chorus of this track. Go figure!
Ice Cream Apple Fuck
MayKay’s vocals are candy sweet as she pours out a string of abuse to some female enemy. Drum rolls and paradiddles add lots of drama to the chorus. The change of pace to a three four tempo is interesting, but a little similar to a track from The Mystery of the Golden Medallion. However, I enjoy the last belted out chorus that takes the CD to its fuzzy, electronic laden and well deserved end!
Although I really like some facets of this album, it certainly doesn’t hit me the way FLApes debut album did. They tend to avoid fixing something that’s not broken yet. Perhaps that’s a great thing, but the high point in it for me personally was when I could actually hear music arrangements that delight and something I’d want to hear again and again. One track did that for me and that was Kathmandu.
The instrumental brilliance of the band is undeniable and never fails to amaze me. Perhaps a bite of The body of Christ might not be a bad idea for whoever writes the lyrics. Cover art suits the title. A ripped picture of just the torso section of a statue at the top and a collage affect with a different picture of a pair of sexy legs at the bottom. You are treated to Holy Communion photographs of each band member, which I’m sure they enjoyed donating and only a few lines from tracks on the album. Lyrics would have been good, but then again perhaps they are unprintable!
The body of Christ and the Legs of Tina Turner
Angela Macari O’Looney (irishunsigned.com)
FLApes, fronted by Mary-Kate (MayKay) Gerraghty, can be broadly described as Alternative Rock. However, they are a hybrid which simply couldn’t be compared with anything or anyone else musically. Categorizing or putting them in a genre is impossible because they are a force to be reckoned with; A one off!
Other members of FLApes are Jamie Fox (Pockets)- Keys/Vocals, Tom Ryan-Bass and Lee Boylan-Drums/Vocals/Trumpet. Former Drummer Adrian Mullan left the band in 2010.
This act have an astounding history since their formation in ’06. This includes touring the U.K. with The Von Bondies, The Ting Tings, The Prodigy and Kasabian, nominations for Meteor and Choice music prizes, several TV and media appearances and the list goes on.
Debut album Fight Like Apes and the mystery of the Golden Medallion was a huge success and nominated for Irish Album of the Year in 2008. Earlier recordings include debut E.P. How am I supposed to kill you if you have all the guns and David Carradine is a bounty hunter whose robotic arm hates you crotch.
This album, released in 2010 not only has a controversial title, but contains rather hair raising lyrics in most songs. However, if you can rake through the many profanities, blood curdling descriptions and extreme attempts to embarrass or shock, there actually is quite impressive instrumental content lurking in there!
Come on, Let’s talk about our feelings
On the style of Jake Summers from their debut album, this number begins slowly, building up to an explosive wall of electronic sound. Refrains performed by the members of the band add appeal and the beat, synth riffs and MayKay’s unique portrayal of a love story gone wrong, are all key features. I like the bit at the end where the entire band sing out in unison; Please accept our sincerest apologies to Mom and Dad.
Jenny Kelly
Very punky, this fast number involves superb twin keyboards and an amazing elaborate synth solo that is the most outstanding feature. Drums perform some energetic stuff too and I really enjoy Tom’s baseline here. MayKay does that barbed, sweet but cynical vocal style that only she can use to get her point across. Yet here and there a heady rock vocal filters through for the more passionate bits. Distortion laden bass, blasted out drums and crashing cymbals put the cherry on the top!
Pull off Your Arms and let’s play in Your Blood
Beginning with a sample from some American TV programme, this number’s title is a warning of what is coming. Big drum rolls, vibrating bass and synth take you into the song.
The C and F words are key features too, along with the imaginative synth instrumental. My favourite bit is where things speed up and the band explode into the chorus with the line; Pull off your arms and let’s play in your blood!
More American TV at the beginning of Hoo Ha Henry has the desired irritating effect that I expect is intended!
Blips and beeps on synths and a busy baseline accompany MayKay’s vocals and things build up, with Lee’s performance on drums sensational. Lyrics are a little obscure and crazy, but I adore the little splashes between lines and the eventual onslaught of hammering beats and powerful instrumentals, finishing with a final lingering blast of sound.
Kathmandu (Face it, You’re Caviar, I’m Hotdogs)
My favourite track from the album, this has a delightful melody line, wonderful Cello performed by Joanna Quail and I truly enjoy MayKay’s delivery of the catchy chorus. When she’s not shouting abuse, she has a lovely voice. Keyboards are wonderful here too, with drums adding dramatic chops.
I find this piece delicious from start to finish. It must be the Tina Turners legs part of the CD!
Beginning with lovely guitar, followed by haunting notation on synth, Thank God you weren’t thirsty (Lightbulb) starts off pretty laid back. A rolling beat comes in and the dynamic increases, with a catchy whistling style riff presiding. I like the lyrics; My heart is all grey, please stay stay stay away from anyone’s heart or their brain. Would that be o.k.?
MayKay’s vocals go from calm to blasting and desperate as she sings out the dramatic middle eight. She goes calm for the last chorus, where everything winds down again.
Discords and blasted out instrumentals dominate the intro and chorus of Poached Eggs.
Drums are exciting throughout, baseline too and it tends to increase in dynamic, to decrease again. This is a feature of most of FLApes numbers. There isn’t any foul language in this number, but the lyrics should still come with an X Rated warning for the iffy innuendo!
A sweet introduction where a sample is used from Bert the Turtle takes you into Captain A-bomb. Lee Boylan does some exceptional drumming in this. I like the lyrics in this number and the melody line. I particularly love the bit where things speed up to a fast punky beat and the entire band perform the chorus. I enjoy the quirky synth throughout too and the constantly alternating mood.
Robotic style instrumentals dominate for Waking up with Robocop. Samples are used throughout that include ringing telephones and a variety of sounds. The verse is done as a monotonous one note melody line. Fluctuating rhythm and bass help the atmosphere in this song and Pockets performs quite a lot of the vocals, which is a nice change.
The lyrics of Indie Monster are hilarious, although wouldn’t be too popular with Indie lovers or fans of The View. The intro is elaborate and catchy. Drums are brilliant again; synth too in this fast moving anger induced number, which MayKay performs with conviction. One of the cynical lines is; You look like a hairstyle/ You look like a boy named Kyle. I guess these tantrums beat psychotherapy!
Z + H5 Together at last
Hooker victims politely remove the brains is only a sample of the weird lyrics in this number, where MayKay and Pockets sing a catchy and harmonious chorus. Trickling style Keys and guitar notation are quite simple, but catchy. Lots of distortion is used in the instrumentals during the chorus. Everything slows down and each line is more obscure than the previous one. Fresh meat’s gonna change your life, fresh meat’s gonna make things alright. This line is repeated in the chorus of this track. Go figure!
Ice Cream Apple Fuck
MayKay’s vocals are candy sweet as she pours out a string of abuse to some female enemy. Drum rolls and paradiddles add lots of drama to the chorus. The change of pace to a three four tempo is interesting, but a little similar to a track from The Mystery of the Golden Medallion. However, I enjoy the last belted out chorus that takes the CD to its fuzzy, electronic laden and well deserved end!
Although I really like some facets of this album, it certainly doesn’t hit me the way FLApes debut album did. They tend to avoid fixing something that’s not broken yet. Perhaps that’s a great thing, but the high point in it for me personally was when I could actually hear music arrangements that delight and something I’d want to hear again and again. One track did that for me and that was Kathmandu.
The instrumental brilliance of the band is undeniable and never fails to amaze me. Perhaps a bite of The body of Christ might not be a bad idea for whoever writes the lyrics. Cover art suits the title. A ripped picture of just the torso section of a statue at the top and a collage affect with a different picture of a pair of sexy legs at the bottom. You are treated to Holy Communion photographs of each band member, which I’m sure they enjoyed donating and only a few lines from tracks on the album. Lyrics would have been good, but then again perhaps they are unprintable!
Imelda May (also see irishunsigned.com)
Imelda May
Mayhem
Angela Macari O’Looney
Her distinctive coiffeur, shapely silhouette and above all her exceptional voice are Imelda May’s trademark.
The lady from Dublin’s liberties has put those Jazzy/Rockabilly sounds of yesteryear and the glamour of the 1940/50s and 60s into the hearts and minds of music lovers both young and old.
She uses acoustic piano, double bass and brass in her arrangements and resurrects the wonderful style of such singers as Patty Andrews and the Andrews sisters. But also she can suddenly become a seductive Patsy Cline, Crystal Gayle, or the Rockabilly Queen at the drop of a hat.
It’s this remarkable ability to cross music genres with ease that puts Imelda ahead of other female vocalists. She also performs bodhran and her influences include Billy Holiday, Elmore James, Elvis, Eddie Cochrane and Gene Vincent.
Along with her own captivating vocals, Imelda is surrounded by the Crème de la crème of musicians.
Her band are Darrel Higham-Guitars, Al Gare-Upright Bass/Guitars, Steve Rushton-Drums and Dave Priseman-Trumpet, Flugelhorn and Percussion.
Additional musicians on Mayhem include John Quinn-Fiddle, Stewart Johns-Steel Guitar, Olly Wilby-Clarinet and Andy Wood-Trombone.
Imelda’s singing career began with a band called Blue Harlem and with rock and roller Mike Sanchez.
Her debut album Love Tattoo caught the attention of Jools Holland back in 2008 and Imelda ended up touring with him and appeared on his Later show. She won Irish Female Artist of the Year in the 2009 Meteor awards. It’s not surprising that she’s among the final ten for this year’s Choice music awards!
Imelda has shared stages with Eric Clapton, Chuck Berry, David Gilmour, Sharon Shannon, Jeff Beck, Shane McGowan, Wanda Jackson, Paul Brady and Meatloaf. She toured Europe, the U.K and the U.S, which included a tour with singer Jamie Cullum.
This album is a fusion of her influences and showcases Imelda’s rockier side, with memorable melody lines and upbeat songs involving quality instrumentals.
Double bass features in the intro of Pulling the Rug and throughout. Beat has an exotic Rock’n’Roll feel to it. Acoustic guitars come in with superb rhythmic chords, followed by a sharp electric guitar riff that’s catchy and adds charm, with Imelda providing raunchy vocals.
Darrel's lead solo is elaborate. There’s a slow down for the choppy middle eight, then for the last explosive chorus harmonic vocals join in to lift the sound right up!
Psycho is performed with lots of yelps and screeches that add to the mood. Rangy electric guitar and a fantastic baseline feature here. Mad howls at the moon can be heard behind Imelda as she sings the chorus and lends extra scariness to this novelty number.
The title track Mayhem is a jitterbug with busy guitar throughout. An exciting riff at the intro continues for the whole number, with the adaptable Dave Priseman on brass also performing that memorable riff. This cleverly written song sticks in your mind. I love the guitar solo that has a good old fashioned Rock’n’Roll charm to it and of course Imelda’s stunning vocals that tell the age old story of a love affair gone stale;She said he didn’t mean a thing, so she threw her diamond ring out the window of a black cab in Camden. He couldn’t take it, what she did, so he threw a hissy fit and he took it out on anyone at random.
Bass is also wonderful and adds perfect jive type riffs for this chaotic and feel good piece.
Kentish town waltz
This is a gorgeous number with touching lyrics and a sweet melody line. The three four tempo and a hint of tambourine, along with Darrel’s wonderful trickling guitar lend to the beauty of this song.
Imelda tells the story with feeling and it’s a tale about real life, true love and survival through hard struggles; But we stuck with each other with all our might. We pulled it together and held on tight. And I’m glad for us; yeah I’m glad mo chroi. But it’s nothing to anyone ‘cept you and me.
For the second chorus Flugel comes in with a delicious riff. Darrel performs a divine solo on guitar.
This is a different Imelda May than the demur diva we’ve come to know. I enjoy how she lilts her voice and her comforting lullaby style. It’s yet another facet of this interesting jewel of talent and proves she can do absolutely anything she wants with her amazing voice, including telling a simple love story through music!
On this memorable track, violin is performed by John Quinn.
All for you
The sultry Diva returns for this song, as Imelda seduces her man with inviting lyrics and jazzy vocals to match; Every hook, every clip, every twitch of the zip. Yeah it’s all for you.
With a slinky beat and a gradual build up to a blasting chorus, where she roughens up her vocals to a commanding growl, you get the general impression that she’s not taking no for an answer!
I absolutely adore the band here. Guitar chords are exceptional; the brass section creates a sleazy sound with a wah wah style riff, with further brass coming in to boost the atmosphere. Darrel does a wonderful elaborate guitar solo, where he uses sliding notes for certain parts. It’s like each instrument becomes a seductive mistress in the hands of the musician. Even the drummer frames each phrase using strip tease rolls and cymbal and snare for that extra emphasis where required. Imelda finishes with a lingering ooh hoo!
The refrain style chorus is the most catchy feature of Eternity. This candy sweet number, with a pleasant touch of harmony throughout was written by Darrel Higham.
He performs some gorgeous riffs and hooks here and it also involves some busy bass. It somehow reminds me of American duo The Everly Brothers and their popular song Bye bye love!
Brass and guitar take you into Inside out with a twin riff. That riff is an important feature of this track which stars Andy Wood on Trombone. Priseman performs a superb trumpet solo. The subtle key change for the middle eight is wonderful and I have to laugh at one particular line; I love your arms and your laugh aloud charms, I love your wits and your wobbly bits.
For the last chorus Olly Wilby comes in with the liquorice stick and adds ragtime fun to the scene. It’s wonderful how things grow from the stroppin start, to the loud Smokey jazz club sound towards the end!
Old Sachmo wouldn’t be out of place in this number!
Proud and Humble is a choppy Soul/Gospel style number with poignant lyrics and Imelda uses a deep southern vocal, with her passionate delivery impeccable!
Bending double bass notation adds to the vibrancy of this hypnotic song. Percussion is superb and you hear Flugelhorn/Trumpet join in as the song moves along. Soon a profusion of instruments, including Imelda’s vocals are heard and everything winds down to a delicious finish with just vocals and rhythm.
Plucky guitars in Sneak Freak and echoic style reverb create an atmosphere of bobby socks, greased back hair and ice cream parlours. Bill Hailey and the Comets comes to mind as I hear Imelda and her band take me to yet another stop on the train ride through time!
Bury my troubles
This is the true Imelda May for me!
Slinky, seductive and provocative, this number involves awe inspiring brass, Darrel performing a fab guitar solo and rhythm and percussion beautifully adding the finishing touches of a masterpiece.
My favourite bit is at the end, where Dave plays a sombre death march on his trumpet/Flugel.
Too Tired is a sorrowful knell. It has amazing instrumentals in it and in particular the mournful trumpet/Flugel.
Steve Rushton on drums plays some really effective rolls, adding to the sense of finality reflected in Imelda’s pouring out of the lyrics. She makes sure you feel her blues right down to your toes!
I’m Alive
This song is outstanding and for me it’s the best track from this entire album!
It’s a sensational number with a Hawaiian feel to it and reminds me of Elvis Presley’s film Blue Hawaii. With the exotic melody line and rhythm, powerfully sweet trumpet riffs and Stewart Johnson’s steel guitar, along with Imelda’s intoxicating vocals as she sings the romantic words, you are transported to a sandy beach, an azure sky, girls with grass skirts and coco locos. Imelda seduces in a similar style to Wanda Jackson’s Rum and Coca Cola.
Where are my lei?!
After the soppy stuff and moodier songs, Imelda pulls you out of your blues and gets you up to boogie, when she performs Let me out, which is a stompin, upbeat number. It’s a real feel good Jive, with fantastic guitar and lots of twang!
Tainted Love is a jazzed up version of Soft Cell’s successful hit. Fast, with backing oohs that are harmonic, this exquisite performance by our fun loving gal oozes sparkle!
It’s just another example of how she can take a song, pummel it into shape and make it fit her as snugly as her pencil skirt!
Johnny got a Boom boom!
On this bonus track, we are treated to Imelda’s own percussion, as she plays bodhran. I doubt it’s what the inventors of this instrument had in mind, but it works!
Bass and guitar let loose and in turn answer each line of Imelda’s verse with a Boom boom and a Bam!
She personifies the double bass describing it as a woman, with Al or Johnny’s hand on her slim neck and his arm around her waist. The staccato notes are done in a creeping style that is very effective, building up to the blasts for the blasted out chorus.
I marvel at how Imelda May completely changes direction on this colourful album. It has a bright cover depicting her image painted with evocative red lips and long black eyelashes.
Her debut album Love Tattoo was for me a heady trip through time. But Mayhem is a little like opening a Lucky bag. It’s just full of surprises, as she and her band flit effortlessly through a different time tunnel, taking you down a new, but exciting track!
Mayhem
Angela Macari O’Looney
Her distinctive coiffeur, shapely silhouette and above all her exceptional voice are Imelda May’s trademark.
The lady from Dublin’s liberties has put those Jazzy/Rockabilly sounds of yesteryear and the glamour of the 1940/50s and 60s into the hearts and minds of music lovers both young and old.
She uses acoustic piano, double bass and brass in her arrangements and resurrects the wonderful style of such singers as Patty Andrews and the Andrews sisters. But also she can suddenly become a seductive Patsy Cline, Crystal Gayle, or the Rockabilly Queen at the drop of a hat.
It’s this remarkable ability to cross music genres with ease that puts Imelda ahead of other female vocalists. She also performs bodhran and her influences include Billy Holiday, Elmore James, Elvis, Eddie Cochrane and Gene Vincent.
Along with her own captivating vocals, Imelda is surrounded by the Crème de la crème of musicians.
Her band are Darrel Higham-Guitars, Al Gare-Upright Bass/Guitars, Steve Rushton-Drums and Dave Priseman-Trumpet, Flugelhorn and Percussion.
Additional musicians on Mayhem include John Quinn-Fiddle, Stewart Johns-Steel Guitar, Olly Wilby-Clarinet and Andy Wood-Trombone.
Imelda’s singing career began with a band called Blue Harlem and with rock and roller Mike Sanchez.
Her debut album Love Tattoo caught the attention of Jools Holland back in 2008 and Imelda ended up touring with him and appeared on his Later show. She won Irish Female Artist of the Year in the 2009 Meteor awards. It’s not surprising that she’s among the final ten for this year’s Choice music awards!
Imelda has shared stages with Eric Clapton, Chuck Berry, David Gilmour, Sharon Shannon, Jeff Beck, Shane McGowan, Wanda Jackson, Paul Brady and Meatloaf. She toured Europe, the U.K and the U.S, which included a tour with singer Jamie Cullum.
This album is a fusion of her influences and showcases Imelda’s rockier side, with memorable melody lines and upbeat songs involving quality instrumentals.
Double bass features in the intro of Pulling the Rug and throughout. Beat has an exotic Rock’n’Roll feel to it. Acoustic guitars come in with superb rhythmic chords, followed by a sharp electric guitar riff that’s catchy and adds charm, with Imelda providing raunchy vocals.
Darrel's lead solo is elaborate. There’s a slow down for the choppy middle eight, then for the last explosive chorus harmonic vocals join in to lift the sound right up!
Psycho is performed with lots of yelps and screeches that add to the mood. Rangy electric guitar and a fantastic baseline feature here. Mad howls at the moon can be heard behind Imelda as she sings the chorus and lends extra scariness to this novelty number.
The title track Mayhem is a jitterbug with busy guitar throughout. An exciting riff at the intro continues for the whole number, with the adaptable Dave Priseman on brass also performing that memorable riff. This cleverly written song sticks in your mind. I love the guitar solo that has a good old fashioned Rock’n’Roll charm to it and of course Imelda’s stunning vocals that tell the age old story of a love affair gone stale;She said he didn’t mean a thing, so she threw her diamond ring out the window of a black cab in Camden. He couldn’t take it, what she did, so he threw a hissy fit and he took it out on anyone at random.
Bass is also wonderful and adds perfect jive type riffs for this chaotic and feel good piece.
Kentish town waltz
This is a gorgeous number with touching lyrics and a sweet melody line. The three four tempo and a hint of tambourine, along with Darrel’s wonderful trickling guitar lend to the beauty of this song.
Imelda tells the story with feeling and it’s a tale about real life, true love and survival through hard struggles; But we stuck with each other with all our might. We pulled it together and held on tight. And I’m glad for us; yeah I’m glad mo chroi. But it’s nothing to anyone ‘cept you and me.
For the second chorus Flugel comes in with a delicious riff. Darrel performs a divine solo on guitar.
This is a different Imelda May than the demur diva we’ve come to know. I enjoy how she lilts her voice and her comforting lullaby style. It’s yet another facet of this interesting jewel of talent and proves she can do absolutely anything she wants with her amazing voice, including telling a simple love story through music!
On this memorable track, violin is performed by John Quinn.
All for you
The sultry Diva returns for this song, as Imelda seduces her man with inviting lyrics and jazzy vocals to match; Every hook, every clip, every twitch of the zip. Yeah it’s all for you.
With a slinky beat and a gradual build up to a blasting chorus, where she roughens up her vocals to a commanding growl, you get the general impression that she’s not taking no for an answer!
I absolutely adore the band here. Guitar chords are exceptional; the brass section creates a sleazy sound with a wah wah style riff, with further brass coming in to boost the atmosphere. Darrel does a wonderful elaborate guitar solo, where he uses sliding notes for certain parts. It’s like each instrument becomes a seductive mistress in the hands of the musician. Even the drummer frames each phrase using strip tease rolls and cymbal and snare for that extra emphasis where required. Imelda finishes with a lingering ooh hoo!
The refrain style chorus is the most catchy feature of Eternity. This candy sweet number, with a pleasant touch of harmony throughout was written by Darrel Higham.
He performs some gorgeous riffs and hooks here and it also involves some busy bass. It somehow reminds me of American duo The Everly Brothers and their popular song Bye bye love!
Brass and guitar take you into Inside out with a twin riff. That riff is an important feature of this track which stars Andy Wood on Trombone. Priseman performs a superb trumpet solo. The subtle key change for the middle eight is wonderful and I have to laugh at one particular line; I love your arms and your laugh aloud charms, I love your wits and your wobbly bits.
For the last chorus Olly Wilby comes in with the liquorice stick and adds ragtime fun to the scene. It’s wonderful how things grow from the stroppin start, to the loud Smokey jazz club sound towards the end!
Old Sachmo wouldn’t be out of place in this number!
Proud and Humble is a choppy Soul/Gospel style number with poignant lyrics and Imelda uses a deep southern vocal, with her passionate delivery impeccable!
Bending double bass notation adds to the vibrancy of this hypnotic song. Percussion is superb and you hear Flugelhorn/Trumpet join in as the song moves along. Soon a profusion of instruments, including Imelda’s vocals are heard and everything winds down to a delicious finish with just vocals and rhythm.
Plucky guitars in Sneak Freak and echoic style reverb create an atmosphere of bobby socks, greased back hair and ice cream parlours. Bill Hailey and the Comets comes to mind as I hear Imelda and her band take me to yet another stop on the train ride through time!
Bury my troubles
This is the true Imelda May for me!
Slinky, seductive and provocative, this number involves awe inspiring brass, Darrel performing a fab guitar solo and rhythm and percussion beautifully adding the finishing touches of a masterpiece.
My favourite bit is at the end, where Dave plays a sombre death march on his trumpet/Flugel.
Too Tired is a sorrowful knell. It has amazing instrumentals in it and in particular the mournful trumpet/Flugel.
Steve Rushton on drums plays some really effective rolls, adding to the sense of finality reflected in Imelda’s pouring out of the lyrics. She makes sure you feel her blues right down to your toes!
I’m Alive
This song is outstanding and for me it’s the best track from this entire album!
It’s a sensational number with a Hawaiian feel to it and reminds me of Elvis Presley’s film Blue Hawaii. With the exotic melody line and rhythm, powerfully sweet trumpet riffs and Stewart Johnson’s steel guitar, along with Imelda’s intoxicating vocals as she sings the romantic words, you are transported to a sandy beach, an azure sky, girls with grass skirts and coco locos. Imelda seduces in a similar style to Wanda Jackson’s Rum and Coca Cola.
Where are my lei?!
After the soppy stuff and moodier songs, Imelda pulls you out of your blues and gets you up to boogie, when she performs Let me out, which is a stompin, upbeat number. It’s a real feel good Jive, with fantastic guitar and lots of twang!
Tainted Love is a jazzed up version of Soft Cell’s successful hit. Fast, with backing oohs that are harmonic, this exquisite performance by our fun loving gal oozes sparkle!
It’s just another example of how she can take a song, pummel it into shape and make it fit her as snugly as her pencil skirt!
Johnny got a Boom boom!
On this bonus track, we are treated to Imelda’s own percussion, as she plays bodhran. I doubt it’s what the inventors of this instrument had in mind, but it works!
Bass and guitar let loose and in turn answer each line of Imelda’s verse with a Boom boom and a Bam!
She personifies the double bass describing it as a woman, with Al or Johnny’s hand on her slim neck and his arm around her waist. The staccato notes are done in a creeping style that is very effective, building up to the blasts for the blasted out chorus.
I marvel at how Imelda May completely changes direction on this colourful album. It has a bright cover depicting her image painted with evocative red lips and long black eyelashes.
Her debut album Love Tattoo was for me a heady trip through time. But Mayhem is a little like opening a Lucky bag. It’s just full of surprises, as she and her band flit effortlessly through a different time tunnel, taking you down a new, but exciting track!
Wednesday, March 2, 2011
The Rambleers debut CD review( also see irishunsigned.com)
The Rambleers
Roots
Angela Macari O’Looney
Dublin rock band The Rambleers are Steve McConnell-Guitar/Banjo, Peter Omelia-Lead Guitar, Ciaran Donnelly-Bass and Ray Nolan-Drums. On this album certain numbers were performed by original drummer Frank Kennedy. Ken Mooney from The Urges performs other tracks and there’s a very interesting story about how the band have gone through three drummers and have finally settled with Ray. Influences include The Stones, Hendrix, Bloomfield, Zeppelin, Black Crowes and James Gang.
Since forming in 2005, they have been writing and performing original material. The line up has gradually developed. Pete Omelia draws inspiration for his blues/rock style solos from his travels across the U.S.A., where he lived for some years.
Steve is the main songwriter and he has a charming and engaging vocal style.
With the addition of Donnelly who is involved in arrangements and whose baselines set the scene in each number, plus drummer Ray (Quiet) Nolan’s imaginative drums and percussion, The Rambleers have a unique and appealing sound.
This band has gigged extensively, boasting performances at the Mercantile Sunday Roast, Club Fear, Modern Times in Crawdaddy and the OiOi Get Down in O’Neill’s, Maynooth.
The Rambleers also performed original sets for three days at the Rory Gallagher fest in Ballyshannon, Co. Donegal in 2010.
Roots is due for release in April 2011 and is a collection of enjoyable numbers, some laid back, some upbeat and punchy. I plucked out my own favourites from the ten interesting tracks.
Roots
The intro to this song is slinky, with delectable lead guitar. The pace alters to a faster beat, with explosive drum rolls and paradiddles throughout the verse. Superb chord combinations throughout are impressive, as are backing vocals which are infused in just the right places behind Steve’s lead voice. Alternating rhythm, a scorching lead solo and Ciaran lending atmosphere with his baseline are key features in this excellent title track.
Pete and Steve perform delicious riffs where slider is used to add a twang!
Ebb and Flow
This is another number that changes pace throughout. It begins with trickling guitars and Steve singing a moody verse. Two guitars blend well with both complimenting one another for the first solo and bass barely there but framing the picture nicely.
Gradually building up to a rockin’ beat, this song totally comes alive by the time your into the chorus. Screaming lead and seductive slides up along the guitar frets are exciting. Instrumentals throughout are outstanding in this sleazy, one horse town type number which is well named.
Phoonthy Blues is a blues/rock number where lots of distortion is used in guitars. The intro involves a catchy alternating beat and sexy guitars. Creedance style riffs and twin slides up and down the frets are exhilarating to hear and Steve’s delivery perfect as he performs the moody vocals. It’s a hangdog number with lots of charm!
With an acoustic guitar intro to die for, Here and now is a delicious number. Witty lyrics and superb riffs lend to this song. Steve plays banjo, Ciaran does some wonderful bass and all the stops are pulled out as each musician lets loose. My favourite line in this track is Please do something to cover up them holes/ I know it don’t look pretty but it gets us down the road.
New Years Day
With a gorgeous intro involving a twangy guitar and soulful harmonica, this number is haunting and very appealing. Banjo adds to the atmosphere and backing vocals perform sweet oohs. Acoustic guitar chords provide rhythm during the first verse.
Percussion comes in for the second verse and the gradual build up of sound is very effective, with instruments joining with every new verse. This is my favourite number on the album.
Dirty Blue
What I adore about this number is the way the rest of the band echo Steve’s words with each line of the verse. Percussion is brilliant throughout and the choppy rhythm alluring. Lead guitar is yet again amazing, with plucked notes and wonderful chords extremely effective. Steve’s vocals excel here too, as he sings the blues, backed by catchy lead riffs that continue all the way through. I find this number extremely seductive!
Performed in a train station, with all the noises associated with a busy morning as commuters pass the busker, Buskin Blues is just that. I lay my hat down but not a soul about.
Harmonica is a perfect addition in this and backing vocals are excellent also.
Omelia lets loose doing a fab guitar solo, baseline strutting its stuff too. Acoustic guitar for the verse is trickling and I like how it returns to just the acoustic before the last blasted out chorus. Harmonica and electric guitars do this amazing passing train effect that I love here. There seems to be loads going on from beginning to end.
The chorus and elaborate guitars in Backyard Blues are the highlight. Twin riffs are delectable in this number, with lead elaborate and Ciaran’s baseline busy. This foot stomping song changes pace later on, speeding up to a fast rock beat. It chops and changes constantly and guitars seduce with bending riffs and ball breaking solos never ending. I’d say it is one amazing song to watch live!
Sway is the last song on The Rambleers debut album. It’s a lovely finale, with a rolling beat, elaborate notation on acoustic guitar and brushes used on drums to give it a sense of movement.
A feature of this band’s music is the way they tend to alter the tempo during each number. This is no exception and for this they choose a three four tempo which I absolutely adore. Electric guitar chords and trickling notation are wonderful. It would definitely be a song for swaying to.
As a bonus track, the boys do an additional instrumental involving more scintillating guitars. Pete Omelia has a style I could listen to forever and I enjoy this last blow out that the lads perform to wind down a very entertaining CD.
The true stars of this show are the wonderful instruments, although Steve McConnell’s bluesy vocals are essentially at the forefront in each number. So its not too surprising that the band chose to depict the tools of their trade on the front cover of the album. Also in the picture is a comfortable looking leather armchair, which seems to be inviting the listener to sit down, take the load off and enjoy some blissful blues!
Roots
Angela Macari O’Looney
Dublin rock band The Rambleers are Steve McConnell-Guitar/Banjo, Peter Omelia-Lead Guitar, Ciaran Donnelly-Bass and Ray Nolan-Drums. On this album certain numbers were performed by original drummer Frank Kennedy. Ken Mooney from The Urges performs other tracks and there’s a very interesting story about how the band have gone through three drummers and have finally settled with Ray. Influences include The Stones, Hendrix, Bloomfield, Zeppelin, Black Crowes and James Gang.
Since forming in 2005, they have been writing and performing original material. The line up has gradually developed. Pete Omelia draws inspiration for his blues/rock style solos from his travels across the U.S.A., where he lived for some years.
Steve is the main songwriter and he has a charming and engaging vocal style.
With the addition of Donnelly who is involved in arrangements and whose baselines set the scene in each number, plus drummer Ray (Quiet) Nolan’s imaginative drums and percussion, The Rambleers have a unique and appealing sound.
This band has gigged extensively, boasting performances at the Mercantile Sunday Roast, Club Fear, Modern Times in Crawdaddy and the OiOi Get Down in O’Neill’s, Maynooth.
The Rambleers also performed original sets for three days at the Rory Gallagher fest in Ballyshannon, Co. Donegal in 2010.
Roots is due for release in April 2011 and is a collection of enjoyable numbers, some laid back, some upbeat and punchy. I plucked out my own favourites from the ten interesting tracks.
Roots
The intro to this song is slinky, with delectable lead guitar. The pace alters to a faster beat, with explosive drum rolls and paradiddles throughout the verse. Superb chord combinations throughout are impressive, as are backing vocals which are infused in just the right places behind Steve’s lead voice. Alternating rhythm, a scorching lead solo and Ciaran lending atmosphere with his baseline are key features in this excellent title track.
Pete and Steve perform delicious riffs where slider is used to add a twang!
Ebb and Flow
This is another number that changes pace throughout. It begins with trickling guitars and Steve singing a moody verse. Two guitars blend well with both complimenting one another for the first solo and bass barely there but framing the picture nicely.
Gradually building up to a rockin’ beat, this song totally comes alive by the time your into the chorus. Screaming lead and seductive slides up along the guitar frets are exciting. Instrumentals throughout are outstanding in this sleazy, one horse town type number which is well named.
Phoonthy Blues is a blues/rock number where lots of distortion is used in guitars. The intro involves a catchy alternating beat and sexy guitars. Creedance style riffs and twin slides up and down the frets are exhilarating to hear and Steve’s delivery perfect as he performs the moody vocals. It’s a hangdog number with lots of charm!
With an acoustic guitar intro to die for, Here and now is a delicious number. Witty lyrics and superb riffs lend to this song. Steve plays banjo, Ciaran does some wonderful bass and all the stops are pulled out as each musician lets loose. My favourite line in this track is Please do something to cover up them holes/ I know it don’t look pretty but it gets us down the road.
New Years Day
With a gorgeous intro involving a twangy guitar and soulful harmonica, this number is haunting and very appealing. Banjo adds to the atmosphere and backing vocals perform sweet oohs. Acoustic guitar chords provide rhythm during the first verse.
Percussion comes in for the second verse and the gradual build up of sound is very effective, with instruments joining with every new verse. This is my favourite number on the album.
Dirty Blue
What I adore about this number is the way the rest of the band echo Steve’s words with each line of the verse. Percussion is brilliant throughout and the choppy rhythm alluring. Lead guitar is yet again amazing, with plucked notes and wonderful chords extremely effective. Steve’s vocals excel here too, as he sings the blues, backed by catchy lead riffs that continue all the way through. I find this number extremely seductive!
Performed in a train station, with all the noises associated with a busy morning as commuters pass the busker, Buskin Blues is just that. I lay my hat down but not a soul about.
Harmonica is a perfect addition in this and backing vocals are excellent also.
Omelia lets loose doing a fab guitar solo, baseline strutting its stuff too. Acoustic guitar for the verse is trickling and I like how it returns to just the acoustic before the last blasted out chorus. Harmonica and electric guitars do this amazing passing train effect that I love here. There seems to be loads going on from beginning to end.
The chorus and elaborate guitars in Backyard Blues are the highlight. Twin riffs are delectable in this number, with lead elaborate and Ciaran’s baseline busy. This foot stomping song changes pace later on, speeding up to a fast rock beat. It chops and changes constantly and guitars seduce with bending riffs and ball breaking solos never ending. I’d say it is one amazing song to watch live!
Sway is the last song on The Rambleers debut album. It’s a lovely finale, with a rolling beat, elaborate notation on acoustic guitar and brushes used on drums to give it a sense of movement.
A feature of this band’s music is the way they tend to alter the tempo during each number. This is no exception and for this they choose a three four tempo which I absolutely adore. Electric guitar chords and trickling notation are wonderful. It would definitely be a song for swaying to.
As a bonus track, the boys do an additional instrumental involving more scintillating guitars. Pete Omelia has a style I could listen to forever and I enjoy this last blow out that the lads perform to wind down a very entertaining CD.
The true stars of this show are the wonderful instruments, although Steve McConnell’s bluesy vocals are essentially at the forefront in each number. So its not too surprising that the band chose to depict the tools of their trade on the front cover of the album. Also in the picture is a comfortable looking leather armchair, which seems to be inviting the listener to sit down, take the load off and enjoy some blissful blues!
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