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.
Saturday, March 26, 2011
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!
Wednesday, February 16, 2011
Blues For Django (review also on irishunsigned.com)
Eugene Macari
Blues for Django
Angela Macari O’Looney
A veteran musician with a penchant for jazz, Eugene Macari performs favourites from his extensive repertoire on this lovely CD, which is named after a master guitarist Django Reinhardt.
Produced by Jim Doherty, it was recorded over a period of days with Eugene performing on a variety of instruments including Double Bass on certain tracks. It’s a relaxed and extremely stimulating collection of standards, with a few easily recognisable classics thrown into the mix.
Eugene’s pedigree as a former professional musician is diamond standard, with a star studded list of accomplishments to his name. He has done it all where live appearances are concerned.
Red Hurley, Dickie Rock, Tony Kenny are among the list of people he played for. But that’s only national stars!
International stars include such names as Shirley Bassey, Rebecca Storm and Matt Munroe. Bands he previously played with include The Jim Farley Band, Earl Gill’s band, Bebop Gold, The Gaiety Orchestra and The National Concert Orchestra.
Eugene was also a regular sight on R.T.E. Late Late Show during Gay Byrne’s reign and also on The Proms. He often found himself performing background music for the film industry too, and his guitar prowess can be heard on many well known Themes.
Not a bad profile for a guy who drives a Dublin Taxi!
After his few years away from the music scene, Eugene dreams of returning to his True calling, but hasn’t yet decided at what level. However, if you sat with a glass of wine and just let yourself be indulged with Blues for Django, you’d never be able to say you don’t like jazz again.
Blues for Django Acoustic
This number is a slinky piece with a divine melody line and involves lots of variation, which Eugene addresses with the flair and flamboyance of the expert Jazz Guitarist. Its three and a half minutes of pure pleasure.
That’s all
A slow, melancholic song, this would bring a tear to a stone it is so sweet. It’s a number that simply beckons the musician to play it with reverence. Chords in it are wonderful and for the first verse and chorus, Eugene plays the melody through. Then he begins the jazzier second phase of the song, where he caresses each note and bar with just the right amount of elaborate riffs to make it tantalizing.
Eugene performs a second version of the title song from this album on his Byrdland guitar. This instrument is a dear friend to him and when you hear this track you understand why it’s his favourite.
Blues for Django has a very haunting but beautiful melody line and as Eugene bends notes and glides his fingers, effortlessly performing the elaborate fretwork, he expresses his love for both jazz and his Byrdland!
Secret Love
This is where the Double Bass comes in!
A soft drumbeat with brushes lends to the atmosphere of this upbeat cover. It’s a much loved song from the musical Calamity Jane and Eugene ensures that you hear the familiar notes before performing the jazzed up second phase. However, he gives it the Macari treatment later on, where he adds superb improvisation with mind blowing chords and lead combined!
The Way You Look Tonight is one of the most romantic love songs of all time. When you hear it being sung to you by a deliciously seductive guitar, it’s a million times more romantic!
As in each track on his album, Eugene performs the number in its entirety first, before putting his elaborate slant onto it. Yet he’s able to do this sensitively enough to allow his music to be accessible to people less familiar with contemporary jazz. This would be for me, what sets him apart from some of the musicians one might hear playing jazz.
One of my favourites on this CD, Jersey Bounce is a number that would have been played by big bands such as Benny Goodman’s. Eugene can turn it into an ideal piece for his Byrdland. He and his guitar take you to heaven and back, as he adds those unique flourishes to it and seduces the listener throughout with jazzy riffs and chords that are undeniably special!
Nuages which is one of Django’s most popular compositions, has an exotic melody line and involves slinky chords, accompanying delectable notation, as Eugene bends notes here and there and performs twists and turns that are unforgettable. It inspires thoughts of Hawaiian beaches and orange sunsets. He returns to the haunting chorus, reminding you of how beautiful this composition is and fades with a few jazzier bars.
This Song is you
Fast, with a superb key change, outstanding chord combinations and stunning improvisation, this number is a Feel good journey from beginning to end!
Stardust
The intro to this is unbelievably beautiful and when you hear the chorus, you say ‘Oh yes, I know this one’.
Performed by many singers and played by almost all of the big bands, this standard never loses its charm. However there’s certain tranquillity about this version with just a guitar featuring, allowing the pretty melody to be the focal point. A flawless touch of improvisation adds to this and Eugene once again makes a gorgeous classic his own.
Stevie Wonder’s Isn’t She Lovely is a cheerful number and I find it really refreshing when performed as an instrumental. Choppy chords and a hint of jazz here and there give it a bit of extra oomph.
Autumn Leaves
Rich and memorable, this would have been sung by Nat King Cole and a number of legendary singers. Autumn Leaves is an extraordinary number that has some dramatic chord combinations. In this version, Eugene changes octaves during the chorus, lending a little more dynamic. Fingers fly across the guitar frets and stylish flourishes are injected, while chords set the lively, slinky pace!
Moonlight in Vermont
This number is quite popular with lovers of jazz and it must be one of the finest compositions ever written. Performed with soft drums in the background, Double bass infused to add depth and the subtle key change that lifts this piece completely, are key features. Chords are gently strummed and elaborate improvisation makes this lovely number even more irresistible.
In the wee small hours of the morning would have been one from Sinatra’s repertoire. A lovely choice for a slower number, this is a soulful and beautiful love song. Eugene’s guitar pours out each note with velvety smoothness and his imaginative rendition here is touching.
Where or when is a standard that would for me bring back memories of famous female Jazz singers such as Lena Horne and Peggy Lee and was also recorded by Old Blue eyes. This jaunty Rodgers and Hart composition from the film Babes in Arms is played here with artistic twists here and there and sweet slides or bends where necessary to flavour it. Eugene plays double bass too, which gives it fullness.
Stardust is performed on Eugene’s Martin as a finale to his one man show. And somehow it fits just right, especially if you enjoyed hearing it the first time round. I would imagine that only a true musician or guitar lover could empathise with this philosophy, but it being one of the most well known and well liked Jazz standards makes it the perfect encore!
To sample any of these inspiring instrumentals, visit Eugene’s My Space page and prepare for a soothing and unforgettable experience!
Blues for Django
Angela Macari O’Looney
A veteran musician with a penchant for jazz, Eugene Macari performs favourites from his extensive repertoire on this lovely CD, which is named after a master guitarist Django Reinhardt.
Produced by Jim Doherty, it was recorded over a period of days with Eugene performing on a variety of instruments including Double Bass on certain tracks. It’s a relaxed and extremely stimulating collection of standards, with a few easily recognisable classics thrown into the mix.
Eugene’s pedigree as a former professional musician is diamond standard, with a star studded list of accomplishments to his name. He has done it all where live appearances are concerned.
Red Hurley, Dickie Rock, Tony Kenny are among the list of people he played for. But that’s only national stars!
International stars include such names as Shirley Bassey, Rebecca Storm and Matt Munroe. Bands he previously played with include The Jim Farley Band, Earl Gill’s band, Bebop Gold, The Gaiety Orchestra and The National Concert Orchestra.
Eugene was also a regular sight on R.T.E. Late Late Show during Gay Byrne’s reign and also on The Proms. He often found himself performing background music for the film industry too, and his guitar prowess can be heard on many well known Themes.
Not a bad profile for a guy who drives a Dublin Taxi!
After his few years away from the music scene, Eugene dreams of returning to his True calling, but hasn’t yet decided at what level. However, if you sat with a glass of wine and just let yourself be indulged with Blues for Django, you’d never be able to say you don’t like jazz again.
Blues for Django Acoustic
This number is a slinky piece with a divine melody line and involves lots of variation, which Eugene addresses with the flair and flamboyance of the expert Jazz Guitarist. Its three and a half minutes of pure pleasure.
That’s all
A slow, melancholic song, this would bring a tear to a stone it is so sweet. It’s a number that simply beckons the musician to play it with reverence. Chords in it are wonderful and for the first verse and chorus, Eugene plays the melody through. Then he begins the jazzier second phase of the song, where he caresses each note and bar with just the right amount of elaborate riffs to make it tantalizing.
Eugene performs a second version of the title song from this album on his Byrdland guitar. This instrument is a dear friend to him and when you hear this track you understand why it’s his favourite.
Blues for Django has a very haunting but beautiful melody line and as Eugene bends notes and glides his fingers, effortlessly performing the elaborate fretwork, he expresses his love for both jazz and his Byrdland!
Secret Love
This is where the Double Bass comes in!
A soft drumbeat with brushes lends to the atmosphere of this upbeat cover. It’s a much loved song from the musical Calamity Jane and Eugene ensures that you hear the familiar notes before performing the jazzed up second phase. However, he gives it the Macari treatment later on, where he adds superb improvisation with mind blowing chords and lead combined!
The Way You Look Tonight is one of the most romantic love songs of all time. When you hear it being sung to you by a deliciously seductive guitar, it’s a million times more romantic!
As in each track on his album, Eugene performs the number in its entirety first, before putting his elaborate slant onto it. Yet he’s able to do this sensitively enough to allow his music to be accessible to people less familiar with contemporary jazz. This would be for me, what sets him apart from some of the musicians one might hear playing jazz.
One of my favourites on this CD, Jersey Bounce is a number that would have been played by big bands such as Benny Goodman’s. Eugene can turn it into an ideal piece for his Byrdland. He and his guitar take you to heaven and back, as he adds those unique flourishes to it and seduces the listener throughout with jazzy riffs and chords that are undeniably special!
Nuages which is one of Django’s most popular compositions, has an exotic melody line and involves slinky chords, accompanying delectable notation, as Eugene bends notes here and there and performs twists and turns that are unforgettable. It inspires thoughts of Hawaiian beaches and orange sunsets. He returns to the haunting chorus, reminding you of how beautiful this composition is and fades with a few jazzier bars.
This Song is you
Fast, with a superb key change, outstanding chord combinations and stunning improvisation, this number is a Feel good journey from beginning to end!
Stardust
The intro to this is unbelievably beautiful and when you hear the chorus, you say ‘Oh yes, I know this one’.
Performed by many singers and played by almost all of the big bands, this standard never loses its charm. However there’s certain tranquillity about this version with just a guitar featuring, allowing the pretty melody to be the focal point. A flawless touch of improvisation adds to this and Eugene once again makes a gorgeous classic his own.
Stevie Wonder’s Isn’t She Lovely is a cheerful number and I find it really refreshing when performed as an instrumental. Choppy chords and a hint of jazz here and there give it a bit of extra oomph.
Autumn Leaves
Rich and memorable, this would have been sung by Nat King Cole and a number of legendary singers. Autumn Leaves is an extraordinary number that has some dramatic chord combinations. In this version, Eugene changes octaves during the chorus, lending a little more dynamic. Fingers fly across the guitar frets and stylish flourishes are injected, while chords set the lively, slinky pace!
Moonlight in Vermont
This number is quite popular with lovers of jazz and it must be one of the finest compositions ever written. Performed with soft drums in the background, Double bass infused to add depth and the subtle key change that lifts this piece completely, are key features. Chords are gently strummed and elaborate improvisation makes this lovely number even more irresistible.
In the wee small hours of the morning would have been one from Sinatra’s repertoire. A lovely choice for a slower number, this is a soulful and beautiful love song. Eugene’s guitar pours out each note with velvety smoothness and his imaginative rendition here is touching.
Where or when is a standard that would for me bring back memories of famous female Jazz singers such as Lena Horne and Peggy Lee and was also recorded by Old Blue eyes. This jaunty Rodgers and Hart composition from the film Babes in Arms is played here with artistic twists here and there and sweet slides or bends where necessary to flavour it. Eugene plays double bass too, which gives it fullness.
Stardust is performed on Eugene’s Martin as a finale to his one man show. And somehow it fits just right, especially if you enjoyed hearing it the first time round. I would imagine that only a true musician or guitar lover could empathise with this philosophy, but it being one of the most well known and well liked Jazz standards makes it the perfect encore!
To sample any of these inspiring instrumentals, visit Eugene’s My Space page and prepare for a soothing and unforgettable experience!
Tuesday, February 1, 2011
Xeosun gig review (also see irishunsigned.com)
Xerosun/ D.N.A./Zero Tolerance/Censura
Fibber Magees
22/01/11
Angela Macari O’Looney
Xerosun are a four piece Dublin based metal band, who recently released their debut album Absence of Light.
Members are Fiachra-Rhythm guitars/Programming, Ives-O’Sullivan- Vocals/Bass, Darrin Bell-Drums/Percussion and Gareth Jeffs-Lead guitars/Programming. They have an original sound that could only be appreciated by true heavy rock lovers, who enjoy indulging their darker side occasionally.
Once drawn in by their passionately performed music, you find yourself returning for another taste, and another and another!
This wasn’t my first time in Fibbers, but it was my first live gig there.
The first band up were very young, but seemed to have brought quite a following with them.
Zero Tolerance
Members of Zero Tolerance are Macker McDonagh, David Fitzsimons, Louis Maher and Dylan Scully. Hailing from Celbridge, they produce a good sound, are confidant, polished and very entertaining.
They began with a grunged up version of Whiskey in the Jar. This involved guitars performing with the use of lots of distortion. Lead in particular was brilliant. I thought this number a great choice to open up with. This rocked up version was made popular by Metallica and this young band definitely did it justice here.
They continued their set with The Dawning, where Dave did yet more outstanding lead. Amazing riffs throughout were played by all three guitars in synch and flanger was used for the scorching solo. Lead vocals were excellent here and I found each instrument impressive, blending well together.
They went on to perform Slither, a Velvet Revolver cover which involved a fab riff intro and an exceptional lead solo. The crowd sang along with the chorus and was getting into full party mode now.
C.O.D. , Out to get you and Empty and Hollow were the remaining songs in this set. Each inspired lots of air guitar playing and head banging and with cool chord combinations and a great beat to each number, the lads got the show off to a great start.
Dedicated Noise Addiction (DNA)
D.N.A. are a band who lean towards the old style school of Rock. Their influences such as Zeppelin, Guns ‘n’ Roses and AC/DC feature in their music. They are an act who truly live to play and are totally unforgettable after you’ve witnessed them.
From Dublin, they are Davy Burns- Vocals, Gaz O’Keeffe-Guitar/Vocals, Paul Walker-Guitar/Vocals, Ken Seery-Bass/Vocals and Glenn Tyler-Drums/Percussion. For this gig they had a guest drummer Billy O’Neill.
Opening up with a rocked up cover of Soft Cell’s Tainted Love, Davy was hyper as he sported a crazy looking red mop-style wig. He oozed charisma, but seduced the crowd with his sensational vocals. Grunged up riffs, distortion laden guitars throughout and a manic beat gave this song a whole new meaning!
Deprived was next. This has a fab lead intro, with a powerful baseline featuring. Guitars are amazing and backing vocals do a refrain for the chorus. Packed with NRG it inspired serious head banging from many punters. Davy just let loose here!
One of a kind is reminiscent of AC/DC with a dramatic baseline, screaming lead and Davy using voice distortion to wake up the eardrums of his audience a bit more.
For Liquid Silver guitars perform complex riffs. Bassist Ken shines here and I loved his input into everything including backing vocals and harmony.
Drunk Double has a seductive melody line, with out of this world riffs throughout.
The Drake Escape is a rocking number about an escaped duck. It involves backing vocals in the chorus and has a really memorable melody line. This number was definitely my favorite for the crazy chorus. Davy’s vocals really shone here. Loved this one and it seemed that with each number this five piece just got better and better.
They performed a few more original numbers, all vibrant and with a lot of serious guitar throughout, finishing with a Foo Fighters cover All my life.
The entire set was superb from beginning to end, with first class everything and Davy’s powerful delivery of each song hard to resist.
Dave from Zero Tolerance had his head shaved during an interval at this point of the gig. His sacrifice was in aid of Suicide Awareness and he raised some money for this worthwhile cause. From flowing blonde locks to skinhead, it was a brave and selfless act and reminded me a little of the story of Samson and Delilah. I just hope his brilliant guitar playing doesn’t disappear like Samson’s strength.
Censura
I woudn’t describe the lead vocalist in this next act as a singer, but more of a raging bull!
They hail from Limerick and are a metal band that don’t exactly tantalize my musical tastebuds. Guitars are pretty stylish, but I found the vocalist just way too O.T.T for me.
Younger members of the audience seemed to be really enjoying them however, so maybe it’s an acquired taste. They definitely put a lot of energy into their performance and some interesting guitar bits filtered through here and there. Personally I’d prefer some music in the vocals as opposed to all that screaming!
Xerosun
The moment of truth had arrived and the band I was here to see arrived onstage. The intro to the first number was blasted out and was instantly recognized by the crowd.
Cut me down has machine gun style rhythm guitar throughout. Fab chord combinations and dramatically dark notation vibrate and resound, while Darrin’s drums bash out the rocking beat. I particularly enjoyed the way it comes to a semi stop,
to explode into life again.
Ivan’s gravelly delivery is unbelievably powerful and the rest of the lads sing out the chorus as do the audience.
Guitarist Gareth performed superb lead in the second number In my mind.
Tragic sounding chords and a busy beat with lots of cymbal, snare and drumrolls are key features, plus distortion packed bass and programming that lends fantastic atmosphere. Ivan’s vocals are passionate in this one and at one point things go quiet. Then he belts out the pulsating chorus again.
Broken which is my favorite song from the Absence of Light album was next. The grunge soaked intro with distortion all over the place, a powerful riff and a totally memorable chorus are what makes this number so special. Everyone sang out with Ivan. Guitars are revved up to blow you away, while sensational lead and superb programming add atmosphere.
Transparent Fantasy involves a trickling guitar intro and a tame verse. Things become more explosive for the chorus in this slower, yet vibrant song. Ivan proves his vocal ability as he adapts from the softer soulful verse, to become gritty for the punchy chorus.
All for Nothing This song is brilliant for audience participation. Everyone is encouraged to shout out the lines of the chorus; Hate, you wait, you’ve got to decide for me. This number has a distortion laden riff that’s out of this world and Ives baseline and Darrin’s bashing drums are very effective here too. Love this number!
Gareth performed elaborate lead guitar in 30 Seconds. Vocals were excellent here. It’s a moody number, with dark, dramatic chords and a haunting melody line.
Long way Down begins with a wonderful baseline, joined by heavy guitar notes and rhythm. Chorus is excellent in this number, with dynamic splashes of guitar filtered through. Sound effects are magnificent.
Backing vocals are sung behind Ives. It’s a powerful number and even more so live.
Silent Call was performed to the same superior standard, with Ives able to yell out the grungier parts and alter his voice at will, to become clearer and melodic. This to me is the difference between noise and true music.
The lads finished their set with Enjoy the silence, which is a cover. Gareth plays a lead intro that’s pure poetry in motion. This number was absolutely perfect and showcased each member of the band’s musicianship to great advantage. A big rolling finish brought the show to a close.
I didn’t move from the spot, because I was certain they would get an encore and I was right. Even though it was way past the bewitching hour for me, I could have stayed their listening to Xerosun all night. I even got myself a T-Shirt and am now officially a fan.
They did Motorhead’s Ace of Spades, which lifted the roof, followed by Sense of Life and Heartfalls. I give them full marks for stamina. A band that produces such a powerful and memorable sound are what sorts out the men from the boys!
Fibber Magees
22/01/11
Angela Macari O’Looney
Xerosun are a four piece Dublin based metal band, who recently released their debut album Absence of Light.
Members are Fiachra-Rhythm guitars/Programming, Ives-O’Sullivan- Vocals/Bass, Darrin Bell-Drums/Percussion and Gareth Jeffs-Lead guitars/Programming. They have an original sound that could only be appreciated by true heavy rock lovers, who enjoy indulging their darker side occasionally.
Once drawn in by their passionately performed music, you find yourself returning for another taste, and another and another!
This wasn’t my first time in Fibbers, but it was my first live gig there.
The first band up were very young, but seemed to have brought quite a following with them.
Zero Tolerance
Members of Zero Tolerance are Macker McDonagh, David Fitzsimons, Louis Maher and Dylan Scully. Hailing from Celbridge, they produce a good sound, are confidant, polished and very entertaining.
They began with a grunged up version of Whiskey in the Jar. This involved guitars performing with the use of lots of distortion. Lead in particular was brilliant. I thought this number a great choice to open up with. This rocked up version was made popular by Metallica and this young band definitely did it justice here.
They continued their set with The Dawning, where Dave did yet more outstanding lead. Amazing riffs throughout were played by all three guitars in synch and flanger was used for the scorching solo. Lead vocals were excellent here and I found each instrument impressive, blending well together.
They went on to perform Slither, a Velvet Revolver cover which involved a fab riff intro and an exceptional lead solo. The crowd sang along with the chorus and was getting into full party mode now.
C.O.D. , Out to get you and Empty and Hollow were the remaining songs in this set. Each inspired lots of air guitar playing and head banging and with cool chord combinations and a great beat to each number, the lads got the show off to a great start.
Dedicated Noise Addiction (DNA)
D.N.A. are a band who lean towards the old style school of Rock. Their influences such as Zeppelin, Guns ‘n’ Roses and AC/DC feature in their music. They are an act who truly live to play and are totally unforgettable after you’ve witnessed them.
From Dublin, they are Davy Burns- Vocals, Gaz O’Keeffe-Guitar/Vocals, Paul Walker-Guitar/Vocals, Ken Seery-Bass/Vocals and Glenn Tyler-Drums/Percussion. For this gig they had a guest drummer Billy O’Neill.
Opening up with a rocked up cover of Soft Cell’s Tainted Love, Davy was hyper as he sported a crazy looking red mop-style wig. He oozed charisma, but seduced the crowd with his sensational vocals. Grunged up riffs, distortion laden guitars throughout and a manic beat gave this song a whole new meaning!
Deprived was next. This has a fab lead intro, with a powerful baseline featuring. Guitars are amazing and backing vocals do a refrain for the chorus. Packed with NRG it inspired serious head banging from many punters. Davy just let loose here!
One of a kind is reminiscent of AC/DC with a dramatic baseline, screaming lead and Davy using voice distortion to wake up the eardrums of his audience a bit more.
For Liquid Silver guitars perform complex riffs. Bassist Ken shines here and I loved his input into everything including backing vocals and harmony.
Drunk Double has a seductive melody line, with out of this world riffs throughout.
The Drake Escape is a rocking number about an escaped duck. It involves backing vocals in the chorus and has a really memorable melody line. This number was definitely my favorite for the crazy chorus. Davy’s vocals really shone here. Loved this one and it seemed that with each number this five piece just got better and better.
They performed a few more original numbers, all vibrant and with a lot of serious guitar throughout, finishing with a Foo Fighters cover All my life.
The entire set was superb from beginning to end, with first class everything and Davy’s powerful delivery of each song hard to resist.
Dave from Zero Tolerance had his head shaved during an interval at this point of the gig. His sacrifice was in aid of Suicide Awareness and he raised some money for this worthwhile cause. From flowing blonde locks to skinhead, it was a brave and selfless act and reminded me a little of the story of Samson and Delilah. I just hope his brilliant guitar playing doesn’t disappear like Samson’s strength.
Censura
I woudn’t describe the lead vocalist in this next act as a singer, but more of a raging bull!
They hail from Limerick and are a metal band that don’t exactly tantalize my musical tastebuds. Guitars are pretty stylish, but I found the vocalist just way too O.T.T for me.
Younger members of the audience seemed to be really enjoying them however, so maybe it’s an acquired taste. They definitely put a lot of energy into their performance and some interesting guitar bits filtered through here and there. Personally I’d prefer some music in the vocals as opposed to all that screaming!
Xerosun
The moment of truth had arrived and the band I was here to see arrived onstage. The intro to the first number was blasted out and was instantly recognized by the crowd.
Cut me down has machine gun style rhythm guitar throughout. Fab chord combinations and dramatically dark notation vibrate and resound, while Darrin’s drums bash out the rocking beat. I particularly enjoyed the way it comes to a semi stop,
to explode into life again.
Ivan’s gravelly delivery is unbelievably powerful and the rest of the lads sing out the chorus as do the audience.
Guitarist Gareth performed superb lead in the second number In my mind.
Tragic sounding chords and a busy beat with lots of cymbal, snare and drumrolls are key features, plus distortion packed bass and programming that lends fantastic atmosphere. Ivan’s vocals are passionate in this one and at one point things go quiet. Then he belts out the pulsating chorus again.
Broken which is my favorite song from the Absence of Light album was next. The grunge soaked intro with distortion all over the place, a powerful riff and a totally memorable chorus are what makes this number so special. Everyone sang out with Ivan. Guitars are revved up to blow you away, while sensational lead and superb programming add atmosphere.
Transparent Fantasy involves a trickling guitar intro and a tame verse. Things become more explosive for the chorus in this slower, yet vibrant song. Ivan proves his vocal ability as he adapts from the softer soulful verse, to become gritty for the punchy chorus.
All for Nothing This song is brilliant for audience participation. Everyone is encouraged to shout out the lines of the chorus; Hate, you wait, you’ve got to decide for me. This number has a distortion laden riff that’s out of this world and Ives baseline and Darrin’s bashing drums are very effective here too. Love this number!
Gareth performed elaborate lead guitar in 30 Seconds. Vocals were excellent here. It’s a moody number, with dark, dramatic chords and a haunting melody line.
Long way Down begins with a wonderful baseline, joined by heavy guitar notes and rhythm. Chorus is excellent in this number, with dynamic splashes of guitar filtered through. Sound effects are magnificent.
Backing vocals are sung behind Ives. It’s a powerful number and even more so live.
Silent Call was performed to the same superior standard, with Ives able to yell out the grungier parts and alter his voice at will, to become clearer and melodic. This to me is the difference between noise and true music.
The lads finished their set with Enjoy the silence, which is a cover. Gareth plays a lead intro that’s pure poetry in motion. This number was absolutely perfect and showcased each member of the band’s musicianship to great advantage. A big rolling finish brought the show to a close.
I didn’t move from the spot, because I was certain they would get an encore and I was right. Even though it was way past the bewitching hour for me, I could have stayed their listening to Xerosun all night. I even got myself a T-Shirt and am now officially a fan.
They did Motorhead’s Ace of Spades, which lifted the roof, followed by Sense of Life and Heartfalls. I give them full marks for stamina. A band that produces such a powerful and memorable sound are what sorts out the men from the boys!
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