Live In 2017: Down By The River #8 - featuring Hannah Rose Platt, Christopher Rees & Blind River Scare at Barnabas Arts House on Saturday 4th March 2017

Tim Manning aka Blind River Scare is quietly building an extremely beautiful portfolio of gigs down at the Barnabas Arts House in Newport, South Wales. He calls them Down By The River. Now on gig number 8, his Down By The River presentations continue to bring quality singer songwriters from the UK and USA to the cosy basement of Barnabas Arts House.

It's a 'bring your own drinks' (and nibbles) evening and for the price of admission, is an absolute steal to hear almost 3 hours of quality music.

Tonight, Tim welcomed Welsh Singer Songwriter Christopher Rees and Liverpool Singer Songwriter Hannah Rose Platt.

The Down By The River evenings always kick off with Tim playing a small selection of his songs. An excellent songwriter himself, Tim picks up his Gibson acoustic and launches into Pastures New.

Tim is currently putting the finishing touches to his latest album - this time on his own. 

But Tim would rather give the stage time to his guests on these evenings so we are only treated to another three songs - Restless Soul, Straight & true and No Remorse, Guilt & Shame.

Here is The Straight and True from tonight's performance.

Remorse, Guilt & Shame

It was my first time to see Christopher Rees live. And I must say I was mightily impressed.

Christopher has been ploughing the musical furrow since his first trip to the USA in 1994. Now a seasoned performer of  quality Americana, Country & Country/Soul he dipped into his 6 released albums and his imminent No7 album for tonight's performance.

Christopher, who also plays with a band, is solo this evening and takes to the stage armed with a gorgeous Chet Atkins Signature Gretsch Country Genleman electric guitar and launches into a spirited performance of What Walks Outside My Window? - you'll find this opening performance on the video below.

Christopher accompanies his songs tonight with engaging stories of how they came to be and the songwriters who have had an influence on his songwriting and career to date.

Christopher has spent time in Nashville both playing and writing and this can be seen in his songs tonight.

Christopher's set tonight included A Place For My Face and Dance With Desire.

Christopher also took the opportunity tonight to showcase a selection of his new songs from his as yet untitled forthcoming album  including A Familiar Road and Don't Fail Me Now.

Chris also uses a Gretsch acoustic and a selection of harmonicas tonight - not forgetting his splendid banjo playing

Chris performed many excellent songs in his set tonight proving what a particularly gifted songwriter he is - and the fact that he's homegrown makes it all the more pleasing. I'd like to see him with a full band although it's always nice to see how songs are actually written using the one instrument.

It's always a good bet when a musician tells you to check out another Musician. So it was at the beginning of 2006, Fin Kenny, the drummer from the band Society and occasionally The Dreaming Spires sent me a message and stated that I just HAD to check out this female singer/songwriter he had just seen called Hannah Rose Platt. Well, the first stop was Youtube to see if anyone had uploaded any videos. I clicked on one of a few called 1954. And I was just blown away.

I immediately sent off to Hannah for her debut album Portraits. And what a beautiful thing it is. 12 Beautiful little vignettes of life and love. So it was with eager anticipation that I awaited tonight to get my first taste of Hannah live. And she was certainly worth the wait. 

Her voice reminds me of the Country great Emmylou Harris in that high, clear register with a delicate vulnerability but a certain steeliness that provides the sour to the spice in her excellent songs.

Joining her tonight for a portion of her set was Multi-instrumentalist Tom Collinson, who has recently worked with The Dreaming Spires and American singer/songwriter Don Gallardo. Tom provides electric guitar, Steel guitar and keyboards to Hannah's acoustic six string.

Hannah is currently working on album number 2 which is due out later in the year and took the opportunity tonight of performing some of the new songs in the intimate atmosphere of The Barnabas.

Hannah starts her set alone by performing Dancer from her debut album - it's about one of her favourite cafes in London, where this Liverpool girl now lives. It's a lovely observational tale of the waitress.

Stripped of it's additional instrumentation from the album it still sounds passionate and dances around your ears.

Next, we have two new songs, the excellent Josephine, which it turns out is about Josephine Baker (don't be lazy - look it up) and Checkmate. 

The quality of her new songs is immediately recognisable and bodes well for album number 2.

Between these songs, Hannah slips in the opening tracks from Portraits, another observational track called Little Screws.

Another new song follows - this one is called Brooklyn and has been inspired by the film of the same name released last year (I think). I really can't get over how good the new songs are. I thought Portraits was a cracking record but the new one is REALLY going to something special.

And just to put the icing on the cake, Hannah plays another two new songs straight after - Chanel & Cigarettes, which really is a peach of a song and Sculptor.

Tom then comes to the stage and the duo play another new song Audrey.

With Tom on stage, the sound is given another dimension and it's amazing how by only adding another instrument to Hannah's guitar the songs sound different yet again.

Yellow Roses from Portraits comes next then another new song Your Way before the glorious final song called 1954.

1954 is a truly special song - I won't spoil the song by explaining it to you - just watch the video below which Hannah recorded for Bob Harris and listen to the words. If you don't get it's heartbreaking message - well, you haven't got a heart.

There was always going to be an encore and tonight it came in the form of Hello Central, Give Me Heaven, a very old song brought back to life by Hannah & Tom tonight.

Hannah is a very special artist indeed. You should seek her out and catch her before she goes stellar and you won't be able to get a seat!!!!

It was a privilege to be here for another very special evening and another successful Down By The River gig. If you haven't been there, you really need to get to the next one - sometime in June I believe. You won't be disappointed. Trust me.

TWITTER

@BlindRiverScare

@CReesMusic

@HannahRosePlatt

WEBSITES

The Blind River Scare website

The Hannah Rose Platt website

Chris Rees can be found via his Facebook Page

Live in 2017: Genesis Visible Touch at The Globe, Cardiff on Friday 17th February 2017

It was back onto the gigging horse tonight as we returned to The Globe in Cardiff.

After last year's excellent Genesish gig (the band now sadly disbanded)

click for Genesish Review

 it was the chance to see another of the current Genesis tribute acts currently playing the circuit - this time Genesis Visible Touch.

Now, when I see a Genesis tribute band with two drum kits set up on the stage it always sends a little shiver of anticipation down my spine. Tonight was one such night.

Genesis Visible Touch are currently comprised of

Chris O'Connell - Lead Vocals & Drums, Tony Turrell - Keyboards & Vocals

Martin Gordon - Bass, Guitar, Bass pedals & Vocals, Stuart Norman - Guitar, Bass, Bass Pedals & Vocals and Windsor Gilvray - Drums & Percussion

Basing their performance around the Phil Collins era Genesis is probably a great idea as there are some excellent Gabriel Era tribute acts out there at the moment including Canadians -The Musical Box and the UK's Re-Genesis.

It also gives the band a chance to reel out an almost Greatest Hits Show - that's all the Radio hits by the way.

The band are obviously fans of the Three Sides Live album and it gets a mention several times tonight.

They open the show with a great three song attack of the scene setting Behind The Lines which puts Chris behind the drum kit, and as the album (Duke) it morphed into a sensational performance of Duchess, complete with the drum machine pattern and then dropped into a lovely version of Guide Vocal. What a great way to start a show - they had the crowd on their side straight away with the, let's call them, Album Fans and Hits Fans singing away from the get go.

I'm glad to report that the band did NOT try to be a carbon copy of Genesis. They recreated as far a possile the authentic sounds and feel of the music. And in Liverpudlian Chris O'Connell they have a front man with enough charisma and humour to pull off the Phil Collins links, which he does with panache. It's interesting looking around the crowd tonight and see their reaction as phrases and actions of Collins are introduced into the set.

The Hits such as Misunderstanding and That's All are warmly received and the Cardiff crowd are not letting the side down in the vocal department as they're singing away with nearly every song. Warmly encouraged by the band.

We are treated to a lovely version of Ripples, from the A Trick Of The Tail album, among the tracks tonight.

Gabriel-Era Genesis makes an appearance with the mighty In The Cage and morphs beautifully into the stunning Afterglow. Always a highlight in any Genesis show.

All of the band played their part tonight and are obviously fine musicians in their own right and managed to play the most complex passages with ease.

It is a show split into two halves and the first half ends with a spirited version of Mama with Chris giving it the full suspense and menace with his vocal growls and sneers.

Part tow opens up with crowd pleaser and singalong Oh Oh Ohs, Land Of Confusion.

Highlights in Part Two also include an excellent Jesus He Knows Me with even more crowd interaction.

It must be some task just to pick songs from such a wealth of great material.

Squonk will always go down well in any Genesis gig and the band use this to lead into the finale of Los Endos which once again puts Chris behind the drum kit to recreate that great moment of Phil Collins and Chester Thompson having a drumming duel.

The band come back on stage after rapturous applause and give us the one song that finally ties up the evening. I Know What I Like.

This is Chris' chance to shine as he recreates the Phil Collins tambourine bash from the initial Trick Of The Tail Tour back in the 70s. And he did a great job too.

All in all a fine performance from a band who clearly love the source material and are adept at playing it. Hopefully they'll come back again as I'll never tire of hearing these songs live and judging by the crowd's reaction I think they'd like them back too.

Twitter - @genesis_vt

click for the Genesis Visible Touch Website

Thank You For The Music: John Wetton

I never thought I'd be writing another Thank You For The Music so soon into 2017. I keep these pages for musicians who have passed that have had an influence in MY musical adventures over the years.

I met John Wetton. Only the once. It was after one of his solo gigs in the 90s. In Ebbw Vale of all places. But more of that later.

He was, and always will be, a musical giant. His influence has been widespread and his legacy is varied and interesting, which I hope to highlight in this page.

The first major band that John was associated with was Family. He was with Family in '71 & '72 and appeared on the Fearless and still influential Bandstand album.

Unlike his contemporary, Greg Lake, John was integral in several bands over the years. He brought his musicianship and melody to King Crimson in 1972 as he replaced Greg Lake in the band, His recording debut came with the album Larks Tongue In Aspic, released in 1973. He was singing lead and playing bass, exactly as Greg had done.

John was to stay with King Crimson until 1974 and appeared on another two seminal Prog Rock albums - Starless & Bible Black and Red and co-wrote the majority of the songs on both albums.

Following his successful stint in Crimson, John found his way  into another 70s English institution, Uriah Heep. Playing Bass, Keyboards and Vocals, he was with the band for two of their mid-70s albums, Return To Fantasy (1975)  and High & Mighty (1976). He even co-wrote a couple of songs, including Weep In Silence with Ken Hensley.

John was never shy of a collaboration and during the 1970s he appeared on record and played live with a multitude of the finest musicians and bands including Brian Eno, Roxy Music,  Phil Manzanera  and Yes man Peter Banks.

But in 1977, John formed his new band UK, with former band mate in King Crimson, Bill Bruford, violinist/ keyboardist Eddie Jobson and guitarist Allan Holdsworth. They released their eponymous debut album in 1978. John was the lyricist on all but one track and co wrote the music on all of the tracks. It featured John's soaring vocals and his ear for a good melody, which would serve him well throughout his career.

The debut was followed up in 1979 with the album Danger Money.

Following the demise of UK in 1979, John went on to record and release his first solo album, Caught In The Crossfire in 1980.

With all songs written by John himself it is the precursor to the mega success that would come to him in 1981 with the release of the first album by 'Supergroup' ASIA.

No-one expected the success of ASIA. I know, I was there in 1981! Everybody expected a Prog led debut considering the Prog pedigree of the band. John Wetton on Bass/Vocals (ex King Crimson), Geoff Downes (ex Yes/Buggles) on Keyboards/Vocals, Steve Howe (ex Yes) Guitars/Vocals and Carl Palmer (ex ELP) on Drums. But, what was released was a glorious slice of AOR. That was singles oriented and SO radio friendly. To say it took off in America is an understatement. It was the biggest selling album of the year in 1982.

With those classic Rock Star good looks and that amazing, soaring voice, John proved the ideal frontman for this new venture. The lead off single from the album was the brilliant Heat Of The Moment. To say Prog fans were shocked didn't tell the full story. Lots hated this new band - I loved 'em. The album spent nine weeks at the top of the US charts and went on to become 4x Platinum by the mid 1990s. Total worldwide sales reached over 10 million copies.

The follow up single Only Time Will Tell was another smash hit worldwide. With all tracks written by John Wetton & Geoff Downes, it was to be the start of a fruitful writing partnership and a lifetime friendship

This original line-up had one more album in them and a year later in 1983 the album Alpha was released. Although not reaching the dizzy heights of their debut, Asia found themselves with another number 1 US album and a couple of hit singles which remained popular in their sets all throughout their career.

Lead off single was Don't Cry.

As per the previous album, all songs were written by John & Geoff except the follow up single, The Smile Has Left Your Eyes, which was written solely by John Wetton.

Following the perceived non-success of Astra and for whatever reason, John left the band in 1983.

John next appears on a project with Roxy Music guitarist Phil Manzanera called Wetton Manzanera, which also featured Alan White from YES on drums in 1987. It's very much in the vein of what ASIA was producing in the early 1980s with all of the songs in the 3 or 4 minute mark. It's very much a product of the 80s but not a bad listen.

The 1990s saw John release a brace of solo albums. In 1994, in Japan only, Voice Mails is released. It is later re-released under the new title of Battle Lines. Very much in the vein of his earlier album release it contains some good work and proved that John hadn't lost his way with a melody.

In 1997, John released his next solo album, Archangel. 

Throughout the 1990s and beyond John also released many live albums recorded all over the world.

In 2002, John reunited with former ASIA colleague, Geoff Downes to form Icon. Taking a more Progressive path than their previous commercial route, the album contains some lovely work from both members and reignited the Wetton/Downes songwriting partnership that was such a force on the first two ASIA albums.

In 2006, ASIA regrouped in their original line-up following years of touring with various line ups and the start of the 'Two Bands' era of ASIA.

The original line-up released a new album in 2008, Phoenix. It was as if they'd never been away.

From 2006, there we two more Icon albums, 2 & 3 and three more ASIA albums - Omega (2010), XXX (2012) - after which Steve Howe left the band. Gravitas (2014) featured new young guitarist Sam Coulson, with all tracks again written by Wetton/Downes.

As I stated at the beginning of this piece, I met John Wetton. Only the once. It was in the early 1990s when he was touring alone. He booked to play a gig at Ebbw Vale in the Welsh Valleys. 

He arrived two and a half hours late because of travel problems he had no control over. Most people had left. We were an audience of about 10 waiting for John to turn up.

I'll never forget it. He came in - all dressed in white. Armed with a 12 string acoustic, he played for us 10. He didn't manage a full set because of the curfew in the hall. In fact, we actually went downstairs in the bar. But he played all the hits and even some Crimson. Later he talked to us in the bar. He gave me a hug - thanked me for staying to listen. We had a good chat about his music and his days in Crimson. I told him I especially liked his worked with U.K. - he seemed pleased at this and said he wished he had pursed it for longer. He was a genuinely nice guy, with no pretensions whatsover. A true gent.

Over the last year, John has been fighting a brave battle with cancer. In a brave move, he often posted about his fight on social media by talking about his illness and posting photographs from his hospital bed while getting treatment.

He met Robert Fripp again over the Christmas 2016 holidays and posted the photo below.

John with Robert Fripp

John finally fell to the disease today and died in his sleep this morning - 31st January 2016. He was posting positive messages on social media right up until this month. 

After his death, it was revealed that he had colon cancer.

He is survived by his wife Lisa and son Dylan.

But he also leaves a body of work that will show what a supreme legacy he has left for Music Fans and Musicians alike.

The Great Gig In The Sky has another excellent Bass Player and Lead Vocalist tonight. Rest In Peace John. You will be missed Sir.

click for The John Wetton Website

My Song Of 2016: Ange Hardy & Lukas Drinkwater - By The Tides

2016 - well, that was a year for the future historians. It was as if someone had grabbed hold of the game board and just threw it up in the air, letting the pieces fall as they will.

The only constant, as usual, seemed to be music. Although 2016 decided it was a year to take more than it's fair share of Musicians up to The Great Gig In The Sky.

There have been some tremendous songs released this year. Most tucked away on various albums that the mass market won't even get a chance to hear on the National Airwaves. It's been up to the independent Disc Spinners to ensure these songs at least get a chance to be heard on the radio waves.

So BIG LOVE to Disc Spinners such as Adam Wilson, Alex Huskisson, Chris Giles, Del Day etc for helping bring these great songs to their audience.

Nobody could have failed to notice the turmoil around the world this year. The musicians certainly haven't. Again, it's left to the artists of the world to truly describe what we are feeling - not the newspapers or media who all have their own separate agendas.

By The Tides is Ange Hardy & Lukas Drinkwater's response to the tragic scenes of the people of Syria desperately trying to make their way over the Mediterranean Sea to Europe. 

So many who saw the photograph of that child being brought dead out of the sea were moved by what they saw. But very few had a response such as this.

Delicate, heartbreaking and so, so moving, By The Tides captivates from the moment you hear it.

As I sit and write this, Top Of The Pops is showing on the TV. With it's plastic pop and commercially driven music, it is the total antithesis of what By The Tides stands for.

So often, it is left to what are perceived as Folk performers to tell the stories and describe life the way it is. And they are so often underappreciated for their efforts. But it's songs such as this that will, in the end, stand the test of time as future historians and musicians look to the past for information and inspiration.

Ange Hardy & Lukas Drinkwater have written a modern classic. 

Seek out the album from which it comes - Findings. It's an absolute beauty.

Twitter - @AngeHardyMusic

@LukasDrinkwater

WEBSITES

The Ange Hardy Website

The Lukas Drinkwater Website

My Album Of 2016: Robert Reed - Sanctuary 2 - (also my Prog Album Of 2016)

One of the fabulous surprises for me in my musical journey was the appearance of Sanctuary by Robert Reed in 2014.

Robert Reed – The Multi Instrumentalist, composer , producer and guiding light of the Welsh band Magenta and through various solo projects (under various names other than his own – Kompendium, ChimpanA, Kiama) – produced Sanctuary 1 as an exercise in long form instrumental music. He used his love of Mike Oldfield as his template. Many saw it as a tribute to Oldfield – but it wasn’t intended to be a tribute or homage. It was a ‘doff of the hat’ to one of his biggest influences and musical heroes. And he pulled it off with a sense of elan that I didn’t think was possible in these musical times. It was a fantastic piece of work 

that was just begging to be followed up with another record in the same format.

opening of Sanctuary 2

So, using the same template as Sanctuary 1, Rob Reed has produced the follow up, Sanctuary 2. This time he has added another of his heroes into the mix – David Bedford. David worked with Oldfield since his early days in Kevin Ayers band and through his various solo work such as Rime Of The Ancient Mariner, The Odyssey, Instructions For Angels and Star’s End.

Indeed, the opening lines of Sanctuary 2 have David Bedford written all over them. And what a great opening it is. Stringed Keys with a tremendous deep sonic boom which certainly gives your bass speakers a workout.

Sanctuary 2 - Side 1

Rob Reed has looked to Sanctuary 1 as a starting point and built upon the sound. Adding more textures and colours whilst keeping to the spirit of the original. I was lucky enough to have heard some of the early mixes where I described the sound as being Sanctuary 1 but wearing velvet and brocade and he’s stuck with this in the final mix. It really is a beautiful piece of music.

Rob has once again taken on the role of multi instrumentalist as he once plays the vast majority of the instruments himself but has, this time, taken the opportunity to broaden the soundscape with the help of former Oldfield drummer Simon Phillips. The drums within the record lift it up to musical heights that the first Sanctuary just hinted at.

The danger of the follow up mirrors the work of Oldfield when he followed up Tubular Bells with the more pastoral and delicate, Hergest Ridge. But Rob Reed has come up with a beautiful collection of melodies contained within the two sides for Sanctuary 2.

With legendary producer Tom Newman again working on the project, Rob has the opposite problem to Oldfield. With his pop sensibility for melody, he has had to cut down on the number of melodic passages contained within the work and to develop a melodic and cohesive whole, rather than adding another melody.

It’s hard to describe a long form piece of instrumental music. Suffice to say, it ebbs and flows, takes you to highs and lows, is contemplative in passages and euphoric in others. The whole range of emotions. But it is very much a ‘human’ record. The recorders of Les Penning and the vocals of Synergy and solo vocals of Angharad Brinn further define these human moments in the layers of sound that swirl around you.

The album is certainly several steps forward from the original Sanctuary but keeps the same uplifting spirit as the first. Epitomised at the end of side 1 where Rob’s soaring guitar dances around the solid beat of Phillips’ driving beats while vocals, keyboards and Tubular Bells join in the euphoric melody as the musical reaches its climax.

The Sanctuary albums show another side of Rob Reed. The delicate, folky side of his nature. Sanctuary 2 has more of this flavouring than the first album and side opens with a lovely acoustic guitar melody which develops using vocals and glockenspiel and finally electric guitar and bass. Which then breaks into a lovely flamenco styled acoustic section. The whole album contains many musical twists and turns like this as it weaves it’s way through the various themes.

Rob has certainly used the skills of Les Penning to it’s maximum effect and you can tell both musicians are enjoying themselves as they’re playing. It’s one of those instrumental albums where you’re only a few bars away from a memorable phrase or theme that sticks in your head after only a couple of listens.

If you look back over the years, a lot of instrumental based albums normally save all their best ideas for side one and often side two pales in comparison. Not Sanctuary 2. The themes and performances in side 2 are of equal quality to side 1.

And I must say the quality of the playing by Rob himself is exceptional. Known as a keyboard player, his work on bass and particularly guitar, is getting better with each album. I think the original Sanctuary album meant more to Rob in terms of proving to himself what he capable of than all of his earlier work. I may be wrong and I’m sure he’ll tell me if I am. But I can see the growth in confidence both in his playing and approach on Sanctuary 2.

I was lucky enough to have been at the very first performance of Sanctuary live at Real World in the summer. To hear it live it a totally different experience. But how I chose to listen at home is through my 5.1 Surround Sound system. Music like this is made for Surround Sound and sounds absolutely breathtaking as the instruments swirl around you. If you have this facility at home, make sure you get a 5.1 copy of the album.

So, Rob Reed has shown that Sanctuary 1 was no fluke. He’s bettered it with Sanctuary 2. Is there going to be a Sanctuary 3? Who knows. Rob is obviously comfortable within the long form musical format but whether he feels he has explored those ideas enough, only he knows. Personally, I’d like to see him produce a third. Possibly with a more orchestral leaning maybe. Only time will tell. But if Rob Reed chooses to leave it at two – I’ll be happy as Larry with what he’s achieved and relish the prospect of his next musical move.

Twitter - @robreedmagenta

Buy Sanctuary 2 here

or here

My Singer/Songwriter Album Of 2016 - BLAIR DUNLOP - GILDED

Released early in 2016 - Gilded -  the third album by Blair Dunlop finds him in superb form. Following on from his debut Blight & Blossom and his sophomore release House Of Jacks, album number three - Gilded - shows how much Blair has developed as a songwriter and performer.

Initially bracketed in the Folk genre, Blair has worked hard over the three albums to show that he has much more in his locker. And with Gilded he has thrown off the shackles and has, (excuse the pun), 'blossomed' into a singer/songwriter more akin to his West Coast heroes such as Jackson Browne and Joni Mitchell.

The young man has even formed his own record label, Gilded Wings, (taken from his song Temper Your Smiling), on which Gilded is released.

Italy is never far away from Blair's heart and indeed the opening track, Castello, again brings a taste of sunlight into the observations of his story telling style - one aspect of his folk roots that will serve him well as his career develops in the future. Describing an encounter with a young lady on one of his tours, it's a delicious opener to an absolutely gorgeous album.

Castello

The album was recorded with very much a 'live' band vibe in Manchester's Blueprint Studios and with regular cohorts Fred Claridge on Drums & Percussion, Jacob Stoney on Keyboards and Tim Thomas on Bass.

She Won't Cry For Me rises and falls like waves on a beach as it shines a light on Blair's more romantic side as he ruminates about love and relationships - something that is never far away in his thoughts. 

Courtesy of BlairDunlop.com

She Won't Cry For Me

Never scared to shy away from social comment, Blair quietly lets rip on Third World Problem, which features some lovely organ work from Jacob and focuses on today's industrial farming methods. And a sudden stop which will make you check your cd player.

It's amazing how the small everyday incidents can come to life in songs. With the jaunty 356, Blair describes a trip to a local car dealership near his now London home. The car in question is a Porsche 356 and the story is beautifully told.

356

Temper Your Smiling finds Blair in fine voice as his voice uses his falsetto in a pleading and epic 6 minute ballad. A key feature of the song is the splendid keyboard touches on organ and piano provided by Jacob Stoney which provides a counterpoint to the sensual, slow pace.

photo courtesy of Nick Baker

Blair also has a penchant for looking to history for subjects for his songs and next up comes Up On Cragside, about Lord William George Armstrong, the 19th Century entrepreneur. It may sound as dry as a bone but it's one of my favourite songs on the album. 

Up On Cragside

photo courtesy of Nick Baker

Eternal Optimist is at the moment my favourite song on the album. It's a beautiful shuffle with flourishes of piano and electric guitar against a lovely off beat which shows that Blair has more than one trick up his sleeve in his sonic explorations.

Click to play Eternal Optimist

Let's Dance To Paganini is an acoustic song that Jackson Browne would be proud of and would sit well on any one of his early 70s album. It's great to see Blair looking to wider influences in his search for his own journey. One thing that gets better on each album is Blair's flair with a lyric. He's never been June, Moon, Spoon but with stories to tell and emotions to expose, it's becoming a major feature of his work.

This year, BBC Radio 2 came knocking at Blair's door as it playlisted the next song on the album, the ever so catchy, The Egoist. With a lovely three note phrase, the song hooks you and twirls you around it's delicate finger. Again, it features some lovely falsetto touches from Blair. 

Click to play The Egoist

No Go Zones is a reaction to US news reports that parts of the UK are now 'No Go Zones' due to immigration here in the UK. And Blair doesn't pull his punches. Showing his finger picking panache, it's an iron fist of an acoustic song presented in a velvet glove. And a beautiful thing it is too. Very much in a Woody Guthrie vain. 

No Go Zones

I Don't Know is another of Blair's gorgeous light and airy pleading ballads with the cymbals crashing like waves with a lovely pulsing bass running throughout the song. It almost beats like a heart. I think it's the most atmospheric track on the album and it's gone before you know it. Like a British summer.

Phoenix closes the album in style. It's a slow burner of a song which brings together all of the features of the album. Lovely electric guitar work, a touch of falsetto, throbbing bass by Tim Thomas, beautiful cymbal work from Fred Claridge and sympathetic piano work from Jacob Stoney. 

I can't believe how much Blair Dunlop has grown as an artist over these three albums. And he's still very much a young man. What's he going to achieve in his later years? He has the potential to be another Jackson Browne or indeed a Leonard Cohen. I only hope I'm around sufficiently long enough to see him able to take his place up there with the best the UK has to offer. He IS that special and we should cherish him.

Twitter - @BlairDunlop

Click for the Blair Dunlop website