The Hawks - Obviously 5 Believers

 

 

A round-up of recordings by five nineteen-year-olds from Birmingham. Featuring Stephen TinTin Duffy and Dave Kusworth.

 

Quite often, hearing a musician's juvenalia can be something of a let-down. I should know, stashed in my attic is a carrier bag of cassettes featuring some of my early musical endeavours. Solo demos, rehearsals by my first band and reverse tape sonic experiments, all lovingly captured on a Tascam four-track portastudio. To listen to them now would be an excruciating experience.

I mention this because one of the more interesting releases to have landed on my promo pile recently is The Hawks' Obviously 5 Believers. It's a collection of the early recordings by a group of five young Birmingham musicians made as Margaret Thatcher came to power and the 1970's gave way to the 1980s. Each member was only nineteen years old at the time. Whereas my assorted cassettes would create a cringe-fest upon hearing, The Hawks' recordings reveal a band with a wealth of talent beyond their meagre years – great songs which are well sung, played with verve, and youthful swagger.

As you may have garnered from the band name and album title there's a debt to purple patch Bob Dylan. Indeed the Hawks do a decent job of updating Dylan's “thin wild mercury sound”. But alongside the classicism, they're also freed up by some post-punk freedom in the subject matter, delivery and attitude. So what became of the Hawks and why did they not go on to bigger things? Well, actually some of them did. The band included Stephen “Tin Tin” Duffy, famously a member in the early line-up of Duran Duran, who would go on to have success both solo and with his group The Lilac Time. Guitarist Dave Kusworth also progressed in his musical career, going on to play with Nikki Sudden along with numerous other bands.

Fans of Stephen Duffy will be pleased, and probably not surprised, that he comes across as a fully formed artist here – there's the unmistakable voice for one thing, but it's the quality of writing that impresses most. Among the album's highlights is 'All The Sad Young Men' which offers a sideways look adolescent melancholia. 'Big Store' examines the emptiness of consumerism backed by a darkly descending chord sequence. 'Bullfighter' is probably the poppiest offering – jaunty, intelligent guitar pop sounding not unlike Mick Jones leading The Clash, whereas 'Aztec Moon' has a mystical feel, and hints at the depth and direction the band could have explored if they'd stayed together.

Dave Kusworth's guitar playing is the other big presence here. His solos and motifs, sometimes mercurial, always tasteful and song-serving. The perfect foil and accompanist for Duffy's young-man-discovers-the-world songs. Sadly Dave Kusworth passed away suddenly in September last year. To honour a promise to his friend and bandmate, Duffy is releasing The Hawks' recordings on CD and limited vinyl LP via newly formed label Seventeen Records. Without that all important lucky break, acclaim outside of Birmingham and them eluded them. A shame as the evidence here shows a band that could have gone on to great things. Appreciation is still appreciation however, even if it comes 40 years later.

 Click here for more on The Hawks' Obviously 5 Believers on Facebook.

 

The Poppermost - Hits To Spare

Entertaining and affectionate spoof on the world's favourite beat group.

 

I think it was Samuel Johnson who said it best - “When a man is tired of The Beatles he is tired of life”. OK, he was talking about life itself but you get my drift. The Beatles back catalogue is a nigh-on perfect body of work that will sound fresh forever. I know there are contrarians out there who argue otherwise but they're just trying to get a rise out of decent-minded rational folk.

It's now 60 odd years since the Beatles first entered a recording studio and began that incredible sonic journey. They left us with a back catalogue that continues to amaze and inspire each new generation of musicians, sometimes subtly, sometimes overtly, occasionally in the form of pastiche. Imitation is the highest form of flattery, after all. All good fun, and guaranteed to raise a smile. It's a cold hearted person who doesn't like The Rutles.

Into this arena steps The Poppermost with a brand new album Hits To Spare. Despite the band name it's a one man outfit – Glasgow-based musician Joe Kane plays all the instruments and even more impressively given the Fabs reputation for harmonies, sings all the vocal parts. Clever stuff! Hits To Spare takes inspiration from the Beatles' work in the first half of the 1960s, harking back to an era when musicians were also entertainers.

If you're going to spoof the Beatles you better make sure you have catchy tunes and Kane don't let you down, but it's the attention to detail that's equally impressive – the way he ends album opener 'Egg & Chips' on a sixth chord; the lolloping rhythm and harmonica lines on 'One Of Those Girls'; the way 'Call To Me' mirrors the Beatles' take on early '60 American R&B and girl group sounds complete with “sha la la” backing vocals.

The album's title track 'Hits To Spare', sits bang in the middle of the album. Modelled on 'Hard Day's Night', it's a knowingly cheeky tribute to the Fabs' ability to churn out top-notch chart-toppers and turn them into hard cash. “Let's write a swimming pool” sings Kane. Well you would if you could wouldn't you!

Elsewhere Kane does a pretty accurate McCartney vocal on 'Georgia Peach', a homage to Little Richard and his influence on the young Macca. In the interest of balance the rockin' Lennon snarly vocal on 'Well I Will' is pretty convincing too.

The economy class Beatles, (not my description, none other than Beatle George's), are also well represented – there plenty of Ringo style beats and fills and chiming guitar breaks a-la Harrison.

You'll no doubt have your own favourite track on this album but mine is 'Park And Ride'. Who wouldn't love a humourous reimagining of 'Ticket To Ride' using buses, that most Beatle-esque mode of transport, as it's subject. If you're looking for a musical pick you up, done with affection and attention to detail, these tunes are for you. A splendid time really is guaranteed for all.

 

Click here for The Poppermost on Twitter.

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Mark & The Clouds - Waves

Psychedelic guitar pop! Trio's third album is a generous, melodically memorable treat.    

 

One of my recent late-lockdown listening joys has been the new album by Mark & The Clouds. It came out recently on Gare du Nord Records and is the band's third full-length outing following on from Blue Skies Opening (2014) and Cumulus (2017), both of which were put out by also fabulous Mega Dodo Records.

I'll give the chaps this – they know how to pull me in. Opening track 'You & Me In Space' has a sound that draws on savvy Revolver-esque guitar pop, complete with backwards solos. Crashing chords and drums combine in on the opening riff, but leave enough space for a catchy vocal melody. The track is followed by the altogether gentler textures of 'Back In Time', a dreamy, wistfully laid-back ode to memory and nostalgia. Like the opening track, it too pays heed to that often forgotten rule of pop music – that melodies should be memorable.

What follows is just shy of an hour's worth of gently trippy, psychedelic power pop with plenty of little touches and attention to detail to ice the cake - The softening strings on 'Winter Song', the bombastic riff and swagger of 'No One Makes a Sound', and the spaghetti western twang on 'Somebody Else'. Oh and they have a nice line in twisting middle eights too.

So who are Mark & The Clouds? The band are a London-based trio fronted by Marco Magnani (formerly in Instant Flight, The Crazy World of Arthur Brown, Smokers, and Avvoltoi), along with Shin Okajima on drums, and John O'Sullivan bass, pedal steel and backing vocals. Or I should say that is the core band for live appearances. On record their sound is fleshed out by guest musicians.

Marco, the band's sole song-writer, is equally adept with lyrics as he is with melodies, as evidenced on 'Peace Not Religion' with its admirable adult-in-the-room honesty, and 'Heavy Drops Of Rain', which displays a bittersweet acceptance of life's curveballs.

Aside from the new album the band also have a 7” vinyl single out now on the increasingly happening Hypnotic Bridge label. For a committed sun-worshipper like me it takes something quite special for me to say this but here we go – Bring on the Clouds!

 

Mark & The Clouds are -

Marco Magnani – Vocals, guitar, harmonica

Shin Okajima – Drums 

John O'Sullivan - Bass, backing vocals, pedal steel


Click here for the band's website

 

The Bamboos - Hard Up

Australia's top soul band release their tenth studio LP full of socially conscious danceable grooves

 

A most welcome discovery for me recently has been Australian band The Bamboos, though I'm somewhat shocked to discover they've been making sweet and funky soul music for the best part of 20 years! Oh well, at least there's a wealth of back catalogue to dive into. The Melbourne-based band are set to release Hard Up this week. It's their tenth studio album and is guaranteed to satisfy long-time fans and no doubt win over a few new ones too.

Hard Up saddles the line between retro and contemporary, and as you'd expect from a nine-piece revue-style band there's plenty going on to keep your interest - punchy horn lines, tasteful guitar and keys, and that all important locked-in drum and bass groove. Soul music is nothing without a great singer though, and thankfully fronting The Bamboos is the phenomenal Kylie Auldist. Equally adept at providing powerhouse vocals as she is at delivering those requiring sensitivity. Check out the contrasting styles between the version of Black Box's 'Ride On Time' and the soft and sensitive 'I Just Heard You Leaving'.

Thematically the album touches on universal daily struggles ('Hard Up'), and tips its hat at the kind of politically aware soul that Curtis Mayfield may have penned ('Power Without Greed'). It's a rallying cry for justice that moves feet as well as minds, and has a pretty neat flute solo. The album is as much about good times as it is about hard times however and there's an ultimately up-lifting good-time vibe throughout.

The record also features some great guest vocal appearances - Sydney-based singer Ev Jones on 'While You Sleep'; LA-based Joey Dosik channels Smokey Robinson on 'It's All Gonna Be OK'; and rising US star Durand Jones guests on 'If Not Now (Then When)', a track that harks back to classic sixties style soul.

Alongside the great vocals, the band, centred around founding member Lance Ferguson are on top form. Check out funky Meters-style instrumental 'Wishbone' should you need proof. The album was recording in a week of sessions just prior to last year's Melbourne lockdown. Hard Up is an irresistible affair that warrants repeat plays at an ever increasing volume. Neighbours you have been warned!

 

Click here for the band's website

 

Voice & Strings & Timpani

Emotionally charged experimentalism.

 

When it comes to art, culture, and especially music, it's said we live in bland and unadventurous times, most often by people who hanker after after a supposed golden age. Anyone with a willingness to listen outside of their own comfort zone will know this is not the case however. Thankfully there are scores of musicians and labels releasing music that's non-conformist, passionate, at times challenging, but that has the all-important ability to move hearts and minds.

One such record label with a consistently high standard is Hubro Records, a record label based in Norway whose back catalogue contains often unclassifiable music that skirts the edges of classical, modern jazz, electronica, folk, and even Sousa, yet belongs to no singular camp. The records Hubro release belong to their own category. Experimental in nature yet highly engaging and always with a deep emotional core.

A recent example is this eponymous long-player by Voices & Strings & Timpani. It's the latest project by guitarist Stephan Meidell and drummer Øyvind Hegg-Lunde, two musicians who have a long-standing relationship with Hubro and the wider Scandinavian experimental music scene. This album is a perfectly recorded suite of tracks, made all the more remarkable when one considers that a large part of it was recorded live at Bergen's Nattjazz Festival in 2016.

Opening track 'Cashmere' washes in with evocative swoops of harp over an insistent electronic pulse before wordless vocals and bluesy guitar add to the drama. I'm loathe to use the word journey but there's a sense that you're about to be taken somewhere. 'Escargot' follows, driven by a repeated bass line, it features French language vocals from the Mari Kvien Brunvoll and Eva Pfitzenmaier. My rudimentary, rusty French won't allow for a full translation but I guarantee you're unlike to hear a more engaging song about a snail anytime soon. It eventually drifts out with bursts of slide guitar. It's as if the soundtrack to Paris, Texas has been reimagined in some far off parallel universe.

'Swarming strings Made Out Of Light' sees the vocals switch to English, but are half-buried beneath a barrage of percussion. Three songs in and it's becoming clear that Voice & Strings & Timpani is a genre-free zone, though it's disparate tracks are held together by a uniformed sense of purpose between the musicians involved. And so it continues throughout the rest of the record. 'Laxevaag' containing percussion that sound like ticking clocks, added noise that could be dogs barking, and a textural layering of keyboards. It's a simultaneously disorientating and meditative.

'Community' is a short folksy interlude featuring effects laden vocals and flutes. It gives way to the epic emotional electronic beats of 'Talk Tick Talk'. Much like the album's cover, an abstract photo of oil on water, the music is fluid, ever shifting, and though it's primary colours don't change much, the way they're put together does. It's a strange yet and enchanting record, one that deserves the undivided attention of a one-sitting headphone listen, and one that will have you finding more with each listen.

Vinny Peculiar - Return Of The Native

 (This review first appeared in issue #89 of Shindig! magazine.)

Few writers mix humour and poignancy as well as Mr Peculiar. While Bowie, Reed and Iggy took inspiration from '70 Berlin, here we have songs rooted in '70s Worcestershire. Take 'The Singing Schoolteacher', a moving tribute to Clifford T. Ward who taught at Peculiar's Bromsgrove school for a year before pursuing his musical career. Such nostalgic reminiscences inform much of the lyrics – picture a teenage Peculiar devouring Melody Maker and NME, soaking up influences from an era that straddles the tail-end of prog, through to glam, punk and disco.

The locations may be specific but the experiences will chime universally. Be it local school rivalries played out on bus rides home, laments for lost music venues or the love life of an English civil war battle re-enactor, Peculiar has the ability to make you laugh out loud one minute then have you wiping a tear away the next. A delight.

 

Lee Fields and The Expressions - It Rains Love

(This review first appeared in issue #89 of Shindig! magazine.)

Fields has been making records since 1969 so it comes as no surprise that he can put together a class soul album. His latest is more of a Sunday morning record rather than a Saturday night party platter, with themes of thanks, love and both romantic and religious devotion. Then of course there's that voice. It ranks with the best – James Brown, Otis Redding and Levi Stubbs. But comparisons are meaningless given the conviction with which he sings. 

A great singer still needs a band of course, and the Expressions are on excellent form throughout. Standout moments? There are many - the attention grabbing middle eight in 'Bless With The Best', the infectious bass-driven groove of the title track, or 'Wake Up' with its dub feel and lyrics that fight back against fake news. For all the vintage soul classicism there's enough new moves to keep any neophiles satisfied too. Masterful.

 

Monks Road Social - Lost In Rasa / So Long Soho (Ltd. 7")

(This review first appeared in issue #89 of Shindig! magazine.)

 

Two standout tracks from the collective's recent debut album Down The Willows. 'Lost In Rasa' features lead vocals by Dr. Robert of the Blow Monkeys. It's string-laden stoner soul at its finest. Think Marvin Gaye on the cover of What's Going On – face turned to the rain but always in search of beauty. A song full of sad yet dreamy reflections and longings.

The flipside features Pat Dam Smyth on lead vocals. A name new to many though he has history having left his native Northern Ireland over 20 years ago to follow a nomadic musical existence. Spells in Dublin, Liverpool, Los Angeles, Berlin and London have led to the worldly wisdom that informs 'So Long Soho', a lament to a quickly fading bohemian enclave. Imagine Ray Davies in a sentimental mood at the pub piano, then join in on the singalong chorus. Monks Road is where it's at!

 

Erland Dahlen - Bones

An immersive listening experience. Norwegian percussionist releases fourth solo LP. 

 

On a recent episode of Radio 4's Desert Island Discs, the author David Mitchell spoke about one of his record choices as making him feel emotions he didn't know existed and making him feel nostalgic for times and places he doesn't even know. I may have got the wording slightly wrong there but hopefully you get a sense of the sentiment. I'm reminded of this quote while listening to the new album by Erland Dahlen, a much respected percussionist within free-jazz circles in his native Norway. Bones is Dahlen's fourth album, having previously released Rolling Bomber (2012), Blossom Bells (2015), and Clocks (2018).

You would think that the tendency for drummers as bandleaders would be to make virtuosity and showiness the central feature when it comes to recording. (I'm reminded here of a Gene Krupa/Buddy Rich LP I picked up at a charity shop, where the two pitch up against each other. It's a fine record but its emotional resonance is hampered by the desire to show off chops.) Thankfully that's not the case here – Bones is all about the emotional journey. Meditative, hypnotic, at times soothing, always immersive.

Dahlen plays pretty much all the music himself, which features a broad range of drums and percussion instruments along with Mellotron, modular synths, dulcimer and zither. The album has a rich instrumental palette, and one that embraces experimentation – along with the vintage drum skins used there are musical saws and the sound of marbles rattling on a plate. Also notable is the use of heavy reverb, which along with the virtuosic drumming and focus on emotion makes for a compelling one-sitting listening experience, full of progression and forward movement.

The last year has been one of increased solitude for many, a time when if you've been lucky enough to stay healthy and solvent there's been an opportunity to take yourself on an inner journey. A record such as Bones is a perfect soundtrack for such moments of reflection. It's an album that requires you to turn off the phone, TV, and tablets, to put on some headphones and let the music take you somewhere.

Click here for Hubro Records

 

Anton Barbeau - Manbird

 

Barbeau is back. A wealth of delights on this double disc concept album.

While 2020 may have seen a distinct lack of gigs and tours, it's been a back-handed gift to musicians who like to bunker down at home and get creative with writing and recording. Anton Barbeau is no stranger to either, having recorded in excess of 30 albums. His latest, released in September, does not disappoint. It's a double album featuring 25 psych-pop nuggets which form a loosely meandering concept album, one that has an obsession with travel and birds.

For those unfamiliar with Brabeau's work, his songs mix autobiographical experience with subconscious psychedelic wordplay. Musically they draw on New Wave pop and left-field mavericks such as Devo, David Bowie, Syd Barrett. But they're in no way derivative, a Barbeau song is simply that, distinctively his own. The wonderful thing about double albums is the space it allows for the artist to stretch out. Having that bigger canvas means they can make stylistic shifts, develop themes and really take the listener deep into their world.

It's all here on Manbird, Barbeau's latest  collection of cottage industry psychedelia. Homemade with the assistance of a few close friends including Sharon Krauss and Matt Sewell. So what's it all about? The album has a skewed autobiogrphical slant, focussing on Barbeau's growing up in Sacramento. It's an album about roots, reflections and flying the nest. For the most part catchy hook-laden psych-pop rules the roost but there are hand-brake turns into thrashy punk ('Featherweight'), and odd little interludes such as 'Cowboy John', which is the first ever song Barbeau created at the age of eight. It's neatly juxtaposed with a version of 'Greensleeves' that has newly penned lyrics about childhood dogs, broken toys and those peculiar early memories that resonate through later decades.If Barbeau ever decides to write an autobiography there's no doubt it would be a compelling read. For now though, this double disc of delights more than suffices.

Click here for Gare Du Nord Records.