At a time when most of the world is under quarantine, we all need entertainment and cult singer songwriter Ty Segall has a gift for everyone. A surprise release, ‘Segall Smeagol’ features reworkings of six tracks from the Harry Nilsson album ‘Nilsson Schmilsson’, a classic long player, reworked in Segall’s own style.
1972 was a particularly fruitful year for rock and pop music. That year saw The Rolling Stones release their critically acclaimed ‘Exile On Main Street’; Yes explored deep sonic textures on their indulgent ‘Close To The Edge’; Alice Cooper achieved worldwide acclaim and a massive hit single with ‘School’s Out’; Deep Purple gave us ‘Machine Head and Bowie introduced us to ‘Ziggy Stardust’. That might have been enough to make it great, but in addition, Steely Dan made their debut with the brilliant ‘Can’t Buy A Thrill’; Neil Young’s ‘Harvest’ was a massive success and Roxy Music‘s debut album sounded as if it were beamed in from another planet. The year also spawned T. Rex’s ‘The Slider’, Lou Reed’s ‘Transformer’, Stevie Wonder’s ‘Talking Book’, Joni Mitchell’s ‘For The Roses’, Elton’s ‘Honky Chateau’ and Van’s ‘Saint Dominic’s Preview’. With several dozen essential albums, 1972 had so much to give…and often feels like one of those years that keeps giving.
It was also the year that Jim Capaldi released his solo debut. It wasn’t something the Traffic multi-instrumentalist and songwriter had necessarily planned; it came about through a cruel twist of fate. Towards the end of 1971, Traffic were riding high with their fourth studio album ‘The Low Spark of High Heeled Boys’, but disaster struck when Steve Winwood suffered an appendicitis and subsequently became very ill with peritonitis, forcing the band to take a break. Rather than rest, Capaldi took the time to quickly record a selection of his own material during December, and that appeared on record shop shelves as ‘Oh How We Danced’ in March ’72. Kick starting what turned out to be a successful solo career, it had been a serendipitous twist in the Traffic saga.
Jack Broadbent’s fifth album ‘Moonshine Blue’ was one of the best records of 2019. Stepping aside from the blues music that filled his previous albums, ‘Moonshine Blue’ ushered in a new era for the British singer songwriter. The album shared more in common with James Taylor than Elmore James, but had the potential to open up his talents to a whole new audience.
There were a couple of songs on the album where Jack’s blues influences could be found creeping in, not least of all on ‘If’, which has been chosen as his current single. To accompany the track, a new travelogue styled video has been shared to YouTube and its hazy Instagrammed images are the perfect accompaniment to a great track. You can check it out below.
Calling all fans of sophisticated adult pop! Singer songwriter Hailey Beavis has a new EP scheduled for release before the end of January. The second release on independent label OK Pal Records – a label founded by Beavis with singer songwriter Faith Elliott – her new single ‘Stranger Inside’ fuses heavy keyboard sounds and a wistful vocal, hinting at a love of pop electronica.
It’s the middle of December and there’s a conflicting mood in the air. People are gearing up for Christmas so there’s a bustling feel to the city, yet at the same time, it’s the night after a General Election so any excitement is contrasted by the dread of another five years with a Conservative government increasing austerity measures and generally widening an already massive divide between rich and poor.
Taking his place at the mic stand on a sparsely decorated stage, the legendary Jim Bob seems aware of this mood. “I feel like I should say something…profound” he tells the audience, before even playing a note. Quite how profound a man could be while wearing a gold sparkly jacket and sunglasses on loan from The Banana Splits is anyone’s guess. “…Or we could have a sing-song”, he beams, before launching into a stripped down version of Carter’s ‘Is Wrestling Fixed?’, its opening lines greeted with a huge roar. It’s a great performance, but drawing more heavily from the whimsical than the energetic, its a less-than-obvious opener. Nevertheless, the front half of the audience is hugely receptive and even in the bar areas nearer to the back of the venue, bellowing voices are more than evident. Digging further into the Carter back catalogue, the fantastic Billy’s Smart Circus whips up the audience further into a shouting mass – this first dip into the fan favourite ’30 Something’ album boding well for the rest of the set.