Category Archives: Album & EP Reviews

KING WASHINGTON – The Gears

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The GearsImagine what would happen if the fantastic harmony vocals of Crosby, Stills & Nash, America and their seventies ilk met with Dave Matthews Band and other like-minded jam-band revivalists of the 1990s… Surely the end result would be something special?  That’s kind of what King Washington sound like on their debut full-length release ‘The Gears’.  And while listeners will undoubtedly pick up on a myriad of influences while listening to this record, what’s perhaps most important is the level of musicianship and songcraft; on this twelve song DIY release, King Washington prove themselves as good as any rootsy outfit lucky enough to have major label backing and a huge recording budget at their disposal.  Simply put, ‘The Gears’ IS something special.

The journey starts gently, with the title cut opening with a simple guitar riff coupled with tight wordless harmony vocals. Before long, this then breaks into a strong arrangement where those harmony vocals really get a chance to take centre stage.  Aside from those harmonies, the clean-toned guitars offer some quite lovely, choppy rhythms, while the rhythm section is suitably tight.  ‘Fourth of July’ brings another strong sense of harmonies, once again; in addition, on this second number, King Washington indulges in a few tougher sounding traits. A quasi-aggressive intro allows more room for guitar work, offering a classic echo-driven sound.  The main bulk of the tune is dominated by strong melodies and a full arrangement offering some retro solos and tinkling harpsichord sounds.  These opening numbers certainly work well as a pair, since they show an almost complete range of King Washington’s abilities.

The slow ‘Rosewood Angel’ is the album’s finest tune, full of softly played lead guitar, which occasionally recalls 1970s southern rock.  Combined with another wall of harmonies, this track really shines; a great achievement indeed, especially considering it’s up against some pretty stiff competition.  The guitar work that sounded so appealing during the intro provides recurring musical enjoyment throughout, and while it’s not a tune with an obvious hook, repeated spins allow various musical layers to present something enjoyable with every subsequent listen.  The semi acoustic ‘Fancy’ comes with a slight Dave Matthewsy vibe, where the warmth of the bass pulls in the listener.  The soft music is accompanied by an equally restrained vocal, and while it doesn’t offer much that’s radically different from KW’s other tunes, it’s nicely arranged – a little simpler, perhaps – with the rhythm section taking the bulk of the work: it’s the sound of summer, captured in a three minute capsule.  For superb examples of the King Washington sound, both this track and ‘Rosewood Angel’ are highly recommended listens.

‘Cotton’ is much punchier than your average King Washington tune (not that any of them are average), with upfront drums and a marching beat.  At the heart of the piece, though, are KW’s tried and tested world of meticulous harmonies, ensuring most of harder edges don’t feel at all out of place.  It could be said that the discordant guitar solo pushes the musical envelope just a little too far, but the unsettling mood is brief.  While musically this track may not be as intricate as some others on offer, those harmonies win out.

Finishing off an already pretty cool collection of songs, the acoustic ‘Selling Out’ leaves the listener on a chilled, but not completely downbeat note.  The finger-picked guitar lines are soft and familiar, while the vocal has a fair amount of heart.  There’s a lesser focus on harmonies at first, allowing frontman Tyson Kelly a chance to stretch his voice out a little, his slightly weary delivery sounding like it comes from someone far beyond his years.  The second half of the track reverts to more familiar sounding harmony singing and a bigger arrangement, both of which bring the track – and the album – to a satisfying end.

If you’re looking for a mellow, summery listen, it’s hard to find fault with King Washington’s ‘The Gears’.  Each of the songs are very well crafted, and a gloriously full-sounding production (courtesy of the band themselves, with Joe Puerta of Bruce Hornsby’s Range/Ambrosia fame) is the cherry on the cake.  Retro, sure, but retaining an almost timeless appeal, this is a fine, fine record indeed.

May 2012

THE DANKS – Are You Afraid Of The Danks

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Signed to the independent label Hidden Pony Records (also home to the brilliant Rebekah Higgs), this album by Canadian four-piece The Danks is a record which explores slightly retro indie rock sounds, often at maximum speed.  Within a minute or so of the opening number, ‘What We’re Doing’, The Danks’ main aim is to get you bouncing.  The guitars jangle relentlessly – and it’s often those guitars which provide the core of the band’s sound – under which, the bass work is far more interesting.  Luckily, it’s with the second track, ‘Who Knows’ where things really begin to warm up, as that bass pushes towards the fore and sounds superb when colliding against unashamedly new wave keyboard fills.  Throughout this pair of tunes, vocalist Brohan Moore adopts a slightly slack delivery and an occasionally unsure high-pitched tone, in a style which could be compared to The Thrills’ Conor Deasy.

Over the course of the rest of their debut, The Danks rarely deviate from this solid musical formula.  In theory, although a couple of slower numbers wouldn’t have hurt (and it might have showed off something resembling a musical range), they should be praised for having such a strong sound and fully knowing what really works for the band at such an early stage in their career.   ‘Shifty’ finds the distortion turned down a touch, while more of a Hi-Fives influenced rock ‘n’ roll ethic drives the guitars.  Everyone sounds most at ease here; while there are a couple of catchier choruses to be found elsewhere, this tune is one of the album’s most well-rounded.

Another stand-out, ‘I’m Alright’ presents another lovely new wave keyboard which hammers a simple riff into your skull in place of a chorus, while Brian Murphy’s bass rattles in a more aggressive fashion.  Most bands would have certainly tried to find space for a more obvious vocal refrain, but honestly, the keyboards are so memorable, this track stands up as it is: simple, but fun.  Elsewhere, ‘The Squealer’ demonstrates Adam Hindle’s abilities with a hi-hat, while the rest of the band mix more jangly rock with almost shoe-gaze levels of distortion.  It’s probably the closest ‘Are You Afraid…’ comes to a slow number, allowing the listener a brief opportunity to pause for reflection…

‘Are You Afraid of The Danks’ offers twelve pieces of sunny indie rock, which when taken individually are all fine, groovy and incredibly professional.  While it’s relative one-paced nature can sometimes feel a little wearing, if you’re looking for something upbeat and trashy, you could do far worse than check this out.

May 2012


 

STATUS QUO – On The Level

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In 1970, Status Quo found themselves in need of a change in direction.  The psychedelic pop of their first two albums had all but become a musical irrelevance.  Experimenting with blues and rock over their next few albums, they eventually settled upon a brand of boogie rock – a sound they would make their signature.  By the time ‘On The Level’ was released in 1975, the ingredients of ‘classic’ Quo were all in place.  The four-piece line up of Francis Rossi (guitar/vocals), Rick Parfitt (guitar/vocals), Alan Lancaster (bass/vocals) and John Coghlan (drums) were as tight as ever and this album, alongside the previous year’s ‘Hello!’,  features their now easily-recognizable style in its purest form.

‘On The Level’ features Status Quo’s first number one single, the no-nonsense three-chorder ‘Down Down’ (released prior to the album in November 1974).  In lots of ways, although it doesn’t appear until the beginning of side 2 (this is another of those albums which, for people over a certain age, is still thought of as a piece of two-sided black plastic), it’s the track which sets the tone.  Much has been said of this track over the years, and as one of Quo’s signature pieces, it will be familiar to almost all, so in some ways very little else needs to be said.  However, the album version differs slightly from the oft-heard single release:  extended by over a minute and a half, the band builds tension and excitement via a couple of fake endings and reprises.  It’s essential Quo, no question.

The same thoughts could easily be applied to the opening number, ‘Little Lady’: you know there are three chords, you know what they’ll do…it’s just a question of how well they’ll do it – and here, they do a top job.   In terms of simple, no nonsense rock music, this is a real statement of intent; Rossi, Parfitt, Lancaster and Coghlan tear through the track as fast as they can muster.  The chords come fast and the vocals (shared by Rossi, Parfitt and Lancaster) revel in what passes as harmony almost throughout.  Particular high spots here include a riff used as interesting filler before the instrumental break and a softer edge enjoyed just before a furious solo.  During this soft moment, Coghlan employs interesting drum and cymbal fills lending a relative complexity somewhat missing elsewhere, making up for his otherwise slightly thin sound.  Also predictable, ‘What To Do’ is rhythmically tough and lyrically simple – so in many ways, quintessential Quo.  Attempts at shared solo highlights the “minimum overdubs” approach, as playing wanders from fairly dextrous to a little wobbly, but that’s all part of the fun, once again.

After a jangly intro coupled with a slightly uneasy vocal, ‘Most of The Time’ comes in with a standard blues-rock punch.  The power of the rhythm really shines, but it’s the lead guitar work – complete with a raw live in the studio edge – which leaves the biggest impression, with a decent amount of attitude combined with string-bending solos.  It’s so good that it’s almost a disappointment once Rossi’s unfussy lead vocals re-emerge and the band revert of safe bluesy rhythms until the inevitable fade out.  The formulaic three chord boogie of ‘I Saw The Light’ represents Quo on auto-pilot, yet still pleases – probably because of the predictable nature; the diddly-diddly (technical term) solo adds an extra element of joyousness.  By the time Rossi, Parfitt and co hit their stride with this sort of thing, it’s so effortless for them – a fact even more obvious on ‘Over and Done’ which, although taking a similar approach, manages to up the stakes by adding a basic but easily memorable chorus.  Bringing that chorus together with one of Rossi’s best vocal performances, there’s no doubt that ‘Over and Done’ is certainly one of the album’s best cuts.  Factor in a heady mix of dirty and clean guitar tones and a cheeky lead fill creeping in occasionally over the top of its main chord structure, it’s a wonder why this track isn’t much better known outside the Quo fan base.  Since ‘Down Down’ was the only track from ‘On The Level’ to be released as a single – and then, some months before the album appeared – ‘Over and Done’ should perhaps be seen as the great Quo single which never was.  With such a good melody and chorus on hand, it’s easy to forgive a few dodgy notes in the guitar solo!  ‘I Saw The Light’ and ‘Over & Done’ are so enjoyable, it’s easy to get swept along by the otherwise ordinary ‘Night Ride’, a tune where The Quo take three chords and stomp through three minutes without any of those previous offerings’ flourish. Three part harmony vocals flesh out the arrangement, while another string-bending solo just about manages to stay in tune.  It may fall by the wayside – especially in comparison to Quo’s best – bust take another listen… Lancaster’s rock solid bass work is just lovely.  High in the mix, he attacks the tune like a real pro, and that’s just enough to make ‘Nightride’ spinning semi-regularly, even if you don’t find yourself loving it.

There are a couple of tracks included where the band breaks from their tried and tested formula.  The first of these, ‘Broken Man’, has a lighter, almost jangle-pop feel.  There’s something in there that’s still unavoidably Quo, but feels a little quirkier; probably, in part, to a noticeably different lead vocal, courtesy of Alan Lancaster.  Lancaster’s vocal here has come under fire in the past for being a little flat, but frankly it more than suits the task in hand and is a hundred times better than Rossi’s previous attempts at lightness during ‘Most of the Time’s somewhat unnecessary intro.  The album’s ballad (if you can call it that), ‘Where I Am’, is really lightweight; in fact, the closest ‘On The Level’ gets to a dud.  The guitars move from their dirty, boogie shuffling and adopt a clean toned, metallic and almost country-esque sound.  It doesn’t achieve anything beyond its opening couple of lines, ambling along for just under three minutes.  Even a background tinkling – from what could be a banjo, but likely is just more guitar overdubs – doesn’t add enough musical colour to make this change in pace interesting.

Luckily, although coming close to ending the second side, this flimsy experiment isn’t the last word regarding ‘On The Level’.  In proper Quo tradition, they make sure the album reaches a fairly raucous climax.  Their chosen cover tune – in this case, a stomping version of Chuck Berry’s ‘Bye Bye Johnny’ – may not bring anything new to the band’s repertoire (not even slightly), but it’s still a great showcase for this classic four man 70s line up.  Lancaster steps up to the mic once more, and for anyone unsure of his contribution to ‘Broken Man’, this should set the record straight.  His ragged vocal tears into this Chuck Berry number with a rawness it really deserves.

Like the single release of ‘Down Down’, ‘On The Level’ was a resounding commercial success, becoming the second of four Quo albums to reach the top spot on the UK album chart.  Status Quo continued to release solid albums throughout the remainder of the seventies but few ever matched the quality or intensity of this 1975 disc.  If you’re ever keen to step outside the comfort zone of those familiar hits and see what Quo’s best album fillers sound like, ‘On The Level’ is the album to get.  It may not always be as adventurous as 1973’s ‘Quo’, or as intense as parts of ‘Hello!’, but It does every damn thing you’re expecting…occasionally a little more…and that’s more than enough!

January -March 2010/January 2012/May 2012

PAUL BUCHANAN – Mid Air

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The Blue Nile’s second album, 1989’s ‘Hats’, is a thing of rare beauty.  While it could be argued the general synthetic 80s sound dates the recordings a little, few could argue against the emotional content of its seven songs, or indeed, the magic of Paul Buchanan’s vocals.

For those who’ve ever wondered what the quietest moments of ‘Hats’ might’ve sounded like with less of an eighties sheen – ‘Saturday Night’ and ‘Let’s Go Out Tonight’ especially – Buchanan’s 2012 release ‘Mid Air’ may just provide one possible outcome.  Across fourteen brief songs – with only one clocking in beyond three minutes – the sometime Blue Nile man sounds fantastic, musically, lyrically and vocally.  Within this collection of intensely intimate tunes, Buchanan explores minimal musical textures, his voice and piano speaking volumes while at once delivering little.  In fact, ‘Mid Air’s only weak point is it’s most full-sounding: the instrumental ‘Fin De Siecle’ presents slightly obtrusive string sounds from a keyboard (a definite throwback to The Blue Nile) in place of Buchanan’s own vocal.  A definite piece of filler, this proves that Buchanan’s best compositions are wholly reliant on his voice to make them work, especially given that ‘Mid Air’ is a seemingly very personal collection of middle-aged recollections.  Luckily, the rest of ‘Mid Air’ exceeds expectation.

Having only a few musical embellishments beyond simple voice and piano, this release has a wonderful consistency. Even though his vocals and most of the arrangements are almost beyond criticism, a few numbers really catch the ear.  ‘Buy a Motor Car’, in particular, may just be one of the finest compositions in Buchanan’s (admittedly rather sparse) catalogue.  His breathy voice sounds full of longing as is rises and falls accompanied by simple piano chords and a synth emulating softly plucked strings.  With an arrangement which borders on musical sketch as opposed to anything fuller, this track best presents the style of ‘Mid Air’; edging gently forward, never rushing, always questioning.  All the while, Buchanan’s voice mumbles, cries and sighs as if he is singing to an audience of one.  ‘Summers On Its Way’ presents Buchanan striking a singular piano chord repeatedly, occasionally breaking from its hypnotic spell, while an upright bass sound provides soft accompaniment and, in the back, a soft drone fleshes out the sound.  Buchanan knows the power of such a minimalist approach, filling any spaces with his aging voice, which, even at fifty-six years old, conveys all the fragile power it once did back in the mid eighties; now, perhaps, even more so.  ‘Newsroom’ eschews the regular piano for a rather eighties sounding electric piano, and for two minutes, Buchanan sounds like the consummate storyteller, this brief vignette offering the closing sentiments of ‘last from the newsroom, turn off the light…there’s no-one left alive’.  It may sound relatively bleak, but doesn’t necessarily come across that way as part of this collection of songs.

The slow and smoky ‘After Dark’ sounds exactly as you’d expect judging by its title, and while it doesn’t break from the familiar sounds of the previously discussed numbers, Buchanan’s vocal is particularly lovely, his lower registers often sounding as if they are on the verge of cracking.  This, combined with a muted trumpet, really generates an atmosphere of sadness, more than on any other previous Blue Nile/Paul Buchanan recording.  In relative contrast, the title cut is, perhaps, one of the album’s most uplifting, with a vocal that’s a touch more forthright and a piano that combines a unpretentious and unfussy musical motif throughout, as well as a very familiar Blue Nile-esque chord sequence.  For those who’ve previously forged an attachment to Buchanan’s compositions, ‘Mid Air’ – the song – is impossible to dislike.  On first listen, you may feel as if you already know the song, and perhaps, have always known it.

A night time record in every sense, ‘Mid Air’ is soulful, intimate, thoughtful, occasionally other-worldly.  If those Blue Nile albums still hold magic for you, this album is essential.  Likewise, if you’ve often read great things about The Blue Nile but never quite got around to taking the plunge, ‘Mid Air’ ought to provide some insight into what you’ve been missing, especially from a vocal perspective.  Late night music rarely sounded any more exquisite.

May 2012

EMPIRE OF ONE – Empire Of One EP

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This self-titled disc may be the first release from Empire Of One, but their frontman Wil Seabrook has been around for a while.  He has released a few solo albums and an early single achieved the “Record of the Week” accolade on BBC Radio 2.  Rather more regrettably, some of you may remember him from “Rock Star: INXS” [the talent show where the Aussie rockers refused to let their musical legacy die with Michael Hutchence, and instead chose to whore themselves on TV].  Wil performed a couple of songs before being voted out at an early stage.

It turns out that not getting the INXS job was a blessing, since he’s a clearly talented vocalist and this debut EP from Empire Of One features some great material. It’s a good example of radio friendly pop-rock played at a superbly professional level, with just enough grit to stop things ever becoming too sweet.  Empire Of One’s sound may not be immediately striking but this EP only requires a couple of plays before the musicianship and songs begin to shine.

‘If I Let Myself Dream’ comes straight out of the stalls with no intro, with Seabrook’s vocals arriving alongside a rumble of drums.  This lends an edge, which, at first, seems like it ought to fade in order to let the song’s less crashy elements shine through.  In a surprising move, the drums remain insistent throughout, giving this opening track a tough edge.  All the while, Seabrook’s crying voice ensures the track has a strong sense of melody, with the repeated line “always, always I’m with you now” providing the main hook. ‘Roam’ is a touch more accessible. Ringing guitars and more emotive vocals recall the likes of Train (in a less drippy mood) and while the music may not be edgy, the rhythms which dominate the piece give everything a slightly angular approach.  While this is already enjoyable, the song’s best elements come from the superbly played bass, which dances in the background throughout, while doing a sterling job of holding everything together.

While not stretching Empire Of One’s musical range particularly, ‘I Wouldn’t Wait’ and ‘Better Than’ bring two more slices of impeccably played radio rock.  ‘I’m Still Here’ finishes the EP on a real high, however, really showcasing the band’s talent, as another top chorus is rounded out by jangly guitars and solid work from the rhythm department.  The guitars recall mid-period U2, which combined with a slightly breathy vocal line gives this number a cinematic feel.  If you were to pick just one number as a taster for the EP, you would not go far wrong here.

Based on this short release, Pasadena’s Empire Of One are a talented bunch. Harder than Coldplay, happier than Doves and infinitely more interesting than The Killers, this short collection of songs is just about ten thousand times better than most of the limp and somewhat sorry collection of tunes presented on Train’s 2012 effort in the name of radio friendliness.  While the US isn’t short on bands which fill this musical niche, there’s always room for more…especially when they’re this enjoyable.

May 2012