TUMBLING BONES - Loving A Fool

This is a self released album available from the bands website although individual tracks are available to download at Amazon for the usual price.

The band are a three piece who hail from Portland, Maine in North East USA and specialise in authentic bluegrass with excellent vocals and superb high energy instrumental pickin'. What sets them apart is that vocal prowess that shines out across the 13 tracks here. The album gets off to a sprightly start with 'Broken Things' which is, at its heart, another list song but they put such infectious punchy energy into it that you can't help but grin along inanely and the fiddle refrain gives it a massive lift and it leaves any Mumford & Sons comparisons trailing in the dust. This is quickly followed by an even more sprightly 'Bound to Ride' that is powered by some fine banjo pickin' and a hot fiddle that makes an impressive opening gambit. Things slow up for the title track 'Loving a Fool' a sad lament for a lost cause that's drenched in misery and tears with a suitably mournful vocal and heavenly backing vocals.

Across the forty minutes of music we have a range of distressed anxious characters who are bemoaning how life sometimes turns out but overall we are uplifted more than we are dashed. There's a raft of influences at play here from the great Hank Williams through Woody Guthrie and a touch of Marty Robins. There's upset and disaster aplenty and that old time feeling is well captured especially on the banjo and harmonica laced 'How They're Rolling' where we get some lovely tight-knit three part harmony alongside some tasty pickin' and wild wailing harmonica.

'Shady Green Pastures' takes us right back to those tight old fashioned a-Capella harmonies and a superb gospel feel that brings a lump to the most cynical of throats, spine tingling stuff that can't fail to stir your heart. 'Red Red Rose' is a gruesome murder ballad that, like any good murder ballad, sucks you in and involves you in all the grisly details - lovely.

'This Time Last Year' is a corker and had me checking on-line to see if it was a cover as it seemed so familiar. The aching vocal refrain will make grown men cry and comes over like an instant classic with a sad a melancholic vocal and a heartbreaking lyric about love and loss - wonderful stuff. This is followed by another gospel ditty 'A Voice From on High' that could be about the crucifixion and is a real olde worlde hymn - just like you don't hear anymore.

'Just Because' IS a cover and one of those songs that everyone knows but few people can tell you who wrote it. It may have been written by one William York and whilst I know that The Stanley Brothers recorded it the version I know best is by Elvis. The take here though is a bluegrass romp and flashes with humour and cheekiness. It leads us straight into an uptempo 'Money is for Spending' complete with rockabilly Stray Cats style-guitar-boogie with some hot banjo thrown in. 

So, what we have here is a fun, old timey album with much to recommend it. It isn't fantastically original or innovative but it is an entertaining listen and has a wonderful contemporary sheen that will keep you coming back for a while.

Words: Greg Johnson

THE HOAX's Robin Davey talks to NE:MM

British Blues Hall of Famers, The Hoax, have returned to the international stage with the release of their first album in 15 years, 'Big City Blues.' The promotional tour takes in Stockton's The Arc on April 24th and Newcastle's The Cluny on April 25th. Ahead of the dates we spoke to founding member, guitarist and vocalist Robin Davey. 

NE:MM: How does it feel to be back on the road with The Hoax?

Robin: It's always fun to get out and play with The Hoax. Even though we have all had success in our individual projects there is definitely something special that happens when the five of us get on stage.


NE:MM: What are you looking forward to the most being "back out there"?

Robin: It's just really great to see the outpouring of support our fans continue to give us. We took a long break away but it was the people who have supported the band and continued to spread the word that kept it alive, and enabled us to get back in the studio and record another record.

NE:MM: Have you played in Newcastle before, what are your memories? Do you know the Cluny? Great venue..

Robin: We have played the Cluny once before and it was a great night. We have always had a great time playing the North East and the the warmth of the people and their respect for music, especially the type of music we do, means we always look forward to coming back.


NE:MM: Do you have any new material coming through? what's it been like working together after such a long break?

Robin: To be honest it was like we had never been away. The moment we got in the studio together things just clicked again. We went in with nothing and 10 days later we had a brand new album, which sounds better than we ever have before.


NE:MM: In the past, you worked with legendary blues producer Mike Vernon (who worked with Eric Clapton, John Mayall and Peter Green amongst others), what was that like, did he tell you any scandalous stories about the people he'd worked with in those halcyon 60's days?

Robin: Mike was very supportive of us in our early days. Though sometimes his clean producing style didn't fully gel with what we were aiming for, he was a great inspiration to have around. He was right there when the original blues boom started and was instrumental in not only creating defining records but also shaping the whole scene. As for scandalous stories if I told those he would probably tells ones about us!

NE:MM: Why do you think "The Blues" has endured?

Robin: Because it is about raw emotion, just the same reason why comedy had endured, or art. Humans have a need for it, a need to feel something real amongst all the fast food music that saturates our ear drums.

NE:MM: Who would you say are the greatest of the blues greats? Give me your Top 5.

Robin: I can't speak for the whole band, but in my opinion, BB King, Albert King, Lightning Hopkins, Stevie Ray Vaughan, Muddy Waters, Howling Wolf, Leadbelly, Son House. I know that's more than 5 but you just can't narrow it down.

NE:MM: Is there any contemporary blues players/bands that caught your eye?

Robin: Hmm this is a tough one because we started young and now I understand what we were missing back then, but also what made us unique and gave us the edge.

The best thing we ever did from a musician and song writer perspective, I believe, was going away for 10 years and experiencing life. We had success but then we all went away and started at square one again with our own projects and that is tough. But it makes you realize what you are lacking in both experience and musical ability.

So many young played are thrust into the limelight and though they show potential, they never become what they could be, because all they know is being told how good they are, and the inside of a tour van and venues. Here's your record deal, heres your circuit, here's your backing band, it's like the blues equivalent of Pop Idol.The blues greats came out of true hardships, working crappy jobs, getting in fistfights, going to prison. The blues scene nowadays is too accessible for young performers, there is a circuit that they jump right into before they have even experienced the realities of life, and before long they have a career handed to them on a plate, I personally don't feel this is healthy for the music.

Questions: Greg Johnson

KIRSTY MACCOLL - All I Ever Wanted (The Anthology)

I received this promo cd weeks ago but it’s so full of content (43 tracks) and the booklet that accompanies it is so fascinating that it’s taken me ‘til the eve of the album’s release to finally put pen to paper.

I was always a fan of Kirsty MacColl; not so much of the music but a huge fan of her as a music industry survivor and an experimental and brave artist. During her rollercoaster of a career in pop she was dropped by labels, was embroiled in contractual disputes, endured a failed marriage to a musical collaborator, yet through it all she continued to write and record spirited and infectious songs. As I say, I wasn’t a HUGE fan of the music but also wouldn’t have changed channel if ‘A New England’ etc had come on the radio.

Early MacColl meant guitar based pop songs, often with witty lyrics and catchy hooks. Examples of that are found here in abundance; ‘They Don’t Know’ (made more famous by Tracey Ullman), ‘Don’t Come The Cowboy With Me Sonny Jim!’, ‘There’s A Guy Works Down The Chip Shop Swears He’s Elvis.’

The mid point of her career was also probably its critical high point. The album ‘Kite’ contained hits ‘Days’ and ‘Free World’ whilst she enjoyed huge seasonal success with the Pogues and ‘Fairytale Of New York.’

Towards the end of her tragically short life she recorded a world music-inspired album entitled ‘Tropical Brainstorm’. The highlight of the record was arguably the Cuban influenced ‘In These Shoes’ and that track, along with many from all parts of her diverse back catalogue are contained on this near complete collection. I say ‘near complete’ because sadly MacColl’s rendition of ‘Miss Otis Regrets’ from her Jools Holland Hootenany appearance (with the Pipes and Drums of the Irish Guards) is not here but it’s the only omission I can detect.

As well as a broad and well chosen selection of songs you receive with this double cd a fantastic and lavishly produced booklet exploring MacColl’s interesting career and life with contributions from collaborators such as Jools Holland and Johnny Marr.

The whole package is a fitting tribute to a sadly missed and perhaps underrated singer songwriter.

Words: Rachel Jean 

IAN McFERON - Acoustic

This deceptively simple 10 track album, from Seattle songwriter Ian McFeron, is a real grower and after having lived with it for a good few days now I find many of the sings lodged in my brain. They are all soaked in Country and Americana and never overstay their welcome. With a simple array of guitar, fiddle, piano, a touch of cello here and there, some light percussion and tambourine we have a superb low-key record. The songs themselves are light and melancholic and remind me of a number of different artists like the Willard Grant Conspiracy and, at times, Randy Newman with the predominant confessional style songs that invoke lost loves, childhood and times gone.

The album opens with the upbeat 'Down the Road' as we are taken through big questions about life with some advice about "finding what we are looking for a little way down the road'. In other hands this might sound a little clichéd but the vocal is strong and committed and Alisa Milner's melancholic fiddle and subtle backing vocals lift it into a different dimension.

Milner's fiddle is the dominant instrument in the second song 'That's Where I Learned to Sing' that's comes across like a sad remembrance of a childhood passed. McFeron's lovely vocal reminds us what we all feel about the past sometimes. The tempo goes up a gear for 'Feelin' Good' which seems to be about the joys of living without artificial stimulants and getting high on nature and life instead of sex drugs n rock n roll and hits us with the refrain of "well I used to feel bad but now I feel so good".

'The Sands Hotel' sounds like a place of strange and weird mystery and I'm not sure it's somewhere I'd like to visit. It begins with a stately piano introduction leading us into a cold and lonely town covered in dust and memory. We get advice to "pick up your bag and hit the street running" with the waves lapping on the beach leaving only lonely footprints in the sand - yikes!

'Streetlight Serenade' has the most beautiful fiddle refrain and Ian's insistence that  'I would do anything...' sticks in your memory long after the album is over. In fact all the arrangements are classy but straight forward and help to evoke life's inherent simplicity as on 'The First Cold Day of Fall' and 'Summer is Gone' towards the end of the album. Both songs take us through the end of summer and the coming of Halloween and the winter, with a beautiful evocation of this time highlighted by a sad fiddle line running through them.

This is not one of those records that screams "instant classic" at you but the songs are wonderfully crafted and 'Acoustic' is a superb and memorable album that repays repeated listens and is available from Ian's website now, do yourself a favour, click here and buy....

http://www.ianmcferon.com/Acoustic_Album

Words: Greg Johnson

SOAK - Q & A Interview

Sitting on the table back stage at the O2 Academy with the noise of Chrvches sound check rattling in the background; seventeen year old Derry singer song writer, Bridie Monds-Waton AKA Soak seemed fairly relaxed. It may have been a familiar accent- I too am from Northern Ireland- that had put her at ease or perhaps it was being surrounded by her favourite things: an acoustic guitar and a skate board- not the typical must haves for an ordinary 17 year old. But then again Soak doesn’t seem all that ordinary. Despite her early success, however, this young artist remains approachable and endearingly sweet – not at all disgruntled, which is often the case with some musicians at the end of a long day of interviewing.  So we launched in to chat about her time touring and her experience with Glaswegian tour mates, and record label owners Chvrches. 

You have recently been signed to Chvrches new label ‘Goodbye Records’; how did that come about?

“We have the same publishers, Universal. They contacted me and were like; Chrvches have a song called Mother We Share, would you like to cover it? It was basically for TV syncs and stuff like that. And so I recorded that and Chrvches really liked it and so, I ended up signing with them to release an EP.

Will there be any further collaborations between you and the band following the Chrvches remix of your song Blud?

“I don’t know, maybe at one stage we’ll write a song together or something. I really loved their remix though; iv had a remix before by Ryan Vale and it was really chilled, and they brought my vocal down to like, a male vocal- it was really weird. But when Chrvches done Blud it was so much better – it made it like a disco song”

Do you think working with Chrvches and their electronic style with change your sound at all?

Em, I think I will just naturally differ with the kind of music I make; I don’t set out to make a particular genre or anything. What it is, it is. Everything transforms when you get it to the studio anyway. But I reckon over the years I’ll probably transform into something else; but I don’t know

Coming from Derry in the North of Ireland, how do you find touring in England in comparison? 

Well I’ve only done a few tours prior to this, so I don’t really know what I’m getting myself into to be honest. We did two weeks in Europe and it was really big capacity venues; it was pretty sweet. Things like that don’t really make me that nervous. I mean like, England has much bigger venues that Ireland definitely. I mean, this is so much better than playing like Mandela- but yeah, this is strange because it’s an electronic band and I’m an acoustic artist; it’s a strange audience. It’s hard to get them to listen sometimes, but I think it’s pretty cool. I like playing bigger capacity venues though, it doesn’t make you feel so tiny.  Like, if there’s a crowd of ten, and just me, then it’s terrifying.

You’ve supported a lot of great acts in your short time; who has been your favourite act to support?

Ah, that’s hard. 

Tegan and Sarah were amazing to play with; when I was 13 they were like my heroes. I mean, they once played in Belfast and I couldn’t go because it was over 18. All my mates got fake ID’s, but my mum wouldn’t let me; so I had a tantrum.  They were really cool people.  Bombay Bicycle club were lovely to tour with as well.  But out of all of them I really think Chrvches have been the best to tour with; they’re really down to earth and like nice people to chill with.

What has been your most memorable moment of touring so far?

I guess one of the highlights would be on the European tour. We stopped in the middle of the Alps and everyone got out and we just had a snowball fight; that was pretty amazing. The whole idea of a tour is pretty special to me – going to different places and having these opportunities to see other cultures. To do all that, and get paid – that’s a highlight in itself.

As a musician coming out of Northern Ireland, do you think it’s harder for bands to make it from such a small place?

In my experience I think it worked in my benefit. But in the way that, because it was such a small place and there wasn’t a lot of music coming out of it. So when something decent came from there, people flocked to it. What happened with me was whenever I released my first EP they were getting played on radio one and all these music industry people flew over to see me.  I mean, Derry is smaller than Belfast and there is some great stuff coming out of Belfast that just isn’t getting recognition.

You’re such a young artist to be touring; if you weren’t here now what would you be doing?

I got to like, GCSE’s and in the middle of them I was doing gigs as close as 30 minutes before exams, and I didn’t care really – I didn’t like school at all, except for music and the artsy side. But I ended up with good result; I got more than enough to get into the Tech I wanted.  At that time I was being offered such big gigs, like supporting snow patrol. I seemed like people at tech were thinking “Why the f#ck are you getting all that?”, so it was kind of hard to make friends. But with my career going so well, and all the flying back and forth – the school said ‘you can’t stay if you’re not here more often’. So I left. It worked out better for me though, I’ve done so much and Il only get this shot once. 

Questions: Dominique Daly

DRIVE BY TRUCKERS - English Oceans

The Truckers are one of those old school bands who have “paid their dues” as we used to say back in the 70’s. They’ve played their way up shouting, balling and drinking through small dives full of drunken spotty youths through bars, clubs, sports halls and arenas. I’m willing to bet that they are still a little too rough and ready to make that leap into stadiums but I’d doubt that they would ever want to. 

“English Oceans” is their 10th studio album and, along with their two live albums, represents a solid body of excellent rambunctious catalogue that should be in every rock fans collections. They’ve had a floating cast of members that now runs to over twenty rock n roll travellers and includes the great Jason Isbell (who, last year, released one of the best albums of the year in “Southeastern”) and Jason’s ex-wife Shonna Tucker who has just released her own solo record ‘Eye Candy’ and is a YouTube hit with a cookery show (I kid you not – here she is http://www.youtube.com/watch?v=cJ4WB2GIRxE). The bands two stalwarts are Mike Cooley and Patterson Hood who can now boast 16 years of life with the Drive-By Truckers who are, without doubt, one of Americas finest roots bands. 

After a quiet period this album sees Mike Cooley roaring back to full power with six great songs on the album with Patterson taking the other seven in this bluesy, jagged, guitar soaked set. All of the Truckers albums are peppered with various boozers, losers, heroes, heroines and junkies and this album is, of course, no different with tales of Walter who sets his house on fire in ‘When Walter Went Crazy’ after the “rattlesnake in his eyes, blended whiskey in his face and murder in his heart” when he just snapped. Then there’s ‘Pauline Hawkins’ who really has wandered out of Willy Vlautin’s (of Richmond Fontaine) new novel, “The Free”, and is lost in Patterson’s song lamenting that “Love is like cancer” with a lovely coda reminiscent of Clapton’s masterpiece “Layla”.

The opening song “Shit Shots Count” is very reminiscent of the Stones during their “Exile” period – but, what the hell, they were at their wonderful best then so why not? It’s a Mike Cooley song and is soaked in honking brass as Cooley tells a winging work mate that the boss “Is not as smart as he likes to think he is but as not as dumb as you think”. It’s a fine starter and sets the tone for an excellent record that is more satisfying than the last couple of Truckers albums which, in truth, were more memorable than much of what else was around at the time.  Hood and Cooley’s guitars wail with fine short stabbing solo’s that don’t over stay their welcome. The brass lifts the song and gives it more weight with an obvious fuller sound.  

Patterson’s “When He’s Gone” tangles with feelings of loss and confusion in a long term relationship that’s heading for the rocks – more tales of real life “she can’t stand to have him around but she always misses him when he’s gone” – oh, for a simple life – but not here! Coley is right back at you in “Primer Coat” with a sad tale of a broken down man who “graduated in 84, quit drinking in ‘92” and drifted through life in a sad daze after that.      

One of the two real stand-out tracks is ‘The Part of Him’ that has a pretty tune with a lovely guitar figure to introduce it but the lyric is a bitter tale about a total waster who ‘never worked an honest day’ who was ‘a total jerk who’s own mother called him an SOB’. It highlights the bands knack of giving their characters real life traits that anyone can relate to. Patterson is especially adept at this and frequently talks at live shows about his mom (the song ‘18 Wheels of Love”, a real rock n roll love story from “The Fine Line”, is well worth hearing – here it is http://www.youtube.com/watch?v=FM8zRjl2uLU)   

‘Hanging On’ begins with some spooky spectral piano and a lightly strummed acoustic guitar with Patterson articulating another sad tale of loss and isolation where ‘a voice tries to tell you its not right – but hang on’.  Cooley is back with the lurching drunken piano roll of ‘Natural Light’ and is reminiscent of Giant Sand at their sand-blasted best as Cooley languishes in country hell with some spikey Green-On-Red-like guitar as the song ends.

Rounding the album off is, the second real stand-out, Patterson’s ‘Grand Canyon’ which has a rolling magisterial guitar figure which is a fitting tribute to a friend, Craig Lieske – a member of the bands road crew who’s death in January 2013 inspired the album in the first place. Patterson sings movingly of watching the light fade and the colours change during a visit to Grand Canyon as he ruminates on the meaning of death and life and how he will ‘lift my glass and smile’ to honour his lost compadre. It’s a fine song and destined to be on my end of year compilation.   

This is yet another superlative offering from what is America’s best “southern” band that will no doubt be sitting high in the best of the year stakes in December and I’m sure that many of these superb songs will take there place in the band’s set on their short UK tour in May – but, sadly, no North-East show.

Words: Greg Johnson

BIRDS OF CHICAGO - Live From Space

Our illustrious Editor gave me a choice of three albums to review and I chose this one purely on the bands name. I have to say, I made an excellent choice, this is a great record.

Our old friend Wikipedia reveals that Birds of Chicago are a “collective based around JT Nero and Alison Russell who tour as a duo and as a full band”. You don’t need to know the bands history though to appreciate a great album, you just need to pin your ears back and listen.

What we have here is a fairly raucous live album in front of a noisy home crowd and seventeen stomping tunes that take in country, soul, do-wop, jazz, blues and a splash of good old pop. Alison possesses a fine expressive voice and she’s at home in just about any genre. JT too has a fine set of pipes and whether thumping out a country classic like “Cannonball” or melding with Alison on ‘Fever Dream‘ they are both perfect voices for this unique band.

The opening track ‘Barley’ has Alison deliver a passionate supercharged torch ballad that tells us that she’s gonna be resilient right on to the end. Many of the songs here are indeed anthems to hope and joy. In ‘Kathy’, a gorgeous, ballad sung with real passion by Alison, we hear a sad lament for a friend (or perhaps her mother?) who seems to have lost everything including her ability to play her music. She’s urged to remember Stevie Wonder and her favourite, Joni, who “came from Saskatchewan too”. The terrific mandolin playing gives it a real touch of the epic and makes it, for me, the stand-out song on an album chock full of tremendous songs.  Alison croons in French on ‘Sans Souci’ and I’m not sure what’s going on but it sounds damned saucy (it roughly translates as “No Worries”). It’s a beautiful tune that gives you a lift with its sheer joyfulness. There’s some nimble bass playing on this little ditty courtesy of Chris Merrill with Alison giving him a breathless name check as the song ends.

Elsewhere we have “North Star” that is a brooding duet and “Funeral” a strange little song that suggests that we dance into oblivion as death surrounds us (‘Hey, Pretty baby, lets shake it like somebody died’). The musicianship is superb throughout and we get a variety of musical settings that includes Alison’s distinctive clarinet playing and also some superb mandolin. Dan Abu-Absi adds some additional mandolin and classy guitar playing right across the album but on ‘Sugar Dumpling’ his playing is simply gorgeous.  

So, what we have here is one of those albums that we don’t seem to get enough of anymore. You know - the ones with excellent original songs, superb faultless musicians, fantastic voices and an exuberance that can’t be faked and only comes from a band who really loves what they are doing – I’m sure you will too.     

Words: Greg Johnson

MICHAEL WOODS at St. Mary's Heritage Centre, Gateshead - 7th February 2014

Serendipity is a wonderful thing. A few weeks ago I volunteered to review East Coast Fret, an album by local blues guitarist Michael Woods, consisting of instrumentals inspired by well known North East landmarks and events.

As you’ll know if you’ve read my earlier review of the album, I rather liked it. But here’s the serendipitous part. Not only did I get to review the album, but I also got to go to the album launch event at St. Mary’s Heritage Centre in Gateshead.

Now I’d never set foot in St. Mary’s Heritage Centre before and I can tell you if you’ve never been that it’s a fantastic place to listen to live music. There was a modest stage area, a few rows of seats and a little bar, all arranged to simple perfection inside a beautiful Grade-1 listed church. 

Split across two sets, Michael played (with no slight accomplishment) tracks from his new album, peppered liberally with a number of extremely well chosen vocal tracks by the likes of no less than Jerry Garcia (‘Jack-a-Row’), Blind Boy Fuller (‘Weeping Willow’), JJ Cale (‘I Got the Same Old Blues’) and Michael himself, whose tribute to a recently disappeared local landmark ‘Goodbye Davy Roll’, proved to be one of the night’s many musical highlights.

Michael also explained the stories behind the tunes on East Coast Fret. ‘Split Crow Road’, for example, was where Michael purchased his very first guitar for the princely sum of £25, or, as he explained, the money earned from delivering newspapers for six months. ‘Celebration March’ was written in the wake of one of the rarest of footballing events, England’s 5-1 demolition of Germany. We also learned that for one day, while playing live in the late lamented Borders, Michael managed to outsell Take That. No mean feat.

All in all, 21 tracks of wonderfully serendipitous acoustic guitar blues, with a clarity of sound attributable no doubt in equal parts to Michael, his engineer and the unique venue. 

Words: Neil Pace

TOXIC MELONS - Bus Therapy

‘Bus Therapy’ is the latest effort from Newcastle based Toxic Melons, which sinks us into ‘Yellow Submarine’ esque melodies and country inspired metal tunes.

It’s a huge melting pot of psychedelic music at its absolute best which produces Lennon/McCartney sounding tracks like ‘Not In Love’ and ‘Change the World’ and soft strummed ballads like ‘Take Me Back’ – in many respects you could be forgiven for thinking Melons have simply swallowed a ‘Beatles A to Z’ and added their own unique twist to it. That’s not a criticism, because few artists can orchestrate the majesty of the desired sound like it’s found here, and even when you hear something a little different – the Faith No More sounding ‘Disco Balls’ springs to mind – you’ll be almost astonished to discover these efforts are from just a single individual.

While it’s true to say that over 40 musicians from 8 countries (including Slash’s Snakepit Eric Dover) have performed on this phenomenal record, the entire album is written, arranged and produced by Paul Fairbairn – himself something of a musical prodigy for the 21^st Century. 

The songs were all written on bus journeys which Paul took, hoping to give him a deeper understanding of the world in which we lived, inspired by the folk and electronic music he writes. “Toxic Melons” has recently launched a Kick Starter campaign in efforts to get this album a full release – and if there’s any justice in the world – they’ll get exactly what they need!

Words: Wayne Madden

FAIRPORT CONVENTION - Sage Gateshead - 19th February 2014

It seems fitting to be at Sage on the night of the BBC Radio 2 Folk Awards to see Fairport Convention, a band who recently completed their 45th Anniversary tour and have been honoured three times by their peers at that event. They've had gongs for a "Lifetime Achievement Award", "Most Influential Folk-Rock Album of All Time" ("Liege & Leif") and "Favourite Folk Track of All Time" ("Who Knows Where the Time Goes"). The current line, distilled from some 25 members over the years, more than do justice to the bands legend tonight.

The evening begins with a short but melodic set from Yorkshire singer Edwina Hayes who entertains with some colourful tales about her Dad complemented with a song about him, 'Pour Me a Drink', and a bitter-sweet tune about lost love entitled 'Love is Suffering' and winding up with heartfelt cover of ex-Fairport member Richard Thompson's 'Waltzing's for Dreamers'. Hayes possess a beautiful voice and delivers the set with good humour and style. She is joined by the Fairports on her concluding song (and their opener) - a fabulous cover of John Prine's 'The Speed of the Sound of Loneliness' that underlines how great they sound with a female lead singer, a fact that we will be reminded of later in the set. 

Veteran Fairporter Simon Nicol, who is the sole original member, handles most of the introductions and as Hayes leaves the stage he quips "Ok, fun's over, back on your head's" before launching straight into a gorgeous 'Jewel in the Crown' and the band sound fulsome and melodic. Over the evening they play a rich mix of old and new dipping into old albums with tunes like 1970's Richard Thompson tune "Doctor of Physick", the jig and reel tour-de-force 'Dirty Linen' and a stunning 'Mercy Bay' from 2011's "Festival Bell"  and a classy 'Cell Song' from "Babbercombe Lee" that closes the first half. 

During the second set multi-instrumentalist Chris Leslie who, along with drummer Jerry Conway, are the new boys with, respectively, 18 and 16 years service, delivers a number of self written new tunes including the superb new song 'Myths and Heroes' and 'Grace and Favour' from one of a Chris' solo albums, that pays excellent tribute to local hero Grace Darling and has a fitting epic quality enhanced by Ric Sanders exemplary fiddle playing. We get a rearranged 'Wassail Song' with Nicol getting in some good natured digs at Jethro Tull and Pegg on kazoo. Some of the banter is directed inwardly as fiddle player Ric Sanders describes Matt Pegg (deputising for the injured Dad, Dave, tonight) and Jerry Conway as "the greatest rhythm section available in their price range". 

Mid way through the second set we get a glorious 'Farewell Farewell' that causes audible gasps of amazement around the room. We know we are coming to the end of the show though as Nicol pays fulsome praise to introduce Sandy Denny's classic song 'Who Knows Where the Times Goes' and talks about the song laying at the bottom of Denny's guitar case for a while before she had the courage to show it to the band. We are in for a rare treat as Edwina Hayes returns to share the tender vocal with Nicol and they provide one of those rare musical moments that you know you will remember for a long, long time. It makes me think that they really should start to work again with a female voice and, for me, Edwina more than fits the bill.

The main set ends with the cracking murder ballad 'Matty Groves' from that folk classic "Liege & Lief" and, although they must have played it hundreds of times, its still delivered with enthusiasm and passion and makes for a memorable closer. For the encore we are left with another Richard Thompson favourite, 'Meet on the Ledge', from their 1969 opus "What We Did on our Holidays". Hayes' exceptional voice helps to round out this superb rendition that has the sold-out crowd on their feet as the band leave the stage after inviting us all down to Cropredy in August for their annual knees-up.

Words: Greg Johnson

FESTIVAL PREVIEW: GATESHEAD INTERNATIONAL JAZZ FESTIVAL 2014 at Sage Gateshead - 4th-6th April 2014

Jazz, and some Spring Cleaning by Roots of the World

If you are feeling like the dust of life is clinging to you a little too much, or that the Spring sunshine hasn’t quite lit up the darkest corners of your seasonally affected self, the forthcoming Gateshead International Jazz Festival could be just what you need. 

Art Blakey, once said that “Jazz washes away the dust of everyday life”, and this aforesaid festival will truly spring clean the spirits.

Now in its tenth year, the festival has become the U.K’s biggest jazz festival under one roof, offering huge diversity to the confirmed jazz lover or the jazz curious as this preview will show.

Urban grooves and electronica provide an infectious cross genre start on the festival’s opening night.  Texan producer/pianist Robert Glasper crosses the boundaries between jazz and hip-hop, with his quartet, “The Experiment” playing a late night set. Earlier on that evening, super cool brasilero Ed Motta brings jazz funk to Gateshead. His current output is influenced by 70s soul and Steely Dan. The sound of County Durham is not ignored as the music of “Prefab Sprout” gets the jazz treatment. Django Bates, acclaimed UK jazz composer, Sweden’s Norrbotten Big Band and jazz saxophonist, Joakim Milder, perform a suite, created by Milder around Prefab’s legacy. 

Ros Rigby, Performance Programme Director at Sage Gateshead describes the line-up for the festival as “our strongest ever”. The diversity marking day one keeps on going into the remainder of the festival. 

Saturday sees Hall One host a jazz supergroup; Argentine pianist Leo Genovese, who has an avant-garde background and grew up amidst the psychedelia of 1970s Brazil , plays with Grammy award winning jazz bassist Esperananza Spalding as members “The Spring Quartet”. Later on that evening, Courtney Pine, jazz multi-instrumentalist, provides a very different offering with a mix geographically based in the Carribean with mento, ska, and calypso. 

I earlier refererred to Art Blakey. The living connection between that colossus of bebop drumming and the festival is Jean Toussaint, who played in Blakey’s Jazz Messengers. These days Jean, saxophonist, has a quartet and you can catch them on the Saturday at 2p.m.

There are too many performers to mention as with all festival overviews.  I won’t touch on everything, so do please visit Sage's website. 

I will close with my eye being particularly drawn to Sunday in Hall Two.  Bill Frissell, guitarist and composer joins his trio to explore country, folk and blues through jazz to begin a perfect way to spend a Sunday.  Punk determinedly squeezes itself under the accommodating roof that is jazz. Sunday afternoon sees the experimental British jazz band, Polar Bear, throw punk, hip-hop and classical music into the mix, whilst the sonically thrilling local world/roots/fusion band Hannabiell and Midnight Blue close the festival. They are joined by local quartet “The Waal” providing a contrast based in jazz, folk, Scandinavian and Eastern European influences.  

Hear tracks from musicians featuring at the festival on April’s “Newcastle Roots Music Radio” out April 1st and on “The Roots of the World Show” on Hive Radio on March 16^th at 5pm.

DENNIS - Live Theatre - March 15th 2014 - ** SPECIAL GIG PREVIEW **

In July 2012 popular local actor and founding member of Live Theatre, David Whitaker suffered a massive stroke whilst performing on the West End stage. It left him immobile and mute. 

David grew up in Houghton Le Spring and before his illness had enjoyed recent success in Lee Hall's comedy The Pitmen Painters in which he played miner Jimmy Floyd. 

David continues to require significant care and so to help fund therapy sessions that are so vital in aiding him regain some independence local folk/rock/brass ensemble Dennis have recorded a fundraising track 'Third Time Around' with the likes of Tim Healy and fellow actors/friends of David. 

A special launch gig will be held at The Live Theatre on 15th March 2014 with tickets just £7. 

Words: Russell Poad 

CARTHY, HARDY, FARRELL & YOUNG - Sage Gateshead - 7th February 2014

This show is something of a homecoming for this quartet of fabulous folky fiddlers as they reveal that it was as part of the Folkworks project, right here at the Sage, that they first came together. Also, we are told, Liza Carthy has just been appointed as the rather grandly titled "Artistic Associate" for the project and if all that breathless excitement isn't enough then we discover that this is the opening night of what Carthy refers to as their "brief but meaningful tour" consisting of just eight dates across the country culminating in the glamorous climes of Maidstone.

A fine album entitled "Laylam" appeared late in 2013 and it forms pretty much the entirety of the set  tonight. What we have is four female fiddles with four stupendous soaring voices and minimal occasional percussion provided by Carthy's thumping bass drum and some gentle ankle percussion from Kate Young. They launch into the opening track from the album "Greasy Coat", a speedy romp through a list of stuff that these gals ain't gonna do at all. The voices soar and lock into some superb harmony with a huge uplifting chorus and layers of intricate fiddle playing.

All four musicians look happy to be up on the stage and the set is peppered with chat and smiles and they work to involve the full house in their banter. Carthy gets to show off her shoes purchased 20 years ago but never worn until tonight (!) and very splendid they look too. The songs are drawn from a variety of sources and include a superb take on the old Patsy Cline classic 'Walkin' After Midnight'  which hovers between country and folk with a fine spine-tingling vocal from Bella Hardy. Also we get a gorgeous 'Sally Free and Easy" with a heartfelt Farrell vocal with some beautiful fiddle underpinning the sad tale of woe. 'Chickens in the Garden' which Liza learned from her Uncle Michael, provides a humorous interlude with a tale about a Yorkshire framer and his daughters romantic intentions. Fine stuff.

The highlight comes around mid set with a simply stunning 'Why Don't You Do Right' that has the most beautiful four-part harmony sailing over the heavenly melody. Buddy Miller's 'Wide River' , also covered by the great Levon Helm, is another superb Farrell performance that illustrates that the quartet reside somewhere in the regions between country and folk and can't accurately be pinned down. Carthy's song 'June is the Coldest Month' is another peak with a touch of saw playing from Farrell that gives the song an ethereal quality with a haunting edge to it.

During the albums title track 'Laylam', which Carthy points out, isn't actually on the album, the fiddlers look as they are going to get into a Status Quo type huddle at the front of the stage. Thankfully they manage to avoid this rockiest move and encore with a gorgeous a-Capella 'Better Home' and, after much bowing and waving, they are off into the night still smiling. This was an excellent evening’s entertainment from a supremely talented quartet.

Words & Photo: Greg Johnson

MICHAEL WOODS - East Coast Fret

One of the (many) great joys of writing for NE:MM is the opportunity to discover artists that, under normal, musically blinkered, circumstances you’d never get to hear about.

So when the chance arose to listen to Michael Woods’ new album, East Coast Fret, I grabbed it with both ears because it sounded intriguing. A local guitarist who has been playing blues professionally for 20 years records an album of original guitar instrumentals inspired by the North East of England. Be honest, you’re a little bit curious now too.

Across 14 tracks Michael takes us on a musical journey around many of the landmarks we know and love, from the wonderfully evocative opening tune, a two-parter entitled ‘Blink of an Eye’ inspired by the Millennium Bridge to the lively ‘Celebration March’ which recalls Michael’s fond memories of Durham Miners’ Galas and is one of the album’s many high points.

Along the way we take in ‘Salters Bridge’, Split Crow Road’ (where Michael bought his first guitar in 1975), ‘Tin School Rag’ which pays tribute to the now demolished Tin School at Gilesgate Moor that Michael attended as a boy and ‘Haddricks Mill’ a slow, beautiful tune with musicianship of a quality rarely heard in 2014.

Best on offer though are the title track, ‘East Coast Fret’ in which Michael picks his way through a lively tune in a way that sounds marvelously technically accomplished and fantastically lazy at the same time and the all too brief ‘Lady Jane’ which brings the album to a close on a note of deep melancholy.

Michael will be premiering works from this new album at 7.30pm on Friday 7 February at St. Mary’s Heritage Centre, Gateshead. It’s an opportunity definitely not to be missed!

Words: Neil Pace

DES TEMPS ANTAN - Sage Gateshead - 30th January 2014

This energetic trio of Quebec musicians is playing their first ever English show tonight at Sage Gateshead but, disappointingly, although they have been tramping the byways of Canada and Ireland since 2003 there is hardly a mention of them out in cyberspace. This is a shame as they are a highly skilled and dynamic band that combine several different genres and deliver a warm hearted and spellbinding show.

With a cheery shout of "Gateshead, Bon Soir" they head off at quite a gallop taking in Irish jigs, blues, R&B and some excellent Cajun gumbo. The trio have some strong original features including underfoot percussion (you need to hear AND see it), slide bouzouki, and soaring vocals. Its a shame they are confined to a seated venue as were they to be let loose in a steamy bar the place would explode with energy.

Their fabulous melodic repertoire takes in ballads, jigs, reels and some authentic foot stomping. The combination of guitar, fiddle, accordion, harp and bouzouki makes for a storming evening. With a stream of stupendous series of laments, ballads and occasional a-cappella vocals this is a night to remember. 

Words: Greg Johnson

BRUCE SPRINGSTEEN - High Hopes

Bruce Springsteen's new album begins with the clattering of drums and new (temporary) guitarist Tom Morello's screeching strings as Bruce launches into his cover of The Havillinnas anthem to optimism "High Hopes". This version of the song, first recorded some years ago, was premiered during the Australian leg of the "Wrecking Ball" tour last year and is perfect opener for what is something of a disjointed record that contains some songs that will undoubtedly take a prominent place in Springsteen's epic live shows and others that will more likely be seen as pointers to what Springsteen might do over the next decade.  

 "Harry's Place" is certainly one of those pointers commencing with thumping percussion and Bruce's treated vocals giving us Harry's story in a muted angry voice urging us not to "fuck with Harry". A sleazy sax gives the sparse arrangement an undercurrent of mystery and suspense with some of the usual Springsteen characters including some in drag,  peopling the song whilst Morello's guitar gives the whole thing an air of menace.

 Bruce's disembodied voices drifts across the opening "American Skin (41 Shots)" a song played live many times back around 2001 following the murder of Amadou Dillalo by Police. It has been resurrected and newly recorded for this album after the death of Trayvon Martin in similar circumstances more recently. It's an atmospheric piece that kicks up a couple of notches half way through when Morello pushes the song towards a shuddering climax with the E-Street Band giving full throated backing. The whole thing is a massive indictment of US gun control and landed Springsteen in deep controversy with allegations of being anti-Police back then. It's a remarkable song that will no doubt feature in Bruce's set when he finally gets back on the road.

A second cover, "Just Like Fire Would", penned by Chris Bailey of Aussie punk band The Saints, kicks of the central section of the album and leads into more traditional Springsteen territory as this brass soaked arrangement recalls some of the innocent songs from "The River" with an uplifting chorus and a 50's style melody. In some ways the album can be seen as a something of a pause in Bruce's relentless march in that brings together familiar themes like loss, hope and anger but presents them in a slightly different way. That's got to be healthy for him and for his whole artistic vantage point. The songs in this central section are a little more melodic with less emphasis on big choruses and Political themes. This is typified by "Hunter of Invisible Game" that has a delightfully light vocal from Bruce with some gorgeous string work from "Sister Soozie Tyrell" (as Bruce lovingly calls her from the stage).

For me, the central pivot of this important record, is the re-recording of the title track of his 1995 (mostly solo) album, "The Ghost of Tom Joad". In it's original incarnation it seethes with a quiet indignity and desperation but in this remarkable recasting the song becomes a towering anthem to the lost and disposed with Morello's supporting vocal and fiery guitar pyrotechnics taking centre stage. Springsteen brings out all the latent aggression and anger and lays it bare giving this obscure dark classic a whole new lease of life - welcome to the "new world order" indeed. There's a fine live version available to view on YouTube.

The last two tracks of the album brings us down gently as Bruce leads us through "The Wall" with more quiet steely determination that was inspired by the death of Walter Cichon, one of his pals from early New Jersey days, in Vietnam. This is a song that could easily slot on to any Bruce album and not look out of place. Springsteen lays himself bare on this sombre track, which is dripping with bitterness and gently caressed by Danny Federici's keyboard. There's some beautiful subdued vocals that recall "Darkness at the Edge of Town" but the haunting trumpet at the end of this low-key epic tells us that Bruce is still creating, still strong and still relevant.

The closing song, a third cover, is US punk band Suicide's epic " Dream Baby Dream" that gets the upgrade treatment. The song is a plea for hope in the face of all the fear and adversity that seems to surround us out there in Jungleland. It's the perfect closing song.

So, there we have it - the first major album of 2014 and something of a mixed bag with much to be impressed and several songs that will perhaps reside in the "classic" category in the year to come.

Words: Greg Johnson