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OCEAN COLOUR SCENE – “SATURDAY”
 Forever
linked with the “Britpop” era or being accused of being Weller clones or mocked
for being obsessed with the 60’s, it is fair to say Ocean Colour Scene have had
more than their fair share of rough press.
Not that it bothers them in the least. The glory days of “Moseley Shoals”, their
legendary Stirling Castle shows and appearing on the soundtrack of Guy Ritchie
movies may be a distant memory but the ‘Scene still churn out albums with their
trademark folk rock sound stamped all over them. However the last two studio
efforts (2005’s “A Hyperactive Workout For The Flying Squad” and “On The Leyline”,
which was released on the band’s own “Moseley Shoals Records” label in 2007)
have both had classic OCS moments but were ultimately cursed with a lack of
consistency.
It must be difficult for the band to know where to go to next. A total departure
from what they do best in a bid to give themselves a facelift and win new fans
would only upset their loyal fanbase. Yet sticking to the tried and trusted
formula would surely see more flack fly in the band’s direction. So what have
they chosen to do with their latest release “Saturday”? Well, they’ve dipped
their big toe cautiously into the waters of a slightly poppier sound and hoped
for the best….
“Saturday” is certainly more consistent than it’s most recent predecessors. The
better moments are really, really good. Lead single “Magic Carpet Days” is one
of the most summery pop songs you’ll hear this year. There’s also the quirky
“What’s Mine Is Yours” and the acoustic delight of “The Word” – finally getting
a studio release after being first introduced on the “Live At The Jam House”
album four years ago. Then there’s the Steve Cradock sung “Postal” which is
pretty brutal stuff and sure to go down well live.
“Mrs Maylie” is easily one of the most interesting things they have written
since “The Song Goes On” off of 2003’s “North Atlantic Drift”. Kicking in with
all the subtlety of juggernaut, it has all the flavourings of a good old OCS
rocker before completely changing direction into a psychedelic acoustic
interlude complete with flute and mandolin. Anyone who may be keen to label
Ocean Colour Scene as a one trick pony is in for a pleasant surprise.
“Saturday” is certainly the liveliest and most consistent album that Ocean
Colour Scene have released since “North Atlantic Drift”. Whether it will win
them any new fans as such is debatable. However it does confirm that the band
have done more than enough to pull themselves away from the cruel Weller Clone
criticisms and from being chucked in the same Britpop box as Kula Shaker and
Echobelly. Let’s just appreciate Ocean Colour Scene for their determination to
carry on regardless and for still delivering timeless moments of folk rock gold.
Paul Lane
MY LUMINARIES – “Order From The Chaos”
 “Epic”
is a word that seems to be thrown at any song lasting just over 3 minutes these
days. Therefore London’s alternative rockers My Luminaries could lay claim to
being the band that the phrase “potentially epic” was invented for.
Debut album “Order From The Chaos” is awash with gushingly beautiful melodies
and colossal guitar hooks. Big hitters like “Welcome To The Family” and
“Homewrecker” are so huge in their sound and scope and so immediately addictive
but somehow they ultimately leave you headbutting the nearest brick wall in an
almost rabid need for more.
Oh, My Luminaries, you are such a tease…
And then there’s the insanely gorgeous “Clementine”, a timeless tune with a
hugely infectious melody line and piano hook. I dare anyone to listen to this
song and not be instantly hooked.
My Luminaries are already working with the likes of Greg Calbi (of Bruce
Springsteen and Bob Dylan fame) as well as Oasis cohort Paul Stacey. These
friends in high places can’t all be wrong. My Luminaries are something special.
Paul Lane
T-MODEL FORD – “The Ladies Man”
 T-Model
Ford is 80-something years old. His Mississippi driver’s licence says he is 84,
his US passport says he is 87 and the man himself says he is 88!
Regardless of age, T knows how to have fun. He started playing guitar because of
the greats, Muddy Waters and Howlin’ Wolf – they’re even name-checked during the
somewhat pointless spoken worded but wonderfully titled “I’m Coming To Kick Your
Asses” - and those influences shine through on “The Ladies Man”. The album was
recorded in 3 hours and that is reflected in the very “live” sound. Indeed you
get the feeling that the likes of “Chicken Head Boy” were born out of jamming
sessions.
The authentic bluegrass of “I Love You Baby” is lighthearted and enjoyable which
is a running theme of the album. T-Model Ford says he does not have a care in
the world and that is reflected in “The Ladies Man.” For here is the sound of a
man just doing what he loves.
Paul Lane
THE LUCKY FACE – “Lounge”
 London
tunesmith Tim Mullineaux AKA The Lucky Face is clearly a talented chap. His
debut single “Underneath The City Lights” was a summery joy to behold. And now,
with his latest EP “Lounge”, he has decided to limit himself to the stripped
down necessities of just piano and vocals.
It very nearly works perfectly. “Loretta” is lyrically a far flung cousin of
Queen’s “Fat Bottomed Girls” and sung in a passionate growl. The light hearted
“I’m Not Really Bothered Anymore” recalls The Divine Comedy while on the other
side of the coin, the intensely heartfelt “You’re Not The Girl In This Song”
finds Mullinaux sounding like Darron Connett of London Mod rockers Connett.
By the end of the EP, the stark arrangements start to wear a little bit thin.
However “Lounge” is overall an enjoyable listen and keeps us intrigued as to The
Lucky Face’s next release.
Paul Lane
SMOKEY BASTARD – “Propping Up The
Floor”
 Just
what the world needs. An album of Guinness sodden punk tinged covers of the
likes of “I’ll Tell Me Ma” and “Drunken Sailor”.
I’m sure Reading based Celtic punk folksters Smokey Bastard will argue that this
is all in the name of fun and they sure as hell sound like they enjoyed
themselves during the making of “Propping Up The Floor”. Sure to go down a storm
at a Student Union near you, any band with members who call themselves “Blunder
McChunder” and “PeeVeeGee” obviously don’t take themselves too seriously and
hats off to them for that.
However “Propping Up The Floor” runs out of steam very, very quickly. Maybe if
I’d drank my bodyweight in Guinness before listening to it, I may have felt
differently….but I didn’t…so I don’t.
Paul Lane
WOVEN BIRD – “Woven Bird EP”
 Woven
Bird are a great band. It’s pointless dressing it up or building up to it or
trying to camouflage it with one or two nifty clichés or phrases. These are the
cold hard facts.
Their debut 3 track EP is an emphatic triumph. The Southampton trio’s take on
slightly twisted, idiosyncratic guitar pop springs early Split Enz to mind in
places but overall this is a band with a refreshing sound all of their own. “My
Time In The Black Hills” is the most urgent track here with an addictive yet
simplistic guitar hook. “Future At Last” is almost too clever for its own good
and “25” is an indication of the indie pop epics that are yet to come from this
band. What makes this all so exciting is that this is only the beginning!
Their live set at The Brook on 21st February as part of the “Sound Of The C”
night is one not to be missed….
Paul Lane
SUPER ADVENTURE CLUB – “Pick Up
Sticks/SAC Attack”
 Super
Adventure Club are another in the seemingly endless supply of immensely
likeable, slightly oddball bands that Glasgow label Armellodie seem to churn
out. (See also Kill The Captains, Cuddly Shark and Le Reno Amps!)
I’ll cut to the chase. “Pick Up Sticks” is a bloody fantastic pop record. From
it’s Phantom Band-esque intro to lyrics involving marsupials to it’s cutesy
boy/girl duet on the chorus, all being sung proudly with Scottish accents, it’s
charming, loveable and eccentric.
“SAC Attack” doesn’t quite push the same buttons. It’s shamelessly out of tune
and out of time but retains a charm that allows it to get away with such tiny
details and that is the sign of a very, very special band.
Paul Lane.
DANCE TO THE RADIO – ‘4 x 12” – Volume
4’
 Concluding
this intriguing and mixed bag of a series of 12” EPs, Leeds based label Dance To
The Radio releases the 4th in its 4 x 12” compilation series.
Philadelphia’s Drink Up Buttercup’s brand of jangly psychedelic pop infused with
shout out loud moments ensures “Even Think” gets us off to a good enough start.
Leeds 8 piece Milk White White Teeth’s crisp, quirky and very cute pop is up
next. “The Calendar Will Crawl” is a real box of tricks of a pop record.
Instantly likeable, it has you begging for more.
Super Extra Bonus Party is not only an annoying mouthful of a name but their
contribution here is also annoying. “Who Are You And What Do You Want?” is
frankly a mess, trying too hard to collate hip hop, folk and electronica. It
fails. Miserably. Better best forgotten.
On a brighter note, Leeds based tunesmith Paul Thomas Saunders has been compared
favourably to Nick Drake and “Getting Loose With The Obtuse” backs this theory
up nicely. It’s stark, it’s melancholy and it’s achingly lovely, ensuring the
quality control at DTTR do know what they’re doing most of the time.
Paul Lane.
BLACK DIAMOND HEAVIES – “Alive As Fuck”
 Never
has an album had such an appropriate title.
Tennessee duo John Wesley Myers and Van Campbell AKA Black Diamond Heavies have
released the live album that goes against the stereotype. With one or two
exceptions, most live albums are pretty lifeless affairs, never quite capturing
the magic or the atmosphere of the event therefore deeming themselves ultimately
pointless.
Recorded live on “a hot-ass night” at Dr. Johnny Walker’s flat in Covington,
Kentucky, this is the live album that all future live albums should be compared
too. Much like the classic live albums of yesteryear (Geno Washington’s “Foot
Stompin’, Hand Clappin’ Soul” springs to mind!), you can almost taste the sweat
whilst listening to this. It succeeds where so many live albums have failed,
somehow capturing the intimacy and the raw energy and excitement of the gig.
The distorted bluesy organ, crashing symbols and ferocious growling vocals on
“Take A Ride” are the launchpad for what must have been the best night of the
lives of those lucky enough to be at there on that “hot-ass night”. One listen
to this is enough to make you hope and pray that the Black Diamond Heavies bring
their unique brand of….gospel? punk? Blues?... to the UK very soon.
Paul Lane.
THE IRREPRESSIBLES – “MIRROR MIRROR”
 Following
the critical acclaim of last year’s “From The Circus To The Sea” EP, The
Irrepressibles’ debut album “Mirror Mirror” will have music lovers and hacks
reaching for their superlatives in equally substantial measure.
The Irrepressibles are a 10 piece “performance orchestra” led by Jamie McDermott
who wastes no time in showcasing the vocal acrobatics that his voice is capable
of. Opening track “My Friend Jo” is suitably dramatic. In fact, as early as the
plush arrangements of “I’ll Maybe Let You”, you know you’re in for something
more akin to a musical journey than just another album.
McDermott’s distinctive warble reaches spectacular heights at times. During
“Forget The Past”, which is as uplifting as it is melancholic, and “In Your
Eyes”, his voice really comes soars and comes into its own. “Knife Song” is
wonderfully flamboyant but somehow retains a sense of being very real and
heartfelt at the same time. Even The King himself – none other than Elvis – gets
quoted during a song called “Splish! Splash! Sploo!” – how many bands would get
away with that title let alone having the nerve to quote Elvis?
The Irrepressibles have been compared to a wide range of artists in their short
lifespan. But what would the point in that be? This is a great album and they
are a unique talent. Enjoy and cherish The Irrepressibles for being them.
Paul Lane.
Fragile by Tanja Maritsa
From someone who was born of Anglo-Croatian parents and raised in Paris and
London Tanja Maritsa’s debut album is perhaps not surprisingly a melting pot of
various different musical cultures, almost to the point of being downright
confusing. Right from the opening jazz/swing number, Live For Today, Maritsa
steers a carefully-plotted musical course that touches at various times on Eva
Cassidy-style easy listening (La Catrina), pop (On The Other Side Of The World,
Pretty Pictures) and folk (Won’t You Dance). Indeed, it is on the more folky
offerings like the stand-out track Fading Grace that Maritsa sounds most at
home, even if lyrically things can get a little sugary at times with lines such
as ’It’s just like a rainbow, it comes and it goes. And it leaves us with fading
grace’.
The other most noteworthy track here is In Love Again. Here Maritsa draws
unashamedly upon her musical heritage to produce a curious, waltz-like song
which falls somewhere between Eastern European folk and a 1930s Parisian torch
song - even if the needless use of French lyrics is perhaps a little too
obvious.
The album is completed by a partly-successful cover of Sting’s Fragile and a far
more interesting, up-tempo rendering of Libertango, better known to many as I’ve
Seen Her Face Before (as covered by Grace Jones on her Nightclubbing album) but
presented here in a form that one suspects is much closer to Astor Piazzola’s
original. And a second version of Fading Grace is cleverly included to ensure
that things end on a high note. The accompaniment only of supremely talented
pianist Naseer Shaama provides a great showcase for Maritsa’s voice which, in
the right environment, can clearly rival the best. All in all Fragile is an
album which is at times gorgeous and at times infuriating, but which hints that
there might just be great things in store for this young lady once she acquires
the songs to really do herself justice.
Martin Sarl
CD Single Reviews
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BY MARTIN SIRL
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