Category: Reviews

Album review: Shorty ‘The Northampton Underground’

SHORTY The Northampton Underground [ShoeTown Records] Northampton singer-songwriter Shorty [aka Chris White] has quickly followed up his enticing 2017 album Abington Park with a big collaborative effort. It’s an album…

SHORTY
The Northampton Underground [ShoeTown Records]

Northampton singer-songwriter Shorty [aka Chris White] has quickly followed up his enticing 2017 album Abington Park with a big collaborative effort. It’s an album almost thirty years in the making [at least the concept – of a big group effort with strings and brass – is a long held desire of White].

The title is reference to the 2014 spoof that Northampton once had an underground train system in the early 20th century, which has the immediately impact of warmth towards the album. It surely also works as a metaphor for many of the players on the this album and what they represent. And make no mistake, this is a very Northampton album. The inlay artwork has the London Underground map with stations annotated with ShoeTown places of interest to Shorty [everything from ‘Cobblers and ‘Semilong’ to in-jokes like ‘John’s House’].

White, a former member over the years of The Clique, Happy in Heaven, and Abbey Park,  has assembled some of the town’s best talent to bring his vision to life. Some of P-Hex are here, for example. Local cheesemonger Stevie Ward serves up guitar left right and centre. And so on and forth. Musically over fourteen tracks and forty-seven minutes there’s a little something for everyone. Let’s delve in, shall we?

(I’ll Be Your) Plus One’ is a 70s style glamish romp with ELO harmonies. Roxy-style sax solo is a touch too. ‘It’s Alright’ and ‘Out In The Sun’ later on cover similar ground [aural comfort blankets for the winter months]. ‘How Can This Be Love?’ is the first of two performances featuring Californian singer Danie Hollobaugh, who shares leads vocal on this nice, if saccharine, duet. ‘I’ll Find A Place’, the other song, is sadly a flat, rather derivative outing. ‘Feeding the Duchess’ is an alt-country with rasping bluesy harmonica intro from Dom Strickland [The Clique]. It’s melodic and inviting, as it details domestic bliss [“I’ll buy you a Chinese on Friday night”]. ‘I Wish’ contains more Wilco-esque musings, and White has this style down pat. 

‘Caravan’ has Lindsay Spence and Nathan Bundy from P-Hex joining in on the baggy dystopian stomper that is a lot of fun. Stay with Me’ is pure soft-rock with Fleetwood Mac vocals. ‘There Was a Time’ has Andy Orr (drummer with The Scene and Small World) on it. It is Beatles-esque psychedelia on the production side [backwards guitar, compressed Hammond, etc], it’s very charming in its period detail. ‘Ticket by Chance’ brings on the soul-jazz flavours – plenty of flute! – a Weller meets Mayfield sort of thing. Lovely too it is.

‘Thank You’ is gorgeous stringed pop that really needs to be heard by everyone who reads this review. Go stream right now in fact. ‘As I Wait Alone for You’ and ‘I Said a Thing or Two’ finish the album in melancholic balladry style, both featuring Martin Stephenson [of The Daintees fame] on piano and guitar. They are quietly affecting; the mariachi trumpet opening the final song setting the mood just right. 

The Northampton Underground is a sprawling, often very pleasing, piece of work. Dip in and find your version of Shorty that’s suited to you, then spread the good word amongst your NN friends. 

Phil Moore

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Album review: Ecco Pine

ECCO PINE ECCO PINE [self-released] Hailing from our very own ShoeTown are brand new alternative/electro-rock trio Ecco Pine – aka Adam [guitar and vocals], Ali [guitar] and Louis [bass and…

ECCO PINE
ECCO PINE [self-released]

Hailing from our very own ShoeTown are brand new alternative/electro-rock trio Ecco Pine – aka Adam [guitar and vocals], Ali [guitar] and Louis [bass and synth]. Though the band only formed last year they have certainly made a grand entrance to the music scene; their unique ambient sound means they are by no means late to the party. In a recent success for the band their track ‘More Than This’ was featured on the ‘Best Up and Coming Acts of the East Midlands’ Spotify playlist, alongside other favourites The Keepers and Sarpa Salpa.

The album’s seamless blending of rock and electronic tones creates a unique ambience that gives the band its distinct sound. Imagine the lovechild of Massive Attack, Vampire Weekend and Talking Heads – if you can! Nature is a constant element running through the album, from the panoramic artwork of an open road, stretching far into the distance, sandwiched between the sea and alpine woodland, to the carefully constructed tracks.

The floaty, atmospheric style immediately transports you to another place: a tranquil forest glade or mountain top of your choosing, somewhere entirely removed from the reality of everyday life. It offers an outer body experience for your mind. Such features beautifully combine in ‘The River’, with its crystal-clear, flowing serenity, and ‘Pines’, with its movement and moments of darkness, mirroring a night-time woodland trek.

The bands indie influence shows through, in tracks ‘More Than This’ and ‘Stranger Things’, the latter tipping its hat to the popular series of the same name. ‘Aliens’, of a sci-fi influence, and ‘White Wall’ further the album’s themes of escaping the here and now, echoing some melancholic lament for the current state of things.

Here’s hoping it’s the start of things to come for the band. Be sure to show some local support and stream or download your copy.

Rachel Thomas

Ecco Pine is now available on Spotify, iTunes, Apple Music and Amazon Music

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Live review: Ctrl Alt Fest Delete

CTRL ALT FEST DELETE Various venues, Kettering Friday October 26th – The Three Cocks Tonight, Ctrl Alt Fest Delete kicks off the party with three incredible bands. This is a well-loved…

CTRL ALT FEST DELETE
Various venues, Kettering

Friday October 26th – The Three Cocks
Tonight, Ctrl Alt Fest Delete kicks off the party with three incredible bands. This is a well-loved pub, but it’s not just regulars in tonight – the place is packed with both old and new faces, all buzzing with excitement to hear Kettering’s (and Corby’s) finest.

Female-fronted My Mate Dave take to the stage with endless energy and relentless enthusiasm, starting their set with an unbelievable cover of ‘These Boots Are Made For Walkin’. The band seems to specialise in pop songs, but they perform the tracks with a rocky, razor-sharp quality, adding bouncing riffs and gravelly vocals to songs that were once smooth and clear. It’s an element of talent that a lot of bands seem to miss, but My Mate Dave hits the mark every single time. Corby instrumentalists Family Of Noise clearly have a lot of fans present tonight, as many people are waiting with anticipation for the trio. It’s not hard to see why, as they make their entire set look effortless, playing their instruments with as much ease as the most experienced of professionals. It’s easy for instrumental bands to fall into a trap of repetition, but with strong bass lines, smooth riffs and pounding drums, Family Of Noise make each and every song sound as fresh as the last.

Ending the night with a bang, The Fevers play with finesse and style. Covering well-loved tracks from bands like The Ramones and Buzzcocks, there’s not a single person in the crowd that isn’t bopping along. Although The Fevers are a covers band, they each possess intense amounts of talent, with a clear cut, professional sound. They are the perfect band for this festival, and truly define what it’s all about: a love of music, for all ages.

Saturday October 27th – The Prince of Wales
Here in one of Kettering’s oldest pubs the music is loud and the drinks are flowing. People of all ages have turned out to see the two bands playing tonight – one with a unique, original sound, and the other an Iron Maiden tribute band. It knits together the two sides of the town’s music scene, and The Prince of Wales is the perfect setting.

Unitra, a heavy metal three-piece, embody the energy of Steel Panther but the talent of musicians that have been around for decades. Taking to the stage with a dramatic intro track, Unitra’s smashing drums and polished riffs make for excellent listening. Inciting mosh pits and dancers alike, the space in front of the band is packed with all kinds of people, from old to young, and those celebrating Halloween to those that have just turned up for this gig. The banter between songs may be balancing on the wrong edge of cringy, but when the music is this good, you can’t quite bring yourself to care. Besides, they slot into place at The Prince of Wales with perfect ease, and the punters are loving it.

Judging by the amount of Iron Maiden t-shirts in the crowd, Iron 2 Maiden are going to go down a treat, and the highly anticipated set does not disappoint. Kicking off Saturday’s closing set with ‘Can I Play With Madness’, they storm this tiny pub with all the enthusiasm of the real thing. The guitar and drums are a perfect match, coming together to create the tunes we all know and love, and while the vocals aren’t quite true to the original band, it’s an admirable effort from Iron 2 Maiden. If you’re a fan of Bruce Dickinson and co, this tribute is definitely worth a watch.

Sunday October 28th – The Shire Horse
The Shire Horse is the perfect place for a Sunday afternoon gig. With comfortable wooden chairs and a roaring fireplace in the corner, it’s a nice reprieve from the bitterly cold weather outside, and with several acoustic sets taking place across the room, it’s the right setting for winding down Ctrl Alt Fest Delete and bringing it to close.

Jacob Brathwaite fits this evening’s mood perfectly. Armed with an acoustic guitar and a gentle voice, he mixes his own songs with covers from the likes of The Kooks. Death Cab For Cutie’s ‘I Will Follow You Into The Dark’ is a highlight of the set, and the singer makes every track he performs his own. He is undeniably talented; featuring professional riffs and a clear voice that wraps around you like a comfort blanket, his set is unforgettable. Kettering’s own hazeyjane are up next, with a set that promises ‘ambient acoustic material’. The description fits the band to perfection, as they play well right from the very first song. The music is ethereal, almost otherworldly, with a strong acoustic sound that fills The Shire Horse, but it stands out against the rest. Underneath the surface, you find strong percussion and haunting vocals, creating a calming atmosphere that blends well with the open fire and warm wood decorating the pub.

From the outside, it seems as though Aldous Pinch does not quite fit this line-up. He is neither calming nor gentle, instead bringing to the stage a vaudeville performance that has the whole crowd on their feet. His music is somewhere between sea shanties and poetry, and every song is a complete story. Featuring tails of boozy nights and prostitutes, it would be very easy for the performer to get lost in repetition, but instead, it’s enthusiastic, exciting, and something entirely fresh. Aldous Pinch is definitely one to watch out for in the future. To close the festival Kettering duo Dem Urban Foxes take to the stage with a captivating sound. The music is polished and practiced, and the band clearly knows what they’re doing with their catchy hooks and intense vocals. The music is neither boring nor depressing: instead it is energetic, and most of all, sincere. It’s a great headlining set, and the perfect send-off to such an exciting festival.

Lucy Wenham

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Record review: The Hurricanes

THE HURRICANES Let’s Go! [self-released] Recorded in their practice room, Northampton quartet The Hurricanes – aka Robert Jones [singing/guitar], Dammo Clarke [guitar], Neil Robinson [drums], and Tony Norton [bass] – have unleashed…

THE HURRICANES
Let’s Go! [self-released]

Recorded in their practice room, Northampton quartet The Hurricanes – aka Robert Jones [singing/guitar], Dammo Clarke [guitar], Neil Robinson [drums], and Tony Norton [bass] – have unleashed their debut album after a quiet period of gestation. Songs were worked on, refined, and put to tape over the past year, away from the glare of expectation. 

Three-quarters of the band cut their teeth in local ’90s Britpopish band Collide, but it is the mod revival sound of ’79 onwards that The Hurricanes mine for their sound. The Prisoners probably sit at the head of that table, as the opening [title] track sets out. Slashing power chords, agitated vocals, a pummelling rhythm section: it’s all here. And the band The Prisoners are usually mentioned alongside – The Jam – is there on track two, ‘This Is The Time’, with the 100 Club spit’n’pogo energy, alongside a no holds-barred rumbling bassline. A handclap breakdown appears mid-song too, giving it a dose of The Chords-esque soul in amongst the bludgeoning guitar noise.

‘Felicity Paige’ has a great, undeniable chorus chant, straight out of the Graham Day handbook. Robinson’s drumming is the key to this stomper, all elbows flying about in the authentic Moon-style. ‘Is There A Why In Your Mynd?’ gives a nod to The Creation, The Eyes and John’s Children with a ’60s freakbeat vigour and stinging fuzz solo. It goes a bit psychedelic at the end too, which is a nice touch. The aggression is toned down somewhat on ‘Staring At The Stars’, with a forlorn lead vocal and some sweet Who-esque backing vocal lines. It’s quite reminiscent of former Prisoner Allan Crockford’s contemporary band The Galileo 7, actually. ‘Taking Care of Business’ is a good summation of what’s happening throughout this album.

Considering this is effectively a home production, with resultant occasionally muddy sound [proper authentic garage-band, you might say] Let’s Go! is something to be properly proud of. It’s direct hits from the past, yesterdays’s sound tomorrow. And jolly, vibrant good fun it is too. They ain’t half bad live too, should you get a chance to catch them.

Phil Moore

[P.S.: Current Northampton Saints coach Chris Boyd was appointed whilst still boss of New Zealand team The Hurricanes, based in Wellington. A cosmic coincidence, worthy of a brief mention]

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Record review: Paul Weller ‘True Meanings’

PAUL WELLER True Meanings [Parlophone] He’s always been a hard worker, but still: these feel like prolific times for Weller. Working in continuous collaboration seems to fire him up, as…

PAUL WELLER
True Meanings [Parlophone]

He’s always been a hard worker, but still: these feel like prolific times for Weller. Working in continuous collaboration seems to fire him up, as this is his third album in 20 months. It’s a song from the first of those, ‘The Ballad Of Jimmy McCabe’ from his Jawbone soundtrack, which revealed a slight return to Weller’s folk balladeer side, after years of experimenting with the cutting up of rock this way and that. 

It was composing, a few years back, ‘Gravity’ – the lush, orchestrated, melancholic centre of True Meanings – that gave Weller the determination to construct an album in a far more bucolic style. ‘Gravity’ truly is a stunning, delicate 150 seconds of music, with an immaculate and precise string arrangement courtesy of decade-long sideman Andy Crofts. This sideman/woman influence is repeatedly important to this, his 14th solo album, as fairly demonstrated on bubbling opener ‘The Soul Searchers’: a modern string arrangement by the avant-garde musician Hannah Peel, multiple contributions from Villagers’ Conor O’ Brien, and an old-school Hammond solo by Rod Argent.

The album settles in well. Jazzer ‘Mayfly’ has a deft bluesy guitar solo from the former Jam guitarist Steve Brookes to enliven proceedings, whilst ‘Old Castles’ has a soul-stirring strings-assisted group arrangement that recalls his Heliocentric days back in the year 2000. ‘What Would He Say?’ is a lounge-shuffler that seems directed at the importance of keeping positive when bitterness is the easier option. It’s also the sole “The Moons track” on the album, as it unites bassist Crofts with Ben Gordelier on drums and Tom Heel on his Rhodes piano. Though the flugel horn solo means you aren’t mistaken who’s in charge!

‘Aspects’ is a serious piece of rumination, a Buddhist-like realisation of beauty/God coming from within. It’s a nod to Leonard Cohen and Cat Stevens, minor-chord patterns facing off with choral harmonies and swooping string lines. It also is, to put it bluntly, gorgeous, and worth the entry price alone. As the second half of the album begins there’s a couple of Erland Cooper [of prog-folkies Erland and the Carnival] collaborations that don’t quite hit the mark, and the album briefly drifts. Nothing to worry about though: here’s folk royalty Danny Thompson and Martin Carthy to breathe life into the ornate melody of ‘Come Along’, with Peel producing a fine Robert Kirby-style orchestral adjunction to some already heavily emotive moments in sound.

The last section of the album is a full of discovery, too. ‘Books’ adds sitar, Tampoura and Noel Gallagher on, er, pump organ to send us eastwards on a kaleidoscopic journey, whilst ‘Movin On’ has a lovely soaring vocal performance from the main man, who clearly still cares about what he has to deliver. ‘May Love Travel With You’ brings things around again: voice, guitar, and some widescreen Disney orchestration. Weller soundtracking your kids bedtime? Why not, he knows quite a bit about parenting. Closer ‘White Horses’ brings back Cooper, Argent and Gallagher for a finale that seals the deal: a fable about generosity directed at a younger audience, it’s a touching finish to an album that surprises throughout.

It was interesting to hear Weller dismiss last year’s well-received A Kind Revolution as merely “alright” in a recent issue of Mojo. Perhaps he knew how good the follow-up was going to be, and felt a moment of guilt. Maybe he was right though: whilst everyone has a different take on what the best Weller album/period is, True Meanings makes a robust case for being his best since his last 22 Dreams/Wake Up The Nation-era highpoint. Certainly there’s little doubt it will score high in many end of year polls.

Phil Moore

Live photo of Weller/Crofts by David Jackson

 

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Album review: Gerald Claridge

GERALD CLARIDGE Frisson [self-released] Claridge is a prominent face of the Northants folk scene, who has played with many cohorts in many guises over the years. A cursory glance around…

GERALD CLARIDGE
Frisson [self-released]

Claridge is a prominent face of the Northants folk scene, who has played with many cohorts in many guises over the years. A cursory glance around Discogs shows how he once made a folk-rock album way back in 1975 [with Nick Salomon, no less] as Oddsocks, makes reference to a private press solo album from 1990, and shows him as part of Tickled Pink during the noughties. He plays in a professional Ceilidh band as of now, and has seen fit to release another solo album of his own songs.

It is fortunate enough for us that he has recorded and released Frisson, for the Northampton singer has a deft touch with melody and arrangement that has not withered with age. Yes this is a ‘thin’ record [low production values, keyboard strings, some drum machines in place of actual drums] but it matter not a tot when you’re listening in. On Frisson we witness Claridge’s joie de vivre writ large; his folk spirit of bonhomie rising above any restrictions of time and finance. ‘So Far So Good’ sets off on the path of optimism, that continues on ‘Upside Down’, and indeed is rarely deviated from. 

‘Plain Clothes’ pays homage to McCartney-esque melody and guitar-picking, whilst ‘Rainy Day’ shows off his celtic soul/Kevin Rowland lilt to maximum effect. The middle of the album brings some light relief, with the nursery rhyme style of ‘Ten A Penny’, and an oompah ode to drinking and farting in a ‘Hot Tub’! Later still we get a tribute to the Beach Boys [‘Sound Of The Ocean’], which is a very un-Northampton thing to do, so much respect for that, Gerald. Squelching keys and clomping hooves introduce the lounge goodness of ‘Good Night’, and Frisson is completed with an instrumental ‘Wedding March’, hauntingly played on church organ by John Miller.

There’s a nice touch in the CD liner notes where Claridge gives a little explanation of the song, making the project feel intimate, the warm comfort blanket to accompany a glass of whiskey at the end of the day. For folk fans this is a “must investigate”.

Phil Moore

Frisson is out now on CD, available from Spiral Archive and Claridge directly

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Book review: Have Guitars…Will Travel Vol 4.

HAVE GUITARS…WILL TRAVEL VOL. 4 [A journey through the music scene in Northampton 1988-96] Derrick A. Thompson [Whyte Tiger Publications] First of all it’s worth crediting author/editor Derrick Thompson for…

HAVE GUITARS…WILL TRAVEL VOL. 4 [A journey through the music scene in Northampton 1988-96]
Derrick A. Thompson [Whyte Tiger Publications]

First of all it’s worth crediting author/editor Derrick Thompson for not only writing and publishing a ShoeTown musical history just once, but actually doing it FOUR times over a ten year period, covering 40 years of provincial heritage. That’s precisely the sort of dedication that makes Northampton and it’s music scene such a special place.

This fourth edition in the well-received series takes the reader chronologically through the activities of many of the local acts plying their trade during the late ’80s and first half of the ’90s. You get the easily recognisable names [The Jazz Butcher, Venus Fly Trap, Peter Murphy/David J/Love & Rockets, Mystic Crew, The Enid] alongside the totally obscure [how many knew Alan Moore had two musical projects in this timeframe, for example]. They all have a story to recall, which they have done with Thompson, who has been sage enough to leave their stories pretty much untouched.

Not only is this book about the comings and goings of local bands, but also of the extended universe of promoters and venues [The Roadmender and Racehorse feature prominently], fanzines [Splinter, Bizarre], and touring acts [Pulp, The Fall, The Stone Roses, Paul Weller, Kirsty McCall, the mythical Spacemen 3].

This edition, New Boots must admit, does begin a little slowly recounting 1988 and ’89, but fully kicks into gear around 1990. From then through to the last page [252, numerology fans]  it becomes very hard to put down, such is the regularly great yarns told of those halcyon days. The book is fairly simply laid out [black and white photos, minimal editing], but the content keeps you wanting to know more about how the scene was then. For those of us who weren’t active in the music scene then it’s an education on top of entertainment. Also it’s pretty amazing to think how many of these musicians are still conjuring up new original music in one form or another in 2018.

Thompson states in the preface that this volume concludes the series, and if so then it’s a fine way to finish. New Boots would argue that he could, nay should, squeeze one more book out, covering 1997-2004. People are nostalgic for things 20 years ago, so why not. Plus it was not until 2004 that social media took off for bands (hello MySpace), and before that the internet was in its infancy and most bands did not have websites. If you mention any band from the late ’90s [e.g. Circa, The Pedestrians, The Fade, etc] the internet simply does not provide you with any info on them. An oral history book would still be very informative for that period.

But in the meantime hunt down this great volume!

Phil Moore

Have Guitars…is available now, via the Spiral Archive [St. Michael’s Rd] and Waterstones [Abington St] shops in Northampton, plus Amazon

 

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Record review: P-Hex ‘Quantum Funkanics’

P-HEX QUANTUM FUNKANICS [King Genius Records] Fuck me, these lot like a good swear, don’t they? Northampton’s baggy-funk conglomerate first emerged from in a basement in the early 1990s, but…

P-HEX
QUANTUM FUNKANICS [King Genius Records]

Fuck me, these lot like a good swear, don’t they?

Northampton’s baggy-funk conglomerate first emerged from in a basement in the early 1990s, but have never until this point saw fit to release an album – instead knocking up demos as they went along. The band, formed by Steve Gordon and Paul Chant under their previous monikor Hex, have always been that less common thing, a purely live band. But once it became clear that Chant was terminally ill, it was felt by all that a full album would be a great tribute to the bassist.

The musical stylings on Quantum Funkanics are a mix of classic ’70s funk, late ’80s dance culture/hip-hop, lashings of ’90s baggy, and a little bit of the Big Beat too. Black Grape is probably the most relevant band comparison to make, but there’s also traces of Talking Heads, Parliament, Big Audio Dynamite, and Pop Will Eat Itself present too.

A lot of the fun, the heart and soul of this album comes from the duel vocal attack of Lindsay Spence [the verses, the raps] and Katie Paton [the choruses/refrains]. Between them they provide a succession of one-liners that either make you think a little deeper, or just elicit a belly laugh. Not knowing which comes next is surely a significant part of the appeal. Twenty plays in and new phrases rear up that previously were missed. Indeed everywhere there’s diamonds to fill your new boots with. Stories of wasters and scoundrels doing their thing could be deemed ‘cartoon-esque’ – but this is Northampton, so most of it is probably true anyway.

And if the words of your scribe weren’t enough to have you heading to purchase, be aware that Alan Moore loves them and wrote the liner notes. And if his nibs is onboard the mothership then you should be too, pronto.

Phil Moore

Quantum Funkanics is out now here

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Record review: Greg Coulson

GREG COULSON What’s New [self-released] Coulson is still only in his mid-20s but he’s crammed an awful lot in so far. He joined local Northampton band Danny Connors and The…

GREG COULSON
What’s New [self-released]

Coulson is still only in his mid-20s but he’s crammed an awful lot in so far. He joined local Northampton band Danny Connors and The Ladders at just 17, he hooked up with Two-Tone legends The Selecter at 19 – and stayed there for five years. He’s toured America, playing both South by SouthWest and Coachella festivals, and he even did a stint in a Burt Bacharach-themed West End show. Even now he’s gone solo, he is still called upon by The Blockheads to fill in on guitar when needed. Talk about paying your dues off early…

Finally the multi-instrumentalist has fulfilled the dream of a debut album. It’s full of vim and blues-funk energy, as demonstrated on the jive-tastic opener ’10/10′ [Adam Gammage’s drums propelling the whole thing to its peaks]. Follow-up ‘Girls’ sees the Flat Pack Horn Co give it some Daptones swing, plus Coulson lets loose on his Hammond to great, Stevie Winwood-esque effect. The pop melody vocal is so spot on it could give most of the Stax singles a run for their money.

‘Stitch Me Up’, a co-write with Danny Connors, is their idea of Stevie Wonder if he roamed The Mounts. The rhythm playing is as steady as a metronomic beat, though the feel of the lead instruments is a little on the wild side. Coulson runs through a ’60s reggae-styled Farfisa solo in the middle – completely changing the feel of things for a minute – before relaunching into that soulful groove chorus. The words are a treat too. It’s a seriously impressive five minutes, and should be the first thing you listen to on the album if in a rush. ‘Love Nest’ is the only really cheesy moment on the album, the ’80s blues-rock sound a tad too close to function band for comfort [nice guitar lines though]. All is quickly forgiven though as the title track roars into view, with it’s modern rock’n’roll feel [Jack White, Black Keys] and great call-and-response chorus. The fuzzy guitar from Staurt Dixon practically launches out of the speakers, such is his enthusiasm. And New Boots isn’t sure if there’s a word that could sufficiently sum up the outrageous Hammond solo.

The second half of the album is more of the same, and the quality never lets up. ‘Someone To Be There’ swaggers over the horizon with a great [or should that be Wonder-ful] soaring chorus in it’s back pocket. ‘End Of The Line’ introduces Coulson’s ability with a Michael Jackson-mimicked falsetto. It’s perhaps the most emotional song on the album, a plea to return to the past glories of love. Indeed it’s a song that seems to effortlessly amalgamate the last 50 years of blues rock into a coherent whole; and that’s no mean feat. ‘Ran Out And Ready’ is a slice of staccato Hammond-funk that would have been issued in 1968 on some obscure mid-Western label. In other words, very special. Great percussion movements on this too, muso fans.

Closer ‘Sick Note’ returns the horns to the fore, and is a fun-if-familiar number to sign off with. And there you have it: 40 minutes of blues-funk bliss from one of its newer exponents. Greg takes on the often unfashionable R&B sound and makes an album with personality, finesse and fine songs. We should all get behind him.

Phil Moore

What’s New? is out now on CD and the usual downloading/streaming sites

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