Nicky Murray Wintermore

a3624645459_16Nicky Murray made a bit of a splash when he released his debut album on Martin Stephenson’s label back in 2014 before going on to be one of the standout acts at the following year’s Wickerman Festival. A singer/songwriter who reminds one of the glory days of singer/songwriting he leans towards the more bucolic and experimental end of the spectrum. Murray is blessed with a tremendous voice in addition to his writing skills and when he was staying in Glasgow a few years back he used to turn up at open mic nights and you could guarantee that there would be gasps from the audience as soon as he started to sing.

Now living in Inverness where he has become a driving force on the local music scene while also attending university, Murray has been quiet on the recording front of late with only one single released in the past few years. Now he unveils this excellent mini album of five songs which more than match the anticipation which has built up over those years. Wintermore is a much more assured recording than the debut album Plenty More Weeping  and it features some adventurous string arrangements. Aside from his regular recording partner Chloe Rogers on fiddle the disc features Chloe Bryce, again on fiddle, with Patsy Reid on cello and Rachel Sermanni & Emma Gillespie  on harmony vocals.

It’s difficult to define the music here and the album will probably sit in the folk bins in record shops although that does it a grand disservice as Murray treads a similar path as the likes of Kathryn Joseph, The Unthanks and Robert Wyatt. The disc opens with the relatively straightforward 1983 which meanders wonderfully for almost six minutes with Murray’s hushed voice complemented by some excellent harmony singing while his sensitive and accomplished guitar playing is fleshed out by the cello and fiddles. As the song swims its way along one is reminded of Roy Harper’s more sensitive moments. Before You which follows is in very much the same vein although here Murray’s guitar playing is simply excellent and again the strings give the song a wonderful sense of depth. Although one might be accused of hyperbole, we’d say that this is one of the most beautiful song’s we’ve heard all year, its dappled wonder quite heartbreaking at times. It’s simply glorious.

With just voices and strings the 50 second long It’s All Here separates the pastoral opening songs from the more adventurous closing acts. World Will Sea finds the strings setting the scene as they waver from sonic squeaks to pizzicato waltz time interludes as Murray is cast adrift with just his sublime voice and guitar to keep him afloat. The closing Wintermore opens with forlorn piano and weeping strings sounding for all the world as if they were recorded in an underwater saloon. Another lengthy number much of it comprises of that piano being pecked at as the strings hover and then dip like harpies snatching at food. It’s a desolate song with Murray invoking the notion that winter is a time of contemplation as he sounds like a man in the wilderness with only memories sustaining him.

A glorious return to recording, Winterlong is Murray at his best and it deserves to be heard far and wide.

You can buy Wintermore here




Amy Helm. This Too Shall Light. Yep Roc Records

a1400136712_16Amy Helm’s second album opens with a blast of guitar sounding like a foghorn announcing the arrival of what is quite a special album. That foghorn guitar belongs to the opening title song which is a masterful slice of soulful funk, the rhythm section metronomic and sly while guitars fizz and burn beneath her impassioned vocals. The song was written for Helm by Hiss Golden Messenger’s Mike Taylor and Josh Kaufman and it’s a perfect introduction to an album that is yet another addition to the grand canon of releases which celebrate the soul of American roots music.

Produced by Joe Henry, This Too Shall Lie finds Helm recording in LA, far away from her Woodstock home. The overall sound however is steeped in the south with churchlike organ, slippery guitar and gospel like harmonies present throughout. There’s a preponderance of covers here which is not a bad thing as Helm delivers a magisterial reading of Allen Toussaint’s Freedom For The Stallion, transforms the Milk Carton Kids’ Michigan into an aching slice of Muscle Shoals groove with hints of Aretha Franklin within it and offers T Bone Burnett’s River of Love an excellent soulful makeover.

Helm’s voice is a revelation here as she delves into soul and gospel, powerful and emotive this talent was only hinted at on her previous album. Her tribute to Odetta is a tour de force and its allied to a tremendous arrangement which has an almost chain gang like repetition to it as it hammers along although elaborate piano notes take the song to a higher plain. The shadow of her late father Levon Helm (who last recorded on Helm’s debut album) is cast on two songs. The Stones I Throw was a Band staple back when they were Levon and The Hawks and here it’s given an excellent rambunctious rendition as if it were the Staple Singers delivering it. The album closes with an a capella rendition of Gloryland which was Levon’s usual choice of encore. It goes without saying really that here Amy Helm and her harmony singers put their all into this Ralph Stanley song which encapsulates that southern sense of finality, glory and redemption as they close the lid on an excellent album.


Starry Skies. Be Kind. Foxstar Records

35199061_147058596158694_5312819887398191104_nIt’s been a while since Warren McIntyre and The Starry Skies released their well-respected debut album, Ask The Animals. Six years in fact. Now they’re back with McIntyre dropping his prefix to the band name although he remains the driving force behind the band’s pulsating mix of driving power pop and folkier material all filtered through an Americana sensibility. Be Kind is an upbeat album and McIntyre is on record as saying that, “One thing there is not enough of is people being kind to each other, it’s really clichéd but it’s nice to be nice. I decided I wanted to be more straightforward lyrically and send a simple message about spending the rest of my time on this planet being as kind as I can as much as I can.” Well he just about does that here although some of the songs on the album do wander into darker territory.

He sets out his Be Kind manifesto on the opening song of the same name. It’s a bucolic and gentle introduction to the album, McIntyre’s voice clear and gentle as he sings over piano and a string section. Glitter & The Glory then bursts into view with a bang as the band shift into a star spangled psych pop mode. With rushes of jangled guitar and cinematic sweeping strings and McIntyre spitting out his Dylan like lyrics, this is quite majestic in its multi layered splendour and dynamic delivery. Next up is another cracker in the form of the single lifted from the album, Starry Skies which has a George Harrison like slide guitar and psychedelic strings as the rhythm section drive the song along with Noel O’Donnel’s drumming quite the powerhouse. These two songs might recall the densely arranged psychedelic pop rock of the sixties but the band are also able to roll out their rinky dink salute to party girls out for a night on the tiles on High Girls which comes across like Alex Chilton fronting the funksters at Stax . Here the band hit a tremendous groove with pumping bass guitar from Jonathan Lilley and a whizz bang guitar solo from John Rooney as McIntyre leers but never becomes lascivious.

Bombs Betty is a fiery rocker with screeching fiddle from Heather Phillips although it suffers somewhat in comparison to the songs mentioned above as the band wail about an apocalyptic future. There’s more desolation in the landscape summoned up on Guns & Gold which is delivered here with a fine New York punk sneer and it allows McIntyre to return to his theme of kindness as he reaches out a helping hand to those affected by downtown mischief. That helping hand is there again on the gentle lope of I’ll Be There For You which is a country styled duet and which shows that the band can rein it in and still carry an emotional punch. Loving You is even more delicate as McIntyre and Heather Phillips swoon together on a tremendous song which in its hazy delivery recalls the likes of Lee Hazlewood and Nancy Sinatra and also Isobel Campbell and Mark Lanegan. For our money it’s the jewel in the crown here although the album as a whole shows that west coast Scotland can rival west coast America at times.

Starry Skies officially unveil the album with a launch gig on the 6th October as part of the Glasgow Americana Festival, all details here.




Anton & The Colts. No End of the Line

a1682629513_10After about four years of relentless gigging the length and breadth of Scotland, Anton & The Colts finally unleash their debut album and a fine beast it turns out to be. The band, based around front man and chief writer Anton O’Donnell and the mercurial would be glimmer twin, Roscoe Wilson (with a fine rhythm section in John Dunlop on bass and Dillon Haldane, drums), are one of those who sound more American than many American bands do. However there’s a boastful swagger to their gait which owes more than a little to the raunch of the Stones and the jollity of The Faces, in particular,  Ronnie Lane’s contributions to the band such as on Ooh La La.

The album kicks off in spectacular fashion with the turbulent rocker Alright. An almighty crash of acoustic guitar flourishes opening the song before Wilson weighs in with some snarly electric licks and O’Donnell comes across as if he were Ryan Adams fronting the Stones with Anne Dunlop adding an almost gospel touch on her backing vocals. It’s a ferocious opener but somewhat misleading as on the remainder of the album the band settle for a less frenetic sound. Nevertheless, the following Blues to Bed is a grand sing-along country stomp replete with harmonies, fiddle and banjo – good old-fashioned country honk as the Stones once said.

Alright, despite its raunchy delivery is actually quite a desperate song with O’Donnell singing about drinking his weight in wine just to drown out a girl’s name and much of the album is informed by losers in love. Under My Skin & The Thorn In My Side  is a bittersweet waltz time song with tearful fiddle from Pedro Cameron while The Summer That Could Never Be Undone  recalls halcyon days and is delivered with a hazy Byrds’ like folk rock lilt. That jangly sixties sound is recalled again on From My Fear  which shifts from The Byrds to The Beatles with O’Donnell’s melodies and lyrics reminiscent here of McCartney circa ’66. They then delve further back on Rock ’n’ A Hard Place  with Roscoe’s guitar sounding as if it were captured in Sun Studios while O’Donnell snarls away.

There are three songs here which really elevate the album. Gypsy Heart  has churning electric guitars from the get go which pulsate throughout the song as O’Donnell reflects on past glories and then adds some excellent harmonica to the corkscrewing guitar solo. My Favourite Song  allows O’Donnell’s voice a chance to shine as he sings of the communion between a fan and an artist at a gig. With piano from Scott Keenan added to the mix the song sounds as if it was plucked from the heyday of singer songwriters back in the seventies as it gently flows from the speakers. Finally, Weekend Millionaire,  the album closer, is an excellent song which again is not too far removed from The Faces’ template, a wonderfully laid back acoustic bedrock, harmonica and supple guitar supporting the wearied and anguished vocals from O’Donnell as he sings about the dreariness of 9-5 working and vainglorious weekends.

For a debut album this is quite self-assured, the songs have been road tested and are captured here perfectly. They may summon up a lot of ghosts but O’Donnell writes and sings well and he has a perfect foil in his partner Wilson. Together they carry their roots/rock/Americana flag high.



Brooks Williams. Lucky Star.

brooks1400x1400Mention the blues and most folk think of that 12 bar moan of misery which arose from the cotton fields of the south and became louder and prouder as its practitioners moved to cities such as Chicago. It’s a rich and rewarding seam of music to follow but it’s not all doom and gloom and woke up this morning despair. Much of the music played back then was not an echo of the daily injustices rained down but a joyous celebration of life played in juke joints where drink and dancing were the order of the day. Georgia born singer and guitarist Brook Williams kind of sums this up on the opening song here which is called Bright Side Of The Blues, a jaunty number which recalls the sunnier side of Van Morrison in a toe tapping fashion with a fine loose-limbed approach. It’s a fine introduction to Lucky Star, an album recorded in Glasgow with local musicians, Kevin McGuire and Stuart Brown on bass and drums respectively while Newcastle’s Phil Richardson adds piano.

There’s a fine degree of levity to much of the album which was recorded pretty much live in the studio with Williams’ guitar playing nimble and quick fingered and he does utilise his excellent resonator skills on several of the songs. The slight Caribbean touch on Mama’s Song, the old time swing of Gambling Man and After You’ve Gone and the syncopated shuffle in Going To New Orleans recall the likes of Taj Mahal who was never afraid to be upbeat on his albums. Meanwhile there’s a fine nod to Sister Rosetta Tharpe on the skiffle like Rock Me which features harmonica from Paul Jones. However, the album is quite eclectic as Williams offers the lounge lizard croon of Always The Same and the shark-suited sheen of Here Comes The Blues which is a soulful as anything Robert Cray has recorded. Best of all is Williams’ railroad song, Jump That Train, which rumbles along fuelled by his resonator guitar. It’s a grand addition to the railroad canon as it huffs and puffs away and one can imagine The Blasters or Alejandro Escovedo amping it up. The blues affinity to gospel music is captured on Whatever It Takes which benefits from backing vocals from Rachel Lightbody and it’s well worth saying  here that the backing vocals on several of the songs were provided by the great Rab Noakes.

Williams has an attractive voice and his take on the blues is not dissimilar to that of JJ Cale or the type of bands that Alexis Korner used to champion such as  Rockin’ Jimmy and The Bothers of The Night. Buy the album and file it next to your Ry Cooder, Leon Redbone and Danny Adler albums.

The good news is that Brooks Williams plays in Glasgow on 9th September at The Doublet Bar courtesy of Sounds in The Suburbs. Tickets here




Gene Clark Sings for You/The Rose Garden – A Trip Through The Garden. Omnivore Recordings

clark-sings-for-you-ov-280The past couple of years have been a bit of a bonanza for fans of Gene Clark as previously unheard recordings have crept out of hiding, songs which have been discussed and analysed in print and on the net but always tantalisingly out of reach unless one was connected. Sings for You, an acetate of eight songs recorded in 1967, is described in the liner notes (by Clark’s biographer John Einarson) as the holy grail of lost Clark songs and they are accompanied here by a further five songs from the same year which Clark wrote for an LA combo, The Rose Garden, along with one other song he offered to them.

So 14 Gene Clark songs, recorded at the height of his post Byrds fame and none of them released elsewhere or refashioned on any of his albums. Whew! However it’s important to emphasise that these songs are sketches which were never polished for general release. The eight song acetate was recorded by Clark after he was let go by Columbia Records after his album with the Gosdin Brothers failed to sell as well as they expected and seemingly was intended to be sent to various labels as Clark looked for a new recording contract. He’s joined in the studio by bass and drums and occasional keyboards including a chamberlin (which was somewhat akin to a mellotron). Stripped of the baroque folk embellishments which embroidered the album with the Gosdins, Clark is in fine fettle here with the songs pointing in several future directions. On Her Own, Yesterday Am I Right and That’s Alright with Me are prime Clark melancholia, one can imagine them gracing White Light a few years later if one strips out the somewhat overenthusiastic drummer who is somewhat obtrusive. There’s a more balanced band sound on the other songs. Down on the Pier is a fantastic song which is only let down by its similarity to Dylan’s 4th Time Around (which of course was influenced by The Beatles’ Norwegian Wood) but the addition of calliope  makes it one of the more realised songs here. Past My Door and One Way Road meanwhile offer a glimpse into Clark’s next venture with the Dillards as they venture into early country rock territory.

It’s hard to believe but the next five songs, all recorded by Clark to offer to The Rose Garden, are even better than the fabled Sings For You songs. On Tenth Street and A Long Time are just Clark and his guitar in true 60’s troubadour mode, slightly Dylanish but totally Gene and totally brilliant while Understand Me Too would have made a brilliant Byrds song in the manner of Here Without You. The addition of a band on the Jimmy Reed like Big City Girl is great fun and the band also appear on the excellent Doctor Doctor which finds Clark in proto psychedelic mode sounding like a cross between the early Jefferson Airplane and indeed the Younger Than Yesterday Byrds. The band wig out as if they were shimmying in the background of a Roger Corman film scene and the guitar solo is pure Nuggets.


It goes without saying that Sings For You is essential for any Gene Clark fan but Omnivore Records have a neat tie in which is The Rose Garden’s album, the band for whom Gene offered several of the songs above. Despite his interest they didn’t set the charts ablaze although they had some minor hits. A typical 60’s psychedelic pop sound, the album does have a period charm as the band channel Byrds’ like jangled guitar, folk rock and Mamas and Papas vocal harmonies on various songs. They do a great version of the traditional CC Rider (here just called Rider) with glorious harmonies and Flower Town just drips with psychedelic whimsy. The original 10 song album is enhanced by the addition of a further 16 songs culled from single releases and live cuts with some of them eclipsing the album songs as on If My World Falls Through, a song which approaches Brill building pop brilliance. It’s a curio but one which, for anyone who digs the more harmonic side of 60s psychedelia, is well worth getting.

Omnivore Recordings webpage


Dan Stuart. The Unfortunate Demise of Marlowe Billings. Cadiz Music

danDan Stuart finally kills off his alter ego and supposedly his recording career with this third instalment of the strange and troubled tale of Marlowe Billings. Billings, the suicidal expat who travelled to Mexico to kill himself after his marital breakup and subsequent incarceration in a psychiatric hospital, has served Stuart well over three albums and two novels (the second book published to tie in with this album release and sharing its name). The origin of Billings’ himself is somewhat foggy but is believed to be associated with the writer B. Traven, author of The Treasure of the Sierra Madre and whose own identity is still something of a mystery these days. It’s a smoke and mirrors trick allowing Stuart to stand apart from himself as he entertains, releasing his records and touring, his profession surely but one which he has often debunked as when he wrote this regarding the response to an earlier album, “…some grudging critical respect, really a sympathy fuck for days gone by… well the planet could get along without Stuart’s morbidly self-righteous world view just fine. His inability to lighten-up and endure life’s little insults like the rest of us had grown old and tired, like Stuart himself.”

Who knows if this is part shtick or really how Stuart sees himself? He said in an interview some years back that, “the creative process is largely about trust and deception… two sides of the same coin,” What we do know is that since his arrival in Mexico he’s appeared, to fans at least, as revitalised, with the Marlowe recordings welcomed and acclaimed and on The Unfortunate Demise of Marlowe Billings he delivers what may be his best effort yet. The themes are familiar but they are delivered in a variety of styles – low key confessionals, pedal steel laced laments, sixties rock’n’roll rumbles and punchy Tex-Mex blues –  his stellar accomplices playing their hearts out.

Stuart/Billings is still hurting from his cuckolding and several songs relate to this. He is despondent on Why I Ever Married You and then sneering on the Dragnet styled Joke’s on Me while You Were The Flower glistens with low slung guitar twangs recalling Johnny Rivers’ Secret Agent Man. The latter song introduces the one salvation of Stuart’s ruined relationship, his son, with whom he has remained in contact. The cycle of birth and death tops and tails the album. The opening March 5, 1961 is Stuart’s birth date and the song is a tender rumination on the emotions engendered when a child arrives (he later radiates a father’s pride on Here Comes My Boy). The closing song, Upon a Father’s Death is Stuart’s most nakedly autobiographical song to date as he reminisces about his own father and muses on the tangled twists of father/son relationships singing, “Just look at Jesus trying to live up to all that shit, impossible.”  His troubled adolesence  colours Tucson which is a splendid Tex-Mex riff of a song with parping Farfisa organ a la Doug Sahm which eventually disappears into its own rabbit hole.

In the midst of these rueful snippets of autobiography Stuart throws in some superb songs which are allied in the sounds but which roam further afield. Last Century Blues finds him singing of a Zelig like character who dodged the draft, roomed with Manson and Jim Jones and who ended up running coke for the Contras and selling it to the Crips. The Day William Holden Died is a sensitive bonding with the late actor and his sad demise while The Disappeared is an evil sounding song with rattlesnake percussion and Peter Green like Manalishi guitar solos as Stuart salutes the armies of South American mothers who still rally to this day to find the fate of their beloved long after the turbulent wars and coups which scarred the sub continent for far too many years.

Gathering this album together Stuart has relied on friends old and new. His Italian buddies Antonio Gramentieri and Christian Ravaglioli are present and correct while J. D. Foster and Tom Heyman also contribute with Heyman’s pedal steel an essential ingredient on many of the songs. However it’s producer, Danny Amis, a founding member of Los Straitjackets who is his right hand man here, co-writing several of the songs and adding guitar, bass and keyboards throughout.


Stuart says this will be his last ever album citing the current preference for digital streaming and such as the death knell for this tradition. Again one hopes this is part of his mythologising but if not it’s a glorious swan song. The accompanying book is a more straightforward affair than his previous “false memoir” The Deliverance of Marlowe Billings. Whereas that came across like a collection of weird flashbacks to Stuart’s early days The Unfortunate Demise of Marlowe Billings is a conventional narrative for the most part with our hero escaping to Mexico and getting caught up in the murky and deadly intrigues of the cartels. While parts of it coincide with the album it stands on its own two feet, hardboiled fiction, akin to the current fascination with Narcos and El Chapo and even Breaking Bad although Stuart weaves his own story into the pages and allows himself some sweet mental revenge in the epilogue.  He says the story is 65% true and there are several episodes which offer an insight into his thoughts as when he describes himself as, “a lazy writer, songs came easy and he didn’t take them too seriously. He didn’t have the courage or stamina to write serious fiction.” Well, he has done here. The novel has an introduction by Stewart Lee, the comedian, which suggests that the book is sufficient  recompense for the lack of further songs from Stuart. We would respectfully disagree and hope that this is not the last we here from Stuart or even Billings.