Posts Tagged ‘BUY’

Mastering engineer, Christopher King, who won a Grammy for his work on Charley Patton’s 2003 collection, Screamin’ and Hollerin’ the Blues, is the man responsible for digitally restoring this anthology of  historic tracks as created by early American Appalachian music leaders, The Red Fox Chasers. The recordings date between 1928-1931, and within that short period, this quartet from North Carolina recorded a total of 42 songs all directly to the medium popular at the time: 78 RPM vinyl. With that in mind, it’s worth noting that with each side’s capacity limited to around three minutes, and each acoustic performance captured live in one take – this set of recordings offers a tangible chronicle of the past. Add to that the band’s ability to sell thousands of records across America, and I’m Going Down To North Carolina becomes more than a historical document: it’s a well-defined moment in the evolution of country and bluegrass music.

Named after violinist Guy Brooks’ favoured activity, Brooks managed to convince neighbours Bob Cranford (harmonica), Paul Miles (banjo) and A. P. ‘Fonzie’ Thompson (guitar) partake, whereupon the group would gather (somewhat romantically for a bloodsport) to tell tales by campfire, smoke, drink and play songs. With both Cranford and Thompson sharing an interest in gospel singing, the content presented here is a mixture of original, traditional and religious epithet. The lyrics of ‘Virginia Bootleggers’ as set to the tune of gospel favourite ‘The River Of Jordan’ managed to get Brooks, a Baptist preacher, kicked out of church. That air of rebellion and mockery combined with a discernible passion for environmental influence (as well as fellow three-finger style banjo player, Charlie Poole who was the likely source for ‘Budded Roses’) courses throughout the two discs, effectively evoking a lost time and lifestyle.

Whilst across the border in Tennessee, African-Americans were inventing their smooth form of skiffle (the Memphis Blues Style), this mountain music is altogether less languid, yet equally provincial as the guitar, fiddle, banjo and harmonica all sizzle with a hotfooted impatience; even when at rest, the instruments, voices and crackle never cease to engage. Perhaps the most obvious connection between this old timey music and the modern age is to be found in the Coen brothers’ movie ‘O Brother, Where Art Thou?’ which, though containing a mix of blues, country and bluegrass, still proved there was enough mainstream interest in the genres.

Perhaps not for every casual listener, The Red Fox Chasers’ anthology provides a fascinating insight into a past popular culture that proves more charming than a thousand Russell Brands vying for the BBC’s attention.

Tags: 2009, BUY, LP, music, review

‘Thus from a mixture of all kinds began,
That het’rogeneous thing, an Englishman’

Daniel Defoe, The True Born Englishman, 1701

“Cause you’re a part of everything you see,
Yes, you’re a part of everything you see.”

Suggs, The Liberty Of Norton Folgate, 2009

Listening to curmudgeonly, London-based muso types baulking at the state of the capital gets tiresome. It’s tough living anywhere in 2009, but must we constantly focus on the plight of our beloved London even in our leisure time? Where have all the good times gone?

Now nine albums in, it seems somewhat ironic that it’s London sons, Madness, who are managing to skip over grime littered streets, dancing to the city’s rhythmic heartbeat.  It’s been 30 years since ‘One Step Beyond’, time enough for the band to conceive of, and deliver, a concept album of magisterial quality. Introductory liner notes to ‘The Liberty Of Norton Folgate’ (TLONF) as written by lead singer, Suggs, cite London’s deep history as the ebullient stimulus for the album and, as he acknowledges, no one man could ever understand the whole of London. Having been home to various transient migrant groups that include French, Irish, Jewish, Bangladeshi and Somali, TLONF centres on the development of Spitalfields in East London.

And so to ‘We Are London’ which draws back the curtains to reveal Madness’ magical world. Filled with references to some of London’s most iconic locations, their swinging pop is infectious. “You can make it your own hell or heaven / Live as you please / Can we make it, if we all live together / As one big family” may seem trite to some, but the anchoring chant “We are London,” carries with it a weight heavy enough to offset any overtly sugary sentiment.

Comprised of 15 songs, TLONF is a long and rich record that has been warmly captured by original Madness producers Clive Langer and Alan Winstanley. That some of the recording sessions also took place in Liam Watson’s vintage ‘Toe Rag Studios’ further attests to the quality of audio rendered. Sitting alongside the horn arrangements is an uplifting string ensemble that add the necessary glitter; particularly to the quasi-exotic feel of ‘On The Town’ and the watery nostalgia of ‘NW5′.

The Specials, Lily Allen, Amy Winehouse and Kid British have all lined up to plunder ska’s lineage in order to service a bank balance. Anyone expecting a full-on nutty ride to skaville should take their ticket back to the booth for an immediate refund, as this adult Madness provide scant opportunities to skank. The traditional dub of ‘Forever Young’ lies next to the shining reggae of ‘Dust Devil’ which provides groovers ample opportunity to get their jeggae together. Madness naturally infuse songs with dub basslines and offbeat piano stabs, so there’s not even the vaguest hint that Madness are in danger of severing their roots (and, anyway, many of Madness’ best loved songs aren’t even ska.)

The album’s masterpiece, ‘The Liberty Of Norton Folgate’, is a 10 minute operetta that basks in diversity and a heady love of music hall. Jaunting along the length of the Thames, it eloquently finishes off this complex album that surpasses every Madness album to date. Welcome it and, moreover, be part of it.

Tags: 2009, BUY, LP, music, review

Pablo Picasso once noted “Youth has no age”. But youth does have energy, passion and drive; all of which can be found in abundance on this eponymous debut. With an average age of 21, the music of this talented quintet is borne from the murky depths of delta blues whilst a naked country influence dips its toes in the shallows. Hailing from the modernity of Bath Spa has not stopped Kill It Kid drawing inspiration from the rural Mississippi guitarists of the early 20th Century and chucking distortion pedals into the mix.

Opening with the determined blues-rock of ‘Heaven Never Seemed So Close’, where fuzzy slide guitars battle with glassy violin, the dam rapidly opens to allow the baffling wonder of ‘Burst Its Banks’ to drive through stereo channels. Chris Turpin’s unique voice encompasses the gruffness of Elvis Presley combined with the range of Gomez’s Ben Ottewell. He is well complimented by the classy harmonies of pianist Stephanie Ward, who brings a light touch to this otherwise boisterous record. The band are most effective when employing deft changes of pace, particularly on tracks like the groovy ‘Ivy And Oak’ and the grinding rockabilly of ‘Troubles Of Loretta’.

Producer Ryan Hadlock retains a sufficiently dirty element throughout the record, ensuring this debut effectively sidesteps blues cliché. Unfortunately, ‘Private Idaho’ and ‘Dirty Water’ where Ward delivers the lead vocal, both suffer from a noticeable lack of maturity in her voice that the songs demand. Nonetheless, that immaturity is barely noticeable when employed in tandem with Turpin – especially on the joyful, swinging bluegrass of ‘My Lips Won’t Be Kept Clean’.

Regardless of geographical influence, Kill It Kid is an outstanding British record – one that belies the group’s young age. But then, music has no age.

Get 3 songs: Heaven Never Seemed So Close, Burst Its Banks, Ivy and Oak.
Dig it? Dig deeper: Blind Willie McTell, White Stripes, Hotclub of Cowtown.

Tags: 2009, BUY, LP, music, review