Trevor Jones is back with his new solo album (he also produces music as part of Miracle Mile). He is joined on here by Marcus Cliffe (he plays the majority of the instruments on the album) who forms the other part of Miracle Mile, along with Melvin Duffy who adds a little country air to the proceedings on a couple of songs with his dobro and pedal steel playing.
He has lovely soothing vocal that makes the listener sit up and take notice. Songs about love and relationships, all done with minimal musical backing. ‘Phil The Hat’ is a single in waiting being the most instant song on the album and ‘Somewhere North Of Here’ with its pedal steel is simply divine. What makes Trevor Jones’s music stand out is not only the vocal, but that the listener can often relate to the lyrics and the melodies that often reveal more of themselves on repeated listens. Lucinda Drayton adds a soothing vocal to ‘Angelicana’ whilst ‘Pardon Me’ shows off Trevor Jones’s vocal well. The latter song is full of emotion in the song and the vocals. It is very hard to describe in words the emotive music Trevor Jones produces and I would highly recommend you try a song or two on his website. I would be very surprised if after listening to a couple of songs you didn’t get hooked onto his music!
You can order the album now directly off the website or it is officially released on 16th June. Either way make sure you get to hear this wonderful selection of songs.
I've been eyeing this album for a while; heard snippets. It seems that this needs to be listened to in one hit…
Toronto Tim says:
It's a very rare occasion where you'll find me running down to theHMVin the big city to pick up a new CD... However, after one listen of "Red Eyes" by The War On Drugs on satellite radio, I found myself motivated enough to risk my neck and embark on the harrowing 1 1/2 hour trip down the freeway, rather than wait weeks for an Amazon shipment.
Was it worth the drive?
I'm thrilled to say... You bet!
Where do I begin? First off... 'LOST IN A DREAM' is a fantastic album! I had heard of Phillie-based The War On Drugs before, but just like another great band with a crap name - Destroyer, I was terribly misled by the moniker. Metal/hardcore/whatever? After actually having a listen to the music (not what I expected!), I initially thought it was one of those magical times when you believe you've discovered a great record/band that will become "my little secret." Little did I know that 'Lost In A Dream' is at the very top of almost every reputable journo's lists of best of 2014 (thus far). Almost universal praise and 4-5 star ratings across the board... It's actually refreshing to know that the press can sometimes get it right!
The music... I really hesitate to mention musical comparisons lest they immediately scare people off. Let's just say that it's difficult to categorize... Very much like theaforementioned band Destroyer, there are a multitude of influences/inspirations going on here, yet the resulting sound is refreshing and unique... Band-leader AdamGranduciel has taken a inbred heritage of americana and classic-rock baggage and cleverly blended it with ambient, shoegaze, new-wave, dream-pop influences, and constructed a sprawling classic all his own. He spent almost two years fussing away, obsessively crafting the 10 meticulously constructed songs, and the results are sublime. The arrangements are densely layered and unpredictable; dozens of various instruments creep in and out of the mix; unrelenting reverb and hazy vocals remind us that we are indeed "Lost In The Dream..."
Adam has admitted that the record was born out of a period of extreme depression, a messy break-up and feelings of isolation. 'Lost' spends most of its time wondering how to pick up the pieces of a broken dream. Despite this, it's a sonically uplifting work. There are even whoops of delight that pierce out amongst the the darkness & desolation of the lyrics.
Nine-minute opener “Under The Pressure” is an expansive two-chord jam, propelled by hazy keyboards and subtle horn arrangements. “Well the comedown here was easy, like the arrival of a new day” - “But a dream like this gets wasted... without you.” The three minute droning feedback & synthoutro may have some reaching for the "Skip" button, but don't give up! It's the least accessible bit on the record...
"Under The Pressure":
“Red Eyes” was the first song that I heard from 'Lost'... It's a galloping romper that explodes with adrenal rushes of energy and causes spontaneous head-bobbing. Makes me feel like a kid again...
"Red Eyes":
“An Ocean In Between The Waves”, a epic seven minute slow-burning jam, brilliantly rocking out, recapturing the spirit of 80s pop radio; with driving percussion, propulsive bass-line and searing but tasteful guitar-playing that stands among the best I've heard in a very long time. "I just wanna lie in the moonlight and see the light shine in, with you in the outline…"
"An Ocean Between The Waves":
"Eyes to the Wind" is thecenterpieceof the album. A striking ballad of gentle beauty that you wish would never end. Pedal steel and baritone sax add gorgeouscolourto what's basically an acoustic driven number. Most critics compare this to a certain legendary songwriter that I'm not a big fan of, so I'm saying it reminds me of a certain Scot/Scott that I am a fan of... "I’ll set my eyes to the wind, but it won’t be easy to live again..."
"Eyes To The Wind":
"Burning" has become perhaps my favorite song on the record. However, the first time I heard it I actually cringed and skipped the track, since it was the one track that obviously wore it's influences on it's sleeve. One listen and you'll know exactly what I mean... Granduciel admits it's an barefaced homage to one of his heroes; and it's a killer. Chugging along on a wall of synths/organs, then soaring... "I'm just a burning man, trying to keep the ship from turning over... again." "WhooWhoo!" I dare you to try and keep your foot from tapping!
"Burning":
Closing track, "In Reverse" begins with a mood of hazy, ambient music before morphing into a gorgeous breezy groove, the lyrics finally bearing acceptance of the darkness & pain & the need to move forward. "I don't mind you disappearing, when I know you can be found." "Like a light that's drifting, in reverse.... I'm moving..."
"In Reverse":
I've intentionally avoided direct comparison with other artists up to this point, but I can't help but say... This is the record Springsteen fans wish he had in him...
'Lost In The Dream' gives me hope that maybe great rock music isn't dying/dead. This is rock music with soul.
Here's where I hand the page over to Tim Patrick; our friend from Canada who has an insatiable appetite for new music. Tim has unearthed some unearthly pleasures recently. This one's no exception...
I caught this band on 'Late Night With David Letterman' show recently, and at first didn't know quite what to think. Shoegazer synth-pop backing band with a bonkers Stanley Kowalski look-alike singer crooning away, beating his chest, punching the air, doing the same nerdy dancing that I used to do as a lad.
Yikes!
Awkward?
Strange?
Parody?
Or friggin' great?
Certainly left grumpy old Dave Letterman gushing 'n grinning like I've never seen before...
Damnedest thing was that after just one listen to "Seasons (Waiting On You)", the tune embedded in my noggin', and I couldn't get to sleep for hours... "People change, But you know that some people never do." When people change, they gain a peace, but they lose one too. I've been waiting on you....I've been hanging on you."
Since then I've watched/listened to the YouTube clip dozens of times (along with 1,000,000+ other folk), and despite the weirdness... it's a mesmerizing performance, and I sheepishly have to admit that I love It. Kind of a 80's synth-pop throwback, Peter Hook-ish melodic bass-lines, OMD/Spandau Ballet synthscapes, but with a "real" drummer. Vocally, I hear some similarity to Roland Gift from Fine Young Cannibals, except when he drops in a scary Tom Waits growl @ 3:08. Or is that the Cookie Monster... or Death Metal?
There's something endearing about lead-singer Samuel T Herring. He's an odd performer, but his passion, conviction and honesty connects with this old fart. Have a listen to his interviews and you'll see that contrary to his eccentric on-stage persona, he's actually a sincere, down to earth fellow…
The CD arrived today, and first impressions are that it's pretty solid. Nothing ground-breaking, but if you like 80's style synth-pop music with an odd vocal twist, give it a spin...
The new album is titled 'SINGLES' on 4AD Records.
I finally had to turn the volume up on the TV to watch the new series based on 'Fargo'.
Glad I did, it's a dark treat.
Ready for bed now so I'll sign off with this album; a dark treat too.
You can't beat a bit of late night Waits. He shouted less in the 70s; still a dark heart but the 4 chambers were still recognizable as such.
Here's 'Somewhere' followed by the album version of 'Kentucky Avenue' which I can't get through without making seal noises. Finally a live deconstruction of the same song.
I've
got
something
in
my
eye...
Happy Easter!
I tried Charlie Mingus's 'Ah Um' but the Jazz Police, she say'No!'
I agree on the grounds that it's a '59 album and therefore outside of the 60s/70s perimeters.
I then manage to sneak Aja under the jazz height restriction bar because Di likes Deacon Blue.
The band.
Not the song…
What's your favorite foreign movie?
Di now back in the bath.
Bottle of Sancerre opened for her and I've just broken the seal on a 15 year old Glenlivet.
Looking for candles and lighting a fire; can't find one, but this always lights my fire…
Love the cover; used to stare at those breasts long and hard as a 12 year old wishing I was that white dove…
Does anyone else hear a 'Close to the Edge' Yes riff in Samba Pa Ti?
"Townes Van Zandt is the best songwriter in the world and I'll stand on Bob Dylan's coffee table in my cowboy boots and say that."
Steve Earle
Not even close to the greatness of 'Blonde on Blonde' or 'Highway 61 Revisited' but still a great album, though dismissed as 'functional' by The Rolling Stone magazine in 1975, it seems to have gained gravity with the passing years.
Watching Everton dismantle Man Utd with the sound down with this as the soundtrack. 'Blood on the Tracks' seems oddly appropriate for this car crash of a performance.
And now 'Idiot Wind' plays as Rooney mouths off at a team mate...
Ha! 'Tangled Up in Blue' indeed.
I had to wait for Di to go to the gym before spinning this.
Most fans prefer his stark live recording 'Live at the Old Quarter'; find this album overproduced; hate the flutes. Even though Di murders it, I love the flute! I also love that live recording but it breaks my heart that no-one seems to be listening to him. Apparently, before hitting the stage he asked the barman for 'just on last hit'. The barman knew him well and lined up seven shots of bourbon. He downed them one by one within the minute and took to the stage...
"If I had a nickel I'd find a game, if I won a dollar I'd make it rain, If it rained an ocean I'd drink it dry, and lay me down dissatisfied"
Townes wasn't a happy man, eventually the drink would lay him down forever. He left behind an uneven body of work and a reputation as a wasteful man with a wasted talent. But take the time and wallow with him, the flutes and strings recede and you are left with a man who sang just for the sake of the song.Listen to the sad poetry of 'Second Lover's Song'. Then, from 'Tecumseh', could you think of a lovelier line of love affirmed than "the sunshine walked beside her"?
Then watch the prophetic final clip of a song from his debut, 'Waitin' Round to Die' and see him reduce an old black geezer to tears…
Talk about finding your feet!
Apparently Dusty was nervous at stepping outside of her comfort zone and into the a studio full of exotic 'Memphis Cats'. Initial intimidation became a challenge to which she was more than worthy. Her taste and modesty stopped her from becoming overwhelmed by the band's undoubtable musicality. The chops were garnered and did nowt but support the sublime delivery which was as vulnerable as it was sexy. As well as that familiar brassy tone, there's a softness in of delivery that sweetens every song.
Just listen to the voice and the awesome arrangement of 'Song of a Preacher Man'. The warmth of the brass, the rooted drumming and twitchy, inventive bass playing is just brilliant.
Bruce Springsteen:The Wild the Innocent and the East Street Shuffle
The debut was great, but a mish mash of Dylan and Morrison.
This is the joyful sound of a man finding his feet and stepping out in his own shoes.
Side two might just be my favorite slice of vinyl…
This sounds archaic against Revolver. Still a beat band here rather than the soon to be opened Pandoras Box of invention. It's amazing how much the fab four developed in the months in between. The benefits of marijuana (rather than the later intake of LSD) and genius I guess.
There are still treasures within. 'Norwegian Wood' sounds breathtakingly contemporary, whilst the jewel for me is a wistful Lennon's 'In My Life'. I can't help but giggle when the harpsichordist (a double timed piano) falls off the stage at the end of his (George Martin's) solo…
I was recently gifted the whole Yes back catalogue by Macwood Fleet.
I love The Yes Album and Fragile, but this still sounds otherworldly and monumental.
I always assumed that there were deep hidden meanings within; still buggered if I know what they are…
I love the way that the title track builds to that final climax… great guitar playing.
It was always Tea for the Tillerman for me but this is nice, if a little bland, with it's simple mixture of lite protest songs and nursery rhymes.
I'd forgotten how sweet is the melody of 'Moonshadow'.
Staying indoors today after a Thu/Fri/Sat of driving across the country in Bank Holiday traffic delivering a car. My Mum's given up her beloved 'Suzi Q' Suzuki Swift for a newer model. Di's sister Hilary is now the proud owner. Mum talked to that car. Wouldn't drive the new one until the old one was gone, just in case Suzi saw her… 'Bat Shit Betty' is my mater; bonkers and beloved.
Anyway, although it was great to see everyone I'm done with motorways and 'secret' back routes.
Today I'm staying put.
Girlfriend in the bath.
Slow roast of pork for lunch.
Football on with the sound down and…
Retro albums all day: '60s & 70s' classics that I've stuck away for a rainy day and… yup, it's raining!
I'll post them as I play them.
You can play along or just heckle at my lack of cool.
I know that you'd like to be sitting next to me on the cinnamon chair so, with that in mind, first up is: Pink Floyd: Wish You Were Here
Now, I love Dark Side of the Moon, but this album always surprises me when I play it.
It's as if I didn't really pay attention to it way back…
I'm thinking that might be a reoccurring theme today.
Artist's 2nd best albums; the ones that suffered in the shadow of the behemoth…
I'll post the track that strikes me boldly…
Fantastic evening yesterday.
Di and I made our way down to the Docklands.
Destination was the dreaded O2 to see Elbow in concert
.
We decided to tart things up by not treating ourselves to a shiteburger from within the depths of the dome. Instead we made for 'The Gun', a 250 year old pub on the edge of the water overlooking the O2 on the opposite bank. The Gun was refuge for many a smuggler and is so called because it was also the drinking place of the welders & melders (?) who made the canon for the British Navy during the glory days when the world was half pink…
Lord Nelson lived up the road and often met up with
Lady Hamilton in the rooms above the dining
room. The cracks are still there to behold…
We had cocktails on the terrace; Mojitos for Di, an Old Fashioned for me, not fashioned with Bourbon though, this was liberally laced with Mezcal. A proper 'sharpener'.
The meal was fantastic; the best kind of gastro-pub grub: I had lamb stuffed with kidneys and haricot beans served up with buttery mash and asparagus, whilst Di tucked into some crispy Brill fresh in from Billingsgate. All washed down with a (slightly bland) white Rioja. Then a treacle tart and a rice pudding that made a mockery of their school dinner monikers, served up with some sweet, sticky port.
Lovely.
All for less than £100; pretty good for London.
On to the O2 and a fine performance by Elbow.
No other band can make a cavernous hanger seem so intimate.
We swayed and sang along as Guy and the band reached out and gave us a great big communal hug. We all hugged back of course.
I haven't felt that benevolent whispery warmth since early Blue Nile days.
The highlight amongst many? Lippy Kids and the new album's keenest anthem, My Sad Captains.
I was concerned, as the latest record is a gentle thing, but, bolstered by a female string quartet and a brass trio, the musicians played a blinder. Muscular beats, and gentle loops, angular guitar riffs, soaring strings and honking horns; all laced with Garvey's humor and unsuppressed affection for his mates and his roots.
He's been criticized of late for 'over sentimentality' has Guy.
But why shouldn't he sing about that which he loves?
Seems that he's had his heart broken too recently, so...
Joy and jocularity tempered the undeniable melancholy of middle age survival.
And I do love a sad song. Boom!
Lest you've not heard or have simply forgotten:
I'm not sure if you're aware of this one already, but I've just discovered an interesting website, all about songwriters and their insights into the process... "sodajerker.com". Specializes in podcast chats, in-depth audio interviews with "some of the world’s most successful songwriters."
A few minutes ago finished listening to a recent posting featuring a gentleman you're familiar with... PADDY MCALOON. Truly enjoyable & fascinating... Covers a lot of ground in an hour and a bit, but still just the tip of the iceberg about the old magician. Wish it went another five hours. Paddy's such a wonderful interview, even on a fuzzy phone connection. He exudes infectiousjoy & passionwhen discussing music and the process of songwriting. Sounds like he's constantly creating new music, but somewhat insecure/lazy about getting anything released. Hilarious that he's written a box full of tunes for Rod Stewart, but doesn't have the courage to tell him about it. Rod???
Anyway, if you have a free hour, it's time well spent...
Also, many more hours to spend with other interviews including Jimmy Webb, Thomas Dolby, Andy Partridge, Neil Finn, Nick Lowe, Ron Sexsmith, Rickie Lee Jones etc...
It's a strange thing releasing a record. You hope that it will connect with new friends, make some new beginnings. You also wait with bated breath for the reaction of the tried and the tested; in the face of commercial neglect, the folk whose opinions you come to value and cling to, like barrels in an ocean of seeming indifference. One such man is Folmer Jepsen. Folmer is a friend and fan of Miracle Mile from way back. He would slavishly request that I send him an album upon every new release and would always respond with keen eyed and honest criticism... and kindness. You could always tell that Folmer had 'listened well'.
He was a Danish TV producer and journalist back then but has since gone on to become the Director of Denmark's biggest Arts Festival, The Aarhus Festuge which takes place in Denmark's second largest city at the end of every summer:
"It is highly esteemed and recognized both in Denmark and abroad. For 10 days every year in August - September the streets and alleys, clubs, stages, galleries and museums of Aarhus are teeming with entertainment and art. The programme encompasses a number of events in music, architecture, stage performance, gastronomy and much, much more."
As soon as Folmer took on that mantle he invited me to play the festival. For many years I had to decline because it clashed with my day job: in the Summer months I'm the Director of a large Summer Camp for an International School in North London. But then the fest' dates were moved to late, late summer and I could no longer resist. Thus it was that I found myself up on stage on the opening night, in front of the Queen of Denmark and 1600 of her citizens, TV cameras akimbo; the first musical turn at 2012's Festuge. It was quite a night. The previous night I had finally got to meet Folmer in the flesh, Di and I were guests at his house alongside the other main protagonists of the opening gala: actors, musicians, poets and writers. We sat around a long table and delighted in the offerings of our host and his lovely wife Anne, who just happens to be a celebrated TV chef; Denmark's version of Nigela if you like, although Anne is half the size and twice as charming… the food and wine was fabulous, as was the chat.
I always felt a kinship with the man, but after watching him in action I got to add 'admiration' to a list that started with 'friendship'. He is a true Prospero (he must tire of me saying that) as he draws all of his players together and coaxes performances out of them with great charm and subtlety. Sometimes you don't even know that he's there, such is his low key but benevolent spirit. Di and I returned last year as non performing guests and had another fine time. Actually Di ended up as unofficial Festuge Photographer and captured a moment or two. Anyway, all of this is in recognition of a blithe spirit, a fine friend, and by way of an introduction to Mr Jepsen's short but sweet review of my latest album 'To the Bone':
'To The Bone' is perfect for night-listening. It is beautifully sad or sadly beautiful. Each song is a little light that turns darkness into blue and makes life possible to live with. I came to think about this whilst driving tonight. And Trevor… after the first few listenings I thought it was good - some of the songs up there with your best - but I had the feeling though I'd been there before - and that you`ve been there earlier too; but I know your songs: that besides having an immediate effect, they also need time... and suddenly, when I drove, and it was late evening and literally dark out there, it all started to make another, and deeper kind of sense. Congratulations.
Here's where I hand things over to a guest writer; Canada's Tim Patrick.
Bill Pritchard is new to me; I like it. He reminds me of Stephen Duffy and the original Miracle Mile singer, Steve Smith of 'Bless This Ship' vintage. Steve now lives in LA and records under a moniker or two: Deltaboy and Zachary Black, a video of whom you can see below, where Steve seems to be attempting the most unflattering 'selfie' ever filmed. Is he hanging upside down?
Toronto Tim writes:
Released only a couple of weeks ago, I've been keeping an eye open for this album to pop up on Spotify, after stumbling across a track ("Trentham") that caught my attention on Youtube. I managed to sample the entire album before the Spotify police caught up with me and shut down my account that I'd carried back from the States three weeks ago. The CRTC and our Big Brother government in Canada still refuses to allow us Spotify here. Bastards...
Comparisons to Lloyd Cole, Morrissey, Prefab Sprout & the Go-Betweens and an early album produced by Ian Broudie, are what initially grabbed my attention; but after a few listens, I'd have sworn 'A Trip To The Coast' was some "lost" Steven Duffy /Lilac Time album...
Unbeknownst to me, BILL PRITCHARD has apparently been kicking around the music scene since the late 80's, even having a minor MTV moment way back in the day. For some reason, never made a dent in the UK market, but something of a cult hero across the channel in Belgium & France, which he's adopted as a second home.
Anyway, 'A TRIP TO THE COAST' is a pretty damned good record. AllMusic rates it 4 1/2 stars. Sophisticated, easy-going, jangly guitar pop tunes mixed with pretty ballads, Pritchard possesses a homely but likeable voice.
Opener "Trentham"is one helluva catchy pop song, however "Yeah Yeah Girl" is the standout track for me, recalling 'Love Story' era Lloyd Cole, with a pre-chorus lyric worthy of old LC: "I heard you moved out of that flat in St Denis, Away from the bars and the cars and the sounds of the city.
So you shop in all those lucrative places where the Sherazar shimmers amongst beautiful faces,
But I sometimes wonder how it could be if I'd been more commercial and you less twee."
"In June" rocks out suprisingly nicely, whilst slower songs "Truly Blue" & especially "Polly" bring a winsome change of pace...
“Drifting through the stations in a pacamac with photos she took on the run, from someone, to someone”.
Finally, the title track recounts a touching story about an afternoon jaunt to spread a deceased friend's ashes...
"Fancy the idea of a trip to the coast?
Take a trip in a car and under a bridge
And roll over memories drinking pop from the fridge
Let’s do what we planned give him back to the island
The 3 of us now are what we weren’t then
But thanks to those memories we can be again
Let’s do what we planned give him back to the island
Watching the sun leaving the sky"
It's also worth a trawl back into Pritchard's early collaboration with Ian Broudie on the 1991 album "Jolie", which supposedly was a breakthrough in Japan & Canada, which I seemed to have missed. Must've been in bloody Quebec! Sounds a wee bit dated, certainly a Lightning Seeds flavor to it; but holds some excellent tunes nonetheless. I've posted a few tunes below...
I apologize for the lack of video clips from 'A Trip To The Coast', especially disappointed at being unable to find "Yeah Yeah Girl". But for those of you blessed with access to the luxury of Spotify, I'd encourage further investigation...
I've just got this Brooklyn band's debut album and it's a wonderful thing. Unclassifiable... I think that they are a 'collective' but am unsure; it's the brainchild of songwriter/composer Ellis Ludwig-Leone who composed everything. But for me the real stars are the songs and the singers: The guy (Allen Tate I believe) sounds a little like Bill Callahan wearing the trousers of a decipherable Kurt Wagner, the girl... like something from a girl band with balls... And the music is a mash up of beats and baroque string arrangements. Dissonance meanders into moments of quiet beauty. Saxophones wail, strings soar and beats collide. There's even a rogue duck in there somewhere. Seriously! It shouldn't work but it does.
Here's 'Sonsick' followed by 'Renaissance!'.
After that check out the short live performance.
Then buy the album and tell your friends.
There's something for everyone in this wonderfully collaborative music.
