Left of centre, pro-European
Listening to a new (to me) album, every day
My final attempt at the Canterbury scene and by far the best. Largely amiable jazz-rock, with occasional very English vocals singing inconsequential lyrics. There’s way too much noodling, though some Crimsonesque bits add a bit of grit.
6 o/o 10
My final attempt at the Canterbury scene and by far the best. Largely amiable jazz-rock, with occasional very English vocals singing inconsequential lyrics. There’s way too much noodling, though some Crimsonesque bits add a bit of grit.
6 o/o 10
I’ve enjoying their other work, but this album falls flat. It veers into Neil Young territory with sloppy playing and whiny vocals.
6 out of 10
I’ve enjoying their other work, but this album falls flat. It veers into Neil Young territory with sloppy playing and whiny vocals.
6 out of 10
As a Feelgood fan, I went and wept at Wilco’s last gig. He then got surgery and went on for a few years, recording this on the way. It suits Daltrey’s old man voice and you can’t fault the band. Solid but lacks piss and vinegar.
7 out of 10
As a Feelgood fan, I went and wept at Wilco’s last gig. He then got surgery and went on for a few years, recording this on the way. It suits Daltrey’s old man voice and you can’t fault the band. Solid but lacks piss and vinegar.
7 out of 10
Soft, melodic and melancholic songs. The instrumentation is compressed into a comfortable soup allowing the soft male vocals to float gently on the surface, like croutons perhaps.
7 out of 10
Soft, melodic and melancholic songs. The instrumentation is compressed into a comfortable soup allowing the soft male vocals to float gently on the surface, like croutons perhaps.
7 out of 10
I’ve enjoyed much of Mitchell’s output of late, but this is Godfrey’s baby. Very assured pop-oriented proggish songs played with virtuosity and slickly produced. Much to like, and worthy of further listening.
7 out of 10
I’ve enjoyed much of Mitchell’s output of late, but this is Godfrey’s baby. Very assured pop-oriented proggish songs played with virtuosity and slickly produced. Much to like, and worthy of further listening.
7 out of 10
Pye Hastings got a mention on our album sleeve, but I’ve not listened to them before. Half English whimsy with crap lyrics and the rest an endless noodle on fuzz boxed organ which goes nowhere. I can’t see the appeal.
3 out of 10
Pye Hastings got a mention on our album sleeve, but I’ve not listened to them before. Half English whimsy with crap lyrics and the rest an endless noodle on fuzz boxed organ which goes nowhere. I can’t see the appeal.
3 out of 10
Bright and modern prog, where the Californian band have a major injection of creativity from Michael Whiteman of Manic Whale. There’s not an inch of flab. Some strong Genesis influence in much of the keyboards. Virtuosity abounds.
7 out of 10
Bright and modern prog, where the Californian band have a major injection of creativity from Michael Whiteman of Manic Whale. There’s not an inch of flab. Some strong Genesis influence in much of the keyboards. Virtuosity abounds.
7 out of 10
Interesting electronica created using 25 year old sample CDs. It’s engaging and enveloping and never dull despite the lack of obvious songs.
7 out of 10
Interesting electronica created using 25 year old sample CDs. It’s engaging and enveloping and never dull despite the lack of obvious songs.
7 out of 10
I remain a fan of the Ronson era but have given scant regard to his mid period. It suffers from the lack of melodic input, using Fripp & Alomar’s noisy atonal guitars instead. It’s hard to love.
6 out of 10
I remain a fan of the Ronson era but have given scant regard to his mid period. It suffers from the lack of melodic input, using Fripp & Alomar’s noisy atonal guitars instead. It’s hard to love.
6 out of 10
Like being transported back to a DLT show. Lido has always been a favourite, but listening to hear the proto Toto whole. It comes across as cohesive and slick and to my ears stronger collection than Toto IV.
7 out of 10
Like being transported back to a DLT show. Lido has always been a favourite, but listening to hear the proto Toto whole. It comes across as cohesive and slick and to my ears stronger collection than Toto IV.
7 out of 10
I thought the 2 albums after this were excellent. This, their debut, is a four-person outfit and it’s less distinctive though there are some gorgeous harmonies, particularly the closing song.
7 out of 10
I thought the 2 albums after this were excellent. This, their debut, is a four-person outfit and it’s less distinctive though there are some gorgeous harmonies, particularly the closing song.
7 out of 10
I knew the hits, but listened because Luthaker was on Rockenteurs. Very slick, with surprisingly heavy guitar solos, but it’s difficult to love songs like this, unless you’re called Rosanna, which my flatmate at the time was, and she hated it.
6 out of 10
I knew the hits, but listened because Luthaker was on Rockenteurs. Very slick, with surprisingly heavy guitar solos, but it’s difficult to love songs like this, unless you’re called Rosanna, which my flatmate at the time was, and she hated it.
6 out of 10
I preferred the songs with the sparser backing, where she allows herself a more conventional melodic approach. Sometimes the noisier songs become a battle which is harder on the ears and brain. Utterly distinctive.
5 out of 10
I preferred the songs with the sparser backing, where she allows herself a more conventional melodic approach. Sometimes the noisier songs become a battle which is harder on the ears and brain. Utterly distinctive.
5 out of 10
Gentle Donovanesque vocals and jangly guitars give this a strong 60s vibe. Put me in a very mellow mood in front of an open fire. Will probably take a few more listens before the tunes come through, but I like it so far.
7 out of 10
Gentle Donovanesque vocals and jangly guitars give this a strong 60s vibe. Put me in a very mellow mood in front of an open fire. Will probably take a few more listens before the tunes come through, but I like it so far.
7 out of 10
Funky soul from 1971, recommended by Jimi. Interesting grooves but suffers from a thin production. Perhaps more Blue Mink than James Brown. One that would sound good given the Fake Music AI treatment.
5 out of 10
Funky soul from 1971, recommended by Jimi. Interesting grooves but suffers from a thin production. Perhaps more Blue Mink than James Brown. One that would sound good given the Fake Music AI treatment.
5 out of 10
The follow up to the wonderful Slave to the Rhythm is a set of co-writes with Bruce Woolley. It has nothing of the glossy cool- with incredibly trite lyrics. The production is also lack lustre. A shame.
3 out of 10
The follow up to the wonderful Slave to the Rhythm is a set of co-writes with Bruce Woolley. It has nothing of the glossy cool- with incredibly trite lyrics. The production is also lack lustre. A shame.
3 out of 10
Noisy, messy punk rock.
Meh.
2 out of 10
Noisy, messy punk rock.
Meh.
2 out of 10
I’d not been a fan of his singing style back in the day, but over time, Billy’s become more of a singer. It comes across as melodic country/Americana. Subjects from the humdrum to the profound are presented in stripped-back style.
6 out of 10
I’d not been a fan of his singing style back in the day, but over time, Billy’s become more of a singer. It comes across as melodic country/Americana. Subjects from the humdrum to the profound are presented in stripped-back style.
6 out of 10
I loved the Police, but having not listened to him for a while, hadn’t got to this. It’s an ultra-smooth production, packed with effortless jazziness, but I do miss his more direct songwriting.
7 out of 10
I loved the Police, but having not listened to him for a while, hadn’t got to this. It’s an ultra-smooth production, packed with effortless jazziness, but I do miss his more direct songwriting.
7 out of 10
Returning a few years after his 80s peak of highly polished pop, this draws in hip hop and rock influences. I expected something listless but it’s actually terrific. I don’t even mind the rap. The production is still fabulous.
8 out of 10
Returning a few years after his 80s peak of highly polished pop, this draws in hip hop and rock influences. I expected something listless but it’s actually terrific. I don’t even mind the rap. The production is still fabulous.
8 out of 10
Splendid laid-back mid-80s pop. His voice reminds me of Aztec Camera. The production is lush, but the tunes tend to merge into one. I prefer what Scritti were doing at the time. But enjoyable.
7 out of 10
Splendid laid-back mid-80s pop. His voice reminds me of Aztec Camera. The production is lush, but the tunes tend to merge into one. I prefer what Scritti were doing at the time. But enjoyable.
7 out of 10
I probably wouldn’t have listened to this without Traitors. Cat and her many collaborators have created a set of songs covering a gamut of emotions, all delivered with a defiantly English accent. It has surprising depth and quality.
7 out of 10
I probably wouldn’t have listened to this without Traitors. Cat and her many collaborators have created a set of songs covering a gamut of emotions, all delivered with a defiantly English accent. It has surprising depth and quality.
7 out of 10
Interesting songs with intriguing arrangements and instrumentation. All through it’s her voice which is the star of the show, a beautiful and perfect tone delivering unusual lyrics. Nods to Mann or Joni.
8 out of 10
Interesting songs with intriguing arrangements and instrumentation. All through it’s her voice which is the star of the show, a beautiful and perfect tone delivering unusual lyrics. Nods to Mann or Joni.
8 out of 10
Just stunning. Acoustic, melodic folk of the first order. So delicate that a soft breeze would blow it over. The songs draw you in and wrap you in their arms.
10 out of 10
Just stunning. Acoustic, melodic folk of the first order. So delicate that a soft breeze would blow it over. The songs draw you in and wrap you in their arms.
10 out of 10