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Go Combat Archery Over venues nationwide - Book online! June may have been photographed standing on the shore looking out to sea, but on this song in particular she feels to be more a part of the ocean itself and its swell, as well as literally inside the minds and bodies of the emigrants. This track is arguably the most extraordinary achievement of all those on the CD. In the case of the latter more especially, June's very personal account of Child Ballad , both sympathetic and forthright in its re-telling of the legend, in which Huw Warren's strangely unsettling piano counterpoint depicting a choppy, broken-rippled seascape seems at first to be disembodied and disconnected, then gradually begins to make sense as the ballad progresses; to my mind, the spoken episode sits uneasily on June's thoughtfully classy if thorny interpretation and I feel blurs its impact at that point in the tale.
But to sum up: Here again June remains right at the top of her game, with her vocal armoury or should I say arsenal?! It's back to the alpha-rich "apple-ations" sic! There should by now be no questioning June's stature as simply one of the finest singers ever, one who transcends genre and whose approach to songs and their communication is a benchmark for any and every aspiring singer. Here, on what is unquestionably one of her most intensely satisfying collections, she shares her love of songs that move her and for our delectation plucks some most exquisite fruits from the tree of tradition - which of course encompasses both ancient and modern writings.
With typical thoughtfulness, June's choice of song-apples, like the very fruits themselves, invoke a myriad of associations ranging from sweet tastes and aromas, childhood innocence, cosy times, through to the rosy exterior concealing the worm burrowing within and the ripest fruit becoming soonest rotten; all metaphors for love and life, win and lose, subjects which June is famous for penetrating to their core.
We know that June is all too often and totally unfairly! Indeed, it starts out not with doom and gloom but actually quite happily or should I say 'apple-ly?! And by heavens you might say! Back to the land of antidotes, and you can almost visualise June swirling Maddy-like round the stage on the Kalenda Maya dance that forms a delicious appendage to the archetypal trouvère chanson Ce Fu En Mai. Another standout performance comes with the spellbinding quality of expressive eloquence, and the sense of pace and structure akin to a classical Lied, that she brings to Burns' stern credo Speak Easy and I marvel at Mark's really special piano accompaniment here, a model of subtlety and unobtrusive reflection of the sung part.
The latter is rivalled, nay eclipsed, by June's unsurpassable interpretation of Lester Simpson's Standing In Line ; here, with deceptively understated passion, she so unerringly conveys amidst its potent evocation of sepia-soaked imagery all the associated complex cocktail of emotions: June's singing is peerless: I've said before that the controlled power and inherent poise of June's singing is breathtaking pun intended , but she's definitely excelled herself in the company of the musicians she uses on Apples - the trio Andy Cutting, Mark Emerson and Tim Harries also known collectively, and cryptically, as Needless to say June continues to be on splendid vocal form, and here she's come together with her accompanists to produce a uniformly mesmerising and utterly coherent album.
The curious thing is that even though you know that with a recorded artefact you'll get to hear exactly the same performance on each and every replay, you really do feel that June's responding to the song texts afresh each time rather than just wheeling out a predetermined response with exactly the same inflections and emphases.
And another factor which makes this new CD so special is undoubtedly the close rapport that June achieves with the members of her backing crew; in a manner of speaking, June enjoys the best of both worlds with her collaborators, with gifted exponents of both what you might call "art-song folk" pianist Huw Warren and violinist Mark Emerson and for want of a better term "strummed folk" ace guitarist Martin Simpson , all three being musicians with whom June's worked extensively in the past.
And as if that weren't enough, on some tracks there are well-judged contributions from Andy Cutting accordion and Mark Lockheart and Iain Ballamy saxes , and it's all reliably underpinned by Tim Harries' sensitively-moulded double-bass work. June's careful adoption of specific instrumental timbres and combinations for voicing the mood and tenor of each song is remarkable and unerringly perceptive. For instance, there's a distinctly Schubertian air to the piano's short prelude to Ah!
The Sighs a 16th century song of courtly love , giving the piece more of a Romantic resonance than the basic acknowledgement of its source might normally call forth. Interestingly, this contrast is turned on its head when Martin Simpson's poised guitar accompaniment to Heart Like A Wheel invests that song with something of the character of a courtly troubadour ballad, allowing us to concentrate on June's heartbreaking sorry, there's no other word for it!
These are but two acute examples of the sheer intelligence within June's new interpretations of the songs presented on this CD. Just over half of the twelve songs are genuinely traditional in origin, and their selection was galvanised by the inspiration June gained from a series of concerts she undertook with this particular group of musicians including an In Session broadcast for BBC4. The repertoire June's chosen contains contrasts aplenty, too, with standout interpretations of Robert Burns' Lie Near Me the album's final, extended track , Bill Caddick's powerful The Cloud Factory June's always had a striking empathy with Bill's writing, as you know and Duke Ellington's Do Nothing 'Til You Hear From Me to name but three interpolated with some slightly more uptempo fare such as Oh!
Then, on classic folk standards like The Banks Of The Sweet Primroses, June's incredible innate talent for storytelling transcends the occasionally rarefied, quasi-classical nature of the song's arrangement and presentation that description's a statement of fact, not a criticism, I hasten to add!
So let's force those doubters who habitually think of June as a cool, unemotional singer to take a close listen to this CD, and prepare for the backlash - the sound of words being hastily eaten! So, without qualification, this often profoundly moving CD forms another dark and bitter masterpiece from June, and right up there on the 'A-List' in both the obvious and the oblique senses of the term.
This latest box-set to come our way from Topic celebrates the intense artistry of arguably the finest British female singer currently operating within what might loosely be termed the folk scene her province is normally viewed as such by dint of convenience, purely because she has long operated primarily in acoustic music contexts.
June had been singing and gigging ever since her college days at Oxford the booklet includes a page-stealing photo of "Tabor" captaining the St.
Hugh's team on a late edition of University Challenge! The tiny handful of pre-'76 performances unearthed for inclusion on this box-set prove invaluable mementoes of June's early accomplishment as an unaccompanied singer of traditional song. The earliest recording featured here is A Week Before Easter captured in by Andrew Cronshaw , and this gives a potent indication of her individual approach to pace and metre that even then was idiosyncratic, albeit encompassing both a mature approach to decoration and a quality of considered understanding that was rare for someone of her relative youth.
June's first solo album proper, Airs And Graces , initiated the Tabor Template by serving up what in appropriate restaurateur-speak might be dubbed "a traditional repertoire garnished with a few choice contemporary morsels".
It also initiated - whether consciously or not - the enigmatic Tabor practice of beginning her album titles with the letter A a device which, disappointingly, remains obstinately unexplained in the booklet, which otherwise contains more than a fair share of enticingly revealing snippets of background information. It's probably somewhat of an over-simplification to observe that over and during the course of her career thus far, June has moved from being a classy interpreter and transmitter of songs mostly traditional, if accompanied then mostly by guitar for an extended period of time her principal accompanist was Martin Simpson, indeed until he moved to the States in the late 80s , to being an equally superlative interpreter and transmitter of modern, composed song in tandem with her expertise in traditional repertoire, and accompanied most often by piano-based or, latterly, chamber-textured instrumental arrangements.
Folk song to art-song? Well no, not exactly, but it's a tempting analogy - at least until you begin to dig deeper into June's all-embracing talent for rediscovering folk as art. June's performing style mirrors her approach, in its precise diction, careful attention to detail and exemplary control and poise, whereby every syllable and nuance is weighed and measured yet never sounds coldly calculated.
Her choosiness with regard to performing repertoire reflects her view that in contrast to a traditional song, a modern song, being "the creation of one person rather than an ongoing process", is presented to the performer as a finished article, and so she opines "if it isn't right for me" in that form, "then I don't touch it", an admirable policy; it works for her, though it may not suit all!
In this way, June is enabled as the personification of the singer and the song; she conveys each and every song she sings as a personal experience. Martin Simpson provides a telling quote in this context: She can really, really transmit pain, hurt, unfairness, anger. A number of these turn out to be live renditions of existing album tracks, often utilising different backing musicians or arrangements and invariably casting new light on the interpretations; Lal Waterson's Fine Horseman , the traditional Young Johnstone and Will Ye Go To Flanders, Richard Thompson's Pharaoh a stunning performance with Filarfolket and Mrs Rita - all these are really illuminating.
The brightest jewel in this final crown, amongst many shining diadems, is undoubtedly a Purcell Room performance with musicians from the Creative Jazz Orchestra of Kris Kristofferson's Casey's Last Ride , which just stopped me in my tracks and literally reduced me to tears "it's one of those songs", "a song of such heart-wrenching desolation", that had the very same effect on Martin Simpson too, we learn from June in the booklet.
Other highlights include Virginia's Bloody Soil a lone survivor from an aborted American Civil War-themed programme and an extraordinary performance of Tracy Chapman's Behind The Wall, which further spotlights June's eclecticity of repertoire. She always used to pair that song with Bill Caddick's barmaid's song She Moves Among Men ; the latter is itself probably the most surprising omission from this set, although Les Barker's priceless January June parody should have earnt a pride of place - while as compensation I'm glad to find that Les's variant on the Cutty Wren saga has been included here, demonstrating that June's reputation as a primarily "miserable, serious" artiste is ill-conceived as she so evidently relishes and rejoices in the genuinely humorous repertoire.
June's sense of timing and phrasing is as important in lighter material as in the more earnest fare, in the classic ballads and the torch-jazz standards alike, and there are plenty of examples of each to delight us anew here. The performances on these four CDs effortlessly demonstrates June's versatility and consistency of integrity, all without a trace of contrivance.
Several times while playing through the set I was thinking "oh, I'd almost forgotten she did that so well too"! The hallmarks of a Tabor interpretation are there in abundance, and the tonal quality of her voice is unimpaired whatever challenges the song throws her way. Exquisitely stylish, June always dazzles with a quiet beauty and subtle shadings and expressively stamps her personality on the song with an intense but never overwrought passion and true feeling for the text in every case, whether it be a dramatic narrative or "a mere pop song" like Lou Reed's All Tomorrow's Parties.
Then again, she'd recorded the acid classic White Rabbit for a Peel session, and there are moments as in Pharaoh where there's a Grace Slick-like quality of potent menace in her voice too. Indeed, part of the special stature of June's singing arises from the fact that she now sings exclusively in her low register having abandoned her high register several years back , giving her voice a unique, cool depth.
Interestingly, the set also includes, at the perfectly reasonable insistence of compiler David Suff, one purely instrumental track Hug Pine emphasising the importance to June of her current accompanists Mark and Huw. Finally, mention must be made of the high-art standard of the presentation of this box, whereby the booklet not only excels in its particularly well-balanced overview of June's career thus far by Ken Hunt , including some fascinating interview extracts, but also contains some stunningly beautiful and highly artistic photographs by John Haxby that provide the binding framework for the text and ancillary archive photos.
So, how to sum up? Well, in the true spirit of Tabordom, I'll just say, as in the words of the "A" Team, that Always, as an ambitious anthology, absolutely astounds! This is expressive and musical drumming at its aural and visually thrilling best.
I'll paint you a picture. Pete Lockett tattooed arms, plaster-protected thumbs and forefinger, fair hair flying and shoeless attacks his drums with passion and purpose alternating with sensitive singing drum patterns from fingers the tiny tambourine-like Kanjira from south India, pitch bending with one hand whilst drumming with the other or voice accompaniment to finger drumming on a frame drum reminiscent of scat singing.
There is a name for this and I know someone will enlighten me. Joji Hirota conjurs up the spirit of Buddhist temples with bowed brass gong, bamboo flute and resonating prayer bell.
He is intensely in control of the elements: Together they weave, oppose and compliment one anothers techniques. Their Heartbeat finale, playing the huge Japanese Taiko drums with sticks, is like a display of martial arts or an army at war. The two of them drum in powerful unison until every atom of the venue is vibrating in a huge technicolour soundscape.
There's much more to know and appreciate about this master magician and the rhythms he conjurs. I recommend the following albums, a visit to his website and to get out there and see him ' live ': Network of Sparks featuring Bill Bruford: Springsteen drummer Max Weinberg reckons; the 20 year old Canadian singer-songwriter is the most exciting talent he's come across in years.
I'd have to say he should get out more, but on the evidence of his debut album Taerk pronounced Turk certainly has something going for him. Crisply produced by Terry Brown, although Grace borrows some reggae drum stylings and People In The Room has 70s soul elements, the default mode is guitar based roots rock, built around big anthemic melodies and delivered in a clear, confident ringing voice that, while a bit harsh at times, has hints of the young Bruce Cockburn in its intonations.
Lines about sitting in school listening to someone else's robotic rules in Smell The Roses or 'she's my Claire Fredericks - aka Taj Mahal - is a long-time icon of the blues and roots scene, who rose to prominence in the lates largely through his work with Ry Cooder and a series of widely acclaimed and influential solo albums.
His Massachusetts upbringing exposed him to a veritable gumbo of musical influences, which he carried through into his own eclectic brand of blues, folk and gospel that took in indigenous musics from Afro-America to the West Indies along the way. Passionate and driven, yet at the same time relaxed, this set is a paragon of its type, with universally excellent performances from all ten musos involved. This timely new reissue of the album licensed from Sony is well presented, with notes which maintain a sensible perspective and give just enough detail to satisfy.
If you don't have it already, then don't pass it up this time round. Talbot's fourth album both consolidates and develops the success of 's The Last Star. And that's the modus operandi for several tracks here, including the gorgeous Rusby-like closer Arcadia, the swirling Parisian-café waltzer title song with Hewerdine and the playful, skittering jazzy-ska Will I Ever Get To Sleep? In fact, the only solely-Talbot composition on the disc is the tender, bittersweet torch-ballad-style I'm Not Sorry.
Other joint compositional ventures here include Button Up, a co-write with King Creosote Kenny Anderson , on which the two duet, and sensitive album standout The Loneliest, co-written with and done as a touching duet with Louis Abbott of Scottish indie-folksters Admiral Fallow, this latter cut's sparse backdrop featuring just Mark Knopfler and John McCusker. Two tracks feature bluegrass maestro Tim O'Brien: And yet another pair of tracks incorporates the lovely voice of Karine Polwart: Having expended a couple-hundred words on ostensibly invidious but rather necessary namechecking of Talbot's fellow-travellers and collaborators, it might now seem somewhat of a miracle that her own musical presence still manages to provide the album such a startling degree of musical unity.
Of course this is down to her sweet but not cloyingly so and pure singing voice, which on quite a number of occasions it's impossible to resist comparing favourably with the aforementioned Kate Rusby.
Far from it, for this is a confidently outgoing yet also quite intimate personal statement from one of the scene's most enchanting voices, who should not be criticised for making particularly good use of a circle of super-talented friends. Once again, it's a mellow, intimate set of recordings, predominantly sweet in character this quality deriving mostly from the timbre of Heidi's voice but, it must be said, not without a necessary degree of fire.
The balance of material is weighted roughly just in favour of the contemporary writing, but Heidi's adaptations of traditional songs in conjunction with members of her team are persuasively managed. And Heidi's now developing a talent for songwriting too in creative as well as personal partnership with Mr McCusker , on the evidence of the coquettish, charmingly bittersweet and quirky Tell Me Truly, the deep, if finally understated desolation of the title track, and in contrast the comforting Start It All Over Again, the latter composition finding a soul-mate echo in the disc's final track, an ably sensitive cover of the Sandy Denny tearjerker At The End Of The Day.
Heidi's treatment of Kris Drever's composition Hang Me, in contrast, is altogether more sparely contoured, and shows her to be equally capable of expressing more melancholy sentiments I can't avoid hearing more than a touch of Waltzing's For Dreamers in there too.
And the broodingly insistent pounding tomtom rhythm and brass backing adds a slightly ominous tone to Boo Hewerdine's Cherokee Rose. I can't praise highly enough the various musicians' contributions, which fit Heidi's singing like a glove yet still allow scope for judicious licks and fills Ian Carr is especially inventive in this regard, I find.
In all honesty, there are still isolated moments when it's impossible for Heidi to completely escape the superficial "Kate Rusby with an Irish accent" tag, notably on songs like The Shepherd Lad Karine's adaptation of a traditional narrative which bears a distinct kinship to Clyde Water and occasionally when singing in her middle-register. But all through The Last Star Heidi remains very much her own woman, and here she's given us another immensely satisfying personal statement that eclipses even the magic of In Love And Light.
Brought up in Co. Kildare, Heidi moved to New York with her brother at age 18, then in she had a lucky break when she was invited to join Cherish The Ladies when their then lead singer Deirdre Connolly left the band. Since which time, she's subsequently relocated, initially to Ireland and then to Edinburgh, and herself finally left the band last year. In Love And Light turns out to be Heidi's third solo record, and on this showing I can't imagine why the previous two never reached me for review.
This latest is an impressively assured collection, with the focus this time in the main falling on songs by contemporary writers Tom Waits and Boo Hewerdine being the best-known and drawing from a diverse spectrum of influences. Heidi also gives us sparkling renditions of three traditional songs, of which Bedlam Boys is especially vibrant in its reel-rich setting. While the primary purpose of the album is naturally to showcase Heidi's typically "awestruck and tender" vocal timbre, her thunder is almost stolen albeit quite subtly!
Heidi's voice has been described as "impossibly lovely"; her phrasing is smooth and largely intuitive, much like you'd imagine an Irish Kate Rusby might sound that's meant as a compliment to both ladies! There's also a distinctly Rusby-like soft-focus air to the musical arrangements on the majority of the tracks, with light and airy textures skilfully managed, though the additional string section on If You Stay is perhaps a tad obtrusive.
The best of the songs suit Heidi's approach down to the ground and need no special pleading: Less successful to my mind are Whispering Grass no contest with the celebrated Sandy Denny version! The arty design and presentation of the digipack housing the CD are intended to be a selling-point I'm sure, but I find it less appealing simply because the typeface used is rather fussy and cramped and not at all easily readable, and the booklet reprints lyrics for only seven out of the 12 songs presumably for copyright reasons?
Record companies have had a field day releasing 'remastered' CDs of classic albums but the value provided to the listener can, sometimes, be questioned. In this first batch of Talking Heads releases, some benefits are immediately obvious as 'Talking Heads: Surround Sound for those suitably equipped as well as some added videos. I'm sure that I don't have to spell out their legendary status. They are a band without comparison because nobody sounds at all like them.
Though they have influenced many others from their contemporaries such as Gang Of Four to the modern day Franz Ferdinand.
Taking each of these in turn, let's look at the detail. As a debut album, it was staggering and is found here in all its splendour. Great additions to the original record. Here, the additions provide tastier alternatives with growling guitar being layered over versions of 'Life During Wartime', 'Cities' and 'Mind' sat alongside the intriguing, unfinished 'Dancing For Money'. These are worthy alternatives that might have been preferred at other points in their career.
Unfortunately, the four additions are all unfinished outtakes with 'Fela's Riff' flagging up where their influences were coming from at this point. So, as you'd expect, the additional tracks are variable though they all offer interest to the Talking Heads fan. If there is a disappointing element to this first batch, it is the rather dull videos that are all from live appearances.
However, bleating at this is pretty churlish given that these double discs are currently available for under ten quid. Roll on the next set of reissues from them. You can check out formats and chat of their legendary status in that Netrhythms review. Let's get down to the nitty gritty here.
The first one in this second batch is 'Speaking In Tongues'. It was their last release for WEA Records and a point in their career where rumour suggested that the band started to fall out. Certainly, some of the material is fairly lightweight and hardly at the cutting edge of earlier records.
It was the dawn of the drum machine and the disco beat in their music. It sparked bemused comment from some disconcerted fans. However, it does contain the mighty 'Burning Down The House'.
There are remixes of this track on the CD and DVD as well as a video on the latter but it seems to be one for the completist. However, the album still had some filler material and the extra tracks - yes, even the Pop Staples version of Papa Legba - are pretty disposable. The main plus is that the DVD contains the promo videos as opposed to live versions of the songs. With their next record, 'Naked', there was something of a return to form with Mr Byrne's interest in South American music seemingly introducing a funk that had been lost amongst the studio gadgets.
Unfortunately, the extras here are pretty limited with interest only added by some more music video promos. With the last release here, 'Little Creatures', that return to form was sustained and provided one of their best-known songs, 'Road To Nowhere'. If you're a big fan of the song, the DVD contains the music video, too.
So, all in all, the second batch isn't as enthralling as the first batch and might suggest that the Talking Heads fan pulls down the 'Storytelling Giant' video from their shelves with all their promo videos on it - what price this available on DVD soon?
Getting a full release after being available for some time as downloads from his website, these cds are ample evidence that James Talley's talent and musical vision remain intact more than thirty years after his debut recording. His vision is to bring us tales of ordinary lives - his own and those he works among - and to mark in song the familiar trials and tribulations that most of us would recognise.
All his influences are here: All of these are stamped with his warm, laid -back baritone. Frustratingly, at times, he has a tendency to sing in stacatto phrases which is a shame because when he connects the phrases you could bathe in the warmth of his voice. On occasion here he sounds remarkably like Willie Nelson - that nasal twang - but mostly he sounds remarkably unchanged from that 34 year old debut record.
As a performer, he's definitely on the mellow side which might lead you to overlook the steel core at the centre of his music. There's sentimentality here and overt Christianity but in his own quiet way it's a radical Christian message that Jesus himself might recognise.
On 'Cold Blooded Killers' - a country blues song if there ever was one - and 'The Most Influential Teacher', which has a blunt directness of language that George Orwell would have been proud of, James makes clear his disdain for those in power who would wrap themselves in their bibles whilst pursuing the most un-Christian behaviour.
Performances of songs that cover his entire career, the first selection was released previously as 'Journey'. This second batch of songs has been added to in the studio to flesh out the sound but still retains the warm feel of a performance and features some beautiful musicianship. In fact, throughout both of these albums I'm reminded of liner notes Mike Nesmith wrote back in the 70's in which he said - to paraphrase - that his aim was to achieve the purity of intent and execution that Jimmy Rodgers and Hank Williams achieved in their time.
Making it look easy is where the art lies, and that's what James Talley and his musical pals pull off. Apparently the record made quite a splash at the time, it's simple directness contrasting hugely with most other Nashville product of the time. Sadly, perhaps, for James Talley, it didn't lead to a lasting career as a musician; though still writing, he's had to earn his living in other ways.
He takes a deep pride, though, in being a working man, working alongside ordinary folk, so maybe he's happy enough that that was how life turned out for him. Described in contempotary reviews as country-folk, these songs straddle those fields of music as much, and as well, as any other record you might care to name. The album opens with a swinging tune motored along by Johnny Gimble's fiddle that celebrates Talley's Oklahoma childhood and the Saturday nights when they would dance to "W.
Lyrically, that about sets the tone for the rest of the album: So far, so sentimental, and the sweetness of the singing and the arrangements re-enforces that sentimental sound. Thirty years on when we've embraced the darker moods of alt. There is, however, a rugged spine to these songs, a rootedness in real lives that means they deserve their place of honour in the line that leads from Woody Guthrie to where we are today. So, "Give him another bottle, let him ease his mind".
And whilst the Nashville mainstream would have given this a slow sickly over-sweet arrangement, Talley and his fiddler turn it into a fast-chugging railroad song, a celebration of the drunk's earlier life.
Elsewhere, he gives us his take on "Red River Valley", beautifully played and with an added verse of his own in the middle; the famous tune is abandoned for a sparse dreamy sequence at that point in a songwriting experiment that reminds me of stuff Don Maclean was doing at the time, all of which makes it about as "folk" as you can get in an American context.
Not content with that , "Sing Song Kitty", which I only knew from Doc Watson's version, turns up with different words - nonsense and otherwise- as "Daddy's Song", and sounds just great. It seems there are as many versions of that song as there are households that sang it. Throughout, the playing is warm, lively and sensitive and Johnny Gimble's fiddle is a particular delight; recording back in was a protracted and informal affair and the core musicians were augmented by more than a dozen others who "happened by", including a young John Hiatt who contributes the lead acoustic guitar on one track.
All in all, a quiet delight. For his latest release, Jeff Talmadge has gathered some of Nashville and Austin's top musicians and produced an album that is as gentle as it is deep. Texan Talmadge has a rich experience to draw on for his poetic songs and has worked as a janitor, a Capitol Hill Congressional press secretary, an associate scout for a major league baseball team and a board-certified lawyer.
Country and very easy going. Let Her Go showcases Talmadge's velvet voice and is some more easy going Country. Wrong Train sets me to thinking that it is going to be gentle sounds all the way through the album.
This guy is so laid back and the idea for the song came from a time that he caught the wrong train in Groningen in the North of Holland. He says that he enjoyed the journey even though he was going in the wrong direction and sometimes in life we have to go in a different direction to reach our destination. Austin When It Rains has an obvious drumbeat! However, it picks up only slightly from those that have gone before but does have a sense of melancholy.
Talmadge says that this is one of his favourite Dylan songs and that he'd always wanted to record it. He should be pleased with the result as the band plays as one. Because Of You gets him out of first gear - almost. Like the others, this skirts the area between folk, Americana and Country. Train From Amsterdam slows things back down again and is just so easy to listen to. This song came from his thoughts about how much his life had changed whilst on another train in The Netherlands. White Cross remains firmly in the slow lane and mixes Americana with Country.
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