On our virtual tour of the musical world in this month’s Music Mix, one of my favourite stops was Spain. Not because of the lovely seafood paella or Rioja but because the music we discovered there was simply breathtaking.

We’ve talked a few times on here about how an artist has a feel for the music, Jan Satorras the guitarist and composer with Caremelito Fuxia has this feel, and he uses this gift so incredibly well on this album that the listener is engulfed in the music, is sometimes transfixed to the sounds coming from his guitar. In my interview with Jan, he talks about his passion for music, how his mother would play Floyd and others to put him to sleep, it’s probably this influence and his mother’s love of music that is, I feel, ingrained in his music, in his style.

His style is very fluid, very open, the tracks here sound very much like a jam session – recorded in one or two takes – it has that feel to it. If you close your eyes you could be in a bar in Andalucia enjoying a bottle or 4 of cerveza – maybe Mahou or San Miguel and just immersing oneself in the music. Man, I so would like to do that.

Jan is well supported by Albert Mirabet on Bass and Sergi Gaitan on Drums – a typically tight 3-piece band who seem to play as one. The only thing I would love is for the band to get some vocals – this would, I feel take them to the next level – then boy would we have a show.

If you would like to download the CD visit here
to buy the CD visit here
if you fancy some of Jan’s music with Urban Trapeze visit here.

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But that was 10 years ago and Shea, for what ever reason hasn’t released a follow-up album ’til now. And I have been very lucky to have been given access to the whole album and two samples (thanks Bill) and I must say that I’m impressed – its good – very, very good; highlighting all that I like about music and all that I like in an album. You may not like it first or second listen (I didn’t) but as with all great albums, after 3 or 4 plays you begin to hear things you, begin to understand the lyrics, begin to enjoy the album, you begin to appreciate what an unique talent Shea is and what an excellent songwriter she is.

As my friends here on MFTM know, I don’t like music industry PR, don’t like the music press that hype up and arse-lick a new band or artist only to slag them off the following year when ‘the next hot band’ comes along. This is definitely not the case with Shea, in fact the opposite is true – she is promoting the album initially through the network of music lovers like us here on MFTM. As Bill from her label (Truthcore Records) said to me “You are the first to hear this record – ahead of radio stations, ahead of the music industry, and ahead of the press. You are Shea’s grass roots and we want as many people to hear this record as possible – this is not a “commercial record”, it will take time, but listen to it, listen again and if you love it more and more then tell your friends… the key to this record’s success lies in you” – I like this approach.

I also believe Shea Seger makes music because Shea Seger wants to – makes music that Shea Seger would want to listen to – make music that is of the highest quality that she knows her fans will like. Maybe that why it’s taken so long for her follow up?

Shea has an unusual almost engaging style, she calls it “mutt dog blues with beats” – whatever that means. I heard that in her last album with its eclectic mix of beats and bops – with her new album I hear a songwriter who cares for her craft, a songwriter who tries to reach perfection with every note, every word. I hear a darker album, more acoustic, less beats and bops. I can hear different influences in her music – Carole King, Janis Joplin even Elkie Brooks (the way she hangs on to a note) – but like any true artist, Shea Seger tries to be nobody but Shea Seger. I can really only hear Shea Seger as she has such a distinctive style – think maybe Joe Henry without the stubble.

There is really not much left to say except listen to the samples – read the lyrics – buy the album.

Last Few Standing

I read in the paper
they said it happened again
I guess those bridges that you burned
bought their way back up again
so we’re suddenly strangers
someone has to tell you my name
man I saw you last night
it was clear that you had changed
you sold out your mercy
you won the chance to begin
and now you’d be lucky in a fight
to get your ass kicked
by a couple of friends
why didn’t you call me
I would’ve come
I’ve imagined this day
a million times since I was young
you got some reasons
you like to call them your own
they’re just as sure enough
as the gypsy
calls the road his home
you got some pieces
you like to call them a heart
when they’re just the last few standing
after most of it was blown apart
why didn’t you call me
I would’ve come
I’ve imagined this day
a million times since I was young
no it wouldn’t have been easy
tell me what is
I guess it’s what we’ll end up paying
for a stolen kiss
I watched you for hours
those hours turned into years
I’ve watched you spend more time without her
than any mother dares to fear
you got some pieces
you like to call them a heart
they’re just the last few standing
after most of it was blown apart
why didn’t you call me
I would’ve come
I’ve imagined this day
about a million times since I was young
no it wouldn’t have been easy
tell me what is
i think this is what we’ll end up paying
for a stolen kiss

Drummer Boy

so you got yourself a drummer boy
you put him in the front
it will never be a son of yours
to pay for what you want
justice only goes so far
when a killer wants to hunt
watch your mouth
your tone of voice
can give way to deceit
watch your steps
your ignorance can give way to defeat
watch the starving children
as they’re dying in the street
don’t you know
don’t you know
I guess you don’t know
didn’t your daddy ever tell you boy
this life is not a game
or did he feel he’d done enough
just by giving you his name
don’t you know your history son
the politics of shame
the church who is responsible
for making you their man
present themselves as gullable
like puppets on a hand
i stand here on another shore
to watch this all play out
so helpless to project the truth
what this is all about
don’t you know
don’t you know
I guess you don’t know
it is plain to see
you’ve had your chance
soon your day will come
when the innocent shall rise against
the one they called their own
but go ahead and stall some more
what the hell is another day
because none of yours will bear the chores
or ever take the blame
there is nothing more to answer for
when the garden reaps its hate
and carries on for lifetimes long
while the foxes eat the grapes
there’s always more then you bargain for
when you tempt the hands of fate

I reckon it’s been a good year, so far, with numerous new releases, re-releases, old albums rediscovered (Motorpsycho, Betty Steeles, Tindersticks, Colosseum to name but four) – and then when you think that it’s safe to surf MySpace, Amazon, etc and you promise yourself that you won’t spend any more money on new music… kerblaamm – you find this little gem of a record.

Jim Guthrie is a Canadian singer-songwriter (there must be something in their water the way they keep producing artists like this) and has recorded and toured both as a solo artist and as a member of the bands Islands, Royal City and Human Highway. These names probably won’t mean too much to you but are worth checking out if only for the album cover of Human Highway’s Moodys Motorcycle.

So why do I like the album so much? Good question, I’m not really sure – can’t really pinpoint what makes it so good. I love the strings (arranged by Owen Pallett) that take the songs to another level. I love the lyrics, very strong, very simple but strong that paint pictures in your mind, subtle dreams that you can take anywhere.

The songs here are good, very good – I hear a craftsman at work, someone who knows how to tell a story in 5 minutes, someone who can convey his emotions, someone with something to say. The production is very good, the band is very good, the whole bloody thing is very good – but what makes it so special?

I think it’s is the feel of the album – it all sounds just so right, reminds me of Midlake and their ‘Courage of Other’ album as there’s space and light in each song, there’s character and tone – a spirit that demands you sit down and listen. So, I’d better shut up and leave you to listen to the music.

If you would like to order the album from 3syllablesrecords simply mention MFTM and you’ll receive a 20% discount – and don’t forget that you can win a copy of the album in our Ultimate BBQ Music Mix!

This is already a strong contender for my album of the year as it contains everything I could wish for in music. Strong songs, magical melodies, great guitar and some good old fashioned rock riffs. I read somewhere that Motorpyscho had pop sensibilities? Whatever that means they certainly ain’t a boy band – more your honest, hard-working Norwegian rock band that just keep on doing what they do cos they do it good.

The three tracks on this month’s mix demonstrate what I mean but its track 4 from May’s Mini Mix that really showcases their talent. The track is Gullible’s Travails (pt I – IV) by…. yes Motorpycho – how did you miss this gem. The best track on the album and probably their best song.

Definitely a winner and recommended to you all but especially if you like Siena Root, Colour Haze etc.

Well, its almost like I’ve just entered a Time Machine, pressed 1983 into the remote and bingo I’m back watching Joan on Top of the Pops singing ‘Drop the Pilot’ (didn’t everyone look really happy back then?), we’re all wearing seat belts in the UK as it becomes law, we’re all watching the final episode of M*A*S*H breaking the record for the most watched episode, Michael Jackson’s Thriller album hits #1 on the US charts, and Phil Lynott performs his final show with Thin Lizzy in Nuremberg, Germany.

I almost feel like I’m there – why? Because Joan’s new album is full of the 80’s – big catchy choruses, simple song structures, delightfully naive themes, bouncy bass lines and wonderful cheesy lyrics. But its a cheese that has matured and now tastes superb ready now to eat and enjoy.

Basically as with all my Albums of the Months, its a complete album, full of good songs, well produced with Joan playing all the instruments except drums and its an album that I think will pass the acid test – I’ll still want to listen to it in 6 months, 2 years time.

Did you know that apart from making wonderful music Joan has performed for Nelson Mandela, received an MBE from the Queen and an Ivor Novello Award, recently completed a BA (Honours) in History and presented a series of excellent documentaries on Radio 4 to her many accomplishments.

She also has a good taste in guitarists with her top 5 being Mark Knopfler, John Williams, the classical axeman best known for the tremulous “Cavatina” on the soundtrack to The Deer Hunter, Bonnie Raitt, the flame-haired country singer of “Love Has no Pride”, Bert Jansch, the rumpled veteran folkie of Pentangle, the late-1960s band and Russell Lissack, the twentysomething, floppy-fringed Essex vegetarian from Bloc Party.

To conclude my review, her new album is a gift – a gift from an unique performer full of spirit and stylish confidence full of Joan. I wasn’t 100% sure I should have it as my Album of The Month as it fails to fit into what most of my readers like, but then I thought “Hey this site is all about great music….and this is great music – hope you enjoy.

melancholy = Tending to promote sadness or gloom: Pensive; thoughtful.
melancholy = Tindersticks

Simple as that

With the big booming yet subtle vocal talent of Stuart Staples these guys set the benchmark for melancholy music. But, of course they are more than that, they are able to write simple but effective songs – and have, since 1991 and for 8 albums – consistently delivered quality album after quality album – they do not make bad music.

This album must have reignited the flame that burns inside these guys as it sounds so vibrant and fresh – so alive its almost like listening to them for the first time – sheer bliss.

Next day Abdulla comes to my office with the CD and tells me that Dillon was one of his favorite artists and that he was so pleased that she had won BBC2’s Folk album of the year. Now my ears pricked up and we started talking some more – it transpires that he studied in Bradford and Leeds and was friendly with a couple of guys who played in a folk group and used to enjoy going to gigs and listening to the music collection of his friends and fell in love with Irish folk music particularly Cara Dillon.

Abdulla is one of the sweetest guys in the world and I must thank him for introducing me to this artist and for lending (he actually gave me his copy to keep) me the CD as it has introduced me to Dillon and made me fall in love with her, her voice and everything about this album.

I am not too familiar with folk songs but I do know when an album is full of dazzling guitar, piano, melancholy pipes and Dillon’s iridescent vocals and has a beautifully balanced production. Dillon’s forte is the way she effortlessness expresses emotion; demonstrated with ease on the unaccompanied vocal of the Gaelic tune Fil, Fil A Run O which for me provides the highlight of the album – it’s impossible not be held enthralled and captivated by her magic. Hill of Thieves is gorgeous; dripping with comfort music for lost souls, or for people like me who simply love great music – Cara Dillon and her magic deserve a wider audience.

I’m aware that Hill of Thieves is not the usual type of music discussed on this musicforthemonth but it really is good – highly recommended.

The band’s debut album Checkmate Savage is just great – I hear different things each time I listen to it (The Delgardos, The Decemberists even Hawkwind) – I hear a band who are not afraid to do what they want – I hear a band brought up on good music – I hear a band who could just be the future of British music – is this too bold a statement? No.

The band are Scottish, born and bred in Glasgow, and they have an air of confidence that allows them to develop each song giving it time to breathe, time to find its own breathtaking destination. Wonderful lyrics combined with refreshing melodies and vocals bordering on baritone make this an album for all.

OK here’s the story – Staff Benda Bilili are a group of Congolese street musicians. They live around the grounds of the zoo in Kinshasa, and play music which is rooted in rumba, with elements of old-school rhythm’n'blues and reggae. The core of the band consists of four senior singers/guitarist, who are all disabled (they suffered from poliomyelitis when they were young) and move around in spectacularly customized tricycles. They are backed by a younger rhythm section consisting of ex-sheges, abandoned street kids who were taken under the protection of the older members of the band. The soloist is an 18 year-old boy who plays astounding electric guitar-like solos on a one-stringed lute he designed and built himself out of a tin can (Wikipedia).

What more can I say… apart from the music being mesmerizing, simplistic, genius-like and merits being my album of the year not because of the story but because of the music and the passion and the joy that can be heard from the songs on the album. Please, if you only buy one album I recommend – buy this one.

In recent posts I have complained that I’m not always happy with new albums as there’s rarely enough good tracks to make me want to play it again and again, With the exception of ‘Interlude with Ludes’ – one song that I don’t particularly rate – the rest are all great songs, well produced by 3 master musicians loving what they doing. It’s almost like a master class for musicians everywhere on how to make music.