Guy Clark – The Best of the Dualtone Years


Guy Clark
The Best of the Dualtone Years

A Consummate Collection Of A Master’s Latter Years.

Guy Clark? Where do I start? On a recommendation from the owner, a retrospective of his early recordings (priced £5.99) was one of the first Americana CD’s I ever bought in the long gone Goldrush Records, Perth Scotland and proved not to be just a gateway into his work, but that of Townes, Rodney, Nanci and Steve Earle….. and the rest is history.
By the time Guy signed for Dualtone Records in 2005 he was something of a ‘forgotten man’ and the industry probably presumed his best years were long gone.
As this retrospective of the Dualtone recordings proves… wrong they were!
This perfectly balanced Double Album opens with Rain in Durango, then saunters through Hemingway’s Whisky and My Favourite Picture of You……PHEW……find me a songwriter in the last 20 years who has wrote a better song than any of those three and I will be surprised….and remember this was meant to be the ‘tail end’ of Clark’s career!
Since his death in 2016 he has been mentioned a lot in the Press Releases I receive as an ‘inspiration’ and occasionally a ‘mentor’ for many much younger singer-songwriters; and you can hear and feel why that would be the way he couples simple observations with a beautiful way with words on songs like Out In The Parking Lot and Tornado Time in Texas to draw the listener in and keep them entranced.
Not a young man when he recorded Cornmeal Waltz but his voice sounds timeless and almost ethereal as he recalls the heady nights of his youth…….and I pretty much guess that there was a twinkle in his eye whenever he sang it.
For younger listeners there’s even the addition of four of his earlier/classic songs with The Cape, Dublin Blues, L. A. Freeway and the quirky Homegrown Tomatoes from his 2011 Songs & Stories album……which is well worth checking out for the stories alone.
As the vast majority of existing Guy Clark fans will already have the four albums these songs are culled from the ‘carrot’ for them is the inclusion of three previously unreleased songs.
I’m normally cautious about such things; but all three ‘demos’ fit in perfectly with what has gone before, with the first being the simple and haunting Just To Watch Maria Dance, then a co-write with Hal Ketchum The Last Hobo but Time, a collaboration with Marty Stuart shows that not all the good songs made it onto disc.
I could push a pin into the track list and tell you that song was my favourite; but I will point new readers to two songs that encapsulate everything I love in Guy Clark’s writing and singing.
As a master-craftsman who spent many long days making… creating handmade guitars, The Guitar is a love song that only a true musician could write and his attention to minutiae is astonishing; as is his own guitar playing.
The other is one of the ‘live recordings’; The Cape …….”A song about jumping off a garage” as Clark introduces it is…..well, just you go and find it and tell me you didn’t have tears in your eyes too.
Guy Clark will be sorely missed; but his legacy lives on in these songs and others; all of which will be studied and played for decades to come.

RELEASED March 3rd 2017



Tom Paxton Interview
by Cara Gibney

“You’ve got me all wound up here. Let’s talk about puppies and kitty cats or something.” Tom Paxton was talking politics and it was becoming fiery.

For 50 years Paxton has been a key feature of the folk music scene; ever since Greenwich Village in the early 60s. He has released an astonishing 62 albums with songs that cover love, life, protest and many songs for children. The immense list of renowned artists who have recorded his songs includes Harry Belafonte, Bob Dylan, Sandy Denny and Marianne Faithfull among many others. For all this he has been awarded numerous honours, including the 2005 BBC Folk Award for a Lifetime Achievement for Song Writing. He has supported striking miners, performed at civil rights rallies and voter registration drives, and with great aplomb he has sustained his role as the ‘musical fly in the ointment’ of the establishment.

So we shouldn’t be surprised that the American folk singer who wrote the impassioned “Buy a Gun for Your Son” in 1965 to discourage giving children toy guns to play with, has issues with present-day U.S. gun law. Or that the songwriter with a Pete Seeger endorsement on his website bio, thinks that the U.S. President “only cares about Donald Trump, the glory of Donald Trump…… and we’re in for a really rough ride.” Indeed, by the time we got to talk about the Dakota Access Pipeline, and how tragically relevant his 1970 classic “Whose Garden was This” still remains, he had started to talk of resistance. “… It’s only starting now” he told me. “But we’ll be hearing more about it.”

But this political fire wasn’t always in Paxton’s belly. Not even when he was at university. “I didn’t have any political conscience at all” he recalled. “I was studying drama. I was kind of apolitical actually.” It was when he joined the army around 1960 that everything changed, and not for the reasons you may be thinking. “I was mainly in training while I was there” he explained. “But the army took me up to the New York area and I would get into Greenwich Village where I began to make friends, and began to sing here and there … And then when I got out of the army I just stayed in New York and the rest ,as they say, is misery,” he laughed.

It was there that he started to hear Woody Guthrie and Pete Seeger; he started to hear “their songs about social justice and it made sense to me … the Civil Rights Movement was just getting underway and once again it just seemed simple to me that segregation is just not right. My political consciousness began to develop once I got to New York.”

However, the music began years before that, with a Tonette (a plastic flute) that he played in school. Then at the age of 12 or so he picked up the trumpet, which he played until the age of 18. Simultaneously he discovered the ukulele at summer camp – “And I thought well how long has this been going on … Get me one of those.” Unfortunately it ended badly. “I had the ukulele until somebody sat on it and reduced it to sprinters.” Thankfully it didn’t end there. An aunt managed to “fish a guitar out of the back of her closet and said you might try this.” It worked, badly, but it worked. “It had God awful action on it. You needed pliers to put the strings down, but it was a start.” He moved onto a Gibson guitar later on, “and it’s been that way ever since.”

For many years Paxton has worked with multi-instrumentalist Fred Sokolow, who would accompany him on stage. Sokolow is equally at home with various styles of music, be it bluegrass or blues, but he may be better known as the author of instructional books/ DVDs for various instruments including guitar, lap steel, banjo, and Dobro. Sokolow has a son, Zac, a multi-instrumentalist who plays guitar, banjo, fiddle, and mandolin with a band called The Americans who were interviewed on Rocking Magpie last summer.

Zac, too, has played with Tom Paxton. “How do you know Zac?” Paxton laughed when I mentioned him in the conversation. “Zac has substituted for his dad when his dad couldn’t play for me” he went on to explain. “He played instead and it was just wonderful. I love him and his old man. His stepmom is a great bass player. She plays upright bass full. Zac is a very fine musician and of course his dad is amazing.”

For Zac the feeling is reciprocal. “Tom has been has always been incredibly gracious with me, and first brought me on stage to play with him at a time when I was pretty young and hadn’t really played in front of an audience much at all. Despite a lot of my energy being spent on trying not to completely mess everything up, I remember feeling fully engaged in his songs and storytelling along with everyone else in the room.”

“Tom often tells a story about how someone in Ireland was trying to convince him that his song “The Last Thing on My Mind” was an old Irish folk song and that he hadn’t written it at all. I was in Ireland a little while ago at a pub in Tipperary where there was a session going on, and I heard someone sing that song in between some old traditional songs and fiddle tunes. Having the ability to write a song that doesn’t feel out of place in that context is something very unusual.”

“A couple years ago I played a few shows with Tom that he closed by singing a powerful version of “The Parting Glass”, as a dedication to the Clancy Brothers who were friends of his. That’s an old song that’s commonly sung at sessions in Ireland, but I had never heard it before he sang it. I started playing it with The Americans, and we eventually made a recording of it with T Bone Burnett.”

Paxton was in Glasgow for Celtic Connections when we talked over the phone. At that stage he only had a few more nights left playing to packed houses in his UK Tour with folk/old-time/swing musicians Cathy Fink & Marcy Marxer. Interestingly they toured together before, back in 2003. “Kathy recorded all of them on Mini Disc” he recalled. “And when she listened to them she said it sounded so good she produced a CD out of it, which got a Grammy nomination.”

The UK tour was a launching pad for Paxton’s new album Boat In The Water, indeed three or four songs from the new record were included in their set. “It’s not a very political album” he explained when I asked if he was addressing any issues that had wound him up so much earlier in the conversation. However, the track that he released as a single at the end of last year – “Christmas in Shelter” carries that Paxton trademark nod to the haves and have nots, the acknowledgement of the unfair. A song to the homeless at the most poignant time of year sung with simple piano, a lived-in voice, and harmonies that break any sense of being alone.

“But it’s a whole different tune
When a soup kitchen spoon
Is dishing your dinner tonight”

“I really empathize with the homeless” he explained as I asked if homelessness was an issue that stood out to him, amidst all the other issues out there. He goes to a shelter on Thanksgiving Day every year to help with the dinner. “It’s only one day a year” he told me, “I wish I could do more.”

“I think we’ll see more people sleeping rough” he continued. “There is a kind of religious philosophy that has equated wealth with piety. The pious will make more money. It’s just incomprehensible to me and I’m certain that Jesus would say ‘are you kidding? Are you kidding? These are my people!’ I feel that Christianity is being mocked by the people with their ‘you don’t deserve anything because you’re poor. Obviously god doesn’t love you. If God loved you, you would be prosperous like we are.’ I start spluttering at some point …”

“I’m very fond of this album” it’s very dear to my heart. The one before had some [political] stuff on it, but the new one is for the love of the music.” Then he paused. “I guess I’ll be writing a little more politically now with this asshole in the White House.”

It looks like he’s going to be busy. When I asked how he felt about events over the past 12 months he told me – “It’s not the last year that worries me, it’s the next four … It’s really hard to overstate how bad I think this man Trump is. I mean I thought Nixon was bad but he was nothing, nothing, compared to this man … [Trump] has no shame and every word out of the man’s mouth is a lie. It’s just the way it is.”

But it was the Dakota Access Pipeline that brought him to the end of his rope. At that point we thought it best to change the subject altogether, on to something more positive. “You’ve got me all wound up here” he groaned. “Let’s talk about puppies and kitty cats or something.”

Cara Gibney

Zac and Fred Sokolow

Adam Sweet Take Your Time


Adam Sweet
Take Your Time
NEO Music

Tons of Sobs From the New West (of England).

Only a couple of years ago my heart sank when I received a disc from a British singer-songwriter; but there’s something going on in the British; or particularly the English music scene at the moment that’s a very good thing and always very interesting.
This EP opens with the edgy Move On; something of a ‘talking Blues’ at first then seamlessly moving into territory more associated with John Martyn or the acoustic songs of Rory Gallagher.
Sweet’s picking on his Gibson Hummingbird somehow manages to be both intricate and ‘choppy’ at the same time; really capturing my attention.
This is neatly followed by the intriguing Albertine. A dark poisonous love song, that should be from the Mississippi Delta; not the English Riviera! At times on the chorus Sweet’s voice is anything but what his name suggests.
That ‘mood’ continues on track #3 New Friend; but the addition of a Hofner Resonator in the background really makes the song shimmer in the evening light.
Four of the five songs here are co-writes with Steve Black; leaving space for one cover song; and what a song he has chosen…..Jackson Browne’s These Days! I genuinely didn’t recognise it at first; such is Adam Sweet’s expressive voice and his artful guitar playing alongside his own simple production; I presumed it was from his very own pen; well….he does make it his own.
Adam’s debut was actually a full length Rockier album in 2014; but his writing and playing have evolved into the acoustic direction that this EP represents over the ensuing years; which brings us to the final track…..and my personal favourite here, Take Your Time.
Phew….what a compelling four minutes this song is; harking back to the Acoustic-Rock days of the early 70’s; this song conjures up memories of Free and even a couple of Bad Company songs the way Sweet delivers the words and music.
In the last couple of years I’ve enjoyed and reviewed albums by stalwarts of the British Country scene Alan West and Steve Black; and both albums featured co-writes by A Sweet. A Sweet is Adam Sweet, a much younger, better looking and longer haired singer-songwriter who has learnt his craft alongside Alan and Steve.
Take Your Time is his debut CD and fits in perfectly not just alongside their music; but the ever burgeoning British Blues scene and the singer-songwriter market currently dominated by the likes of Ed Sheeran and James Arthur too.

Released 6th January 2017

Pickxen – Picks ‘n Vittles.

  • pickxen-b

Picks ‘n Vittles

Raw Southern Country-Folk that Warms the Heart and Cools The Soul.

Some days I despair when I look at the pile of albums waiting to review and then other days I stumble on ‘rough diamonds’ like this and can’t wait to scream it’s delights to the world at large!
First of all, a friend who is a regular RMHQ follower suggested to John Monk from Pickxen that he contact me via the Twitter; which he did then followed it up with the CD and included a charming letter that made me want to listen to their music straight away.
Probably because Laura Monk’s delicious voice reminded me of the young Nanci Griffith I was immediately entranced with the simplicity of opening track Better in Tennessee and remained through to the end.
When the nifty banjo picking and Twangtastic guitar on track #2 7lb Rhyme filtered from the speakers I knew I was listening to something really special, and the bittersweet love song more than matches the music too.
Pickxen are a trio, Laura and John Monk alongside Michael Garvey and are based in and around Atlanta Georgia, and much to my personal delight have christened themselves, Pixie, Dixie and Micksy!
Laura’s warm and sensitive voice will melt even the coldest of hearts on Weight (Sic Transit Gloria Mundi) yet later, on Star she rocks the pants off another sad love song.
Baring in mind I’d never even heard of Pickxen 7 days ago, Picks n Vittles has the ability to sound like I’ve known the songs all my life; with none being any finer than Harmony which sounds like it was written to be the last song you would ever hear; and if it was it would be a great way to go.
The album close with the only cover version here; a live version of Wayfaring Stranger that showcases Laura’s marvellous voice and John’s fancy geetar pickin’ to full and glorious effect and fades out like a vinyl record before a (well known) ladies voice says “We’re closed!” It’s a cool way to close out a very interesting and, indeed ‘cool’ album.
With intricately complex guitar, banjo and bass throughout and some wonderful arrangements on songs like Poor Lucy’s Crooked Mile and Breath I can’t help but wonder why this group haven’t ventured North of the Mason-Dixon Line……they certainly deserve a wider audience.
As I said in the intro, Laura’s voice does remind me of a young Nanci Griffith at times, but at others Allison Krauss springs to mind and at least once I thought I could be listening to a young sibling of Emmylou Harris……but all along it was the smoky sultriness of Laura Monk. Funny that.

Released June 1st 2016

Tom Paxton UK Tour 2017


For a variety of reasons we don’t normally preview tours; but with one of my absolute heroes Tom Paxton coming back to the UK….we will make an exception!
I first discovered him when I was in my early teens and I would ‘borrow’ my brother Brian’s copy of The Compleat Tom Paxton. I can still recall the excitement of hearing his voice, lyrics and in-between song patter for the first time and even today when I listen to his songs (old and new) he still has the ability to blow me away!

Plus…..I interviewed him a few years ago for Maverick magazine and was genuinely star-struck; so when offered the opportunity to speak to Tom again I have passed the opportunity over to our Ace Reporter Cara Gibney…..’watch this space!’
Tom Paxton returns to the UK in January 2017, with very special guests Cathy & Marcy. Tom has had a music career spanning more than 50 years, and those five decades have seen the recording of many enduring songs, and thousands of live performances around the world, as well as a Lifetime Achievement Grammy Award in 2009. Celebrated amongst his peers and audiences alike, he is one of the most highly regarded, loved, and best known folk singer/songwriters of his generation. With timeless classics such as; The Last Thing On My Mind, Bottle Of Wine, and Ramblin’ Boy, he portrays through his songs and his famously generous nature a true desire for justice, and to bring people together. Tom Paxton is a joyful treat, a revered figure in folk music, and a voice of his generation.

“We are all born singing Tom Paxton songs”


“Tom’s songs are fine songs in anyone’s book”


Tour Dates:

Friday 13th Jan Truro Hall for Cornwall 01872 262466

Saturday 14th Jan Worcester Huntingdon Hall 01905 611 427

Monday 16th Jan Salford The Lowry 0843 208 6000

Tuesday 17th Jan Leeds City Varieties 0113 243 0808

Thursday 19th Jan Milton Keynes Stables 01908 280800

Friday 20th Jan Buxton Opera House 01298 72190

Sunday 22nd Jan London Cadogan Hall 020 7730 4500

Tuesday 24th Jan Gateshead The Sage 0191 443 4661

Wednesday 25th Jan Glasgow Mitchell theatre 0141 287 2999

Friday 27th Jan Edinburgh Queen’s Hall 0131 668 2019

Steve Black – Right Here And Now


Steve Black
Right Here And Now
NEO Music NEO116CD

Beautiful Folk Infused Country Music from British Troubadour.

Although we have two mutual friends, our paths have never crossed; probably because Singer-songwriter Steve Black is from London Town but now based in Devon at the other end of England from where I reside in the NE.
The loss is mine; judging by this delightful album.
Right Here and Now opens with quintessentially British tale of being caught in a traffic jam on a hot Friday afternoon; but the neat Country-Rock tune and Black’s world-weary voice defy national borders and will resonate with people all over the globe.
With a warm and expressive delivery Steve Black is an exceptional story teller with songs like Jacob and the title track Right Here Now I was reminded of singers like Don Williams, Guy Clark and even latter day Sam Baker; but on Highway of My Heart and Good Old Country (Girl) he digs deep into his Hank and George record collections for some sweet good time Country music.
For a man of a ‘certain age’ Steve Black certainly has a romantic streak running straight from his heart to his brain; with What Haven’t We Done For a While and the exquisite Dance With Me, which closes the disc both touching me in such a way I had to stop Mrs. Magpie mid-ironing to make her listen to Black’s heartfelt words.
That latter song was very close to being my ‘song of the day’ but instead I’ve gone for the deceptively complex Highway of My Heart; which brought a tear to my eyes and desperately tugged at my heartstrings and could only have been written by someone with many years of life’s various experiences under his belt to write a song this beautiful and emotional.
Steve Black’s long time/occasional sidekick Alan West has not only made a great job of the production but plays guitar throughout. The biggest surprise for me though, has been the feeling that this was a band effort, with Justin Johnson on drums, bassist Simon Goulding, Adam Sweet (Guitars etc), David Hartley on pedal-steel and the majestic fiddle, banjo and mandolin of Justin Moses all combine to bring the very best out of Steve’s delightful lyrics.

Released November 2016

The Ree-Vahs – Yee Ha With the Ree-Vahs!


The Ree-Vahs
Yee Ha With the Ree-Vahs!

Love in a North Eastern Town Brought To Life In Song.

As I said last time, I’m not normally a lover of Folk Music; but when a band comes from my home town I’m prepared to give it more than a cursory listen, and I’m glad I did because The Ree-Vahs previous release Geordieland was a rare treat and came close to being in my 2014 Top 10.
Thankfully (for me) Andy Lee and band have carried on from where they left off; telling tales of a small once prosperous town in their local NW Durham flat dialect.
Sunshine which opens the album could be straight from the Bellowhead songbook; with a timeless ‘love through adversity’ story set to a classic Folky mix of acoustic guitars, fiddle, drums and possibly an accordion in the background.
A delightful piece of piano playing introduces the delightfully dark story behind Hundreds and Thousands. The third time I heard this song it genuinely stopped me in my tracks; as it was/is scarily close to my early relationship with the girl whom I was to marry; and like the narrator I’ve never understood why ‘with hundreds of souls in the village/you chose me.’ But also ‘Do I push you away/When I need you to stay/I never know what you’re thinking.’
If I could write songs I wish I could have written that.
While most of the songs here are about relationships, The Bouncer takes that theme to something of an extreme. A jealous man driven by ‘rage and jealousy/that’s not me’ knows she is going to leave him; and knows she should……but he tries to cling on. Lee’s voice sounds amazing as it comes near to breaking point more than once.
One song I love, but don’t fully understand is Spiderman. Using comic book superheroes as metaphors for ll of the characters inside his head, the singer knows his lifestyle will end in tears; but he can’t help himself……perhaps there’s a little bit of all of us here.
My favourite track; and it will surprise no one who knows me; is The Story of Us. To some extent a companion piece to Hundreds and Thousands; it’s a haunting love story of a couple told through the husband looking back on their life. The addition of cello, piano and guitars in the background make an ordinary Folk Tale quite extraordinary.
Another contender could easily have been Grandma’s Song. An epic narrative going from the couple meeting in 1933 and taking in being told he was killed in WW11 but arriving home ‘after 4 months dead’ and ‘hitting the heights in 75/a Triumph Herald in the drive’ then ‘recession took their house away/the wind blew hard as knives that day/the coldest winter of their lives/nineteen eighty five’.
Maudlin and beautiful hardly do justice to a song as well crafted and lovely as this.
Sadly domestic violence rears it’s ugly head in Black Eyed Susan; but Lee’s way with words and a melody couple to create a fabulous microcosm of a Small rural town that could be anywhere in the civilised world.
The Ree-Vahs and Andy Lee in particular have created a wonderful little album here and it would be a damn shame if it didn’t receive a world wide audience; so don’t let the Pitmatic dialect put you off, it’s not that different to listening to Texas drawl or a wonderfully rich Irish brogue.
#The only draw back is the town featured on the album cover is Stanley’s arch rival, Consett! Although I did take several tinctures in the Turf when I worked in Laws Stores in my younger days.

Released November 2016

Long Time at Sea (single)-Josh Coppersmith


Long Time at Sea (single)
Josh Coppersmith
Smugglers Records

A Great Song for a Wonderful Cause.

‘Charity begins at home’ they say; and it’s true, but here at RMHQ there are a couple of causes that really tug at our heartstrings, with the current Refugee Crisis being at the very top of a short list.
It may not be on the TV News every night but these days but there is still a heartbreaking stream of families wandering around Europe looking for a home, and that’s not a home that you or I would call home…..primarily they just want to be safe from fear.
So, singer-songwriter Josh Coppersmith has been moved to write a song about these migrants, and all proceeds will go to these three amazing Charities –
Hand in Hand for Syria
Help Refugees
Medecins Sans Frontieres

This is the link to the fundraising page

Beth Hart (& Colin James) – Sage Gateshead


Beth Hart & Colin James
Sage Gateshead
13th November 2016

For a variety of personal reasons I’ve hardly been to any gigs in 2016, and this was my first since SummerTyne in July… it was a big deal for me.
I’m sort of a fan of Beth Hart, having seen her at this venue twice previously but it was the opportunity to see Colin James that got me out of the house.
I love his latest (18th!) album Blue Highways so was a little bit excited when he trotted out in front of an already full auditorium, onto the stage alongside his friend and rhythm guitarist the hirsute ‘Chris.’
With a beaming smile the duo launched into a storming acoustic version of Ride With Me Tonight and the night was off to a rattling start.
As he changed guitars James told us that this was his first visit to the UK since 1991 when his band supported Robert Plant. With Chris still on acoustic Colin played the dirty end of the fret board on his electric to make Horn of Plenty actually sizzle.
I was in Blues Heaven for the next half hour as the duo flitted between tracks from the latest album and James’ back catalogue plus the native of Montreal dabbling with Celtic mysticism when he carefully slid Into the Mystic into the set, which really suited his own warm and sensitive voice.
Without the need for ‘loud’ James proved what an excellent guitarist he is, on both acoustic and electric; especially on a song called I Want You To Love Me (You Know It Pleases Me).

The 40 minutes flew by and as they left the stage there was even a couple of calls for “more” from the front of the Hall, which will hopefully bring him back with his band sometime soon.
During the break I treat myself to a cup of coffee and took the opportunity to ‘people watch,’ which was quite illuminating especially as only three years ago Beth Hart only drew about 300 people on her first visit and tonight nearly 1700! The new crowd appeared to be an eclectic mix of mature couples on a ‘nice night out,’ ageing Rock fans in band t-shirts, young hipsters and assorted music fans. Not what I’m used to at all.
The band came out and began a slow burner that evolved into Your Heart is as Cold as Night when Beth entered the Hall from the rear amid huge cheers, then sang her way to the front, glad-handing fans all of the way.
Now on stage Beth urged everyone to get on their feet and then launched into a Jazzy freestyle number that included a thrilling ‘scat’ in the middle; this was then followed by the slow and sultry Delicious Surprise; which more or less set the tone for the evening.
In the past I’ve compared the ‘rocking’ Ms. Hart to Tina Turner and she was; but tonight I was very pleasantly surprised to find Beth has ‘grown into her voice’ and isn’t like anyone else but Beth Hart. Her voice is truly amazing, smoky, individual, variable and most of all….hers.
Less of a surprise to me, but apparently to many around me Bet Hart can play the piano….no, seriously…..really play; almost Classical standard and so well songs like I’ll Take Care of You and Good Day To Cry Jazz-Blues crossover of the very highest standards.
At one stage she told us that “playing the piano was cathartic for her; for which she thanked her Mother,” then glided into a beautiful song for and about her Mother, Baddest Blues.
What I’ve always loved most about ‘live music’ is the opportunity to see and hear things that no one else in the world would witness. This happened a couple of times this evening; Beth actually messed up the beginning to a song and had to re-start it; and during the applause to another song she appeared to change the set list around, sending the band off stage before performing a staggeringly raw version of Close To My Fire with only her piano as accompaniment. The applause was deafening.
We got stories aplenty on the intros with Beth more than baring her heart and soul as she talked about her Mother, Father (Tell Her You Belong To Me was an absolute highlight and right from the very bottom of her heart) and sister……wow, Sister Heroine was not just spellbinding but heartbreaking at the very same time.
The set ended with an epic song (That I didn’t recognise!) during which Beth jumped off stage and again wandered up and down the aisles, high-fiving fans and even getting a kiss and cuddle from one guy; but still never missed a note.

The obligatory encore really amused me, scroll back a few paragraphs and you will see I once compared Beth to Tina Turner but has now moved into a new stratosphere…..guess what the first encore song was? Yep, Nutbush bloody City Limits! The rocker got the audience straight onto their feet and there they remained for another 15 minutes with the red hot Love is a Lie followed by Beth again sending the band offstage so she could sing the song she wrote for her husband Scotty, who was standing in the shadows. Unusually for a ‘show closer’ this song was as slow and moody as anything else this evening; but hearing her pour her heart in a song as she gently played the piano was truly mesmerising.
What a night! Beth Hart really is the new….Beth Hart and will be a household name very, very soon.


Chip Taylor – Little Brothers


Chip Taylor (AKA James Wesley Voight)
Little Brothers
Train Wreck

Beautiful and Thought Provoking Songs From Legendary Songwriter.

Chip Taylor? Not heard of him? You have. Wild Thing, Angel (Of the morning), Try and Any Way You Want Me are just four songs that he wrote and topped various Hit Parades or at least are being played somewhere on Planet Earth on a Gold Radio Station as you read this.
Yet the one time professional gambler doesn’t rest on his laurels sipping cocktails from a golden chalice; no he still tours endlessly and records albums with songs that are touching and mindful.
The opening track is fascinating as it’s actually a spoken story of Alice playing in golf tournaments for kids set to music. It was only on the fourth or fifth time of hearing it that the story of ‘Barry taking his Granddaughter to the various tournaments’ began to unravel. I’m not going to spoil it by giving the last verse away, but Taylor really is a Master Craftsman.
That last sentence really does sum up Chip Taylor; he can tell a story and tell it in his soft, homely Grandpa style like no one else. St. Joan is a tale that stopped me in my tracks and made me listen intensely to every single word, then press ‘repeat’ each time it ended.
Book of Hope is really absorbing, although it’s vaguely about Religion and International Politics…..the way Taylor’s provocative lyrics slowly pour from his lips will make you realise that there really is ‘light at the end of the tunnel’…..if you look for it.
One track that should work but doesn’t work is Enlighten Yourself; basically because of the itro which finds Taylor rambling about people who “tell him to ‘Relax’ but never explain how to.” To emphasise his annoyance several lines are prefaced with a car horn; this happens again mid-way through. Probably a good idea that should have been left in the studio.
Then again Chip also ‘introduces’ two other songs that are actually enhanced by his spoken words set to music; the first is the title track Little Brothers. For those who don’t know Chip Taylor was born James Wesley Voight. That surname may ring a bell as his eldest brother Barry is a world famous expert on volcanoes. No? Possibly you know his other brother Jon; one of the finest actors of his generation. Yes, that Jon Voight!
The three are the boys featured on the cover and the story/song is absolutely glorious the way Chip puts some family minutiae to music; yet the thread will resonate with many of us too.
Regular readers will now my fondness for a ‘love song’ and Taylor delivers one here that brought a lump to my throat the first time I heard it. On Time Goes By the singer declares his love for his wife of many, many years in a whisper but the sentiment screams from the speakers. This is as good a love song as I’ve ever heard!
My absolutely favourite song here; and one that really tugged at my heartstrings also features a spoken introduction and one that is an integral part of the song that follows.
In these troubled times (I am writing this post-Brexit and the evening after DJ Trump became American President) the song Refugee Children is beautiful/touching/clever/relevant in equal measures. Taylor doesn’t hit you over the head nor sugar coat the tale but he gets the ‘message across’ in a way 99.99% of other songwriters can ever manage.

Released September 23rd 2016