At the same time as releasing Johnston’s soundtrack album, Asynchronous are also releasing the debut album by Johnston with his band The Coolerators, a band he formed after moving to Australia in 2005. On this album he provides both soprano and alto saxophone, and he has been joined by Alister Spence (organ), Lloyd Swanton (bass) with
Nick Cecire (drums). Here we have a band showing that when it comes to playing jazz and blues there is often an overlap, here brought together with a huge amount of swing and funk. Swanton and Cecire do their best to provide a structure for the other two to work on, and then stay out the way while also displaying their own wonderful musical ability. Cecire is the more flamboyant of the two, with an impressive work rate on different areas of the kit, but Swanton keeps it all tied down and doesn’t let the band get too out of control.
Given the way Johnston and Spence combine together, or against one another, mixing in multiple influences and styles that is indeed no mean task. The title song sounds influenced by South America, India, Morocco and the Middle East but somehow all comes together and makes sense as Spence allows Johnston to take a far more prominent role. Two albums released at the same time, but two very different styles indeed, and it is hard to say which one is better, so best say instead that they are both indeed well worth investigating. 8/10
Here I am writing about a compilation album which you cannot buy, but is easy to obtain. Perhaps I had better let Nick Katona explain: “Each Year we host a holiday release to showcase many bands and artists that you may not be aware of; but should be. The album will feature many styles of holiday music and original music; all of which will touch your heart and soul. May it inspire you for in giving, we receive so much more. To receive your copy as a gift from MRR and with the kind permission of all of our contributing artists we ask you to commit a great act of kindness. Send us proof of you donating to your local charity of choice, it can be your time, or tangible goods such as blankets, food or clothing. Think outside of the box, donate your time at the local food bank, soup kitchen or shelter. Certainly, the hospitals would be grateful for volunteers or donate blood today and save a life. We would like to promote the good deeds of great citizens and with your permission, we will share your photos on our page set up this holiday season to spread the good news.”
15 songs, nearly 80 minutes in length: one thing I really enjoyed about this album is the sheer variety, and it has allowed me to come across bands I have not heard of before. ‘The Sled’ starts with two of these, Jennifer Cutting’s Ocean Orchestra and Jack Potter. “Fall Leaves, Fall” is stunning in its arrangement, and I felt that I was listening to a reborn version of Renaissance, with beautiful orchestration, great woodwind, stunning rock guitar, and a singer who reminded me of Annie Haslam. A short piece of detective work later and I discovered that it was indeed Annie and that this song came out a few years ago. This is one of the delights of this album, as it truly is meant to be broad and wide-reaching, so while it does include songs from MRR artists, of course, it isn’t restricted to just that. Jack Potter’s “Snow Globe” is delicate, starting with just piano and again wonderful vocals, this time care of Salley Elsey. Taken from the ‘Pride Before The Fall’ album which was released earlier this year, I was reading more about it when I started filling up and had to compose myself for a minute. The reason is that one of the guitarists is none other than Colin Tench, and I don’t think any of us who knew him will ever really get over his loss last Christmas, so to find him on a Christmas album for 2018 feels both poignant and fitting. I know he would have a laugh about it.
I have always been a fan of Don Schiff, so it is great to see him here, while one of MRR’s newest signings, DC Snakebuster shows that rough and raw blues, with some great harmonica, also has a place at Christmas. Federico Fantacone provides some gorgeous piano, while Darrel Treece-Birch treats us to a song from his new album, ‘The first step..is to take one’ with the glorious “For Giving” which contains not only the sweeping keyboards we have come to expect but also some glorious guitar. Andy John Bradford is in fine form with “Raise A Glass For Christmas”, and overall the whole album is a delight.
So, what are you waiting for? This album is streaming until the end of January, but you can get your own copy now just by doing something for others at Christmas. Surely that is what the season should be about, instead of the commercial brashness it has become? Think outside the box, make a difference. Many already do so without any thought of reward, and for those who do, then here is a gift from some wonderful musicians just to say thanks.
It is hard to imagine in this world of 24/7 connectivity, but there was once a time where there was no such thing as the internet. Consequently, the only way to discover information was by buying books, and I have just gone to a bookcase and brought out ‘The International Encyclopedia of Hard Rock & Heavy Metal’, written by Tony Jasper and Derek Oliver and published in 1983. Why? Because the front cover is a picture of Mick Box in his natural environment, on stage, and nearly fifty years on from when Uriah Heep was formed he is still there. True, there have been some line-up changes over the years, but from 1986 to 2007 they were the same five guys treading the boards wherever anyone would have them play, often without record label support. Phil Lanzon (keyboards) and Bernie Shaw (vocals) have been in the band since 1986 (although they started working together in Grand Prix before that), while drummer Lee Kerslake had to retire in 2007 due to ill health, and was replaced by Russell Gilbrook while bassist Trevor Bolder sadly passed away in 2013 and was replaced by Davey Rimmer.
When they released their debut album in 1970, it was famously reviewed by Rolling Stone magazine’s Melissa Mills who began her review by saying, “If this group makes it I’ll have to commit suicide. From the first note, you know you don’t want to hear any more.” Well, with one classic album after another in the Seventies, and various “return to form” albums such as the mighty ‘Abominog’, it is safe to say that Heep has not only made it but have thrived. This is their 25thstudio album, and although they have become more polished over the years, there is still a Hammond Organ as the backbone, while Mick Box is refusing to settle into his dotage. Apparently, he is 71 years old now and is still teaching young ‘uns tricks or two.
Any fan of the band will listen to the harmonies at the introduction to “Rocks In The Road” and smile, as it is exactly the same sound they were producing more than 40 years ago. To celebrate the album they are undertaking a world tour which will encompass 61 countries, again putting bands half their age to shame.
Uriah Heep, Very ‘eavy… Very ‘umble, still hitting the road, producing great music as they continue to keep living the dream. Essential for any fan, and if you have never actually heard any of their albums (and I guess that is a possibility, maybe) then start with this one and then head back to the early Seventies and give yourself a treat. All together now, “Was only seventeen, I fell in love with a gypsy queen…”
When I started writing some thirty years ago, one of the reasons for doing so was that I was aware of some wonderful music which the mainstream press ignored. Being able to sing and/or play instruments no longer seemed to be as important as it used to be, and the state of music being played on normal commercial radio filled me with despair, so I just didn’t listen to it anymore. This is how I became involved in the underground scene, and over the years have been fortunate to hear some incredible music which otherwise would have passed me by. Earlier this year Peter Matuchniak sent me a copy of his latest project, ‘Gyreland’ by Bomber Goggles and I loved it immediately. One of the people involved in that was Steve Bonino, and we soon discovered we had a lot in common and I interviewed him for his latest album, ‘Stargazer’ (which is awesome, everyone should have a copy). Following on from that he sent me some of his older material, and I am currently playing Children of the Moon from 2014. My only question has to be, why on earth didn’t I come across this before?
Children of the Moon is multi-instrumentalist/vocalist Steve Bonino, with singer Pascale Elia and drummer Jimmy Keegan. If that isn’t enough in the way of Spock’s Beard credentials, Ryo Okumoto guests on one song and it was mastered by none other than the mighty Rich Mouser. To say this album is a delight is a masterful exercise in understatement. Power pop, pop rock, crossover prog, melodic rock, call it what you will but know that there are some gorgeous songs here with great hooks. Both Steve and Pascale take turns on leads, as well as harmonizes, while Jimmy shows yet again why he is such an in-demand drummer as he adds nuances here and there without removing any emphasis from the melody.
There are quite a few different styles here, and “Everybody Loves Love” is a standout country number (the pedal steel is a wonderful touch), while “My Young Man” is a singer-songwriter classic which belongs in the late Sixties with gorgeous harmonies. Special mention must be made of Amy Tori, who guests with flute on five songs, and this adds an additional sense of class and style to the album that works really well. Many of the songs seem incredibly personal, so much so that I felt at times that I was almost intruding, but it was all so good that I couldn’t turn away. The CD is still available, and it is also possible to stream through Bandcamp, and I can only urge all those into wonderful psychedelic power pop to get straight over to https://thesteveboninoprojects.bandcamp.com/album/children-of-the-moon and discover it for yourselves.
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