Lioness: Hidden Treasures
Amy Winehouse
(Universal)
(Pop)
Reviewed by Phil Bennett

From Nick Drake to Jeff Buckley, the pop world is littered with shooting stars who shone brightly for a short while, leaving behind a recorded legacy that raises more questions and answers.
Amy Winehouse, the latest of these, is no exception.

Lioness doesn’t unearth the Rosetta Stone but it certainly digs up some gleaming gems that will tantalise fans and confirm what a fabulous singer she was.

Put together by her collaborators, Salaam Remi and Mark Ronson, it’s a combination of alternate takes, unreleased numbers and some new material which, when put together, sounds remarkably like a newly conceived album.

There are some splendid moments here where the songs and arrangements complement the rich musicality of her voice to mesmerising effect.

The opening Our Day Will Come is vintage Winehouse, a seductive blend of vulnerability and experience over a soulful reggae rhythm.
Elsewhere, she delivers a delicately powerful rendition of Carole King’s Will You Still Love Me Tomorrow, while her duet with Tony Bennett on Body And Soul might not be revelatory, but it’s certainly one for the history books.

A fine collection.

Seeds We Sow
Lindsey Buckingham
(Shock)
(Pop)
Reviewed by Phil Bennett

A veritable one man band on his new release, Lindsey Buckingham, wrote, sang, played, produced and mixed all the songs himself.
Recorded in his home studio in his own time without the pressures of being who he is, this is probably the kind of album that he should always be making.

Featuring 11 tracks which fuse his trademark, spiralling finger-picking with a melodic sensibility that has been evident from his glory days in Fleetwood Mac right through his steady release of solo albums, Seeds We Sow sparkles and delights with its home spun effervescence .
It’s honest, simple, and replete with his signature sound – startlingly good acoustic guitar arpeggios forming the basis of songs that feature reverb-drenched vocals and the occasional sideways step into crazy territory.

Highlights include the mad Tusklike drums that burst into the chorus of One Take, the undulating guitar lines that snake through In Our Time and the hypnotic, effect laden Stars Are Crazy.

Bookended by the breathy pastoral title track and a lovely version of the Rolling Stones’ She Smiled Sweetly, this is an ears only invitation into Buckingham’s world which will leave the listener smiling just as sweetly.

Familiar but surprising at the same time.

To The Horses
Lanie Lane
(Ivy League)
(Rockabilly)
Reviewed by Phil Bennett

Recorded in just four days, Lanie Lane's debut album is a terrifically exciting breath of fresh air that canters along with a spring in its step and a knowing backward glance at the days of maltshops, drive ins and bobby sox.

At only 24, she's absorbed everyone from Patsy Cline to Gene Vincent and Doris Day to create a voice of her own and it's her idiosyncratic vocal mannerisms that really make these songs, strong as they are, truly special.

With her band lighting up a firestorm of early rock'n'roll, rockabilly and jazzy blues, Lanie and her lads cook up a snap, crackle and pop that is really quite irresistible.

There's a bit of work holler (What Do I Do), a dash of tear jerk (Heartbeat) and a healthy sprinkle of genuine Sun studio rockabilly (Bang Bang).

The result is an absolutely joyous celebration of musical styles that hark back 50 years or so, delivered with an energy and enthusiasm that makes them sound fresh and brand spanking new.

Can't wait for the next one. Sassy and swingin'.

Australian Idle
Tim Freedman
(Sony)
(Pop)
Reviewed by Phil Bennett

The voice and sound of one of Australia's favourite groups, The Whitlams, Tim Freedman has turned his hand to a solo album and it's the happiest sounding thing he's produced in years, particularly given the sombre mood of his last group release, Little Clouds.

With an album title that reflects his long layoff after a fairly severe back injury, Freedman has bounced back with a spring in his step and a drive and optimism that's been missing in his recent work.

Even the chorus of You Weren't In Love With Me ("I was in love with you But you weren't in love with me") sounds uplifting and joyous while the album opener, Old Man, inspired by a visit to a friend with cancer, has a positive slant to the lyrics ("I want to be an old man!"). Chock full of pleasingly melodic, beautifully constructed little pop gems, it confirms what an extraordinarily talented songwriter he is.

Based mainly around the piano but with a sterling support group consisting of Heath Cullen, Amy Vee, Zoe Hauptmann and Dave Hibbard, the playing is marvellous and the tunes are snappy numbers filled with clever turns of phrase. And the harmonies throughout, particularly on There Was A Time and Misty, are multilayered sweeps of colour that are simply gorgeous .

Thoughtfully crafted and inventively put together, this is a genuinely exciting listen. A fine thing to own.

Santo Spirito Blues
Chris Rea
(Warner)
(Blues)
Reviewed by Phil Bennett

Chris Rea is often dismissed as a middle of the road singer thanks to the huge success of his Fool (If You Think It's Over), but if you go back over his immense catalogue (25 releases, one of these an 11 disc set!), it's quite clear that much of his output has retained his working class Middlesborough roots.

It was a bout of life threatening pancreatitis in 2001 that was the catalyst for him to forsake the smoothing out of his sound and to reinvestigate his blues background.

The result can best be described as happy blues or, as he puts it, "blues to get you out of the blues", and it's an uplifting joy to listen to.

The playing on Santo Spirito Blues is, of course, right on the button. The songs are reliable, tradesman like workouts that, without forging any new boundaries, spotlight his husky voice and beautifully controlled slide guitar playing.
Highlights are abundant, whether it be the melodically inventive guitar fills that colour The Chance Of Love or the slinky boogie groove of Dance With Me All Night Long.

With this album, the pastoral settings of Auberge and Shamrock Diaries are replaced by a defiantly salty and vigorous ethic as Rea kicks out some hard driving blues with the verve of a man rediscovering his muse.

Rock solid from start to finish.

Acoustic Café
Various Artists
(Putumayo)
(Singer/songwriter)
Reviewed by Phil Bennett

When it comes to crafting thoughtfully selected compilations, Putumayo nearly always gets it right - which they do in spades on this wonderful selection of contemporary singer/songwriters.

Full of quirky personality traits and some truly memorable songs, the mood is laid back with a delicate balance between melancholia and uplifting optimism.

Highlights include the rich, polished harmonies of The Sweet Remains' Dance With Me, Sarah Jarosz's country-folk inflected interpretation of Bob Dylan's Ring Them Bells, and the deceptively simple lilt of Justin Townes Earle's One More Night In Brooklyn.

Elsewhere, Harry Manx adds his own nuances to Van Morrison's Crazy Love, while Brown Bird's Danger And Dread clops along like a donkey ride to destinations mysterious.

To close proceedings, we find WA's Waifs in sparkling form with their toe tapping Love Serenade, which coolly wraps up this delightful package.

As an uninterrupted listen, this album is quite fantastic, but its added advantage is that it opens up the listener to a range of artists that can be further explored.

Delicious.

Elsie
Horrible Crowes
(SideOneDummy)
(Pop)
Reviewed by Phil Bennett

Not surprisingly, Brian Fallon's side project away from the highly lauded Gaslight Anthem sounds a bit like an album of Gaslight songs but with less of their early Springsteenish fist raising power.

Whereas the Gaslight Anthem are a road tested tight unit, the feel on this offering is much looser and relaxed, which lends a significant amount of charm to proceedings.

Joined by his guitar tech, Ian Perkins, the duo dish up an enjoyable and occasionally rousing selection of songs about urban life and human frailty.
There's less growl and more whisper in the vocals, especially on tracks such as the almost folky Sugar and the reggae inflected I Witnessed A Crime.

The lighter waving anthems still manage to surface, though - Behold The Hurricane features a football crowd singalong chorus, while Go Tell Everybody is a fiery, soaring stadium stomper in the making.

A thoroughly rewarding listen, Elsie sees Brian Fallon brewing up his own quiet storm with a healthy serve of exuberance and inventiveness.
A fine sidestep that should keep the fans pleased.

Charismatic, if not supercharged.

Children Of War
Levi McGrath
(Small House)
Reviewed by Phil Bennett
(Folk)

A blend of easy going melodies and touching lyrics, this album of poignant songs inspired by Levi McRath's work with former Ugandan child soldiers is a thought-provoking and moving listening experience.

A case in point is the highly enjoyable title track with its sweet singalong chorus sounding like it could be a love song or a celebration of life, but its lyrics leave the listener with a nagging pang of guilt as he asks, "When did we forget the children of war?"

McGrath really is a man with a mission - he has toured with two former Ugandan child soldiers and performed speaking engagements alongside the CEO of World Vision Australia.

And this album forms an integral part of what he's trying to get across.
Full of warm emotion, his gentle, acoustic based style is extremely amenable and the emotional territory he straddles will resonate with even the most detached listener.

Children Of War doesn't have the muscle of a major label behind it, but it's one that quite simply deserves to be heard.

Rewarding and quite nerve pricking, you'll go away with a lot of uncomfortable thoughts once you've played it. In the context of its message, just the thought of having listened to it in the comfort of my living room has left this reviewer feeling guilty!

Quietly intense.

A loving, reverential tribute to former Rolling Stones pianist, the late great Ian Stewart, Boogie 4 Stu is a swaggeringly great collection of piano driven boogie woogie numbers from the likes of Amos Milburn, Albert Ammons and Jimmy Yancey.

Ben Waters is no slouch when it comes to tinkling the black and whites, and when he's joined by Jools Holland and various Rolling Stones, the result is a startling parade of swinging, raggedy numbers that simply aren't made like this anymore.

The stripped down intensity of the recordings is palpable - you can hear the ivories being struck, the air blowing through the saxes, and the bonhomie of the roomful of players as if they were playing in your own lounge.The scorching opener, Boogie Woogie Stomp and the vibrant Roll 'Em Pete are lessons in music history as Waters brings the spirit of Ammons and Big Joe Turner alive with his rolling barrelhouse technique.

Equally at home with steaming sweaty numbers, lurching blues and mid pace honky tonk, Waters and company cook up an absolute storm from start to finish.

As an added bonus, Bob Dylan's Watching The River Flow features all 5 Rolling Stones, including Bill Wyman, an achievement unmatched for the past 20 years. And the result, a perfect match between songwriter and performer, is just fabulous. An album that gets better with every listen, Boogie 4 Stu is so timelessly good that it could have been made 20, 30 or 40 years ago and still sound fabulous in ten years' time.

Stu would have loved it.

A wistful, hushed album of melodic songs of loss, longing, joy and acceptance - in other words, all the building blocks of human existence - Standing On The Rooftop sees Madeleine Peyroux in an unusually playful mood as she veers further and further away from her jazz roots.

The way she dismisses all things material on The Kind You Can't Afford is done with a grin and a sly wink, something you don't usually expect from her.

But she's equally at home being tender (Lay Your Sleeping Head My Love) as she is in a darker, more atmospheric atmosphere, such as with her stunningly bleak interpretation of Robert Johnson's Love In Vain.

Her voice is sweet and whispery with a late evening tone, but her strength lies in the subtle way she can inflect to impart an emotion or to add weight to a particular word or phrase.

The album is immaculately produced with the instruments sounding real and unaffected, and her sterling support musicians (Charley Drayton, Allen Touissant and Meshell Ndegeocello, to name a few) provide understated accompaniments that create and sustain the different song moods with class and precision.

A quietly confident and thoroughly satisfying album, Standing On The Rooftop brims with unexpected delights and contains many moments of sheer beauty.

Effortlessly gorgeous.

1000% Guapo
Watussi
(Positive Feedback)
(Latin)
Reviewed by Phil Bennett

Oddball grooves, funky bass lines and a strange blending of Latin hip sway and hip hop beats are the parts that make up Watussi's new release.

They sell their strangeness expertly, deftly combining infectious dance rhythms and hummable melodies with a kitchen sink sound sensibility.

Coro Coro strides along a bed of handclaps and clattering percussion as a solitary flute twirls above like an exotic bird. And then with one subtle motion, the band kicks in with punchy brass figures and clipped bass runs and the song steps up a gear before you've even noticed.

Nina, on the other hand, is propelled by a pair of crisply strummed guitar parts, giving the sound a whole new flavour. Elsewhere, there's the hectic Pipi Loco with its manic bass, snappy drums and express train lyrics, while El Nero's Whistle Scratch is quite simply off the wall.

An intriguing mix of Colombian and African grooves, and a potpourri of instrumentation and approaches, this album won't be an immediately accessible listen to many but repeated listens unearth a host of sonic delights. Which is all part of its charm. An album that can only enhance Watussi's reputation, 1000% Guapo is fascinatingly quirky, upbeat and highly danceable.

Loads of fun.

Gathering Mercury

It’s been a gradual rebuild for Colin Hay.

After the breakup of Men At Work in 1985 he found himself going “from an audience of ten million to an audience of ten” as he puts it with his usual self deprecating humour.

For those who haven’t noticed, he has since made 11 solo albums and Gathering Mercury is his highly enjoyable new one.

Inspired in part by the death of his father, the songs are at times poignant and quite melancholy, but, with his good knowledge of pop hooks, they come across with a wink and a smile.

Highlights include Invisible, a laid back lilt, the Latin tinged Half A Million Angels and the infectious Send Somebody.

The centrepiece, though, which your ear memory keeps returning to is the beautiful Dear Father, a slow, attractive air that will connect with anyone who has lost a parent. With just voice, 12 string guitar and a warm string embellishment, it’s moving and really quite lovely indeed.

And there you have it. A simple, unhurried album of memorable tunes with meaningful lyrics, delivered with a deeply personal touch.

As comfy as your favourite shirt.

The Great American Songbook
Aretha Franklin
(Popular song)
(Sony)
Reviewed by Phil Bennett

With a voice forged in her Gospel roots, Aretha Franklin’s treatments of these classic songs reveal once again what an extraordinarily gifted singer she was in her youth.

Whereas Rod Stewart’s attempts at these numbers come across as a bit of a listless sleepwalk, Franklin injects equal doses fire, creativity and wit into these sessions.

It was in the early Sixties period from when these recordings were drawn that her voice was becoming her most potent – sweet and pure in tone and raucous and unfettered in delivery as she twirled the melodies around in a manner that radiated an enchanting mix of power and coyness.

Her sense of timing was uncanny – witness the way she shifts the balance on Ain’t Necessarily So or the way she plays with the word “say” on Say It Isn’t So. Marvellous stuff.Supported by musicians and arrangers with a liquid touch and immaculate feel, you really can’t get much better than this.

There are numerous singers around today who can warble like birds and bend notes with fluid efficiency but these recordings capture one of the world’s finest, just as she’s reaching her peak, and there is something mystical and magical about them that simply can’t be topped. Indisputably fine songs performed with assured stylishness and sheer groundbreaking brilliance, the Great American Songbook is a timeless treat for the ears.

Uplifting and inspirational.

Frangipani
Vibrolators
(Independent)
(Jump blues)
Reviewed by Phil Bennett

The third release from Perth’s swingin’ jumpin’ jivin’ cats, the Vibrolators, is an excellent set of songs that faithfully captures the essence of this wonderful band.

The compositions are original but they reveal an unashamed fondness for the wide lapelled sounds of the forties and fifties.

Slipping the disc on is like gaining entrance to a speakeasy – listen carefully and you can almost hear the inhaling of fat Cuban cigars, the blindly optimistic laughter of hopeful hucksters, and the slow crackle of hearts broken and dreams lost.

Up front, the addition of vocalists Peta Lee and Alison Penney adds a new dimension to the Vibrolating but the secret weapon is still Hans Deberitz and Almore James’ slow twirling blues compositions.

Tracks of theirs such as Third Degree Burn, Judge And Jury, Nine Lives and Maintenance Man are sassy, swaggering affairs that are brim with wit and an extremely hummable dose of coolness.

The whole gang’s on fire here with Penney thumping the keys with verve, James sublimely peeling off bursts of stylish guitar lines, while you can’t really go past the sizzling rhythm section of Neil Bushby and Yugon Chobanoff.

The Vibrolators are a fabulous and fun live act and, with Frangipani, they’ve translated this onto tape with ease.

Hot stuff.

The Promise
Bruce Springsteen
(Sony)
(Pop)
Reviewed by Phil Bennett

In 1978, Bruce Springsteen released the formidable Darkness On The Edge Of Town, an album that cemented his place in the songwriting firmament, as a follow up to the universally saluted Born To Run.

As great an album as it was, he was such a prolific songwriter that he has now put out The Promise, a double CD (!) of leftovers from the Darkness sessions that, though recorded 30 years ago, stands tall as a top quality contemporary release.

All the Springsteen hallmarks are here – an emotional resonance to the lyrics that shoot the everyday with colour and drama, an unabashed love for tin pan alley, faultless performances from his amazingly sturdy band, and a voice that’s unshaven and hard-edged but with a heart of gold.

There are big choruses, mournful ballads and joyous pop songs. In other words, all that you’d expect.

The two most interesting artifacts are the ones that became hits for other artists, namely Because The Night (Patti Smith) and Fire (Pointer Sisters), which give the strange feeling that these are cover versions due to their familiarity when, in fact, they’re the originals.

A lot of work and love has been put into this project – sonically it sparkles and there isn’t even a hint of rough mix throwaway material that normally clutters albums under the banner of “bonus material”.

The result is a brand new Springsteen album written and recorded by a 60 year old in his mid 20s.

Dr Who would have been impressed.

The Great Impression
Sparkadia
(Ivy League)
(Pop)
Reviewed by Phil Bennett

And then there was one.

Sparkadia are a Sydney 4 piece who write and record pop songs of the highest order. Or at least they were. Now they have been reduced to founding member, Alex Burnett, and, as writer, singer, and guitarist, the legacy continues. As a result, the sound on their second offering has taken a definite left turn.

Straddling a greater variety of instrumentation and styles, the music is much less that of a four piece unit, as Burnett plays everything from keyboards to scrap metal in order to achieve his vision.

He has always worked as a co writer with former drummer, Dave Hall, and his new collaborator, Mark Tieku, supplies ample ideas, inspiration and smart production values to come up with the goods.

The obvious difference with the new album is the use of thick, rich keyboards to provide the bedrock on many of the numbers, as well as much greater use of vocal harmonies, particularly on tracks such as the title track and Mary.

The duo’s songwriting craft is top notch and that’s what really carries this album – plenty of nice, catchy hooks and no lack of quotable lyrics.

The only complaint in the songwriting department is the unnecessary similarity with the chord sequence to the Who’s Baba O’Riley in the chorus of China .

That minor gripe aside, The Great Impression leaves just that – it’s an album of fine pop tunes, scattered through with some very interesting sonic textures to keep the listener captivated.

Sparkling.

The Deep Field
Joan As Police Woman
(Liberator)
(Pop)
Reviewed by Phil Bennett

This is Joan Wasser’s third album and, even though professed to be her most upbeat and positive yet, it still seems to dwell within a dark wood rather than the deep field of its title.

The music is certainly quite bright at times, suffused with soul and funk influences, but it’s that theatrically vaulting voice of hers, with its innate sense of hidden sadness and repressed loss that darkens the shade.
But what a powerful and amazing thing that voice is.

On Action Man she’s all breathy and conspiratorial, Kiss The Specifics sees her as soul diva extraordinaire, while on Run For Love she flits between highs and lows with intoxicating ease.

These aren’t songs to strum along to – the sonic construct is as much of their identity as the melodies.
And the constructions are highly imaginative, with odd blends of instruments (Wurlitzers, baritone saxes , moog synthesisers) taking the listener to exciting, ear opening places.

The tricky arrangements, along with the delivery of the material, powered by a diverse range of traditional and non-traditional instruments, make for an eclectic and intriguing journey.

Riveting.

Endlessly
Duffy
(Pop)
(Universal)
Reviewed by Phil Bennett

Welsh singer/songwriter, Duffy, had the difficult task of following up an almost universally lauded debut,
so she enlisted the help of Albert Hammond, a man responsible for writing hit songs for artists as disparate as Leapy Lee, the Hollies and Tina Turner.

The result is an album of refreshingly catchy upbeat numbers, balanced half and half with forays into sensitive balladry. Duffy’s distinctive smoky voice – think Dusty Springfield’s vibrato power and Amy Winehouse’s torch pipes – is what these songs are all about.

There’s the bouncy, funky Well, Well, Well and My Boy and the Phil Spectorish, tender Too Hurt To Dance and Don’t Forsake Me – all shiny, radio friendly nuggets. The tunes are great, with uplifting choruses, the production is crisp and slick, and Duffy possesses a natural ability to cradle the words with elegance and commitment.

She is one of the few contemporary singers who are able to set the charts alight without compromising the fact that she has a voice that can imbue a song with vulnerability, melancholy and sassiness all at the same time.

Tear jerking ballads and funky soul grooves done with dash and style.

Not classic, but classy.

Always Want

There’s something abstract and strangely detached about this debut album from Perth born Grace Woodroofe, even though she works a personal, confessional vein throughout.

Almost as if she’s trying to distance herself from the emotions unearthed in these songs.

It’s not easy listening by any means, but it’s a richly rewarding listen, if being made to feel slightly uncomfortable can be described that way.

Her expressive voice, its variations in delivery and tone saying as much as the lyrics themselves, is at the forefront, allowing the words to create their impact, while the music serves to strengthen and adorn.

H is a beautiful, moving tribute to her manager and mentor, Heath Ledger – “I feel you with me all the time Your guiding hands lead mine But I miss the stories that you’d share And the knitted garments that you always used to wear” – the accompaniment sparse and melancholic.

Oh My God travels a similar path, all timidly plucked piano chords, ominous single string guitar lines and her voice picking out the mood as easily as she does the words.

Darkly tinged rhymes, emotion scarred vocals and musical sounds and beats that transform into threatening, disquieting shapes.

Excellent.

A World Of Peace

Christine Morrison is a Perth musician/singer whose work is intended to soothe and heal.

Playing piano and a range of percussive instruments such as the Tibetan Singing Bowl and rain stick, the sound she creates on this marvellous album is a softly relaxing, effortlessly flowing series of ethereal pieces.

Her piano playing is elegantly rendered, occasionally reminiscent of Keith Jarrett’s quieter moments, and there is a quiet poignancy in her voice that evokes a feeling of standing silently, arms outstretched, in a vast treeless plain with nothing but the still vastness to surrender to.

The percussion is extremely delicate and unobtrusive, acting as a mood rather than a rhythm enhancer.

It’s really all quite beautiful, lovely and dreamy.

As music to close your eyes to, it’s absolutely perfect – gentle, subtle and exquisitely executed.

Wonderful stuff indeed.

I Feel Like Playing

With a vocal delivery that makes Bob Dylan sound like a Thespian vocal coach, Ron Wood (he of Faces, Jeff Beck Group and Rolling Stones fame) returns with his best album in years.

And, being buddies with practically everyone in the music business, affable old Ron has called up a few choice mates to help out – rock heavyweights from Flea and Eddie Vedder to Billy Gibbons and Bobby Womack all chip in and lend a hand.

The marvellous thing being that they all understand what has always been at the core of Wood’s music – serve the song, leave the ego at the door and, above all, have a good time doing it.

The result is a rock’n’roll album of the type you used to scour the vinyl racks for.

It’s raw, honest and filled with top notch songs that ride roughshod over their smoky, barroom feel.

Lucky Man is a driving single that won’t be, with a thrilling sense of dynamics and an anthemic chorus, while Catch You is a timeless slice of soul.

Elsewhere, there’s the loping reggae lilt of Sweetness My Weakness, the soulful ballad I Gotta See, and the lurching Thing About You to keep things motoring along.

On a par with Keith Richards’ Talk Is Cheap, I Feel Like Playing is a swaggering, visceral slab of rock’n’roll, reggae, balladry and bluesy funk that comes from a group of musicians at the top of their game simply having furious fun.

An album you’ll feel like playing over and over.

Nice one, Ron.

Once Around

This album won’t sell a million copies nor be remembered as an all time classic, but it is pure fresh air pop of the highest calibre.

A collaboration between Wilco members, John Stirrat and Pat Sansone, Autumn Defense have been around quietly for a while now, with Once Around being their fourth release.

Mining the finely crafted pop vein carved out by the Beatles, Byrds, Squeeze and Crowded House, their songs are wistful, beautifully arranged tunes that simply ooze style and class.

A lettuce crisp production enhances the irresistible melodies and numbers like the opening Back Of My Mind and Every Day sound warm, inviting and delightfully familiar.

Seamless, low-key musical arrangements – a swoop of strings here, a clutch of harmonies there – allow the subtle shades of the songs to emerge.

And what great songs they are.

From the poignant Huntington Fair to the gorgeous title track, the bulk of these are absolute diamonds.

There is, of course, the occasional blip, like the bland The Swallows Of London Town, but these lapses are few and far between.

A band of considerable songwriting talent, Autumn defense have come up with an absolute cracker.

Close Up Vol 2 - People And Places
Suzanne Vega
(CookingVinyl)
(Pop)
Reviewed by Phil Bennett

A pleasing aspect of today's veteran artists is their willingness to present their hits and misses in new formats, as opposed to simply allowing badly compiled Best Of recordings to be unleashed on the market.

So, if you're a Suzanne Vega fan, you get to enjoy new performances of songs you've grown to love, and if you just want a sampler of her work, it's presented for you here in a flowing style.

Which is a very good thing when you're talking about songs that have been recorded over 25 years, with production values, lineups and instrumentation all changing to suit the times.

Volume One was love songs and now she delivers stripped back versions of songs about people like Luka and Zephyr and places like Liverpool, New York, and Tom's Diner.

With the reduction in musical accompaniment - the songs mainly come across as pure solo recordings but there is much subtle support sound to embellish her lyrics come more into focus.

And, along with her quietly conversational vocal style and her sweet and simple melodies, her ability to get into characters' skins is one of her great strengths.

As a singer/songwriter, she has the knack of capturing people, places, emotions, and situations with amazing clarity.

Hearing these songs again in such a thematic context serves as an impressive reminder of her wonderful talent.

Like your favourite old shirt, with the last button finally sewn on.

Just Across The River
Jimmy Webb
(E1)
(Pop)
Reviewed by Phil Bennett

One thing that never goes out of fashion is a good song, and when it comes to melodic masterpieces, Jimmy Webb has created countless.

They're the kind of songs that breeze past you but always have some lyrical or sonic twist that turns your head, making you want to revisit them and delve deeper.

Take the superb Wichita Lineman - deep, beautiful imagery coupled with elongated notes held over sympathetic passing chords to give the aural perception of the repetitive distance of the endless line of highway poles. What a song!

On this album he revisits his songbook and is joined by a plethora of peers and fans, including the likes of Willie Nelson, Lucinda Williams, Mark Knopfler, and Linda Ronstadt.

Admittedly, the definitive versions of a number of these songs have already been recorded, particularly by Glen Campbell, but there's enough camaraderie and respect paid by his fellow musicians to give these tracks a fresh, but respectful, outlook.

With the production favouring a choice of staple country instruments such as pedal steels and mandolins, the sound is immediately evocative of wide open spaces and miles of room for thought and reflection.

A suitable glimpse of the talents of one of modern music's finest songwriters, Just Across The River is a celebration of both his singing and songwriting talents, which is well worth grabbing hold of simply to view a snapshot of his incredible body of work.

A fine retrospective of a great American songsmith.

Losing Sleep
Edwyn Collins
(Heavenly)
(Pop)
Reviewed by Phil Bennett

After suffering two strokes and having to relearn how to speak and move with some measure of control, this new album from former Orange Juice frontman, Edwyn Collins, must have been a real labour of love.

Given his personal circumstances, the album is surprisingly uplifting and positive, despite the many references to his physical condition and what must have been going through his mind these past few years.

The opening title track kicks things off in joyous Motown mood and it's clear from the outset that this is no dark offering.

Though it's lyrics are questioning, as are those of the next track, What Is My Role?, the music is the straightforward, no frills pop that he has managed to peel off for decades.

There are guests aplenty, including Roddy Frame, whose exquisite acoustic guitar is featured on the beautiful All My Days, Johnny Marr and a couple of members of Franz Ferdinand. Gladly, they all apply the simple, supportive mindset of their own work, so there is no question of this becoming an all star jam.

The playing throughout is pleasingly understated but energetic, and Collins' trademark burr seems relatively unaffected by his illness.

An album of optimism and determination, it is no better exemplified than by the line "I will always be lucky in my life And I will find a way to get there" (Searching For The Truth).

A remarkable and delicate piece of work that really is an essential purchase for Collins fans and has the instant appeal to please those who've no idea who he is.

When was the last time you heard Mahler or Verdi blasting from a shop window?

On this latest outing, French musician, Eric Levi, uses his Era recording vehicle to do his bit to address the issue by dabbling with the Classics.

Spicing each piece with his trademark Gregorian chanting and sonorous drum beats, he quite cleverly manages to make some pretty heavy stuff palatable to the masses.

The overall effect is somewhat like the soundtrack to an imaginary Tolkienesque sorcery and magic movie epic - stirring, dramatic, and at times quite moving.

As part of the fabric of social history, most of this music is instantly recognisable to even the most fierce top fortyophile - but probably not quite like this.

If a hard core pop fan decides to investigate Bach after hearing Era's interpretation of Concerto No 3, then this album has achieved something that dry as dust music lessons and that ABC2 documentary that Dad watched more than likely failed to.

For this reason alone, this album gets a mighty thumbs up, even if the sound you hear as the album finishes is that of Vivaldi groaning in his grave.

Classics will no doubt be simply annoying and pointless to many, but its imaginative and entertaining reworkings are thoroughly enjoyable to these ears.

A good idea accomplished with aplomb.

Every now and again an artist comes along and creates something that is so fresh and exciting that you simply have to listen again. And again.

Megan Washington sounds like she has produced music for decades and has finally come to the point where she has honed her craft to perfection.

Yet, this is her debut album. Which means either that she’s placed all her eggs in one basket or her future looks very rosy indeed.

Recorded in Melbourne, the sound is Phil Spectorish – multi-layered and splashed with a rainbow of musical colours.

Scan the credits and you see all the instruments are played by John Castle and Washington. Production credit is the same. Which demonstrates the focus of this remarkably talented pair.

Her songs are snapshots of human relationships, lyrically veering toward the unexpected, while the melodies are catchy without being formulaic.

Tracks like the strident Cement and Sunday Best, with its busy piano lines, are absolute pop gems that simply drip with class and sheer enthusiasm.

Inventive arrangements, the showcased versatility of her full-bodied voice, and songs that grow friendlier with repeated listens, all add up to an album that may be instantly accessible for today’s airwaves, but has the depth to last and enough twists to turn your head.

Irresistible.

In Boston
Chris Botti
(Jazz/Pop)
(Universal)
Reviewed by Phil Bennett

A live recording with the Boston Pops Orchestra and a host of special gusts, this album is an endearing collection of standards, which are given Botti’s sweet and warm treatment.

Coming in a cd/dvd package, it’s the dvd that clearly displays his imaginative but deferential playing as he charmingly pays homage both to the songwriters and the performers standing beside him.

His trumpet playing is sheer class, with a gorgeous tone and a flair for the dramatic as he blends delicate flurries and fiery runs with melancholic introspection and atmospheric reverie.

His guests are top of the range and extraordinarily talented and successful in their own rights – Yo Yo Ma, Josh Groban and so on – and it is one of his gentlemanly attributes that he allows them each to grab the spotlight as he subtly steps aside.

It’s all smiles and knowing nods when Sting hits the stage, but, at four songs, his presence does veer towards that of the man who stayed for dinner but wouldn’t leave.

Aerosmith’s Steve Tyler performs a tear-inducing Smile for his father in the front row, while the relatively unknown Sy Smith’s version of The Look Of Love rides a funky carriage that takes Bacharach’s torch staple into territories unexplored.

Throughout it all, his backing band cooks and swings with a vengeance while the Orchestra builds and swells to soaring crescendos with verve and precision.

An eclectic showcase of smooth, jazz flavoured excellence, In Boston is adventurous in its arc whilst maintaining a clear path through the middle of the road.

Mainstream at its most inspiring.

With an inherent sense of catchy melody and the ability to tell a story in under 4 minutes, Steven Jaymes is a singer/songwriter of class and no little talent.

This is good, solid, timeless stuff that, given the right opportunities, would fill the airwaves.

Album opener, Everything Will Be Alright, is the pure relaxation of a warm, spring field and sets the scene for an enjoyable series of highly listenable tracks.

A Little Love has a similarly glowing feel, but with more of a sense of drama, and has one of those chord patterns that can just go on forever as the musicians weave their way in and out.

The title track highlights the craftsmanship of his superb backing band, as a thumping beat and gravelly guitars break into a fabulous funk piano breakdown.

Which means that it’s not just the quality of the songs that impresses, but it’s the way they’re put together that adds extra dimensions as they unfold.

This is Jaymes’ fifth album, so if it appeals to your ears there’s plenty of back catalogue to investigate.

A fine collection of a songwriter’s craft, Things Get Better is a very pleasing listen indeed.

Well worth checking out.

Tin Can Trust
Los Lobos
(Shock)
(Rock/Latin)
Reviewed by Phil Bennett

The name Los Lobos (The Wolves) conjures images of Mexican cantinas, dusty roads and the full moon rising.

Over 14 albums and more than three decades, this American Chicano rock band has garnered praise from both within and without the industry as they consistently produce albums that balance both maturity and respect for the musical forms they tackle and the energy and commitment of a group who knows no other way.

Fiery electric guitar lines grace songs such as All My Bridges and the title track, giving these numbers a fearsome edge. Combined with the suitably restrained down home grooves laid down by the rhythm section, the result is powerful without being overblown.

Jupiter Or The Moon is a fine example, a searing showstopper that rides a bleak unswerving drum beat based on rim shots and deep toms that possesses a mysterious mood with an underlying sense of disquiet.
Running the full spectrum of authentic Mexican folk to beer barn blues, the album is gritty and close to the bone, with the added luxury of the years of experience this crack band has to offer.

Another fabulous album from an outfit that rarely makes a wrong turn.

No matter what diversions they make, Los Lobos always seem to remain true to their heritage and their mission to create music that’s real and passionate.

Turn it on and soak up the atmosphere.