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After only two or three plays, the album is fast revealing its true stature, becoming a front-runner in my affections of late. This shorter interval is reflected in the urgency of the writing, and an even greater self-confidence that kicks away every last trace of that occasional diffidence I'd noted on Broken Bones. I really can't fault it - well, OK, I've just one minor reservation, hardly worth mentioning I suppose, which is the questionable need to slow-fade-out the very last track on the CD. Well nigh There were times, too, when the over-rambling nature of some of John's jazzier, funkier extemporisations could engender a sensation of more than mild incoherence, and it would be unjust if any retrospective collection excluded examples of this sometimes infuriating trait - but hey, that's genius for ya! Nikola alone plays seven different instruments at this gig! There's a great sense of spaciousness to these settings, even tho' the subject-matter and internal mood of the songs is often quite claustrophobic. The seam between the two bands is invisible, She says she wrote all the songs here (and two more) in the space of a single month, and the plain truth is that there's not a weak cut among them (well OK, the final one-minute instrumental doodle Dylan's Lullaby is a bit of a throwaway), with ten brand new relationship-centred classics in the making I'm convinced. Ranging from the plaintive sparse piano led I Could Not Stand To See You and the quietly mournful Don't Be Crushed to the rocked up swaggering title track, pumped up alt-country Floorboards, the emotionally rich orchestral Diamond and caustic power pop Sleeptalking, he pens songs of heartbreak and making connections that drip with an air of experience seen from the bottom up. The mood of wistful, aching reflection and longing is sustained throughout, moments of loving tenderness and enduring devotion balanced with the weight of loss in the likes of Papillon, Yuri's Dream, All The Way To London, Way Back When, and Joshua's Watch while Plasticine slowly steps from behind the armour of standing proud to break on the rocks of things that might have been. Rachael's more introspective, piano-led treatment of Shepherd Lad appealingly evokes a kind of creative conjunction of the Unthanks and Kate Rusby, while the epic ballad of Miles Weatherill builds from melancholy chamber-jazz to a strident choppy conclusion. Stints in Sweet Savage (replacing Def Leppard guitarist Vivian Campbell) and Andrew Strong's band led to him taking the solo plunge and the aforementioned debut album. surprisingly jubilant, An Architect's Eye swaggering like an alcohol Should there be any doubt about their fondness for a lost Albion, there's even a bluesy drawled track called England while the dusty The Lion And The Unicorn raises a glass to the clatter of pubs in Lancashire, sterling, and the bitterness of our beer while the blues jog Concorde offers a wistful, flute kissed lament for a very British part of aeronautical history. "It's a very simple song that I'd written when I was depressed. Where You'll Find Me is just one man and his guitar - lovely Americana. reasons best known to someone else, the venue has been decorated The brothers' contrasted vocals are as distinctive as you'll remember from their previous work, and once again there's an isolated track (the somewhat "well-drawn" Wedding Song) where they hand over the lead to backing singer Sophie Traves. There's a little bit of Randy Newman in there as well. Revelry, saw them breaking out into a wider audience and being deluged Reconstruction is, I suspect, one for Scott's fans only rather than one to convert new listeners to the cause. If Mark's playing occasionally errs on the side of genteel, well that's not a serious fault and there's help at hand on three of the disc's 12 tracks, in the shape of augmentation from guests Cameron Edgar on uilleann pipes and Russell Jalland on percussion who provide just the right degree of lift. . The opener, Horse With No Rider, has top class slide guitar and is an authentic blues in every way. the attitude displayed on Disarray will serve them nicely for now, this is Henry's Natural Blues is given a funked up treatment with slap bass. They slow things down for the blues influenced Travelling Show and there's some great organ work from none other than Rod Argent. Sean Moore put their boots into some blistering, powerhouse rock n Happily, little Terry Clarke's lonesome and slidey 'Crow Blues'. Basically, Methera embrace these expectations with all the accuracy and precision of chamber music players but with an added enjoyment and sense of involvement that's characteristic of folk session players. The slight problem I have with it all is that it all feels somewhat much of a muchness now, I'd hesitate to use the phrase "old-hat", but the world has moved on - caught up, you might well say - and yet time might well have stood still for the Moving Hearts sound (which seems in a bit of time-warp), whereas some of the musical gestures do seem tad identikit in this day and age. Emotional Bends is his first 'solo' album with band, released 1999. Heavy-handedness gets no quarter here. John Mayall & The Bluesbreakers and Friends - 70th Birthday Concert (Eagle Rock). frequently breaking into bouts of la la laing and humming when lyrical Some of you may know Graham as one-third of trio GMW (with Magpie Lane's Ian Giles, and Ian Woods), others as half of duo Folly Bridge (again with Ian G), but the plain truth is that Graham's an impressive singer in his own right, with a marvellous voice possessing a wide range and an especially attractive lower register.

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