Liverpool Sound and Vision Rating 9/10

There isn’t much grace left in dear old Blighty, the romance of an aged past, the lies of eras, the spotlight that has pinpointed its crusty, faded façade, is one that has caused a schism, a naked fear of upset division in the isles of less than plenty, a rupture in appreciation for the truth of fine minds who speak with eloquence and richness of the finest of poets, and the classiest of men.

The wry poet’s observation, studious, pummelled with satirical wit and placement, the sense of timing that comes from adhering to the punch line in waiting, this is how the belief in some notable figures rescues our souls and our hearts, and the company they choose is the one that gives heart that we do, as listeners and gig attendees, have someone on our side, have someone willing to speak up for our fears and celebrate our goals.

Paul Heaton’s time has been one of warmth and affection as far as the British public have been concerned, it is the attitude of expressive content, of turning the everyday into a moment captured by Kodak, placed in a family photo album and looked at often with a sense of awe, a persuasion of eager detail in each and every word which becomes a linguist’s dream; and this treasure chest of solo albums continues in fine form in the latest offering, The Mighty Several.

Produced by The Lightning Seeds’ Ian Broudie, The Mighty Several is an album that is both continuous but also one that acclaims new beginnings, and in typical style befitting Mr. Heaton’s gregarious, generous nature of pushing exceptional talent to the front, the new female accompanying voice that strides the album that is Rianne Downey; and whilst not to mention the glorious Jaquie Abbott would be a sin, the anxiety of change is made calm by the inclusion of the Scottish singer who grafts and playfully praises the listener with a sense of charm throughout.

Across tracks such as National Treasure, Fish ‘N’ Chip Supper, Silly Me, Just Another Family, Couldn’t Get Dead, and Walk On, Slow Down, the territory covered is one of conjured application, it is the painting created from lament rather than oil, it is the sculpture founded on the base of memory rather than stone, and every single stroke, every small hammer chip is smoothed down with feeling for an age of passing; upbeat, ceremonious, wonderfully reflective expression of understanding in regret and positive reinforcement.

This is Paul Heaton once again standing out and showing the best of humanity in song and action; a musician, a creator of the stretched out and fulfilling description.

Ian D. Hall