Liverpool Sound and Vision Rating 9.5/10
At one time it was one of the biggest music labels on the planet, it spawned the idea of power and elegance all wrapped up in one hybrid motion and the hits kept coming and the music kept on playing. Like Detroit itself, the sound of Motown is unfashionable to many now, the factories, the people, the abundant sound, in many ways a former glory in which dreams were once made and in which thousands of artists have revelled in.
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The way Britain was shaped can be seen as to come from many different factors and many differing races’ influences. To suggest otherwise, is at best folly, and at worst downright stupidity, it is the watchword of those who arguably set their agenda out with the clarity of a doughnut covered in barbed wire and with the jam replaced with the taste of bitter almonds. For whilst Britain is an island nation, its outlook and the way it absorbs other cultures, customs and artistic ethos is arguably amongst the most open in the world.
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The world may be getting smaller but in terms of its output and the sheer abundance of music that comes forth on a daily basis, the expanse is such that it may be considered hard for many to keep up with what’s new, what’s available and what is to be seen as the dog’s own business.
For Blues that maxim is surely as true as it will rain at some point during the week and that the genre doesn’t get the ringing endorsement it is surely due in a world more and more obsessed with television programmes churning out singers who within the wink of a cameraman’s eye will be forgotten and mislabelled in years to come.
Liverpool Sound and Vision Rating 9/10
The ancient civilisations such as the Greeks and Romans had words to defend the meaning of when supreme beings banded together to take on a foe that threatened their way of life. As with all things, poetic quality has been lost in translation over the corresponding centuries and now the only phrase that seems to justify the immensity of talent that comes in the shape of Revolution Saints and their superb eponymous debut album is one of a Titan’s fury, a divinity of rock elegance and soaring spirit.
Liverpool Sound and Vision Rating 8.5/10
When waiting for an album to come out by a band that you know deep down could have been the talk of the town and the greater music world in any of the decades since Liverpool gave birth to popular music culture in Britain, caution can seep in. It can mess with expectancy, it can gnaw at the promise you have made to yourself that it surely must be good because the gigs and the songs have suggested nothing but a wonderful sense of timing and delivery. Caution is good, it keeps both the listener and musicians grounded but it can also feed on you like a Succubus caught in the middle of a midday snack asking for extra bread rolls.
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It is perhaps Humanity’s greatest failing that we see something or a race of people that we don’t understand and believe ourselves to better cultured and educated than they ever could be or arguably have the right to be. It is a systematic failing, a supreme moment of arrogance that belittles us all. It makes us feel superior when we don’t have the right, an uncivilised civility that shows its self arguably more in the world of art than any other.
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To tumble from grace is to find yourself! There is a certain freedom attached to being so low that the view from above can be an inspiration. If you have everything then you are too afraid to lose it and The Fall Of Eden is a long and bumpy road in which there is heartache, pain and grief, but there is also the chance of redemption in liberty. It is a redemption and liberty in which Kenneth J. Nash captures exquisitely in The Fall Of Eden.
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The wheels of Time constantly turn but they never seem to move very far from certain seminal points that repeat themselves over and over again. When it comes to nostalgia and thinking back to how much Time has irrevocably altered and magnified certain pieces of art, then the re-master, re-issue or just plain re-discovery of a lost epic is enough to make Time smile and make its heart go a little faster.
Liverpool Sound and Vision Rating 7/10
Rock is as Rock does, it is there to beef up a unique resolve that no other genre really has the right to try and do. Metal, of any type, goes too far, Folk relaxes the body and sharpens the mind to listen to the words on offer as well as the gentle swaying of a guitar or the pomp of a well placed brass instrument infect the mood. Other genres don’t have the pleasure of offering the enlightened Rock fan the Dirty Thrills they so desperately need, desire and deserve.
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It seems impossible these days to think of Kerry Ellis as anything but an established performer of great quality. A vocalist whose voice can send shivers the spine and whose work, especially in recent times with Queen’s Brian May, has been nothing but jaw-droppingly good. On the back of all that it is of no surprise that Kerry Ellis has returned once more to the world of theatre for an album of show tunes and highly thought of songs for her fourth album and strikingly eponymously titled