I have always been a huge admirer of The Maccabees since their 2007 debut ‘Colour It In’. There was something different about them in a sea of identical indie bands that were marauding over the British music scene during that time which had started to reach saturation point. There were two main reasons for this admiration, one was the unique voice of Orlando Weeks who had a choir-boy like purity in his vocal tone. At times he was guilty of over indulging in the “Indie” vocal inflections, but when he let his real voice shine through there was no doubt at all that he had an amazing voice and with ‘Toothpaste Kisses’ he delivered one of my favourite vocal performances of all time. The second reason was the great musicianship of the band. When listening to their debut you could really hear five talented musicians who seemed to be brimming with creativity and musical ideas, but more importantly you could hear the sincerity and the attention to detail that had been paid to the music they were making. Their second album ‘Wall Of Arms’ upped the songwriting quality further and the band were becoming more accomplished in the studio as well as an in demand live act, with a growing fan base who have garnered a reputation for being one of the most passionate in the country.

The band have now returned with their third album ‘Given To The Wild’ and it signals a huge shift in their sound. Not only that, but with 2012 only two weeks old, they have produced what could quite possibly be one of the albums of the year. Gone are the post-punk influences and the staccato guitars, and in come laid back angelic vocal harmonies, chiming guitar lines, and epic arrangements that swell with gorgeous musical intensity. Do not mistake this for the band going soft, as one listen of ‘Given To The Wild’ will show that this is an album overflowing with compelling musical arrangements with a lot of the tracks having distinct musical segments that keep the attention of the listener, and as the album really hits its stride it is impossible to predict where each track is going to go, throwing up musical suprises at every turn, each one a glorious reminder of what a great band The Maccabees are. The band themselves have stated that for the first time they feel like this album best represents who they are as a band and when listening it is hard to disagree. The album feels like it is one large musical piece that has to be enjoyed in its entirety and you can tell that this was the bands intention, to go against the disposable nature of so many albums these days and make something that brings back the true essence of the LP down to the sequencing and how the album flows.

Lead single ‘Pelican’ is musically the closest to what they have done before and releasing this track as the first single was a clever move by the band. It ensured the old fans were happy but it also leaves the listener in no doubt that the band are heading into more epic territory with its rousing “Whooaaa’s” that are scattered throughout the song as it gradually builds up its intensity showing the bands added depth.

The introduction to the album is a 2 minute keyboard intro coupled with Orlando Weeks’ laid back angelic voice that guides you into the first track ‘Child’ that glides along on an engaging bass-line before a soulful horn section arrives to ride on the back of Weeks’  pure vocal delivery. Reverb drenched harmonies then usher in the songs turn of pace as Sam Doyle’s drumming then takes centre stage as the song turns into the equivalent of The Isley Brothers playing dream-pop. This then seamlessly links to ‘Feel to Follow’ that has a jazz-lounge feel with a sparse arrangement before the second half of the song takes off with shimmering guitars that lifts the song skywards. It is at this point the album settles into its stride after a fairly gentle opening. The flurry of piano lines that power ‘Ayla’ along are coupled with horns and industrial flavoured guitars as the song bounces along infectiously.

Throughout the album Weeks’ voice is laid back and shows its effortless quality better than ever before and blends beautifully with brothers Hugo and Felix White’s melodic guitar playing and the euphoric nature of the musical arrangements.

‘Forever I’ve Known’ is cunningly placed as the albums centre piece and is one of the strongest tracks here. A gentle bass line is shrouded by restrained vocals, sweeping guitars, and atmospheric production which then transforms into an electro-dance  stomp that sounds like something The Strokes would come up with if they suddenly developed an obsession for Depeche Mode. Where a lot of the albums strengths lie is with the band knowing when to reign these epic sounding songs in. It would have been very easy for the band to build these songs up even further and throw the kitchen sink at the production, but they manage to perfectly judge when to round the songs off making you ache for more in the process.

The absolutely stunning ‘Heave’ rides in on a wave of synths and twinkling guitars before the delicate vocal harmonies soar into one of the most beautifully crafted arrangements on the album as the band sing “Are we so different?”  in unison, giving way to an indie-dance tempo powered along by a fluid bass line that sees the song out.

‘Went Away’ is a jaunty slice of indie-pop with an addictive descending guitar line that surrounds itself with urgent drums and Weeks’ voice at the forefront of proceedings. This is immediately followed by the atmospheric ‘Go’ and the thunderous ‘Unknown’ that marries the dreamy and ethereal tone of the rest of the album with frantic, industrial guitars backed by a solid indie-disco beat and angelic vocals. The final minute of the song is an absolute joy.

With this album The Maccabees have set their stall out as one of the finest indie bands in the country right now. For all the atmospheric production and the huge cavernous sound that this album employs at times, you can still hear the five normal guys inside, for the first time making the music they truly believe in. It is evident that a huge amount of time and effort went into recording this album and the results range from the sublime to the majestic. Not only that but with ‘Given To The Wild’ they have managed to carve out a completely unique, individual sound that is entirely their own that starts a brand new chapter in this bands career. Without doubt one of the most engaging and finest records you are likely to hear this year.

Neil Finn is universally loved for his amazing songwriting with Crowded House and is quite simply one the most deft and endearing songwriters to emerge over the last 25 years. The band were the biggest musical export from New Zealand during their peak early-mid 90’s period, with a wealth of classic songs that ingrained themselves into peoples psyche with an ease and a grace in much the same way as Finn’s spiritual forbearers, The Beatles. While almost every single songwriter on earth has been influenced by the Lennon/McCartney and George Harrison back catalogue in some shape or form, there are very few that have pulled off sounding so remarkably like them in a songwriting sense, yet still managed to sound so unique. More importantly Crowded House were never vilified for their obvious love for The Beatles which is something the likes of Oasis were unable to avoid.

When Crowded House initially disbanded in 1996, many assumed that Finn would carry on as normal with his solo career, yet the two initial albums he released ‘Try Whistling This’ in 1998 and ‘One Nil’ in 2001 were less immediate and harder to penetrate than the Crowded House material he was so well known for. However, ‘She Will Have Her Way’ taken from the Try Whistling This album was nothing of the sort. A song filled with all the wonderfully melodic traits that Finn was so highly regarded for. Powered by a stomping drum beat with cascading jangling guitars that recall the golden era of guitar-pop of the mid 60s, Finn spins a hazy web of mystery and intrigue lyrically, which is wrapped up in one of the most addictive and warm vocal melodies he has ever written. Had this been released only a few years earlier under the Crowded House name it would have been one of their biggest hits. Everything about the song is perfect down to the smallest details; the way the vocals are hazily distorted, but still warm and welcoming despite the bleak lyrics,  the two line chorus where the wonderful vocal melody takes centre stage, along with the high “Doo, Doo, Doo’s” and summer harmonies that skip along on its wordless coda tagged on the end of the chorus. Even the outro where the thundering drum beat drops out leaving just the acoustic guitars  and their upbeat strumming hanging in the air, as Finn ad-libs to the songs fades out is a brilliant touch.

If you were a fan of Crowded House, and Neil Finn’s solo work managed to pass you by, then this song is absolutely essential in your record collection.

The Killer Meters have been showcasing their infectious brand of party-funk n’ roll in venues across the UK and Europe for the last 6 years. Emerging with a tribute album to New Orleans funk pioneers (and inspiration behind the band name) The Meters in 2005, their first studio album of original material that followed in 2009 is a glorious celebration of the genre with a huge amount of musical muscle and authentic funk prowess.

The band was formed by drummer Virgil Howe (son of Yes guitarist Steve Howe) in London with a group of musicians who have provided a large amount of session work over the last few years,and took all the best elements of their Funk-Rock forbearers such as Sly And The Family Stone and Funkadelic, along with the glitz and pizzazz of golden-era Prince, and produced an album brimming with outstanding party floor fillers.

Vocalist Karime Kendra brings a powerful and mischevious tone to the record which helps with the party atmosphere, but she also demonstrates a great soul voice and the album is all the richer for her presence. Backed by fuzzy, searing electric guitars, joyful sax playing, keyboards that decorate these songs with flashes of colour, coupled with the tight as hell rhythm section, the results of which are impossible to dislike.

‘Desolation Blues’ opens proceedings with a rumbling bassline and scattered horns, as the chanted group vocals work the song up into a 70′s funk frenzy by the time the addictive chorus has worked its magic over the course of the song. It is by all accounts a misleading opening track with its slow build up and actually quite restrained in comparison to what is to come. ‘Freak’ ramps the tempo right up, all strutting funk and squalling electric guitars, with Kendra’s vocals menacing and distorted as she sings the songs key line “I can’t take my eyes off the freak, he can’t take his eyes off of me” that dances around funky guitars. I dare you to not be infected by it.

Single ‘Dance, Move, Shake’ ups the quality further and showcases the bands rhythmic tightness brilliantly. The thumping funk rhythm and dancefloor lyrics make this an instant party classic. The likes of ‘Say Dirty’ and ‘Desperate Times’ are all stuttering funk rhythms, squelchy guitars and bass lines that are low down and dirty, all decorated by the top notch horn section. The latter sounds like it could have soundtracked a cop show from the 70′s.

The straight up funky swagger of ‘Come Back’ and ‘Black Mountain’ are impossible to resist, along with the Motown influenced ‘I Ain’t Lyin”. There are two cover versions among the 15 tracks here. The bands take on Breakestra’s ‘Cramp Your Style’ stays faithful to the songs original arrangement with blazing horns and addictive riff, along with disco anthem ‘Rainbow Of Love’ and its synth driven rhythm.

‘Stomp (parts 1&2)’ hit at a relentless pace full of frentic, powerful drumming and 60′s influenced keyboards adding flourishes of swirling effects, punctuated by jubilant horns. It is on tracks like these that make you instantly want to see this band in a sweaty club dancing your ass off with a bunch of other like-minded souls, feeling the funk!

This album is a perfect example of band in thrall to classic 70′s funk, that marries elements of rock, 60′s soul, and a helpful dollop of pop choruses to the mix. It is an assured and accomplished record that is a perfect soundtrack to a Saturday night, with an unpretentious and unapologetic air of fun that is very easy to be swept away by. The musicianship is tight, the production is shiny and bright, and it sounds like the band are having the time of their lives. If you want an upbeat, party record that can appeal to a wide range of musical audiences, then you really do not need to look any further than this.

Last nights gig for Saint Jude rounds off a successful year for the band, who after years of working and rocking hard, have finally started to see the pay off they so richly deserve. I last wrote a feature on Saint Jude at the beginning of the year when I waxed lyrical about the impact they had on me when I first laid eyes and ears on them all the way back in 2008 at The Red Lion in Twickenham. Their unique brand of Joplin/Faces/Black Crowes Rock ‘n Soul was so beautifully authentic, I have followed them closely ever since, always trying to attend as many shows as I can. A lot has changed in the intervening years. The venue I first saw them in is now a Tesco Express, and the band have undergone various lineup changes in the 3 years since, with only drummer Lee Cook and the astonishing lead singer Lynne Jackaman being the only constants in what seemed at one point,  to be a constantly revolving door of band members. The loss of influential guitarist Adam Green late last year could have spelt trouble for the band, but by recruiting the magnificent Ivor Simms and Marcus Bonfanti to the ranks on a full time basis, their twin guitar assaults have given the band extra depth and a more rounded, lived in feel, and they are all the better for it. Their progress this year is testament to that.

Sadly due to various circumstances this was my first show since I wrote about them all the way back in February after seeing them tear the roof off The Half Moon in Putney. Since then their stock has risen significantly. High profile festival appearances as well as getting a huge amount of support from Classic Rock magazine, who gave away a free copy of their album ‘Diary Of A Soul Fiend’ with last months edition, has seen interest in the band build steadily over the last 12 months culminating in their first full UK tour over the last week, and has been rightly seen as a celebration of the success of the last 12 months.

Lynne Jackaman’s fiery determination to make this band a success has been clear for all who have followed the band to see. Her slightly shy demeanour off stage hides a front woman who resolutely knows why she was put on this earth, and that was to sing rock n soul music that not only captures the magic of the greats such as Janis Joplin and Aretha Franklin, but gives it new life and shows that this genre of music can still shine without being a rehash of days gone by. Over the years she has constantly engaged with fans online, always happy to chat, and always genuinely grateful and humble for the support shown. In my experience, it takes people little more than 30 seconds to realise that her voice is something incredibly special and has been integral to the success the band now enjoy.

The Scala is packed to the rafters, swelled by a large number of “Saint Jude Virgins” that reveal themselves when Jackaman enquires how many people are watching them for the first time, and it is probably safe to say they will be back for more. Stonking opener ‘Little Queen’ is still a brilliant piece of Faces-influenced Rock ‘n Roll and sets up the exquisite ‘Garden Of Eden’ where bands tightness is showcased with the brilliant funk-rock outro. Old favourite ‘Pleased To Meet You’ follows with its heavy riff sounding even more sleazier and dirtier than ever before. Visually they are compelling. Ivor Simms and Marcus Bonfanti look like they have been transported direct from 1973. Bonfanti in particular is a gripping spectacle with his long black hair and shape-throwing as well as some fantastic blues harp work on ‘Sweet Melody’. But it is the beautiful Jackaman who is the real star of the show. She feels and sings every line with such powerful conviction and at times is completely lost in the music. She delves deep within her soul to provide some of the spine-tingling vocal moments that have cemented her reputation as one of the countries finest female singers. Her voice is able to reduce the audience to an awe-struck hush as well as involuntarily whooping with sheer delight at what they are hearing. She captivates this crowd with her endearing charm and at their softer moments such as ‘Angel’ and ‘Down And Out’ the audience are in the palm of her hand.

After an 11 month gap between Saint Jude gigs, it was interesting to hear how the songs have developed. ‘Angel’ in particular sounds more expansive now that the twin lead guitar players have bedded in and utilised the added layer of sound that the original version is missing, and it sounded incredible.

The new tracks they showcase tonight leave us in no doubt that the second album will be just as impressive as their first. ‘Black Rum And White Lies’ and ‘Save Me’ sound like Southern Harmony-era Black Crowes, and both will hit the sweet spots for anyone with a passion for real rock n roll music.

By the time the bands anthem ‘Soul On Fire’ arrives the audience are already worked up into a rock n roll frenzy and the mass sing-a-long that ensues made me feel quite proud at how far this band had come in the 4 years since first hearing the song in a pub, with no more than 100 people watching, to now having 1000 people singing it back at them. It was one of those heart-stirring moments. With the now fail safe encore of the gospel-blues rocker ‘Southern Belle’ and Rod Stewart’s ‘I’m Losin’ You’ the bands evening finishes on a massive high with an enthusiastic London crowd baying for more. With a new album on the horizon in 2012 the future is looking  very bright for these London starlets. If you want to see a band playing 60′s and 70s influenced party Rock n Roll with healthy doses of soul and blues then there is no better band in the country right now.

Link to my previous article on Saint Jude with full album review here: http://fyferant.wordpress.com/2011/03/09/why-i-love-saint-jude/

At this current time there is not a better independent record label in the UK than Bella Union. Over the years the sheer number of artists that have emerged from their warm bosom with staggeringly beautiful albums has been nothing short of remarkable. Affording artists from a wide variety of genres the freedom to express themselves as they wish has been refreshing, and the results of such freedom of expression have often been some of the best independent music released in the UK for the last few years. The roll-call of artists that are currently fostered by the label read like a who’s who in the indie, folk, alternative pop, and singer/songwriter world. The likes of The Low Anthem, Fleet Foxes, John Grant, Laura Veirs, The Kissaway Trail, Explosions In The Sky, and Midlake have all released some of the most successful and widely revered independent albums in the last 5 years. This has been backed up by their inclusions in numerous end of year album lists, that are shoved in our faces around this time each year by every music publication going. Lanterns On The Lake are another band that are keeping Bella Unions stellar reputation at the forefront of the British Independent music scene with the release of their first full length album ‘Gracious Tide, Take Me Home’.

Formed in Newcastle-Upon-Tyne five years ago, their sweepingly orchestral brand of indie-folk is a thing of stunning beauty. Having released two EP’s over the last couple of years in the lead up to this full album release, they gave a good taster as to what was to come on what is a compelling and  beautiful debut.

The album opens with subtle piano and strings, laced with glitchy electronica  beats, as lead singer Hazel Wilde’s spectral voice glides in and out of an increasingly addictive melodic refrain, which builds gradually with glockenspiel, rousing strings, and ghostly voices as ‘Lungs Quicken’ sets the albums wintry tone. As fellow vocalist Adam Sykes appears on second number ‘If I’ve Been Unkind’ the bands wonderful way with emotionally charged musical soundscapes really shines. The strings are prominent as they sweep around pretty acoustic guitars, piano, and mournful vocals, as once again the band are able to gradually build the song up towards the heavens with chiming guitars and stormy percussion. Already you can hear certain elements of Sigur Ros’ epic capabilities within their music, but rather than drawing the music out, they manage to condense it all  into less than 5 minutes.

The album continues to offer spellbinding melodies with ‘Keep On Trying’s’ laid back yet beautiful vocals, against a backdrop of gorgeously atmospheric instrumentation. Guitarist Paul Gregory who oversaw production duties on this album really captures everything perfectly and resists the urge to throw the kitchen sink at the production, instead choosing to gradually build these songs up with deeply woven melodies and reigning everything back in at just the right point. If this is his first time producing, then he may well become a familiar name based on what he has done with this album.

A more sparse arrangement features on ‘Ships In The Rain’ where just Hazel Wilde’s whispering voice features over the faintest of backings from a single violin and ghostly voices, as she sings some of the most affecting lyrics on the album about a sailor lost out at sea. “My body’s an anchor I’m lost to the sea, I look to the stars as the waves cover me, Its a beautiful night to behold, the most beautiful i’ve ever known, Ships in the rain i’ll see you again. “Whistles are blowing, they’re looking for me, like an orchestra playing as I sink to the deep, but this cold black ocean will know that this sailor will never come home, ships in the rain, i’ll see you again”

It is the shortest song on the album lasting only two minutes, yet it is also one of the most memorable and emotionally affecting songs on an album not short on heart-stirring moments.

The more upbeat and poppy sounding ‘A Kingdom’ rushes along over an urgent, shuffling rhythm with joyful violins and country-esque slide guitars, gorgeously drenched in reverb as the band push the button marked “Epic” as the song reaches it rousing finale.

The quality just does not let up as the cinematic  ’The Place We Call Home’ glides over more subtle electronica beats, coupled with a simple glockenspiel and piano refrain, with one of the best string arrangements on the album. This is followed swiftly by the equally impressive ‘Blanket Of Leaves’ as Wilde’s soft vocals effortlessly guide the song as it ebbs and flows.

By this point in the album, if you have been captivated by everything that has come before, the rest of the album carries you along much like the band name suggests. Never has a band name so perfectly captured their sound better than Lanterns On The Lake.

This album is another gem in Bella Union’s increasingly impressive stockpile. It is not an album that you can  just have playing in the background whilst doing the cooking or housework. It is an album to immerse yourself into in a quiet room, giving it your full attention and just letting the music wash over you with a good set of headphones or a decent sound system. Do not even think about listening to it on a laptop! With each listen it reveals more and more moments of brilliance, and it is a perfect winter album for listening to in front of an open fire, yet equally at home listening whilst trudging through fields of snow on a bright winters morning.  A truly spellbinding  album, that needs to be heard.

The Thorns were a coming together of 3 successful singer/songwriters; Matthew Sweet, Shawn Mullins, and Pete Droge who produced one superb album in 2003 before disbanding and carrying on with their respective solo careers. Each artist had varying levels of success as solo artists but all were very well thought of within the songwriting community. The most well known of the three in the UK was Mullins due to his song ‘Lullaby’ being a surprise radio hit in the late-nineties. When they all decided to join forces, they set out to produce an album that evoked all the best elements of the late 60s and early 70s west coast music scene. The most obvious reference points were the likes ofCrosby, Stills, and Nash, The Eagles, and James Taylor but they managed to rubberstamp their songs with their own unique blend of harmonies and instrumentation.

For a band of songwriters so used to working solo, the results of this union were incredible. 12 beautifully accessible compositions and one cover version flowed brilliantly together, and was an extremely rewarding listen for anybody who managed to stumble across this album upon its release.

The albums lead single ‘Runaway Feeling’ thrusts the bands influences to the forefront of proceedings, marrying the pretty, sun-kissed, acoustic melodies of James Taylor with wonderful CS&N three part harmonies and a chorus so infectious you will be humming it for days after hearing it.

Runaway Feeling (Live Acoustic Version)

As the album progresses the strength of the songwriting becomes more and more apparent along with Brendan O’Brien’s lush production. O’Brien is one of my favourite producers of all time with a wide variety of albums under his belt by the likes of Pearl Jam, Springsteen, Train, Mastadon, Rage Against The Machine, and The Black Crowes as well as solo albums by both Matthew Sweet and Pete Droge. But his work on this album is probably his best, also contributing as a musician during the recording process.

‘I Can’t Remember’ is a laid back acoustic stroll reminiscent of mid period Eagles while ‘Now I Know’ is driven by a ukulele and bright keyboards with the three voices blending beautifully together. This is closely followed by ‘Dragonfly’ which will have fans of Crosby Stills &Nash’s more brooding moments salivating for more.

The albums most stunning moment comes in the form of ‘No Blue Sky’ filled with chiming guitars, melancholic melodies, and a sweeping string arrangement that packs the same sort of emotional punch as Train’s ‘Drops Of Jupiter’. The fact that O’Brien was at the production helm for that album too shows how adept he is at producing this sort of heart stirring, string laden music.

The cover of The Jayhawks song ‘Blue’ is an inspired choice and the songs natural melody and arrangement is almost tailor-made for a band such as The Thorns. They show their more powerful side with ‘I Set The World On Fire’ with its anthemic chorus, big guitar crashes and uplifting Eagles-esque vocals.

One thing I remember thinking to myself at the time of hearing this album was that I would love to hear all the songs in purely acoustic form. Luckily the band had foreseen this line of thinking and a few months later released the Deluxe version of the album, with a bonus disc of the whole album performed acoustically. This version of the album not only got the heart of the songs across even more, but also showed off the bands exceptional harmonies in their rawest form. The acoustic album was recorded live in the studio and had a more rootsy feel to it when stripped down. When listening back to it now, the more folk elements to their song writing are very much apparent, sounding like the spiritual forefathers of Fleet Foxes. The arrangements of the songs were changed to suit the acoustic environment and a few of them sounded even better for it. ‘Now I Know’ is even more sparse than the original, with a single ukulele and the three voices that are so clear you can hear every quiver and every breath by each member as they almost whisper their way through the song. It is at these moments that the Fleet Foxes comparison is at its most obvious. The acoustic setting also brings to life ‘I Told You’ where the bendy, fretless bass work is a great compliment to the three voices in one of the albums most memorable and hummable tunes.

The acoustic version of philosophical album closer ‘Among The Living’ is truly spellbinding, with mandolins intertwining with acoustic guitars and fretless bass, and the vocals are magnificent, full of emotion and showing just how well matched the three voices are. Simply put, if you are looking to seek out this album, you simply have to get the expanded version.

It is a frustration that Sweet, Mullins, and Droge have chosen not to reconvene and record another album under The Thorns name. Particularly given the renaissance this acoustic scene has gone through over the 5 years or so. While their style may well be rooted in the West Coast of America from the late 60s and early 70s, when it first came out in 2002 it was refreshing to hear that people were still writing music such as this, staying to true to the songwriting values of the era. If you are a fan of any of the above, this album will be impossible not to love.

No Blue Sky (Album Version)

Every once in a while a band comes along that completely blow you off your feet. Young Heart Attack were one such band when they arrived on the scene in 2004 in the midst of the glorious whirlwind of nostalgia surrounding rock music at the time. While the likes of The Strokes heralded the return of indie/alternative guitar music to the masses in 2001, The Datsuns and The Hives heralded the revival of the vintage garage rock sounds of the late 60s and early 70s in 2002. That in turn also led into a frenzy of Classic Rock influenced bands emerging from the wilderness and into the limelight, as a genre that had been impossibly uncool for a number of years, suddenly became in vogue again. Before long the high street was saturated with “Vintage” band t-shirts, spearheaded by celebrities sporting said fashion, explaining how they had always loved The Ramones, MC5, Motorhead and Thin Lizzy when questioned on their attire.

Not that I was complaining at this sudden resurgence in a genre of music I held so close to my heart. Not having to whisper about the bands I liked to save ridicule was a welcome relief. What made it all the more exciting was the fact that it wasn’t the old bands that were leading the charge. It was groups of young musicians who were in their early 20s like myself, who had grown up with their dads record collections which had inspired them to form their own bands. In amongst all of these bands were Young Heart Attack from Austin, Texas. And they were really rather good indeed.

Their debut album ‘Mouthful Of Love’ was released on XL records in the UK in 2004 and was rapturously received by the UK music press. The band blended high energy Rock n Roll with huge musical hooks you could hang your hat on. The Boy/Girl co- vocalists of Chris Hodge and Jennifer Stephens really made them stand out from the pack at the time, with Stephens fast becoming something of a pin-up in rock circles.

Along with Hodge also playing guitar they were backed by a phenomenally powerful band containing Chris “Frenchie” Smith on guitar, Stephen T. Hall on Bass, and Joey Shuffield on drums. Their enthusiasm and rock n roll spirit was infectious and impossible to ignore. The title track and album opener ‘Mouthful Of Love’ opens at breakneck speed full of the rawness of Bon Scott era AC/DC and high octane guitar riffs, decorated with flourishes of Hammond Organ. Hodge and Stephens trade vocals on what is a phenomenal opening.

Better is to come with ‘Starlight’ which marries The Who’s stabbing guitars and ‘Won’t Get Fooled Again’ influenced keyboards with one of the most glorious choruses you are ever likely to hear on a rock album this side of the new millennium. Stephens singing “I’m Alive!” over and over again as Hodge punctuates the lines with “Starlight you burn so bright!” shows just how brilliant the co-lead vocals work between them.

The pace does not let up as El Camino gives a heavy dose of southern rock boogie-punk with an atmospheric, woozy mid-section breakdown, along with Tommy Shots with its blistering fretwork from Chris “Frenchie” Smith. The album takes a breather at the mid point with ‘Take Me Back Mary Jane’ that sounds like it could be one of the laid back, front porch blues numbers that Jack White prolifically knocked out during The White Stripes early days.

‘To The Teeth’ raises the pace and volume up to 11 again with its ‘Communication Breakdown’ riff and punky delivery which segues directly into ‘Sick Of Doing Time’, full of uplifting “Hey, Hey, Heys” and fast, frentic guitars. As the album comes towards its end the high quality and consistency continues with ‘Over And Over’ with its exceptional breakdown and rebuild that sounds tailor-made for massive outdoor shows, and is one of the most powerful songs on the album. The album closes with ‘Misty Rowe’ which could almost be a signature song and probably encapsulates all that is great about the band in four and a half glorious minutes of balls out rock n roll with its thundering riff and the great vocal interplay between Hodge and Stephens.

Young Heart Attack – Misty Rowe (Music Video)

As an album it still remains one of my favourites released post-millenium. As with so many bands, label problems prevented them from capitalising on their initial success and after many struggles finally managed to get their second album ‘Rock And Awe’ recorded and released in 2007. While it had its moments, the title track in particular, overall it lacked that spark and fire that their debut had in abundance. For me I prefer to remember them for how they were in 2004 when their raw energy and spirit contributed to them writing a classic, high energy, rock n roll record that married all the best elements of the genre and condensed them into 34 rocket fuelled minutes.

F*cked Up hail from Toronto, Canada and specialise in forward thinking Hardcore and Punk that push the boundaries of what are fairly limited genres in terms of their scope for musical progression and experimentation.

My first introduction to them was when their song ‘Son The Father’ opened up Series 3 of Skins in theUKin 2008. The song (which was very nearly the subject of this piece) was a fantastic piece of work coming from an equally impressive album ‘The Chemistry Of Common Life’ that was critically acclaimed the world over and won the Polaris Prize in 2009. It showed a band with ambition to be something a bit more than an underground concern. They had a knack with writing killer hooks for their raging and powerful songs as well as a meticulous attention to detail that was demonstrated by their layers and layers of guitar overdubs and subtle flecks of added instrumentation.

This year they released ‘David Comes To Life’ their third studio album and fulfilled their potential for the epic by delivering an 18 song rock opera, pushing the boundaries of their hardcore roots but never losing the qualities that had earned them a solid, loyal fanbase over the previous 10 years. It is a complex storyline about love, death, and redemption, but with frontman Damien ‘Pinkeye’ Abrahams screaming vocals it is difficult to decipher what is being sung about without the aid of a the lyrics in front of you. This does not detract from the enjoyment of the all out guitar assault of the album, driven by huge melodies and feeling rather joyous throughout. None more so than on album highlight ‘Queen Of Hearts’.

The frantic high pitched riffing introduces thundering, rolling drums that kickstart the songs descending guitar frenzy. The guitars are loud and in your face but also very listenable. Through the wall of noise you can hear each guitar part adding its own flavour to the song with Abrahams trademark sandpaper scream giving the song its hardcore edge. The songs chorus see’s the introduction of female vocalist Madeline Follin who plays the part of Veronica throughout the album and offers a soothing alternative to Abrahams ear shredding style.

The songs fantastic instrumentation is what really sets it apart. The guitars are drenched in soaring effects and as the song really hits its stride, the guitars take the simple chiming hook and run with it, like a train gaining momentum, until the songs end. It is commanding stuff.

Abrahams does have a love it or hate it voice, and many just won’t be able to get past that if you do not like his particular vocal style, but if you like what you hear then the other 17 songs on the album will also be an absolute joy for you to listen to. This song and its parent album are a wonderful example of the heights that bands from these genre’s can reach should they so wish. Where they go from here is unclear, but if they strip back their sound in the future, they at least have made a forward thinking, experimental album that many others would not have been brave enough to try.

DO NOT INSULT THE MUSIC BY LISTENING THROUGH LAPTOP SPEAKERS! I simply cannot stress this enough. There is no possible way you can judge this song (or music in general for that matter) through such an outlet. For the layers and intricate detail that the band have employed it is only fair that it is listened to in the way it should through a decent sound system or top end headphones. When I listened to this song on the laptop it sounds empty and hollow, do yourself a favour and plug in a decent sound system and listen as loud as you can!!

Formed in the salubrious surroundings of Wigan in the late 90s, Witness channelled the spirit of bands that they admired from across the Atlantic over the course of two albums before disappearing off the face of the musical landscape in 2004.

A great shame as both their debut ‘Before The Calm’ and its subsequent follow up ‘Under A Sun’ were brilliant records. The former received widespread acclaim upon its release and garnered extra attention due to the band being good friends with The Verve’s Nick McCabe. For all the acclaim and admiration from the UK ’s indie rock press, it was their follow up in 2001 that the band really found their true voice and delivered an album in thrall to the likes of R.E.M and widescreen Americana . Lead singer Gerard Starkie’s voice successfully married both Michael Stipe’s earnestness and the emotional delivery of Counting Crows’ Adam Duritz. The bands authentic sound made for a wonderful aural experience but also became one of the noughties first great lost records.

What had first sparked my interest in the band was album opener ‘Here’s One For You’ which had featured during the end credits of American Pie 2. Its chiming opening guitar lines that gave way to an addictive vocal hook and harmony vocals, before driving, powerful drums introduced a slide guitar feast that coupled honky tonk swagger with an uplifting, anthemic chorus. The song is so deep rooted in American aesthetics it came as a massive surprise when purchasing the album that they were in fact a UK band from the North West .

While ‘Here’s One For You’ still remains probably the strongest song on the record, its not to say that you feel the rest of the album falls short either. Each song buries its way into your sub-conscious and with each listen become more and more of a delight. What I have always said about this album is that it was probably the biggest “Grower” in my record collection at the time. The album unfurled more and more layers of brilliance the more I listened to it. Not that the band made it difficult to like, nor did they throw the kitchen sink at the production making it hard to penetrate. What was apparent from the word go was the bands excellent song craft, and I found myself becoming more fascinated with the songs the more I listened to them and took me a number of months to truly value what a fabulous collection of songs these are.

‘You Are All My Invention’ catches you off guard after such a thrilling opening with its hushed guitars, intertwining with piano and gentle drums. Starkie showcases his Automatic For The People-era Stipe vocals, revealing a great range as the songs verse glides effortlessly before the bands more upbeat delivery of the chorus. Its simple Americana leanings help set the tone for the album, but with each song comes a distinctive hook that keeps the listeners interest throughout.

The albums wonderful title track and the sublime ‘Closing Up’ stay true to the bands love of great American songwriting that would appeal to fans of Wilco and The Gin Blossoms, along with the country-tinged ‘Till The Morning’ with its laid back harmonica and pedal steel guitar.

The band shows their pop sensibilities with the absolutely stunning ‘My Time Alone’. Three minutes of glorious, uplifting, power-pop with big production, and wall of noise guitars that soar skywards. Taking influence from the likes of Big Star and turning out a tune that the likes of power-pop maestro Brendan Benson would be proud of. It gives the album an injection of energy at the mid-album point where so many albums start to sag.

‘A Warning Sign’ contains stabbing acoustic lines and dark and moody keyboards that power along an offbeat tempo that are in stark contrast to ‘My Time Alone’ and its overwhelmingly joyous feel. The swing in mood and feel with each passing song continues with ‘Mines’ providing a short blast of pretty acoustic indie that builds to a great finale, while the more moody atmosphere surrounding ‘So Here Be Well Again’ has elements of folk-balladry that you can imagine being sung 100 years ago if stripped back from its epic, indie-rock arrangement.

The album now 10 years old has aged very well indeed. A huge amount of bands emerged around the time Witness chose to call it a day in 2004 who were not only championing this type of music, but made a stand for its more widespread acceptance that has continued to this day with the likes of The Avett Brothers, Band Of Horses and Delta Spirit all continuing what was so apparent on this album; great musicians, writing great music, played with heartfelt honesty and a passionate intensity. This album is worthy of discovery.

When I first heard word of Pearl Jam 20 coming out this year it instantly became an event I approached with the eagerness of a teeny-bopper waiting outside a venue for the subject of their desires to make an appearance, but also slight trepidation given the pedestal I would inevitably put the film upon before even watching it. A two-hour documentary, directed by none other than Cameron Crowe of ‘Almost Famous’ fame, compiling hundreds of hours of footage captured from the Seattle bands 20 year career and featuring interviews with the band, new and old, along with previously unseen performances made me drool from the outset, and after seeing it I was not disappointed.

Pearl Jam are a band I have had a strange relationship with over the years. Initially completely falling in love with them when their debut album ‘Ten’ came out in 1991 when the grunge movement exploded with the release of that album along with Nirvana’s ‘Nevermind’, I always found myself gravitating towards ‘Ten’ more often than I did for ‘Nevermind’. I loved both bands equally and didn’t fall into the trap of having to choose between the two like many others felt they had to. But there was just something about that album that just connected for me. Come the late 90s I had become more of a spectator rather than a fan, still well aware of the material they were putting out along with their battle with Ticketmaster, being Neil Young’s backing band for an album and tour, and releasing tons of live shows in an attempt to beat the bootleggers. But I found myself drifting away and the odd song I was hearing was not really doing it for me. I always had a lot of respect for them though throughout it all. It wasn’t until their retrospective best of came out in 2006 that I truly rediscovered everything that the band was about and found myself embracing a huge amount of music from their back catalogue that I had been ignorant to for the best part of 10 years. Since then I have found myself acting like teenage girl whenever their name is mentioned. The fact that in 2009 they released a superb album in the form of ‘Backspacer’ just heightened my enthusiasm for this band.

What Cameron Crowe manages to do with this film is make the Pearl Jam story interesting and accessible for those who may not even know the band beyond the song ‘Alive’, but really it is very much aiming for the audience who have stuck with the band for the last 20 years, and is in essence a celebration of their career up to this point. It does help that Crowe is friend as well being a massive fan of the bands music, meaning you get an insight into the bands inner world that any other film maker probably wouldn’t get near to given the bands reclusive nature.

Without doubt the first hour of the film is the most compelling. Showing the band forming from the ashes of Mother Love Bone, whose lead singer Andrew Brown tragically died before they hit the big time. The effect this event had on the band members and those around them still has a very obvious effect on them even to this day. The film is very much an internal affair with the new interviews consisting solely of the band and Soundgarden’s Chris Cornell. It documents the arrival of Eddie Vedder to the band against a backdrop of the young singer surfing and playing acoustic guitar around a camp fire, and his initial nervousness that is shown in some unseen footage of only their second live performance. It shows the frontman staring at the floor, swaying from side to side, looking like he would rather be anywhere else but there. Tracking the young singers confidence as a singer and front man is brilliantly put together, with footage of a key gig in which Vedder, getting increasingly irate at an over zealous security team and their handling of the bands fans, starts singing with an intensity not seen before that point, aiming his venom at the security team in front of the stage. You can see bass player Jeff Ahmet visibly feeling the change in his singer and nodding as if to say “THIS is what we have needed”. From then on Vedder never looks back and turns into the frontman who is so well known from those “rig-climbing” first few years as the band hit superstardom.

The bands relationship with Nirvana and in particular Kurt Cobain is extremely interesting, initially painting Cobain as a rather shallow individual, insulting the band in interviews and acting like a member of Pearl Jam has just shat in his porridge! This quickly turns around with some rather touching footage of Cobain and Vedder slow dancing backstage at the MTV video Music awards in 1992 and Cobain’s admission that since getting to know Eddie Vedder their relationship was very good. The first half of the film concludes with the band talking deeply about the effect Cobain’s suicide had on them personally and as a band, along with footage taken at a Pearl Jam gig the night Cobain died and Vedder paying tribute to him.

The second half of the film focuses mainly on the mid-period when the band were at war with Ticketmaster and their seeming Monopoly on gig tickets and ripping off fans. What has to admired, whether you are a fan of the band or not, is how the band have resolutely stuck to their guns and stood up for what they believe is right. Going to war with Ticketmaster was a disaster career wise in terms of their progression, but they stuck to their principles and rode it out to the other side and watching the footage of the case hearing, you can’t help but feel for Stone Gossard and Jeff Ahmet as they explained their reasoning and why they feel so strongly about the issue.

The collaboration with Neil Young also proved to be an inspired move, giving the band a release from what they had become at that point and injecting new life into the band, not just musically but also with the personal wisdom he bestowed upon them.

As the turn of the century passed the band appeared to be turning the corner but then came tragedy as their appearance at that years Roskilde Festival saw a crowd surge that killed 9 people and seriously injured many others. The footage shown of Vedder on the big screen at the festival on his knees weeping is one of the most poignant of the whole film.

The final few years are pretty much brushed over, but that is not to say that it is any less entertaining. Throughout the film all the band members come across as extremely likeable, even the painfully shy Vedder, but guitarists Stone Gossard and Mike McCreedy are affable and very honest in their views, while Jeff Ahmet has a youthful air about him and the way he speaks. It is obvious how much they mean to each other with a teary Vedder welling up when talking about when he met Ahmet when he first came to Seattle. Not only that, but the film really shows what a great band they are. It is easy to forget how good a guitarist Mike McCreedy is and Chris Cornell’s description of him, and McCreedy’s reaction to that is hilarious. They even have their Spinal Tap moment as they discuss the many drummers they have had of the last 20 years!

Some of the live footage used throughout is stunning. Whether that is from some of their earliest shows or the more recent tours. In particular a rendition of ‘Betterman’ in NYC in 2010 is spine-tingling. Being in a cinema with a great sound system really brings these gigs to life and the warmth between band and audience can really be felt.

As my fairly neutral friend pointed out when we left the cinema, it did come across like a slightly longer episode of Behind The Music, and to a point I would agree, but just watching the film from the off you can tell how painstaking it must have been to put all these little pieces of footage together as well as finding a narrative that flows well. It is this point where such an esteemed director such a Cameron Crowe comes into his own. It does help that he is first and foremost a fan of the band and that really comes across in the finished product. There was no point during the 2 hours that I thought “This is dragging a bit” and he pretty much gets it spot on.

In hindsight I was always going to love this film. Watching music films and documentaries is one of the bedrocks of why I am into music so much, and I could quite easily spend an entire weekend doing just that. This filmed surpassed everything I was hoping it would be and the seemingly effortless way Crowe had put it together shows what a great combination his directing, the band and their music make. What it also does is really value what Pearl Jam have achieved as band over the last 20 years, how they have always stayed true to themselves and what they believe in, as well as still creating great rock music to this day. Eddie Vedders voice has transformed from its angry growl of the early 90s to a more rounded, honey soaked roar that warms the soul, and the band have never sounded better than they do in 2011.

It is a fascinating document that would be impossible for any fan of the band not to enjoy, but equally it should be enjoyed by anyone who claims to take music seriously, no matter what genre they happen to be into, because in essence Pearl Jam show that they hold all the qualities that we as music fans want our idols to possess. Talent, sincerity, longevity, being true to themselves as artists, and a feeling that both themselves and their fans are all moving in the right direction together. For that alone this film is worthy of watching, as Pearl Jam have all those qualities in spades.