Phil Thornalley - Now That I Have Your Attention

 

I have a massive admiration for Andrew Campbell's Lojinx label. The British label's roster has mirrored the artists that I have listened to over the past three decades plus and became a sort of British Not Lame. He also cares about the artists. Visit the Lojinx site and you will find that every release is never just thrown out. Albums are linked to places to find out more about the musicians with a potted history. If only all labels cared so much about their releases.

Astral Drive have been on the label since 2017 and Astral Drive is Phil Thornalley. Now he releases an album under his known name. Thornalley is a musician, producer and songwriter. He has worked with many artists that would surprise you including XTC, Prefab Sprout and The Cure. He also co-wrote one of the finest songs ever with Torn. So what should you expect from his solo offering?

Well, if you are waiting for the next album from Jeff Lynne's ELO, this may ease your wait. Thornalley openly acknowledges that he wanted the production to sound like a Jeff Lynne production and that it does. When strings are added, songs sound very late 70s ELO and the arrangements are very Louis Clark. At other times it sounds very solo Lynne, particularly in comparison to Armchair Theatre. 

More than anything else, there seems a direct connection to The Travelling Wilburys. A Dylan mouth organ here, a Harrison solo there and on more than one occasion, a vocal that sounds uncannily Tom Petty. None of this detracts from the sheer fun of the album, Pop Rock of the highest order with the emphasis on Pop. 

Heaven In A Hash Pipe could appear on Discovery. Hell Bent On Compromise is in Iain Hornal territory with a wonderfully witty lyrical sentiment. Fast Car could be the original ELO themselves and has a splendid arrangement. I'm reminded a lot of the Secret Messages album, a release much maligned at the time, but over recent years, I have realised its excellence. 

Both Big Plans and Stand By Love are very very Petty like. Away from the Lynne comparisons, Bluer Than A Bluebird is a magnificent melancholic ballad, but the album is at its very best when the Pop |rings out. One Night In America has so many hooks and a chorus to die for. However the standout song is the joyous Solid Gold Sunshine. 

That song is full on 1974. Glam Rock at its heart and incredibly authentic with its stomping drums and handclaps. Background vocal chip ins that are a ringer for Sweet and a great intermittent Lead Guitar. |It may be the best song that Chinn and Chapman didn't write. Now That I Have Your Attention's main plus point is how much fun it is and sounds. Writing Fell Good Pop is one of the hardest things and to do it this well deserves large applause. Highly Recommended!

You can buy the album here and everywhere. You can find out more about the Lojinx label here. You can listen to the album here and all the streaming sites.

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The 23rd Turnoff - Michael Angelo The Complete 1967 Recordings

 

Someone being labelled a lost music genius is something that happens to too many, it is in the eye (or ear) of the beholder. But many of the musicians that you love will cite him as an influence. In Liverpool he is a hero despite never selling that many records. 

My journey to what I write about now was mightily influenced by Campbell and Billy Kinsley via Rockin' Horse and Liverpool Express. I wrote most of what I wanted to say about Jimmy in the review of the wonderful Ex Norwegian Tribute Review. You can read that here and it is an album that most should own, whatever their feelings about Tribute albums.

The 23rd Turnoff was a small chapter in Jimmy's Career, but it is a great example of his development as a songwriter. The band morphed out of The Kirkbys, a Liverpool Merseybeat group that released a few singles, but this was a very different sound.

With Campbell on Lead Vocals and Rhythm Guitar, John Lloyd on Lead Guitar and Vocals, Alby Power on Bass and Kenny Goodlass on Drums, the band only released one single, but what a single it was. However an Acetate was discovered which provided 13 Recordings from the Sessions.

These are now released on Vinyl for the first time with the addition of two more discoveries, one of which is a completely different take of "Another Vincent Van Gogh". Campbell wrote all of the songs which reveal a magnificent gentle take on what was to become a genre of its own.

That one Deram Single release, Michael Angelo remains as wonderful as ever with its magnificent arrangement. Flowers Are Flowering jangles splendidly. I'll Be Around is great Beat Pop with an enchanting with added Psych. 

(Not) A Penny In My Pocket has a real Beatles Pop feel with Scouse Wit and probably explains Campbell's career. Dreaming is a strummer, closer to the Merseybeat of The Kirkbys. Leave Me Here is almost an Indian chant and I'll Be With You is almost a lullaby.

Probably my favourite song by the band is Another Vincent Van Gogh and the newly discovered version is completely different, Psych Pop excellence. The other discovery, Lovely Elisa Cope Is Dead is the other new addition and that is an intriguing "let's do the song right here" with added Mouth Organ.

Having these songs remastered is a particular joy for me and will be for most fans. But they should be listened to by all music fans. They provide both history and great Pop and Think Like A Key has done the greatest service in releasing them on vinyl, a format that they should always be listened to on.

You can pre order the album here and listen to four of the songs. You can also pre order here.

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Cowboy Curtys - Commotions

 

Proof that I don't know everything, no really honestly, is that I don't know that much Cowboy Curtys. I know that they are led by Josh Parsons who recorded the album with a set of Atalanta musicians, one of whom is Drew Beskin, an IDHAS favourite.

Beskin's 2020 solo album Problematic For The People was in our Best Of Year and remains a favourite. Beskin also co-produces the album with Parsons as well as being a key part of the band. I suspect that this is essentially a solo project and the band name denotes those involved who helped out. I may be wrong and I will find out more.

Commotions, however, is a splendid debut album. Described as Garage-Psych, it is actually a smorgasbord of sounds. There are plenty hints of Country, particularly on the magnificently chaotic, Derailed Train. Yet the Guitar sound is ace and does lean on Psych at times.

Parson's vocal is more like a storytelling talk or drawl and that works beautifully with the material on show. Yet Nantahala has a real twang. Practice Guns has the feel of a Desert Documentary  and could even appear on a Peaky Blinders Soundtrack.

Slow Strange is wonderful Psych. At times the songs sound stream of consciousness like, Jams even, but there is a real cohesive band sound. The Rhythm Section in particular hold everything together, there is some top notch Bass links. 

Cowboy Curtys do get commercial and the Indie Rock that shines out is equally fine. To Be Alone has a real Jangle and a great solo, Double Dang is built around a great riff and the Guitar breaks out big time. In Between is 90s Indie College Rock of the finest order. Don't expect big choruses, but do expect to be intrigued and on repeated listens you realise the depth and quality.

You can listen to the album here and via these links.

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The Prize - Wrong Side Of Town EP

 

After a spell in the doldrums, Power Pop is showing great signs of a revival. A genre that has always been about great hooks and choruses and predominantly Fun had become uncool, not that it ever necessarily really wanted to be. 

The Facebook Groups didn't help with constant arguments about what is and isn't Power Pop and constant comparisons to the past that denigrated anything new. David Bash still flies the flag with his IPO Festival, but largely there is a real sadness in the way long established supporters stepped away from what is a wonderful sound.

Led initially by the likes of The Speedways and reinforced by the success of The Airport 77's debut album and many more breakthroughs one thing was needed to round the revival off. That was discovering a younger audience and The Prize could very well be the answer.

The Melbourne five piece offer up twin vocals, twin guitars, big riffs, join in choruses and an up and at 'em style that will especially appeal to live audiences. As well as offering youth, they offer a fine take on what has gone before, but put their own stamp on it.

It is fair to say that the two lead singles have further increased anticipation for the EP release and here it is. The sound is a mix of Power Pop, Ramones style pace and the UK New Wave of the late 70's. Australia wise, the riffs and readiness of The Nerves and the guitar sound and solos of DM3.

The title track is a wonderful example of how splendid the UK New Wave was, mixing melody with urgency and even sounding a little Thin Lizzy on the solo. Easy Way Out is even faster and just as great with a wonderful wall of sound Guitar solo.

The biggest surprise was the cover of Nuneaton's The Kidda Band's Fighting My Way Back, a 7 inch original single that I still own as well as the reissue of their debut album. It is a song that suits The Prize brilliantly with its hypnotic riff and allows them to underline what a great EP this is. Hopefully, an album will follow in the near future.

You can listen to and buy the EP here.

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I Don't Hear A Single Is Considering Expanding

 

I Don't Hear A Single is considering Branching Out. I have long been frustrated with the way new artists are treated promotion wise and wanted to do something about it. I've helped out with occasional artists and its been fairly successful as a favour and of course I help out at Big Stir. But I have a limited amount of time spare with real life work and I Don't Hear A Single as it is grows and grows.

Too many artists use pluggers and promoters who just use a scattergun approach to and think success is getting plays on the many Internet Radio Stations around. I have a lot of contacts and goodwill and would like to utilise this. Artists would be carefully selected so I know that I would be able to make a difference and I wouldn't be dealing with loads of them, again it would be quality rather than quantity.

I may have to make a small charge to be able to make it work financially, but that will be subsidised and as little as possible. Artists would not get a list of 100 stations that I had emailed, it would be targeted and look to build an artist's profile and reach and finances. 

This is all partly in progress, but I do need help and have recently submitted an Arts Council Grant for funding and the reaction to this has been really positive. But that could be used only for UK artists and so I need to look at funding of non UK artists. 

I also need to make the time for this as I have no plans of ending I Don't Hear A Single in its current form, why would I?, it does what it has always intended to do. I would open this up as a stand alone sister site to IDHAS and artists promoted would not be reviewed on I Don't Hear A Single to keep that independent and as free as always.

Like most musicians, I have a real life job, but I am at an age where I can move to 4 days a week and eventually to 3. However if there are like minded individuals, companies or labels who would like to sponsor the new place, contribute or provide other support, I would love to talk to you.

I have been asked many times if IDHAS could be sponsored or take adverts. I have always said and continue to say No. It is essential that the Review Blog stays independent and there is nothing more irritating than constant pop up ads.

The aim is for the promotion part to eventually become a label and that has always been my wish. I am forever on the side of the musician and have only retired my soapboxing over the past year because I felt people had stopped listening because it always seem to be me without backup.

The idea is beyond the planning state and now on the funding and business plan road. It may not happen if I can't make it work financially. But it will start in some form, even if it is me just working with a few artists free of charge as time allows.

More Details as this progresses or proves unsuccessful as time moves on.

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Blake - The Book On Love

 

Blake is the solo project of Julian Pugsley and The Book On Love takes his appeal even further. Possessor of a vocal that is very close to Al Stewart, particularly on a song like Until Tomorrow, where the likeness is uncanny. 

That has led to Folk Pop Rock comparisons in the past which, while partially accurate, haven't acknowledged the true scope of his talent. His material is a mix of the Retro and the poppiest of the poppy of the Indy 80s, particularly the best of the Glasgow scene.

This album demonstrates that scope more so than ever. Blue Star and Walking Away demonstrate Blake's excellence with something Folk tinged, but this is a small part of what he does and thus contained here. The latter even breaks out into an ace Psych Pop Guitar Solo.

The real key point to note is how wonderful the arrangements are. They take on unusual directions with unexpected interruptions evoking memories of the past, but also offer a unique take that so many lack. This is the real strength of the album, enhancing great songs to an even greater level. 

When the album lets loose, it excels even more. Lost Ground is a superb example. It is almost Anton Barbeau and is prime time Pop Rock. Happy is even a little Lloyd Cole, although far more chipper. Penelope Please is great Jangle Pop and The Circle has a fine Twang as well as probably the best arrangement and instrumentation on show. 

My own regret is that I took three months getting round to reviewing this. There seems to have been a lack of great song writing lately. Concentrating too much on the lyrics maybe at the expense of the song? The Book Of Love is ace and another Subjangle Triumph. 

You can listen to and buy the album here.

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Cadet Carter - Anthems For The Weak

 

Anthems For The Weak contains some great Power Pop. Yet if you read any reviews, they will all tell you that they are a Pop Punk band and compare them to the likes of Blink 182. Now I love Pop Punk, but my generation tend to think the genre is all robotic shouty vocals. Some of it is, a lot of it is not and this certainly isn't. It is fine melodic Guitar Pop.

Cadet Carter are Berlin Based and consist of Welsh Frontman and Guitarist Nick Sauter, Guitarist John Bauer, Bassist Passy Theisen, who are both Bavarian and Hungarian Drummer Benny Paska. They specialise in riff driven, Indie Guitar Driven Melodic Pop.

Choruses are big, Riffs are plentiful, solos are ace and never overdone and they are at their best when the pace is fast. This, the band's third album is extremely good at what they do. When they rock out a bit, I think of Feeder, particularly on Strangeways.

When they do get a bit shouty on Break Away, the feel gets a bit more Indie Rock and dare I say it, Pop Punk. You do get the sense that Cadet Carter are breaking through to a wider melodic album, but don't want to leave their roots behind. With a song as up and at 'em as this, you don't want them to lose their past.

But it is the Guitar Pop that grabs you most, it is anthemic and feel good. In The Clear is a little bit like a Grown Up Busted and A Million Times is based on a killer riff with a verse that wants to lead you gently to a massive chorus. 

The Best Part is great UK New Wave and Blinding City Lights is another big big Chorus. Theisen and Paskin hold everything together as a splendid Rhythm Section, ensuring that songs are fully formed. All in all, a really impressive album that should reach a much bigger audience than people want to aim it at.

You can listen to and buy the album here and also here.

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