The Locker Room Cowboys - Into the Silence

 

Not satisfied with one release this year with the Locker Room Cowboys outstanding  début album 'The Future Came and Stole Our Dreams', the west country's Bassist Supreme Andy Budge has already dropped the band's second album release 'Into the Silence'... and, it's something very different in theme and feel to the former. Well, beyond that, as with the bands previous album, there's a nice 80's flavour and aesthetic running through many of the tracks. Notes on Bandcamp tell us that 'Into the Silence' is inspired by Chomolungma (Everest/Goddess Mother of Mountains) 1921 - 1924, with spoken extracts taken from the diary and letters of George Mallory (Mallory was the only climber to be on all 3 British attempts 21' to 24', dying on the third in 1924), and yeah, what a wonderful suit of music. The whole album has a mellow laid back vibe to it, very atmospheric, lovely guitars, and throughout a cinematic quality to the music which perfectly convey the topics of the album and stimulates the mind's eye. Budge is joined again by John Garden, Icarus Peel and Charlie Bateson, accomplished musicians to a man, and, as you'd imagine, the composition, musicianship and delivery are all top draw. I'd love to see this synced with footage of the landscapes and events of the period, I reckon that would really work...koyaanisqatsi type thing. 'Into the Silence' is a fabulous album and I thoroughly recommend you check it out here.  I can't wait to hear in what direction the Locker Room Cowboys will venture next.

The Locker Room Cowboys 'The Future Came and Stole Our Dreams'

The Locker Room Cowboys début album 'The Future Came and Stole Our Dreams' is released today, and it's a truly marvellous creation. I wrote a preview review back in December and everything I wrote then still stands as strong if not stronger after even more listens. If I have one thing to add, it's that time and additional listens have given me a greater respect for the albums lyrical qualities, masterful, man. Buy yourself a copy, it really stands as one of, if not the, best releases you'll hear this year.

The Locker Room Cowboys 'The Future Came and Stole Our Dreams'

The Locker Room Cowboys (TLRC#1 Budge, Curvey, Crystal Jacqueline, Peel & Reyes) appeared on Fruits de Mer's epic 'The Three Seasons' contributing a wonderful re-imagining of The Stones 'We Love You', then swiftly vanished. After that début appearance there were obviously calls for more, an album maybe? A couple of tantalizing short demo pieces followed, then earlier this year the release of their superb début single 'Always Love You' (TLRC#2 Bateson, Budge, Budge, Peel & Reyes). Now this band of musical troubadours, brainchild of West county's bassist supreme Andy Budge, returns with their début album 'The Future Came and Stole Our Dreams' and, man, it's really something rather special. The Band's line up has been augmented for this outing, Budge is quick to emphasize a collective effort drives the band, and what a collective it is: Charlie Bateson (Steepways); Andy Budge (Cary Grace Band, Icarus Peels Acid Reign, Steepways); Evie Budge; John Garden (Scissor Sisters, Alison Moyet, Cary Grace Band); Crystal Jacqueline (Crystal Jacqueline, Honey Pot); Icarus Peel (Honey Pot, Acid Reign) and Victoria Reyes (Honey Pot, Steepways, Cary Grace Band), a stellar line up I'm sure you'd agree. I've had the privilege to give the album a listen(s), and straight off I've got to say, kudos y'all. The 'Future Came and Stole Our Dreams' (inspired title) is a fancy box of aural chocolates made up of some of our favourite centers, of course, if they were chocolate we'd swiftly become Mr Creosote, moreish doesn't do these tracks justice. An interesting mix of influences and styles has created twelve innovative, beautifully crafted, lyrically fluent and sumptuously rendered tracks, every one written and performed faultlessly, with elegant arrangement and production throughout.

The album opens with 'Procession' a short and sober new-wave electronic flavoured track, a stripped down drum and guitar introduction that gets your attention. The mood quickly changes with Oklahoma '33, a slice of the soft 80's tasting electronica/pop that characterized soundtracks of the period, many of the tracks on this album have cinematic qualities to them, it's masterfully crafted with wonderful guitar and appealing backing vocals. That 80's electronica vibe's also present though morphed in the doleful 'Most of you', a moody synth and keys driven number, where the earnestness to Bateson's voice works brilliantly in conjuring the quintessential atmosphere of melancholic indie/electronica. Though I feel the strongest influence running through the core of 'The Future Came and Stole Our Dreams' is a sweet blend of soulful rock, blues rock, and Americana. 'Deep Water' craftily straddles genres, sci-fi electronica bookends a solidly laid back blues rock number with splendid guitar from a Garden and Peel combo, and again lovely backing vocals from Crystal Jacqueline, who appears on several tracks; always a joy to hear.  Then you've got the jaunty upbeat soulful rock flavours of 'Laurel Canyon Comedown', so catchy you're guaranteed to snag your jumper on it, a proper handsome number. Many tracks benefit from Peels capital vocals, which in my opinion have a somewhat Roger Waters-esqueness quality at times. You'll be loving the guitar flavours throughout, each appropriate to the individual track, all impressively delivered and gloriously rich. The whole album has a tremendous richness to it's sound. Half way through the album the unmistakable golden age Floyd-ness of 'Big Yellow Circle' showcases the manifest guitar talents of Icarus Peel, which with perfect slow motion rhythm by Budge and some truly gorgeous keys from Garden create a particularly arresting piece; John Garden's contributions shine across the album (doffing cap). Both single tracks 'Always Love You' and 'Revolutions' are included on the album, slipping in effortlessly with their siblings.  'Always Love You', is a winsome stripped back 60's folk rock-esque number, soothing jangly guitar accompanies Peel's soulful vocals and some lovely backing vocals provided by Bateson and Evie Budge, it's a divine lazy sunny afternoon of a song. 'Revolutions' is a beautifully paced number, Bateson's vocals again compliment the composition and arrangement marvellously, and Victoria Reyes piano is especially delightful. The judicious use of the vocalists is inspired. Awareness of my spiralling word count cows me from enthusing more about every track on the album, so;  be it 'Bordertown's blissful funky bourbon sipping soul, or the emotion loaded 'I'm sure I will', or  the perky strutting of 'Let Me Tell You' drifting into ambiance, all are incredible! In the artisanship of 'The Future Came and Stole Our Dreams' no detail has been overlooked, there's no dead wood or filler, no tracks to skip, every track plays it's part in the album's journey. Until it's 'Goodnight and Goodbye', the perfect final track, a mournful slow rhythm fades the album out with outstanding lead vocals from Peel complimented by outstanding backing vocals from Bateson, pure magic.

What a truly phenomenal début album, that's not hyperbole either, there's definitely something special here. There's nothing not like and so much to love about this multifaceted album, most of all though, you'll love it's originality, Budge et al. have taken contrasting strands and woven something with timeless appeal, it's fantastic. You're immediately invested, drawn in by it's beautiful pace, it's genuinely satisfying listening, packed with catchy tunes, it's got depth enough to immerse yourself, or if circumstances dictate, enjoy in the background, and it's really great listening when driving. The Locker Room Cowboys 'The Future Came and Stole Our Dreams' is ideal for any listening situation, the mark of good music with broad appeal, and it just gets better listening each time. Enough, my clumsy writing doesn't do the magnificence of this album justice, you'll have to hear it for yourself. Budge emphasizes the album's collective nature, and that's clearly evident throughout, though I think he deserves a mention, his prints are on every track, in the writing as well as the music, he also plays an astounding array of instruments across the 12 tracks, obviously proficient on all, and this is his first time arranging, mixing and producing; remember, all this from a bass player! Big up maestro, and again, kudos y'all...honestly impressive. My privilege extended to hearing 4 tracks not on the album, yeah that's right, all sensational. 'The Future Came and Stole Our Dreams' will be released shortly, so keep an eye on The Locker Room Cowboys Bandcamp page, there's also hints of future live performances, which would be most excellent. Be assured, no fear of buyers remorse with this release, guaranteed! 

Cary Grace 'Lady of Turquoise'

Cary Grace (and band) continues to soar, excelling herself (themselves) with the band's latest release, Cary Grace 'Lady of Turquoise', which was released at the end of January in Delux Edition 2x Glass mastered CD's in a mini LP replica  gatefold sleeve or digital download formats. Cary dropped a track a day through the beginning of December to wet our appetites and, man, what an absolutely phenomenal album, thoroughly engaging throughout. Over recent years I've been lucky enough to discover a few artists whose work I love, Cary's one of them; original, innovative and imaginative, she consistently delivers beautifully crafted music, and what she creates is always of the highest standard and quality... be that on single, album or if you really want to experience the full magic, then live, where her performances, and those of the incredible Cary Grace Band, are always mesmerizing. Lady of Turquoise continues in an already well established mould of excellence, although Cary doesn’t rest on her laurels, always looking for opportunities to evolve her sound and raise the bar, and she's certainly achieved that on this release.

Lady of Turquoise is an astonishing album, there's nothing not to like about it, nothing! It's engaging from beginning to end, never dull, no filler, all the tracks show real care and attention paid to their detail, all individual, though all flowing wonderfully to create a cogent whole. Cary's stunning image as Egyptian Goddess Hathor sets the tone, and opening track 'Khepera at the Dawn' perfectly sets atmosphere, together transporting you to the dusty world of a hundred temples rising through the morning haze. That theme is enhanced by Cary's vocal delivery on tracks like 'Letterbox' which conjures ritual invocation, nice acoustic guitar on that one too. A striking feature of Cary's work is her wonderful voice, distinctive and quite quite captivating, and Cary uses her voice to full effect on this album, sometimes sensual, sometimes sombre, sometimes palpably magical, and always powerful and perfectly suited to the narrative and the tracks aesthetic. Like a sirens song Cary's voice draws you into her lyrically eloquent numbers. On 'Afterglow', a gorgeous spoken word number which builds magnificently, at times there's a sort of Patti Smith quality to Cary's delivery, which is cool. When joined by Victoria Reyes on backing vocals on the fantastic 'Without a Trace' it's pure aural bliss, their voices are a perfect combination, creating lovely harmonies, great track. The aesthetic of each track is different, though all 13 remain thematic in feel, many have a sumptuous progressive rock aesthetic woven into their distinctly psychedelic fabric, others elements of folk, rock or pop. Another musical alchemist, Cary has gathered all manner of disparate elements and subtle influences to create something of her own, something emphatically Cary Grace. Cary's not just a talented singer/writer though, no, her talents extend way beyond that, a wizard on synthesizer (her resplendent synth on Lady of Turquoise is testament to that), a multi-instrumentalist who plays all sorts on this album, and on top of that she's an analogue synthesizer builder, artist and crafter of quality.

Cary's gathered a stellar ensemble of musicians together for Lady of Turquoise, there are of course the Cary Grace Band regulars: John Garden, a most excellent guitar player who shows his manifest skills on guitar across the album. I really couldn't single out one particular track on which John shines, because he's refulgent throughout, as well as providing some tidy synth on a couple tracks and even drums on 'Letterbox'. Although, drums are really the domain of David Payne, whether slow tempo or belting it out, David's drumming is the dogs, clean, powerful, consistent, and always right on the money...the engine of the band. Who together with rhythm supremo Andy Budge, one of the psychedelic scenes premier, and much in demand, bass practitioners on bass, provide the solidest of rhythmic foundations for the duration, and they do it in style and verve... a dream team. And, of course, the superb multi-instrumentalist Victoria Reyes on keyboard, organ, and not forgetting wonderful backing vocals on 'Without a Trace'. As if that wasn't enough, the band are joined by a host of prodigious guest artists. You've legendary guitarist Steffe Sharpstrings (Here and Now, Sentient, Gong) who's unmistakable sound shines on 'Khepera at the Dawn', 'Film Noir' and 'Castle of Dreams', there's something blissful to Steffe's peerless ethereal guitar sound, and his distinct talents are employed to glorious affect here. A real treat is 'Castle of Dreams' where you've got Steffe and John together, magnificent, man. Then on 'Without a Trace' and 'Sacrifice' musician, composer and producer Steve Everitt (Eat Static) is enlisted for guitar duty, and is none too shabby, with some particularly nice rock guitar on 'Sacrifice', a track with a nice heavier yet laid back groove to it. Whilst Gong's saxophonist Ian East lays down some wonderfully mournful sax on 'Film Noir', a favourite track of mine, with a brooding theatrical atmosphere to it, which I thought evocative of the 1980 movie Breaking Glass soundtrack. Then you've got Andy Bole (another renowned multi-instrumentalist) who brings a flavour of eastern Mediterranean exotic to 'Costume Jewellery' on the laouto and bouzouki, a track with something of a Doors/Floyd flavour to it, a wonderfully expansive sounding number with 60's/70's sensibilities, an epic track full of drama which builds impressively before a long spacey synth fade out...nice! Also on 'Costume Jewellery' another legend, Graham Clark, brings his extraordinary violin skills to mix and does an absolutely exceptional job, lending a sort of urgency through them, as well as playing guitar on a number of tracks, including the instrumental 'The Land of Two Fields', a short number with a solidly 70's progtastic synth flavour which acts as an tasty entrée, feeding seamlessly into the final and titular track. Lady of Turquoise completes the album on an up beat euphoric note, an energetic synth driven pop psyche joy, with a faint echo of vintage era Hawkwind. Outstanding eh, man! Cary's raised the bar high with this one, what an absolutely sensational album, stunning in every aspect, thoroughly listenable... again and again. An epic album through which Cary's flexed her impressive progressive muscles, and so much more, Lady of Turquoise is a triumph.  There's depth and drama in every one of the 13 faultless tracks, all beautifully crafted and perfectly executed by a decet of accomplished musicians, who’ve ensured every facet of this album is flawless, a glistening gem. The result is an hour and a half of aural rapture, a sublime release. Bravo y'all, and big up Cary, and big up the Cary Grace massive. I'm certain Hathor, being a Goddess of music and dance, would approve. I'd recommend you do yourself a favour and check it out here (whilst your there check out her back catalogue, it's a gold mine)... satisfaction guaranteed. Guaranteed I say!

Crystal Jacqueline @ The King Arthur 24.11.2018

After Icarus Peel's Acid Reign, a short interlude and next up at the Arthur was Crystal Jacqueline.  The Crystal Jacqueline Band tonight was Crystal Jacqueline (vocals), John Wyatt (keyboards), Icarus Peel (guitar), Andy Budge (bass) and Brian Rushbrooke (drums). I was really looking forward to this, I've enjoyed Crystal Jacqueline's voice through my speakers, though to hear sing live was a real treat.  Jacqueline has such a beautiful voice, honeyed and haunting, ethereal yet strong, her sound was dreamlike throughout. Jacqueline's got great stage presence too, she didn't just capture your ears, she demanded you attention, and justifiably so, she's a fabulous performer. She was supported by an ensemble of pure class. On keyboards was John Wyatt, who looked thoroughly laid back throughout, though that didn't stop him delivering some nice keyboard work, lovely sounds. If you've read my last post, this next section is going to read somewhat familiar. Well, what was I to do, same musicians, same night, still playing magnificently, only difference...stylee. I've previously remarked on Peel's lovely guitar style, his natural symbiosis with his guitar and in this manifestation we saw new dimensions to it. Still exquisitely picking as he works the frets, conjuring those magical riffs, and crafting sweet flourishes, though now infused with beautiful psychedelic prog flavours. What an outstanding guitarist. Brian Rushbrooke continued to deliver formidable drumming, beautifully paced with great resonance and depth, more of that really nice clean drum sound. Lovely. Ubiquitous psyche bassist Andy brought his trademark, full toned, rich, deep and resonant bass to the progressive arena. Still cucumber cool, the master bass practitioner's neutronium fingers continued to pick out some sweet licks and riffs. What struck me about these three was how versatile they are, and how effortless their transition from power trio to prog trio. All the musicians played their parts to perfection, and the whole set was a feast of gloriously progtastic flavoured psychedelic tunes wonderfully performed by the best of musicians, and we the audience filled our boots. At one point the power failed and the room was enveloped in darkness, there was running about and fussing, but not from Jacqueline who simply continued singing, the sound soon returned and the performance went on. The audience loved every minute of it, and why wouldn't they, it was flippin ace! As I'm ever heard to remark, it was over all too soon, to rapturous applause. Really lovely stuff, man. A huge thanks to the band for such a wonderful performance, loved it. As always, big up the Arthur for putting on these evenings, to the friendly patrons who shuffle and cavort in gay a'bandon, and to my friend for driving...I heartily thank y'all. And check this out!

Icarus Peel's Acid Reign @ The King Arthur 24.11.2018

And here we are again, in the west country's Albert Hall, venue of quality and distinction...The King Arthur. Our musical landscape would be greatly diminished if it weren't for the efforts of the King Arthur to consistently put on wonderful evenings of top draw bands. Tonight was particularly exciting for me as we were seeing two bands I've never seen perform. Exciting stuff! First up was Icarus Peel's Acid Reign, a band who showed perfectly that you still can't beat the beauty and pure power of a trio of first class seasoned musicians playing blistering rock. I don't think it'll ever be surpassed.  Icarus and chums delivered blistering blues infused psychedelic rock with an element of late 60's sensibility, and they did it with gusto. Icarus Peel has a lovely guitar style, he makes it look a natural symbiosis, man and guitar, exquisitely picking as he works the frets, conjuring magical riffs, sweet flourishes and a well deployed whammy, made for some masterful guitar work. He's certainly in his element. What an outstanding guitarist, Icarus looked like he was having of fun too, a lot of smiles... always good see musicians enjoying themselves. Behind him, in the boiler room of the band, Brian Rushbrooke on drums, drums are a bands engine, and Brian made it look effortless (which of course it can't be, far from it), as he delivered some formidable drumming, beautifully paced with great resonance and depth, a really nice clean sound. Lovely. On Bass Andy Budge.  Ubiquitous psyche bassist Andy, was on top form this evening, full toned, rich, deep and resonant bass is the Budge trademark, and he doesn't fail to deliver. A cucumber cool master bass practitioner, with great presence, Andy's neutronium fingers picked out some wonderfully groovy blues licks and riffs. The Budge Rushbrooke combination ensured a rock solid rhythm section, together with Icarus' sweetly singing guitar all the ingredients were there for a musical feast. Man, what a feast of wonderful bluesy psychedelia it was, a real listening pleasure. We could've listened to a lot more of that, it was bliss. I love that the cut back nature of the production allows you to hear and enjoy the individual musicians contributions, there's a purity to a good three piece, and these fellows were way beyond good, each performed magnificently. Kings of blues infused psychedelia, the throne rightly belongs to them, long may Icarus Peel's Acid Reign. Big thanks y'all. And check this out.

The Locker Room Cowboys

Here's a band you need to look out for. I first heard The Locker Room Cowboys on Fruits de Mer's excellent recent compilation 'The Three Seasons' an interpretation of mid sixties classic psyche (see post), The Locker Room Cowboys did a wonderfully original interpretation of the Stones 'We love you', the stand out track in my opinion. It has an eerily weird music box sounding introduction, leading to a deep and laid back rhythm, at times it sounds as if it's slowing down and stretching out, like it's been dipped in psychedelic treacle or is running out of juice, whatever, it makes for a nice trippy feel and sound to it, throughout everything’s just right, guitar, keyboards, vocals, everything, and the addition of some sumptuous female harmonies was inspired, just topping it of beautifully. Smashing track. I remember listening to it, then immediately lifting the tone arm and listening again, on checking out who they were, it transpired The Locker Room Cowboys were an ensemble of leading lights in contemporary psychedelia, Andy Budge, Gregory Curvey, Crystal Jacqueline, Icarus Peel and Victoria Reyes (I shan’t list all the bands they're all associated with, as they're legion). That track alone is reason enough to keep your eye on The Locker Room Cowboys, and got me wondering what else they might have up their musical sleeves. Well, over the last couple of days they've dropped some tantalizing demo’s and, man, they're excellent! I know they're only demo's, raw, unpolished and unfinished, but they suggest some really good things to come from the The Locker Room Cowboys. The Amen Revolution is a fat funky psychedelic dance number, with some fruity bass, you can only imagine how flippin brilliant the finished track is going to sound! Troublefunk #1 too is damn funky, but in an entirely different way, bloody lovely. Finally, there's Saturday Morning Fuzz, something quite different, more rock orientated though none the less ace. Fantastic stuff! Give them a listen, and I'm sure you'll join me in being excited and eagerly awaiting their album and live dates?

The Cary Grace Band @ The King Arthur, Glastonbury 10.11.2018

So, we're back up in Glastonbury at the towns premier music venue The King Arthur, we'd just seen Yamma's amazing set, next up was The Cary Grace Band. I love a superlative, me, and may have a tendency towards verbosity, though I reckon after tonight they're going to have to create some new superlatives, as none existing could really do the Cary Grace Band's performances justice, and I'm near dumbstruck by it. We've seen the fabulous Cary Grace Band several times now, and every time has been a wonderfully unique experience, there's always a new dimension to the bands interpretations. Unique, is the bands stock-in-trade, and tonight was to be no different. There's a magical alchemy to the Cary Grace Band, of course Cary's a fantastic writer/performer and the core members are par excellence, though it's the fluidity of a line up regularly augmented by guest artists which ensures every performances uniqueness. Tonight’s line up were Cary Grace (Synths, everything electric and vocals), Andy Budge (Bass), Mike Howlett (Bass), Graham Clark (Violin/Guitar), Steve Everitt (Synth/Guitar) and Rob Everitt (Drums). Blimey, a who's who of musical pre-eminence, I'm sure you'd agree. Tonight’s set was to give us a nice mix of the past, current and future Cary Grace Band; favourites like War Child, single Without a trace and a first live play of a new track off the forthcoming album (something definitely to look forward to), to name a few, all in all we were spoilt with a nicely curated evening. Of course it goes without saying (though I'll say it anyway), every track was delivered beautifully, these are consummate musicians, one and all. Cary created the wonderfully textured swirling synth and voice soundscapes she's renowned for, through which the other psychedelic minstrels wound their merry way. Cary's mesmerizing voice is powerful and has a wide range, and she used it to full effect this evening, whether singing or as a constituent of the soundscape, it's always superb. Behind the soundscapes was the bands driving heart, the solid rhythm section of Rob and Andy. Rob Everitt may be younger than the others in the band, though that in no way impeded him, he easily held his own, a talented drummer with a great style. Rob also recently did a sterling job on Cary's contribution to recent Fruit de Mer release 'Three Seasons' a spectacular interpretation of Hendrix's '1983 a Merman I shall be'. A drummer to watch for sure, kudos, man. Rob's partner in rhythm is of course CGB core member Andy Budge, who delivered his trademark sumptuous bass lines with the style and panache we've come to expect. One of the best bassists out there, and one who's rightly always in demand, I've lost count of the bands he basses for. The pair worked well, spot on in fact. Initially, legendary bass player Mike Howlett wasn't on stage, more on that later. Now, Steve Everitt was an interesting addition, I thought Steve brought a whole new dimension to the bands sound, his guitar playing is so sharp with a certain clean rock edge to it, a fantastic guitar sound.  Steve was fabulous, unleashing some blistering guitar riffs which were bliss to the ears. Graham Clark's violin playing is always out of this world, and always grabs your attention, though tonight he had it turned up to 11 at times, man, can he make a violin sing, he's so understated too. A highlight was Mike Howlett joining Andy Budge on bass duties. Howlett is a bass legend making it look so natural that bass lines just flow from him, and Budge has built himself a similar reputation, cucumber cool and adamantium fingered. Together they delivered a storming bass riff, both have great presence and, man, they was just something else to see and hear...really! It was an evening of unique psychedelic aural adventures in music, brought to us by an extraordinary ensemble of visionary frequency explorers. I loved it, the entire audience love it, it was all over too soon though, the audience wanted more and band were willing, though venue legislation was not. Boo! Man, evenings like this are truly priceless, rarer than, and worth more than their weight in, gold pressed latinum, especially in these turbulent times. After the performance I availed myself of one of the quality posters on sale at the merch table and proceeded to bother the artists for their signatures (thanks to Andy B for the use of his Sharpie). On my rounds I remarked to Mike Howlett what a fantastic performance it was, and he replied he agreed and couldn't understand why Cary's wasn't better known, word, man...and Mike Howlett knows his musical onions!
 
A massive thanks to all the musicians for an outstanding performance, to Lux Looper for the lovely visuals, and of course to the Arthur, for continuing to put on such splendid evenings. Bravo! And I for one can't wait for the The Cary Grace Band's new album, check out her site in the meantime, there's plenty of musical gems there.