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!

Sentient @ The King Arthur, Glastonbury 29.10.2016

It's kinda like Déjà vu, man, back at the King Arthur to watch Sentient, but then not so. Yeah, the King Arthur's the same, a public house/venue par excellence, populated with friendly, funny and vibrant staff and punters (more of that later).  Such are the frequency of our visits for gigs, it's taken on a very comfortable homely feel. But Sentient, man, Sentient! They may have been the same four fellows up there on the stage, four musical giants of boundless talent and originality, but each time we see them they bring something new to the party. A tweak here, a nudge into a new direction there, a familiar sound forged anew. What I'm trying to say is, each time we see Sentient they just keep getting better. How the fuck do you consistently improve on what appears perfection? All I know is that they do! For those who don't know, Sentient are: Steffe Sharpstrings on guitar. Steffe's a purveyor of many musical flavours, although he's probably best known for his work with Here and Now and Planet Gong, his glissando and noodling skills are both instantly recognizable and outstanding. Bass is provided by the legendary Mike Howlett, possibly most famously of Gong, although he has many more strings to his bow. When it comes to great bass players look no further, Mike's passion and skill on bass (to my mind) are hard to beat. On drums is the magnificent Steve Cassidy notably of Planet Gong and currently Here and Now. Steve's drumming is clean and powerful, able to drive and maintain the most rhythmic of numbers. Finally on keyboards and synth, Mr twiddly knobbery himself Joie Hinton. You'll know Joie from Ozric Tentacles, Eat Static and currently Here and Now, and, man, does he know his trippy noises. Yeah, I think you've guessed it, Sentient are a kind of counter culture super group.

The room was packed (and, why wouldn't it be!) when Steffe and Joie took to the stage and together began to create some wondrous sounds. Steffe's glissando was bliss, as was his noodling, top shelf stuff and then something new as Steffe played this guitar in a style I'd not heard him play before, fast clean rock shred licks on a jazzy tip (or some such), far out!  All the time Joie, leaning into the keys was watching for cues, smiling, twiddling and tweaking, forming textures for Steffe's guitar to glide across. Way good, man. It's amazing what wonderful musical textures and soundscapes a guitar and keyboards in the hands of great musicians can create (for another great guitar/keyboard combo check out Music of the Andys.) Steffe and Joie played two tracks, both really really nice.  Now Steve and Mike took to the stage to join them, and of course the sound took on new dimensions and directions. The tracks (whether they're 'tracks' or rather the framework for improvisation) appeared to have a stronger funky jazz flavour to them this time around (maybe Mike Howletts influence). I'm not complaining, mind, you gotta love the funk. The sound was rich and deeply layered, inspiration being drawn from diverse musical wells. As well as the funk and jazz elements, there's a dub, space rock, psych feel, as well as the unmistakable echo you hear in a Gong family band. It was bloody beautiful, man, the magic flowed! I love Steffe's guitar style, so natural, he makes it look like a meditation, it's pure guitar poetry, and he looks like he's loving every minute of it, feeling every note. Throughout both sets his glissando and noodling was flawless. Joie was on good form tonight too, his twiddling and tweaking consistently hitting the spot, adding some fantastic synth textures and forms to the mix, which are always welcome. As for Steve's drumming, what a very understated drummer, looking calm and relaxed whilst maintaining a solid unfaltering groove, dropping in great accents and embellishments, as and when. He drove the tracks along. Even when he's going like the clappers, he looks decidedly pedestrian, boss drummer for sure. And then there was Mike Howlett, bass player of behemothic talent and standing.  What a musician, man, his funky bass licks and riffs were something else, with a consistency which was amazing. You couldn't help but stare in awe at his style and presence, faultless bass on every number, the bass flowing through him. I said it last time; the Howlett/Cassidy combination gives Sentient a rhythm section beyond compassion, and that was only re-enforced this evenings performance. I loved the glances the band throw each other, how good a musician you must have to be to improvise and freestyle to such a standard as these fellows achieve. Justifiably, the end of each track was met with loud and sustained applause, the audience were fucking loving it, it was a good audience too, as I previously mentioned, the room was packed. Then there was then a break for refreshments. I noticed a couple of musicians in the audience this evening, Andy Roger of Music of the Andys and Here and Now, and Cary Grace, whose fantastic new release 'The Uffculme Variations' (review to follow) features Steffe (it's an earworm of an album). At the end of the intermission Steve took to the stage and performed some nice solo drumming for us, before the band joined him and they were off again. The second set continued along similar lines to the first, there was a nice reggae-ish number, a rich feast of psychedelic rock flavours with thick layers of jazziness, and plenty of funky flavours too. The band were laying down some seriously sumptuous musical vibes. It was all just so good, man, such a tight sound and yet so free flowing. The band looked to be enjoying it (always nice), and the audience certainly were, most people were up dancing and everybody was certainly having a damn fine time. The evening finished off with a reworking of an old school Here and Now track, and the crowd loved it.  What a spectacular performance, stellar stuff!

Life can be shit sometimes, man, unrelenting heaviness can drag your spirit down; it's nights like this, that help keep that black dog muzzled. The energy from these evenings resonates far beyond the gig itself. I think Abba hit the nail on the head with, '(music) who can live without it. I ask in all honesty, what would life be?'. Word! The power of a good gig to raise and renew ones spirits cannot, and should not, be underestimated. I am truly grateful for the music. And yeah, I referenced Abba, so what! And the 'Arthur', well, as always it was a joy, every box ticked and many stars awarded. The sound guy was on top form again, you wouldn't believe the sound quality for such a small venue, clean and clear, bravo that dude! Now, if you've read any of my reviews of previous King Arthur gigs you'll know we always meet lovely friendly characters. Tonight whilst sitting in the comfy sofas towards the back of the pub, we spied a familiar face (usually we never seem to meet the same people twice). It was sweet Annie (literally from Frome) from our last visit, she was completely bewildered as to who we were, though after chatting a while I think the mists cleared. We recounted our last encounter, and remarked she was more together this time, to which she replied 'Annie, similar, yet not the same'. You've got to laugh. It was lovely to see Annie, you can't beat nice people, especially in to today's world.

Anyways, another top night was had, for which I give big love and thanks to all involved. If you've not seen Sentient or visited the King Arthur, you really need to rectify that.

Sentinet @ the King Arthur 13.8.2016

Fucking astounding! I could just leave it at that, a two word review of last nights Sentient gig at the King Arthur. I could maybe add a couple more exclamation marks, for emphasis. But, as powerful and succinct as that may be, it would just be too lazy and Sentient deserve more... much more ( also, I'm rarely succinct).

I've seen Sentient a few times now, all wondrous, though tonight’s manifestation was imbued with added excitement, as there were new band members on-board. Gone was bass luminary Subs, now that position was taken by the legendary (really, legendary isn't a good enough adjective) Mike Howlett on bass.  When it comes to great bass players Howlett is right up there, his passion and skill shine through brightly, he doesn't just play bass, it flows through him and it shows. Also, Tanya Horn wasn't on drums this evening (although was in the house), that position was filled by the equally magnificent Steve Cassidy. Though a friend who saw Sentient perform Kozfest said they both played, which sounds way cool. Cassidy's drumming is clean and powerful, able to drive and maintain the most rhythmic of numbers.  That wizard of twiddly knobbery Joie Hinton maintained his position at the controls of keyboards and synth. And of course there is Steffe Sharpstrings on guitar. Steffe's a legend, as are his glissando and noodling skills, both instantly recognizable.

As has become commonplace with decent gigs these days, two sets were played of about an hour each, with a small break in-between. What we were served this evening was a tasty feast of, what appeared, improvisational pieces, made up from a myriad of beautifully blended styles and influences, all delivered masterfully. There were psych, dub, space rock and jazz flavours to name few. There was less glissando and more noodling from Steffe this evenings sets that previous gigs, and can the man noodle...yes, and some! Steffe deftly threaded magical paths through the bands improvised sound-scapes, his performance an experience as much spiritual as musical. Mr Howlett was a conduit to the place where bass is born, the bass lines fair burst out of him, as if he were a shaman with the power to birth them. Which he must be, it's the only explanation. Both Steffe and Mr Howlett morphed into space goats at several points, so powerful were the musical vibrations. Well, it's impossible not to. Occasionally Joie, smiling mischievously, would lean over his keyboards towards the audience as if judging just the best moment to lay some mind melting extreme synth twiddling on us. Of course he nailed it every time. Throughout, with steadfast resolve, Steve Cassidy beat the skins, never dropping a beat and making it look effortless (which clearly drumming can't be). What a fantastic drummer, man. The addition of the Howlett/Cassidy combination was something else! (Have mentioned how bloody marvellous a bassist Mike Howlett is?) They certainly elevated Sentients rhythm section to new heady heights (not that the previous Subs/Horn combination wasn't right up there too). Last night we were spoilt, what a performance!

I don't think my descriptions ever do performances real justice, though I can honestly say, I was fair blown away this evening, smiling slack jawed at the wonder of it all. When magic's created it's undeniable, and magic certainly filled the back room of the 'Arthur' last night, and, the audience loved it. Everybody was blissed out, man. One by one they took to the dance floor to swivel, frug and throw shapes, while the end of each track was met with rapturous applause. There were also a couple of notable musicians in the audience last night. Gregory Curvey of The Luck of Eden Hall whose latest album 'The acceleration of time' is a great listen. And, Cary Grace who'll be performing at the King Arthur in September and is well worth catching live. The 'Arthur' was a delight as usual, what a top venue with lovely staff and friendly regulars, and the sound, again, top notch...bravo sound guy. If there was a recording of last nights gig, I'd love to see that available, nudge nudge, wink wink. 

All in all a splendid evening, although I do have one complaint, not about the venue nor the band. But people. Where the fuck were you? Yeah, there was a good turn out, and yeah, we all thoroughly enjoyed it, but the 'Arthur' should have been overflowing, the calibre of musician and quality of music on offer. For a fiver too! My fear is we either 'support them or lose them', and our lives would be diminished by the latter. Whether it's lack of publicity or apathy, it's not good enough. We need innovative and original bands and the local venues for them to perform.  Where ever you are, if you get the chance, support them.

The Cary Grace Band @ The king Arthur 21.5.2016

I'd been look forward to seeing Cary Grace since hearing a promotional copy of her fantastic album 'Tygerland' some time back. So when I saw she was playing at one of my favourite venues, The King Arthur in Glastonbury, I, along with a couple of chums, jumped at the opportunity. We'd arrived hours ahead of the gig to ensure we got in, well, you can never be too careful. The King Arthur (as I've mentioned before) is real treat, great staff, lovely friendly locals, a great venue all round; you're always guaranteed a top night, just as you're always guaranteed an interesting conversation from one or more of the local characters. Tonight that character was Paul, a really nice chap, very funny, with plenty of interesting things to say. I love meeting nice interesting people, and Paul was certainly one. As has happened before at a Glastonbury gig (and I kid you not), for some unfathomable reason we were mistaken for members of the band, with Paul asking us several times 'are you sure you're not with the band'? Paul even got us to sign one of the free (amazingly good quality) gig posters, (I signed with the additional written caveat that I was not in the band) before bothering the actual band to sign it too. What must they have thought? Who are these other chancers who've signed this, probably.  Well, enough to say that the Arthur (as I understand locals call it) was, as always, a treat. So I'll say no more, check it out for yourselves one time. 

Now, as for the gig. Well, blimey! It turned out to be a gig of 2 sets; this has been a feature of a few gigs I've been to in recent years, Sentient, Magic Bus, Gothic Chicken, and I dig it. The anticipation and excitement I'd felt were not misplaced, as from the get go the performance was flawless, with every band member right on the numbers.  On the keyboard Victoria Reyes played some amazing keys, I have a particular fondness for keyboards and she really delivered. Victoria has a lovely voice too, when she joined with Cary on the harmonies, well, far out. Bass was provided by Andy Budge, who seemed to be having a whale of a time, whilst laying down some rich blistering bass, he really belted it out, good style. Although the evenings award for belting it out must go to David Payne on drums, man, did he give that drum kit a beating, particularly in the second set where he really let rip. Respect, that's got to be punishing. Guitar in the first set was delivered by Owain Hutchings and John Garden, both superbly proficient in their art, who with an understated presence (particularly John Garden who played from the shadows at the back, in ghostly fashion) brought some blissful noddling to the party. These really are some great musicians, who together created a nice tight musical sound-scape. As for Cary herself, she appeared intense and super focused as she studiously twiddled with knobs and pushed this and that on her analogue synth, (I love that sound, man). Carys lyrics are wonderfully poetic and she delivered them masterfully; Carys voice, man, so clean, and what a range, she really hits those notes. I found her whole performance truly mesmerizing. Between tracks her intenseness softened, replaced by smiles, which was nice to see.  It's always nice to see artists having a good time, and all the band appeared to be having a ball.

For the second set the band were joined by legendary guitarist Steffe Sharpstrings. The first set had been mainly tracks off Carys various albums (all good), and they were all fantastic, though I particularly loved 'Cyanide' off Tygerland and 'The Scarab' off Perpetual Motion, both marvellous tracks. I didn't recognize the tracks (other than the final couple which were nice covers) of the second set.  The second set was a far more jammy affair, with all of the band really letting go and taking the audience on a musical odyssey, blooming lovely!  As I said, David Payne fair beat the crap out of the drums through most of the second set, and along with Andy Budge created some fantastically solid baselines. Cary went to town on her analogue synth and other twiddly things (yeah, I'm sure they've got names, but I don't know them) conjuring up some strange and wonderful musical textures, whilst in parts her voice took on the role of an additional instrument, beautiful. John Garden continued to noodle exquisitely from the shadows, throughout both sets he appeared a quiet studious fellow. Then there was Steffe, you know when steffe plays it'll be top shelf, and of course it was. Steffe let flow with a stream of magical noodling laced with melting glissando (along with some great faces as he was taken by the music) and your jaw drops, transfixed, you're enveloped by the music. Together, they were far f*cking out! Victoria and Owain, who'd not been on stage, rejoined the band for the last 2 tracks (the covers), both of which were great and original interpretations. The whole ensemble looked blissed out, I know the audience certainly were.  Really, really, great stuff!

Then all too soon it was over, though the smiles on everyone’s faces remained, as will the memories of a top nights music performed by great musicians. A big thank you to you all!  I noticed some musical luminaries in the house this evening too, Mark Robson, Joie Hinton and Andy Roger all enjoying the performance. Oh, and I must give a big up to whoever was on sound, nice job! I've been to few gigs now at the King Arthur and they do seem to get the sound spot on, which is nice.

I can't wait to see Cary Grace again (probably at Kozfest). Check her out, she's very talented and creates music in a variety of styles, though all with her distinct signature.
https://play.spotify.com/artist/6Y79KJfUUd74tDD3wtnsAs