Paul Bell
Name in Lights – Live In Sheffield
Looking a little like the younger brother of my friend Gary Fletcher of The Blues Band, Paul Bell writes clever songs across a range of topics and has a pleasant troubadour voice plus a bunch of musically versatile mates to help him put his material over. More ‘close and cul-de-sac’ than ’street’, Bell’s songs make no attempt at fashionability or gimmicks. Unless he’s keeping the grime remixes for future release, of course…
Bell’s voice really does grow on you and it’s difficult to tell who his influences are. Maybe in an earlier time he’d have been in and around the Al Stewarts, Steve Forberts and strangely but undoubtedly Pete Atkin – melodic, nothing forced, musical backing serving each of the songs.
The album title is not in fact dodgy advice on relocation, but rather referencing the fact that these songs are recorded at a show, some selections being brand new. One I rather wish I had attended, as the setlist and pacing works and the organic approach works well. When other instrumentation is used, it’s right for the number and nobody shows off. The spirit of Bono is not in evidence, Bell is a persuader and narrator and not a preacher.
The subject matter is where the performer carves out his own territory. Opener ‘Should Have Learned’ is a sonic shrug of the shoulders, witty and knowing without being smug. In fact there’s a nice undercurrent of humility and tolerance throughout these works that I do like. ‘Days Like This’ has a striking melody and easygoing tempo, surely Radio 2 would love this ? ‘Name In Lights’ is a light-touch reflective piece with a James Taylor feel.
Bell morphs into Victoria Wood for ‘The Need For Biscuits’, a tribute to bakers’ creations in all their rear-expanding glory. As any muso will tell you, resisting a headlong dive into the biscuit tin after a latenight return from a show is one of the music world’s worst temptations!
‘Thursday Night’ has an edgier beat and retro organ part. It’s about hanging out with pals, pure and simple..unless I’m missing the Proustian subtext, which is entirely possible. ‘Sock Drawer’ admittedly verges on the twee, but fits here.
Nicely recorded (take a bow, Bowater and Cornwell), well-paced and tuneful, this release is worthwhile and doubtless a great show souvenir. Only the Ronnie Corbett sweater that Paul wears on the cover lets it down
Pete Sargeant www.fairhearing.co.uk
