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Welcome to FairHearing.co.uk music review site

IQOption This site is about you and the music you are creating. We sing and play and we’re glad that you do.

We start from a basic respect for musicmakers, though we may not instantly love everything we hear.

You can quote all or any part of our reviews, as long as you credit us.

We would like to hear the music you are creating, whatever the genre. Though perhaps we lack the intellectual depth to critique death metal, we like blends of music especially those drawn from roots /west coast / jazz / psychedelia /R&B / folk/country.

We don’t care where you’re from, how old you are, what colour or sex you are. Or anything like that!

We find the conventional “star rating” syndrome demeaning and pompous. Opinions are only opinions. We might connect you with acts or artists you grow to love… Well, we hope we will!

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Onwards!

Pete Sargeant & Amy Stringer

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Charlotte Church

E P 3
www.charlottechurchmusic.co.uk
alligator wine records

The disc starts with a soft ethereal keyboard and sigh of a vocal from la Church. It conjures up a haunted wood of music and the spell is enhanced by light percussion and string patches..punchy guitar moves the song on, with a murky jangle thereunder. The drums are reverbed to a hollow thump. Before long an airy vocal in operatic mode is floating above the soundwash. Other worldly maybe but emphatically warmer than the CCEP2 ‘Spaceface’ disc works.

After ‘ Sparrow’ comes the out-there chorale and stabbing unsettling heartbeat of ‘Remains’, the pace dropping away a tad and an ominous mood before drifting into the electro-enhanced ‘Like a Fool’.   Still the musical backdrops are kept airy and sparse. When the group plays live their sense of shape and purpose – though far from conventional in format – is beyond doubt. Almost like a bunch of boffins at work in a mood laboratory. Church sounds unhurried, all the melodies coming from here impassioned vocal work and occasional layering but also full-on into the sonic brew.

At this point the listener does feel borne away to some world of mystery and the legato guitar coda of ‘Like a Fool’ is like an inexorable incoming tide, giving way to that clear sweet voice and fading on a solemn drum & cymbal stomp

Then , the jewel in this set’s crown – ‘Magician’s Assistant’. Again not a conventional ‘song’ but a rolling organ-borne canoe of an arrangement…shut your eyes and the ‘Waterlilies’ impressionist paintings come to mind. Here she comes now, it’s Monet, Monet. This is one of the best examples of Charlotte’s coasting voice. A clipped horn chart adds to the drama and the solo guitar drifts off in drowning confusion, like Sonny Sharrock thrown overboard. Weird, but beautifully weird….

“House Upon The Sea’ is as mystic and understated as other cuts here, an underlying urgency at the number’s core.   My bet is that Church was listening to Jeff Buckley when this one was composed ; maybe my friend Gary Lucas, the Magic Band guitar maestro and writing collaborator with Buckley J might concur. I shall ask him.

The edgy ‘ I Can Dream’ could use a more interesting bassline against the tapping percussion….too much root-note to enhance  the recording with any depth, but again the singing is beguiling and – dare I say it ? – sexually charged. Sounds like several Churches singing over the bridge…. She lets herself go on this one, as dragonfly guitar runs bubble away in the mix.  Is this the most romantic song CC has ever recorded ? I would say so

The promo video for ‘Water Tower’ is as haunting as the song.  As elemental as anything Nick Drake came up with, certainly.  Drake’s actress sister Gabriella once told me that whatever her late brother was seeking – physically, spiritually – he never found it in his short life. He would deliver tapes to his label and disappear again. A full-blooded arrangement here and clear vocal, cutting down to nothing IQOptions as the cut fades

This EP series is proving to be winner. Church does not have to adhere to one style or over-egg the pudding, simply make the statement in the set of songs and move on. It’s liberating.
This latest outing brings out the best in her thus far, I would argue. For what it’s worth, I think she looks a lot more natural and alluring in the mystery woodland look and attire than the faux Bjork alien costumes she sported for the CCEP2 era but these days Church is all about self-expression and let’s face it nobody else seems to be making music of this depth, originality and well, purity

I am reminded of my jealousy as youngster of Rupert’s storybook adventures. If the inquisitive bear went to the seaside, it would not be divebombing seagulls or broken deckchairs for him, no…rather smugglers to catch. In our village wood there was a rusting tractor, whereas in Nutwood Rupert would find pagoda’s, magicians and professors, not to mention dragons…these EPs seem to be 1/ Charlotte’s New Adventure  2/ Charlotte and the Icy Wastes and now, with 3/ Charlotte Through The Looking Glass.  Follow and savour…4 is being created

Pete Sargeant        www.fairhearing.co.uk

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Gov’t Mule

Shout !


Provogue Records / Mascot

When you meet Warren Haynes he’s very modest though confident. Music just bursts out of the man. One of our merry band of scribes saw him play London’s Under The Bridge with Gov’t Mule recently and reports that the show was incendiary. At a soundcheck in London a few years back he let us attend, the band played three songs not in that night’s show….including ‘The Green Manalishi’, which Peter Green once told me he found scary to write and scary it sounded as played by The Mule, believe me.  Haynes is a ‘Why not..’ guy and has had the idea here to make an album and then get other artists to appear on the same set of songs for Disc 2. I can’t recall anyone else doing exactly that before and Warren says he gets excited hearing contemporaries interpret the GM numbers in their own way. Now here’s a guy who is incessantly creative, as the Allmans and Dead will attest.

Disc 1 kicks off with ‘World Boss’ which chatters along with great elan with guitars buzzing and a fine Haynes vocal and evokes the gritty funk drive of the wonderful Kings X, catchy chorus, key changes and all and warren not afraid to throw in jazzy steps whilst soloing frenetically in Disraeli Gears tones against the pumping bass of Jorgen Carlsson  ;   ‘No Reward’ is a confident buzzy bluesrock grind ;
whilst ‘Whisper In Your Soul’ is a reverb and Leslie-toned intonation, clattery drums courtesy Matty Abts, a dark quasi-psych mood is conjured up on this, insistent bridge giving way to wahwah figures and subtle keyboards from Danny Louis.  One for the Spooky Tooth afficianado’s, methinks. ‘Captured’ is laid-back and another excellent vocal from Haynes in a vein close to Steve Stills on the Supersessions cuts way back when.  The guitar solo is languid and set against Hammond and clipped guitar chords, so well handled. ‘Scared To Live’ has a wound-up pulse edging into a reggae skank and dub drumming, a fine summer sound though not a striking song in itself. The dark lope of ‘Stoop So Low’ sounds sinister, wah sighs et al and Haynes swamp-funk side to the fore. I did spot the hint of Stevie Wonder in the bass riff, Warren ! So many of these blues-rock cats look up to Stevie.
Fans of Haynes’ slide work will go for the stone funk of ‘Done Got Wise’ ;   now, is that The Ghost of Bobby Bland haunting the intense ‘When the World Gets Small’ ? though the vocal phrasing calls to mind Airplane master singer Marty Balin, to be frank. Could be the best song here and plenty of space with a beautiful organ part breathing through the number. The guitar hums into life @ 3:25 hanging in the air like a kite watching its prey and you don’t want it to end..you know, like ‘Summer Breeze’…..

Disc 1 ends with an evocative patter of a song as Warren tells a tale of loss.. and Lord don’t we all feel that lately ? So many of our brothers and sisters in music taking the exit. ‘Bring On the Music’ has an emphatic reflective atmosphere. Yet again his voice sounds so good and the other of his voices of course coming out of the six strings, here legato and restrained until a fuzzy heaviness kicks in @ 4:40 sounding a tad like Cactus, still an overlooked premier bluesrock outfit. imho

On Disc 2 thereafter the guest singers include Ben Harper, Glenn Hughes, the amazing Grace Potter, Jim James, reggae alumnus Toots Hibbert, Dr John, ever-busy Dave Matthews, Alter Bridge singer Myles Kennedy ( sometimes to be found trying to lift live sets by the uninspiring Slash…change yer tone sometimes, you poltroon !) , Ty Taylor, Steve Winwood and Ty Taylor. Best I mostly let you discover the guest gems for yourselves, I think. Costello suits the fast punch of ‘Funny Little Tragedy’, for sure. And ‘Captured’ drifts towards the Youngster’s  ‘Down By The River’ with Jim James singing, strangely. Grace Potter sighs sexuality into her turn and ‘No Reward’ is annexed by Glenn Hughes such is his roaring power..this is the Hughesy we know and love…..

Original, challenging and ever tuneful, Gov’t Mule are fearless and fun..what more could you want ?

Pete Sargeant

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The Magic Band

Live at Under The Bridge
Facebook Page


Captain Beefheart was a one-off….by turns funny, inscrutable, kindly, driven, antagonizing, blues-soaked, inventive, cussed, philanthropic, cold. I met him briefly once, at Tolworth when due to a delay in arrival of the Van Vliet party from the States, the Toby Jug venue gave us punters a catch-up double-bill of Captain Beefheart & His Magic Band AND John Mayall’s Bluesbreakers featuring Keef Hartley and Mick Taylor. That’s how things were back then…

So here we are in 2013 and a chance for Sargeant Jnr to come along and see what I have been on about. Not only that, but in one of the country’s best musical experience rooms, Under the Bridge at Chelsea’s Stamford Bridge ground complex.


Drumbo,  sporting an Our Man From Havana cream suit ensemble announces that acknowledging they are not often here in London, The Magic Band will play two sets AND hang out with the audience between them…no thuggish Kanye West style security posse for THESE guys. The Beefheart music is revived and delivered with great elan, skill, variety and most of all blazing roaring gravelly power. The crowd can scarcely believe their luck, the performance is stunning. The group look devastatingly cool and confident, all except the nervous-looking  Eric Clerks who looks like a press-gang victim and plays with such concentration he looks about to implode at any given moment, his pewter Strat whipped and scraped deep into the maelstrom of notes. Not so the cool cat Denny Whalley, ever the regal slide-stroking gent I often saw with Zappa’s touring bands. Rockette Morton looks like a veteran painter from San Diego but plays as though snatching the arcane bass note patterns from drifting gas from Jupiter. In the break he taps my astronomic themed T-shirt with a smile and hisses approval. Apart from a stint on the drums to verify his nickname John Drumbo French takes care of the booming snarling vocals plus some harp puffing and sax runs . Most of the drumming is by Craig Bunch, whose attack and grip is outstanding. The material is a deft mix of rhythmic jagged beats and outright weirdness, blues workouts and alien poetry, foot-tapping tempo’s and twisting atonal drifts. As ever it was….

It appears that Proper were filming this performance, I sincerely hope so ; everyone there would want a souvenir…..

So here’s the setlist, readers :

My Human Gets Me Blues
Low YoYo Stuff ( a grinding shuffle of a song)
Diddy Wah Diddy ( now what DID Herb Alpert of A&M think when he heard this ??)
Hair Pie
Golden Birdies
When It Blows Its Stacks ( an evil lope )
Hot Head
Doctor Dark ( don’t you heavy metallers talk to me about ‘power’ )
Circumstances
On Tomorrow ( purposeful, trippy, electric )
Alice In Blunderland ( thrilling guitar runs heading skywards )
Suction Prints
Hair Pie Bake 1
Steal Softly Through Snow ( utterly, stealthily beautiful )
Owed T’Alex
Click Clack ( guitars on a collision course forging a sonic amnesty of sorts )
Floppy Boot Stomp
Moonlight On Vermont
Big Eyed Beans From Venus ( with Denny taking the long curling note ! )

After that, the group came back to perform a scorching ‘Electricity’, leaving the punters blitzed and grinning. Many had come from faraway places to see this and they’ll never regret the journey. The group love this room, it does their monstrous, tumbling delicacy proud

All pictures by Pete Sargeant

Pete Sargeant     www.fairhearing.co.uk

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Daniela Brooker

Live At Beat

www.danielabrooker.com

This is a photo feature on Ms Brooker’s London venue album showcase performance for the release of the ‘P S’ set and this featured her lively rock-pop group and their spiky two-guitar arrangements. In good voice and looking alluring on the eve of her twentieth birthday, Daniela put her songs over well, including the catchy ‘Breathe’ single of course and keeping up the pace throughout, talking easily to the crowd between numbers.  At no point did the set drag and by the time of closer ‘Hold Me’ with its funk tempo and spirited refrain the band were sparking and the singer deep in performance mode. A great change not to have a young female chanteuse drowned in syrupy synth coatings, as Brooker’s voice has a punch that came through here and should be nurtured for the future. How often do promising pop singers get stuck on the industry’s conveyor belt of safe radio mixes and end up all sounding identical ?  Even Pink sounds neutered these days !

The challenge to Daniela is to sound herself and my advice would be to hang on this current band, they take care of business……

SETLIST

Obsession

Chasing The Waves

Breathe

Girl

Wind Me Up

Jealousy

Hold Me

-       All pictures by Pete Sargeant

Pete Sargeant        www.fairhearing.co.uk

Other photographers are available (along with with their stuffed animals!)

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ABC

Live at Hampton Pool

This is a pictorial on the mighty ABC’s outside summer live performance as part of the Hampton Pool Summer concerts.   After an entertaining set from Canadian pop-rockers Mosquito B, here on their latest European jaunt, the show by pop-rock mainman Martin Fry and his ABC cohorts was absolutely and crowd-pleasingly accomplished.  Armed with a fine back catalogue of hits but also featuring some of the cream of their other material, the group had the punters eating out their hands from the first chords and the group kept up the momentum. Fry, though a comparative veteran of the music scene looks fit and sharply dressed and ( as I mention to him later) is sounding as fresh on the opener as the encore

Guitar man Matt Backer remarked that this was a good night to see ABC as they had a full set-time and could jam here and there – with Fry’s blessing – with sax solo’s and percussion runs and overall sounding pretty close to the band with the best live sound ever – Was Not Was.

The venue – very friendly, excellent café and drinks tent, not oversold though very well-attended, good facilities, a pool ( yes indeed ) and good view wherever you settled ( we on the cafeteria roof ) PLUS the highest quality live sound of any outdoor show I have ever attended. This plus Fry’s expert diction meant every lyric and every self-deprecating aside was crystal clear. Full marks to the organisers and crews !

ABC have existed for a long time because their songs are memorable and tuneful, Fry has presence and the group’s players are top-notch. We recommend seeing them

SETLIST
Very First Time
Show Me
Poison Arrow
Millionaire
That Was Then
Many Happy Returns
Love Is Strong
Datestamp
Night You Murdered Love
Ride
King Without A Crown
Be Near Me
Forever Together
All Of My Heart
Tears
When Smokey Sings
Look of Love

I ventured down to the front of stage to take these photos, if I could dance, I would have

All pictures by Pete Sargeant

Pete Sargeant      www.fairhearing.co.uk

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Buddy Guy

Rhythm & Blues


RCA / Silvertone
ww.buddyguy.net

Let’s get to the point, listeners – how many popular recording artists in their mid-Seventies now can you name who can attack a song and bring it to life as strongly and as creatively as they did in their twenties?   Because make no mistake , these new recordings for Silvertone are as fiery as anything Buddy Guy cut with the late great Jnr Wells for Vanguard in the Sixties…I know guitar players in their early thirties now who revere the work of Guy and find him an inspiration. Famously, in the late Sixties, James Marshall Hendrix tipped his fedora to Buddy as probably his own greatest inspiration. I doubt if anyone of Guy’s vintage could make a celebratory record – a double-set, to boot – that would outshoot this new collection. This is not to say that any new ground is broken on these recordings but they do support the view of many that  Buddy Guy IS and deserves to be known as a King Of The Blues. I once saw him play a duo gig with Wells in London and though the promoter had been perhaps over-generous with the hospitality before the show, it didn’t take but a couple of songs for the pair to display their grip of sharp soulful music and dry humour.

I have many favourite Guy albums and songs but the ‘Buddy & Jnr Play The Blues’ set for Atlantic is a favourite as it is varied and has the killer cut ‘Man of Many Words’, which has a batch of fluid rattling guitar runs by Guy that are frantic and borderline crazy, still sounding exhilarating many years on  ; here on the ‘Rhythm’ disc of the set there is plenty of sharp axework and once the crisp rhythm guitar chunks into opener ‘Best In Town’ and Hammond and horns spread the sound, Guy lurches into action with a biting and very Jimi wah sound, reminiscing about parental advice, Muddy Waters and earlier times. The earlier collection for Silvertone ‘Feels Like Rain’ was perhaps the template for this outing and I swear Guy doesn’t sound a year older.   ‘Justifyin’ ‘ has a stomping riff and distinctive Guy guitar axe squeals. He’s is good form vocally, here admonishing a female acquaintance. The funk tread of ‘I Go By Feel’ finds Buddy over electric piano and a gospel-tinged arrangement with his strident six-string screams and a tale about a blind pal. It’s a standout cut, with sharp guitar cruising over coasting strings in a ‘Thrill Is Gone’ sequence.

Guest Kid Rock steps up to the challenge of a joint vocal with Guy on the chestnut ‘Messin’ With the Kid’ and acquits himself pretty well though it will always be hard to top what Rory G did with this song, of course.  I don’t know the total number of BG songs about troublesome women but whatever number ‘What’s Up With That Woman’ is, she sounds as wayward as any of them ! Foot-tapping stuff, rolling horns and our man bitching about the lass’s shortcomings ; then in total contrast the fresh-air country soul style of ‘One Day Away’ which has the fine pairing of Guy and Keith Urban evoking a top-notch John Hiatt song such as ‘Feels Like Rain’ and a neat detour from the sonic grit showered upon us so far. An Albert King tempo and shimmering piano start Guy’s duet with LA phoenix soulster Beth Hart. The song is complete with a neat middle eight and lioness performance from Hart as they detail a romantic crossroads. Eventually the cut fading over bent Guy guitar figures, heavy gear but well-handled.  ‘Devils’ Daughter’ is another duff-female lament over a dark guitar groove and with Guy sounding genuinely anguished over his situation in the story. Hopefully he regained control of the remote or whatever?….

‘Whiskey Ghost’ drips with menace as the dangers of imbibing are described over a spooky backdrop. Now the vocal is nothing short of superb on this song, Guy knows just how to bring this home. Not easy listening, but rewarding listening and no histrionics. This disc concludes with a snatch of elastic guitars weaving…….

The second disc ‘Blues’ kicks off with the spidery riffing of ‘Meet Me In Chicago’ with its catchy chorus, again Buddy sounds so at ease vocally and cuts loose with the single-note runs, cutting into double-stops as the bass pounds away ; ‘Too Damn Bad’ has a Vanguard / Chess feel and Guy roars into a ‘you-brought-this-on-yerself’ lyric over clanking piano, again such fiery guitar ! Three of the Aerosmith cats appear on ‘Evil Twin’ as Hammond swells puff away over the easy-rolling tempo. Guy takes the accusatory role on this tale, much like Ronald Isley on the Mr Biggs material – Tyler responds with a gritty answer-back edge and Perry spills out the blues runs we know he can produce when he wants to, on what sounds like a Les Paul. Intense but enjoyable stuff, indeed. Acoustic out (David Grissom) for ‘I Could Die Happy’ and it’s laidback except for the stinging Guy guitar inserts. Reese Wynans from Double Trouble of course on rolling 88s. Steady slide on ‘Never Gonna Change’ makes for good-natured toe-tapper. Maybe this disc’s tenderest moment comes on ‘All That Makes Me Happy’ with its warm electric piano and a keen horn section just right in the mix. The horns are in jump-jive mode on the original ‘Poison Ivy’ and off Buddy strolls, having sung and played as well as he can throughout and on a well-above-average set of numbers

Tom Hambridge excels on his own recordings and here gives Buddy Guy  fabulous setting after fabulous setting to rock out and touch the listener’s soul – a wholly successful project methinks

Pete Sargeant      www.fairhearing.co.uk

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Arthouse Hours

All For One
Glive Records GLV003

St Petersburg is the setting for the last two of the five Michael Caine ‘Harry Palmer’ classic spy films, much loved by your scribe. It’s a city with a history of ups and downs and probably has no equivalent elsewhere in what we know as the former USSR. A blend of influences and unless the films depict the place wrongly, an air of mystery. Not unlike Hongkong perhaps in its upfront business bustle and darker hinterland.

So what would a metal band from St Petersburg sound like ? the arrival of this album gives the answers. The cryptic artwork gives little clue, a palindromic picture that suggests several shapes, faces maybe ? Upside down it looks like an elephant…or maybe a puma. The first cut ‘One’s Rising’ sounds like a spaceship docking to start off then gives way to a swarm of metallic wasps arriving at an edgy tempo, with ethereal vocals implying calm over the squirming time signature and damped fuzzy guitars. The singer is at a pitch between male and female on this number before an anguished ‘grunt’ vocal cuts in @ 2:30 and then angular guitar riffs battle their way against the relentless beat. The drummer sounds in complete control, whether he is or not..well, metal requires the imputation of confidence, always. A most unsettling opener. Feted as ‘progrock’, this is nothing of the kind I can assure you.

‘Heavily assaulted’ has a distorted tremelo’d guitar playing a ponderous chord sequence, before the ensemble blitzes in ; the vocal is banshee-soaked but buried in the mix daring you to make out the words. If you can. The anguish is evident and it could be about mental breakdown. Again the drummer is crisp as a snapped twig and the guitars drenched in sophisticated fuzztones and overdriven grit. The singer is passionate but – call me old skule – indistinct in his lyrical presentation for me, maybe I’m not the target audience for this material. Bear in mind I have seen far more rock and metal groups than most of you ever will, so noise never puts me off. I just prefer some outfits to others.

By cut 4 ‘Like This’ the sound is full-on frantic and very well-executed. They sound absolutely committed.  ‘Away’ has another faux-naif arpeggio chordal start and the vocal is not drowned out. This is more like it !! Sinister riffing kept in some kind of check and a sly melody creeping through. Easily the best number here and haunting, even when it sidesteps into a spiky passage with drumming of thunderous intensity. They sound a very troubled band indeed, angry at life or feeling trapped. Who knows ?  No cosy anthems to sing along to here, folks – the tunnel of sound captured here suggests the Australian wonder band The Church stripped of their rusted-metal tunefulness and topped up with despair. Or if you played the mighty Groundhogs ‘Split’ which explores the same theme of mental disorientation at much faster speed, might it sound like this….?

Closer ‘One’s Quitting’ might predict our Queen’s abdication ? No, just kidding. It’s even bleaker than most of the tracks here, with a growling grunt vocal lurking in the background. The drumming sounds almost relaxed – well, for this bloke, anyway  -

Arthouse Hours are intense, driving and on this set, laden down with self-loathing and despair, angry to get somewhere better. Whatever that might constitute to them. Full marks for commitment.  But not what this writer would seek out to listen to. A great item to present to Fair Hearing – thank you, Jay

Pete Sargeant  www.fairhearing.co.uk

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Matt Backer


Idle Hands
Right Recordings – NOVA

Idle hands ?  hardly, Mr Backer….this guy is usually somewhere playing for himself or someone else or a band or a TV show. I once had him as a guest on a radio show choosing favourite recordings, featuring his own recorded work and playing live to air, with me and solo..and all without a script or safety net – as is my preference. His previous solo work used good songs to put over his versatility, even playing slide and electric twelve-string guitars and adept acoustic. Sort of an American Chris Spedding ? but song-oriented

Matt is especially skilled at making female singers sound ace, though he’s probably too gentlemanly to claim this stature for himself ; there again, anyone who can play any kind of popular number  on Shane Ritchie’s karaoke television series has to have some talent, dexterity…and some patience.

What you WON’T get on a Matt Backer ‘own’ record is grandstanding or tracks used as a chance to show off or be flash ; better to assume that he’s thankfully found time to stockpile some decent numbers and get them finished for release. The cuts on ‘Idle Hands’ are co-produced by Ian Shaw. No, not the dry-as-dust vocal gymnast but a different Mr Shaw. I know, cos I checked with Backer.

It’s no shock that regal romantic singer Martin Fry guests here – Matt is the touring axeman with the splendid still-out-there-and –kickin’-it ABC. On ‘Halfway To Jessica’ Fry’s cameo vocal is as affecting as D Bowie’s turn on ‘Isn’t It Evening’ on Sargeant fave Earl Slick’s last solo album. Singing but not shrieking and quite a step a way from the Sheffield stalwart’s usual territory as it’s more Spanish-flecked and almost Michael McDonald in mood.  And still utterly romantic.   But how does Matt know Julian Lennon ? We shall have to ask him, but ‘All That You’ve Wanted’ finds a plaintive vocal with Lennon Snr distortion giving an eerie soundscape indeed. Backer frills this with splashes of phasing and deep sonorous keys-led chord changes. It’s a curious piece indeed, almost a warmed-up Gary Numan. And of course, listeners..there can be no such thing. Bashed-up harp drifts into hard electric guitar as the bass takes its own walk around the shape of the song, It will haunt you, as Julian Lennon songs tend to.
Opener ‘Let’s Art’ is a sly nod to or possibly parody of Steely Dan complete with damped chords, key shifts and clipped guitar chipping and then a Carltonesque twisting solo straight off ‘Kid Charlemagne’, all in all a rather fine shot at Emperor’s New Clothes pointing . Of course Matt loves to hate these pseuds, but he and I know that you learn a lot from the Fagens and Bowies whether you own up or not !  ;  ‘Freak Patrol’ has gorgeous chords, electric and acoustic mix and archetypal Backer in approach and another warped tale, if you are into Was Not Was you should try this material for size, the musicianship is used not flaunted. Incidentally the last time I saw Don Was I pointed  out he was playing half the notes he normally did on stage and he ‘fessed up to spending mellow time playing in Cuba with Bonnie Raitt…    ;

‘I’m No Fool’ has gritty vocal from Backer over a Keef stagger tempo.

‘Love is Overrated’ has a Beatlesque tread, he must have been tempted to get Fry singing this one, surely ?  A godawful old Yankee TV ad inspires ‘I’ve Fallen..and I Can’t get Up’ which has a mandolin intro and hesitant folky ambience for an easy-on the–ear song with echoes of ‘Rikki Don’t..’  ; surely a ‘Eurotrash’ reference is inspiring ‘Lolo’s Car’, Backer ? Stomping Warholish nightmare of a cut reeking of NY early Velvets. This set sure rings the changes.  Amp tremolo floats the detached ‘Blessed Assurance’ – disturbing yet prima facie relaxed, where IS his head here ?

Closer – skipping acoustic on ‘Shallow Depths’, either a love or hate song or somewhere in between. Set of songs or not, Backer should have allowed himself a couple of longer guitar solo’s on this collection, not to make a point, but sometimes the listener would like to hear him build up the tension as we know that he can. Perhaps though a live set would allow for this..and Matt, if you want a bass player for THAT, you have my number ….

Session guys can be jaded, cold fish. Backer is a mixed grill of spicy tones, meaty chords, fruity melodies and gourmet musical blends. Try, enjoy, savour….oh and visit www.mattbacker.com.

Pete Sargeant      www.fairhearing.co.uk

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Rachael Sage

It’s a crisp Winter day and I have been invited to lunch by New York chanteuse Rachael Sage, an offer I am more than pleased to accept. Later that same day, Sage will perform a set at London’s famed Union Chapel in Islington, north of the West End far-flung readers, on a bill with Sadie & The Hot Heads featuring Elizabeth from Downturn Abbey singing with her rootsy band.


© Laura Crosta

Earlier in the week I had been heading to town and had my eye caught by a pair of red earrings in a boutique window near the railway station. They seemed to say ‘Rachael Sage’ …so I bought them.  When I arrive at the star’s hotel, she is clad in black…and red

Now I could edit the following down to be a sort of conventional interview. But I don’t do those. So as usual this is two people chatting about music and …well, everything. We head for an Italian, order and switch on the recorder….

WELCOME

PS: Right….welcome back to London!

RS: Thank you

We saw you on your previous visit with your cellist. Playing the piano and a bit of guitar featuring the album that we were happy to review. Was I fair in calling you a night creature?

Absolutely. I tend to send my best emails around four and five in the morning. I think it’s just… it’s a common musical thing to be evoking muse when everyone else is asleep. And the moon is out

Do you manage to write material at that time of day ?

Definitely yeah. It’s my most productive time of day. I just love the fact that everyone else is asleep and I’m awake. The handful of people who I see on Facebook or are emailing me, I know they’re kindred spirits.

A lot of my friends are American musicians. Your music does sound better late at night I have to say. Like a lot of jazz, a lot of blues. But what makes you such a nocturnal creator?

I think it might actually be genetic. My mom is a night person. She gets up early in the morning to do work but if she had her way she’d be up all night and sleep all day. Just like me. I think it’s something about the rest of the world being quiet and not asking anything of you. Just knowing that for a while at least you’re safe to step away from responsibilities and just focus on being creative. And listening to your own heart and your own mind. It’s probably like when other people meditate, which they may do in the morning but I never got with that programme. Plus everything looks better at night don’t you think?

I agree entirely. Even a wet pavement looks better than burning tarmac to me

(Laughs) Especially in New York City with the city lights out of your window.

Do you actually live in New York City?

I do. Smack in the middle of the East Village. Right between the East Village and the Lower East Side

I noticed that you were doing some benefits after the big storm?

Of course. It really affected everyone all around me and I lost my power for about a week which was just a mild inconvenience in the grand scheme of things. But you really felt just a touch of what everyone else was going through.

© Laura Crosta

My friend Vernon Reid of Living Colour lives in Staten Island and I think they got a bit of a bad time

Oh terrible. I hope he’s ok and family…

I heard back from him that he was ok. But obviously his neighbourhood was pretty much ripped up. I thought the New York was at its best in that period

I think anytime there’s a crisis like that, New Yorkers have such a resilient way of coming together and letting all their differences be put aside. I agree with you completely

Also, the amazing sight of the Republican governor down the coast a bit with the President doing their best…

I agree with you again

That was one of the pivotal moments I think of the last election. That is what Obama seems to stand for is trying to do the best for the community. I thought that almost crystallised it. Or am I being over romantic there?

I don’t think you are. And if you are, that’s what I’m all about anyway!

Your fellow performers. Presumably you meet the people that you end up playing with, collaborating with at their shows, your shows?

I have a new one that you’re gonna enjoy tonight. A wonderful violinist called Kelly Halloran

You could have me on harmonica if you beg!

Really!? Maybe you could come on Tuesday. I have a short slot because I’m opening for Sadie and the Hotheads at the Troubadour.

So who’s in your current line-up for these dates?

Kelly Halloaen is playing the violin and she also sings. And in general she plays guitar so next time we’ll get it all together. She’s just fantastic. I heard her a couple of years ago with a mutual friend of ours. And I was just blown away and finally we’re gonna do some touring together. It’s really exciting

COMPOSING

Do you find that you compose totally differently on the keyboard as opposed to the guitar?

Absolutely. And I think, when I’m on the piano I’m coming from more of a place of comfort and catharsis and basically anything in my head or anything I’m feeling can just come out immediately through my fingers because I’ve been doing it so long. It’s very connected. But on the guitar I’m quite limited because I only know a handful of chords still. I’m learning but I’d call myself an advanced advanced beginner or beginner intermediate. So for me, especially since I’m a very heady person and I overthink just about everything in my life, being on an instrument where I can only have a simple approach necessarily is probably very healthy for me. And I also think, you know in all  different mediums whether that be musical or art, even acting, improvisation sometimes having those strict limitations can force you to be fixing

© Laura Crosta

Remarkably, I was talking to Eric Johnson in Texas last night, and he confessed to me, he thought he’d over-layered his past recordings a bit too much. I said ‘Eric, you’re a clever boy, you can use forty eight tracks. The question is ‘Do you need to?’

I was talking about this with a friend yesterday actually. She was asking me ‘Do you ever feel like a song is really done? Or is it a sense that more could be done to it? It is a process. I mean, when you play live as much as I do and a lot of my peers do, you do test these things out on the road and you might debut a brand new song that’s only ninety per cent finished. And you’re sort of playing with the words to the bridge, or not sure if you’re going to add this third or fourth verse. And you work out those arrangements live. For me, that’s pre-production and that’s what helps me know exactly what I want to do

Yeah, exactly. This is what Eric and I were talking about. Because there comes a point where the painter has enough detail in there to say that’s enough. He might paint a pastoral scene of a field and one boy fishing. And that one boy fishing will make his statement

Yeah I mean that’s a very articulate way to put it. And you’re a writer so that’s your job. Sometimes I just call it the vibometer. You know, you just keep adding and adding and adding and if it isn’t giving you any more vibe and helping you feel it any more deeply it’s probably too much and you should nix  the track. But, another funny thing is, you know, growing up I used to use a lot of synthesisers and drum machines and I wasn’t quite the organic acoustic artist I am now. But I think that doing music in that way is what helped me appreciate when things can be a bit more direct, organic and played live

I agree with you and I think this is why I’m often put off by an over busy band like Yes or Genesis and I’m warmed to the heart by someone direct like Bill Withers

I’m with you completely. I think we’re kindred spirits. One of my favourite current songwriters is Glenn Hansard. And I think he has a spectacular sense of when to leave things alone. And when to just go with the musicians jamming. And he just captures that…

I think it goes to the actual root of why we make music. If (and there’s nothing wrong with this) you are making music to show off your technique and impress people, you will go into these multi-tracked, fully arranged works because that’s what you want to do. That’s what you want to put over. But a lot of the musicians I really like, especially the Blues guys like John Lee Hooker and various others I’ve made a point of going to see them when I was younger. They had nothing to prove. And therefore, they would make the song work

That’s very true. I don’t know if I mentioned this to you, but I was quite friendly with John Lee Hooker when I was in college at Stamford. And I used to go over to his house all the time and I met him through my work as a DJ at the local radio station. Yeah, he was always working on a new song. A lot of his new songs sounded like his old songs !

But, why else would the likes of Carlos Santana and Los Lobos want to work with him? Because they respected what he’d created and wanted to make him sound terrific

Absolutely. For him, it was such a primal thing to make music. He’d been doing it since he was a little boy and ran away from home

Through good times and bad !

Exactly. It was a survival skill I think. But yeah I think that balance of what’s essential about music and what the skeleton, the plot is. What you’re trying to communicate. And then also, decorating it. It is the role of the producer in the studio. Because I’m talking a big talk here with you about liking everything being wilted down to its bare bones, but the truth is I absolutely love a lot of layered big arrangements. And I love the Beatles and I love exploring that idiom as almost an instrument unto itself. But it is a fine line between overdoing it (gilding the lily as they say) and nailing it

© Bill Bernstein

INSPIRATION

Are there times, when you might be perhaps, not in a musical sphere, but in your personal life more, are there times when maybe you’re over sensitive?

(Laughs) I hope so ! If I’m not over sensitive I’d be out of a job. I think the minute that I don’t need to express everything that I’m feeling in a sort of desperate, if not inspired way is when I need to look to do something else

You don’t seem to be writing just for females?

Of course not, why would I want to do that?

Some do ( Some do nothing else – PS )

Honestly I can’t think of one. And if it seems like they are, they’re probably not and its just turning out that way

Ok

Maybe they need to change their outfit or something?! I mean we’re all humans on this planet and quite honestly, I’m very much a product of my generation in terms of… even my philosophy about gender and about every person having a bit of a man and woman inside them period. I think that it’s about soul and spirit and what’s in your heart. What you believe. And how you want to experience music and life.

I work – outside of this – with some very sports-obsessed, fast driving, macho show-off guys and I do wonder what’s beneath this?

Well, you know working with is one thing, playing with is another

Well I play with entirely different people. The great thing about music is, if the music sounds good it doesn’t matter if you’re playing with older, younger people, where they’re from

I couldn’t agree more.

One of my favourite groups of musicians where there’s such a diverse group of people that what they create must be a record. I’m thinking of a group called War

I was just reading an article about Eric Burdon and his new album. I haven’t got it yet. I need to get it in

I’ve been offered a chat with him

You must. You know I toured with him too, right?

Yeah. I saw him do a reunion gig with War at the Royal Albert Hall. My god. What talent. All these guys can play so well but they serve the song. They actually put that in the back pocket and create an atmosphere

Absolutely

That’s what I respect more than anything else about creative artists. When someone’s able to do that

You’re right. There’s nothing like that admirable restraint when you have all the colours in the rainbow. And you pick a few. It certainly worked for my favourite artists—–.

Also I would say that there are … with the acting world a parallel, where great actors don’t actually need to be the loudest voice on the stage

Absolutely. In fact, the woman whom I’m opening with tonight, Elizabeth McGovern was one of the first theatrical actresses who inspired me as a young girl. I saw her perform in a Midsummer Night’s Dream at the New York Public Theatre when I was a teenager and she played Helena. She was spectacular

It’s such a great piece. I saw that at the Lyric in Hammersmith and it was like a knockabout comedic version last year. It was heavy, it was fun, they had superhero costumes in it and they just enthralled an audience of every age. There were sixteen year old girls from a school who were laughing out loud at it. Afterwards, they were saying ‘I hadn’t realised Shakespeare was so funny.’

It’s a hilarious play

JAZZ & STUFF

Well yeah, but it depends on spirit because spirit is more important in most artistic work. Let’s talk about musicians that you play with when you’re back at New York. You mentioned a trumpeter to me? Who would that be?

Les Johnson. He is absolutely fantastic and he has been playing with me for many years. He was one of the first full-on jazz players with whom I’ve ever performed. With him, it’s just about serving a song. He just shuts his eyes and just feels it. It’s different every single time but it’s always appropriate

What style is he from? Is he from Dizzy or Miles?

You know, I think he is so eclectic and diverse. He was on ( Hit ?) Factory Records for many years and he’s also a composer. So I think he’s observed all of these different influences. Than he really truly comes out with his own voice. I’ve never heard anyone with his style

Cool. You’d like the guy I play with. He sounds like Tony Bennett. It’s like what Miles Davis said ‘Don’t play what you know. Play what you don’t know.’

Wow. I love that !!!

One the basis that, if you just play your clichés, fine yeah a round of applause. Miles, I saw Miles play.

Wow…

© Tom Moore

A week before he passed. He made all of his musicians play way beyond. And Robben Ford, I interviewed him, was in Miles’s band for years. He said ‘Miles would make you play stuff that had never come out of your fingers before.’

The closest thing that I can really relate that to, because I’m not a trained musician, is my acting training. Because I had an incredible teacher who’s won many awards. She’s an award- winning playwright herself. She does many one woman shows around certain political events. She portrays up to forty, fifty people by herself. Her name is Anna Duvere Smith. You should look her up. She was my advanced acting teacher at Stanford. Her whole thing was getting out of your comfort zone. She had you study people who looked and behaved and believed that nothing you did as a person. Portraying their behaviour as part of your performance training. It really was incredible.  You didn’t get an A in class unless you really picked someone who was really nothing like you. To study, take notes on and perform their behaviour

That kind of bravery puts electricity in a performance. Have you ever read Miles’s autobiography?

I haven’t. I need to.

Rachel, promise me you’ll read Miles’s autobiography?

I promise.

Because until you read it, you don’t quite understand what it’s like to be a black guy playing in a mainly white run fifties. You would relate to it because there are things that he says… he was never afraid to stop and do something different. He didn’t want to make the same album over and over. He said “My fans may want that, but I don’t ”.

Sometimes, people ask me the one thing I hope audience members get from my work. And you’ve kind of just nailed it. So I better go and read this book because I always say it’s not necessarily about the specifics of my story and the details in my work that I’m even putting forth. But that sense for an audience member that I want them to feel validated, to tell their story in whatever way in their life that they possibly can. Whether they’re an artist or not. I think everyone has that in them. That’s what I want to promote.

It’s so easy just to become established for doing something and do it forever. When you’re performing there is pressure on you to be good on the night

You now, I think it’s the most humbling thing in the world. The fact that you can’t just rest on your laurels, or what you did last night or last year when you return somewhere. It really is about being present in that moment. The way that I cope with that, is to really think of the audience as another member of the band. We’re all there, it’s a band. It doesn’t even matter if I do my best that night on a technical level, and make no mistakes, if my spirit and my personality aren’t engaging in a genuine, authentic way it still might not land. So I think it’s about respecting the fact that they did come out and see you and they’re not at home watching television

© Deborah Lopez

They could be anywhere doing anything

They sure could. It’s a gift. I think gratitude is a huge part of it. But you also have to pump yourself up and feel confident. And know that you have something of worth to offer and——–

There’s a thin line between being confident and being arrogant isn’t there?

I don’t think the line is always as thin as we sometimes think. Confidence is an awareness that you have something to share. So it’s completely about the other for me. Whereas, over-confidence is kind of an oblivion where it’s all about you.

Yeah. Unfortunately, a point that some artists seem to be believing their own publicity and everything else, their feet must start to leave the ground?

I don’t know. As a neurotic Jew, I think I’ll never have that problem. I’m my own worst critic all the time. I try to make friends with that critic as often as I can and calm her down.

There is a danger in playing that you over analyse what you do. And it comes less natural. What an audience most likes, and you know this more than other people, is where their personality seems pretty genuine, connected to you and not an artifice

A lot of times, they seem to like my mistakes as much as when I hit the mark. I also try to talk to my audience after the shows and try to get a feel for who they are and what they’re about. Sometimes, people who come to my shows have shared such incredible stories to me about their own fortitude and experiences they’ve had that have shaped them. It’s given me wonderful song-writing ideas. I try to just keep open to inspiration wherever it my come from

PETE & THE JEWISH THING

This is no insult to your family, I get the feeling that your family is as much your audience as your blood relatives with your material. I’m asking whether you feel your family in inverted commas, compromises you audience as well as blood relatives. Are you as close to your audience as you are to your real family?

Oh sure. I mean the concept of chosen family is one that I’ve always been comfortable with. I think it’s also living in a big city, being a New Yorker, being an artist. Being a theatre person where the main reason you’re showing up maybe is to be part of a play, an ensemble. Is that feeling of family whether it’s from the group itself putting on the production or the audience. It becomes a community. That’s the word I like to use.  I say it in Yiddish  ( ?? – PS – didn’t catch it) that means ‘family’. And when I say it to someone they know that what I mean is they’re in

Sometimes, the Jewish element of what artists do doesn’t always connect with an outside audience. I went to see Jackie Mason years ago. Very funny guy, but a third of the act I couldn’t understand what he was saying. Everyone around me was laughing.

How were the other two thirds?

© Deborah Lopez

Brilliant. He was saying ‘his mother was a schlmaga who thought she a shmader !! ’ or something and all the other people around me were laughing.

I think it’s like world music or ethnic food, I think they’re things we have to share with each other, cross culture. Which only works if that person is as attuned to their own story and heritage. Otherwise, it can become quite generic. If he’s trying to be something he’s not.

Well put.  I left feeling I didn’t get all of the jokes

You probably didn’t. How about Woody Allen do you like him?

Woody Allen’s a genius.

There you go. He’s a master

I like ‘Sleeper’. It’s one of my favourite films

Yeah I’m a big fan.

‘Sleeper’’ is great because he goes into this cave and there’s this old Volkswagen that’s been there a hundred years and it starts first time. That is one of the greatest gags ever, to me

Yeah. I think sometimes the best comedy is just about that underdog navigating the wider world in a way that’s just highlights how vulnerable they are. And I think that’s something that every culture can relate to.

PUNCTURED DIGNITY

A lot of great works centre on or involve a lot of what I would call ‘punctured dignity’ Where people who pretend to be something wonderful are brought down to earth by circumstance. It’s a an archtype…

Archetypal, yeah !.

There’s a play called ‘The Government Inspector’, which is an Eastern European play. Wonderful because bureaucracy is shown to be nothing but a conspiracy to benefit those in charge

Yeah that’s what I love about studying theatre too. I think it’s great training for song-writing because you really learned how to capture each different archetypes. And even going back to just mask work. You put on a mask, you’re a certain type of person. And you’re trying on their life and I think it just helps you break out of your own experience and relate to other people

You want people to leave having felt that they’ve been somewhere else with their own lives

Transported maybe? Well hopefully they’ll feel that way tonight.

© Bill Bernstein

I remember you being good last time. I don’t know how good you’ll be tonight

I’ve heard the venue will be a lot quieter

We were there last year for Rosanne Cash. Fabulous venue. Crystal clear sound. She was playing with John Leventhal on guitar

I’ve seen John Leventhal ! incredible musician..now who else does he play with ?…

Shawn Colvin. People like that, their music can be absolutely stark, guitar and vocals or quite delicately arranged. The songs lend themselves to that. Someone like John Leventhal will be able to realise the finished piece. That’s the producer’s art to me.

Well, John Leventhal production certainly has been an influence on me. And his guitar work on some of the Mark Cohn records I heard early on as well. Directly influenced the way that I sit here and compose and arrangein the studio.

Have you ever worked with  Mitchell Froom? (Crowded House, Suzanna Vega – PS)

I have only met him through Facebook which is quite funny. At a certain point he invited me to be a friend and I accepted and then I wrote him a very perky and upbeat note. I couldn’t resist. About how much his musicianship and production has inspired me. And specifically Suzanne Vega’s album ’99.9’.And he wrote me back and was really lovely. He wrote me back and said ‘Well you never know, maybe we’ll work together someday’. I didn’t want to overwhelm him by jumping on that. But I was enthusiastic and we stayed in touch

See I think you make better music if you’re a fan. If you can draw inspiration from all over. If you want to sound original…. steal from obscure people

(Laughs) Alright. Well I won’t tell you the obscure Russian artist that inspired me when I went there as a teenager. You’ll never know you’ll just think it was me

When you hear me play guitar you won’t mention Harvey Mandel. We have a deal on that ?

OK !.

Talking about the UK, what were your original educational plans?

Well during my junior year I was scheduled to come and study Shakespeare at Oxford University. I’d applied and I got accepted. I was so excited and Shakespeare was really my passion at the time. And then I randomly met the great John Lee Hooker through my work as a DJ for the radio station at Stamford University and he was so fascinating and such a wonderful human being. And so as friends we hung out and I couldn’t bring myself to leave because it was the first time during my whole college experience I actually felt that I was learning something that would impact the rest of my life. So I told my parents I decided to stay and explore that relationship. And they had a really rough time understanding that. But I think now they get it and they know what an important human being and musical influence he was

INFLUENCES

Let’s talk about your love for Elvis Costello. He came up when I was around here


© Deborah Lopez

See I didn’t really know his early stuff. I didn’t know his whole punk thing and I was in grammar school when he was hip. Other kids in my class were liking him. His voice didn’t quite connect with me. It was to crackly and I liked a purer sound at that point. I liked Billy Joel and Elton John when I was a really little kid. But when I got older, and I heard his album ‘Spike’ I just thought it was the most brilliant record I’d ever heard. I love every track on it

The first track on it blew my head off. It starts off a real mess and then it’s got my hero Roger McGuinn on twelve-string guitar and Paul McCartney on it. That’s the only one that I own because I love that first track so much. The rest of it I can’t stand his voice

His voice has really grown on me. I actually think it’s gotten a bit stronger since he got into different styles and new things and worked with Brodsky Quartet and for me that was a real breakthrough for him

Yeah..and  Diane Krall appearing

He works with everybody. ‘Juliet Letters’ is my other favourite album by him. I just think it’s brilliant. The thing about him, for me is that to my ears he’s like the Meryl Streep of music. He can just transform. Transformation from one genre to another. He approaches each one with so much gusto. He’s just revelling and learning everything about it. So he’s done everything from classical, to punk, to rock and folk

The TV show is quite good. Have you seen that?

Yeah I thought it was excellent. I loved it

There was quite a good one with Kris Kristofferson

Yes.  Who I also love.

There are people you probably know who I know nothing about !

I’m sure that works both ways! (Laughs)

Part of the Elvis Costello is the keyboard player, Steve Naive. Brilliant keyboard player. Did you know that Elvis was the son of Ross McManus who is a show band singer in the UK?

I did know that. And that’s why I was kinda dubious. All his life until more recently he said he didn’t read music, he didn’t write arrangements

Ross McManus used to be a generic jazz singer on show bands and radio shows over here. He was like a performing danceband singer on the live shows.

Whatever he did. He did something right as a father

Well, I think Elvis was a bit of a rebel. He was in the mid seventies with the rebellion thing where you were supposed to hate everything before it. Stupid notion. When I heard the Sex Pistols I thought it was a third rate versions of the Stooges

© Tom Moore

(Laughs)

When I was young, I used to hang around with a group from Detroit called the MC5. And their lead singer was Rob Tyner, a real renaissance man. I got to know him when I was very young. He encouraged me to listen to jazz. Because of him I saw Sun-Ra and all that. So I owe him quite a lot. He’s dead now, Rob Tyner. He took his surname from McCoy Tyner, the jazz pianist. His real name was Derminder. But a fantastic man. He wanted to know something about everything. He was very inquisitive.

A lot of people I know who’ve grown up to be artists had a mentor of that ilk. I’ve had a few. Well what I do is certainly a contrast to my prior incarnation as a ballerina. It gave me some range. I’ve been very lucky and met some amazing people in my not so long life. And this past year I got to open for Al Stewart. Whose music I was completely unfamiliar with except for ‘Year of the Cat’. And he had me sit in and play keyboards

One of the best songs ever is ‘The Eyes of Nostradamus’

It’s an amazing song and I’ve heard him do it every night for the past couple of weeks.

Isn’t he a wine connoisseur?

Yes he is. He invited me to do some wine tasting in Los Angeles next time I go there. I’m not that into wine but I do like red wine

The other people who like wine are the band Train with Pat Monahan. They’ve got their own wine

I liked his performance on ‘Live from Daryl’ House’.

He made a brilliant solo album

Oh ? I’ll check it out.

Time to get going – thanks for the chat Ms Sage….you’re still enigmatic, but that’s cool

Later, at the show, Rachael signs a single for me – ‘Pete, you’re a Mensch!!’ ..I am kinda hoping that’s a compliment..I’m not sure if she ever wore the earrings

RACHAEL SAGE – ‘Haunted By You’ is out on MPRESS Records

Pete Sargeant      www.fairhearing.co.uk

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