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RED JASPER 777

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The band’s eagerly anticipated follow-up set mines a similar melodic vein as the five musicians explore the vagaries of the human condition via the refreshingly uncluttered delights of ‘Forth Of Fife’, ’7′ and ‘Paradise Folly’.

Kevin Bryan, Regional Newspapers (April 2016)


The glossy anxiety of “7″ introducing a new set of rules, now erstwhile long instrumental passages have left ample room for David Clifford’s vocals that launch the heavy raga of “Blessed With Gold” on a deliciously high note, although sometimes words seem to twist the tunes into slightly repetitive patterns. As a result, the melody which unites “The Gathering” with “Forth Of Fife” could have outstayed its welcome and drown the “Firth of Forth / Firth Of Fifth” reference if not for the songs’ additional turns and distinctly different arrangements. So where others would indulge in countless time signatures, RJ wrap the verses of “She Waits” in waltz and harden its choruses to rock riffs, while giving the despondency of “Nothing To Believe” an anthemic bounce.

Still, where Lloyd George’s cosmic synthesizers make “Reaching Out” a typical art-rock ballad, “Paradise Folly” gets down to an acoustic, spiritual foundation of it all, something that’s stressed on a bonus cover of THE RASMUS’ “October And April” as DC and his daughter Soheila (whose solo album is long overdue) deliver a dramatic duet. There might always be seven reasons not to see it clear, but with “777″ RJ clear this view in spectacular fashion. ****

DMME.net (April 2016)

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THE REFORM CLUB ‘GIVE WAR A CHANCE’ MUSIC VIDEO!

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‘Give War A Chance’ is taken from The Reform Club’s latest album ‘Never Yesterday’ available from Angel Air Records. Written by Baker/Phipps and published by CeeDee Music UK.

Click here to order your copy of ‘Never Yesterday’ now!

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THE REAL THING Live At The Liverpool Philharmonic 2013 CD

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It’s impossible to resist the rhythm changes of the 11-minute “The L8 Medley” as well as the mellifluous throb of “Cry Me A River” whose chorus marries past to the future, and the insistent jive makes “Can You Feel The Force” a rhetorical question. Strong as ever, the ensemble’s new studio tracks – beats-driven bonuses here – including the update of fellow Liverpudlians’ “Eleanor Rigby” is a testament to TRT’s vitality: that’s the focus of this package. ****

DMME.net (March 2016)

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MATCHBOX Going Down Town

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…now released for the first time worldwide on this budget priced CD. All of the 12 rock ‘n’ roll and rockabilly tracks are written or co-written by leader Hodgson and include numbers such as ‘Nothing To Do But Rock And Roll All Day’, ‘She’s Hot’, ‘Roller Skating Sally’ and ‘Flip Flop Floosie’.

Bev Bevan (March 2016)


MATCHBOX ‘Going Down Town’ represents a fine tribute to a bygone era and succeeds only too well in re-creating the sounds of the greats. All 12 tracks on this re-release were written by Brian Hodgson – a versatile guitarist and also former Rutles founder-member. And a pretty fine job he did too!

Music-News (March 2016)


Vocal harmonies stacked around Graham Fenton’s mellifluous yelp and the sting of Gerry Hogan’s guitars, steel and otherwise, make “Flip Flop Floosie” irresistible and “Shooting Gallery” – penned by bassist Brian Hodgson, an original Rutle, and taken to the charts by Shakin’ Stevens in 1980 – a booming joy, while “Hot Love” snaps to the boogie shout-a-rama.

DMME.net (March 2016)


If you enjoy old school rock and roll and don’t mind the clock being turned back, oh about sixty years or so, Going Down Town will be a very enjoyable nostalgic ride that is just plain fun to listen to. Recommended for fans of Eddie Cochran, Buddy Holly and ’50s rock music in general.

Sea Of Tranquility (February 2016)

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ANDREW CRESSWELL DAVIS Emergency Love

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Emergency Love is a gently-rocking affair constructed around the delicate songs, deft guitar and keyboards backed by a line-up including Stackridge’s violinist Clare Lindley and drummer Eddie John along with pedal steel supremo EJ Cole. Songs such as ‘Charlie’s Dead’ and ‘Rain Rain Rain’ show the tuneful sensitivities that Davis bought to his previous outfits, but there’s a sense of coming of age on others including ‘Loving You Too Long’ which edges towards the likes of Randy Newman. There’s often a country touch and even gospel overtones with choral backing vocals, particularly on the title track…

Record Collector Magazine (April 2016)


The title track itself is an excellent example of how to take a tender theme, present it in a reasonably traditional singer songwriter setting and simply allow the music to speak for itself. Whether the gentle stroll of “Downtown Lights”, the understated yet insistent “Magdelene”, which I could easily imagine Mark Knopfler singing, or “Charlie’s Dead” which contains an authentic country rock vibe, it’s hard not to get caught up in the believable manner with which Davis delivers the vocals. Add in some quite wonderful arrangements, where a deceptively simple sheen allows some seriously intricate work to feel smooth and unforced and it’s no surprise everything here works so well.

Sea Of Tranquility (March 2016)


The knock on heaven’s door, taking a hymnal turn in the title track, may stop at the sparse skank of “Nightfishing” with its steel guitars’ twang, while “Charlie’s Dead” paints patinated pictures on the way down memory lane towards “Downtown Lights” – a darkened cover of THE BLUE NILE’s ballad. Yet, as if to oppose “Peacock Of The Universe” referring to wisdom-preachers, who the artist hates rather than weirdos he likes, “Loving You Too Long” is a Shakespeare-citing soulful anthem which picks up where Otis’ classic left off. What’s left when the passion has burned, then? Look for the answer in the orchestral swell behind “The Ghost Of Love”: a dramatic, if soothing, finale to a warm, welcoming record – a beacon for those who feel lonesome tonight. ****

DMME.net (March 2016)


As the leader of such sturdy English bands as Stackridge and the Korgis, Andy Davis built a career that will see him through old age with substantial songwriting royalties. Both gigs were known for their idiosyncratic approach to pop, and his new solo album strives for eclecticism within a narrower tonal range. With his hoarse voice and mid-tempos, Davis seems to be cruising, and if the tongue-in-cheek ambitions that made the Korgis such a vital addition to the new wave canon are missed, there’s no shortage of great tunes and clever lines. Blues and trad are the preferred modes of presentation, but Davis’s pop instincts make sure the songs are concise and the arrangements serviceable. It’s what used to be referred to as a “journeyman’s record,” one whose merits are difficult to repeat, except that Davis has been repeating them his entire professional life.

EL Magazine (February 2016)

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THE HONEYCOMBS 304 Holloway Road Revisited

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…a triumph both artistically, aesthetically and musically. A truly wonderful CD packed full of superb performances and arrangements. It can be recommended without hesitation to all music fans and collectors. Also, a fitting tribute to Joe Meek / RGM. It is also a very joyous CD to listen to…

Joe Meek Newsletter (April 2016)


Martin Murray wanted to utilise the technology now available to re-imagine, rework and re-arrange The Honeycombs songs and keep to the spirit of Holloway Road…So do these reworkings work? Yes in the main they do and I get Martins desire to put a new take on things.

HITR becomes a slower tempo orchestral country tinged affair as opposed to the Dave Clark style stomper it was back in the day. Opening tracks ‘Leslie Anne’ and ‘Mary Jo’ both uptempo numbers sound fresh and ‘retro’ at the same time and there is no doubting the musical ability on display. Totem Pole 9 (theme from Howards Way) yes. you read that right! manages to come away sounding like a homage to the Tornados ‘Telstar’ Deliberate? don’t know but brought a smile to my face…overall as aforementioned Martin has made a refreshing, enjoyable and engaging album.

ninebattles (March 2016)


Founder member Martin Murray – guitar and supporting vocals – has been recalling the group’s brief time in the mid-Sixties spotlight with some newly arranged recordings made by a present-day line-up of Honeycombs. The 14 tracks obviously include a rendition of the stomping ‘Have I the Right?’ – and a return to ‘That’s The Way’, another song written by the hot team of Ken Howard and Alan Blaikley, and which reached number 12 in 1965.

The Beat (March 2016)


Now well into his seventies, Murray still sounds good vocally and there was never any doubt about his proficiency as a guitar player. Get this album as a birthday pressie for your granddad – but give it a go first and put your troubles aside for a brief while.

Music-News (March 2016)


The album’s piece de resistance is a brand-new arrangement of “Have I The Right?” which is like no other version you have ever heard! The majority over the years have all leant towards The Honeycombs original, and it would have been easy enough for yet another one to have been included on 304 Holloway Road Revisited. There is a slow build up to “Have I the right to touch you…”, a gentle acoustic-style guitar solo, and then “come right back” fading to an echo at the end. Brilliant!

“Colour Slide” is belted out and is not too dissimilar to the opening track on The Honeycombs LP. “Without You It’s Night” starts off with bird song over a guitar intro, and guest vocalist Angelo Deacon sensitively handling this as a ballad reminiscent of those by Justin Hayward. “It’s So Hard To Love You” turns into an unique barbershop-cum-country number. Linda, sounding somewhat like Glenda Collins, does sterling work on “Something I’ve Got To Tell You Baby”. “Totem Pole” is a fairly straightforward instrumental, the original being by Peter Jay and The Jaywalkers (1963); and, finally, “Too Way Out” winds everything up with its familiar boisterousness.

What a treat is in store for everyone who buys a copy!

The Honeycombs Newsletter (March 2016)

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TYGERS OF PAN TANG Noises From The Cathouse

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Starting with a playful blast of “Bad Bad Kitty” and signing off with the equally tuneful “Master Of illusion” whose tempo shifts and lyrical flow bare the metal-laden depth of it all, this record refines TOPT’s trademark double-barrel assault on “High Speed Highway Superman” while in the molten prayer of “Cybernation” Dean Robertson’s axe cuts the second six-string’s strum in a lyrical way.

The tightness-and-release method is what the band excel at, best illustrated by “Running Man” and its bluesy licks sprinkled over the groove as Richie Wicks is bemoaning the fate of a questing spirit, although a reckless rock ‘n’ rolling of “Three In A Bed” may vie with the epics for attention. There’s a lot of anger, peaking in “Godspeak” to the punches of Brian West’s bass, yet it’s well balanced with fun, and the re-recording of “Don’t Touch Me There” from the ensemble’s debut – one of the bonuses on this reissue – only stresses their development and relevance. The TYGERS still roar: a solid noise it is. ***1/2

DMME.net (April 2016)


…one thing is certain, this tiger always has sharp fangs with this album being no exception – guitar riffing, epic solos, tempos, and good raspy vocals. It opens with a bang with ‘Bad Bad Kitty’, glam rock yet boosted with a voice like Bon Scott, and Robb Wier’s exciting solos…

…’Three In A Bed’ is a track like old time Van Halen, and ‘Master Of Illusion’ has very thick guitars and a killer riff.

There are three bonus tracks from the album sessions, still full of the crazy guitar of Robb Wier. It’s uncompromising, as Robb assumes the role of guitar hero with his playing melting ice faster than global warming! Hard rock, this is the business of the Tygers! (***)

Highlands Magazine (Translated – April 2016)


…with “Three In A Bed” (whatever could that be about?) an out and out homage to Roth fronted Van Halen through its bouncy beat, party like chorus and Wicks’ deep, leering spoken word section, there’s much more to this version of TOPT than you may think.

“Bad Bad Kitty” keeps up the (ahem) tasteful lyrical themes, yet while the words may hint more at the eighties than the noughties, what Tygers have done here is to keep the essence of their sound while spreading their wings to add influences as wide and varied as Extreme, Faith No More and in the case of “…Kitty” a more sleazy slap.

…In many ways the NWOBHM tag has been a curse for countless bands and Tygers Of Pan Tang are no exception. Here they prove once again that they have many more strings to their fret boards than the sub genre suggests. Noises From The Cathouse is a rediscovered album genuinely worth the time taken to rediscover it.

Sea Of Tranquility (March 2016)


The disk opens with the powerful and gloomy “Boomerang”, introduced by a mild and persuasive theme with violin and piano. The next development is played on a very well constructed contrast between arpeggiated parts (dark and suggestive) and moments of more direct impact, with imposing riffing, fulminating and fully supported by the bass / drums rhythm section.

The voice of the former Angel Witch Ritchie Wicks is well set and drag properly, especially in the pounding refrain. It continues with “Godspeak” and is an almost dissonant riff, then supported by a lilting rhythmic base but compelling. The riffing of Weir is processed and delightful especially in the main refrain…The result is really interesting.

The next track “Masters of Illusion”, demonstrates once again their ability to create melodic textures with long, dark and powerful riffs…”Highspeed Highway Superman” definitely changes the atmosphere, concentrating one’s attention on more sustained rhythmic and dynamic heavy-riffing and catchy rock, embellished with a good solo.

In conclusion, this “Noises from the Cathouse” is a good album…Here you will find a range of atmospheres and sounds that will please both lovers of old school metal and those who grew up listening to the latest sounds.

Truemetal.it (February 2016)


“Noise from the Cathouse” is a solid hard rock disc with occasional metallic approaches. “Boomerang” is a great rhythmic track featuring quite heavy guitars, and “Three In A Bed” is a real ‘rock ‘n’ roll’ number…the album also features two classics “Slave To Freedom” and “Don’t Touch Me There” as bonus tracks, that enhance the re-release…

Musik An Sich (February 2016)


Considering its time of recording, the album is filled to the brim with surprisingly unadulterated heavy metal, its roots still firmly embedded in the NWOBHM subculture that sprung to life in the late seventies. Doesn’t make them bad people of course. There’s an honesty to this material – produced by Chris Tsangarides – that is infinitely preferable to the sneering, condescending undertone that runs through the so called post rock irony of a few contemporary AOR bands.

‘Highspeed Highway Superman’ and ‘Running Man’ see the machine ramped up to reach an hypnotic momentum. These tracks and others – ‘Three In A Bed’ for instance – just hum with kinetic energy. ‘Bad Bad Kitty’ and ‘Godspeak’ are opposite sides of the same coin. One seems to pursue the glam, stack heeled direction of travel, while the other’s funereal call and response vocals display the band’s ability to wed a muscular brand of heavy metal to their earlier, darker inclinations.

Darker still, ‘Cybernation’ and ‘The Spirit Never Dies’ are just the warm up for the epic, 3 act, 9 minute ‘Master Of Illusion’, a stately, majestic exploration of the genre, teasing us with an unconsummated dalliance with Progressive rock. There are echoes here of one of the bonus tracks, ‘Slave to Freedom’, originally from the 1980 debut, Wildcat, whose prescient time changes were something of a clue to the musical temptations that almost turned their heads, at the beginning of their recording career.

Of the other 2 bonus tracks, one is a new, streamlined mix of ‘Highspeed Highway Superman’, and the other a cleverly arranged rework of ‘Don’t Touch Me There’, a track that also originally appeared on the band’s debut album. All 3 bonus tracks were re-recorded in 2004, planned as album extras for the Japanese market.

There are some brief but informative liner notes here, delineating the band’s 35 year history, including an interview with founder Robb Weir, and a few fascinating (and evocative) photos.

The Midlands Rocks (January 2016)


Fast-forward thirteen years and ‘Noises’ has now been given a new lease of life via Angel Air. The revamped album features new artwork, a shuffled running order that redefines the dynamism of the original ten songs, and three bonus tracks which take the running time up to a hefty 75 minutes. The material certainly hasn’t lost its bite over the intervening years, and songs like the huge, sprawling ‘Master Of Illusion’ is just one example of the band’s ability to create a grandiose metal epic, while the haunting but power chord laden ‘Cybernation’ is as dystopian as its title suggests.

The bonus tracks were recorded in 2004 and feature album cut ‘Highspeed Highway Superman (Two Wheeled Version)’ alongside the debut album classic ‘Slave To Freedom’ and debut single classic ‘Don’t Touch Me There’…they do round off a rather exciting re-issue rather nicely.

John Tucker (January 2016)


The original release has now been fleshed out a little with the addition of three bonus tracks and should be required listening for devotees of melodic hard rock everywhere, with ‘Highspeed Highway Superman’ and ‘Godspeak’ emerging as the pick of a punchy package.

Kevin Bryan, Regional Newspapers (January 2016)

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DALE GRIFFIN, MOTT THE HOOPLE 1948-2016

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DALE GRIFFIN aka BUFFIN 24th October 1948 – 17th January 2016

Terence Dale Griffin was an English drummer, record producer and founder member of Mott The Hoople.

Born in Ross-on Wye, Herefordshire ,Griffin attended Ross Grammar school and played in a number of local bands with his lifelong friend Overend Watts and it was during this time he gained the nickname “Buffin”. Amongst Dales bands were The Silence, Charles Kingsley Creation and with Watts and Mick Ralphs in The Doc Thomas Group. Changes to that line-up occurred in 1968 and keyboard player Verden Allen joined the band and changed its name to The Shakedown Sound. In 1969 they moved to London and came to the attention of record producer Guy Stevens and Ian Hunter was chosen as their lead singer and Mott The Hoople were formed.

Following the departure of Ian Hunter in 1974, Griffin along with Watts and Morgan Fisher formed MOTT with Ray Majors and Nigel Benjamin. In 1976 following the departure of Benjamin the remaining members regrouped as British Lions with former Medicine Head singer songwriter John Fiddler until their demise in the late 70’s when punk hit with a vengeance.

During the 80’s Griffin and Watts formed a Production Company and produced albums for Hanoi Rocks and The Cult as well as hit singles such as Department S “Is Vic There”. Dale then joined the BBC as a producer and produced numerous BBC Radio 1 John Peel sessions from 1981 to 1994 including Pulp, Smashing Pumpkins, Nirvana and Orchestral Manoeuvres In The Dark. In the early 21st century Dale oversaw the re-release of Mott The Hoople’s entire back catalogue from both Island and CBS period producing remastered versions and excellent informative sleeve notes.

Aged 58 Dale was diagnosed with Alzheimer’s disease just as he had worked tirelessly over the years to bring about the reformation of his beloved Mott The Hoople and in 2009 the band reformed for a five night sell out Hammersmith Apollo 40th anniversary concerts of the original five founder members. Having been just diagnosed Dale only performed during the band encores with The Pretenders drummer Martin Chambers, also from Herefordshire and a friend playing the set and also covering for Dale on the 2013 Mott The Hoople tour.

Dale is survived by his long term partner Jean Smith.

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THE REFORM CLUB Never Yesterday

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…Elsewhere, though, affairs of the heart take over foreign affairs, and little tragedies such as ones behind the whimsical “The Man Next Door” or the “One Way Love” blues are the order of the day.

In this context, acoustically driven numbers of a singer-songwriter disposition – like “Point Me To The Truth” – make a lot of sense. Not for nothing the punk defiance of opener “Daffodil Cottage” with its naked guitar riff gets diluted in the song’s soft chorus and psyched-up passages, and “Shopping” is mocking consumerism in the kindest way possible – as a means for a meaningful social life.

So while the twang in “Time Hangs” sounds ominous, its refrain is a harbor of hope, and “Teapot Lane” hitches a catchy approach to criticism of today’s Blighty. But then, there’s luminous wisdom in the title track, a refusal to cast a glance back, just because it won’t help us move on. One way love might be a step forward, really.****

DMME.net (April 2016)


Never Yesterday’s meticulous political editorial makes it worth a spin, but where the album blossoms is through its inherent honesty. Love and life flutter among the words with such cordial belonging it is almost like opening a diary; and that intimacy gives this album its heart.
The Badger, University Of Sussex Students’ Newspaper (March 2016)


Whichever song you listen to you can be rest assured of some clever pop music that is as catchy as anything you are likely to hear this year. If you enjoy a little slice of the ’60s every now and then you really can’t go wrong with Never Yesterday.

Sea Of Tranquility (March 2016)


Standout track Give War a Chance is an irresistible critique of Blair’s warmongering, with the opening refrain “I am an envoy for peace/But I’ve got war on my mind/I’ve dealt with Iraq, I’m shafting Iran/Syria watch your behind” carrying a wholly correct prediction, chastising Cameron’s bombing whist uncovering the root of the madness with a heat seeking intensity any general would be proud of. Juxtaposed to a creeping folky instrumental, Baker and Mike Phipp’s lyrics are given a platform no parliamentary speech can rival.

The Reform Club also excel at old-school Rock and Roll ballads of longing and loss, with One Way Love and That Girl giving the album a genuine sense of authenticity; the former dealing with the age-old issue of loving one who will never reciprocate, the latter echoing the same notion in a flurry of minor chords and a chorus “That girl, That girl, I am in love but she’s leagues above me” that is simultaneously simplistic yet byzantine…

…Never Yesterday’s meticulous political editorial makes it worth a spin, but where the album blossoms is through its inherent honesty. Love and life flutter among the words with such cordial belonging it is almost like opening a diary; and that intimacy gives this album its heart.

Glenn Houlihan, Sussex University Magazine (February 2016)


‘The Man Next Door’ is a whimsical tale (told in ballad-style) about a fella called Ben who works off the Old Kent Road, claims to make a mint yet is always skint, and forever borrows a tenner of which our lyrical protagonist knows he’ll never get it back. Bless the Old Kent Road and its periphery, seemingly inhabited by colourful characters worth a tale, and forever inspiring artists to write that tale. Another amusing song is ‘Shopping’ an urban saga about the delights and possible pitfalls any serious shopaholic might encounter.

…An excellent album for music lovers who like to be ‘stimulated’ while listening to songs and hey, some of the content might even spark a debate or two – no, you won’t fool the children of the revolution.

Music-News (January 2016)


They are reminiscent of The Beatles, The Kinks, etc. Tony Blair has been criticized in “Give War a Chance,” with references to the war in Iraq and Iran. Something as mundane as shopping gets a slap in “Shopping”. For lovers of retro pop.

Keys and Chords (December 2015)

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JOE EGAN Out Of Nowhere

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Out Of Nowhere was produced by David Courtney, who also produced Leo Sayer, Roger Daltrey and Adam Faith. He is quoted as saying “The album reflected where Joe was at this time of life and career following on from his split with Gerry Rafferty which I felt was evident in some of his lyrics”. I can only agree after listening to such songs as ‘Ask No Favours’, ‘Why Let It Bother You’, ‘The Last Farewell’, ‘No Time For Sorrow’, and ‘Leaving It All Behind’.

Bev Bevan (March 2016)


With some of the less than stellar albums that have been given copious reassessments and reissues over the years, it really is amazing that an album this good has sat on the shelf for more than three and a half decades. Credit to Angel Air Records and Joe Egan for righting that wrong. With interesting liner notes from Egan’s brother Kevin, comments from the album producer David Courtney (who did a great job of capturing the relaxed vibe, yet making it sound vibrant) and a full set of lyrics, Out Of Nowhere really is an excellent re-release. Hopefully Map is next, however even more interestingly, the liner notes also hint at other previously unreleased Egan recordings seeing the light of day. Until then, get set to welcome Out Of Nowhere in from the cold. It’ll warm your heart if you do.

Sea Of Tranquility (March 2016)


Up until now Out of Nowhere was only available on vinyl. The years have been kind to this album. Thanks to producer David Courtney and Angel Air’s Peter Purnell, Egan’s long lost album can once again be heard by old fans as well as an entirely new audience.

Today these songs would fit somewhere in the folk/pop/Americana genres. What impresses us most about these tracks is the fact that they don’t sound the least bit dated. Joe wrote some great songs for this album that surely should have received more attention than they did when originally released. Hopefully this Angel Air release will bring this album to the attention of a much larger audience…The accompanying booklet offers notes from Egan’s younger brother Kevin as well as David Courtney. Top notch stuff, recommended. Top pick.

babysue (January 2016)


…the songs ooze an understated joy drenched in sensual orchestration yet leaning towards country-rock’s wind of adventure – full of soft harmonies, ‘Freeze’ wouldn’t sound out of place on an EAGLES record – so there’s a nice balance between delicate pining of ‘Natural High’ and the communal delight of ‘The Last Farewell’ where Gallagher and Lyle join in. But while a vaudeville whiff in ‘Ask For No Favours’ and the bluesy call-and-response in ‘Pride’ bridge this gap with a mischievous smile, ‘Why Let It Bother You’ wraps a worry into a sweet skank, and ‘No Time For Sorrow’ dries any occasional tear which fogs Egan’s eyes. Still, it’s ‘Leaving It All Behind’ that rocks with a righteous resolution and arresting abandon, as befits an artist who’s just cut loose and is having the time of his life.

An obscure gem of Scottish rock, the album has long been up for rediscovery; now it’s time to love it. ****3/4

DMME.net (January 2016)


It’s a fine piece of work, occupying much the same musical territory as Rafferty’s ‘Night Owl’ and blessed with a clutch of subtly memorable tracks led by ‘Back On The Road’, ‘Why Let It Bother You’ and ‘The Last Farewell’.

Kevin Bryan, Regional Newspapers (December 2015)


With some of the less than stellar albums that have been given copious reassessments and reissues over the years, it really is amazing that an album this good has sat on the shelf for more than three and a half decades. Credit to Angel Air Records and Joe Egan for righting that wrong.

With interesting liner notes from Egan’s brother Kevin, comments from the album producer David Courtney (who did a great job of capturing the relaxed vibe, yet making it sound vibrant) and a full set of lyrics, Out Of Nowhere really is an excellent re-release.

Hopefully Map is next, however even more interestingly, the liner notes also hint at other previously unreleased Egan recordings seeing the light of day. Until then, get set to welcome Out Of Nowhere in from the cold. It’ll warm your heart if you do.

Sea Of Tranquility (December 2015)

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