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“Too rock for the Folkies and too folk for the Rockies” to steal a quote from the band themselves, Uncle Bard & The Dirty Bastards have been around for about 15 years and while the band are entirely Italian in origin yet play Celtic flavoured rock with a sense of fun and pizzazz like none other around today.
Think of The Pogues or Horslips and you may have a sense of the sound of this band. They are all excellent musicians – Guido Domingo on vocals & acoustic guitar, Lorenzo Testa on tenor banjo & mandolin, Luca Crespi on tin whistle/Irish Flute/Uillean Pipes, Silvano Ancellotti on electric guitar, Roberto Orlando on bass and Luca Terlizzi on drums – and I have heard many worse playing the pubs in Dublin.
When I received the album, I expected a very technically accurate Pogues/Dubliners band with no real understanding of the relationship between the music and the audience but I was totally mistaken – these guys really do get the link and while they are technically excellent there is a certain looseness that lets the listener really engage with the playing.
Domingo is a strong vocalist with a hard edge to his voice and it fits perfectly into the ‘slam bam let’s jam’ sound of the band, every now and again slipping into an Italian accent and the sound that most emerges from the powerful soundscape is Luca Crespi’s tin whistle and pipes. Lorenzo Testa’s mandolin & banjo sit low in the mix, clucking away like demented chickens but doing as much as the drums to drive the music on.
This collection is a prelude to a live album later in the year and I can imagine just how much fun they must be live, but if this is only a prelude, then what a lead-in it is.
Superb from start to finish, what a wonderful surprise – 4/5 Stars
Music-News.com (August 2022)
We are absolutely delighted that Matthew Fisher has agreed to extend his association with Angel Air Records.
Matthew Fisher is a Hammond organist, singer-songwriter, musical arranger, producer and the man who composed the enduring classic organ melody for the 1967 hit single A Whiter Shade of Pale.
He is a founder member of the band, Procol Harum. In addition to establishing Procol Harum’s signature sound with his distinctive Hammond organ playing style (which he describes as “Bach meets Booker T & the MGs”), he frequently contributed to the band’s first three albums as a composer, beginning with the band’s first album, the self-titled Procol Harum, for which he composed the haunting instrumental work Repent Walpurgis.
Matthew’s musical credentials soon brought him guest performances with fellow musicians, including the Move, Joe Cocker and David Bowie (the concert at the Rainbow Theatre in 1972).
Matthew went on to write and record as a solo artist with albums Journey’s End (1973), I’ll Be There (1974), the self-titled, Matthew Fisher (1979) and Strange Days (1980). A collection of musical ideas he recorded “for fun” in his own 24 track studio was released under the title A Salty Dog Returns which is available on Angel Air (SJPCD389) as is Matthew Fisher / Strange Days CD (SJPCD510).
Along with many other talented musicians involved with our label we re-welcome Matthew and look forward to our continued relationship.
Brian Adams, MD Angel Air Records
Angel Air are delighted to re-welcome Robin George to an extended period of contract to the label. Apart from the existing albums available on the label (and web site) Robin has brought with him a further batch of albums that will be available soon on all digital stores and a brand new album, Dangerous Daze that will be released on CD later this year.
Robin George has worked with many more artists and projects than most realise, and during the ‘80s he built up a name for himself as a guitar player, musician, producer, songwriter and solo artist.
Robin had teamed up with Pete Haycock and the core members of the LovePower and Peace sharing album to reform a true supergroup. The band also features Mel Collins (The Rolling Stones/ Eric Clapton), Charlie Morgan (Elton John/ Kate Bush), Jacquie Williams (Sister Sledge/ M People) and Charlie Charlesworth (Dangerous Music). The superb album, Broke Heart Blues was mixed by award winning sound engineer, Klaus Bohlmann, the beginning of a long term partnership with Robin which continues to this day. Klaus has since mixed and mastered 9 albums for Robin.
Dangerous Music 2 was also released on Angel Air. Produced by Gus Dudgeon, Robin and Daniel, it features Pino Palladino, Daniel Boone, Charlie Morgan and Chris Thompson.
Robin’s recent projects include producing the sharing project, LovePower and Peace, which features over sixty artists from the worlds of Rock, Blues, Soul and Pop who all donated their time and talents. 100% of all profits go directly to three worthwhile charities. The project features, amongst others, members of Alice Cooper, AC/DC, UFO, Asia, Diamond Head, Motorhead, Uriah Heep, Duran Duran, Mott the Hoople, Marshall Law, the Climax Blues Band as well as solo artists Ruby Turner, Arthur Brown, Jaki Graham, Charlie George, Freya Copeland and Vix Fuzzbox.
Then came Lockdown. Robin spent ‘Rockdown’ recording & mastering 9 albums, aided and abetted by Charlie Morgan and Klaus Bohlmann, which Angel Air Records is now releasing. An Asia 2 CD/DVD is waiting in the wings along with Robin George and Glenn Hughes Sweet Revenge album ready for an official release. There are more eagerly awaited CDs hot off the press, Robin George & Roxstar Legends.
Artists’ bands include:
Thin Lizzy Led Zeppelin The Who AC/DC Asia Uriah Heep King Crimson UFO
Judas Priest Trapeze Magnum the Byron Band Diamond Head Life
The Climax Blues Band Renaissance Quireboys Dangerous Music
Angel Air Records now has on its roster Surreal Six String (Instrumental), Heartlines (Acoustic) Robin George Euro Tour Live, Rocking LovePower charity album and the superb, brand-new album, Dangerous Daze, written and recorded 2021-2022, are due for release.
To say that Dave Greenslade (Colosseum) and Dave Thomas (Blonde On Blonde) changed the face of popular music would be something of an understatement. You could write a couple of hefty tomes filled with their musical exploits so I won’t waste your time outlining all their achievements but needless to say that for both musicians only the term “legendary” will suffice. Coming together under the moniker Greenslade And Thomas the pair make and intriguing mixture and the resulting album G&T is an intoxicating listen.
Of course, putting two renowned musicians together is no sure sign of success but any notions of failure are allayed by opening track ‘She Wants To Talk To You’. It’s a snappy little number that strolls along to a strong backbeat and is awash with keys, brass and some nifty guitar work and sounds like it emanates from a Mississippi juke joint (it was, however, recorded in the UK). Dave Greenslade began his career in the jazz world while David Thomas began life a blues guitarist and this track meets somewhere in between. It’s undoubtedly bluesy yet it swings with a jazzy jauntiness and the result is a foot tapper that’ll rattle round your brain long after the disc’s stopped spinning.
Another area where Greenslade and Thomas mesh nicely is in the composition department. Dave G. mainly wrote the music and Dave T. mostly the words and the two combine to create a sound that’s very cinematic while the lyrics render each song a mini novella. Both conspire to place strong images in your mind and ‘Sabotage’ should do that:
“I smelt the rubber burning,
I could taste and smell the oil,
I heard the crash and felt the lash,
I heard you cry “no more””
Those words could quite easily have leapt from some really cool film noir that’s made even cooler by the soundtrack that Dave G.’s penned. Throughout G&T there’s a gentle push and pull between jazz and rock but mainly they exist harmoniously, and that’s in no small part to the lush production which provides a balanced, even keel.
Like most magical moments in music the two Dave’s met purely by chance but surely the universe was pulling them together because they display an obvious chemistry throughout G&T. The ESP they share is necessary because G&T is a multifaceted affair that takes in the whimsical ‘El Avenue’, the quintessentially English ‘Green And Pleasant Land’ and the soulful blues of ‘Otis Rush’s Day’. Dancing on light feet and to a Latino beat it sets things up nicely for parting shot ‘One More Time’. Like the tide parting towards the ocean, it provides a sense of closure and, to employ the cinematic analogy again, wouldn’t seem out of place playing over film credits.
While there’s echoes of their previous careers sounding in G&T it’s to their credit that this album doesn’t rest on past glories and is fresh and forward facing. I hope this union, and the album G&T, will be the start of a long and fruitful relationship and just like the drink to which its title alludes they’ll serve up further delights.
Reviewed by Peter Dennis – The Midlands Rocks (February 2022)
Brian Adams and his son Terry, the owners of The Store For Music Ltd, have purchased the company and label Angel Air from the original owners Peter and Shirley Purnell who set it up 25 years ago. The label, which operates under the motto, “Where the artiste has a voice”, has a catalogue of hundreds of global CD and DVD releases from many heritage artistes and individual musicians from many genres.
The Store for Music plans are to expand all activities for the label where it may not be represented and similarly merge the activities of Angel Air for any benefits to The Store for Music.
The team said, “We understand that it will be a hard job to follow such a successful period from Peter & Shirley, but it is one that we look forward to. We hope to have the same kind of relationships with the artistes and managers as they did, whilst we continue to build and develop the catalogue into the future adding some of the artistes’ ‘hidden gems’ “.
The Store for Music and Angel Air are now based in Hatch Farm Studios, Hatch Farm, Chertsey Road, Surrey KT152EH
The Store For Music contact:
The music is well played, easy on the ear melodic country rock – not dissimilar to Alabama, Poco and the Little River Band – from the aptly named ‘Dreamer’ and ‘Snowfall On A Mountain’, which puts the band’s harmony vocals to good effect. They had a hit back in the day with ‘The Shoes On The Other Foot Tonight’, a song made for a road trip playlist and featuring sublime pedal steel guitar playing.
First time on CD, ‘Change In The Weather’ deserves a place in the collection of lovers of 70′s and early 80′s country rock. ***1/2
Get Ready to ROCK! (January 2019)
Their name may not be too familiar to punters on this side of the Atlantic but this affable county-rock outfit were a musical force to be reckoned with in the area around their home state of Montana during the early eighties before the five band members perished in a tragic plane crash in July 1987. Tight vocal harmonies and polished musicianship are the order of the day throughout this easy on the ear package from 1981, with the title track and “The Shoe’s On The Other Foot Tonight” emerging as the best of a tuneful bunch.
Kevin Bryan, regional newspapers (December 2018)
This is the first time this album has ever been available on CD. The James Montgomery Blues Band was popular in the early seventies and they were often associated with other more popular groups like J. Geils Band and Aerosmith. Montgomery’s band was originally signed to the Capricorn label and then Island. But by the time Duck Fever was recorded, he had switched to the independent Warehouse label. Most likely because the band never scored that elusive hit single…or because they were switching from one label to another…James and his band never became hugely popular like some of their contemporaries. But the music has continued to thrive and survive, thanks to the internet making it accessible for everyone.
Originally released on vinyl in 1978, the tracks on Duck Fever have held up well. These bluesy rhythm-driven pop tracks have an overall funky feel and vibe that may remind listeners of mid-era Kinks (think Muswell Hillbillies or Everybody’s In Show Biz). Produced by Don Oriolo and engineered by Ed Stasium, these tracks feature the talents of a whole host of talented musicians (listed inside the handy reference booklet). Catchy upbeat cuts include “Working On a Love Affair,” “Crazy About My Baby,” “New England Sunshine,” and “Living For the Weekend.”
babysue (November 2018)
…He’s catching one’s ears with the slider-polished “Big C Blues” and an exquisite acoustic romp through “Watkin’s Rag” – both done in a solo mode – but the sexed-up reggae which “Andy’s Bad” is bubbling with has a suggestively electric allure. There’s also spiritual call-and-response of “When I Get Home” with Bloomfield’s lace delicately wrapped around the choir phrases before Michael’s own pipes hand “Used To It” to an eager congregation, so escaping this album doesn’t feel a polite option. It’s as exciting as its title suggests and, reissued after years of being overlooked, can proudly enrich the legend’s legacy. ****1/2
DMME.net (November 2018)
At the centre of the album he has the blues; at the edges he mixes radio-friendly material with soul…This succeeds, for example, in the harmonica blues “Heaven Help Me” and the soft funk “Working On A Love Affair”.
Musik An Sich (Translated – November 2018)
Three of the covers really stand out, with The Meters’ “Fire On The Bayou” perfect for this bass thrumming, holler and response setting, while a hi-hat popping rocked up version of The Yardbirds “For Your Love” really should have been a smash hit. It’s remarkably good fun and thoroughly irresistible, while still utterly throwaway. Whereas the thump, bump and brass of “Living For The Weekend” is an unabashed funk-a-junk strut. However it might just be the Barkan/Michaels composition, “New England Sunshine” that glitters in the brightest fashion here, the piano-strings ballad, again, as 70s as they come, with all the trappings of the huge swaying slowie from that era, but if you’re not crooning along by the end of it, then I’ll be very surprised.
Sea Of Tranquility (November 2018)
James Montgomery was described by the late actor/musician Jim Belushi as “simply one of the best” and also as someone who is “funkier than a six pack of onions!” In 1970 he formed The James Montgomery Blues Band and soon they were the hottest live properties on the Boston New England music scene along with J Geils Band and Aerosmith. Signed then to Capricorn Records in ’73, reviewers wrongly assumed the band were from the south when in fact they were from Detroit originally. James then signed to the Waterhouse label for his blues/rock album “Duck Fever” which was recorded in West 54th St, New York with some heavy hitting session musicians guesting and released in 1978. Now remastered and released on CD for the very first time.
Keys and Chords (October 2018)
When Slater is dispensing heavy truths and Chris Cleave is delivering mournful guitar lines, the sense of alienation is so strong that it’s impossible not to wonder whether those stones, once gathered, could become material for the impenetrable obstacle of “There’s A Wall” – a gloomily glimmering finale of a rather moody record.
This is why affairs of the heart may be the only remedy our here and now need, so even though “Something We Knew As Love” – a sax-smeared and organ-oiled slice of soul – is stricken with reminiscences about better times, it’s defiantly jubilant, as is the “Caroline Motion” whose punchy funk is bristling with brass – a pity Mutter’s flute doesn’t join the reeds’ ensemble on this album – only to announce another death wish. Still, his voice fills the languid, “against the wall” resignation of “Losing It” with mellifluous acceptance, and the equally lucid “Love Is The Stranger” turns the optimism of Sam Cooke’s “A Change Is Gonna Come” – Mutter’s reference point – into murky perspective. As a result, spiritual sway would only be logical for “Folding” to roll towards screaming abandon and to the quiet understanding of “Weird Kid” which should let some country-kissed sunshine in.
Not for nothing “You’re The Reason” is upbeat – and, having a reggae tinge, offbeat, too: if the ground is shaky, there’s a need for something solid to hold on to… so perhaps, the time has come to gather those stones and pave the road to future. That’s what Mutter Slater is trying to tell the world. ****
DMME.net (December 2018)
The latest addition to Mutter’s impressive back catalogue mines a rich vein of polished melodicism, and devotees of his work in the past would be well advised to lend an ear to heartfelt creations such as ‘Love Is The Stranger’, ‘Weird Kid’ and ‘Field Of Stone’ itself.
Kevin Bryan, regional newspapers (November 2018)
…there’s a great deal of melancholy in Field Of Stone with only ‘You’re The Reason’ bringing the sole real glimpse of optimism. And yet I call it enjoyable. I guess I can relate to where Mutter is coming from – ‘Weird Kid’ and ‘There’s A Wall’ both resonate with me – and if you’re feeling bad this is the album to feel bad to. 4/5 stars
RnR Magazine (November 2018)
Field Of Stone is the Mutter Slater Band’s latest album…Billy Bragg said of Mutter Slater: “He has one of the greatest voices in British Rock and he writes a mean song too”…Also available on Angel Air Records featuring Mutter Slater is the previous album ‘The Champ’ and ‘Stackridge – The Final Bow, Bristol 2015′.
Bev Bevan, Sunday Mercury (October 2018)
This veteran performer is best remembered these days for his quirky exploits with prog rockers Stackridge almost half a century ago, but Mutter Slater has been blessed with one of the finest voices in British rock and he now has an opportunity to indulge his genuine passion for R&B, blues and soul via splendid albums such as this. The latest addition to Mutter’s impressive back catalogue mines a rich vein of polished melodicism, and devotees of his work in the past would be well advised to lend an ear to heartfelt creations such as “Love Is The Stranger,” “Weird Kid” and “Field Of Stone” itself.
Original Rock.net (October 2018)
This album was originally released in 1981 just after the passing of legendary guitarist Michael Bloomfield. In addition to his solo recordings, Bloomfield is also known by many as a member of The Paul Butterfield Blues Band…hugely influential to so many other artists and bands in the 1960s. This album presents all ten tracks that appeared on Michael’s original album plus one bonus track (“Maudie”).
There’s a short biography included in the package written by Austin Powell that quickly and effectively tells Bloomfield’s story in a nutshell. These tracks were recorded at various times and, as such, probably offer a good overview of the man and his music. With all the renewed interest in blues/rock in the twenty-first century, the timing just may be right for folks to revisit this man’s catalog.
And Living In The Fast Lane might just be the best starting point. These tracks have stood the test of time. Hearing these tracks, it sure seems sad that this guy passed away at such an early age. Michael was only thirty-seven at the time of his death, and the circumstances surrounding it are still blurry and unclear. But the music lives on, of course, and thanks to the internet more and more folks can discover (and re-discover) artists and bands they would’ve never had access to last century. Well-crafted compositions include “Sammy Knows How to Party,” “Let Them Talk,” “When I Get Home,” and “Big C Blues.”
babysue (January 2019)
The funk influenced ‘Used To It’ is an interesting autobiographical sounding track, the soulful ‘Roots’ recalls The Temptations, the atmospheric ‘Andy’s Bad’ hints at hip hop, there are a couple of attractive ragtime songs and there is incisive Bloomfield electric guitar here and there…
Blues In Britain (November 2018)
The contents of this engaging ragbag of Mike Bloomfield recordings were probably never intended for commercial release, but devotees of the late great guitarist’s work with seminal rock outfits such as The Electric Flag and Paul Butterfield Blues Band should find it well nigh indispensable. The contents span a broad time period from the early seventies to Bloomfield’s untimely death in 1981.
Kevin Bryan, regional newspapers (November 2018)
…’Watkin’s Rag’ is a lovely, sprightly, ragtime-flavoured instrumental; another instrumental, ‘The Dizz Rag’, is charming and, although at times Bloomfield’s guitar playing isn’t particularly prominent, he plays searingly on ‘Big C Blues’. Early releases of the album included either ‘Sammy Knows How To Party’ or ‘Maudie’. This reissue has both tracks.
RnR Magazine (November 2018)
Living In The Fast Lane was released just after Bloomfield’s death; the recordings were gathered from various sessions, but his talent shines through on every track, from up-tempo numbers like ‘Sammy Knows How To Party’, through the acoustic picking of ‘Watkin’s Rag’ to the mellow ‘Let Them Talk’. Eleven tracks which form a fitting testament to his musicianship and reissued not a day too soon.
Wrekin News (October 2018)
This album is being released by Angel Air in the UK and is a re-issue of an album with the same title released in 1981 with the addition of a bonus track ‘Maudie’, this album was originally released shortly after Michael’s death in 1981, it contains material recorded over several years but predominately around the min 1970′s, the bonus here is that the supporting musicians include Mark Naftalin who Michael played with in the original Butterfield Blues band…The pick of the material is the self written song ‘Big C Blues’ which is a slow Chicago blues that highlights some sumptuous restrained slide guitar playing by Michael and is one of the few tracks where he performs the lead vocal, in addition Mark Naftalin provides some wonderful duelling Piano. The bonus track ‘Maudie’ is an excellent song written and sung by Frank Biner who also sadly left us too early in his life, it has a much harder rock edge to it and some gritty lead guitar playing from Michael, of the non blues material the track ‘Roots’ is the most enjoyable with its infectious funky soul beat, very reminiscent of the Temptations in their prime…a very enjoyable and varied album that incorporates some talented musicians whose playing is impeccable.
Blues Matters (October 2018)
…In the summery ‘Andy’s Bad’, Mike’s slide guitar colours enhance the composition. On to the gospel tunes with ‘When I Get Home’, the funky ‘Big C Blues’ and the slide guitar from ‘The Dizz Rag’. As a bonus track the Angel Air Record label treats us to the jazzily constructed ‘Maudie’.
Keys and Chords (Translated – October 2018)
Still, reflection and rumination, and sometimes religion, are never far from the album’s agenda, yet while the six-strings-elevated, intimate detail in “Lovely Ann” – dedicated to Dicken’s late love – feels bittersweet, the organ-anchored “Ship Without A Sail” has an optimistic angle to it, sharpened even more once “Summer It Won’t Be Long” is streamed into a calypso-esque drift. With boogie bolstering the swagger of “Spirit” which would sound great on-stage, the melodic appeal zeal of “Fragments” couldn’t be more irresistible – only a pop drive behind “Danger” will tie the individual and global aspects together. And this is only logical, because everything is fragile, and if we’re careless, we’re bound to be left with pitiful fragments, with BROKEN HOME’s last album a testament to better times. ****
DMME.net (October 2018)
Broken Home were formed from the ashes of (the British) Mr. Big by DICKEN and they released 2 albums during the ’80s: ‘Broken Home’ and ‘Life’. After a very long wait the third album is now available. As well as Dicken, Broken Home comprises Eddie Carter, Paul Gibbons, Simon Saunders, Peter Crowther, Mike Higgins and Pete Barnacle.
Bev Bevan (October 2018)
“When You’re Young” kicks things into gear, an almost 80s Americana feel melded with something much more stage-show in nature. It’s a beautifully constructed piece of pop-rock and with a melody line that’ll stay with you for a long time to come. However, the confusion of approaches comes thick and fast, with the howling “Rebel Children” much more of a rock strut and preen, even if, as is the case throughout, the lyrics are much more threatening and stark than the music might suggest.
…Each and every song possessing at least one aspect that truly catches the imagination, whether that be the bluesy shuffle scuffle of “Spirit”, the jingle-jangle strum of “New Adventure” or the smooth slick 70s harmonies and vocals of album highlight “Turn All Your Troubles Into Highways”…if you’re looking for sharp observational lyrics and equally sharp, if maybe slightly too diverse for its own good, pop rock, then you’ll find much to delight you here.
Sea Of Tranquility (September 2018)