Scott Gray – Raincoats and Other Short Stories

This month sees the exclusive re-release in the U.K. and Europe of Raincoats & Other Short Stories, the latest EP from US singer-songwriter Scott Gray. Featuring re-mastered songs and a bonus track, the seven song release is a familiar croon for the heart and a picture book for the imagination which provides a rather enjoyable companion for the ears too.

Nashville based, Gray takes inspiration from the likes of Sting, Leonard Cohen, and Jamie Cullum and like them instinctively crafts his songs as stories embracing the imagination and personal experiences seeded in the broad and intimate moments in life all in some way can relate to. Musically, these adventures further blossom from their creator’s infectious fusion of pop and jazz, a blend carrying a breath as soulful as it is melodic rock energetic. Certainly artists like Michael Bublé and Harry Connick Jr come to mind at times across Gray’s new release but more so it offers an eagerly captivating fresh and individual character.

Raincoats & Other Short Stories first embraces ears with Raincoats, a song which immediately got under the skin as the body bounced to its catchy lure of voice and piano. Gray’s fingers stroll over keys with smiling eagerness, his tones just as vibrant and enthused and almost grinning as they welcome the subsequent full spirited swing of brass and the summery sparkle of keys. The flames of the chorus add another virulent hue to the inescapably catchy encounter and thrilling start to the EP.

Maybe It’s You follows and is no less a flirtatious temptation, its more concentrated canter a joy of nagging bass and again balmy keys cast melodies. Harmonies and brass simply accentuate the track’s affectionate tale and persuasion, a growing classic rock hue another magnetic spice to its swinging heart and keenly sauntering demeanour. As its predecessor, the track quickly had us eating out of its enterprising hand before making way for the sultry charm and intimate jazz club climate of She Remains. Smoky brass joins melancholic keys alongside the reflective reveal of word and Gray’s ever alluring voice; every second of their melodic and wistful contemplation effortlessly beguiling.

Equally thoughtful and pensively mellow is Captured, a tale of dejection, determination and unstoppable romance. Though it maybe took a play or two more to tempt as those before it, the song emerges another ear and appetite ensnaring proposal persistently tempting with an almost gnarly throated sax, invigorating crescendos and Gray’s consistently potent and persuasive voice, the latter especially just as commanding and compelling within the following Someday, Gray’s latest single. Sharing a park bench with the listener watching life go by, it is a melodic musing easily embracing and sparking the imagination.

The lively infectious rock ‘n’ roll of Games You Play, a pop fuelled canter with a jazz rock bred personality and bounce that again needed little time to gain ears and participation, brings further variety to the EP before it closes up with bonus track, As If. An emotionally charged serenade of voice and sound with a fire in its heart, the song makes a fine end to a release which just grows and blossoms in ears and enjoyment play by play and is easy to see bringing a whole new audience the way of Scott Gray from this side of the big pond.

Raincoats and Other Short Stories is only available in the UK and Europe on iTunes @ https://itunes.apple.com/gb/album/raincoats-other-short-stories/1451747753

http://www.scottgraymusic.com/    https://www.facebook.com/500HatsMusic/   https://twitter.com/ScottGrayMusic

Pete RingMaster 24/03/2019

Copyright RingMaster: MyFreeCopyright

Primal Static – The Corrupting of the Revolution EP

Align blues breathing guitar, imagination manipulating electronica, a soul bred rock roar, and vocals that border on the feral as they echo the angst of a modern disconnected world and you have the striking sound of US outfit Primal Static and their new fascinating rather enjoyable EP. Not that it is just a blending of styles the Austin, Texas based duo offer but a bold and rousing new adventure of noise as individual as it is wonderfully challenging.

Primal Static consists of vocalist/guitarist/songwriter G.T., a self-taught musician discovering a love for rock and blues as a child, and keyboardist/bassist HouFei, a classically trained pianist from the mountains of China who came to the United States on a full scholarship to study piano and graduated from the Peabody Conservatory. Together they create a proposition which tantalises ears and imagination whilst enveloping both like a sonic infection; one borne of the melodic discord and dark ravening shadows that pervade a world seemingly intent of personal and global self-destruction and a proposal which is unapologetically contagious.

The Corrupting of the Revolution is the latest venture into their unique sound, an overspread of the senses cast by four blatantly individual tracks. It opens up with Velvet Crush and instantly entangles ears and appetite in a splatter of mercury hued electronics. Guitar cast smog soon washes through the potent lure; it in turn swiftly joined by the distinct tones of G.T. as a haunting atmospheric air rises. That growing sonic enterprise of guitar is simultaneously matched in craft and imagination by the startling twists and almost psychotic prowess of HouFei’s keys, they an adventure in their own right in a riveting first track.

Need You So Bad follows freshly wrapped in attention and acclaim as the band’s recent single. A tenebrific throb of bass colludes with the unpredictable stroll of electronic rhythms and the similarly seeded steely noises dancing with them. From its first breath, the catchy web is set and ensnaring ears and thoughts, guitar teases flirting alongside before a great blues groove seduced as vocals shared their reflection. It is easy to hear why the song made such a rich impact on ears and radio shows around the world though for us it is definitely eclipsed by next up Blister Core.

The track is simply compelling rock ‘n’ roll, a song sure in its reserved but bold stroll and enticingly heated in its blues spawned guitar flames and psych rock nurtured keys. The warm vocals of HouFei equally make a thoroughly engaging contrast and companion to the grainier tones of G.T. though ultimately it is the complete picture of all aspects together which left the passions transfixed.

The EP’s final offering is Soul Jacket, a song which certainly took a fair time longer to persuade than those before it but eventually seduced with its sultry lures and sixties psyche blues hues. As throughout the release, the classical breeding of HouFei’s craft links up with the freedom driven imagination of her instincts, that complimented by G.T.’s own unshackled writing and dexterity. Soul blues fuelled, the song emerges as an inescapably strong close to an EP which just enthrals by the listen.

The Corrupting Of The Revolution is a release which may not rest easy with everyone but thrill those truly looking for something individual, fresh and creatively honest.

The Corrupting Of The Revolution EP is available on iTunes, Spotify and other online retailers now.

https://www.primalstatic.com/    https://www.facebook.com/PrimalStaticOfficial/

Pete RingMaster 23/03/2019

Copyright RingMaster: MyFreeCopyright

Cat Dail – Fight for Love

Sparking a spring in the step as it dances with the imagination, Fight for Love is the new release from US singer songwriter Cat Dail. It is a seven track offering which creates a web of styles and flavours woven into one irresistible party for ears with the Chesterfield, NH bred Cat. She has been a potent participant in her national Indie rock scene since the nineties and surely is now about to tempt far broader attention with this contagion fuelled new album.

Not only as a whole but individually the songs within Fight for Love are joyful conspiracies of sound. Whether you call its instincts as pop, rock, funk, blues or whatever, and all apply song by song, the fusion of flavours is a perpetually imaginative and magnet combination. Each track has a unique personality and invention united in the welcoming enterprise of Cat’s voice and lyrical temptation.

The EP begins with Can’t Buy Love, the song slipping in on a rhythmic impulse to spread a tantalising climate of woozy intimation and sound around the immediately engaging tones of Cat. Seductively haunting and suggestive in its melodic air, the song similarly captivates with its hip sparking sway and slow but lithe gait; the craft of guitarist/bassist Teddy Kumpel and drummer Shawn Pelton, as across the whole release, matching the prowess of Cat. Surf, blues, and country spices all add to the smoky temptation getting the EP off to an ear grabbing start.

Similar hues collude in the following Player, a slice of rock funkiness and melodic rock with a whiff of Fleetwood Mac to its lively stroll. Once more the vocals just dance on the ears as they lyrically tease, the song’s imagination just as rich and pleasurable as the song fluidly ebbs and flows in its constantly inspiring energy before Catch Fire grips feet and hips with its mellower but just as manipulative shuffle. Reggae nurtured flavours unite with surf rock currents as the song flirtatiously entices, a country twang teasing in its swarthy air.

Both tracks just hit the spot though are still eclipsed by the following Wonder Love, a heavier slice of pop ‘n’ rock which almost prowls the senses before uncaging one inescapably catchy chorus. Everything about the track is pure temptation amidst creative manoeuvres which just got under the skin in swift time, again an array of flavours combining to charm and bewitch.

Featuring trombonist Clark Gayton and Steven Bernstein on slide trumpet, Flow Zone is equally as compelling and joyous with its Talking Heads meets Molotov Jukebox conjured canter. Unsurprisingly another individual collage of flavours is honed into an ear gripping adventure around rhythms which alone incite body and spirit to indulge. It all adds up to the best track on the release, one which lingers and teases long past its departure.

The EP concludes with the pair of She Can Fly and Molly & Matchbox. The first offers an alluring sunshine of pop lined sound, a radiant embrace of melodic romance added to by the keys of Andy Erin and led by the perpetually tempting voice of Cat. Its successor is a country rock bred encounter with sultry climes and melodies around instinctively open vocals and words. There is also a fire in its belly which bubbles up from the song’s natural simmer and though, simply down to personal tastes, the song did not thrill as its predecessors it still ensured the album closed on an unmistakable high.

However you wish to describe Cat Dail’s sound, which as its press release asks “Is it Blues? Funk? Rock? Soul? Folk?” it is sheer magnetism and pleasure within Fight for Love, a record which puts a smile on the face and in the spirit.

Fight for Love is available now @ https://store.cdbaby.com/cd/kyalb01283297 and https://catdail.bandcamp.com/album/fight-for-love

https://catdailmusic.com/   https://www.facebook.com/catdailmusic/   https://twitter.com/catdailmusic

Pete RingMaster 26/06/2018

Copyright RingMaster: MyFreeCopyright

Holly Holden y Su Banda – Tropical Soul

Putting on notice body curves and swerves, we suggest no summer will be complete without the exotically sexy and melancholically captivating Tropical Soul. Just as suitable for smouldering cold hugging nights before a flaming fire, the new EP from Holly Holden y Su Banda is a musical travelogue and emotional reflection to seduce ears and spirit. It is also one of the year’s biggest delights so far and potentially the moment an already acclaimed and eagerly followed singer songwriter comes under the biggest spotlights.

From London and with many years of her life also embracing the relative beauty and life of Cornwall, Bristol, and Berlin as well as just as inspiring travels, study, and musical collaboration within Latin America and the Caribbean, Holly Holden brings it all to her wonderfully eclectic and adventurous sound, perfectly tagged as tropical soul. Like music as a whole, it is a borderless proposition offering a worldly exploration for artist and listener.  Flavours from Cuba, Ecuador, Colombia, and Dominican Republic collude with Caribbean and European enterprise, a mix dancing and flirting round intimate and love nurtured reflections as irrepressibly evidenced by her new EP.

Already with plaudits for her 2012 formed collaborative project and album Xistence with Cuban rapper Alayo Style as X Planet, Holden linked up with guitarist Frank Clarke and drummer David Beauchamp in 2014, Holly Holden y Su Banda emerging from their combined venture. Seemingly persistently busy with her own shows and as part of female vocal group Deep Throat Choir who have just released debut album Be OK and Johnny Flynn and the Sussex Wit, things will surely become even more hectic and crazy as Tropical Soul infests bodies and imaginations.

The EP opens with the irresistible El Impulso, its inescapable temptation instantly teasing through Holden’s smiling bass throb, it courted by small but spicy sparks of guitar. Her voice is soon an energetic smile in ears too, slipping effortlessly between English and Spanish as melodies from Clarke’s guitar weave their warm coaxing. It is hard to truly give a proper reference to Holden’s music such its diverse and unique character and presence but a mix of Holly Walker, Regina Spektor, and Molotov Jukebox gives a pretty good idea of the pleasure waiting within Tropical Soul. With percussive scrapes and Beauchamp’s frisky beats, the song is manna for feet, hips, and enjoyment and still just about eclipsed by its successor.

The ska lined Run immediately has its swing emulated by flesh, its relaxed but tenacious stroll a lure of wonderful ska inspired riffs and rising flames of brass as Holden’s melodic croon contemplates aided by just as tasty harmonies. Across the release, contributions from percussionist Satin Singh, keyboardist Daniel Correa, trumpeter Will Roper, Marcos Caballero on tuba and alto saxophonist Sarah Parkes add their prowess to the trio, Clarke also a blast on sax. Who plays where I cannot say but as on the second track, it all makes for a captivating rhumba some might say addiction was invented for.

Dead Coral swings in next, its Caribbean spices and Cuban spotted grooves sharing infection as Holden effortlessly grips in voice and word. Again you know it is a proposal doing good as feet instinctively shuffle and bums bounce before bodies rise to full height and spring their lustful involvement, the proof in The RR office. To be honest such the power and potency of the sounds, the EP need a few listens before attention can delve deeper in the lyrical explorations of Holden, a just as rewarding discovery as personal and intimate thoughts are shared.

There is a definite feel of The Specials to Mellow Drama, its ska seeded keys and air carrying the lonely almost noir lit shadows of Ghost Town  yet tempered by the sultry sway and waltz of brass and guitars. The epitome of melancholic seduction and elegance, the song is a haunting bewitchment lingering long after its departure though within the release quickly replaced by the blues and reggae hued soul of the imposingly catchy Benji Muji Mau; another inescapable tempting for physical and vocal participation.

The EP is concluded by Born At The Right Time, a more low key incitement, though it is all relative, but still equipped with juicy hooks and rhythmic bait around the ever fetching tones of the lady. It also has its own blues seeded breath as guitar and trumpet align in rueful endeavour, a final imagination stroking smoulder to fly away with.

Like for so many others we suspect, Tropical Soul is our first global tour with Holly Holden y Su Banda; a thrilling escape for which no passport was needed; as her bio suggests Holly Holden’s music provides that.

Tropical Soul is released April 9th.

http://www.hollyholdenmusic.com   https://www.facebook.com/hollyholdenmusik   https://twitter.com/HHoldenmusic

Pete RingMaster 30/03/2017

Copyright RingMaster: MyFreeCopyright

King Salami and the Cumberland 3 – Goin’ Back To Wurstville

If there is one band in this fast paced world which gives the body an even more intensive and thorough workout it is undoubtedly King Salami and the Cumberland 3. This is a band where an Automated External Defibrillator should always be on hand at every show they play, waiting and ready to revive the inevitable wasted bodies.  Now that need has been transferred to the band’s records. When playing all three of the band’s albums back to back, apart from a danger to health, it is a hard choice to say which is best, all in their openly individual ways an equal treat, but without doubt Goin’ Back To Wurstville is the most demanding and exciting for heart and limbs yet.

The new album from the Sultan of Sausage and his fellow creative rascals is a blur of incitement, a cavalcade of irresistible temptation for feet and hips. Each of its thirteen songs teases and infests the psyche, sharing groove woven rhythm & blues punk ‘n’ roll to lose all shades of sanity to. As ever, it is a busy time for the quartet; gigs coming up at a rate of knots across the globe before and even more so after their highlight performance on the BBC show The UK’s Best Part-Time Band last year. With the outfit in the middle of a UK tour right now and featuring in Roger Corman’s movie, Death Race 2050, you can be sure that Goin’ Back To Wurstville is only going to accelerate the demand on the boys and their riotous sound.

Featuring Spencer Evoy from fellow body contorters MFC Chicken and his salacious sax, Goin’ Back To Wurstville quickly gets down to business with Pineapple Mama, the song feeding off the album’s lively Intro with an initial bass groan and flames of fiery sax, they leading to an insistent romp of riffs and rhythms led by King Salami’s inevitable energy and vocal revelry. It is party time, the song swinging from the rafters with body enslaving grooves dangling their insatiable bait to further ensnare ears and limbs. Soul, r&b, rock ‘n’ roll and more excitable flavours all get involved in the multi-flavoured proposal, King Salami and co straight away feeding greedy hopes with a fresh new adventure.

The pugilistic rascality of Nosebleed Boogie is next, guitars and sax colluding in a devilish enticement of melodic theatre as King Salami uses Ali like vocal footwork to evade the rhythmic punches, his magnetic prowess like a blend of Bo Diddley and Little Walter before offering even feistier fun in the boisterous romp of Busy Body. An infection of spicy grooves and virulent riffs, the song ensures the listener is on the end of major manipulation echoing its title before the glorious adventure of King Ghidorah rises up from its oriental bed with sixties cinematic adventure fuelling its melodies and rhythms. With King Salami a dramatic narrator, T. Bone Sanchez’s grooves are a three headed tempting of flirtatious hookery, melodic seduction, and tenacious persuasion, theatre skirted by the addictive rhythmic rumble of bassist Kamikaze UT Vincent and drummer Eric Baconstrip.

There is no escaping the frisky intent of the following King Size Love, its rockabilly nurtured stroll manhandled by addiction shaping rhythms and coloured with more of the salacious enterprise which continually and artfully springs from the guitar of Sanchez across the album. Feet and hips are swiftly lost to the song’s shuffle, lungs already gasping for breath by this point within Goin’ Back To Wurstville but managing to find plenty more air for the blues strung jungle of She Was A Mau Mau and after that, the garage punk lined surf rock lit antics of No Stoppin’. The first of the two is a sweltering near on muggy affair for the heart whilst its successor is a blaze of instrumental rock ‘n’ roll which has the body at its most frenetically subservient in the hands of the album.

The treats just keep coming too; Tiger In My Tank keeps the listener moving like a puppet on tricky strings of rhythmic pestering and melodic misbehaviour, all urged on by the saucy blasts of sax and King Salami’s inexhaustible energy and spirited character.

Stutterin’ Sue leaps around with garage rock rapacity and raw captivation next while Camel Hop after that sees roving basslines and agitated beats stir up another voracious contagion of sound and spirit rousing enterprise, sultry Arabian scented  grooves winding around ears and appetite as rock ‘n’ roll rumbles in the belly of song and listener. Both tracks are an epidemic of temptation, unrelenting creative persistence more than matched by the Johnny Kidd and The Pirates hued Shiver which follows.

Concluded by the double diablerie of firstly the album’s dirt encrusted rock ‘n’ roll road trip going under its title track moniker and lastly the carnival of Latin summer fun that is Caramba!, the sensational Goin’ Back To Wurstville is bliss for ears and soul. With each of the King Salami and the Cumberland 3 releases we seem to offer nothing but lustful praise so with their third full-length we were determined to find something which might be suggested the band could improve upon. Quite simply we failed, though you know the band will still find something fresh and bolder next time and with regards to best album question, listening it as these fingers tap, yep Goin’ Back To Wurstville wins the debate.

Goin’ Back To Wurstville is out now on Dirty Waters Records @ http://www.dirtywaterrecords.co.uk/shop/#!/King-Salami-and-the-Cumberland-Three/c/2793708/offset=9&sort=normal

https://www.facebook.com/KingSalamiandtheCumberland3/

Pete RingMaster 22/03/2017

Copyright RingMaster: MyFreeCopyright

Sabatta – Middle Of The Night

SABATTA NEEDS YOU _RingMasterReview

Creating a fiercely flavoursome breed of rock ‘n’ roll described as grunge soul, British band Sabatta follow up the release towards the end of last year of their well-received album Middle Of The Night with a new single in the fiery shape of its title-track. The track is a feverish mix of styles and flavours epitomising the band’s broad sound and a tenacious energy which ignites their live presence and its parent release.

Led by singer/songwriter guitarist Yinka Oyewole, the London based Sabatta has toured across the UK and Europe as well as the US over the years, sharing stages with the likes of Peter Doherty, Slaves to Gravity, Saul Williams, Zoe Kravitz, and Janelle Monae along the way. Numerous festivals has embraced the band’s crowd inciting live show too, whilst later albums like Emperor’s MOTN_SINGLE_COVER _RingMasterReviewNew Clothes and Sabatta have especially drawn acclaim and attention. With Oyewole exploring solo material as well as making appearances in films, TV, and music videos with the likes of Kevin Bacon, Ashley Waters, and James Arthur since 2011, the quiet Sabatta bounced back into ears in fine style with Middle Of The Night in 2015, its title track now poised to spark 2016 off in the same way last year ended for the band.

A guitar jangle and rhythmic roll breaks the silence first, its repeated rally sparking a strolling groove spreading sultry tendrils as the quickly engaging vocals of Oyewole join the brewing party. It is a growing energy which bursts into a fuzzy blaze stocked with soaring harmonies and rousing funk ‘n’ roll revelry. The track relaxes back into that initial catchy canter again, all the while building its energies and tenacity to spring up again, a repeating cycle which has anticipating glowing with each round as eagerly as the band’s own to burst into boisterous action.

Weaving a tapestry of dirty grunge and emotive soul, flirtatious funk and fiery classic rock, to name some of its textures, Middle Of The Night is a spirit raising feel good stomp which might not be re-inventing the rock wheel but certainly provides a whole new colour to its invigorating roll.

Middle Of The Night is released April 8th @ https://sabatta.bandcamp.com/album/middle-of-the-night

http://www.sabatta.net   http://www.facebook.com/sabatta   http://www.twitter.com/therealsabatta

Pete RingMaster 06/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Rogue Network – Milk and Honey/Lowland City

TRN_RingMasterReview

Having heard a buzz was brewing around the UK band, healthy intrigue went with a look at a pair of tracks being released this month by The Rogue Network. The band’s debut EP, which was released last year, sparked plenty of the attention beginning to crowd around the trio, and with the pairing making up their latest single being taken from it, reasons why are easy to hear.

The band’s sound is a tenacious blend of alternative rock with rich blues and soul attributes. It also has an infectiousness to it which adds to the magnetism of rousing riffs, bold rhythms, and compelling grooves. Consisting of vocalist/guitarist Gerallt Williams, bassist Jameson Bell, and drummer Danny Hughes, the band’s inspirations lie in the blues/soul sounds of the seventies but equally it relishes the adventure of modern rock ‘n’ roll. An electronic essence only adds to the inventive and genre varied weave they conjure; a tapestry which now enticingly shines in the band’s new offering.

Milk and Honey opens on a sonic shimmer which is quickly aligned to a bulbous throb of a bassline and a catchy guitar jangle. As vocals join in, a rock pop essence emerges to infest ears and hips; it colluding with lively hooks and a resonating collusion of bass and keys. There is something familiar to the song yet nothing particularly definable as it strolls along with a garage rock meets blues ‘n’ roll swagger amidst a contagious melodic and harmonic smile.

In contrast, Lowland City has a scuzzier air and voracity to its sound and character though it too reveals a virulence which soon has body and spirit fully engaged. William’s vocals continue to entice and incite, leading the anthemic essence of the song whilst the bluesy liquor flowing through his grooves takes care of the imagination as the addictive rhythmic prowess of Bell and Hughes has the listener bouncing.

Both tracks leave thoughts and appetite loaded with satisfaction and finding a hunger for more, which a dip into the EP they originally came from feeds courtesy of the sultrily toned emotive balladry of Again and the fuzzy delta blues tango of A Killer’s Song.

Milk and Honey and Lowland City already stand as favourites and are sure to whip up fresh attention and eager ears with their recent unveiling whilst the band work on and record a new clutch of songs. 2016 is looking like being another potent year for The Rogue Network.

Milk and Honey/Lowland City is out now.

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Pete RingMaster 17/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/