Spikedrivers
ain't it real
© 2005 Scratchy Records (800035000026)
CD IN STOCK. ORDER NOW. Will ship immediately.
A mixture of American roots and world music with a strong emphasis on the blues.
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notes
This is the third, and most recent, Spikedrivers album to feature the team of Ben Tyzack, Constance Redgrave, Maurice McElroy and sound engineer extraordinaire, Phill Brown. Like their previous two albums it was recorded virtually live, in 16 track analogue and mixed in true stereo.
The songs, plus three instrumentals, are all original with the exception of a soulful take on the Rolling Stones’ ‘No Expectations’ which owes its place to public demand.
Ain’t It Real shows just what you can do with the basic blues/folk format when you add imagination, talent, ability and a respect for the genre. A sense of fun goes a long way too and it’s here in spades. These guys obviously had a good time making this record and it comes across.
Once again Tyzack is the main singer and writer. Moody and threatening on the opening track ‘Devil’s Breath’, angry on ‘Young and Stupid’, he shows himself to be a gifted songwriter with more than one story to tell. And on top of that he is an exceptional guitarist with a great sense of taste and finesse - and a lot of guitars.
Redgrave and McElroy are the kind of rhythm section any band would die for. You couldn’t get a razor blade between them. These two can drive, swing, stomp; you name it they deliver it.
Redgrave takes lead vocals on two self-penned tracks ‘Angel of Blue’ and ‘Gypsy Wind’, and McElroy on ‘Two Left Feet’ and his own ‘Goodbye Mr Blues’.
A notable aspect of this album, as on their previous outing ‘Blue Trash’, is their use of percussion. The udu drum in particular is at the heart of ‘Mornin’Train, ‘Angel of Blue’ and ‘Hold Me Still’ providing an ethereal pulse to three very different songs. Temple blocks, bells, washboard and cajon, along with the more conventional tambourines and shakers, add layers of texture while still leaving spaces between them.
It’s thanks to the experience and skill of engineer/co-producer Phill Brown that they can get all this on record. Phill has been recording engineer on hit records since the 1960s. His knowledge of where to place a microphone in the studio or a sound in the mix is nothing short of magic. And when that’s added to the Spikedrivers’ writing, arranging and playing abilities the result is not so much a wall of sound as something that envelopes you and takes you away to somewhere special.
A promoter once asked them, looking at all the equipment they were bringing in, ‘Are you sure there’s only three of you?’ Well the answer is yes. But when you listen to the way they write, arrange, play and record you’d be forgiven if you thought there were more.
"...highly recommended".
Living Blues USA
“Ain’t It Real is a subtle and rewarding listen that warrants multiple replays.”
fRoots UK
“… they continue to break new ground, evolving their sound in a way that’s always more intriguing than the last time.”
Blues Revue USA
" ...moody, mean and gorgeous......
you will have to go a long way to get a better CD this year".
Blues Matters UK
...a gift for evocative songwriting".
Paul Jones - BBC Radio2
"...more captivating than ever...9 out of 10.".
Blues In Britain UK
“These are three chops-rich musicians with ambition to spare and no lack of fresh ideas.”
Big City Rhythm & Blues USA
Check out Phill Brown’s website. A CV to die for. http://www.tape.demon.co.uk
reviews
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It is real-real cool
author: BigDaddyDAnother keeper from the Spikedrivers. Cool, smooth and far from the ordinary. It takes lots of listens to catch the nuances. Give it a spin.