Warm sounds for win­ter

Here’s a batch of warm­ing sounds for win­ter, in­clud­ing a new solo al­bum from Pink Floyd co-founder Roger Wa­ters and a dou­ble CD of bluesy gui­tar licks from Sonny Lan­dreth. Greg Bush writes

Owner Driver - - Owner/Driver -

RECORDED IN LAFAYETTE Sonny Lan­dreth Provogue/ Mas­cot www.mas­cot­la­bel­group.com

Recorded in Lafayette, a two-CD set, cov­ers both bases for slide gui­tarist and singer-song­writer Sonny Lan­dreth. Disc one – the acous­tic set – al­lows Lan­dreth to take a re­laxed ap­proach to some live favourites, in­clud­ing ‘Cre­ole An­gel’, the of­ten-recorded ‘Key To The High­way’, and a toned-down take of ‘The U.S.S. Zy­decoldsmo­bile’. The sec­ond disc – the elec­tric set – opens with ‘Back To Bayou Teche’ with reg­u­lar con­trib­u­tor Steve Conn’s ac­cor­dion ad­ding to the zy­deco sound which Lan­dreth em­braces. Conn takes lead vo­cals on his own com­po­si­tion ‘The One and Only Truth’, a sev­en­minute vi­brant clas­sic, while Lan­dreth shows off his slide style on ‘True Blue’. Lan­dreth and his Fen­der gui­tar have ap­peared at Eric Clap­ton’s Cross­roads Fes­ti­vals, and he gives it a work­out on Recorded In Lafayette.

CA­MA­CHO Pete Mur­ray Sony Mu­sic www.pe­te­mur­ray.com

Ca­ma­cho is the sixth al­bum for Aussie singer-song­writer Pete Mur­ray and his first in six years (not count­ing the acous­tic re-re­lease of Blue Sky Blue in 2013). The gap be­tween al­bums has given Mur­ray time to pre­pare the new songs, as well as en­joy­ing un­rushed ses­sions in the stu­dio. It’s a new sound, with a warmer depth to his vo­cals and pol­ished pro­duc­tion all round. There’s an emo­tive, in­spi­ra­tional feel to ‘Take Me Down’, the large “choir” of back­ing singers giv­ing it ex­tra im­pe­tus. ‘Only One’, with its jazzy key­board in­ter­lude, is another nice sur­prise, and he’s on a win­ner with the melodic ‘Sold’. Mur­ray chan­nels his in­ner John Mayer for ‘Long Ride’, and there’s a touch of the blues on ‘Thought I Was’. The ti­tle track is ar­guably the best on Ca­ma­cho, a wor­thy come­back al­bum for Mur­ray.

I MUST BE SOME­WHERE Raised By Ea­gles ABC/ Univer­sal www.raised­byea­gles.com

It’s a mis­take to place Mel­bourne four-piece Raised By Ea­gles un­der the coun­try genre. Their ‘Amer­i­cana’ sound is closer to Tom Petty and the Heart­break­ers, or even The Ea­gles. De­spite play­ing their first live gig only four years ago, Raised By Ea­gles has now re­leased three al­bums, in­clud­ing I Must Be Some­where. From the open­ing gui­tar riff-laden ‘Shape & Line’ to the sen­si­tive ti­tle track, Luke Sin­clair, Nick O’Mara, Johnny Gib­son and Luke Richard­son sound like they’ve played to­gether for decades. The band rocks it up on ‘Night Wheels’, in con­trast to the quiet ‘Ev­ery­day, Ev­ery­day’. Much of the band’s orig­i­nal mu­sic leans to­wards mid-paced soft rock, as per ‘Dreamer’ and ‘Gold Rush Blues’, while ‘Ev­ery Night’ and ‘By Now’ start off acous­tic be­fore reach­ing rous­ing fi­nales.

IN DEEP Smok­ing Martha In­de­pen­dent www.smok­ing­martha.com

Bris­bane in­die rock­ers Smok­ing Martha, with ir­re­press­ible lead vo­cal­ist Tasha D, re­leased an EP back in 2014. The band honed its craft per­form­ing live in re­cent years, fi­nally re­leas­ing de­but al­bum In Deep this year. To whet the ap­petite, a cou­ple of teasers were re­leased, namely the gui­tar chord-laden ‘Say You’re Mine’, and the multi-di­men­sional ‘What’s Her Name?’, com­menc­ing as a chunky gui­tar rocker be­fore a mid-track tempo change. The band un­veils its ver­sa­til­ity on ‘Ebb of the Tide’, with Mick Broome’s U2-like gui­tar licks prov­ing the per­fect ac­com­pa­ni­ment to Tasha D’s soar­ing vo­cals. In a sur­prise, ‘Baby Let Me Go’ tones it down, with strings added to the mostly acous­tic sound. In Deep fin­ishes with a bang, the hard rock­ing ‘Stranger Things’ round­ing out an ex­hil­a­rat­ing al­bum.

IS THIS THE LIFE WE RE­ALLY WANT? Roger Wa­ters Sony/Columbia

It may seem a sur­prise, but the re­lease of Is This The Life We Re­ally Want? marks 25 years since Roger Wa­ters’ last solo rock al­bum, Amused To

Death. How­ever, this new re­lease from the co-founder of leg­endary rock group Pink Floyd could eas­ily be mis­taken for a new al­bum from the band, es­pe­cially with tracks such as ‘Pic­ture That’ echo­ing the sound of 1977’s An­i­mals. The tick­ing clock and mut­ter­ing voices on ‘When We Were Young’ leads onto ‘Déjà Vu’, both again rem­i­nis­cent of Pink Floyd’s finest mo­ments, no­tably Dark

Side Of The Moon. The seem­ingly frag­ile qual­ity to Wa­ters’ vo­cals are mis­lead­ing, as he moves from the dra­matic ‘The Most Beau­ti­ful Girl’ to the soar­ing rock of ‘Smell The Roses’. There won’t be another Pink Floyd al­bum, but this is the next best thing.

CLOSED CIRCUITS: AUS­TRALIAN AL­TER­NA­TIVE ELEC­TRONIC MU­SIC OF THE ’70S AND ’80S VOL. 1 Var­i­ous artists Fes­ti­val/ Warner www.warn­er­mu­sic.com.au

En­list­ing mu­sic his­to­rian David Ni­chols, Warner Mu­sic has delved into the early use of elec­tronic ex­per­i­men­ta­tion in Aus­tralia. Closed

Circuits reaches back as far as 1979, where bands such as Voight/465 and Whirly­wirld be­gan us­ing syn­the­sis­ers. The Reels’ ‘Shout and De­liver’, re­leased in 1981, is more poppy, but a year later new wave band Mod­els re­leased the non-al­bum sin­gle ‘On’ which, al­though gui­tar based, has a dis­tinc­tive syn­the­siser solo mid track. The Dugites, fea­tur­ing Lynda Nut­ter, de­liv­ers ‘Wait­ing’, a slow, haunt­ing track, while Talk­ing Judy nar­rates the Metronomes’ A Cir­cuit Like Me’ amid ro­botic synths. A fas­ci­nat­ing al­bum with more vol­umes to come.

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