The Rolling Stones – Blue & Lonesome [Tom Mayle Takeover]

#Takeover #AlbumReview The song Tom has chosen from the album is from an iconic guitarist, the Mississippi bluesman Howlin Wolf’s ‘Commit A Crime’. Whilst the riff remains the same throughout Jagger, Richards et al. deliver it with aplomb flipping between typical blues based story telling and ripping harmonica solos

It’s the final day of Tom Mayle’s week of top album picks on Dash ‘n’ Verve and boy have we enjoyed his choices. Each stand out track featured has come from an album Tom picked up on vinyl in 2017 (they all sounded pretty incredible on his LP12 when he gave them a spin this summer).

Not only does Tom appreciate a good guitar lick, he’s a brilliant guitarist himself. He even makes the damn things (take a look at his handy work for The Tone Workshop)! It comes as no surprise then that for his final pick he’s has drawn for one of the most iconic guitar bands ever to exist; The Rolling Stones, with their late 2016 cover album ‘Blue & Lonesome’.

The song Tom has chosen from the album is from an equally iconic guitarist, the Mississippi bluesman Howlin Wolf’s ‘Commit A Crime’. Whilst the riff remains the same throughout Jagger, Richards et al. deliver it with aplomb flipping between typical blues based story telling and ripping harmonica solos.

If you want to listen back to any of Tom’s picks this week, just click here. Let him know what you think by giving him a shout on social.

The Rollings Stones ‘Commit A Crime’ is on ‘Blue & Lonesome’ released on Polydor.

Ryan Adams – Prisoner [Tom Mayle Takeover]

#Takeover #AlbumReview The song that stood out for Tom was ‘Shiver And Shake’. A track that builds and expands gradually through Adams’s gentle guitar work and softly husked vocal

Once again Tom has selected a guitarist and songwriter of the highest caliber. Ryan Adams released ‘Prisoner’ in February of this year to critical acclaim, and it has since featured in a number of “Best Albums of the Year So Far” (Consequence of Sound [1], Paste Magazine [12], Uproxx [10]).

The song that stood out for Tom was ‘Shiver And Shake’. A track that builds and expands gradually through Adams’s gentle guitar work and softly husked vocal. Whilst the song’s content may be sad and reflective, there is something hopeful in its tone.

Ryan Adams ‘Shiver And Shake’ is taken from ‘Prisoner’ released on Pax Americana Record Company / Blue Note Records.

Wishbone Ash – Wishbone Ash [Tom Mayle Takeover]

#Takeover #AlbumReview Tom’s stand out track is the epic ‘Handy’, rich with a dizzying bass solo plus over ten minutes of hypnotic drum work and layer upon layer of guitar. One to wind down to at the end of the day

Day three of guitar guru Tom Mayle‘s takeover on Dash ‘n’ Verve. Today we are whisked back to 1970 and the debut release from Wishbone Ash, entitled… ‘Wishbone Ash’. As a pretty nifty luthier and tone finder (check out Tom’s work for The Tone Workshop), Tom knows a thing or two about great guitar work and this album has it in spades.

Tom’s stand out track is the epic ‘Handy’, rich with a dizzying bass solo plus over ten minutes of hypnotic drum work and layer upon layer of guitar. One to wind down to at the end of the day.

Wishbone Ash ‘Handy’ is taken from the album ‘Wishbone Ash’ released in 1970 on Decca / MCA.

Bonobo – Migration [Tom Mayle Takeover]

#Takeover #AlbumReview Tom picked out ‘No Reason’ as his stand out track. This is one of the more ethereal offerings on the album, but still retains the arpeggiated motif that defines the release

Returning for day two of his blog takeover is Tom Mayle. Today’s pick is one that had caught our ear too. Bonobo ‘Migration’ has been on heavy rotation for us ever since we heard and reviewed lead track ‘Kerala back in November last year.

Tom picked out ‘No Reason’ as his stand out track. This is one of the more ethereal offerings on the album, but still retains the arpeggiated motif that defines the release. Guest vocalist Nick Murphy lifts it even higher with a truly emotive performance.

Bonobo ‘No Reason’ feat. Nick Murphy is taken from the album ‘Migration’ out now on Ninja Tune.

Opeth – Sorceress [Tom Mayle Takeover]

#Takeover #AlbumReview ‘The Ward’ features mellow keys, a constantly moving bass line and close to folk guitar and vocal break downs

The final week of our escape to the country is upon us and we have one more guest blogger taking over. This week we are honoured to welcome the musical musings of Tom Mayle, a guitarist, luthier, guitar tone champion and all round music aficionado.

With a record collection that is as diverse as it is large, we were fortunate enough to spend some time over the summer delving through some of the new vinyl he’s picked up in 2017. Whilst not all of his selections this week were released this year, they were all new to Tom’s collection on wax, and that worked for us.

First up are Swedish rockers Opeth with their latest album ‘Sorceress. Tom picked out ‘The Ward’ as his stand out track on the album. Mellow keys, a constantly moving bass line and close to folk guitar and vocal break downs. Maybe not what you’d expect from the heavy metal outfit, but a song delivered with sublime class nonetheless, and of course, superbly recorded.

Opeth ‘The Ward’ is taken from the album ‘Sorceress out now on Nuclear Blast Records.

Hype Williams – Rainbow Edition

#AlbumReview Ah, the ever mysterious Hype Williams. Are they a band? Are they an art project? Who are / is / were Hype Williams? Well, whatever Hype Williams currently is, it has a new album. Or is it an album?

Ah, the ever mysterious Hype Williams. Are they a band? Are they an art project? Who are / is / were Hype Williams (certainly not the American video producer)? Well, whatever Hype Williams currently is, it has a new album “Rainbow Edition’. Or is it an album?

The tracks are sparse, simplistic and fairly dark; ‘This Is Mister Bigg. How You Doing Mister Bigg’ (“?” omitted by the band) being the deepest point. The lo-fi dial has been cranked up to its highest possible level and additional crackly radios have been placed in the signal chain for the final mix down.

There are flashes of infectious brilliance. ‘Pretty Young Ting’ opens and closes with the ping of a High Striker fairground game, taking you on a groove soaked journey for all of 57 seconds. This feels like the solo section of a track that could be developed further. The riff of opening track ‘Madting’ is aching to open up into a tear out club classic. Sadly it never does.

In all honesty, the majority of the 20 tracks are like demo ideas presented to a label, waiting for the critical cull before further effort is put into developing an album proper. Maybe that was the intention; a status update of where Hype Williams is musically right now. Preparation for something grander in the future. With Hype Williams you never really know, so we’ll just have to wait…

Hype Williams ‘Rainbow Edition’ is out now on Big Dada.

Queens of the Stone Age – Villains

#AlbumReview So here’s a collaboration we were unsure about when it was first announced; QOTSA x Mark Ronson. We’re open minded though, and you should be too about this album

So here’s a collaboration we were unsure about when it was first announced; QOTSA x Mark Ronson. I mean neither band are strangers to collaborations, but they were not the most obvious pairing to us. We’re open minded though, and you should be too about this album.

The druid chant meets sci-fi thriller intro to the album on ‘Feet Don’t Fail Me Now’ stretches to nearly two minutes before any real guitar fuzz and drum clout comes in. The impact of the drop doesn’t then slap you in the face though, there’s a bit more subtlety to it. A more playful feel, much less angsty.

This theme comes up again on the good times 70s rock sounding tracks ‘The Way You Used To’ and ‘Head Like A Haunted House’ (which features an underlying guitar riff that comes straight out of the Rossi / Parfitt playbook). It’s almost like you’ve walked into an episode of the Old Grey Whistle Test. Hey, we’re definitely on board with that.

There are songs which sound more like the QOTSA of old; ‘Domesticated Animals’ and ‘Un-Reborn Again’ for example, but even they have huge smatterings of synthesis which pull their sound back a few decades (there’s even a flipping sax solo on that track). In summary, don’t expect more of what you’ve heard before from QOTSA. Do expect a progression in sound, which in truth is exactly what we should expect from great bands, and QOTSA are are great, great band. Hat’s off gents.

Queens of the Stone Age ‘Villains’ is out now.