I’ve got some gorgeous vocal harmonies currently floating into my ears, as The Lost Trades release their first single since the replacement of Tamsin Quin with Jess Vincent way back in February, and its immediate impact clearly says a Lost Trades classic…..
If some previous songs of The Lost Trades had a lead vocal, they’re not the Spice Girls so I couldn’t pick a favourite, and the trio are truly at their best when there isn’t a lead and the song centralises on their astounding harmony! Float Me On Your River is one of those, four minutes plus of a simple sentimental premise with a sublime delivery. The new addition Jess fits like a glove to Phil Cooper and Jamie R Hawkins’ vocal range, and the song rings out with the quality passionate ambiance we’ve come to expect from the trio.
It comes with an accompanying video from Jamie’s Side Owl video production project which, if nothing else, suggests The Lost Trades like their sandwiches cut into triangles; these things are important to note.
Trowbridge singer-songwriter and one third of The Lost Trades, Phil Cooper has actually been doing more than playing solitaire, he’s released a new solo album called Playing Solitaire…..
Released yesterday (2nd May) Playing Solitaire is Phil’s first solo album in five years. The last being These Revelation Games in 2020, which was a varied bunch where Phil experimented extensively. Perhaps lockdown inspired artists to scrutinise and pilot new ideas, though through his part in the Americana harmony trio The Lost Trades, fronting the harder rocking The Slight Band, and BCC project, where Phil dives into synth-pop, he’s never been one to shy away from testing new waters. But the principle beauty of Phil’s work lies in the simplicity of his idiosyncratic and solitary acoustic outpourings, a clear and clean line of self-reflection, drenched in honesty and poignancy, and that’s precisely what you’re getting with Playing Solitaire.
Apologise for the delay in announcing this; I had to take one more listen this morning, before deciding if I should call this his best work to date, as he’s a prolific artist with an outstanding discography already. But I think I can safely say, because of the wonderful way this flows, coalescing in mood and style, I think I can safely suggest that it is.
If an all-out anarchistic thrash of rock n roll is what you require, this isn’t for you. For everyone else Playing Solitaire is beautifully crafted and passive, gorgeously taut and accomplished. There’s no whimsical introduction. “Look out world, I’m here to stay,” Phil confidently announces without warning; good! Because Phil knows precisely how to construct a song, and it’s this dedication to composition where he shines best. The opening song, Still Holding My Breath is quintessential Phil Cooper. It’s the acme of his observational writing, a homage to the notion hard work pays off, a characteristic we know Phil well for.
Moving to the next tune, romantic dejection is his soft play centre topic, and oh, how you wrote that note, disregarding how it might be interpreted by the receiver; perhaps we’ve all been there. If it’s a personal reflection, you identify, and the magic lies at the feet of this contemplation, the very magic of Phil’s words, song and ability to combine them, hard at work. And this is an observation we could make to summarise the whole album.
That Easy Road, is remarkable heart on a sleeve content again, it drifts with a stormy sea metaphor to convince himself he’s loved. Another peace of mind ballad follows, then Bijou comments on struggling grassroots music venues, and even if I’m not a musician, it’s exceptionally touching and poignant. The passion Phil delivers this with and the construction of the riff, it’s my personal favourite on the album, maybe replacing Road Songs, my past fav Phil Cooper tune.
Halfway mark of this ten strong album, and we’re in another foreboding place with Beauty in the Cracks, a frustration at progression, perhaps. Uptempo, and we’re on a lighter note next, followed by a live favourite, They Will Call Us Angels. Eric Bogle fashioned or Guthrie, even, if we suggest an Americana route, but we’ve definitely arrived folk inspired by his work with The Lost Trades. Phil glows through a moving account of a frontline medic, and it’s something kinda wonderful.
Maybe Phil lessened on the deeper narrative in the middle of this album and left three moreish golden nuggets to finish on. Directionless is as it says on the tin, it drifts, and rises halfway through. And we finalise akin to where we began, a little self-help guide type lyrics, but hey, Phil is always on-point. It is an almost one-man choral twinkle, defining Phil as a perfectionist.
If you worked with Phil in an office, he might be the friendly confidant you relay you’ve prepped nothing for this meeting, and he’ll assure you he’s done equally poorly, and then, at the meeting he’d turn up with a full presentation! Not a show-off by any means, just a dedicated precisian, motivated to the hilt, but seemingly oblivious of the haphazardness of the more spontaneous type, and that’s a rare trait in a musician, making for something individual, solitary, like the one who plays solitaire when they could engage in a two-player game, usually with our Jamie!
This album gets top marks as it reflects his personality sublimely, even by title, and you take a little bit of Phil Cooper away with you. In other news, The Lost Trades are back in the picture since the departure of Tamsin Quin. Jess Vincent takes her place as the third Lost Trader,their touring dates are announced, and we look forward to seeing them with the new addition. For now, Playing Solitaire is out, and you can find it HERE.
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If Phil Cooper’s 2018 “Thoughts and Observations,” was one of the first albums we ever reviewed here on Devizine, it’s been a while since I’ve been able to say “a new single from Phil Cooper,” but here we are, and it’s a great place to be…..
As the name suggested “Thoughts and Observations,” as Phil’s songwriting template, in general, is relatable personal reflection which often provides pointers for his audience, it was brimful of such, and while the new single Still Holding My Breath does likewise, it offers a matured side to Phil’s convictions. Plus, it rides that cool acoustic value we know and love him for, remarkably well.
There’s a definite and poignant message of perseverance here, opening with the line “look out world, I’m here to stay,” and a measure of success whereby the creative mind must continue nonetheless. As is Luke 6:38, the song’s indispensable line, “I still believe the more you put in the more you will get in return,” rewards any labour of love for the hard worker with the notion to keep at it.
Phil is one such hard worker who I see setting himself high goals, and in embarking on many projects, some formulated, others more experimental, has had varied success with them. Perhaps none more than his grouping with Jamie R Hawkins and Tamsin Quin as The Lost Trades. If this modern folk harmony trio has achieved more than the sum of all their parts as individuals, it is with hard work they’ve achieved so and with an “a little help from my friends,” sentiment evident in the depths of this song, and more visually with the excellent accompanying video made by Jamie. The song is, besides the labour applied to The Lost Trades, something wholeheartedly solitary, an introverted savoury sentiment. It’s nice to see them take a short break from the trio in order to align themselves once again with their separate identities, as they were before the dawn of The Lost Trades all remarkable within their own rights.
I believe the hard work has paid off for Phil, relatively, making me wonder what his expectations or goals are, what he dreams to achieve, being Still Holding My Breath suggests quintessentially he still has “barriers” to overcome, but a single this good is surely proof of his worth; it is a valuable song. And in that, this is more an outward facing concept, delivering a message to us.
To the artist personally, do take a deep breath, it’s an outstanding song, Phil; inspiringly evolved from everything which has gone before it. To everyone else, decide for yourself by taking a listen!
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Off and on we’ve been writing about The Lost Trades for a couple of years now. Combining the individual musical talents of locally-based Phil Cooper, Tamsin Quin and Jamie R Hawkins, we’ve always been impressed with both their digital recordings and with their live performances. Last night, as part of their current UK tour, they came to perform what was basically the first live music gig at Calne’s premier craft beer bar The Piggy Bank.
Although the Piggy is fast approaching its third birthday, this was the first ever dedicated live music night. Previously there had been pop-up food nights, quiz nights and comedy nights, but finally it was time to combine the two finest complementary ingredients – fabulous acoustic music and great quality craft beer. And what a success it was. The local Calne crowd, who had always supported these events from the start, turned out in droves on a chilly Tuesday night. Sold out some weeks ago, the room was packed. This is after all a micropub, and not a concert hall, so space for both performers and audience was at a premium. But was that a problem? – not a bit of it. It was, let’s say “cosy”, and all the better for that.
Describing themselves as a “vocal harmony and multi-instrument trio with a cool Laurel Canyon vibe”, with a sound that is reminiscent of the California folk scene of the late 60s/early 70s, The Lost Trades’ three-part harmonies have been described as “flawless”, “spine tingling” and “magical”. And with very good reason.
Playing tracks from studio albums 2021’s “The Bird, The Book and The Barrel”, and 2022’s “Petrichor” and their very recent live album, the Trades delivered a sparkling night of musical entertainment. Their performance included the now-expected frequent swapping around of instruments, with each of them playing bass, guitar and percussion at different points in the show, and the usual relaxed, easy rapport both amongst themselves, and with a very willing audience. They’re clearly comfortable now with their material, and obviously relaxed in each other’s company. This closeness pays dividends. As ever, their harmonies were spot on, with lovely acapella sections suddenly emerging in the middle of many songs.
Taking it in turns to introduce and explain the songs, and the meaning behind the lyrics, the three friends took the audience with them. There was a wonderful intimacy established in the room as their three sets progressed, and the audience (usually quietly spell-bound during the songs) responded with loud and warm enthusiasm. I’m no expert, but I’m pretty sure they made a lot of new friends last night!
An encore was an absolute formality. A nice feature of such a packed room was that there wasn’t really the space for the band to do that formalised “let’s walk off the stage and then come back on again” routine. There could be no pretence in such an environment. The three of them were pinned to the stage, duly delivered their lost song, then took a well-deserved bow before a cheering crowd.
Difficult to top that – a simple ten out of ten from me for a great night’s entertainment.
So – is this the start of something big for both The Lost Trades, and for The Piggy Bank as a new Tuesday night music venue? Time will tell, but both have now got the wind in their sails, so watch this space!
Future gigs at The Piggy Bank are listed below. Most are already filling up, with only a few tickets left, so if you want to grab some top-class keenly-priced entertainment in Calne on a Tuesday night, you know what you need to do!
Future music (and other) events at The Piggy Bank:
Tuesday 14th May The Black Feathers
Tuesday 21st May Crazy Bird Comedy Night
Tuesday 18th June Jon Pearson “What Have You Been Up To?” (Comedy)
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Hibernating since Christmas, now I feel like a turkey, making up for it, stuffing eighteen bands into eight hours, such is the beauty of Bradford Roots Festival…..
Impossible to provide detailed analysis of each with such a sizable quota, not without an essay-length review, and there’s the handful I missed. Suffice it to say, every act I witnessed at Bradford Roots Festival was top notch, and locally-sourced, just as we like it here on the De-viz-ine!
Over two years from 2019, our man Andy returned from the annual convention and reported back. I skipped through it and published. I need not doubt his words, dedicating my time writing something else. I wrongly assumed at the time, likely from its name, that the Bradford Roots Festival was a folk festival, rather “roots” I now believe refers geographically; it’s the music of the here and now. I discovered this for myself attending last year’s and unexpectedly hearing jazz and youthful grunge bands you wouldn’t usually hear at a folk festival!
Open any fire door to the wonderful Wiltshire Music Centre in Bradford-on-Avon, and there’s another surprise behind it. The festival is an annual indoor feast of music over four stages, fundraising for the Centre itself, their Zone Club, a musical group for disabled adults, and a chosen charity, this year’s being Parkinson’s support. I like to define it as a convention of local musicians rather than a festival, only because it’s all indoors and winter, but it doubles up as either. Either way you view it, it’s a brilliant event for all ages. For the elders there’s a bar and food options, for the youngest there’s craft rooms, workshops and naturally for a festival in January, ice cream!
You could also see it as a taster for the wealth of musical acts we have on this circuit; you’ll find them performing in our local venues. Some I’ve previously tried and tested, others were new to me, and some essential to check off my ever-growing must-see list.
The latter true of the first, gutted to have been too late for Daisy Chapman at the acoustic Gudeon stage, Jol Rose followed. He’s the Swindon-based Americana soloist I met at a Swindon Shuffle of yore and been meaning to catch perform. Like all others, he didn’t disappoint, despite only catching his finale. Here’s a prolific acoustic magician with the experience under his belt to engage an audience. An open mic hour followed at this stage.
If Jol, though, came as no surprise, Thieves did. My next venture to the Wild & Woolley stage where blues is the order by day, and youth gather for indie by the eve, Thieves were playing an acoustic harmony not unlike the Lost Trades, and hey presto, I’m standing next to the one only Phil Cooper, one third of said Trades! He’s compere for this stage, and will perform at the bar stage later. As Thieves progressed through a sublime set of bluegrass I likened it more to Concrete Prairie, and of similar quality. I’m staring at the frontman from a distance, thinking, by Jove, that’s Adam Woodhouse, who I know as a soloist with a penchant for rock n roll covers. This new outfit, Thieves, only formed in June and is barking up his alley, you’d imagine the four-piece to have done this all their life. Adam tells me they’re playing a Sunday at The Southgate, Devizes, in April, well worth your attention.
The festival breaks for its foyer tradition of Holt’s morris dancers and children’s parade, known as the Wassall, then Phil Cooper takes the Bar Stage, kicking off with his own Road Songs, finding time to superbly cover Goodbye Yellow Brick Road.
Such is diversity on offer, when it’s time for some jazz hey presto, again, I’ve finally made my way to the Main Stage for The Graham Dent Trio. Jazz pianist with a double-bass player and Nick Sorensen on sax, this is divine melodic invention, contemporary and unique, though I knew what I was letting myself in for, I saw them last year.
Drag myself away, for Bristol Uni indie four-piece, LilyPetals. New to me, confident youngsters with funky basslines over the archetypal rock, big tick from me. And a tick off my must-see list, Be Like Will on the main stage, a varied strong female-fronted three-piece pub circuit band who used the festival to play through their originals rather than their usual covers to appease a pub audience, which, either way, they’d accomplish with bells on. The new tune finale was a definite article to how rousing this band can take an audience.
The showstopper though, and it’s a big show to stop, came from Ruby Darbyshire at the Gudgeon. An absolutely spellbinding performance left the crowd in awe as others mingled outside praying someone would leave to replace them; few did. Ruby’s stage presence has drastically improved in a relatively short space of time, her talent to adapt from acoustic folk to jazz scat need not. With just the right balance of originals and covers, she held us in awe, was the only artist to get an encore, and through Sinéad O’Connor, Dylan, Bob Marley and Springsteen covers she nailed them all and made them her own. Particularly poignant, Ella Fitzgerald’s Misty, simply, wow!
Beguiling building layers of goth-rock were sounding from the Wild & Woolley, though, as Bristol’s female-fronted Life in Mono took to the stage. Evanescence in shape, yet solely idiosyncratic, here’s a euphoric original band to look out for. With Life in Mono indulgently ticked off my must-see, a new one on me rocked the main stage, the steady gypsy-dad-folk of The Mighty Rooster, prior to ensuring I was at the Bar for the unmissable Chippenham folk singer-songwriter, Meg. A passionate and thoughtful young artist, Meg delivers in such a unique yet proficient way I deem it impossible for anyone not to love her.
Such is the tight schedule though, should I need waiver artists we’ve seen and featured before in favour of ones I’ve yet to catch live? Trowbridge soul artist extraordinaire, Frankisoul is due on the main stage; anticipation brewing from the crowd while the band frustrate themselves with minimal setup times, resulting in a few technical mishaps, would, in any other circumstances be somewhat off-putting, but, fact is Frankisoul is such a character, and such a vibrant and sublime soul vocalist, hiccups were easy to polish over, still, they came up smiling and were my second showstoppers of the festival.
Cliché is putty in Frankisoul’s hands, if his only cover, Gloria Gaynor’s I Will Survive is so, and they rinsed their originals with gusto and stylish proficiency, even down to a moment of hilarity upon Frankisoul mimicking the coat stage gimmick of James Brown. It’s these originals which gravitated me towards them, reviewed here, I shivered apprehension comparing him to likes of Luther Vandross, particularly Otis Redding, and yeah, live there’s a hint of eighties soul, of Kool & the Gang, but now I know he can live up to these.
Meanwhile the wonderful Courting Ghosts were unplugged at the Bar Stage, with their amazing blend of folk-rock, and Melksham’s finest youth band The Sunnies rocked the Wild & Woolley. One I’ve been aching to catch, yet I didn’t catch enough of due to Frankisoul gluing me to my seat, if I liken The Sunnies to Devizes-own sensation, Nothing Rhymes With Orange, I think it’s fair to now state, The Sunnies angle slightly to more indie-pop, their originals tinged with a carefree and indeed, sunny-side-of-the-street feel; a blessing to watch, bloomin’ marvellous!
With lively function band the Corporations attracting those left standing to the main stage, crowds lessened at the Wild & Woolley, sadly just when the epic finale was due. Yeah, it’s Devizes’ Nothing Rhymes with Orange’s headliner; those in the know and a few curious punters stayed to observe our hometown’s fever as the boys pulled out their typical energetic and competent show. Evermore is their attraction spreading, with gigs lined up as far as Manchester now, NRWO, I’ll be banging on about their brilliance for a while yet it seems!
Conclude this now, Worrow, in some manner, you’re sounding boring! I Know, but, over a colossal word-count only teetering on covering all the happenings at Bradford Roots Festival, and only the one day of it too, I struggle to find anything to grumble about. What a way to start the year, Bradford Roots Festival is amazing, the shell, The Wiltshire Music Centre is a blessing to our county, the value for money is righteous, the atmosphere is equable and convivial, and long may it be so.
I’ve got some gorgeous vocal harmonies currently floating into my ears, as The Lost Trades release their first single since the replacement of Tamsin Quin…
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The longer I gaze in awe at the lineup for this year’s Bradford Roots Festival at the Wiltshire Music Centre the more tempted to break hibernation for an expedition to Bradford-on-Avon I get, even if it means in Robert Falcon Scott style. If it’s Antarctic conditions out there on Saturday 20th Jan, I’m hiring huskies!
Billy in the Lowground
Four stages of the crème de la crème of locally sourced music under one purpose-built roof ensures it’ll be warm inside. Bradford Roots Festival is a who’s who of local talent, more music convention than festival, and I don’t know if they took heed of some suggestions I made or we’re simply singing off the same song sheet, but, just, wowsers!
Frankisoul
One thing before waffling on those I do know, there’s much more that I don’t know, yet, which is equally gurt lush, and hope to shed some light on those once done and dusted. For now though, let’s virtually trek stage-by-stage, kicking off with the main stage. Graham Dent Jazz Trio I caught last year and look forward to, Be Like Will aren’t much after and we love those guys, but Trowbridge’s upcoming soul hero, Frankisoul is a must for me. Reviewing his debut EP left me at loss for a local comparison, and while I’d never use Otis Redding lightly, such is the strength of Frankisoul’s vocals I did, and that’s the highest compliment I can reward, surely?! Though I’ve yet to catch him live, I’m putting him on a pedestal I’m certain he won’t kick over.
Nothing Rhymes With Orange at Devizes Street Festival
Wild and Woolley stage speaks for itself, Mark Green’s Blues Band are worthy of attention based on last year’s stunning performance. Yet it’s the gen z takeover in the latter half of the day down there which is really going to go off. Foxymoron, Melksham’s finest The Sunnies, and Devizes homegrown sensation, Nothing Rhymes With Orange, are all must-sees. Nestled between them is Bristol’s Life in Mono, who, though slightly older, I’ve only heard great things about.
Courting Ghosts
Newly formed but brimming with experience and talent, Courting Ghosts are unplugged as a finale at the bar stage, which will be something else. It’s also grand to see one third Lost Trader Phil Cooper on the list, Phil was the mc last year, and one rising acoustic magician I beg you to catch, Chippenham’s Meg.
Meg
There’s another stage I can’t even remember them having last year, The Golden Gudegon, kicked off by Trowbridge’s incredible Americana artist Daisy Chapman, followed by the impressive force which is Swindon’s Joel Rose, and though the rest are new to me, Ruby Darbyshire is rightfully on that list, and I recommend you find the stage for these.
And that’s just Saturday! Though unless I win the lottery, or suddenly invent commercially viable cloning technology within a fortnight, Sunday, I’ll sadly miss it. Though Becky Lawrence, Billy in the Lowground, Karport Collective, and Ed Dyke are the ones I’ll be most sad to have missed.
Karport Collective
And there’s my take on it, I’m sure you may have a different opinion and can name drop a whole other set on this stunningly extensive lineup, that’s your prerogative, and I’ll always heed of your recommendations. But one sure thing, Bradford Roots Festival is on, and is a wonderful thing. Fundraising for Parkinsons UK, the Music Centre’s Trust and their inhouse Zone Club, a monthly music-making project supporting the creativity of learning disabled young adults. The Zone Club presents their work on the main stage at 11:30.
Becky Lawrence
Beer from Kettlesmith Brewing and plenty of food and drink. Tickets are just £32 for the weekend or £22 for Saturday and £17 for Sunday only….snap them up, it’s worth it for one of those acts recommended alone…or maybe two, maximum!
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If asked to summarise the themes of songs by The Lost Trades with a song, I believe I’d pick the classic Americana folk song “Keep on the Sunny Side.” Popularised by The Carter Family in the mid-twenties, it’s the humble yet effective mandate to retain optimism whilst everything thrown at you has the potential to drive you to submit to misery.….
The Lost Trades describe their forthcoming album Petrichor“with a slightly darker sound and themes including mourning, escape and starting afresh,” which while true, it never drowns itself in melancholy, least perhaps not till the finale, rather is uplifting on the soul, refreshing; the therapeutic equivalent of a nice warm bath, perhaps in candlelight.
It’s been just short of two years since the debut album The Bird, The Book, and The Barrel, and our beloved vocal harmony trio have pre-released four singles from this album, each one leaving us hanging out to dry with anticipation for this second album. 10th March is the date to unpeg yourself from the washing line, pre-orders are already being taken, and I’ll let you into a secret, which might be obvious to fans; you will not be disappointed.
Last time I spoke with Phil Cooper about the upcoming album, at Bradford Roots Music Festival, we spoke of the delicate balance of the follow-up, on teasing with a precise number of pre-singles but not overdoing it, and other common pitfalls such as exhausting your creative output on the debut with fan pressure to supplement it. Phil was ever-positive, explaining alongside fresh ideas they also had several indistinct drafts left from the first album, they’d returned to and revised. Unlike those lesser, “cashing-in” Pink Floyd albums of rejected offcuts off the more memorable albums, if the songs here were only fragments of ideas at the time of recording the debut, they’ve been overhauled with perfection, and Petrichor is undoubtedly the better album of the two. This equates to one main point I’d like to make; The Lost Trades are the fine wine, perpetually improving with age.
And anyway, four singles are reasonable, as this album weighs in at a value-for-money twelve tunes strong, and strong they most certainly are. There’s not even the one dodgy one, like The Girl is Mine on Jacko’s Thriller!
In reviewing these teaser singles I’ve been adamant throughout, the unification of the harmonies is now so intricate, so refined, even to have known the trio as individual performers in their own right prior to forming the Lost Trades, they merge now as one unit. Many have one take the lead, but the concord is paramount, the accompany of the other two enhances, whichever way around, like silk on flesh.
Though this is key to why this betters the previous album, the quality of production and reasoned flow of the tracks sprinkles it with magic. This optimistic “Keep on the Sunny Side,” comparison is no more prevalent than in the sixth tune, Under The Hornbeam, in which Tammy leads on this delightfully upbeat ditty, while it reminded me of her earlier days of singing The Jungle Book’s I’m the King of the Swingers, it’s obviously far from being puerile, but in comparison with the other songs, it remains the perkiest!
Undecided on the opening track to the debut, in which they acapella an introductory prose of the concept of the Trades, and it comes across rather quirky, there’s no messing around with Petrichor, diving straight in with a taste of the sublime you can expect throughout the album. Old Man of The Sea, the single from last November bears all the hallmarks of the direction the Trades are heading. Concentrated in the raconteur style of Jamie Hawkins, who takes lead on this marine-themed expressive shanty-type ballad to Hemingway’s most unlucky character, Santiago. You might think of “Wait for my Boat to Come in,” from the debut, but the forlorn and pensive impression is even stronger here.
If this leaves you tingling with anticipation of what’s to come, September’s single Keep My Feet Dry follows, and this is just mega-bliss! Reminding me at the time of Roger McGuinn’s “Ballad of Easy Rider,” with its river metaphor for a missing you theme, it drifts, a thing of beauty, uplifting, with a chorus immediately sing-a-long; every element fits together perfectly on this one.
Time for Phil to take lead, and this joyful sound, Atlas is an exclusive, with thoughtful prose, a personal reflection of carrying the heavens on one’s shoulders, rather than the Titans’ revolt against the gods! The last single pre-released, Long Since Gone comes next, and is a grower which sneaks up on you, and, with a humble narrative of bereavement and anguish, it loiters while you’re dangling off a Bridge Over Troubled Water.
Returning to the joyful, the springtime first single Daffodils lifts the soul, and with this gorgeous retrospective banjo riff and vocal harmonies of the Carter Family, on its release I gave its technical perfection comparison to the timelessness of Will the Circle be Unbroken together with the more enriching mood of Randy Newman’s You’ve Got a Friend in Me.
Six tunes in and you are as immersed as the rocks a waterfall trickle over. I’ll give no more massive spoilers, for the following songs are new, and all wonderful. Fireflies is drifty, Little Blackbird is enchantingly upbeat, Best Foot Forward is a return journey of thoughtful prose. The title track follows, the aroma of rain after a sunny spell is the textbook interpretation of The Lost Trades in general, as well as this emotive beauty, so is such an apt album title, the song simply enlightens the gist.
Two more songs complete the healthy package, This Dark Forest is at it says on the tin, an emotive autumn ride, perhaps embracing their own description of being “a slightly darker sound.” Valhalla varnishes the album off with distant drumbeat, this haunting acapella holds an ancestral disposition, a haunting finale to the kind of album which will leave you with nought else to listen to next, favouring you might as well just play it again!
The Lost Trades are going from strength to strength, this authorises the detail. You. Are. In. For. A. Treat; but I gather you could’ve guessed this much by yourself; I’m just confirming it!
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If our beloved two-part Devizes one-part Trowbridge folk harmony trio, The Lost Trades should be at the level now of aiming for reviews in the mainstream press and international folk music specialist magazines, they’re so nice they never forget little ol’ me, still bashing away at my keyboard writing this slapdash jumble! They’ve sent over Long Since Gone, the fourth single to feature on their follow-up album, the details of which are also being unravelled like a scroll in the hands of an eager pirate; exciting news……
Never quite as easy, the follow-up, but via these sneaky peeks, the previous three singles, Daffodils, Keep My Feet Dry, and Old Man of the Sea, anticipation is reasonable. We know its name, “Petrichor,” meaning the aroma of rain after a sunny spell. We have a release date, 10th March, the beginning of their spring tour, Bandcamp pre-orders from Bandcamp Friday, the 3rd February. We also have a glimpse at the cover, in which the trio saunter a one-point perspective open road, Phil looking chuffed, Jamie looking like he’s been duped by the distance they’ve rambled, and Tamsin set slightly back in the middle, doing the whole Mary Poppins thing!
On the strength of the previous singles, I admit I’m going in with high expectations. If each song seems to have bettered the preceding one in each of their own unique way, my first impressions were this has levelled out somewhat. Naturally, it bears all the hallmarks of a great Lost Trades song, it still points in the right direction, but ah, unlike the immediate appeal of the others, Long Since Gone is a grower, me thinks; sneaks up on you, and loiters while you’re dangling off a Bridge Over Troubled Water.
Phil takes the lead here, on this dreamy and sentimental harmony, with its humble narrative of bereavement and anguish, naturally awash with the kind of enriching stimulus we’ve come expect. The Trades explain, “it was written for a friend who sadly lost a long battle with cancer two years ago, and deals with the advanced stage of grieving, after the immediate pain fades and you are left with a lingering ache to see your friend once more.”
A notion we must all face if not already, and the gift this song gives is this all-encompassing emotion, which will implant in your mind the remembrance of a particular person close to you, that much is concrete. If the manufacture of provocative prose by drawing on personal reflection and generalising it, so its audience can mirror the concept from their own reminiscences is the objective of any artist, The Lost Trades have quickly become masters of how the pull the heartstrings and paint a picture through words and music. Therefore, I take it all back, Long Since Gone sure is a beauty, and another darn good reason to be enthusiastic for the 10th March.
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Yet, I hailed the last few tunes for this progressive tighter bonding, so both vocally and in concept their voices and characteristics merge, this one is rather concentrated in the raconteur style of Jamie Hawkins, who takes lead.
When considering one of personal favourites on the inaugural album, The Bird, The Book and the Barrel being Jamie’s led “Wait for my Boat to Come in,” this too has a marine theme, and using Hemingway’s most unlucky character, Santiago, is the perfect subject for the forlorn and pensive impression we’ve come to expect as standard from this enriching trio. Adapting the book title, The Old Man and The Sea, to The Old Man of the Sea, it’s another delightfully expressive shanty-type ballad, with all the hallmarks of their set style, and that being a treat on the ears.
The Trades proudly announced it’s the fastest tune of theirs to have reached the 100-stream mark, but the proof is in the pudding; take a listen, you know you’ll be pleased you did. It just keeps getting better for The Lost Trades, and in that a journey we’ve all followed locally, and appreciated every step of the way.
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New single from The Lost Trades, due out on those streaming sites next Friday, 9th September, but our lovable folk trio decided as it’s the celebratory “Bandcamp Friday,” they’d get it on there early….and I thought I’d get a breather today!
Is this a conspiracy? Is there a secret WhatsApp group where local musicians gang up on me and decide to all release their new material in the same week?! So much new music being pushed my way, I love it, but repetitive strain injury of the typing digits, people, think about that for a second! This, though, is more than worth mentioning.
I’ve been listening to it for a few weeks, holding my breath from mentioning it until next week, seems now I can exhale and tell you just how absolutely awesome this new single from The Lost Trades is. I even, at one point, had it playing in the car when nipping out for Derrick’s Deals at the Spar shop in Devizes, windows down, when I was struck with terror someone might overhear this exclusive early, and like the automatic blinds of the Lego ideas office, I fastened the gap!
Last time around, on All Fools Day, the tune was called Daffodils, and I dubbed it a “lost trades mark,” trying to be clever and play on words, but for the simple reason it summed up everything which was great about their debut album, The Bird, the Book and the Barrel, in one single, stating “this wonderful sunny side of the street tune is a neat little package tallying up the brilliance of the Trades.”
So where do we go from here? I’m going to big it up, you know that, because the trio haven’t yet disappointed, ever, and I’m therefore obviously going in with high expectations. But it had been one of those days, you know the sort, we all have them, and night was drawing near when I remembered I still had the single to listen to, and despite all said prospects, I just fell headlong into it, like tumbling into a blissful dream. It lifted me out of the swirling thoughts of that sort of day, it elevated me above cloud nine, and here’s why….
It’s the production this time around, yes Phil, Jamie and Tamsin’s, while Tamsin takes the lead vocal, least most predominate, voices are truly merged into one harmonious glory, the production of this single, a real step up. The entire mood surrounding it will engulf you, whether or not you’ve been following the progress of this exceptional trio or not. This is the way forward, it knocks spots off of anything which may’ve gone before in their building discography, and that, like Bananrama once said, is really saying something…. not that that’s a comparison, by the way!!
It needs no comparison other than with their own material, now, though it got me contemplating Roger McGuinn’s “Ballad of Easy Rider,” theme-wise, if rivers are a common metaphor in folk; the lyrics Dylan infamously gave to The Byrds, but declined credit in the film as he didn’t like its ending. But, I digress, with a “missing you” theme, Keep my Feet Dry is a boost in the right direction for the Trades, it drifts, a thing beauty, uplifting, with a chorus immediately sing-a-long. The guitar riff sooths, and every element fits together perfectly; wowzers, you only need bring your ears, and they will love you for it!
By the way, Jamie of the Lost Trades is at the Southgate, Devizes, Saturday, while Tamsin is playing the Barge on HoneyStreet; make your own mind up, I can’t help you with this dilemma!
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I don’t conscribe to sensationalising, neither need to interview for the emblematic promotion of a new product. The Lost Trades aren’t yet announcing a second album, neither have they memoirs published; there wasn’t a good reason to interview them. They didn’t whet appetites broadcasting a follow-up album when I asked them the standard “what’s next” question, rather spoke about strategies.
I was eager to catch up with them though; haven’t seen them for ages, and they were happy to oblige, because they’re nice like that! They’d finished a soundcheck supporting Focus for a Long Street Blues Club gig at Devizes’ Corn Exchange, which Andy kindly reviewed.
No matter how they’ve been gigging further afield and stamping a benchmark for folk harmony trios internationally with The Bird, The Book and the Barrel, their feet remain on the ground, and this is, after all, their original stomping ground. Two thirds from Devizes, Jamie R Hawkins and Tamsin Quin, while Phil Cooper is from Trowbridge, the latter of whom casually asked prior to the interview what I could write about them which I haven’t already.
Fair cop, since day dot Devizine followed all three, Tamsin crowdfunding her debut album, Gypsy Blood was our first article in 2017, a review of Phil’s Thoughts & Observations closely followed, and I met Jamie slightly later, at the Saddleback Festival’s Battle of the Bands in 2018.
Tamsin and Jamie at Battle of the Bands, 2018, with George Wilding, Claire, Mike Barham, Jordan Whatley, Jack Moore and Sally Dobson. Image by Nick Padmore
The three musicians closely associated themselves with each other, producing and recording, assisting with gigs and collaborating sporadically, until a natural bond had formed and it made sense to form a trio. The news of The Lost Trades we broke in December 2019, a year of lockdown followed their debut gig at Trowbridge’s Pump, but a period which has seen them improve tenfold, together, on their already high standard.
Both the name the Lost Trades and the album name, The Bird, The Book and the Barrel derives from their surnames; Cooper is a barrel-maker, Hawkins the bird and Quins were counsels or scribes, hence the book. Figuring a blithe beginning, being my rare organisational skills surprised them with a typed sheet of questions, I thought I’d ask if Phil minded being referred to as a barrel! He said he didn’t, but do they call him it?
Phil Cooper solo
“From now on,” Jamie laughed while Tamsin christened it his new name. Phil retorted “that makes you Jamie ‘the bird’ Hawkins,” and I added I liked a bird with a beard, which isn’t exactly true but it broke the ice, if there was some to break, which there wasn’t, so I don’t know why I mentioned it!
The Trades know me well, in this, I pointed out a milkman is a something of a lost trade, and wondered if they had space for me, perhaps in the corner, with a triangle! Jamie noted I could be a “bottle fourth member!” While they pondered if there were to be any sensible questions, I broadened it with, “or is three the magic number?”
Phil was first to confirm, the others agreed humbly. Tamsin expanded, “having three of us there’s no scope for two people going against two other people, you know? It’s always equal.”
“Yeah, democratically it works really well,” Jamie added. “There’s always a mediator,” Tammy motioned, “it works well like that.” Phil enhanced, “from a harmony point of view, I mean, don’t tell any barbershop quartets this but three is the magic number!” To be honest, I’m all out of befriending barbershop quartets these days anyway.
I offered it was great to see them back in Devizes, because it was, and I asked them where was the furthest so far, they’d played. Being, I’d imagine, the map-man of the trio, Phil called Eastbourne.
But are they booked for many festivals this summer? “Yes,” Phil replied, but couldn’t spill the beans. The Lost Trades are getting a lot of bookings, which is understandable. The only characteristic variance I noted seemed to be Tamsin, who once conveyed a slightly anxious persona when performing but is now rightfully brewing with confidence. More importantly, all three seem so at ease with the Trades’ success, loving the moment, and they’re bonded even tighter.
This is the point I slipped in the standard “what’s next,” and asked, “where do you take it from here?”
“Well, we have a strategy, you see?” Tamsin whispered, “first was getting our name out to our fans, and building up this joint fanbase, which is what we’ve worked on. And now we’re trying to build our name up in the folk world. So, hitting the folk clubs.” And they’ve been getting blinding reviews from folk magazines. “And a lot of radio-play from specialist folk shows as well,” Phil added, “up in Cambridge,” he exampled. Nationally, or even internationally, I queried. “Yeah,” Phil answered proudly, “in Canada, and Italy.”
I supposed lockdown live streaming helped in this exporting, despite lack of profit. Phil nodded, “it certainly tied us over, when we weren’t able to do anything, and kept us in people’s minds.” Tamsin assured, “at this stage in our career it’s not about making money, it’s more about getting our name known and reputation built up.”
To prevent it getting too cosy, I had something more challenging up my sleeve. As individuals The Lost Trades are no strangers to diversifying genres and sounds. Phil in particular, who even delves into electronica with a side project called BCC. Yet the Lost Trades is narrow in ethos, like a corporate identity, being strictly a folk trio, even in design of covers and promotional material. Make no mistake, this works, and is a great formula, but I asked how they could future prevent criticism that it’s getting “samey.” In this I gave the example of the Adele single.
“The fact there’s three songwriters in the band, all with different styes, will help keep us fresh,” Phil explained, “and like you say, we do all like to switch and try other things. I think it will happen, but obviously we’ve put this folk package together, and the music is very much modern folk, going to Americana.” I nodded, in theme too, content is modern. Tamsin added “Also that we’re playing multi-instruments too, which keeps us fresh.”
Debut gig at the Pump, Trowbridge
It was perhaps a tricky question, but you only need to listen to The Bird, The Book and the Barrel to note there is room for experimentation within the genre, and The Lost Trades wish to engage this. Phil expressed, “the folk thing is less about the music and more about how we present ourselves, as a brand, if you like.”
On reflection of their earliest songs as the trio, and knowing them as individual performers, I sense each song in style and writing are pitched by one of them to the trio; I could pick out that one was very Jamie, or very Phil, but the lines are blurred on the newer songs, melded so much I cannot pick out who’s idea or who wrote any particular song; is this what they’re working towards, complete harmonising? It was the longest question with the shortest answer, they nodded throughout me asking it. “I guess so,” Jamie replied, “there’s lots of methods and approaches we’ve yet to try out; that’s another reason why I think we’ll stay fresh.”
“One of the reasons the later stuff is harder to tell is,” Phil expanded, “the earlier stuff the other two were harmonising with whoever had the lead vocal, but the stuff we did towards the end of the album didn’t have a lead vocal, it was all about the three voices all the way through. We could get samey if we did just that, so we’ll keep the solo voice every now and then, just to keep it interesting.”
Lost Trades at the Southgate, Devizes
Tamsin added, “Also, as we’ve grown together musically, we’re writing songs specifically for the band. We write our own solo songs and ones which we think, oh, this one would sound better as a harmony; we tailor it to be a band song.”
Sure, feels like a progression happening naturally, as they work closer together. “It already did,” Phil said when I suggested this, “when working on the album there was two or three songs which didn’t exist until a month before the recording. We put them together really quickly, and yes, they were very much that kinda organic feel.”
Mentioning the impending lockdown as they first formed, I wondered if they felt there was positives which came from it. Phil called the album a massive positive, which if you’ve heard it, you can only agree. “There were songs on there written about what we were going through at the time….”
Tamsin responded too, “lots of the songs we wrote when we were feeling down about having to cancel the tour, for example ‘Winning Days’ was where Jamie and I were feeling miserable, and Phil said ‘right I’m going to write a song to cheer us up.”
“I think, perversely,” Phil added, “the fact we’d built up friends on our side, and to suddenly have it swept away, we got a massive outpouring of love towards us, and that has probably put us on a run up the ladder, that maybe we wouldn’t have got at that point.”
I beg to differ on this one, sensing this shadow of modesty in them, when really, this massive outpouring of love towards them would’ve been inevitable with or without the restrictions of lockdown, because this grouping just works; whether you are folk’s greatest devotee, or not.
For the final question I returned blithe, as I sensed they were busting to get to the stage; “have you ever been interviewed before with questions as stupid as these ones, and did you expect anything less?!”
The one who remained most silent during the interview, Jamie, made a funny noise of which I’m unsure if it was positive or negative, but it rolled out a belly laugh, Phil pleaded the fifth on it, and Tamsin voiced in the background she thought they were “lovely” questions, because that’s our Tammy, Devizes loves her, we love all three; Trowbridge and Devizes finest musical export; I give you The Lost Trades, who I lost; by the time I stopped the record button, they were gone, up on stage, to do what they love, and long may it be so!
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Image by Nick Padmore
It certainly felt this way with the Boot Hill All Stars giving it their all, last weekend at Honey Street’s Barge, and again, last night where a “Plus Friends,” gig took place at the Gate, in the blaze of glory local folk have come to expect from the homegrown talented musicians involved.
Image by Nick Padmore
As far from a band name as a desperate attempt to rehash a once-trendy US sitcom, Plus Friends is the banner for a looser formulation, I’m assuming, to temporarily disassociate the trio of Phil Cooper, Jamie R Hawkins and Tamsin Quin from their Lost Trades Americana branding and allow themselves the freedom to adlib and play in unison their separate songs as solo artists, generally rock out, and perhaps throw in a cover at will, as they did with a finale of Talking Heads’ Road to Nowhere. Though covers were scarce, the crowd know these guys only too well, and their original penned songs.
Plus, and, most importantly where the “plus” part falls neatly into place, to add a fourth member in par rather than “support,” that being the modest acoustic local legend, Vince Bell. Not forgoing this allowance also saw Jamie’s eldest son occasionally join them on percussion, adding to the overall “family” nature of the homecoming gig.
Image by Nick Padmore
And that’s precisely how it felt for punters and performers alike, a true community recovering from isolation the best way they know how. “This is how it should be,” delighted photographer Nick Padmore told me at the end. Because while the Southgate’s dedication to bringing variety, and artists who might well be unbeknown to Devizes is most welcomed, nothing raises the roof quite like Vince belting out his satirical prose about his hometown and the crowds joyously joining in with the “and you ain’t ever leaving!” chorus.
Image by Nick Padmore
It hallmarks everything great about this splendid occasion, and a true Devizes-fashioned return of live music with homegrown talent abound.
But it’s not just the brilliance of Vince, Tammy, Jamie and birthday-boy Phil, to perform with bells on, which made the evening, rather the friendly assembly of local live music aficionados too, with their meeting of the “same ol’ faces” not fully grouped since lockdown begun. And, in turn, the Southgate to accommodate them so welcomingly within current regulations.
Image by Nick Padmore
There’s a streamlined table service, its dedicated staff have the efficiency of McDonald’s, and the genuine friendliness of Disneyland. Though such comparisons should end there, for The Southgate is far from the mechanism of commercialism, rather a rustic haven for those seeking a “real” West Country pub experience, and within it, creating a free music venue that performers are queuing to play.
It’s without doubt the sum of all these parts made it so many chose our Southgate over Gareth’s squad on the tele-box, a brief “footballs coming home” chant raised by Jamie being the only reference to the Euros necessary. No, we’re happy here, thank you. Content to hear the welcoming homely vocals of Tamsin Quin, the passionately executed sentimental writings of Jamie as he rings out solo classics such as his tribute to his dad, the rockier side to Phil Cooper as he selects a tune from his solo lockdown album, These Revelation Games and the beautifully arranged understated lyrics of Vince as they so eloquently weave a tapestry of narrative. And as my opening presumption noted, they delivered it with such Jack-in-the-box passion, what once would have been a pretty standard gig down the Gate was more akin to a Phoenix rising from the ashes. Oh yes, more of that, please!
Image by Nick Padmore
And our wish is granted, as The Southgate’s gig calendar is building as if 2020 never happened; next Saturday, 10th July sees Swindon’s premier ska covers band The Skandals, with ex-Skanxter Carl Humphries returning as frontman. Sunday is the turn of Essex’s finest Americana roots band, Jamie Williams & The Roots Collective.
One weekend after is all you need to wait until reggae duo Jon Lewis & Jah-man Aggrey, TwoManTing, on Saturday 17th, Rockport Blues on 24th, and Blind River Scare’s Tim Manning rocks up on the final Saturday of July. The dates are booked into August too, with Kevin Brown on the 7th and the brilliant Strange Folk on the 9th October, but you can bet your bottom dollar dates in-between these will crop up very soon, check the event guide as I attempt to keep ahead and update it without getting too frustrated with cancelations, or the Southgate’s Facebook page, where the spirit of live music lives on, as proved last night.
Update: check the board, not the Facebook!
All Images used with kind permission of Nick Padmore
Our compilation album is out now and raising money for Julia’s House Children’s Hospices; click to download your copy!
Got your ticket to MantonFest yet? Hurry up, I need a lift!
Even though they put a man on the moon four years before I was born, I swear it’s the little things summoning me to a care-home for the terminally bewildered. I’m pre-empting what-they-can’t-do-these-days scenarios, but why so soon? All the years of diluting the kid’s squash, I observed they look rather stout of recent. My daughter calls it a ‘senior moment,’ pointing out, it’s double-strength squash. She was right too, says so on the bottle, in huge, unmissable letters.
In a way, it’s kinda like the highly anticipated album from The Lost Trades. Because, if in the past I’ve put them deservedly on pedestals as individuals, when they first joined together, they shimmed said pedestals closer, and nicely complimented each other’s voices. This can be heard in the three tunes which reappear from the earlier EP, Robots, Good Old Days, and Wait for my Boat; the first one being definitively Phil’s song while the latter two have the marks of Jamie. Awesome as these are, it’s the unreleased tunes which I need to draw your attention to, as they’ve balanced the pedestals atop of each other, like a daring circus act; the lines between them as individual performers are now totally absorbed, in both writing and vocals, akin to the double-strength squash, this is triple-strength!
If you’ve never known them as individual performers, you’d be forgiven for mistaking that they ever were, with these new set of songs. And with other tricks up their sleeves, The Bird, the Book & The Barrel exceeded my high expectation. Solving the conundrum of what else to write about a trio we’ve already covered so much on Devizine.
The Bird, the Book & The Barrel, released on Friday, the 4th June, can be pre-ordered, and you get two tracks in advance, if you cannot wait, which is understandable. With a rustic wood-cabin corporate identity they don’t waiver from, the essence of folk-roots of yore are embellished with modern themes, from which they project the perfect balance of vocal harmonies one could only compare to family groups. Save Simon & Garfunkel and The Drifters, who could do it, we have to think from the apt genre, of the Carter Family, to The Carpenters, and The Everly Brothers, but perhaps onto The Jacksons, for in soul their voices harmonised with similar perfection. Yes, it really works akin with the Lost Trades, I’m pleased to announce, and here more than ever.
And in this, the opening tune could be constituted as somewhat boastful about their precision, if not a simple premise of unification; only in sharing one vision will the world be ours for the taking; if you got it, flaunt it! One Voice sums up my own overall thoughts on the album, and makes for a beautiful introduction.
The second track is where the magic really starts. The fleeting romantic interlude of a fast-paced, maybe dodgy, roamer is the theme of Road of Solid Gold, which is as the road, solid and gold. An unusual composition, being the fiddle is habitually played during instrumental breaks, but here it accompanies the vocals. This violin mastery is performed by legend of folk, Peter Knight, a founding member of Steeleye Span, undoubtedly the most renowned group of the British folk revival alongside Fairport Convention, and secretly was Uncle Bulgaria of the Wombles band too! Additionally, this is where we hear the Trades really melding their voices into one, which occurs more frequently as the album progresses.
Elements combine, regardless if one takes the lead, or verses are harmonies too, it’s all a big slice of wonderful. The astute song writing weaves narrative timelessly, be it nostalgic-based such as Good Old Days, unification against the odds like Distance Brings us Closer, both where Jamie leads, and the most poignant, Kingdom Falls, a tale of the pen being mightier than the sword through the eyes of a prisoner of war.
Then there’s lighter subject matter, often where Phil leads, such as the trickling Your Winning Days, but his lead also offers one of most divergent tunes, Robots, an apprehension of automation, in which a steady guiro offers a pertinent clockwork effect.
At seven tracks in one could wonder where’s the girl power, but when Tamsin takes lead on Hope Cove, it’s been worth the wait. A heartfelt romance actualised as a geographical location isn’t an uncommon concept, but you know Tamsin handles it inimitably and spectacularly, like only the finest tunes of her solo album Gypsy Blood. Shanty theme continues with Jamie leading on Waiting for my Boat, equivalent to the sentiment of his classic solo songs, Not Going Anywhere and As Big as You, this is nothing less than sublime.
With just two tunes remaining, Silent Noise of the Mind sums my “triple-strength” notion of the progress of the Trades, fusing the vocals entirely throughout, the beauty of it embraces the air, drifting your mind like a feather in a gentle zephyr. Tree-hugging Oaks light-heartedly polishes the journey off wonderfully, with a ukulele exhaling a Hawaiian ambiance and a cheery whistle, it leaves you knowing you’ve arrived somewhere where you wouldn’t mind travelling to time and time again.
But I’d wager you knew I’d only have good things to say about The Bird, the Book & The Barrel, therefore I implore your faith in my honesty, it’s as amazing as I say, and a little chipping more.
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Scrub the headline as ‘news,’ here at Devizine Towers, as we look forward to any update The Lost Trades trio throw at us, especially a nice pint in a pub with those guys playing. Which is what we’re building to, fingers crossed, as they pencil in HoneyFest at the Honeystreet Barge on their growing confirmed gig list.
Among them, Frome’s Cheese & Grain, Salisbury’s Winchester Gate, the Couch in Bracknell, Schtum in Box and WeyFest. Proof their exceptional and convivial brand of folk is resounding far and wide. Another validation for the Lost Trade’s reputation is news today the second single from the highly anticipated debut album, out on 7th May, features the violin mastery of the incredible Peter Knight.
A legend of folk, Peter learned his trade at Royal Academy of Music, and not only was a founding member of Steeleye Span, undoubtedly the most renowned group of the British folk revival alongside Fairport Convention, but secretly was Uncle Bulgaria of the Wombles band too! He’s worked with blues legend Alexis Korner and Mary Hopkin to namedrop out of many, and today his occasional big band, Peter Knight’s Gigspanner Band are a unique force in British folk music with high-energy, virtuosic performances appealing equally to traditionalists and to those looking for something experimental.
See, I love a mean fiddler garnish on my folk, and as the Trades say, “as collaborations go, it doesn’t get much more mouth-watering than this.”
Road of Solid Gold – The Lost Trades (featuring Peter Knight) will be released on 7th May, another appetiser for the foresaid album. “When we were recording the song, we knew we had the seeds of something a bit special, but we felt it needed some extra magic. We were thrilled when Peter agreed to add that magic and we can’t wait for you to hear it.” Umm, yes indeedy, and we can’t wait to hear it!
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April 1st is All Fools Day, the day after you’d be a fool to miss this. Much I hark on about local folk harmony trio, The Lost Trades, even before they were united as such, but only for good reason. It was always a win-win when the three singer-songwriters officially formed, Phil Cooper, Jamie R Hawkins and Tamsin Quin all excelled on the local circuit as solo artists and regularly appeared together for gigs.
Together this force to be reckoned with has formed a definite style akin to a corporate identity, and uniformed they move towards a debut album with all new, original songs. Based on their EP, which we fondly reviewed, the album launch is rightfully highly anticipated.
The album’s name has been revealed by the trio, “The Bird, The Book & The Barrel,” and will be released on 4th June. Though the band want to make the most of the Bandcamp Friday before that, where the platform-based music site kindly site waivers their fees, giving the artists full royalties. Therefore, The Lost Trades will be taking pre-orders on 2nd April and 7th May. There will be a live stream, something the Trades have always been on the top of their game with, on 2nd April, to celebrate.
The trio promise the full sound system, concert-style at live stream, scheduled at 7.30pm, will present everything from the album, including brand new, never before heard songs. The live stream will be broadcast from their Bandcamp page, and is ticketed at a very reasonable £2.50, with Bandcamp also waiving their fees on all live stream tickets sold until the end of March.
Best of luck, Tammy, Jamie and Phil; sounds like a virtual cake kind of occasion to me, but then, any occasion sounds like a cake one to me! Get your tickets HERE. Follow the event on Facebook.
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Catching up with more stuff on a quiet(ish) Sunday, this got pushed towards the bottom, I’ve no valid excuses. Taking you back to April 2017, Brighton’s misfit leftist comic poet-acoustic performer performed at Trowbridge’s Town Hall for Sheer Music. It would be a gig on his last ever tour. After twenty years Chris announced he was giving up his music career, and finalised it with an autumn farewell concert in London.
The recording was released on Chris’ Bandcamp page at the beginning of the month. It’s a pay-what-you-like and he waivers all fees to the Music Venue Trust.
Since 2014 the registered charity MVT, was setup to protect the UK live music network by focussing its support on grassroots venues, but since lockdown it’s understandably become essential. Grassroots venues play a crucial role, nurturing local talent, providing a platform for artists to build their careers and develop their music and their performance skills. We need them back; we need them open. Hearing this album helps you to understand why, makes you remember what you’re missing.
It’s easy to hear the influence of upcoming artists like Gecko, as Chris weaves unrelated subjects like an observational stand-up comedian, and also, with the same comical timing. His guitar picking is quality and together it makes for a highly entertaining show. Stabs at the establishment come thick and fast, songs randomly seriatim through motorways, anti-hunt rants, gorilla gardening, his own self-worth and musical talent, even a jab at Trowbridge’s political demographic in Love me, I’m Liberal. There’s a beautifully played out winter portrayal, Tunguska, and more intelligently drafted thoughts to boot.
This is folk upfront, with woven narrative and amusing rudiments, chronicles the now, and highlights the passion of the simplest gig, man with thoughts and guitar.
On the night he was supported by Phil Cooper, and Kyle D Evans, the show recorded by Bromham’s Owl’s soundman Gareth Nicholas. Makes me wish I was bobbing about on the scene at the time, but Devizine was a year behind in the making. Still, albums got a picture of Trowbridge on it, any monies you can give helps a charity, but most of all, this is just the enjoyable and proficient performance we’ve come to expect from Sheer.
Bag yourself some of our recommended long players for your friends, family or even yourself this Christmas and help a local musical talent.
Look at him, Grumpus Maximus, slouching on his sofa-throne investigating the inside of his y-fronts with one hand and clasping a tinnie with the other. He’ll need Google maps to find his local watering hole when things return to normal, and if he has to endure Kirstie Allsopp for one more half-hour episode he’ll threaten to relocate to his shed for the yule. What do you get for someone like pops this Christmas, or anyone who’s lost the will of independent thought due to the modest inability to enjoy the odd fellow and guitar down their pub of choice, for that matter?
How about this suggestion; buy a CD from a local hero? Because not only will you cheer the old bugger up enough for him to consider shaving once a week, but you’ll be putting your hard-earned shekels into the hands of a local independent creative sort, who, without revenue from standing in a draughty pub alcove singing the blues, really needs some pocket money right now.
It’s not my idea, I say let them scavenge for dead flies on their filthy windowsills while insanely mumbling a ditty about minute pixies invading grassroot venues. Thanks to our reader, George for this suggestion. Of course, this is the 21st century, or so I’ve been informed, and nowadays next to nothing is physical. Much as we find the online format or download accessible, you can’t wrap an online stream up with a pretty bow and put it under your tree. So, our list is restricted to the ones putting out a CD copy; that’s a compact disc to youngsters, or even, dare I say it, vinyl, you know, some archaic listening format.
But how, ye cry. I’m going to provide links where I can, but another shot is your local indie record store; for if they care one iota for music, they’ll stock a range of locally sourced sounds. If they don’t tell them to, without swearing.
Here’s an ideal template to use: “the brilliant, one and only Vinyl Realm Music Store in old Devizes town stocks many local artist discs, so I suggest if you want to be half as good as them, you’d consider it.” And that, is one good place to start; open the yellow door on Northgate Street, turn to your right and by the window there’s a stand with some local outpourings on. If you get lost ask one of the owners, they bite but not hard. I know, shopping is beneath you, be aware they have an online service and will deliver, cos they’re nice like that.
Am I waffling now? I tend to tangent, like to, did you come here for that, or are you looking for some music options? Very well, sit quietly, or stand noisily if you like, and I shall begin…. hopefully before Boxing Day. But oi, bear in mind this isn’t a top twenty countdown, I just used that as the title for clickbait. I’ve not put these in any kind of hierarchy or rank, just listed alphabetical by artist name, to prove I know my A, B, C!
Billy Green 3: Still
Released at the beginning of this year, Devizes post-Britpop trio produce a beguiling sound that could’ve come straight from indie’s finest hour. It’s scooterist, with a taste of mod and soul, but it’s passionately scribed and delivered proudly. Review. Buy@ Vinyl Realm.
Chris Tweedie: Reflections
Affectionately reviewed at the beginning of the month, Melksham-based monarch of chill, Chris Tweedie has produced a mind-blowing album. If you like Mike Oldfield, Crosby, Stills and Nash, or George Harrison, you need to check this one out. Review. Buy.
Cracked Machine: Gates of Keras
Hometown space-rock has never been so good. This is the outfit’s second album, and its journey of spacey rock like no other. Fans of Pink Floyd or the Ozrics will relive every minute of their misspent youth and clamber to the loft to find their fractural posters and chillum! Review. Buy.
Erin Bardwell: Interval
This year, without his Collective, Swindon’s rock steady keyboard virtuoso blessed us with this unique lockdown inspired bundle of distant memories over sparse two-tone and reggae beats. If you think this genre can be samey, you’ve not heard Erin Bardwell. This album is one of a kind. Review. Buy.
George Wilding: Being Ragdollian
Let the arguments begin, this 2013 EP is the definitive George Wilding. One not to collate tracks to an album, the EP may only contain three songs, but their brilliance makes up for at least ten mediocre ones. You can grab this at Vinyl Realm.
Joe Edwards: Keep on Running
Whilst it’s had glowing international reviews, locally I feel this is severely unacquainted. Though I did say at the time of review I’ll be hard pressed to find another ‘album of the year,’ back in May, this still stands. This is melancholic Americana played out with utter perfection, and I will never tire of its authentic and sublime stories. Review. Buy.
Jon Amor: Colour in the Sky
Though we fondly reviewed Jon’s latest album just yesterday, like I said, that’s one which is only on download at the moment. Take his 2018 masterpiece of quirky electric blues as red, red as his telephone; this is the must-have album for every fan of local music. You can buy this in Devizes Books as well as Vinyl Realm, or you can buy online. Here’s a review from all those heavenly years ago, when Devizine was funny.
The King Dukes: Numb Tongues
Out in 2018, if you like your music with a taste of old-timey soul and blues, The King Dukes of Bristol do this with bells on. Numb Tongues is lively and memorable. Review. Buy.
Little Geneva: Eel Pie
Freshly produced and lively sixties mod-blues-rock done supremely, Little Geneva are Bristol-based but the Docherty brothers have the Devizes connection, enough to debut this down the Bear’s Cellar Bar a few years ago, and boy, was it a sweaty and memorable night! Buy.
Mr Love & Justice: Watchword
Mr Love himself, Swindon’s Steve Cox’s 2009 album is a must, a classic, even though I haven’t reviewed it, because it’s dated, its gorgeous acoustic goodness extends beyond atypical country-rock sounds and branches into many genres, even bhangra at one point. You can find this in Vinyl Realm for a mere fiver.
Mr Tea & The Minions: Mutiny!
Oh my, this chunk of energetic Balkan-ska influenced Bristol folk is breathtakingly good. I reviewed it last year, haven’t gotten over it yet! Review. Buy.
Paul Lappin: The Boy Who Wants to Fly
Breezy Britpop acoustics shine throughout this ingeniously written debut from Swindon’s Paul Lappin. Highly recommended and all-round good vibes. Review. Buy.
Phil Cooper: These Revelation Games
Trow-Vegas legend, Phil Cooper really gives it some with his latest offering, rocking out the lockdown. Review. Buy.
Ruzz Guitar’s Blues Revue: Live at the Louisiana
No list would be complete without a bit of Ruzz Guitar and the gang; guitar by name and nature. This album captures his skill where he does it best, live. Rock n roll the night away as if you were there; this is a must have album for blues and rock n roll fans. Review. Buy.
Sound Effects: Everyday Escapism
Self-penned Irish-fashioned folk at it’s most divine, Swindon duo Cath and Gouldy classic here. This is sweet and thought-provoking. Review. Buy.
Strange Tales: Unknown to Science
I’m unsure how old this is, but I do recall Pewsey singer Sally Dobson running back to her car to get me a copy at the long-lost Saddleback Festival. With Paul Sloots, Strange Tales are a wonderful if occasional electronica gothic-rock duo, and Unknown to Science is a spookily glorious album. Review. Buy or at Vinyl Realm.
Talk in Code: Resolve
True, Swindon’s darlings of indie-pop have come along way since this 2018 album, fashioned closer each time to retrospective eighties electronica, Resolve stands as a testament to their dedication, but more importantly highlights their roots in indie-rock. Review. Buy.
Tamsin Quin: Gypsy Blood
Man-about-Devizes, surely, you’ve a copy of this already? Tamsin Quin’s debut 2018 debut album is something kinda wonderful, eight self-penned nuggets of goodness introduces you to the now one third of the Lost Trades and personifies anything that was awesome about our local music circuit. A local classic. Review. Available in Vinyl Realm, or online.
The Lost Trades: EP
When three of our most loved local musicians officially bonded, debuting at the Pump just prior to lockdown, it was clear all their talents combined into this one project and could only ever be a winner. We highly anticipate the debut album, but for now, this five track EP will whisk you to a better era of folk harmonies. All original songs, there’s a taste of Phil, Jamie and Tamsin’s song writing talents, though each track wouldn’t look out of place on the Oh Brother Where Art Thou? soundtrack. Review. Buy.
Ya Freshness & the Big Boss Band: Knockout
Boots and braces time, get skanking to the loud and proud ska sound of Ya Freshness and the Big Boss Band. This is joyful, fun and chockful of ska and rock steady riddims from 2018. We eagerly await a new double-album promised from these Bristol misfits of ska, but for now, this is great. Review. Buy.
No way is this list exhaustive; I’ve basically run this off adlib and will no doubt suddenly think, “oh bugger, I forget this or that.” But I’ve nailed it down to twenty, which was tricky. Do feel free to add a comment on something I might have overlooked, and apologises if I did. Remember, it should be available as physical copy. This is an interactive article!
Message my advice line if you’re still in the dark for a pressie for Dad. Helpful hint, look through his old records. If you see one of a pig floating above Battersea power station, or a plain black album with a spectrum shining through a triangle, try Cracked Machine. If you see lots of black and white chequered patterns or a naked girl’s torso with Tighten Up written across her abdomen, try Erin Bardwell or Ya Freshness. And if you see a rather splendidly busty woman carrying a hosepipe and various decorating equipment, try The Lost Trades; best of luck!
Proof you don’t know what’s around the next corner, I put off doing a second birthday bash last year as we’d run a few fundraising events, in favour for doing a mahossive one this year. As it stands any third birthday celebration for Devizine would constitute me, with a cup of tea, sitting at the computer. Two years ago, though, to the day, our birthday bash was monumental, personally, as it made Devizine feel actual, a real “thing,” so much more than me, with a cup of tea, sitting at the computer!
Still, I can reminisce and remember how so many of us come together at Devizes Conservative Club, made it such a fantastic night, and raised close to four-hundred smackers for the Devizes branch of Cancer Research. But it was down to a Facebook messenger chat with Dean Czerwionka, who now organises Devizes Family Club at The Cavalier. If memory serves me right, unusually, I was unable to draft anything, suffering a hangover. Rapping with da man, I merely suggested the possibility of putting on a charity event, and before I knew what was what, tickets were being sold online.
Such was the nature of the evening, throughout. Dean and Cons Club staff worked hard to make it such a great event. Those fantastic Daybreakers arrived early despite being the grand finale, and set up the system, organised the other acts. My wife prepared a buffet and son helped arrange it on the table. Ben Borrill’s mum Beverly, who had told me about her famous hamsters but neglected to tell me of her musically talented son, made a Black Forest gateau. Local poet Gail Foster entertained intervals between acts. Matthew Hennessy and Nick Padmore snapped the photos and Nick’s wife Joy made an effective bouncer on door duty! Even Resul of the Turkish Barbers gave me a free trim, and Tamsin Quin’s niece Erin rounded up everyone’s loose change for the bucket collection. All the while I swanned around talking toilet, propping up the bar and taking all the credit!
It should be bought to attention, now time has passed and any argument could be condensed to water under the bridge, that it wasn’t really Devizine’s birthday at all! I started it back in the September the previous year, it just took us a while to sort it out and get news out there. In that, it taught me a hell of a lot about putting an event on, all of which I now have…. erm, forgotten.
But it makes me proud to look back at our acts. Lottie J was only fifteen at the time, is now a star, off to music school, and producing some amazing pop. She jammed with the next act, the sadly disbanded Larkin, despite never having met. Sam Bishop of Larkin is studying music in Winchester, and has produced some great singles, solo, and with a new band. Martin of The Badger Set tipped me off he has something new up his sleeve. Then musical partner, Finely Trusler has since worked on solo projects, with his cousin as the duo The Truzzy Boys and now donned a Fred Perry and fronts the ever-awesome Roughcut Rebels.
We had, of course, our darlings, The Lost Trades, collaborating with each other, long before they were the Lost Trades. Jamie joined after an eleventh-hour cancelation, which I was overjoyed to have fit him in. Tamsin wasn’t feeling so good, but still performed to her usual higher than high standard anyway. Cutting her slot short, as things became quite a squeeze, Phil Cooper followed and really shook the place up. Still performing solo, but ever helping each other out, as The Lost Trades they’ve set a precedence on a national scale despite debuting just a week prior to lockdown.
Everyone’s favourite, George followed, with added Bryony Cox for a few numbers. After a move to Bristol, Mr Wilding set up a highly accomplished namesake band, Wilding, of which talents are boundless. Bryony continues working as a fine artist, with a penchant for landscapes.
Aching to get on and get everyone dancing, The Daybreakers did their lively covers thing. A change in line-up, they continue to do so today, composing their first original song recently. Yet really, they’re no strangers to writing and composing, Gouldy and Cath as an original duo are Sound Affects, and they sneaked in a slot at our Birthday Bash too.
It really was a great night in the end, if there was an end, I cannot recall, and I’m eternally grateful to everyone for their help, particularly proud to hear how much they’ve progressed and how far we’ve all come. It’s a crying shame we cannot yet replicate it, but I sure would like to when we reach that better day. So, look at for our fourth birthday bash, all things well by that time. Here’s some photos to get me teary-eyed.
Crouching beside me at our IndieDay outing last month, one third of our local folk trio, The Lost Trades, Tamsin Quin explained she’s slowly working toward her second album but a lot of time is spent concentrating on progressing the Lost Trades. I supposed here is an advantage to DIY projects, as if The Lost Trades were signed to contract it’d likely be an order to focus entirely on the group.
In pop we’ve seen the pressure put on bands to collaborate equitably, and the result usually causes a split in the end. Major record companies in tough competition don’t do enough to discourage this. Note drama sells in Simon Cowell’s ‘show-me-how-easy-it-is-to-manufacture-a-pop-star’ dressed-up karaoke television show, and hear the boos as he obstinately and impassively divides a prearranged group. He sells the tears of the rejected and the tension as young friends split. You could blame Yoko Ono, if you must, but bands breaking up is, sadly, no new thing.
Hence the accord and friendship between unsigned bands is a delightful contradiction to the harsh realities of the music industry, and I sense an unequalled unity in The Lost Trades, and deep respect for each other’s solo work. Cue another third, Phil Cooper, the binding, organised element of the Lost Trades, and his new solo album, These Revelation Games due for release by Infinite Hive on 30th October. It’s great, I’d expect no less, and Phil’s fanbase too, but it’s varied content would also serve as a taster for newcomers to his repertoire.
Historically it’s been over a couple of years since he sent me his Thoughts & Observations album to review, which does what it says on the tin, largely acoustic-based annotations and judgements. But I focus on a particular night down the Southgate when Phil was accompanied by his Slight Band. Man, he was on fire, loudly and proudly rocking our legendary live music tavern with unsurpassed esteem and passion. Make no mistake, These Revelation Games contains many a track comparable with Thoughts & Observations, they’re observational and sometimes quirkily humoured. But this new solo album takes no prisoners, and blasts its doors clean off their hinges from the off.
Yeah, while so the opening tune, House of Mirrors explodes rock, and dare I say it, has that impact of the sixties Batman theme, it shouts the riff at you, second up Phil returns us to the mellowed aural breeze we’re more accustomed to with his recorded material. So, it’s a mixed bag of astutely written and perfectly executed songs with Phil’s joyful aura and defining style.
Eleven songs heavy, the early tunes creep us slowly back to the up-tempo as it progresses. Without a Sound particularly adroitly manages to raise that notion, and Keep Your Hands on the Wheel is a prime example of how Phil ingeniously twists metaphors of the simplest of everyday things. Leading us onto the quirkiest song, I am a Radio. Akin to Robots on the Lost Trades EP, Phil makes a heartfelt connection to an inanimate object, yet here using sound effects to create the idea his voice is operating on shortwave. It’s by far the most interesting and experimental, also absorbing his electronica work under the title BCC.
For marvellously prolific and diversified is our Phil, performing as solo, as The Slight Band, his electronica side-project, or what it’s now concentrated on, the outstanding folk harmonies of The Lost Trades with Jamie R Hawkins and Tamsin Quin, Phil never slacks off or confines himself to one sound. “I wasn’t planning a new album this year,” Phil expressed, “but then, all plans for 2020 went out the window six months ago. So, I spent my time in lockdown writing and recording a whole load of songs that explored influences I’ve never explored before.” Therefore, as a solo album, bought about by lockdown, don’t expect it to remain in one place.
It rocks without reference to this folk avenue, for sure, but stretches to every corner of rock. There are surprisingly heavy guitar riffs. Fervent ballads like the particularly adroit Into the Void, whisking Lennon-like. And there’s ardent electric blues, Changing Times perhaps best example of the latter. It polishes the experience off with a Clapton-fashioned smooth blues finale called The Horseman Rides Tonight.
With a plethora of new music being produced, lockdown it seems did have one benefit, and These Revelation Games in a varied taster of a concentrated Phil Cooper at his peak. I look forward to the progression of the Lost Trades, but love this aforementioned freedom to produce solo work too. I mentioned my chat with Tamsin to Phil, about the time and effort dedicated to the Lost Trades, but the joy of the flexibility of freely venturing off to work solo, thoroughly supported by the other members of the trio. “You’re far from the band in the Commitments film,” I noted!
“Yeah,” Phil responded, “having a record label release it has helped keep the balance between solo and Lost Trades stuff. The Lost Trades has always been built on mutual respect for each other’s work, so we’ll always support each other.” Which kinda wraps it up aptly, the ethos of the trio is like this album, nice. Nice one Phil, nice one, son!
New song from our local purveyors of the perfect folk vocal harmony trio, The Lost Trades. Out for another Bandcamp Day, today, Friday, where the website drops it’s fees and gives the artists 100% royalties; and darn it, if this isn’t worth a quid when it constitutes a mere quarter-cup of coffee from a posh café these days, I dunno what is.
The origin of the idiom, cloud nine is largely debated. Explanations relating the US Weather Bureau of the 1950s denoting fluffy cumulonimbus type clouds, or the penultimate stage of the progress to enlightenment for a Bodhisattva, are mostly debunked. But who needs a debate when you’re in a definite state of blissful contentment anyway?!
All you need know is this tune will land you on said cloud as if you were the monkey-god Sun Wukong on a mission. We are blessed with all the hallmarks of a Lost Trades signature tune; the calming tingle of xylophone, the gentle sway of acoustic guitar, the heavenly vocal harmonies, and uplifting lyrics to boot.
As Pink Floyd, around the Meddle era, after a bout of heavy space rock, when it suddenly drifts into thoughtful acoustic mega-bliss, this song just drifts akin, without need of heaviness, of Simon & Garfunkel, perhaps, meandering along a river on a gondola, thinking; hey man, let’s, like, sing; and it’s gorgeous, as we may’ve come to expect from this Trowbridge-Devizes trio. I wonder if we’re looking at a track from the highly anticipated album, yet, even if no, it’s the perfect display of progression for the newly-formed trio, who’s exceptional solo careers combine to create just as the title suggests; sitting on cloud nine.
With Tamsin advancing with her album, and Phil some way in front, teasing us with a cover design for his, titled Revelation, it’s clear the solo side projects will continue, but as a trio they bounce perfectly off each other, though it’s hardly a shove, more mooch. Download it here.
From Robert Johnson selling his soul to the devil at the crossroads to bipolar bank robber George “Babyface” Nelson, there’s so many Americana mythologies and folklore veracities apropos in the Cohen Brother’s “Oh Brother, Where Art Thou?” I could draft a lengthy essay. One I’m reminded of last Sunday down our trusty Southgate, was the scene depicting the Carter Family singing “Keep on the Sunny Side” at a governor’s election rally. Reason; there’s something simplistically bluegrass about The Lost Trades, matchless vocal harmonies, ensuring the circle is unbroken, even in a distant Wiltshire.
It was only a whistle-stop to wet my whistle, and when I did arrive the trio I’d came for where on their break. Tamsin was selling handcrafted spoons and lesser original band merchandise such as t-shirts and CDs, Phil was lapping the pub chatting enthusiastically and Jamie was having a pint with his family. None of this really matters, as individuals, we’ve rightfully nothing but praised these marvellous local musicians. When they formed a more official grouping and the Lost Trades were born, we broke the news. Neither did it matter, at the time, that I would be unable to attend their debut gig at the Village Pump. I had my new writer Helen offer to take my place, and what is more, I knew I’d be catching up with The Lost Trades in due course; couldn’t have predicted the impending lockdown the following week.
Yet prior to Sunday I had ponder if there was anything else to write about these individuals we’ve not covered in the past, but I was wrong. The angle can only be the difference between them as individuals or periodically helping one another out at a gig, to the trio The Lost Trades. Because, when they did everything was very much adlib, with the Lost Trades three minds are working closer than ever before, and if two brains are better than one, three is not, in this case, a crowd.
It wasn’t long before they resettled, and huddled in the doorway of the skittle room playing to the crowd in the garden, as is the current arrangement for these brief acoustic sessions at the Gate. They joyfully toiled with a cover of Talking Heads’ “Road to Nowhere.” This was followed by my favourite track from Tamsin’s album Gypsy Blood, aptly, “Home.” Topped off with a sublime version of Cat Stevens’ “Moon Shadow.” But I did say it was a whistle stop.
In consolation I picked up their self-titled debut EP, something I should have done months ago. With this beauty in hand I could take a little of The Lost Trades home with me; it’ll play perpetually through those thoughtful moments. Recorded in session at The Village Pump, “because we really like the acoustics in there,” explained Tamsin, here is a recording oozing with a quality which, despite predicting, still blew me for six. As I say, it’s the combination of these three fantastic artists in their own right, as opposed the jamming we’ve previously become accustomed to, which really makes the difference.
Five tunes strong, this EP equally celebrates these three talents and harmonises them on a level we’ve not heard before. The acapella beginning of the opening tune, “Hummingbird” glides into stripped back xylophone and acoustic guitar, and is so incredibly saccharine, it trickles like some beatniks performing on a seventies Children’s TV show. Yet, it works. In true Simon & Garfunkel manner, it’s not mawkish, just nice.
Hummingbird serves as a great introduction, but is by no means the template. As is commonplace, from the Beatles to The Wailers, The Trades, I detect, conjoin the writing effort but the lead singer seems to be the one who plucked the idea. “Good Old Days,” then, screams Jamie at me, who leads. It has his stamp, ingenious narrative centred around thoughtful prose. “Wherever You Are,” likewise is a Tamsin classic, wildly romantic and wayfarer.
“Robots,” follows, the quirkiest and perhaps erroneous after an initial listen. Yet through subtle metaphors the satirical slant charms in a manner which nods Phil Cooper, and why should one stick to a formula in subject matter? Because the sound is authentically Americana of yore, Robots superbly deflects the notion it’s lost in a bygone era and cannot use modern concepts, and Robots ruling the world is, however much a metaphor, still fundamentally sci-fi, and that makes for an interesting contrast. With that thought in mind, this could be the track which stands out for originality.
As in this review, we’ve returned to the unbroken circle. In full circle the final song, “Wait for my Boat,” is a sublimely cool track, casting a direction the trio are clearly heading. For although Jamie leads, there’s elements of all three middle tracks combined in this sea shanty sounding song. It’s metaphorical, romantic, with sentimental narrative. It wraps up the EP perfectly, leaving you hanging for the album they’re working on.
Yes, the Lost Trades is a live group you need to see in person, but this EP really is way beyond my already high expectations. It’s combination of talents is honest, bluegrass-inspired acoustic gorgeousness you need in your life.
Surprising title, Phil Cooper is not usually without a sound. Trowbridge’s prolific singer-songwriter subtlety reflects, I believe, on the silence of the lockdown in a new single born today. Subtlety is the key to many of his works, there’s a wonder in this one in particular if there’s undertones of a political statement, or if it’s a simple love and togetherness theme. I like it when it’s open to interpretation.
Yet if there’s something unsurprisingly catchy about Phil’s Easter egg single Without a Sound, I’m uncertain if he’d be flattered with my Elvis Costello comparison, but that’s what I picked it out of it, and you might be surprised by this.
Though comparing isn’t necessary now, Phil have stamped his own unique mark onto music and this one retains that personal fashion.
However you choose to look at it, it’s a gradual step in the right direction for Phil. With the Lost Trades obviously on hold for the time being, it’s a welcomed surprise and while we look forward to the vocal harmonies with Tamsin and Jamie, ah, this single will fill the gap perfectly.
As with Tamsin’s first rate live stream last night for the Swindon Shuffle virtual festival, it’s still good to see this trio working apart as well as together.
On a rainy Friday night in Trowbridge, I followed the directions from the bar staff at the Lamb Inn- past the pool table and out the back – to the Village Pump, a quirky, intimate performance space that was already packed. And there was cake, lots of cake.
This was the first gig for The Lost Trades but most people seemed to know the Wiltshire-based singer songwriters, Jamie R Hawkins, Phil Cooper and Tamsin Quin, pretty well as they mingled in the breaks between support acts Vince Bell and newcomers Timid Deer.
Tamsin confessed she was nervous, hoping the new three-part harmony adventure would start well. She needn’t have worried. The sell-out crowd were on their side right from the start.
Swapping instruments and lead vocals throughout the night, The Lost Trades shared their stories and songs with the relaxed ease of seasoned performers. There are three distinct styles to the songs but an obvious pleasure in playing together binds the music into a cohesive set. It’s folky, funny and full on harmony.
I’m glad Phil took the time to introduce his original, the Groom of the Stools – a little context went a long way to explaining this rollicking, foot stomping number where “every day I take a look at the Crown jewels”. Google it, trust me it’s that job that you’ve never dreamed about.
About halfway through the set Tamsin debuted Hope Cove, a very personal song for a friend about holidays in Devon. Loaded with emotion the absolute strength of the trio, the balance of harmonies, was on display. These three voices create a beautiful rich sound, layered and textured.
My favourite song wasn’t an original – sorry guys – but a traditional American spiritual, Down in the River to Pray. The harmonies, wow. Just wow. As it soared and rolled around me, I’m not ashamed to say I might have had something in my eye….
The Village Pump is a cracking venue, home to the local folk club and a regular open mic night. I was told a group of friends started the folk club there in 1973 in a barn at the back of the pub. Performances were staged from a wagon and there are nods to this on the walls with horse paraphernalia hanging with tubas, French horns, guitars and pipes from a church organ. Upstairs in the balcony there’s plush red tiered seating from a now-closed local movie theatre. Great acoustics, a welcoming vibe and drinks on tap from the Lamb Inn, it’s just the place to showcase local talent.
Shout out to Jamie’s fiancé Janey for the cakes – a vote saw the chocolate cake coming out the clear winner with the consolation prize going to Tamsin’s flapjacks. I tried a few, for research purposes. Perhaps more than a few. Yum!
The encore was a swinging country version of Talking Heads’ Road to Nowhere. I’m picking this is far from the truth for the trio. The Lost Trades are out on a Spring tour now with a handful of gigs around Wiltshire as well as trips to far flung places including London, Stratford on Avon and Exeter between now and the end of April. Details are on their website along with the chance to join the mailing list for early bird benefits.
“Norm!” – brilliant, wasn’t he? A kind of anti-hero pre-Homer Simpson. Part of the furniture in Sam’s Bar and despite him being an average guy, when he walked in the whole place lit up. It defined the lyric of the Cheers theme song, “where everybody knows your name, and they’re always glad you came.”
If I awakened from my hibernation Saturday night to attend the wonderful Festival of Winter Ales, such was the arrangement of tables in the Corn Exchange, it felt like the sort of event you appeared at with a posse of friends. For Billy-no-mates here, I’m kind of scanning the horizon for people to hassle with my company. So, I nipped out towards the end, knowing what I was doing; I had a calling.
There is a place in Devizes akin to Sam’s Bar in Cheers, I could visit anytime, but it’s been a while and knowing what’s occurring there, resistance is futile. It takes a few minutes in the winter wind to turn the corner and get the Southgate in my sights, but I’m immediately assimilated into the Borg collective upon hearing her song. While the Southgate strives to bring us a variety of live music acts, regular as clockwork, freely, and from varying locations, Tamsin Quin’s distinctive voice summons me, the very essence of her hometown. It’s like returning for a homemade roast dinner, or a New Jersey resident going to see Springsteen.
There’s enthusiastic talk between them, about the amalgamation to be, The Lost Trades, yet the trio aren’t leaking any secrets until their debut at the Village Pump. Gate as welcoming as ever, Jamie R Hawkins billed for tonight, “with friends.” You know this is a local circumstance, sharing of the limelight a must, with flare and passion for the venue and crowd, it reflects into their performances. Phil Cooper is like Clark Griswold, if Jamie and Tamsin are Rusty and Audrey, but Vince Bell is also in attendance, so I don’t know where it leaves him! I mean this in so much as Phil is the organised one, with a setlist scheduled, he’s professional in all aspects of the game, providing order to their show. Jamie is sauntering and socialising, before being beckoned to the now legendary red-carpet makeshift stage, “oh, is it my turn?!”
At that conjunction you’d expect a song come over muddled, but Jamie, like the others, just rolls into it and knocks out the perfect rendition of his own classic, “As Big as You.” Yep, I’m in my comfort zone, with or without an easy chair.
Through all their subtle differences, the trio work, period. As we’ve said here, The Lost Trades will be a natural progression from the sporadic and less formal amalgamations. Phil is thrilled, nodding and telling me how well the harmonies work, and it’s unusual to have a boy-girl-boy harmony trio. The conversation progressing onto Simon & Garfunkel citing the Everly Brothers as the unsurpassed vocal harmony. In this line of chat, you can sense Phil’s passion and love for what he does, and with every performance it shows. If anything, that is the symmetry within this triangle, Tamsin and Jamie sport the same proficiency and appetite.
I’ll go as far as illustrating this point: later in the evening, after each performer took their turn until Clark’s schedule ran out and the punters craved more, improv covers streamed. Landlady Deborah handed Phil a drum and his eyes lit up like a kid with a new X-Box; “oh yes!” he thrilled, and joined Jamie with it, strumming. There are no prizes for guessing the improv would take over, once drinks were flowing, and with the gang helping one another out. There are subtle hints as to how the Lost Trades will sound, and it’s simply awesome.
For now, though, they’re still three separate performers with an intimate ethos, and Vince is equally involved, rather than treated like a prodigal son. That’s the spirit in a nutshell; be it George, Kirsty, or others, it’s a family affair to make Sister Sledge envious. That’s precisely why Devizine celebrates this little circuit. In a sentence, it’s guaranteed to be an awesome night, and thus it was, with a very special added surprise.
There is nought negative I could say about it. Between acts, if there was a confusion who was up next, the crowd ardently called for “Ed” to take another. I didn’t like to inquire, something I missed? If another singer was present, I didn’t see him, just a ten-year-old sitting on a stool amidst the regulars. Ed did take the stage, the very same; no one nicked his stool.
If the near future of our local music scene is the progression of these talented adults, we just glimpsed the future beyond. Ed took up his acoustic guitar, played an Oasis cover superbly, and effortlessly raised the roof. What a surprise and absolute gem, reflecting in all I’ve said about the family atmosphere. I chanced my luck and caught a quick chat with Ed, who came across mature and at ease. Oasis songs his comfort zone, for now, he expressed, it was his first time performing to an audience, it did not show. To get an entire pub singing along, no easy feat, well done Ed; you owned it.
I’m adiaphorous to Crowded House, I confess, probably due to timing. Late eighties, early nineties and like many-a-teenager I was gurning in a field, revelling developments in music technology. If I couldn’t dance like a puppet on fast forward to it, well, you know, some good things pass you by. This is not meandering off subject, it’s a point I’ll return to, after a heartfelt apology to the man who, this week, has produced a fantastic cover of their song “Falling at Your Feet,” and is long overdue some updated attention here on Devizine, Mr Phil Cooper.
So, it was a compare and contrast job, flicking to YouTube to hear the original, and back to confirm this Trowbridge singer/songwriter’s version, not overlooking the added harmonies of Jamie R Hawkins, is equally sublime. The only difference being Phil’s stamp, which is never a bad thing. There are occasions, such as Eric Clapton’s I Shot the Sheriff, which opens someone’s eyes to the original artist, so maybe this, alongside People Like Us who regularly cover Weather with You and make me smile, will shake me up to the songs of Crowded House. Prior, if handed them on the three-in-ten finale of Ken Bruce’s Pop Master, I’d get Weather with You, and then epically fail. Always wanted a pop master t-shirt over a DAB radio anyway (fib.)
Feeling it hugs the original pretty tightly, with a passion in Phil’s vocals which nods to the respect he obviously holds for Crowded House, there’s not much more I can say on the single, other than encouraging you to take a listen. Oh, and I hope it’s not Phil’s Red, Red Wine moment. You know, after that hit, UB40 transformed into a cover band (one reason I cringe with irony when tribute bands take on a name of one of their numerous cover versions.) Because, well, Phil’s song writing ability is first rate and, with or without the trio of aspiring local musicians; Jamie and Tamsin Quin, his input would be greatly missed.
Leading me neatly onto why I started with an apology to Phil, as fallen to the bottom of my dusty in-tray was the promise to write something about a previous project. Double-whammy then, this one dates back to summer, when I thought Phil had a new album called Nine. Whisking him a message it became clear via the reply, Nine was an older project. “I’ve decided to release it on streaming sites for the first time to celebrate it’s ninth year, nine month and nine day anniversary,” he explained.
The Nine Album was originally recorded on 9th September 2009 (09/09/09.) He wrote nine songs between the 1st and 9th and started recording the album at 9am on 9th. The album was completed that day and released at 9pm that same day, which I think clarifies the title adequately! But it coincided with a complete reworking of the album by his indietronica alter-ego, B.C.C, titled “Nein.”
Maybe, I figured, its title’s conversion to German nods to the pioneers of electronic music, Kraftwerk and Tangerine Dream, as BCC is Phil’s ambient electronica side-project. Now this intrigued me, note my promise to return to my point of the rave days of yore. My love of dance music obviously holds dear to its roots in electronica, often retelling the occasion of first hearing Afrika Bambaataa’s Planet Rock in 1982 as the epiphany of said era. Yet through all the technological changes from the punks turning new romantic, to the birth of hip hop, the development of house, techno and drum n bass via the rave scene, and the thousands of offshoots since, Phil’s BCC stays close to the simplicities of early electronica, rather than do a Damon Albam and push new boundaries with Gorrillaz. So, it’s nice, yeah, it’s breezy and experimental for Phil, and if you like his music, it’s essential to check this out, but still, I dunno, may be it’s an age thing, because if you asked me which one of Nine and Nein I favoured, it’d be the original.
Blast, I’ve hung up my whistle, posse! Fetch my pipe and slippers.
For Nine is like what The Wild, the Innocent & the E Street Shuffle is to Springsteen, if Thoughts and Observations, an album which I think was the first I ever gratefully reviewed on Devizine, is his Born to Run. Relishing in the roots of a musician or band I love, discovering early works, and for this, Nine is fantastic, it captures Phil at his rawest, most ambitious, and if it fails to be as polished as Thoughts & Observations, that’s its charm. Tracks like Cloud Nine, Where I Belong and You are wonderfully composed, beautifully written. However, the BCC project might put an interesting, electronic spin on it, worthy of attention, some things, I feel, are best left the way they are.
But that’s the package you get with Phil, what a prolific genius who cares not about defining a distinct style, though has crafted an excellent one, rather ventures out there, to experimentation, to stripping back or developing a track. You have to hand it to the man, for this works on his marketing side too, a DIY enthusiast who’ll do radio but live stream shows, release on all online sources but still strive to produce a CD, a blogger who maintains an honest, familiarity with his fans, and as a promoter and producer for the trio he has done astounding works with Jamie and Tamsin.
So, if it’s solo Phil Cooper you’re listening to, or if Jamie or Tammy assist him, or if it’s a track of theirs he’s produced, or as BCC, or Get Schwifty – Phil and Jamie’s cover duo nom-de-plume, you know it’s been stamped with Phil’s distinctive style, and it’ll sound great. Which brings us full circle, and is darn good reason to check out this Crowded House single, because if Phil wants to do a cover, he will, and make it sound awesome. But for the full package, I advise you like his Facebook page, follow his Bandcamp page, subscribe to his YouTube, and naturally catch him live (next gig on 8th November at the Southgate, Devizes, Jan 23rd at The Tuppenny, live stream this Sunday at 6pm; the guy never stops for a cuppa and a garibaldi.
Tamsin Quin and Friends; Friday 22nd March at The Southgate, Devizes….
By Andy Fawthrop
Nothing quite warms the cockles of your heart as much as attending a local, home-town gig featuring home-grown talent, so Friday night up at the Southgate was a real treat.
Tamsin Quin has been going great guns lately, having recently supported the amazing global artist Beth Orton in Frome, and also one of this generation’s best female blues singers Kyla Brox at Long Street Blues Club. Not to mention the recent release of her new album “Gypsy Blood”.
On Friday we were treated to a warm, intimate set in the friendly surroundings of The Southgate. Tamsin was relaxed, chatting freely to the audience, including her many friends. But there were friends up on stage too, performing in various solo slots and band combinations, in the shape of Pat Ward, Vince Bell, Jamie R Hawkins and Phil Cooper. The songs flowed, the beer flowed, and it was difficult not to feel the love in the room.
Another great gig listening to a young artist on top of her game.
Next gigs coming up @ The Southgate:
• Friday 29th March Jack Moore
• Saturday 30th March Beyond The Storm
• Friday 5th April Howlin’ Mat
• Saturday 6th April The Duskers
• Friday 12th April Broken Bones Matilda
• Saturday 13th April Fret ‘n’ Keyz
devizine.com 