Devizine Proudly Presents Various Artists 4 Julia’s House; Here’s the Track Listing!

Sleeve Notes for our Album 4 Julia’s House

Here it is, the moment you’ve all been waiting for, I hope! The track listing and details of all our wonderful songs presented on our forthcoming album, Various Artists 4 Julia’s House. Read on in awe….

Pre-order album on Bandcamp here!

Released: 29th June 2021

1. Pete Lamb & Cliff Hall – Julie

2. King Dukes – Dying Man

3. Erin Bardwell – (Like the Reflection on) The Liffey view

4. Timid Deer – The Shallows

5. Duck n Cuvver – Henge of Stone

6. Strange Folk – Glitter

7. Strange Tales – Entropy

8. Paul Lappin – Broken Record

9. Billy Green 3 – I Should be Moved

10. Jon Veale – Flick the Switch

11. Wilding – Falling Dream

12. Barrelhouse – Mainline Voodoo

13. Richard Davis & The Dissidents – Higher Station

14. Tom Harris – Ebb & Flow

15. Will Lawton – Evanescence

16. Jamie Williams & The Roots Collective – Dreams Can Come True

17. Kirsty Clinch – Stay With Us

18. Richard Wileman – Pilot

19. Nigel G. Lowndes – Who?

20. Kier Cronin – Crying

21. Sam Bishop – Wild Heart (Live Acoustic)

22. Mr Love & Justice – The Other Side of Here

23. Barmy Park – Oakfield Road

24. The Truzzy Boys – Summer Time

25. Daydream Runaways – Light the Spark

26. Talk in Code – Talk Like That

27. Longcoats – Pretty in Pink

28. Atari Pilot – When We Were Children

29. Andy J Williams – Post Nup

30. The Dirty Smooth – Seed to the Spark

31. SexJazz – Metallic Blue

32. Ruzz Guitar Blues Revue – Hammer Down

33. The Boot Hill All Stars – Monkey in the Hold

34. Mr Tea & The Minions – Mutiny

35. Cosmic Shuffling – Night in Palermo

36. Boom Boom Bang Bang – Blondie & Ska

37. The Birth of Bonoyster – The Way I Like to Be

38. The Oyster – No Love No Law

39. The Two Man Travelling Medicine Show – Ghosts

40. Julie Meikle and Mel Reeves – This Time

41. Cutsmith – Osorio

42. The Tremor Tones – Don’t Darken my Door

43. Big Ship Alliance – All in this Thing Together

44. Neonian – Bubblejet

45. First Born Losers – Ground Loop

I’ll tell you what though, kids. This has been a lot more work than I originally anticipated! Yeah, I figured, just collect some tunes, let the artists do all the hard work and take the credit! But no, mate, wasn’t like that at all. The most important part for me, is ensuring the artists are properly thanked, so, just like those Now, That’s What I Call Music albums, I wanted to write up a full track listing with sleeve notes and links. Please support the artists you like on the album by checking them out, following and liking on social media and buying their music.

But to list all 45 tunes in one article will blow the attention span of the most avid reader, and if, like me, you’ve the attention span of a goldfish, find below the first twenty, and then the next 25 will follow as soon as my writer’s cramp ceases! Just putting them onto the bag was tedious enough, but worth the effort.


To all the artists below, message me if links are incorrect or broken, or if there’s any changes to the details you’d like me to edit, thanks, you blooming superstars.

1- Pete Lamb & Cliff Hall – Julie

Not so much that Julie is similar to Julia, there could be no song more apt to start the album. Something of a local musical legend is Pete Lamb, owner of The Music Workshop, producing and recording local, national and international artists. His career in music stretches back to the sixties, creating such groups as The Colette Cassin Quintet and Pete Lamb’s Heartbeats. Yet it is also his aid to local music which makes him a prominent figure, Kieran J Moore tells how Pete lent him equipment for the first Sheer Music gigs.

Pete Lamb

A wonderful rock n roll ballad with a poignant backstory, Julie was written in remembrance of Pete’s daughter who passed away in 2004 to Non-Hodgkin’s Lymphoma. It was featured on an album for the charity Hope for Tomorrow. The song also features Cliff Hall, keyboardist with the Shadows for many years, playing piano and strings.

Cliff Hall

2 – The King Dukes – Dying Man

Formed in Bristol in April 2019, a merger of a variety of local bands, including Crippled Black Phoenix, Screamin’ Miss Jackson and the John E. Vistic Experience, The King Dukes combine said talent and experience to create a unique, authentic sound, dipped in a heritage reuniting contemporary slices of British RnB with a dollop of Memphis soul.

Dying Man is a prime example, taken from the album Numb Tongues which we fondly reviewed back in the October of 2019. The brilliance of which hasn’t waned for me yet, and isn’t likely to.

The King Dukes

3- Erin Bardwell – (Like the Reflection on) The Liffey

One cannot chat about reggae in Swindon without Erin’s name popping up. Keyboardist in the former ska-revival band, The Skanxters during the nineties, Erin now operates under various guises; the rock steady outfit Erin Bardwell Collective chiefly, experimental dub project Subject A with Dean Sartain, and The Man on the Bridge with ex-Hotknives Dave Clifton, to name but a few.

(Like the Reflection on) The Liffey is an eloquently emotive tune, staunch to the ethos of reggae, yet profoundly unique to appeal further. It is taken from the album Interval, one of two solo ventures for Erin during lockdown.

Erin Bardwell

4 – Timid Deer – The Shallows

My new favourite thing, after noting Timid Deer supported the Lost Trades debut gig at Trowbridge’s Pump. Though self-labelled indie, I was surprised how electronica they are, with a nod to the ninety’s downtempo scene of bands like Morcheeba and Portishead, hold the trip hop element. This Salisbury five-piece consisting of vocalist Naomi Henstridge, keyboardist Tim Milne, Tom Laws on double bass, guitarist Matt Jackson and drummers Chris and Jason Allen have created such an uplifting euphoric sound, hairs stand tall on the back of your neck.   

Taken from the 2019 album Melodies for the Nocturnal Pt. 1, I’m so pleased to present this.

Naomi Henstridge


5- Duck n Cuvver – Henge of Stone

Yes, enthralled to have the song frontman Robert Hardie of Duck n Cuvver refers to as “his baby.” This is Salisbury Celtic roots rock band so aching to film part of their video for Henge of Stone inside Stonehenge, they’ve campaigned for the funds to do it, ending with Rab breaking into the monument to promote the campaign!

With references to the importance of solstice and the pilgrimage to Stonehenge, what other song could be so locally linked?

Duck & Curver

6 – Strange Folk – Glitter

A dark west country folk band in the realm of a beatnik time of yore, with a serious slice of gothic too, Strange Folk came to my attention playing the Vinyl Realm stage at the Devizes Street Festival. Hailing from Hertfordshire, band members also now reside in Somerset, Strange Folk is comprised of four songwriters; vocalist Annalise Spurr, guitarist David Setterfield, Ian Prangnell on bass and backing vocals, and drummer Steve Birkett. Glitter features cello by Helen Robertson, and is a name-your-price gift to fans during lockdown, a wonderful teaser which if you like, and I can’t see why you wouldn’t, you should try the 2014 mini-album Hollow, part one.

Strange Folk

7 – Strange Tales – Entropy

With singer Sally Dobson on the Wiltshire acoustic circuit and the synth/drum programming of Paul Sloots, who resides in West Sussex, catching this duo, Strange Tales live would be a rare opportunity not to be missed. Though their brilliance in melodic, bass and synth-driven goth-punk is captured in the 2018 album Unknown to Science, in which our track Entropy is taken.

Their songs relate baroque cautionary tales drawn from the murkier corners of the human psyche, while retaining a pop sensibility and stripped-down, punk-rock approach. Fans of the darker side of eighties electronica, of Joy Division and Depeche Mode will love this. You can buy this album at Vinyl Realm in Devizes.

Strange Tales; Paul Sloots & Sally Dobson

8- Paul Lappin – Broken Record

Imagine George Harrison present on the Britpop scene, and you’re somewhere lost in Lappin’s world. Paul hails from Swindon originally, but resides mostly in the Occitanie region of the south of France, where he wrote and recorded the mind-blowingly brilliant album The Boy Who Wants to Fly, released in October 2020. Our chosen track, Broken Record was a single just prior, in August, and features Lee Alder – bass guitar, electric guitar, Robert Brian – drums, Jon Buckett – Hammond organ, electric guitar, Paul Lappin – vocals, synths, Lee Moulding – percussion, Harki Popli – table.

Music & lyrics by Paul Lappin ©2020. Recorded at Earthworm Recording Studio, Swindon. Produced & Mixed by Jon Buckett. Mastered by Pete Maher.

Paul Lappin

9- Billy Green 3 – I Should be Moved

Now Devizes-based, Bill Green was a genuine Geordie Britpop article, co-creating the local band Still during those heady nineties. Today his band on the circuit, Billy Green 3 consists also of Harvey Schorah and Neil Hopkins, who’s talents can be witnessed in the awesome album this track comes from, also titled Still. Mastered and produced by Martin Spencer and Matt Clements at Potterne’s Badger Set studio in 2020, it’s wonderfully captures the remnants of the eighties scooter scene in reflected in Britpop.

I’m sure you can buy the album at Vinyl Realm, Devizes; I would if I were you.

Billy Green 3

10- Jon Veale – Flick the Switch

Marlborough guitar tutor, singer-songwriter and bassist of local covers band Humdinger, Jon Veale’s single, Flick the Switch, also illuminated Potterne’s Badger Set studio in August of 2020, and it immediately hits you square in the chops, despite the drums were recorded prior to lockdown, by legend Woody from Bastille, and Jon waited tolerantly for the first lockdown to end before getting Paul Stagg into Martin Spencer’s studio to record the vocals. Glad to have featured it then, even more pleased Jon contributed it to this album.

Jon Veale

11- Wilding – Falling Dream

What can be said which hasn’t about Avebury’s exceptionally talented singer-songwriter George Wilding? A true legend in the making. Now residing in Bristol, George has the backing of some superb musicians to create the force to be reckoned with, Wilding. Perry Sangha assists with writing, as well electric guitar, loads more electric guitars, acoustic guitar, organ and weird synth things. Bassist James Barlow also handles backing vocals and cous cous. Daniel Roe is on drums.

The debut EP, Soul Sucker knocked me for six back in November 2018, as did this here latest single recorded at the elusive Dangerous Dave’s Den, mixed and mastered by Dan Roe, during October last year.

Wilding

12 – Barrelhouse – Mainline Voodoo

One good thing about preparing this album is to hear bands I’ve seen the names of, kicking around, and added to our event guide many times over, but I’ve never had the opportunity to see at a gig. Marlborough-based Barrelhouse is one, and after hearing Mainline Voodoo, I’m intending to make a beeline to a gig. Favourites over at their local festival, MantonFest, headlined Marlborough’s 2019 Christmas Lights Switch-On, and right up my street!

Formed in early 2014, Barrelhouse offer vintage blues and rock classics, heavily influenced by the golden age of Chicago Blues and the early pioneers of the British blues scene, staying true to the essence that made these tunes great and adding their own style of hard-edge groove. Overjoyed to feature Mainline Voodoo, title track from their 2020 album, which broke into the UK’s national Blues Top 40.

Barrelhouse

13 – Richard Davis & The Dissidents – Higher Station (R. Davies)

Absolutely bowled over, I am, to have Swindon’s road-driving rock band with a hint of punk, Richard Davis & The Dissidents send is this exclusive outtake from the Human Traffic album, out now on Bucketfull of Brains. We reviewed it back in December. Recorded at Mooncalf Studios. Produced by Richard Davies, Nick Beere and Tim Emery. If the outtake is this amazing, imagine the album!

Richard Davis & The Dissidents

14 – Tom Harris – Ebb & Flow

Lockdown may’ve delayed new material from Devizes-based progressive-metal five-piece Kinasis, but frontman Tom Harris has sent us something solo, and entirely different. Ebb & Flow is an exclusive track made for this album, a delicate and beautiful strings journey; enjoy.

Tom Harris

15 – Will Lawton & The Alchemists – Evanescence

Wiltshire singer-songwriter, pianist and music therapist Will Lawton, here with his group The Alchemists. A weave of many progressive influences from jazz to folk, Will recently surprised me by telling me drum n bass is among them too. The latest album ‘Salt of the Earth, Vol. 1 (Lockdown)’, is a collection of original poems embedded in meditative piano and ambient soundscapes. But we’ve taken this spellbinding tune from the previous release, Abbey House Session.

Will Lawton

16- Jamie Williams & The Roots Collective – Dreams Can Come True

Hailing from Essex but prevalent on our local live music circuit, with some amazing performances at Devizes’ Southgate, Jamie Williams & The Roots Collective offer us this uplifting country-rock/roots anthem, which, after one listen, will see you singing the chorus, guaranteed. It is the finale to their superb 2020 album, Do What you Love.

Jamie Williams & The Roots Collective rocking the Southgate last year

17 – Kirsty Clinch – Stay With Us

If we’ve been massively impressed with Wiltshire’s country sensation, Kirsty Clinch’s new country-pop singles Fit the Shoe, Around and Around, and most recently, Waters Running Low and anticipating her forthcoming album, it’s when we get the golden opportunity to catch her live which is really heart-warming. This older track, recorded at Pete Lamb’s Music Workshop, exemplifies everything amazing about her acoustic live performances, her voice just melts my soul every listen.

Kirsty Clinch


18- Richard Wileman – Pilot

Incredibly prolific, Swindon’s composer Richard Wileman is known for his pre-symphonic rock band Karda Estra. Idols of the Flesh is his latest offering from a discography of sixteen albums, which we reviewed. Along a similar, blissful ethos Richard Wileman served up Arcana in September this year, where this track is taken from. While maintaining a certain ambiance, his own named productions are more conventional than Karda Estra, more attributed to the standard model of popular music, yet with experimental divine folk and prog-rock, think Mike Oldfield, and you’re part-way there.


19 – Nigel G. Lowndes – Who?

Bristol’s Nigel G Lowndes is a one-man variety show. Vaudeville at times, tongue-in-cheek loungeroom art-punk meets country folk; think if Talking Heads met Johnny Cash. Who? is the unreleased 11th track from his album Hello Mystery, we reviewed in March, and we’re glad to present it here.

Nigel G Lowndes

20 – Kier Cronin – Crying

Unsolicited this one was sent, and I love it for its rockabilly reel although a Google search defines this Swindon based singer songwriter as indie/alternative. Obsessed with the music and the joy of writing, Kier told me, “I once had a dream Bruce Springsteen told me to give it up… So, this one’s for you Bruce!” Crying was released as a single in March, also check out his EP of last year called One.


Sentences I’d Like to Hear the End of, with the Bakesys

No matter the subject, a lesson is only as interesting as the teacher teaching it. Johnny Ball did the impossible, he made maths fun! Likewise, but more modern, Terry Deary’s books and subsequent CBBC show, Horrible Histories made what’s often perceived as a dull subject by pupils, somehow entertaining, amusing even. If Deary was my history teacher, rather than a thick-rimmed speccy, bearded beatnik with leather elbow patches on his tweed jacket, well, I might just have taken heed of their wisdoms.

Equally, if you want to teach history to a bunch of scooterist skinheads, consider employing The Bakesys, for they are a skanking Horrible Histories, at least for this new album, released last Thursday called Sentences I’d Like to Hear the End of.

Stu, Kevin & Bakesy onstage at Newbury College in December 1990!

Something of an elusive band despite twenty years presence on the UK ska scene, the early stages of The Bakesys reflected heavily on punk inspirations, such as the Buzzcocks, crossed with later developments of a definite Two-Tone influence. Sentences I’d Like to Hear the End of takes it to whole other level. Akin to what On-U Sound did for dub in the nineties, sprinkling in a counter culture punk ethos, The Bakesys do for ska. It’s more upbeat than the usual plod of dub, but strewn with samples, heavy basslines, and drum machine loops, it has its elements.

From another angle though, as Dreadzone meld such influences into the electronic dance scene, there’s a contemporary sound, a mesh of offbeat influences with the Bakesys, more in line with the current ska scene. The flood of brass and chugging rhythms confirms its allegiance to authentic 1960’s Jamaican ska. What comes out the end is unique beguiling buoyancy, and it’s absolutely addictive.

Yet we’re only scraping the surface of why, the theme of the album is the kingpin here. Reflecting the era of its influences, subjects are historic affairs based in the sixties. The opening title track raps of Christine Keeler and the Profumo Affair. Get Your Moonboots on is on Apollo 11’s moon landing, and the third, most haunting tune, You are Leaving the American Sector takes newsreels of the Berlin Wall. One I’ve been playing endlessly the single of on my Friday night Boot Boy radio show.

Atomic Invasion explores the Cold War, yet, as with Keeler, this sublime set of songs often concentrates more on the personalities than facts of the events. The Space Race is up next, with a nod to Yuri Gagarin’s luminary. Then it’s the Cuban Missile Crisis with the numerous failed attempts to assassinate Fidel Castro, Cassius Clay’s rise to heavyweight champion of the world, and Robert F. Kennedy’s assignation.

Despite these often-dark subjects, it’s surprisingly upbeat, as if, like I said, The Bakeseys are the funky relief history teacher, and your class is about get moon stomping! The last three tracks offers dub versions of the most poignant tunes on offer here, yet the album as a complete concept is nothing short of brilliant.

The third CD album released on Bandcamp, and quite the best place to start if you’re unaware of them. Keyboardist Kevin Flowerdew, has self-published the ska scene’s definitive zine, Do The Dog Skazine for many decades, which has released this under its label namesake, Do the Dog Music, so he certainly knows what makes a great sound; which this does with bells on.

Mark, Stu & Bakesy backstage at the Epplehaus, Tubingen during The Bakesys’ June 1992 German tour.

Tribute Acts Going the Extra Mile; Blondie & Ska

One surprise track contributed for our forthcoming compilation album for Julia’s House, (yes, it’s going sluggish but well, thanks for asking!) comes from Chippenham’s part-Blondie-tribute-part-ska-covers duo, Blondie & Ska. It’s a solid, rock steady original, with the added bonus it sounds as if it could’ve been an album track from Parallel Lines, Plastic Letters or another Blondie album at the peak of their game.  

It’s given me the opportunity to have a chat with Dave Lewis, one half of the duo, on how they started doing what they do, pondering if you just wake up one morning and think, I know, I’m going to be tribute act. If Blondie & Ska actually see themselves wholly as a Blondie tribute act at all, given they not only record original songs, but in a unique slant, perform classic Two-Tone songs from the same period. But most importantly, answering some conundrums I’ve had since hearing a tune with a similar concept by UB40 tribute Johnny2Bad, about tribute acts going the extra mile and recording tracks in the fashion of their inspiration. I mean, is it deliberate that it sounds akin, or simply natural method given the music is based around imitating the act?

Certainly, Blondie & Ska wasn’t formed on a whim. For a decade prior to forming the duo, Lorraine and Dave were both co-members of various bands on the same circuit. The idea, Dave explained, “occurred over a number of phases,” and expressed, as a mod, his love for The Beat. Anxious not to live up to expectations of his idols, Dave continued, “playing ska, was one of those things, because you love it so much, you don’t want to go that direction, but when we kind of got dragged into it, there was no stopping us, because the more we did it, the more we loved doing it, and there was no reason to be nervous!”

In the band as well, was Steve Edge, who co-wrote our song. “Steve and I used to write back in the nineties,” Dave explained, chuffed to be reunited to write this track specifically for us. “And we performed as an originals band,” he enthusiastically continued.

After the originals band, Dave joined his drummer and played in a local blues band called No Ties, which Lorraine also started in, while Dave concentrated on a secondary band aptly named Band Two, which Lorraine would later join. It was there where Dave suggested the concept of Blondie & Ska to Lorraine, in 2013. “She replied, hum, I fancy having a go at that,” Dave revealed. “It took about six months to get rehearsed. We did our first gig, and thought, why didn’t we do this before?” They’ve been performing weekly as a duo act from Land’s End to Barnsley since, clocking up hundreds or appearances together.

I moved onto the question, given recording originals and this mixture of lateral ska tunes added to the Blondie tribute, if they even classed themselves at ‘tribute act’ in the same light as the run-of-the-mill ones. “It’s weird one,” he admitted, “I kind of call it that Blondie and ska sound. Whatever we tend to do, people say I didn’t expect it to be like that, but that’s way things are. If I’m going to do something, we want to do it in a different way.” It’s also practical, using pre-recorded sections such as drums and horns, Blondie & Ska can accommodate the smallest of venues, unlike a large ska band with a horn section. “The other thing which is difficult, with signature bands, is it’s hard work keeping the bands together,” Dave observed, a notorious hindrance with ska bands in particular.  

Dubious it would work at first, during lockdowns alternate Saturdays have seen regular blossoming live streams from Blondie & Ska. “We had over 10 thousand viewers on one,” Dave delighted, “which is bonkers! I think it was just a sign of the time, everyone was just at their computer!” For your attention, next one is tonight at 8pm (Saturday 22nd May) on Facebook, HERE. “If people don’t know us,” Dave suggested, “it’s always a nice test. We’ve been surprised by the positive feedback.”

There’s the thing with Blondie & Ska, and I put it to Dave without trying to cause offence, that though it’s unique, nothing they’re doing is particularly ground-breaking. They’ve no stars in their eyes, but the niche is they’re two musicians having a whole lot of fun, doing what they love doing. And this is what comes across, and why it sounds so good. “Absolutely,” he agreed, suggesting the original blues band was tiresome. “I wasn’t really up for anything after that, and later wanted to get back into the action. We’re doing it now because we enjoy doing it. The Blondie & Ska stuff, you know, the more we play, the more people ask, and more bookings we get in ska clubs, and our repertoire is pushed in that direction.” I laughed, so prolific was the Jamaican record industry during the ska era, there’s always going to be one trainspotter, like me (!) who comes up and asks for some obscure Coxsone rarity!

But in turn, that’s precisely the ethos of both ska, and seemingly Blondie’s music. Aside the political unrest occasionally portrayed in the Two-Tone ska revival of the eighties, the memorable songs come from a carefree perceptive of jollity, and like Madness and Bad Manners, ska is eternally dance music, from the very roots. Likewise, Blondie rarely, if at all, socially commented about anything more than romance.

Dave was so enthusiastic to chat about the reasoning and history behind Blondie & Ska, about the technicalities of recreating the perfect tribute sound, and appeasing the aficionados, we could’ve chatted forever, but I feel you need to witness them in the arena they love, rather than waffle some!

An interesting story surrounding the chosen name for the duo we finished on, as while setting up for an early gig, the organiser summed up the sound on the blackboard by chalking up “Blondie & Ska,” under the premise a lot of blond girls and a lot of male ska fans had turned up. “I was standing there, looking at the name on the poster,” Dave explained. “Lorraine was saying, can you just get on and set up, cos we’ve got to be playing in an hour?! I said, but look at the name on the poster, and she was going, no, get on with what you’re supposed to be doing!” But Dave approached the guy, knowing him through many past gigs, to ask him if he could use it. “The girls danced to the Blondie songs, and the guys danced to the ska,” he noted. Story checks out, the mix works. Tune into their live streams to find out for yourself, or here’s hoping to catch them at a real gig soon.


Trending…..

Black Market Dubs Elton

On 6th February 1989 an unidentified lone gunman in Kingston, Jamaica killed Osbourne Ruddock. He made off with his gold chain and licensed gun, the music industry lost a pioneer often under-represented in history. The likely reason for this obscurity, he was not a musician, rather a producer and sound engineer who begun his career fixing disgraced radios.

Better known to the world as King Tubby, during his sound system dances of the mid-sixties he noted the crowd favoured the instrumental sections of the song. This rock steady era was dominated by vocal harmony groups, but with a handful of others, including Lee Scratch Perry and Bunny Striker Lee, Tubby set about extending the instrumental sections, cutting the mid-range, dropping the basslines and limiting the vocals with echo delays.

King Tubby

He had created “dub,” more technique than genre, it revolutionised music way beyond reggae and is the mainstay formula of all pop since hip hop; today, we take the remix for granted.

But aside the pioneering techniques we owe Tubby for, dub has too developed into a reconised genre and given us subgenres, from drum and bass to dubstep and dembow.

Still the origins were remixes of rock steady and reggae songs, and from the most unsuspecting area to find dub thriving that ethos, Nashville, Tennessee, Nate Bridges uses the techniques rather to reimagine pop, rock, even film or TV soundtracks, or anything which takes his fancy, under the guise Black Market.

The magic of Black Market is they retain the offbeat formula of reggae, while being versions of four-beat tunes. The strapline goes “what would happen if The Beach Boys had The Wailers as their backing band instead of The Wrecking Crew? What if David Bowie spent the summer of 1975 in Kingston, Jamaica with King Tubby instead of Philidelphia? Michael Jackson meets Scratch Perry? These questions are the basic thesis of Black Market.”

While few of these mainstream sources could easily be converted, such as the Clash, the magic is when Nate and friends takes something wholly non-reggae and breathes an air of dub to it. The Beach Boys album first attracted me to this, but with every new release he never fails to take it to the next step.

The latest release from this prolthic genius is Elton John classics, and I felt it’s long overdue to mention him. This is, without doubt, utterly sublimely executed and would appeal to reggae lovers and fans of the subjects being reimagined alike; hearing is believing.

While we’ve had the astounding recordings of the Easy Star Allstars, when they dubbed classic albums, Dark Side of the Moon, Sgt Peppers and “Radiodread,” they pride themselves in originally recreating the music without samples, Black Market are the purveyors of sampling, the kingpin is the lifting of the original and placing it in a reggae setting.

Find the Michael Jackson Thriller album dubbed, Bowie, Tempations, Talking Heads and Twin Peaks, Batman and Ghostbusters soundtracks among others, and all name your price on Bandcamp.

Astounded by pinning a ska riff to Michael Jackson’s Billie Jean, Nate told me it was the only way to accomplish the track to such standard he requires, the predominantly downtempo of dub simply didn’t fit the bill. This made me contemplate the complexities of what he’s dealing with, when opposed to simply remixing a tune. And it’s this which makes Black Market such a fascinating project which leaves you wondering what’s next on his agenda, and if there’s anything which he wouldn’t rise to the challenge of dubbing. I’d like to throw Mozart at him!


Reggae Perfection; Winds of Matterhorn

Again, we find ourselves in the most unsuspecting part of the world to find the perfect reggae sound, Switzerland. Fruits Records release Winds of Matterhorn at the end of this month, 30th April.

Rather than the unanimous Rastafarian camp, Jamacia’s hills of Wareika, Swiss-Italian trombonist Mattbrass and producer Jackayouth have taken inspiration from the eminent mountain in the Alps for this four-track instrumental EP. Unlike the progressive nature of the Jamaican music industry, Fruits Records, as ever, find their penchant in a more classic sound. The tried-and-tested formula of roots reggae may be deemed old hat on the island of reggae’s origin, but no one can refute the global influence of Bob Marley and the Wailers, and the consequential epoch which followed.

The mechanics of the profound effect reggae’s golden era has had on music as a whole is inconsequential here, because there is no fusion or experimental divergence. You will not hear rock or soul’s pastiches of the formula, there’s no preaching vocals, you will only hear a crisp and refined approach to the true sound. This is reggae at its finest, a driving riddim, occasional wail of an electric guitar, heavy bassline and saturated in sublime horns.

To emphasise these classic elements of reggae are evidently profound, each tune is singularly named after the four classic elements; earth, air, fire and water.  

Earth is marching one-drop reggae, the kind you’ll identify with the later works Bob Marley & The Wailers, such as the 1979 album Survival. But Air is no lighter, there’s a real deep, roots feel to it, a plodding bassline fills said air, but throughout there’s this continuation of a tight horn section, managed to perfection. Fire has more upbeat jollity about it, so much so it near-verges on the classic ska of the unrivalled Skatalites. Water brings it back around, with that proud one-drop march.

This is the traditions of reggae, elsewhere at its very best, the only thing it lacks is the vocal affirmation to Rastafari, or anything else uniquely indigenous to JA, rather a structured salute to the sound, as if it was performed by Mozart or Beethoven. There’s the nutshell, if Beethoven went to sister Mary Ignatius Davies’ class at Kingston’s Alpha Cottage School, with Don Drummond, Rico Rodriguez, Roland Alphonso et all, his symphonies might end up sounding something like this; it is that accomplished.

Top marks, as if they not done it before on Devizine, and I’ve still not gotten fully over how awesome Wonderland of Green was!


Trending…

Song of the Day 39: Kirsty Clinch

Song of the day this fine Friday evening… got to be Kirsty, enough said! And that’s my song of the day!! Very good, carry on…..

Osorio With Cutsmith

After fondly reviewing the single Falling from ReTone’s homegrown drum n bass label SubRat last May, the Pewsey-based vocalist featured, Cutsmith, who also runs the label, has his debut single under the name out in a manner of days, and I’ll whisper to you now, it’s outstandingly good.

On a musical journey due to be released on SubRat, Osorio returns Cutsmith to his Canarian roots. Principally it’s hip hop, yet with a meshed element of west country acoustic guitar, but chiefly and precisely why it’s so mesmeric, is that Latino tinge. I’m damned if this, aside the missing wailing electric guitar, wouldn’t look out of place on Carlos Santana’s classic 1999 album Supernatural.

Yet that said, the practise of a Latino hip/trip hop blend influencing modern reggae should not be cited via the mainstream, but pioneered in the nineties by artists like Ky Mani, and what Jus Right is putting out now. Osorio would mould nicely with these, rather than reggaeton, which is something I admit still needs to find a place in my affections. Yet Cutsmith is not Wyclef Jean, hence there’s something definitely local when he slips neatly from song to rap, and it’s smoothly accomplished, brewing with confidence.

In theme, but, and this is a big but, not in style, there’s something like Totally Tropical about it too! When, you know, they sang “we’re going to Barbados,” in as much as there’s a homesick notion to Osorio, excepting of his love of the British festival and music scene, but partly wishes to soak up some exotic sunshine and ambience. Can’t say I blame him really!

The very reason I’m tipping this so much, is because the subject works so incredibly well with the sound. As well as it’s fresh and exciting, the prospect of Wiltshire-based hip hop is something we so desperately need more of.

If Cutsmith’s relationship with Devizine got off to a shaky start when playing a White Bear Sunday session, where our writer Andy was critical that while good, it wasn’t his cup of tea, it’s been fully mended now. I spoke personally to Cutsmith at the time, who took it in good stead, and I said it was a shame it wasn’t me at the Bear at that weekend. Opinion is all we can cast, and while trying to be fair I do ask for honesty, it’s not worth the effort if flattery is all the reader gets. Oh, woe is the subjective nature of casting a review, as for the areas Andy was critical of, are the precise same reasons why I’ve got lots of time for Cutsmith’s music.

A case of differing tastes and perhaps a generational thing. But whatever, this debut single proves it today; it’s a grand job, I love it, and I’d like to see Cutsmith working on an EP or album as the potential is overwhelming.


Erin Bardwell Gets Organised

A new album released yesterday from Swindon’s premier reggae keyboardist and producer Erin Bardwell made me contemplate a section of Henri Charrière’s book Papillon. The autobiographical account of a fellow no prison or penal colony can seem to keep incarcerated. There’s a point where Papillon deliberately causes a disturbance in order to be put in solitary confinement. He claims he prefers it to the regular cells, because away from the other inmates, alone in pitch darkness he can reimagine, practically hallucinate and relive his better days.

For the concept of the album and accompanying film Get Organised is largely reminiscing and reflecting on his past. Possibly, I suspect, due to age becoming, the fact this marks a thirtieth anniversary of the formation of his heyday two-tone band, The Skanxters, but largely due to lockdown.

Myself, lockdown has been parttime. I’ve worked throughout, galivanting through the villages, meeting early morning risers, and it’s all been much the same as it ever was, just cannot nip t’ pub, or see family living out of the area. Which is frustrating at times, but I accept it’s not as bad as those shielding and self-isolating; that would’ve driven me insane my now. It’s common in isolation to consider one’s life and recollect, but Erin does it over a reggae beat; and I approve!

We’ve been here before; this is not Erin’s first reflection of lockdown. Pre-pandemic he directed a collective who were pushing new boundaries in rock steady. But April last year saw the solo release of Interval, a deeply personal reflection and mind-blowingly cavernous concept album, diving into the psyche and exploring past events; scarce formula for reggae.

Erin Bardwell

Yet Erin’s style is such; relished in unconformity, individualism and freethinking, factors which make it so utterly unique it’s hard to compare. It’s this standout signature which Erin stamps on all projects, be them solo, as the Collective, or side projects such as the experimental dub of Subject A with Dean Sartain, or The Man on the Bridge project with ex-Hotknives Dave Clifton, which defines the very sound of reggae in Swindon and puts it on the skanking map. If there was a skanking map, which I wish there was!

Whereas Interval’s morose mood merged styles through experimentation, some often out of the confines of reggae, be they jazz, ambient and space rock, Get Organised will wash better with the matured skinheads, scooterists and Two-Tone aficionados, for it sits with more golden era reggae, particularly of the sixties Trojan “boss” reggae epoch. They tend to know what they like, and favour tradition over risky and radical progressions.

In this notion too it’s sprightlier and more optimistic than Interval, a result of vaccinations and this “roadmap” out of lockdown, perhaps; The Erin Bardwell Trio booked for a gig at Swindon’s Victoria on 1st July. Though at times there’s still the thoughtful prose Erin is fashioned for, reflecting the effect of lockdown. The lyrics of Eight O’clock, for example, which notes despite the usually lively nightlife at this time, the town is quiet.

The Erin Bardwell Collective

They’re all sublimely crafted pieces, the title track’s mellow riff nods to Lee Scratch Perry’s middling Upsetters period with something akin to a tune like Dollar in the Teeth. And in that, we have to consider the great producers of rockers reggae for comparisons, rather than the artists. Aforementioned Perry, but of Niney the Observer, of Harry J too, and Get Organised subtly delves into dub, so I guess King Tubby also. Yet the opening tune reminded me of the earlier, legendary producer Duke Reid.

Erin has the proficiency to cherry-pick elements from reggae’s rich history, effectively merge them and retain this said signature style. The Savoy Ballroom has the expertise keys of Jackie Mittoo, with the vaudeville toytown sound of Madness. That said has opened another Pandora’s box, as Two-Tone also has a significant influence on Get Organised, naturally. The grand finale We Put on that Show is reflective of the era, along the lines of the steady plod of Do Nothing rather than the frenzied ska of Little Bitch, if we’re going to make a Specials contrast, which I think is apt.

Equally, you’re going to love this if, like me, you cite the debut album Signing Off, as UB40’s magnum opus rather than their following pop covers, or just if you’re looking for something different from the norm.

These recollections are visualised in a half-hour video, making it more poignant. It’s a scrapbook film, with homemade clips of The Skanxters setting up or driving to a gig, footage I’d expect to have been largely unseen until now. There’s also a montage of memoirs chronicling Erin’s career, as the camera pans across gig posters, bus tickets, vinyl and press cuttings. Though far from documentary, the sound plays out the album, the material an aid to the songs, and a fascinating art project to accompany it.

 “A second solo album wasn’t really part of the plan,” Erin explains, “but with the current climate as it is, I still found myself coming up with music and songs. These tunes started following a theme, that led to a film idea, and the sounds and visuals grew together influencing each other.”

The point in the early nineties, when the Skanxters were the pride of Swindon’s two-tone scene is captured well, and while those on the circuit, or even living locally then, will love recognising the many memoirs, anyone into the scene at the time will thoroughly enjoy this outing. Overall, though, Erin continues to break boundaries, and this album is a blessing and pleasure to listen to, alone from its narrative and meaning, as all good reggae should.


Trending……

Song of the Day 29: Bunny Wailer 1947-2021

Photo Credit: Redferns/Gem

I know, this feature is supposed to be for new music, promoting new and upcoming bands and artists. But here’s a notion, without the pioneers of many sounds their music would sound very different. So perhaps, when we lose a legend, we could also use it to pay tribute to them.

Sound like a plan?

Righty then, suitable for the agenda is the sad news today of the passing of the last of the three original Wailers, Neville O’Riley Livingston, aka Bunny Wailer. The red, gold and green flag flies at halfmast today, blessings to his family and friends.

And that’s my song of the day.


Song of the Day 26: The Maitree Express

Reggae and ska’s association with trains tracks back to its very roots, that beguiling chugging offbeat replicates engine noise, ergo subject matter and band names suit.

Here’s hoping if Devizes does ever get a station, more reggae bands will stop here and bring their sunshine music. Prime example; I’d sure make a beeline for this Bath-Bristol seven-piece locomotive, with their lively blend of dub, ska and soul.
Failing that, I’m trekking, have roots, will travel.

Offering an exciting live show, the Maitree Express has been in the recording studio and the effect projects onto wax; proof here, in the pudding.

Wait, did someone say pudding? My work here is done, that’s my song for the day. Very good. Carry on…..


Song of the Day 22: Kiano Taylee

Can you go twice on our Song of the Day feature? No, certainly not, one shot is all, get over it!

Wha? Cabin fever, me? Getting tetchy, perpetual rain the only visible sign of spring, going to need Google maps to locate my local pub if it ever gets back to normal, whatever normal is, been so long, forgotten, might need retraining in how to order a pint… ah, okay, point taken. I’m calm….

Here we go with the brilliant Big Ship Alliance reggae band, who may’ve had a Song of Day before but hey, when you hear this you’ll realise why I’m making the exception to my steadfast iron ruling.

My Life, it’s called, featuring Mitchell Joseph Thompson, and the Alliance introduces us to the incredible Kiano Taylee. At 13, it’s an emotive and sentimental debut single, capturing teenage anguish, bullying and family issues which bear heavy on modern youth. Moving stuff.

Available for download here.

For the record, I was young once too, you know. But, don’t let me get started on my memoirs, it’s a longwinded tale of nothingness but reading the Beano and eating spaghetti hoops. But, that’s my song for the day. Very good. Carry on…..


Song of the Day 19: Macka B

Topical, in view of Mark Little of Bristol Rovers’ social media attack, here’s a year-old message which, idealistically shouldn’t need repeating, but, unfortunately, seems it does.

And who better to deliver it than Wolverhampton’s Christopher MacFarlane, better known to the world as Macka B?

His righteous, yet witty DJ toasting style is often mimicked but never bettered. Since his early days on the Exodus sound system, through the eighties fast-style origination of Fashion Records, of which the late great Smiley Culture bought to mainstream charts, to today’s international recognition, award-winning Macka B never fails to breathe charisma and charm to a subject with intelligent and amusing verse.

The premise of his song is simple, the message is resounding.

And that’s my song for the day. Very good. Carry on….


Song of the Day 15: The Emertarians

Anytime is a good time for some roots reggae, Sunday morning, doublely so.

Enter one of my favourite current reggae bands, from Madrid, the Emertarians.

They always remind me of an occasion, at a festival in Andalusia. I watched this great French reggae band. The slighty rotound frontman looked rather like the late, great Jacob Miller. After the performance I noted he was standing close to me, watching the following act. I went over in hope of telling him how much I enjoyed their music, praying they spoke English.

I momentarily regretted my school French lessons, which I spent making homemade comics out of text books, as he replied with an adamant no upon asking if he spoke English.

All the vocabulary my intoxicated mind could conjour was “tres bien,” so I repeated it perpetually in true Del-Boy fashion!

Otherwise the meeting was the awkward silence of communication breakdown, in which I suspected they thought I was completely nuts. Not so far from the truth.

So, I namedropped Jacob Miller and suddenly we had understanding and mutual respect for the man. My point is, sometimes the Emertarians sing in Spanish and sometimes English, often the Spanish ones more emotive, but reggae has no language barriers, because it’s spiritual meaning and uplifting ambiance is universal. As with the French Jacob Miller-alike, we were on the same song sheet….

Naturally at that conjunction, I rolled a joint.

And that’s my song for the day. Very good. Carry on….


Song of the Day 2: The Big Ship Alliance and Johnny2Bad, featuring Robbie Levi and Stones

Newly-formed just a year ago, this Birmingham-based seven piece reggae band, Big Ship Alliance started out as possibly the only tribute act to reggae legend Freddie McGregor, but on track to record their own material they’ve teamed up with the outstanding UB40 tribute act, Johnny2Bad for this gorgeous topical debut single.

Featuring Robbie Levi and Stones, aside from my love of all things reggae, the song’s positive message of togetherness and unification during this era of the pandemic makes it more than apt for my second “song of the day” post. Though I did say I wasn’t intending to write anything like a review on this feature, just let you enjoy the tunes, and this is kinda heading a little bit “reviewy.” Probably cos it’s such a nice tune.

I also promised not to waffle; but I’m here now. Something about having your cake and eating it goes in rather appropriately at this point!

More so than being my song of the day, I believe this should be, as the Big Ship Alliance say themselves, “the anthem for 2021!”

Determined to make this feature a goer, as of yesterday’s pledge to add a song each day, ingeniously titled “song of the day.” I know, right, it scares me at times, I’ll be honest!

So, enjoy this fantastic tune, let the good vibes roll and have a great rest of the day. Same time tomorrow then?

Very good. Carry on….

Devizine’s Review of 2020; You Can’t Polish a Turd!

On Social and Political Matters……

For me the year can be summed up by one Tweet from the Eurosceptic MEP and creator of the Brexit Party, Nigel Farage. A knob-jockey inspired into politics when Enoch Powell visited his private school, of which ignored pleas from an English teacher who wrote to the headmaster encouraging him to reconsider Farage’s appointed prefect position, as he displayed clear signs of fascism. The lovable patriot, conspiring, compulsive liar photographed marching with National Front leader Martin Webster in 1979, who strongly denies his fascist ethos despite guest-speaking at a right-wing populist conference in Germany, hosted by its leader, the granddaughter of Adolf Hitler’s fiancé; yeah, him.

He tweeted “Christmas is cancelled. Thank you, China.” It magically contains every element of the utter diabolical, infuriating and catastrophic year we’ve most likely ever seen; blind traditionalist propaganda, undeniable xenophobia, unrefuted misinformation, and oh yes, the subject is covid19 related.

And now the end is near, an isolated New Year’s Eve of a year democracy prevailed against common sense. The bigoted, conceited blue-blooded clown we picked to lead us up our crazy-paved path of economic self-annihilation has presented us with an EU deal so similar to the one some crazy old hag, once prime minster delivered to us two years back it’s uncanny, and highly amusing that Bojo the clown himself mocked and ridiculed it at the time. I’d wager it’s just the beginning.

You can’t write humour this horrifically real, the love child of Stephen King and Spike Milligan couldn’t.

Still, I will attempt to polish the turd and review the year, as it’s somewhat tradition here on Devizine. The mainstay of the piece, to highlight what we’ve done, covered and accomplished with our friendly website of local entertainment and news and events, yet to holistically interrelate current affairs is unavoidable.

We have even separated the monster paragraphs with an easier, monthly photo montage, for the hard of thinking.

January

You get the impression it has been no walk in the park, but minor are my complaints against what others have suffered. Convenient surely is the pandemic in an era brewing with potential mass hysteria, the need to control a population paramount. An orthornavirae strain of a respiratory contamination first reported as infecting chickens in the twenties in North Dakota, a snip at 10,400km away from China.

Decidedly bizarre then, an entire race could be blamed and no egg fried rice bought, as featured in Farage’s audacious Tweet, being it’s relatively simple to generate in a lab, inconclusively originated at Wuhan’s Huanan Seafood Wholesale Market, rather spread from there, and debatably arrived via live bat or pangolin, mostly used in traditional Chinese medicine, a pseudoscience only the narrowminded minority in China trusts.

Ah, inconsistent pseudoscience, embellished, unfalsifiable claims, void of orderly practices when developing hypotheses and notably causing hoodwinked cohorts. Yet if we consider blaming an ethos, rather than a race, perhaps we could look closer to home for evidence of this trend of blind irrationality. Truth in Science, for example, an English bunch of Darwin-reputing deluded evangelicals who this year thought it’d be a grand and worthy idea to disguise their creationist agenda and pitch their preposterous pseudoscientific theory that homosexuality is a disease of the mind which can be cured with electro-shock treatment to alter the mind inline with the body’s gender, rather than change the body to suit the mind’s gender orientation, to schoolchildren!

Yep, these bible-bashing fruit-bats, one lower than flat earth theorists actually wrote to headmasters encouraging their homophobia to be spread to innocent minds, only to be picked up by a local headmaster of the LGBTQ community. Here’s an article on Devizine which never saw the light of day. Said that Truth in Science’s Facebook page is chockful with feedback of praise and appreciation, my comments seemed to instantly disappear, my messages to them unanswered. All I wanted was a fair-sided evaluation for an article, impossible if you zip up.

Justly, no one trusts me to paint an unbiased picture. This isn’t the Beeb, as I said in our 2017 annual review: The chances of impartiality here, equals the chances of Tories sticking to their manifesto. Rattling cages is fun, there’s no apologies I’m afraid, if I rattled yours, it just means you’re either mean or misguided.

Herein lies the issue, news travels so fast, we scroll through social media unable to digest and compose them to a greater picture, let alone muster any trust in what we read. I’m too comfortable to reside against the grain, everyone’s at it. I reserve my right to shamelessly side with the people rather than tax-avoiding multinationals and malevolent political barons; so now you know.

February

If you choose to support these twats that’s your own lookout, least someone should raise the alarm; you’d have thought ignoring World Health Organisation advise and not locking down your country until your mates made a packet on horseracing bets is systematic genocide and the government should be put on trial for this, combined with fraud and failure of duty. If not, ask why we’re the worst hit country in the world with this pandemic. Rather the current trend where the old blame the young, the young blame the old, the whites blame the blacks, the thin blame the fat, when none of us paid much attention to restrictions because they were delivered in a confused, nonsensical manner by those who don’t either, and mores to the pity, believe they’re above the calling of oppressive regulations.

If you choose to support these twats, you’re either a twat too, or trust what you read by those standing to profit from our desperation; ergo, twats. Theres no getting away from the fact you reep what you sow; and the harvest of 2020 was a colossal pile of twat.


Onto Devizine…. kind of.

For me what started as a local-based entertainment zine-like blog, changed into the only media I trust, cos I wrote the bollocks! But worser is the general obliteration of controversy, criticism and debate in other media. An argument lost by a conformer is shadowed behind a meme, or followed up with a witch hunt, a torrent of personal abuse and mockery, usually by inept grammar by a knuckle-dragging keyboard warrior with caps-lock stuck on; buy a fucking copy of the Oxford Guide to English Grammar or we’re all going to hell in a beautiful pale green boat.

We’re dangerously close to treating an Orwellian nightmare as a self-help guide, and despite fascists took a knockdown in the USA and common sense prevailed, the monster responded with a childish tantrum; what does this tell you? The simple fact, far right extremism is misled and selfish delinquency which history proves did no good to anyone, ever. Still the charade marches on, one guy finished a Facebook debate sharing a photo of his Boris “get Brexit done” tea-towel. I pondered when the idiot decided a photo of his tea towel would suffice to satisfy his opinion and convince others, before or after the wave of irony washed over his head in calling them Muppets.

I hate the term, it’s offensive. Offensive to Jim Henson’s creations; try snowflake or gammon, both judgemental sweeping generalisations but personally inoffensive to any individual, aside Peppa Pig. I wager you wander through Kent’s lorry park mocking the drivers and calling them snowflakes rather than tweeting; see how far you get.

So, the initial lockdown in March saw us bonded and dedicated, to the cause. We ice-skated through it, developed best methods to counteract the restrictions and still abide by them; it was kind of nice, peaceful and environmentally less impacting. But cracks in the ice developed under our feet, the idea covid19 was a flash in pan, akin to when Blitz sufferers asserted it’d all be over by Christmas, waned as we came to terms, we were in it for the duration.

Yet comparisons to WWII end there, lounging on the sofa for three months with Netflix and desperate peasants delivering essential foodstuff, like oysters, truffles and foie gras is hardly equivalent to the trench warfare of Normandy. Hypocritical is me, not only avoiding isolation as, like a nurse, my labour was temporarily clapped as key worker in March, I figured my site would only get hits if I wrote something about Covid19, and my ignorance to what the future resulted in clearly displayed in spoofy, ill-informed articles, Corona Virus and Devizine; Anyone got a Loo Roll? on the impending panic-buying inclination, and later, I Will Not Bleat About Coronavirus, Write it Out a Hundred Times…

The only thing I maintained in opinion to the subject, was that it should be light-hearted and amusing; fearing if we lose our sense of humour, all is lost. Am I wrong? Probably, it’s been a very serious year.

It was my first pandemic-related mention, hereafter nearly every article paid reference to it, no matter how disparate; it’s the tragedy which occupied the planet. But let’s go back, to oblivious January, when one could shake hands and knew where the pub was. Melksham got a splashpad, Devizes top councillors bleated it wasn’t fair, and they wanted a splashpad too. They planned ripping out the dilapidated brick shithouses on the Green and replacing it with a glorious splashpad, as if they cared about the youth of the town. I reported the feelings of grandeur, Splashpad, I’m all over it, Pal! A project long swept under the carpet, replaced with the delusion we’ll get an affordable railway station. As I said, convenient surely is the pandemic.

So many projects, so many previews of events, binned. Not realising at the time my usual listing, Half Term Worries Over; things to do with little ones during February half-term… would come to an abrupt halt. Many events previewed, the first being the Mayoral Fundraising Events, dates set for the Imberbus, and Chef Peter Vaughan & Indecision’s Alzheimer’s Support Chinese New Year celebration, to name but a few, I’m unaware if they survived or not.

March


On Music……

But it was the cold, early days of winter, when local concerns focused more on the tragic fire at Waiblingen Way. In conjunction with the incredible Liz Denbury, who worked tirelessly organising fundraising and ensuring donations of essentials went to the affected folk, we held a bash in commemoration and aid down that there Cellar Bar; remember?

It was in fact an idea by Daydream Runaways, who blew the low roof off the Cellar Bar at the finale. But variety was the order of the evening, with young pianist prodigy Will Foulstone kicking us off, opera with the amazing Chole Jordan, Irish folk with Mirko and Bran of the Celtic Roots Collective and the acoustic goodness of Ben Borrill. Thanks also has to go to the big man Mike Barham who set up the technical bits before heading off to a paid gig. At the time I vowed this will be the future of our events, smaller but more than the first birthday bash; never saw it coming, insert sad-face emoji.

We managed to host another gig, though, after lockdown when shopping was encouraged by In:Devizes, group Devizes Retailers and Independents, a assemblage of businesses set up to promote reopening of town. We rocked up in Brogans and used their garden to have a summer celebration. Mike set up again, and played this time, alongside the awesome Cath and Gouldy, aka, Sound Affects on their way to the Southgate, and Jamie R Hawkins accompanied Tamsin Quin with a breath-taking set. It was lovely to see friends on the local music scene, but it wasn’t the reopening for live music we anticipated.

Before all this live music was the backbone of Devizine, between Andy and myself we previewed Bradford Roots Music Festival, MantonFest, White Horse Opera’s Spring Concert, Neeld Hall’s Tribute to Eddie Cochran, and the return of Asa Murphy. We reviewed the Long Street Blues Club Weekender, Festival of Winter Ales, Chris O’Leary at Three Crowns, Jon Walsh, Phil Jinder Dewhurst, Mule and George Wilding at The White Bear, Skandal’s at Marlborough’s Lamb, and without forgetting the incredible weekly line-up at the Southgate; Jack Grace Band, Arnie Cottrell Tendency, Skedaddle, Navajo Dogs, Lewis Clark & The Essentials, King Street Turnaround, Celtic Roots Collective, Jamie, Tamsin, Phil, and Vince Bell.

The collection of Jamie R Hawkins, Tamsin Quin and Phil Cooper at the Gate was memorable, partly because they’re great, partly because, it was the last time we needed to refer to them as a collection (save for the time when Phil gave us the album, Revelation Games.) Such was the fate of live music for all, it was felt by their newly organised trio, The Lost Trades, whose debut gig came a week prior to lockdown, at the Pump, which our new writer Helen Robertson covered so nicely.

For me, the weekend before the doom and gloom consisted of a check-in at the Cavy, where the Day Breakers played, only to nip across to Devizes Sports Club, where the incredible Ruzz Guitar hosted a monster evening of blues, with his revue, Peter Gage, Innes Sibun and Jon Amor. It was a blowout, despite elbow greetings, I never figured it’d be the last.

It was a knee-jerk reaction which made me set up a virtual festival on the site. It was radical, but depleted due to my inability to keep up with an explosion of streamed events, where performers took to Facebook, YouTube sporadically, and other sites on a national scale, and far superior tech knowhow took over; alas there was Zoom. I was happy with this, and prompted streaming events such as Swindon’s “Static” Shuffle, and when PSG Choirs Showed Their True Lockdown Colours. Folk would message me, ask me how the virtual festival was going to work, and to be honest, I had no idea how to execute the idea, but it was worth a stab.

One thing which did change, musically, was we lowered our borders, being as the internet is outernational and local bands were now being watched by people from four corners of the world, Devizine began reviewing music sourced worldwide. Fair enough, innit?

The bleeding hearts of isolated artists and musicians, no gigs gave them time on their hands to produce some quality music, therefore our focus shifted to reviewing them, although we always did review records. Early local reviews of 2020 came from NerveEndings with the single Muddy Puddles, who later moved onto an album, For The People. Daydream Runaways’ live version of Light the Spark and Talk in Code’s Like That, who fantastically progressed through lockdown to a defining eighties electronica sound with later singles Taste the Sun and Secret.

We notified you of Sam Bishop’s crowdfunding for a quarantine song, One of a Kind, which was released and followed by Fallen Sky. Albums came too, we covered, Billy Green 3’s Still in January, and The Grated Hits of the Real Cheesemakers followed, With the former, later came a nugget of Billy Green’s past, revealing some lost demos of his nineties outfit, Still, evidently what the album was named after.

Whereas the sublime soul of Mayyadda from Minnesota was the first international artist featured this year, and from Shrewsbury, our review of Cosmic Rays’ album Hard to Destroy extended our presence elsewhere in the UK, I sworn to prioritise local music, with single reviews of Phil Cooper’s Without a Sound, TheTruzzy Boys’ debut Summertime, Courage (Leave it Behind), a new single from Talk in Code, and for Daydream Runaways’ single Gravity we gave them an extensive interview. This was followed by Crazy Stupid Love and compiled for an EP, Dreamlands, proving they’re a band continuously improving.

April

Probably the most diverse single around spring though was an epic drum n bass track produced right here in Devizes, featuring the vocals of Pewsey’s Cutsmith. Though while Falling by ReTone took us to new foundations, I ran a piece on the new blues sounds locally, as advised by Sheer Music’s Kieran Moore. Sheer, like all music promoters were, understandably, scrambling around in the dark for the beginnings of lockdown, streaming stuff. It wasn’t long before they became YouTube presenters! The Sheer podcast really is something special, in an era leaving local musicians as dry as Ghandi’s flip-flop, they present a show to make ‘em moist!

Spawned from this new blues article, one name which knocked me for six, prior to their YouTube adventures, was Devizes-own Joe Edwards. I figured now I was reviewing internationally; would it be fair to local musicians to suggest a favourite album of the year? However, Joe’s Keep on Running was always a hot contender from the start, and despite crashing the borders on what we will review, I believe it still is my favourite album of the year.

Other top local albums, many inspired from lockdown came flowing, perhaps the most sublime was Interval by Swindon’s reggae keyboardist virtuoso, Erin Bardwell. The prolific Bardwell later teamed with ex-Hotknive Dave Clifton for a project called Man on the Bridge.

Perhaps the most spacey, Devizes’ Cracked Machine’s third outing, Gates of Keras. Top local singles? Well, George Wilding never let us down with Postcard, from a Motorway, and after lockdown reappeared with his band Wilding, for Falling Dreams and later with a solo single, You Do You. Jon Amor was cooking with Peppercorn, which later led to a great if unexpected album, Remote Control.

There was a momentary lapse of reason, that live streaming was the musical staple diet of the now, when Mr Amor climbed out onto his roof to perform, like an ageless fifth Beatle. Blooming marvellous.

Growing up fast, Swindon’s pop singer Lottie J blasted out a modern pop classic with Cold Water, and no one could ignore Kirsty Clinch’s atmospheric country-pop goodness with Fit the Shoe.

Maybe though it wasn’t the ones recorded before, but our musicians on the live circuit coming out with singles to give them some pocket money, which was the best news. I suggest you take note of Ben Borrill’s Takes A Little Time, for example.

I made new friends through music, reviewing so many singles and EPs; Bath’s Long Coats, and JAY’s Sunset Remedy. Swindon’s composer Richard Wileman, guitarist Ryan Webb, and unforgettable Paul Lappin, who, after a couple of singles would later release the amazing acoustic Britpop album The Boy Who Wanted to Fly. Dirty and Smooth and Atari Pilot too, the latter gave us to cool singles, Right Crew, Wrong Captain, and later, Blank Pages. To Calne for End of Story and Chris Tweedie, and over the downs to Marlborough with Jon Veale’s Flick the Switch. I even discovered Hew Miller, a hidden gem in our own town.

May

But we geographically go so much further these days, even if not physically much more than taking the bins out. Outside our sphere we covered Essex’s Mr B & The Wolf, Limerick’s Emma Langford, London’s Gecko, and from the US, Shuffle & Bang, and Jim White. Johnny Lloyd, Skates & Wagons, My Darling Clementine, Micko and the Mellotronics, Typhoidmary, Frank Turner and Jon Snodgrass, Mango Thomas, Beans on Toast, Tankus the Henge; long may the list continue.

Bombino though, the tuareggae artist really impressed me, but I don’t like to pick a favourite, rather to push us onto another angle. I began reviewing stuff sent via my Boot Boy radio show, and covered a ska scene blossoming in South America. But as well as Neville Staple Band’s single Lockdown, The Bighead, the Bionic Rats, and Hugo Lobo teaming up with Lynval Golding and Val Douglas, we found reggae in Switzerland through Fruits Records, the awesome Cosmic Shuffling and progressive 808 Delavega.

So much music, is it going on a bit? Okay I’ll change the record, if you pardon the pun, but not until I’ve mentioned The Instrumental Sounds Of Ruzz Guitar’s Blues Revue, naturally, Sound Affects’ album Ley Lines, Tunnel Rat refurbing their studio, and Bristol’s freshest new hip hop act The Scribes. Ah, pause for breath.

Oh, and outside too, we did get a breather from lockdown and tiers, all Jamies for me, Mr R Hawkins was my first outing at the Gate and followed by Jamie Williams and the Roots Collective. Sad to have missed Two Man Ting and when The Big Yellow Bus Rocked the Gazebo, but hey, I thought we were out of the deep water.

June

Splashed straight back in again; “tiers” this time, sounds nicer than lockdown. Who knows what 2021 will bring, a vaccine, two vaccines, a mesh of both despite being ill-advised by experts? Just jab me, bitch, taxi me to the nearest gig, if venues still exist, by spring and I’ll shut up about it.


On Arts…..

Bugger, I’m going to need Google maps to find my local boozer. But yeah, they, whoever they are, think we’re all about music, but we cover anything arts and entertainment, you know? We previewed Andy Hamilton coming to Swindon’s Wyvern, Josie Long coming to Bath, The Return of the Wharf Theatre, and the county library tours of Truth Sluth: Epistemological Investigations for the Modern Age. Surely the best bit was being sent a private viewing of a new movie, Onus, by the Swindon filmmakers who gave us Follow the Crows.

I shared poems by Gail Foster, and reviewed her book Blossom. Desperate for subject matter I rewrote a short story Dizzy Heights. I featured artists Bryony Cox and Alan Watters, both selling their wares for the NHS, Ros Hewitt’s Glass Art open studio, Small Wonders Art Auction in aid of Arts Together and Asa Murphy published a children’s book, The Monkey with no Bum! I dunno, don’t ask.

July


On Food…

Despite my Oliver Twist pleads, we never get enough on the subject of grub. January saw us preview Peter Vaughan’s Chinese New Year dinner party in aid of Alzheimer’s Support and with music from Indecision, we covered DOCA’s Festival of Winter Ales, and looked forward to the Muck & Dunder’s Born 2 Rum festival, which was cancelled.

From here the dining experience reverted to takeaways, and I gave Sujay’s Jerk Pan Kitchen at big shout, and thought it best to wait until things reopened before singing Massimos’ praise, but I guess for now I should mention their awesome takeaway service next.

The Gourmet Brownie Kitchen supplied my welcomed Father’s Day gift, even nipped over to Swindon, in search of their best breakfast at the Butcher’s cafe, and recently I featured vegan blogger, Jill. Still though I need more food articles, as restaurants should take note, they’re extremely popular posts. Sadly, our while self-explanatory article, “We Cannot Let our Young People go Hungry; those locally rallying the call to #endchildfoodpoverty,” did quite well, at third most popular, the earlier “Eat Out to Help Out, Locally, Independently,” was our highest hitting of all; giving a sombre redefining of the term, dying to go out.

Back to my point though, food articles do so well, I’m not just after a free lunch, or maybe I am. But here, look, the fourth most popular article this year was our review of New Society, which was actually from 2019. Does lead us on nicely to the touchy subject of stats this year.

August


On Stats, Spoofs and the Future….

As well as an opportunity to review what we’ve done over the past year and to slag off the government, I also see this rather lengthy article which no one reads till the end of, a kind of AGM. It should be no surprise or disappointment, being this is a what’s-on guide, and being nothing was actually on, our stats failed to achieve what we hit in 2019. Though, it is with good news I report we did much better than 2018, and in the last couple of months hits have given me over the stats I predicted. Devizine is still out there, still a thing; just don’t hug it, for fuck’s sake.

I did, sometime ago, have a meeting with the publishers of Life In, RedPin. You may’ve seen Life in Devizes or various other local town names. The idea to put Devizine into print is something I’ve toyed with, but as it stands it seems unlikely. My pitch was terrible, my funds worse. If I did this it would cease to be a hobby and become a fulltime business, I’d need contributors, a sales department, I’d need an expert or ten, skills and a budget for five issues ahead of myself, and I tick none of those boxes. A risk too risky, I guess that’s why they call a risk a risk, watching the brilliant Ocelot reduced to online, publications suffer, the local newspaper house scrambling for news and desperately coming up with national clickbait gobbledygook, I know now is not the time to lick slices of tree with my wares.

So, for the near future I predict trickling along as ever. Other than irrational bursts of enthusiasm that this pandemic is coming to an end, I’ve given in updating our event calendar until such really happens. And it will, every clown has a silver lifeboat, or something like that.

September