Tag Archives: Mostly Autumn

Desert Island Disks

The long-running BBC radio series “Desert Island Disks” asks the guest celebrity of the week to choose eight of their favourite records. The premise is that if you were marooned on a desert island, and you had just eight records to listen to, what would they be?

I’m treating “records” as albums, and for this exercise, I’ve imposed a rule of no compilations, and no live albums. So with no further ado…

pink-floyd-meddlePink Floyd – Meddle

The first album I ever bought was Pink Floyd’s “The Wall”. But although that album means a lot to me, there’s only room in this list for one dark angst-ridden concept album, and that’s coming up further down. And though “Dark Side of the Moon” and “Wish You Were Here” are undisputed classics. they’re so overexposed that they’ve just been worn smooth. If I’m in the mood for some Pink Floyd nowadays it’s most often either “Meddle” or “Animals” that gets played. If forced to choose, we’ll go for Meddle. It’s worth it for the extended dreamy atmospherics of “Echoes” alone, but there’s more to the album that that.

blue-oyster-cult-secret-treatiesBlue Öyster Cult – Secret Treaties

Blue Öyster Cult have been one of my top bands ever since a college friend played me the live version of “Astronomy” from Some Enchanted Evening when that live disk was still almost a current album. But since live albums are against my self-imposed rules, so we’ll go for their classic third album. Fan consensus is their Secret Treaties is their best, and fan consensus isn’t wrong. It’s the final album of the so-called “Black and White trilogy” combining richly layered music with a raw garage-like sound, with high weirdness lyrics hinting at the magical origins of World War Two. Blue Öyster Cult were always far more that just a metal band, and this album is proof of that.

Rainbow RisingRainbow – Rising

Hearing “Eyes of the World” on Nicky Horne’s show on Capital Radio radio changed my life. Ever since then Ritchie Blackmore’s music has been part of the soundtrack of my life, either with Deep Purple or with Rainbow. He was at the peak of his powers when he made this record along with the greatest hard rock singer of all time in the shape of the late Ronnie James Dio, and a sheer force of nature in Cozy Powell on drums. With just six tracks and a running time of less that forty minutes it’s all-killer-no-filler, with the monumental “Stargazer” as the centrepiece of the record.

220px-MarillionBraveMarillion – Brave

The three previous bands had been long-established by the time their music first appeared on my radar, but with Marillion I was there from the start. Not quite to the extent that I was seeing them play to thirty people in pubs before they were signed, but I did see them at the 1982 Reading Festival and bought their first album of the day of release. Since then they have released many great albums both with Fish and later with Steve Hogarth, but the favourite has to be their dark and intense 1994 concept album. As the sleeve notes say, play it loud with the lights out.

mostly-autumn-the-last-bright-lightMostly Autumn – The Last Bright Light

Anyone who knows me knows that Mostly Autumn are one of my favourite bands. I’ve seen them something like a hundred times live now. Which doesn’t make it easy to choose just one album, especially when their music has evolved of the years along with changes in the make-up of the band. But if forced to choose just one, it will be their third, the high point of their celtic-folk-prog era on Cyclops records. It’s now sadly out of print, though many of the best songs appear on the retrospective compilation “Pass the Clock”.

porcupine-tree-in-absentiaPorcupine Tree – In Absentia

It’s not easy to choose one Porcupine Tree record. Sometimes it seems as if their best album is whichever one I’ve just listened to. But if forced to keep just one, it would be have to be this album, because it’s sheer variety covers many of the bases of their sound. In just the first three numbers it goes from the Zepellinesque riffery of “Blackest Eyes”, the song-focused pop-rock of “Trains” and the psychedelic atmospherics of “Lips of Ashes”.

opeth-waershedOpeth – Watershed

Perhaps more than any other band, Opeth have redefined what a metal or progressive rock band can be, with deep roots in the classic rock of the 1970s on one hand and a contemporary attitude and desire to avoid repeating their own past on the other. Few other bands can match their sense of dynamics and compositional skills. All their albums are good, but Watershed is the best, seamlessly combining intense heaviness with mellow atmospherics, often in the same song, and would be the last time Mikael Åkerfeldt would use his death-metal growling vocals on record.

Panic Room - SKINPanic Room – S K I N

Along with Mostly Autumn, Panic Room are my other favourite club-level band, and I’ve seen them live almost as many times. Indeed, the two bands were joined at the hip at one point with Anne-Marie Helder and Gavin Griffiths doing double duty in both. All their albums have their fans; there are even people who think the first was the best, but for me the favourite has to be their third, which goes from hard rock to jazz-tinged adult pop to epic soaring ballads while still adding up to a coherent work. It may well be that their best is yet to come, but for now this album is their masterpiece.

Over to you. What eight records could you not live without?

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Mostly Autumn – Leamington Assembly

Last December’s Mostly Autumn mini-convention in Leamington Spa was such a success that the band decided to do it again. Like last year the show was billed to feature some special one-off performances, and again included violinist Anna Phoebe both guesting with the band and playing a set of her own material. With doors at 3pm and a curfew at 10, it promised to be a long day with a lot of music.

Things started with what had been billed as a Mostly Autumn acoustic set, but with Bryan playing Stratocaster from the very beginning it was to be more semi- than completely unplugged, opening with a slowed-down piano-driven arrangement of “Never The Rainbow”. Much of the set was solo spots for individual band members, with no fewer than five of the band taking turns at singing lead; Alex Cromarty reprised his superhero song, Chris Johnson sang “Gaze”, and Angela Gordon sang both her own “Given Time” accompanied by Chris and Bryan, and her cover Christy’s Moore’s “Ride On” fronting the entire band. They ended with full electric versions of two standards that haven’t featured in this year’s touring setlist, “The Last Climb” and “Evergreen”.

Next up was Papillon, the duo of Anna Phoebe on violin and Nicholas Rizzi on acoustic guitar. Playing as a stripped back duo made for a different experience to Anna Phoebe’s full band, less rock and jazz, more classical with a hint of folk. As expected, Anna Phoebe’s sometimes fiery virtuosity was the focus with Nicholas Rizzi, himself an accomplished player acting as a foil. What was notable was the way something which was a long way from rock had a rock audience completely enthralled; you could have heard a pin drop during the set. This year there was time for a decent-length set, ending with a folk number that strongly recalled the early days of Mostly Autumn when Bob Faulds with with the band.

Last year Mostly Autumn played a set of Pink Floyd covers, which was a little controversial when announced, but silenced the doubters in the end. Rather than repeat the same thing a second time they decided to play a set of covers by different artists that had inspired the band. And what an eclectic set it turned out to be. They started out with the Floyd standard, “Us and Them” following with Led Zeppelin’s “Rock and Roll” with Olivia singing lead, which some might remember from the Josh and Co gigs from many years ago. Then things took off in unexpected directions; Angela Gordon singing an emotive “Who Knows Where The Time Goes”, with Anna Phoebe on violin, Chris Johnson singing Neil Young’s “Like a Hurricane” and Radiohead’s “Fake Plastic Trees”, and Olivia singing Eric Carmen’s “All By Myself”. Supertramp’s “Take the Long Way Home” with Chris Backhouse guesting on sax was more predictable, and they ended as they began with a couple of obvious Floyd standards, “The Great Gig In The Sky” and “Comfortably Numb”.

After a short interval they were back with this year’s usual set opener, the folky instrumental “Out of the Inn”, then the Blackmore-like lead runs of “In for the Bite”. With the length of time they’d already been on stage we could have expected a shorter festival length set, but no, they proceeded to play the full two hours plus touring set from the early part of the year, played without a further break. Less frequently played classics like “Silver Glass”, “Wild Eyed Skies” and the epic “Mother Nature” sat alongside regular standards like “Spirit of Autumn Past”, “Passengers”, “Deep in Borrowdale” and “Questioning Eyes”. Even though it didn’t quite have the fire and intensity of the best headline shows earlier in the year, probably because of the sheer length of time they’d been on stage, it was still a hugely enjoyable set, and a reminder of just how good a songbook Mostly Autumn have built up over the years.

Anna Phoebe again joined the band for the first encore, the welcome if predictable “The Night Sky”, after which Bryan told us they’d run out of time and they could only do one more, which of course was “Heroes Never Die”. It was seven hours since the doors opened.

It all made for a great day, and like the Panic Room weekend earlier in the year was an event that amounted to far more than just another regular gig. The acoustic and covers sets were a reminder that there’s a lot of musical talent in the current incarnation on the band beyond the two front-people; in particular hearing Angela Gordon singing lead was a revelation. Let’s hope there’s another similar event in future years.

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Mostly Autumn announce new album

sight-of-dayMostly Autumn announce their forthcoming album, to be titled “Sight of Day”, with a planned shipping date of January 2017 and a general retail release for February.

Like every album since 2007, it will again be crowdfunded, using pre-orders to fund the recording, and they’re taking orders right now from Mostly Autumn Records

As has been the case with most of their other recent albums, the pre-order edition will be a limited edition double album with additional songs that won’t be on the single-disk retail edition. And it’s usually a good bet that some of the songs on the bonus disk will be every bit as good as anything on retaul edition. And it’s limited to 2000 copies, so get your order in now!

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Mostly Autumn announce details of October Leamington show

Mostly Autumn have announced detials of the Leamington Spa show in October

We have a very special gig coming up at The Assembly, Leamington Spa on Sunday 9th October. This will be from 3pm until 10pm and will feature a Mostly Autumn acoustic set, where there will be performances by individual members, as well as the full band. This was received extremely well last year at the same venue – who knew Alex could play the guitar and sing?

We also have the absolutely amazing Papillon (Anna Phoebe and Nicolas Rizzi) – they captivate us every time we hear them, as I’m sure all of you who have seen them will agree.

Mostly Autumn will play two sets, the first being a set of songs which have inspired the band members – guaranteed some Pink Floyd and who knows what else!!! The second, a set of their own music in their own inimitable style, with Anna Phoebe as guest on a few numbers .

There will be an hour or so interval, during which there will be some time to say hello to the band.

Please join us for this festival of Mostly Autumn – back following the overwhelmingly positive feedback from last year. We’re looking forward to seeing you.

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2016 Cambridge Rock Festival – Part Three

This is the third and final part of my review of the five-day festival. The first two parts are here and here.

Sunday was something of a Ladies’ Day, with six out of the eight main stage acts featuring female lead singers. First of these were the seven-piece T Clemente band, who’s flown all the way from San Francisco at their own expense to play the festival. Their tight and polished West Coast AOR sound made a very strong impression for an opening act, and left the impression we’ll be hearing more of this band in the future.

Space Elevator

With a catsuited singer who goes under the name of “The Duchess”, Space Elevator had a very dramatic visual appeal, and had the music to back it up too, with a great hard rock AOR sound. Alongside original numbers about obsessive-compulsive disorder, being dumped, and love letters to Doctor Who, they threw in excellent covers of Thin Lizzy’s “Don’t Believe a Word” and Aerosmith’s “Love in an Elevator”. Perhaps their only flaw was their use of too much programmed keys rather than having a flesh-and-blood keyboard player in the band.

Making a welcome return after their superb performance on the same stage in 2014, Norway’s The Windmill were the most Prog band of the day; with a flute and a steampunk-dressed keyboard player their music is soaring, melodic and epic with the focus on symphonic composition rather than instrumental virtuosity. Alongside a lengthy new number their set drew heavily from “Continuum”, although sadly there wasn’t time for the 24-minute “The Gamer”. All heady stuff and ticks all the right boxes for the hardcore prog fans.

Heather Findlay

The Heather Findlay Band were eagerly anticipated. They’ve gone through some changes from the band that toured in April, with former Cloud Atlas man Martin Ledger taking over on lead guitar, Touchstone’s Henry Rogers taking over on drums, and the band slimmed down to a six-piece without a rhythm guitarist. From the performance they delivered you’d never have guessed this was the first live appearance of this full lineup. They combined highlights from Mantra Vega’s “The Illusion’s Reckoning” with older Mostly Autumn standards and a couple of rocked-up Odin Dragonfly numbers. Losing the rhythm guitar didn’t seem to leave holes in the sound; Angela Gordon’s keys took a bigger role, and Heather played acoustic guitar on some songs. On “Caught in a Fold” Sarah Dean took over on keys while Angela played the flute parts. One thing that’s notable about the various incarnations of Heather’s band is the way they totally reinvent the songs to fit the instrumentation of the current band. Martin Ledger proved an inspired choice as guitarist, nailing the guitar parts on both the Mantra Vega songs and the older Mostly Autumn material. One surprise was a very powerful “Unoriginal Sin”, which didn’t feature in the April tour, with Heather playing keys. An epic Carpe Diem and the spiralling title track of The Illusion’s Reckoning bought the very strong set to a close.

Purson seem on the cusp of far bigger things. Their take on late sixties psychedelic rock has long been embraced by the underground prog scene, but they’ve been making waves of late in more mainstream waters. They’ve a band with a look that exactly matches their sound, as if they’ve all stepped out of a time machine from 1969, complete with the right vintage guitars. Rosalie Cunningham on lead vocals and lead guitar is the focus, playing raw and dirty riffs and reeling off solos with heavy use of the wah-wah pedal. Despite the brief interruption of a collapsing keyboard stand, they delivered a very powerful set. It does leave you wondering how much longer we’ll still be able to see this band on stages like this.

It’s been a long, long time since Odin Dragonfly have played anything other than the occasional very short support set, so their appearance on Stage Three was a rare chance to see Heather and Angela together as an acoustic duo., the two of them playing their second set of the day. Compared to the rock dynamics on the main stage this was beautiful chill-out stuff with minimal instrumentation, and the emphasis on the vocal harmonies. There were moments when they came over a little under-rehearsed, especially the stripped-down take on Mostly Autumn’s “Evergreen”, but it was still an enjoyable set, with songs from the 2007 album “Offerings” alongside stripped-down versions of Mostly Autumn’s “Eyes of the Forest” and “Bitterness Burnt”, and a new song which might even end up on a long-awaited follow-up to “Offerings”.

Sonya Kristina

The clash with Odin Dragonfly meant I only caught the end of Curved Air’s set, but from what I saw it seemed like the tail end of a barnstorming set, with two of the biggest hits right at the end, “Back Street Luv” as the closer. With so many progressive-leaning bands with female lead singers on the bill over the course of the weekend it’s fitting Curved Air were one of them. Sonya Kristina is an absolute legend and still in fine voice. And they’re yet another reminder that progressive rock needs more violins.

Mostly Autumn are a fixture in this festival, having played every year since at least 2008, and the weekend somehow wouldn’t be the sane without them. Despite having seen the band more than a hundred times, they still retain the capacity to astound. They began as on their spring tour, with the instrumental “Out of the Inn” which starts as a celtic-folk jig centred on Angela Gordon’s flute, and develops into a hard rock workout, before Olivia Sparnenn made her customary dramatic entrance for “In for the Bite”, a song from the recently-released Josh & Co album. Much of the early part of the set was hard-rocking numbers from the recent albums since Olivia took over as lead singer, with “Skin on Skin” showcasing Alex Cromaty’s remarkable drumming. In contrast, the beautiful stripped-back balled “Silhouette of Stolen Ghosts” was a change of pace. The came a truly epic version of “Mother Nature” performed with an exceptional intensity even by their standards. The obligatory closer “Heroes Never Die” ought to have been worn smooth by over-exposure by now, but even that packed a powerful emotional punch.

Alext Cromarty with Mostly Autumn

It wasn’t easy for headliners Focus to follow that. Like Curved Air they’re a legendary band who are regulars on the festival circuit, but with their two biggest hits quite unlike the rest of their material they can come over as marking time until the hits at the end. But Focus do what they do, and the chilled-out jazz-rock workouts like the lengthy “Eruption” deserved to be appreciated on their own merits. But after the slow start, “Sylvia” and “Hocus Pocus” came as expected at the end, and the festival finished in a frenzy of air-guitar and yodelling, and so it should.

This weekend turned out to a good candidate for the best CRF yet. The bill was a great mix of old favourites and new discoveries. The old favourites showed everyone why they keep getting invited back, and newer bands rose to the big occasion. The main stage bill across Saturday and Sunday was remarkable in its consistent quality this year; there are plenty of acts who’d played earlier years who would have seemed out of place this year.

While some higher profile festivals this year had bills heavy with heritage acts (HRH Prog and Ramblin’ Man, I’m looking at you), it was good to see representatives of the current generation of bands making up the bulk of the bill. It was also good to see so many women on the bill; can you imagine Glastonbury or Reading featuring six female frontwomen out of eight acts?

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There are far worse things to have as an earworm than Mostly Autumn’s “Mother Nature”.

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Rainbow – Genting Arena

The announcement that Ritchie Blackmore was to perform a handful of shows with a new incarnation of Rainbow came as a complete surprise. With the exception of power-metal stalwart Jens Johansson on keys, the band was made up of relative unknowns, including Ronnie Romero on vocals. In recent year Blackmore has devoted his creative energies to the medieval folk-pop of Blackmore’s Night, and it’s been many, many years since he last played a hard rock gig on a major stage. So there was much anticipation and speculation as to what to expect. Would the shows be a triumph, or turn out to be a complete car crash? Enough people were willing to take a risk that the sixteen-thousand capacity Genting Arena in Birmingham sold out within 24 hours of going on general sale.

Opening the show, for one of the biggest gigs of their career, was Mostly Autumn. To be strictly accurate is was four-sevenths of Mostly Autumn; the restricted space available on the stage meant there was only room for a cut-down foursome comprising Bryan Josh, Olivia Sparnenn, Alex Cromarty and Iain Jennings, covering the bass on keys. Bryan told us how he’s been a fan of Blackmore since he was 10, and never expected to be the opening act for Rainbow in an arena.

A fusillade of drums and Bryan’s Blackmore-like spiralling guitar figure of “In for the bite” opened their six-song set, which included the standards “Evergreen” and “Heroes Never Die”, more recent hard rockers “Drops of the Sun” and “Deep in Borrowdale”, and a spine-tingling “Silhouettes of Stolen Ghosts”. Even though the arrangements lost the layers of the full band, the songs chosen still worked remarkably well in cut-down format, and there was plenty of Bryan Josh’s soaring lead guitar. Aside from an unfortunate pause when a string came loose mid-song, it came over well and the band deserve to have won over new fans with that one.

Rainbow began with that familiar opening from the classic 1977 live album; the intro tape of Judy Garland from the Wizard of Oz and Blackmore playing the main theme from “Over the Rainbow”. Then he launched into the intro of “Highway Star” with Ronnie Romero repeating the opening line over the intro before Blackmore hit the opening riff and launched into the song proper.

Over the next two hours it was greatest hits from across the Rainbow and Deep Purple songbook. “Spotlight Kid” and “Mistreated” early in the set didn’t quite catch fire, but from then on things got steadily better as the show went on and Blackmore loosened up. At 71 years of age he doesn’t have the speed of decades past, for example “Catch the Rainbow” had a slower more melodic solo rather than the blur of notes of his 1970s performances. But that distinctive classical phrasing is still there.

Ronnie Romero proved to have a fine voice, and came over best on Ronnie Dio and David Coverdale songs, though his dark take of “Perfect Strangers” impressed a lot, and he succeeded in projecting himself to the crowd as a frontman. Two backing singers including Blackmore’s other half Candace Night filled out the sound.

Once or twice things faltered; in particular the somewhat butchered version of “Since You’ve Been Gone” didn’t quite come off. In contrast, the acoustic version of “Soldier of Fortune” was a delight. The rocked-out version of Beethoven’s ninth, “Difficult to Cure” became a vehicle for solos, first a drum solo that was short enough not to outstay its welcome, then, horror of horrors, a bass solo, and finally an interminable keyboard solo. It actually started out well with jazz flavoured Hammond, but lost its way with an overlong classical style piano section and blasts of every differed keyboard effect from 70s parps to pipe organ. It’s Blackmore the audience paid to see, and this sort of thing should have been left in the 70s where it belonged.

The best came towards the end. After an impressive “Child in Time” with the two backing singers adding another dimension came a truly monstrous take on what has to be the definitive Rainbow song, “Stargazer”. Romero nailed the vocal and Blackmore himself was on fire for the solo. They finished the main set with the early Purple hit “Black Night” tailing off with the audience singing the riff over and over as the band left the stage.

Any worries that Blackmore would throw one his legendary strops and refuse to do an encore proved groundless; they were back with a rendition of “Burn” as monstrous as Stargazer before it. But still they weren’t quite done. Romero led the audience through an a capella first verse of “Smoke on the Water” before Blackmore came in for That Riff after the first chorus.

Despite a slightly shaky start this ended as a triumphal gig; the power and intensity of the last few songs in particular sent the audience away feeling they’d had their money’s worth. Here were songs few thought they’d ever hear played live by anything other than tribute bands a year ago, and for some, Stargazer alone was worth the price of the ticket. These shows were initially going to be one-offs, but Blackmore has since hinted that they may be further shows next year.

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On Springsteen, Mostly Autumn and Panic Room

Good piece by The Guardian’s Michael Hann on the appeal of a Bruce Springsteen show

I can understand people who just don’t like Springsteen. I was well into my 30s before I could even tolerate much of his music, let alone adore it. And for a first-time attender, a Springsteen show can be a little like attending a meeting of some religious sect – intriguing at first, then slightly terrifying as you realise quite how long it’s going to last. But once the rhythms of the night seep into your soul – as you understand how you are going to be swept up, then brought down, then lifted again; as you come to understand your part in the liturgy – it becomes hard to resist.

I’m not a Springsteen fan myself, but that paragraph somehow sums up what’s so great for me about seeing bands like Mostly Autumn and Panic Room live. Some people wonder exactly why I’ll travel considerable distances and stay in sometimes dodgy B&Bs to see a band they’ve never heard of play before a couple of hundred people.

The comparison with religion is spot-on.

There have been times when I’ve seen Mostly Autumn and been on a high for the rest of the week, to the extent that work colleagues have noticed. It’s not quite the same as Springsteen’s universality, of course. Sometimes it’s knowing more about the backstories of deeply personal songs about love, loss and bereavement than has ever been put in the public domain that gives the music such a powerful emotional punch. And the dynamics of a small intimate club gig where you frequently get to meet the band after the show is different from the electric atmosphere of an arena show. But the parallels are still strong.

What about you? Who is your Sprngsteen, or your Mostly Autumn or Panic Room?

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Mostly Autumn, Bilston Robin 2

Angela Gordon

Compared with the extensive touring of past years, Mostly Autumn have scheduled relatively few live appearances for the spring, summer and autumn of 2016, with a greater emphasis on showcase gigs and festivals. They came to the rock Mecca of The Robin 2 in Bilston a week after a high profile show in London, and like at that gig they drew the sort of appreciably sized crowd we’ve come to expect at this venue.

The last couple of years the band have been playing the album “Dressed in Voices” in it’s entirety as one half of the show, and over the course of three successive tours the other half went from an abbreviated greatest hits set, a collection of lesser played rarities, and finally the revival of their “Mostly Floyd” set. With “Dressed in Voices” now laid to rest for the time being at least, what they would play was a mystery for those who had carefully avoided spoilers, though we were told to expect one or two surprises.

They kicked off with the instrumental “Out of the Inn”, which starts off as a flute-driven Celtic-folk jig, led by Angela Gordon and Chris Johnson, with the rest of the band coming to stage one by one as the number builds into a barnstorming hard rocker. An unusual choice as an opener, but like “Distant Train” a couple of years ago, it worked well. After that came a fusillade of drums and Bryan Josh’s Blackmore-like spiralling guitar figure of “In For The Bite” from this year’s entertainingly bonkers Josh & Co album, which saw Olivia Sparnenn make her characteristic dramatic entrance. The huge smile on Bryan Josh’s face set the mood for the next two hours.

Bryan Josh

From then on it was songs from right across their career, played right through rather than taking a mid-set interval. There were standards from the early albums, such as “Answer the Question”, “Spirit of Autumn Past” and “Nowhere to Hide”. There were highlights from their more recent work’ a hard-rocking “Deep in Borrowdale”, “Drops of the Sun”, Olivia’s dramatic Nightwish-like “Wild Eyed Skies”, the drum showcase “Skin on Skin”, and the beautiful balled “Silhouette of Stolen Ghosts” from the bonus disk of “Dressed in Voices”. Chris Johnson sang lead on “Silver Glass”, one of his contributions to the band’s songbook from 2006′s “Heart Full of Sky”. But the highlight has to have been the epic “Mother Nature”, a song not played live for many years. They finished the main set with a powerful rendition of what has long been Olivia’s signature song, “Questioning Eyes”.

With the band still “in the zone” they took advantage of the lack of a strict curfew by throwing in an additional encore, a superb “The Last Climb” with its extended flute solo, before the obligatory “Heroes Never Die”. But even then they weren’t done. Bryan dismissed the closing recorded music and led the band into two more songs, both of them from last year’s Pink Floyd covers set, a monstrously rocking “Run Like Hell” and the guitar wig-out of “Comfortably Numb” with Olivia and Chris Johnson joining forces as the creepy doctor. You were left with the feeling they’d have been happy to play all night.

Olivia Sparnenn

On the evidence of this gig, they’re on top live form this year, playing a good mix of old and new taking in material from across eight of their ten albums. In recent years they’ve been at their best on stage whenever they’ve managed to keep a consistent lineup together for more than a few months. The current incarnation with Angela Gordon and Chris Johnson returned to the fold has been together more than a year now, and it shows. Their next live appearance is the big one, opening for Ritchie Blackmore’s Rainbow in front of sixteen thousand people at the sold-out Genting Arena, before gigs in Tavistock, Poole and Cardiff in July.

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Transylvania: The Count Demands It

Announced today by Mostly Autumn records.

Bryan Josh – the heart and guitar of Mostly Autumn andf eaturing Troy Donockley (Nightwish), Anna Phoebe, Alex Cromarty (Mostly Autumn), Olivia Sparnenn-Josh (Mostly Autumn) and Marc Atkinson amongst others, this is the first part of Bryan’s brand new project, taking us from ‘the back lane’ into the heart of Transylvania.

A beautiful vampire, her evil but enigmatic father (The Count) and various other creatures are encountered by the hapless Bryan on his journey.

Difficult to pigeonhole, the first part of the Transylvanian series is an exciting mix of superb rock music with imaginative storytelling. For sale now at Mostly Autumn Records - delivery early April

The first Josh & Co album contained the line “There’s Adolf Hitler, he’s really pissed-off because Julias Caesar won’t give him a sausage”. This one promises to be every bit as silly.

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