Since 2004, Urs Bühler (tenor) of Switzerland, Sébastien Izambard (tenor) of France, David Miller (tenor) of America, and new member Steven LaBrie (baritone) of America, have emerged as a phenomenon with indefinable magic. They have sold thirty million albums worldwide, scored fifty number one hits, and earned one hundred and sixty Gold and Platinum records across thirty five countries.

The iconic quartet Il Divo started their celebrations 20th anniversary earlier this year with the release of their 10th full length album XX. “It is the group’s first album with new member Steven LaBrie, after the tragic passing of founding member Carlos Marin in 2021 due to COVID-19.

Produced by Grammy® and Latin Grammy® Award-winning artist Carlos Fernando Lopez (Ricky Martin, Marc Anthony), XX: 20TH ANNIVERSARY ALBUM, includes songs sung by IL Divo in English, Spanish and Italian; and an original composition written by the group, Despertar Sin Ti. In addition to the IL Divo spin on Gnarls Barkley’s Crazy, the album will also include Whitney Houston’s I Have Nothing, with a Spanish version, No Tengo Nada,; Miguel Gallardo’s Hoy Tengo Ganas De Ti,; Brenda Lee and Elvis Presley’s Always On My Mind, sung in English and Italian; Ed Sheeran’s smash hit Perfect; Despacito, the mega-smash by Luis Fonsi, Daddy Yankee, and Justin Bieber, and more.

Between selling out tours on multiple continents, they’ve performed everywhere from the Summer Olympics and FIFA World Cup to Diamond Jubilee at Windsor and the Commander-in-Chief’s Ball. Get ready for an unforgettable evening filled with stunning vocals, breathtaking music, and the undeniable magic of IL Divo. The upcoming shows will be filled with IL Divo’s hits from their vast catalogue of songs as well as songs from their new 20th anniversary album.

TOUR DATES 2024

October

Tickets are now on sale

www.ildivo.com

Review by Kevin Cooper

Neneh Cherry is arguably one of the more diverse artists making music today and for over three decades she has offered her own unique twist on pop.

Since her debut album, Raw Like Sushi which was released in 1989, there have only been five solo albums, the latest being Broken Politics.  Nearly impossible to pigeon hole her music Cherry’s approach to music has been incredibly varied, this making her a bit of a counter culture pop hero.

With Kieran Hebden (aka Four Tet) working on this album as he did on her last album, 2014’s Blank Project, she tackles various dominate political issues such as abortion, the refugee crisis, gun control and the growth of fake news.  The whole album feels like we are delving into her very personal thoughts on the world and how they directly affect her.

Broken Politics comes complete with twelve tracks but it is not a standard listening experience.  There are elements of hip hop, pop, jazz and electronica and Hebden does a good job of combining them all.

Album opener Fallen Leaves see Cherry’s voice sounding better than ever as it dances around Hebden’s melodies.  On Kong, a collaboration with Massive Attack’s 3D, with its trickling of a piano and a lovely string section, she sounds genuinely hurt and betrayed by the unfulfilled political promises to deal with the refuge crisis.

Poem Daddy fits nicely in between darkly beautiful songs such as Synchronised Devotion; a hushed ballad with elegant pianos and the beautiful use of xylophones, and the smoothly atmospheric Deep Vein Thrombosis.

Given the laid back pacing of the album, Natural Skin Deep is a welcome burst of energy with its steel drums, blaring air horns and an undeniably funky groove whilst Shot Gun Shack brings us right back to reality with its reference to gun culture and Black Monday glides along with a smattering of strings, bells and chimes.

And what makes this album shine is Cherry’s voice which has always been powerful but on this album is captivating and allowed to soar freely.  Broken Politics seems to have an experimental, boundary pushing style and may not engulf the average listener right away, but those who are open enough to give it a try, prepare to be hooked.

Our Rating: (3 / 5)

Review by Kevin Cooper

In 1965 Van Morrison was persuaded by Bert Berns to join his new record label, Bang Records, which saw him release Brown Eyed Girl. Shortly after that success, Berns passed away leaving Morrison in contractual disputes with his wife, Ilene Berns. Honouring his contract to her, he recorded thirty six songs in one session, but they never came to be used as she described them as ‘nonsense music’.

These throwaway compositions came to be known as his ‘revenge songs’ and have now been officially released as part of a deluxe three disc library set, aptly named The Authorised Bang Collection. There are sixty three songs to get through and as you would expect with such an extensive collection, there are some duds but there are also some real classics.

Disc one is all about the Original Masters and sees original stereo mixes of such classics as Brown Eyed Girl, Midnight Special, The Smile You Smile, Ro Ro Rosey and It’s All Right; some of those available for the very first time on CD.

Disc two contains the whole previously unreleased out takes and alternate versions of the same songs, complete with studio chatter. It comprehensively covers the Bang Sessions and Rarities, including the sought after mono version of Brown Eyed Girl together with the previously unreleased studio takes of T.B. Sheets, Midnight Special, Beside You, together with a few interesting outtakes of Brown Eyed Girl.

Disc Three is dedicated entirely to the ‘contractual obligation sessions’ which acts as a reference to just how frustrated Morrison was with the label. The thirty one songs included are simply enclosed here in the spirit of completeness though and in reality only add historical perspective to this essential recap of the formative years of Morrison.

For the many Van Morrison fans around the world this collection could very well be a must have addition to their no doubt already extended collections of both Morrison’s solo work together with his early years with Them. To many, Van Morrison will always be one of rock, blues and pop music’s most iconic figures, but this album does nothing to illustrate this and in reality just comes across as a self indulgent piece of work.

Our Rating: (1 / 5)

Review by Kevin Cooper

Albert Hammond is a prolific song writer who has had commercial success having written for the likes of Celine Dion, One Moment In Time for Whitney Houston, The Air That I Breathe for The Hollies and To All The Girls I’ve Loved Before for Julio Iglesias, to name just a few. But this time he is showcasing his own album; Albert Hammond – In Symphony.

In a career spanning 45 years he has released twenty one albums and this latest release will be his twenty second. The inspiration behind the album came after he had played a televised show in Berlin accompanied by an orchestra. Apparently he enjoyed the experience so much that it was at that point that he decided to record a new album of some of his hits with an orchestra, together with his own personal versions of other famous tracks that he has written or co-written.

So this album takes the listener on a trip down memory lane with re-workings of Hammonds better known recordings, opener It Never Rains In Southern California swiftly followed by I’m A Train. It may be brave, stupid or both but there is a strong argument to say that both of these tracks sound far better than the original versions when you add a symphony orchestra into the mix.

The standout track on the album is undoubtedly Hammond’s version of the Diana Ross classic When You Tell Me That You Love Me. You can literally hear the orchestra take the song to another level. Also on the album are many of Hammonds instantly recognisable songs such as The Air That I Breathe, When I Need You and that classic One Moment In Time which went on to became a worldwide anthem. Of course no Hammond album would ever be complete without his Free Electric Band but it has to be said that he no longer needs to rely upon it as all of the songs on the album have been given a new lease of life in the most majestic of ways.

The album closer is Hammond’s gut-wrenching interpretation of The Hollies The Air That I Breathe which is one hell of a way in which to end the album. So please stand up and take a well-earned bow Mr Albert Hammond and The London Session Orchestra because this is an album which will get plenty of plays.

Our Rating: (4 / 5)

Review by: Kevin Cooper

Roy Orbison was an American singer songwriter, best known for his distinctive and impassioned voice, complex song structures and dark emotional ballads. So it is no surprise then that there have been twenty two compilations of his music released since his death in 1988.

This latest release, Black & White Night (on both DVD and CD) is a classic concert performed by the late Roy Orbison along with some famous accompanists, and this nineteen track CD and twenty-six track DVD, complete with Bonus Secret Post Show footage is a treat for any fan, because you find yourself simply being caressed by the sheer magic of the late Roy Orbison’s voice. This release is the whole of his 1987 television concert which was set in a 1940’s nightclub and was both lovingly and artistically filmed in black and white so as to add to the atmosphere of the great event.

What makes this concert so very special is the number of huge stars who are on this occasion acting as backing band to one of the greatest voices ever to grace the rock and roll stage. There are the likes of Jackson Browne, Elvis Costello, Bonnie Raitt and Bruce Springsteen to name but a few, who all ably assist Orbison.

With newly edited footage, the viewer feels as though they are on stage with the performers, giving a closer look at what the star-studded backing band is doing while Orbison did what only Orbison did so well as his voice soars. The undoubted highlight was seeing a very young star-struck Bruce Springsteen having the time of his life, gazing at Orbison as though he was standing next to God. He almost faints when Orbison beckons him over to share his mic for a duet on Dream Baby (How Long Must I Dream).

Even the most die-hard of Orbison fans would be hard pushed to find anything about this package that they didn’t like. All of the hits are there including Oh, Pretty Woman, Crying, Candy Man and Blue Bayou. The hairs on the back of your neck stand up when you hear the opening bars of Only The Lonely and from there it just gets better and better. This man must surely have possessed one of rock ‘n’ roll’s most unforgettable voices.

Whether you are a fan of Roy Orbison or simply a lover of rock ‘n’ roll, his Black & White Night is a must to add to any collection.

Our Rating: (5 / 5)

Old Crow Medicine Show have to be credited for tackling one of the most influential albums of all time, Bob Dylan’s Blond On Blonde, and doing it live no less.

Marking the 50^th anniversary of the greatest achievement of Dylan’s early career, OCMS performed the album in order at The CMA Theatre in Nashville in May 2016, and it was so good that it was decided to release the concert on album. As a result we have 50 Years Of Blond On Blonde.

With superb handling of the songs from beginning to end, they play beautifully and there is no doubt their sincere love of the album. Putting their own spin on this classic work, they turn some songs completely around. One Of Us Must Know (Sooner Or Later) is performed as a ballad, and they turn Obviously 5 Believers into a blue grass song.

With others there are no radical re-working of the songs; the band have enhanced the originals with their brilliant playing and Ketch Secor captures Dylan’s unique sounding voice without imitating him, but by bringing his own tone to the songs.

The melodies are all maintained on the likes of Visions Of Johanna, I Want You and Just Like A Woman. They up the tempo levels on Stuck Inside Of Mobile With The Memphis Blues Again and Most Likely You Go Your Way And I’ll Go Mine to the extent that they sound like they never had before.

OCMS’s mark on Dylan’s iconic album means that this album may be a tribute but it is more than a run of the mill impersonator.

Our Rating: (3 / 5)

Scouting For Girls are an indie band, comprising Roy Stride, Greg Churchouse and Pete Ellard, and are celebrating a decade since the release of their self titled album which originally topped the UK album chart in September 2007 for two weeks. The celebration comes in the form of a deluxe version of the album, which has two CDs; the first being the 2007 album and the second featuring ten live tracks and four unreleased demos.

Available on vinyl for the first time, they have also released it on a limited edition cassette, and with streaming and downloading, this album can be appreciated by all ages, and so it should be because it is pure frivolous fun.

It has all the classic hits, It’s Not About You, She’s So Lovely, Elvis Ain’t Dead, Heartbeat and I Wish I Was James Bond, and sung live on the bonus album they still make for great sing-along’s with their glorious harmonies and catchy choruses to entertain the ears and keep the foot tapping.

Showing just how good they are live, this album must surely encourage ticket sales of their tour later this year. It is a lovely album with songs that are unashamedly pop in nature and have stood the test of time. What the songs lack in depth, they make up for it in sheer exuberance especially on the live tracks where the fervour of the crowd can be heard. An added bonus for the diehard fans is the last four tracks of unreleased demos of which Summer Love is one of the best.

What can be said about this album is that the songs haven’t aged. With some of them still getting radio airplay, it would be impossible not to sing along to She’s So Lovely as it sets about brightening the day.

Our Rating: (4 / 5)

In this current political climate where the news is filled with Brexit, the American Elections and the failing Health Service, to name but a few, you would assume that Billy Braggs latest offering on Cooking Vinyl would be his usual politically based muses, but not so.

Having once toured the UK by British Rail, Bragg developed a love of all things train. So thirty years later he has boarded the Texas Eagle with his friend, American singer Joe Henry and they have journeyed 2728 miles from Chicago to Los Angeles, singing and recording old folk railroad songs in the likes of station waiting rooms and platforms along the way.

What they have produced is an album of thirteen songs that not only deal with the journey itself, but how people’s lives have been affected by making their own train journeys. This has resulted in this album being a wonderfully authentic homage to the wanderings of songs of singers past.

With the spirit of the likes of Boxcar Willie, and Lead belly inhabiting these old tunes, there is the wonderful In The Pines and Where Did You Sleep Last Night? both covered by Nirvana. With Bragg and Henry alternating and sharing vocals on the songs, they bring these old songs to life. Rock Island Line, recorded by Lonnie Donegan in 1955 and which signalled the start of the UK skiffle craze, is included as is Johnny Cash’s bleak tale of economic hardship, The L & N Don’t Stop Here Any More.

There are also songs about African American folk hero, John Henry and nineteenth century outlaw, Railroad Bill. A stand out track is their tender treatment of John Hartford’s Gentle On My Mind (a 1967 hit for Glen Campbell) which is astonishingly good.

With its simple arrangements, guitar and vocals and the authentic rail announcements in the background, this album takes you on a gentle journey. Whilst Waiting For A Train features what must be the first known example of Bragg yodelling on record, that alone gives you cause to give this album a listen.

Our Rating: (3 / 5)

Bounce is the first album from The Beat in over thirty years and is being released on independent label, DMF Records. Written by a combination of Ranking Roger, Mick Lister and Ranking Junior, this album has been produced by Lister (Bad Company, Amy Winehouse, The Feeling) and mixed by Tim Hamill and Lister except new tracks Side To Side and My Dream which were mixed by Dennis Bovell.

The Beat, best known for a string of hits in the late 70’s and early 80’s such as Mirror In The Bathroom, Too Nice To Talk Too and debut single, Tears Of A Clown, split in 1983. Following on from that there became two versions of the band; one led by Ranking Roger and The English Beat with original vocalist and guitarist, Dave Wakeling. Over thirty years later both camps remain friends and both are to release new albums this year.

Bounce is an album well worth waiting for as it encompasses every aspect of one of the most musically diverse bands to come out of the multi-racial, multi-cultural explosion that made British pop music what it was in the 80’s. It is so good that it could have been recorded thirty years ago as Ranking Roger and Co manage to perfectly keep the essence of the band.

Walking On The Wrong Side, the first single to be released from the album, begins with an upbeat instrumental and has a good combination of both reggae and soul music. It is a song which incorporates their original sound whilst at the same time, updating it.

Busy Busy Doing Nothing is instantly catchy with its chorus that will have you humming it to yourself, whilst Ranking Junior comes to the fore with his super fast rapping on Side To Side. Heaven Hiding is a delightful pop song and Work Work Work shows their political and social commentary side.

But it is their second single, Avoid The Obvious that is the stand out track on this album. The Beat have never been afraid to write a politically energized song and this is no exception. This track is a little bit indie, a little bit underground, but is certainly very commercial; bridging the gap between the two versions of the band.

This album is a repeat listener which will most certainly get your feet tapping. It is an excellent follow up to The Beat’s previous offerings; I Just Can’t Stop It, Wh’appen and Special Beat Service. It is just a pity that we have had to wait so long for it.

Our Rating: (5 / 5)

Quoted by Blues Matters as being “a gift to all of us from the Blues Gods”, Sari Schorr finally gets to release her debut album, A Force Of Nature, on 2^nd September.

Initially gaining prominence throughout the blues world after several years of touring America, Australia and Europe with blues legend, Joe Louis Walker and renowned guitarist Popa Chubby, this New Yorker is fast becoming one of the hottest new blues rock singers of 2016.

Produced by Mike Vernon and joined by The Engine Room guitarist Innes Sibun, together with Oli Brown, keyboardist John Baggott and special guest Walter Trout, this is an album which will make you press the repeat button over and over again.

Opening with gentle smoothie Ain’t Got No Money, written about the Wall Street Brokers and their insatiable greed, is not reflective of the rest of the album, because there is nothing gentle about it as it pounds to great crescendos then brings you right back down. With a voice that has been likened to Janis Joplin and Tina Turner, it is easy to see why, as the track Aunt Hazel (urban slang for Heroin) showcases her magnificent voice. This is a great track with Innes Sibun bringing the whole thing alive with his exquisite guitar work.

Having written or co-written most of the tracks, this album is very much Schorr’s own work. It has been cleverly produced by Vernon in that one track makes you rock whilst the next like Damn The Reason brings you right back down with its slow but powerful lyrics about domestic violence, and with Oli Brown’s influence it makes it one of the stand out tracks.

The lighter and pseudo funky groove of Cat And Mouse follows before giving way to a striking cover of Huddie ‘Lead Belly’ Leadbetter’s Black Betty, which is stripped right back and takes on a whole new lease of life with its special arrangement done by Sibun and Schorr.

Walter Trout’s own blues number Work No More is given the Schorr treatment and features the great man himself. Defining what it is to have lost a dear friend, Trout’s impressive six string licks sit perfectly with Schorr’s searing vocals.

Other tracks, like Demolition Man illustrate just how good her accompanying musicians are, whilst Letting Go is poignant and was touchingly written for Natalie Vernon, the late wife of Mike Vernon.

Kiss Me is like a journey back in time with its nod to psychedelic infused rock as it steps the album up a gear. A real delight is Vernon’s remake of a song that has been the sole property of The Supremes for over half a century; Stop! In The Name Of Love. To bluesify such a soul pop classic is a genius idea and it works really well as Schorr not only steals the song but becomes the firm owner of it.

From the high of that track she brings you right back down with closer and intensely slow emotional song, Ordinary Life, which just shows her vocal versatility.

Sari Schorr is no newcomer to the music industry. But it took a chance meeting with Vernon to get this near faultless album off the ground. So not only did the Blues Gods send us Schorr, they must also have engineered the meeting, and on listening to this album, we should all be saying a massive thank you.

Our Rating: (5 / 5)