Listening Without Prejudice… ‘All That Malarkey’ - Darron J Connett

**Introduction**:

Next up a virtual run round the estate in the back of a purple Triumph Herald convertible tackling the mind of everyone’s favourite hard working singer/songwriter, charismatic frontman, (under)dog champion, celebrity-mod-associate and iconic clothes horse… Mr. Darron J Connett.

**Overview**:

‘All That Malarkey’ is the latest instalment in a trilogy that also includes the excellent ‘Loyalty Lies’ and ‘Advantages of Living’. Both of which were as outstanding and huge as the titles imply so I was very much looking forward to spending some quality time in the world of DJC to see where he was taking me this time around. We reviewed the ‘Loyalty Lies’ album very favourably back at the time but for some reason (probably lockdown) we missed the opportunity with his second solo offering so let’s hope this makes up for it.

**Production and Musicality**:

He seems to get just the right amount out of the like minded groovers he gets on board with each album that almost makes it sound like no-one else could have made these records. Which of course they couldn’t but it is testament to the fact he knows what he wants it to sound like and he definitely knows what he doesn’t want it to sound like. Unconditionally.

This time around it’s Darron with the ultra talented Mani Perezzoli, and the sum of the parts contain ‘all that malarkey’ and really do seem to be exactly the right mix at the right times. Polished mostly, raw when necessary and an old school 10/10 for effort always.

**Lyrics and Themes**:

Obviously there is always going to be an underlying current of modernist culture within and around these songs but it isn’t prohibiting or forced, just how it is. Personally, I’m about all that anyway so love it and enjoy the authenticity. Love, loss, disappointment, clarity, energy, hope, cracking on and staying true to yourself are the order of the day - they are the weapons at his disposal and use them he does.

**Standout Moments**: 

Right from the off ‘L’Inizio’ the opening track was NOT what I was expecting at all. Haunting madness that had me hitting google for a definition. Mesmerising but far too short in my opinion, I thought we would be off into a synth pop soundscape worthy of Jean-Michell Jarre for a minute there.

The shortness was saved though as we are then straight into what I WAS expecting… ‘Leave Me Alone’ is classic DJC. Intelligent, sad, belligerent, hopeful, and much more. Great tune and even better lyrics - if there’s one thing Darron can do it’s write a belter. This put me in the best mood for the rest of the album which was as compelling and enjoyable as anything I’ve heard in a long time. 

One of the main things that stands out for me through all the songs Darron writes is that he obviously means it. All the best artists do that’s why they flourish and soar as he does throughout this album ‘Win or Lose’ he means it. 

More synths shroud ‘Come Tomorrow’ but enough guitar for me to enjoy them without needing to start thinking of 80’s comparisons. ‘End of the Day’ another future classic steeped in sincerity and realness to a banging tune. I have to remind myself from time to time that this is self funded hard work I’m listening to and not some established signing for one of the majors, there’s that much experience and multiple layers of authenticity literally everywhere. 

‘Arcadian’ will have you in tears if you’re not careful before the riff of ‘Candescent Smile’ slaps one on your face - a rare duet that really works. Having someone to bounce off seems to suit vocally and of course the orchestration and middle 8 are full on power pop at its best so this was always gonna be a contender and ultimately became my favourite on the album.

That said, having to choose one from this lot was difficult. ‘Mr Davis’ is a spectacular Kinks like city boy song akin to something from their vast repertoire but VERY much a DJC composition - a thoughtful nod of the head rather than straight Weller-like theft for the record, an appreciation rather than plagiarism. (Don’t tell Paul I said that).

‘Into the Void’ carries on the uplifting vibes and is another one that could well have been my favourite choice. Great song.

‘Average is the New Great’ had me again wondering where we were going for a second cos the opening musically seemed almost clipped to my ears but then we settled into a solid rock and roll banger that sits alongside the previous tunes brilliantly. Certainly not ‘dull’ as the lyrics confirm.

Then we come to the end far too soon, so you know it’s been a good album and it can go on from the beginning again anyway. 

‘You Know Your Problem’ is a melody rich 2 fingers up to the nay sayers and a glorious way to sign out. Almost like it’s been saved on purpose. Of course it has, no room for fillers when you got tunes like this.

Be sure to stick around for the secret reprise too, it’s worth the wait.

**Weaknesses (if any)**:

Not a weakness in any way but something to note if you don’t already know Darron with or without the J in his many decade spanning musical guises. His voice is most definitely his own. 

If you own anything by Ronan Keating this ain’t for you and you’ve arrived at the wrong website anyway. DJC vocally puts me in mind of Tom Waits, Leonard Cohen, Billy Bragg, Dylan, Morrissey and such like. In as much as, I know people who love them and people who hate them equally based entirely on the tone of their voices. Harsh but that’s taste for ya and sorry for being so crass. Luckily for DJC I’m a lover not a hater but as a warning to newbies - he has a unique sound that is very hard to compare to other vocalists so don’t try to put him in a box and you’ll be good to go.

**Overall Impression**:

I started this journey by revisiting the earlier works in order to see how the sounds and lyrics had progressed - very glad I did cos it really is quite a long road Darron has travelled so far and it’s full of ups and downs that would have scared off a lesser man. Keep them coming fella, you’ve got something special that deserves and needs to be shared mate.

Peace ‘n’ Tonic!

- TBC

Alrighty, let me get into my groove! If you're looking for the freshest and funkiest sounds around, then you've come to the right place! The world of funk and soul has been buzzing with activity lately, with some seriously exciting releases hitting the airwaves.

"It Rains Love" by Lee Fields & The Expressions. This album is a soulful journey through the ups and downs of love, with Lee Fields' smooth yet powerful vocals leading the way. 

Another must-listen is "Free Yourself Up" by Lake Street Dive. This album is a funk-filled explosion of catchy hooks and killer grooves that will have you dancing the night away. And let's not forget about "Ventura" by Anderson .Paak, which seamlessly blends funk, soul, and hip-hop into one irresistible package. So, get ready to put on your dancing shoes and let the funky beats take over!

Finally, we can't talk about funk and soul without mentioning "It Is What It Is" by Thundercat. This album is a funky, jazzy masterpiece, with groovy basslines, intricate arrangements and smooth vocals that will have you grooving along from start to finish. If you're looking for something that's both experimental and accessible, then Thundercat's latest release is the perfect choice.

So there you have it - three of the hottest funk and soul releases around. Whether you're a die-hard fan or just looking for something new to get your toes tapping, these albums are sure to deliver the goods.

Updates are coming soon… apologies for the lack of action! Normal pre pandemic service will resume soon. Thanks for your loyalty and patience!

20 Questions You Didn’t Know You Wanted to Ask… Jason Edge from The Electric Stars

Flevans is back and this time, he comes with a real three-track groover of an EP ready for your kitchen dancefloor. Disco, house, and electronica elements combine in a huge sound with a big lean towards 4/4 beats to accompany his usual taste for all things funky! Proper dancing fuel from start to finish.

Pitch-shifted vocal samples, soulful keys and big basslines are order of the day in the title track, ‘I’m Over Here’. Number two comes in the shape of ‘Uptight’ - a funk instrumental dub featuring a clutch of 80’s sounding synths with a class rubbery bassline. Finally, ‘Fade’ walks the line between mellow moments of reflective rhodes chords to all-out disco house beats. 'I'm Over Here' is available to stream or download from your favourite platform HERE.

20 Questions You Didn’t Know You Wanted To Ask Neil Sheasby from Stone Foundation

1 How would you best describe what you do to the uninitiated?

Soulful, honest creativity that arrives from good intentions 

2 Where would you say you are with regard to your career right now?

I don’t think of it in a careerist manner. Where we are? On a new album campaign and thinking about assembling the next one. Always moving forwards 

3 Which song (not neccesarilly yours) best sums you/the band up and why?

The long and winding road....

4 Who would you say has been your biggest inspiration (musically or otherwise)

My parents, my late, great friend Hammy and Paul Weller for igniting the flame around 1979 then becoming a friend a few years ago, he’s a constant source of support and encouragement 

5 Is there anyone amongst your influences that you think would surprise people and why?

Yes lots I think, my musical pallet is very broad. Lots of early 80’s pop is a big influence which is more down to a time frame of 80 to 83’ rather than any particular artist or band 

6 What are you most proud of?

Still being in the game, still relevant and interesting to people after all these years, it’s been an incredible journey of which I’m proud of 

7 In the quest to get the music ‘out there’ have you ever done or agreed to anything you’ve later regretted?

Not really, I’m not a yes man or eager to crowd please so I think one of our strengths is what we say no to 

8 What’s the most ridiculous request that’s been asked of you/the band?

Getting asked to play in someone’s living room and in a shoe shop but we actually did both!

9 What do you think is the secret to a good working relationship amongst musicians?

Listening to each other and respecting ideas, try anything before dismissing it 

10 If you could have played on one song (that you don’t), what would it be and why?

Probably Slade’s Christmas hit and I’d have a huge cheque every year 

11 How do you make the balance between music and personal responsibilities?

A delicate balance but first and foremost I’m a father and a husband. Financially it can certainly be tough but we somehow find a way through. My family have been wonderfully supportive of my musical escapades. 

12 In light of the internet and downloading do you feel that fans are missing out on the record buying discovery/experience?

I think the physical format is on the rise once again, our new album “Is Love Enough” sold overwhelmingly better on vinyl 

It was heartening to see the figures 

13 Do you think that success is your motivation and do you have a preset gameplan for your music/the band?

No plan/no compass and whose yardstick is success measured on? I’m a bloke from Atherstone who started a band at school with my mates and that adventure took me on a journey that ended up playing at the royal Albert Hall and making records with Paul Weller. 

That’ll do for me 

14 DJ’s are now as famous as a lot of the bands they play, what are your views on this and do you think it’s deserved?

I like DJ culture. It’s an important part of music both creatively and for championing new music, it goes hand in hand, I don’t view it as a threat to bands or artists 

15 To date, what has been your most memorable gig (either as a performer or as a fan)?

Fuji Rock festival in Japan and the aforementioned Royal Albert Hall gig for teenage cancer trust 

16 How do you overcome pre-gig nerves (if you get them)?

I don’t really get them it’s more a pent up anticipation and they always pass once I walk out on stage and hit that first note 

17 When did you last write something?

I write something almost every day 

18 Have you ever reached a point where you’ve thought about throwing the towel in and walking away (and if so, what persuaded you otherwise)?

I wasn’t sure after the demise of my last band (in 1997) that I’d continue or indeed wanted to but my wife Claire and my friend Al Calnan convinced me it was part of who I was. I met Neil (Jones) & formed Stone Foundation and never really looked back since 

19 What are your views on electronics muscling in and replacing live instuments during recording?

I’m not sure they are? But again that’s fine by me if artists want to embrace those methods. I think there’s some incredible new music being made

20 Lastly, thank you for your time. What made you agree to answer these questions?

The rope that ties my arms to this chair.......

Blow Up Records is pleased to announce The Bongolian brand new album‘Harlem Hipshake’ will be released 13/11/2020. It will be the sixth album under The Bongolian moniker, AKA multi-instrumentalist and Big Boss Man front man Nasser Bouzida. It is the much anticipated follow up to the highly acclaimed Moog Maximus and is available to pre-order now in the following formats: Clear 180g vinyl (limited 500 ), black 180g vinyl, CD and digital from the Blow Up (greedbag) shop: https://blowup.greedbag.com/buy/harlem-hipshake/

Harlem Hipshake finds The Bongolian deeply immersed in his lifelong love for the music of the sixties New York’s Latin Soul scene, particularly the music of Ray Barretto, Mongo Santamaria and Joe Bataan. Principally a drummer, percussionist by trade, Nasser has once again delivered another set of heavy breaks and percussive grooves underpinning this brand-new collection of songs which he has written and produced. Whilst Nasser performs many of the instruments (as is usual with Bongolian albums) on the album, it also features a prominent use of additional UK musicians on brass duties. These include Terry Edwards (Trumpet, Trombone, Sax, Flute), Gareth James Bailey (Trombone) and Craig Crofton (Alto Sax), James Morton (Alto Sax), Andrew Ross (Tenor and Baritone sax) and Ralph Lamb (Trumpet).