Review: Blue Touch – IV

Posted on: Thursday, Feb 28, 2013

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Blue Touch – IV

(Independent release)

Blue Touch have been in existence since 2006 and their confident, comfortable well-rehearsed diverse  playing styles are evident from the moment the first note emanates from the speakers. The band, who are; Neil Sadler; guitar and vocals, Adam Cleave; guitar and vocals, Andrea Maria; vocals, Hugh Lawrenson; drums and Merv Griffin; bass present their new collection of well studied, re-arranged covers and intriguing originals; which to the ears is a very pleasant and satisfying listening experience.

One of the more effective covers, is Imelda Mays’ rockabilly “Big Bad Handsome Man,” – this has been stripped down and re-built as a goodtime Latin staccato shuffle to surprisingly good effect, while Tony Orlando & Dawns’  “Tie A Yellow Ribbon,” has been turned into a slowburning blues, the old standard “St. James Infirmary,” is treated with the respect it deserves, the mournful slowburn vocals are accompanied throughout with an interweaving, solemn and slightly hurting, brooding and wailing guitar. The spiritual based “Wayfaring Stranger,” is of a distinctly similar mood; thoughtful, respectful and restrained vocals are delivered by Andrea.

Four of the twelve numbers here are band originals; the lively harmonica-led almost boogie shuffler “Company Man,” features a an equally insistent sharp swinging guitar. On “Strip Me Naked,” we have the highly entertaining full blown late-night sensual, seductively winding and wringing light touch guitar flurries around which lead singer Andrea Maria sweetly wraps her eagerly anticipating hot breathy vocals.

“Stack o’ Bob,” is a very enjoyable growling and whining slowburning harmonica and guitar led ‘Western Americana’ tale about bar brawling and shooting. “Trouble,” is a lively shoulder rolling, footappin’ wah-wah led country shuffling boogie. Robert Johnson’s “32-20,” has been given a loose rambling reggae, country shuffling backbone mix with a constantly urging guitar interspersed with sharp guitar flurries. Impressive!

BRIAN HARMAN

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