Just released, Rosalie Cunningham’s eponymous album is a delightful showcase of her distinctive and fulsome talent as multi-instrumentalist, vocalist and songwriter. The psychedelia of her significant time as leader of superb band Purson [albums and live reviewed here] is still wonderfully evident, but there is a coherence of the music circus to this fine set of tracks, and by this I mean a theatre of gypsy folk to psyche pop elements merging in the big tent circle of this performance.
In many reviews I often cite precursor touchstones and then either
hasten to confirm the intended compliment or apologise for what are probably
familiar [perhaps ad nauseam] references to musical echoes. Unabashed now, I
simply reflect on hearing forebears like Clear Light and early Doors, then
Affinity as well as one cosmic waft of Hawkwind opening a track, and also a favourite
influence mentioned by Cunningham herself in the album’s inner sleeve, the
Beatles, and by implication, George Martin.
All these inspirations coalesce in Cunningham’s assured interpretive
flair, a musical focus she has honed with instinct and determination throughout
her musical career and celebrated in this solo album.
Rather than work chronologically through individual songs, I
will highlight the collective pulses of this record from happily engaged notes
I made on a first listen, starting always with the voice, Cunningham’s fulsome and resonant vocal and the occasional great swathes of warbling
perfection and the harmonies quite
beautifully expanded and overlapped. There are 60s/70s fuzz buzzes and space-rock backdrops. There is a portentous, punchy start. There are continuous
examples of solo excellence in clever guitar
leads, a pounding bass, and layered organ swirls.
Instrumentation and genre merge playfully and evocatively, from lounge piano to wah-wah to marching beats to orchestral keyboards/mellotron to the operatic, and on closing tour-de-force A Yarn from the Wheel, spoken narrative and rousing screams.
Instrumentation and genre merge playfully and evocatively, from lounge piano to wah-wah to marching beats to orchestral keyboards/mellotron to the operatic, and on closing tour-de-force A Yarn from the Wheel, spoken narrative and rousing screams.
I am so genuinely pleased to have a vinyl copy added now to
my Purson collection. I look forward to those of the future from this musical
ringmaster.
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