Mention the name Patsy Matheson and a warm musical glow envelops the discerning music lover. As part of the driving force of the all-female band, Waking the Witch, Patsy received critical acclaim throughout the music-industry, however it is as a solo performer that Patsy's song-writing talent and pure voice comes to the fore.
The release of her latest album “A Little Piece of England ” will enhance her reputation even further, as she takes the listener through the full range of human strengths, weaknesses, feelings and emotions.
Patsy has a vocal range that can melt the heart through “Sunday Morning Song” and “Little Piece of England”, convey the fragility of hope and dashed ambitions in “Treading Water Town” and “This New Song”, inspire social, political and economic questioning on “Play the Game” and “Precious Little Soldier”, be stinging on “Lamb to Slaughter”, narrate through the story of a travelling female musician on “Ulverston Gypsy” and finally romantic via “Row Down to Wroxham”. Whatever your mood, there will be a song on this album which will ignite a nerve or emotion as only a very special talent can achieve.
This is not only a musically glorious album; it is also a statement that Patsy Matheson, the solo performer, is back and better than ever!
Paul Abraham
Music Editor - www.womensradio.com
It’s only a few months since the brilliant female quartet Waking The Witch “quit while they were ahead”, but founder member Patsy has wasted no time in getting back to making music, returning to the studio with a bunch of great new songs that she’s assembled to form her first solo release since 1997’s Breathe Me. Her brace of late-90s albums was always going to be a hard act to follow (I still play tracks from them regularly), and more especially now after the heightened expectations of WTW, but A Little Piece Of England is an admirably assured offering that both consolidates Patsy’s proven songwriting talent and takes her into an arguably more considered musical direction – albeit still rooted in the contemporary-acoustic-with-folk-sensibilities mode.
The actual title of this new CD might however perhaps mislead some of the more folky-inclined listeners into expecting either a fairly hard-hitting commentary on the state of our nation (à-la-Maggie Holland or Steve Knightley) or a more idyllic celebration of pastoral pursuits. All of which would be too simplistic an expectation, for although several of Patsy’s songs undeniably incorporate an element of protest, they also form quite personal accounts of, or observations on, universal relationship conundrums and romantic dilemmas. These are self-evidently related or discussed from the angle of direct experience (rather than just being rehashed second-hand), but there’s never any sense of intrusion on Patsy’s privacy, instead more a feeling of somehow being included within the difficult thought processes and the situation, its history and its consequences
As for the “little piece of England” in Patsy’s songs: well, although it occurs in a literal sense through her referencing of specific locations for three of the songs here, Englishness is probably more of an undercurrent, in the sense that the imagery used, together with the often quite wistful tone and acute sense of place, are elements that seem quintessentially English in songwriting terms. Patsy cements our involvement with her songs through her ability to recount – with an enviable economy of expression – experiences and feelings common to all of us, which may have formed the basis of countless songs over time, but which are rarely voiced with such percipient sensitivity and simple, painful (yet in some ways almost detached) honesty as here. The consciously stripped-down musical settings employed reflect the intimacy of the lyrics too: Patsy’s solo (mostly acoustic, sometimes electric) guitar is sparingly and tellingly augmented by that of her producer Sam Bartholomew, with only a very occasional accordion or percussion part to mildly thicken the texture. All of which produces a gently intricate sound-world which is (perhaps surprisingly) very direct in its impact.
There are some really imaginative touches too, including an eerie electronic treatment to the electric guitar part on This New Song, excitingly reflecting the unearthly, even scary synergy of personal connection between two musicians that’s expressed through the lyric – you feel the pull of the magnet as you’re drawn in. The character of Patsy’s own singing ranges entirely believably, from world-weary and knowing – as in Addiction To Love – to emotionally vulnerable – as in Precious Little Soldier. The writing of the latter, a deceptively simple anti-war song, one of the album’s standout tracks, was inspired by Martyn Joseph’s impressive gift for combining political issues with personal feelings in song; it features some delicate chiming electric guitar figures counterpointing both Patsy’s own delivery and Gina Dootson’s precise and heartfelt backing vocal, and shares a certain kinship with Dylan’s Visions Of Johanna in terms of structure. While each of the album’s ten songs is distinctive, they’re also unified by virtue of Patsy’s writing having a keen sense of structure and good use of hooks both musical and lyrical (note the latter especially in Play The Game, Precious Little Soldier, Ulverston Gypsy and Sunday Morning Song – it’s intelligence rather than contrivance that’s on display here).
Patsy’s trademark guitar figure provides the signature hesitant, ominous riff for Lamb To Slaughter, a powerful commentary on the paparazzi culture (with some seriously tasty, edgy electric guitar from Sam setting off Patsy’s unsettling, bluesy vocal). At the other end of the scale, the full-toned modal-folk-guitar backdrop for Ulverston Gypsy complements both the song’s nods to the tradition of Gypsy Davey and the inevitable resonances of contemporary parables by Bob Pegg (The Gypsy) and Richard Thompson (Bee’s Wing). Whereas the desperation and comparative monotony of the melody of Treading Water Town mirrors the rut which the song’s creative protagonist is stuck in.
But there are so many incidental delights in these songs, and I’ll leave you to discover the rest yourself (I’m still finding extra nuances after several plays). I need additionally to praise the clear-toned recording, and the artful (in both senses!) presentation of the whole package, with its provision of full lyrics and credits and its attractive nu-folk design and graphics that really complement the music within – another persuasive selling-point. Well done Pats – so here’s to the next project!
David Kidman - www.netrhythms.co.uk
Ok let's cut to the chase here! When your successful band comes to what, many people felt, was a very premature end you would be faced with some difficult choices. You could try and rebuild a new band from scratch and carry on the name. Another option is to sit and sulk. Or you can head straight back into the studio and begin work on a new solo album, your first since 1997. Patsy decided that the latter was the best option for her and this delightful album is the result.
Eschewing the possibly obvious choice of using multi-tracking on vocals that would inevitably draw comparisons with the beautiful trademark four-part harmonies associated with Waking The Witch, Patsy has opted for simplicity. I want to say that the results work really well. The sparse 'Addicted To You' is the opening cut telling the tail of a doomed relationship when the lady in question gives in to the constant lies and promises of her lover while she still craves the physical desires burning inside.
'Treading Water Town' is a perfect blend of a bleak song and plaintive vocals. Constantly knocked back by the music industry, destroyed by yet more broken promises, the poor lass in the song is heading off to commit suicide where, if successful, she will attain a brief few lines of fame. You might get the idea that this is a depressing album and that is not the case. True some tracks are definitely on the sad side however the lovely 'Sunday Morning Song', for example, counter balances the mood. 'Ulverston Gypsy' is pure, and quintessentially, English Folk weaving aural pictures of a life of a musical traveller.
Painting by song is a good way to sum up this album. We are allowed a wee peak into the lives of the characters that populate this descriptive collection of songs. Mourn by all means the past but celebrate a new beginning for Patsy.
Graeme Scott - Classic VRN Radio
LEEDS-based singer-songwriter Patsy Matheson has pulled off one of music’s most difficult tricks – and with some aplomb. That is, to step outside the framework of a well-known, and well-loved band and produce a solo recording that, while not denying what has gone before, marks a significant leap forward in terms of style and maturity.
Matheson has given her distinctive, often plaintive, guitar sound and honeycomb vocals over to a collection of 10 songs that are close enough to identify with her previous work as one quarter of the now defunct indie/folk/acoustic darlings Waking The Witch, yet different enough to single her out as a talent demanding to be listened to in her own right. She has also played a blinder in surrounding herself with sympathetic cohorts who bring added clout and delicacy to the mix from multi-talented musician and producer Sam Bartholomew, former Chumbawamba percussionist Harry Hamer and vocalist Gina Dootson, all of whom compliment Matheson’s style perfectly.
This is stripped back, close up and personal material of the highest order and showcases perfectly what Matheson is all about.
She had released two solo albums before her critically-acclaimed work with the Witches and this latest offering shows just how much her songwriting skills have matured over time.
A Little Piece of England, her first solo work for 11 years, ranges from the all out folk vibe of Ulverston Gypsy to the haunting anti-war ballad Precious Little Soldier, the reflection on soiled celebrity, Lamb to Slaughter as well as the perfect summer Sunday afternoon memory jerker Row Down To Wroxham.
It is a potent mix and all the better for dispensing with any flashy production tricks. Songs have to stand on their own merits and, without exception, they do just that.
Matheson has worked hard to build on the promise she showed back in 1991 when Maddy Prior and Clive Gregson lauded her songwriting skills in a music competition. And, on this evidence, it is clear that Matheson’s will to succeed and to entertain has continued to carry her on a journey that will surely yield more riches along the way.
Patsy Matheson will be bringing her Little Piece of England tour to the Square Chapel, Halifax on Saturday, January 10, 2009.
Halifax Courier Sept 08
It seemed a great shame when Waking The Witch split up earlier this year, so much talent would be sorely missed. However, it hasn't taken long for solo projects to appear from the members of the band. Patsy Matheson's ' A Little Piece Of England' is the first to hit the shelves, the songs all pay homage to different aspects of England, from the Lakeland Fells to the waterways of the Norfolk Broads. fans of Waking the Witch will not be dissapointed, neither will those who wanted to hear more from the talented Patsy.
Patsy has a warmly magnetic personality that captures an audience, this is reflected in her songwriting that varies from soft ballads to edgier material dealing with current issues such as the war in Iraq. The presentation and production is stripped back and bare, it realy is a solo album, no multi layered vocals or studio tweaks to hide behind, even her trademark mandolin is sparsely utilised. In short it's a bold brave move away from what has gone before, she has the skill to carry it off wonderfully.
The album is released early October on Witch Records and accompanied by the album's multi-instrumental producer Sam Bartholomew, Patsy will kick off her tour at Cambridge Folk Club on Oct 3, followed by gigs in Manningtree, Essex; Budleigh Salterton, Devon; Torquay, Cornwall; Lowdham, near Nottingham; Rotherham, Hartlepool, Halifax, York and Leeds in her home county of Yorkshire; Birmingham; Battle in Sussex, Barton-upon-Humber in Lincolnshire, Ulverston, Cumbria and London's famous Half Moon, Putney.
Rising pheonix like from the ashes of the much missed Waking The Witch, Patsy Matheson returns with her first solo album in way too long. "A Little Piece Of England" is a hugely powerful album that absorbs love, life and politics. "Precious Little Soldier" humanises the tragedy of war, the impact on family, especially if you're not married when your partner dies. The simplicity of delivery, normally vocal and guitar, help to emphasise the bleakness contained in the album, but it's not an album of despair, more an album of strength of spirit, from first pen touch to last note.
The only good thing to come out of the demise of the excellent female four piece Waking The Witch will be the band members solo ventures and Patsy Matheson releases this, her latest album. As you'd expect from solo outing this has a much stripped down sound being all acoustic (bar a couple of songs on which Patsy makes her electric guitar debut!). In fact a quick mention to the guitar playing on here which is top notch – some lovely playing on songs like ‘Play The Game' and ‘Addicted To You'. The sound is perfectly clear and crisp thanks to a sterling production job by Sam Barthololmew (who also adds guitar throughout the album).
Picking out highlights is hard as all the songs on here are strong both musically and lyrically. The anti-war song ‘Precious Little Soldier' features Gina Dootson on backing vocals, adding greatly to the song and its sound. ‘Ulveston Gypsy' is one of those songs that tell a story whilst linking it in into real places and/or events – a great song and one made for a live setting. ‘Lamb To The Slaughter' takes a shot at the paparazzi and the way the media can destroy a celebrity's life – the song is loosely based on Amy Winehouse. ‘Addiction to You' is one of those relationship songs that Patsy does so well, either solo or in Waking The Witch.
A very talented singer/songwriter/musician ably supported on here by Sam Barthololmew and although I do miss Waking The Witch this solo album more than makes up for it! An album with wide appeal not only with Waking The Witch and folk fans but anyone who enjoys the folk/acoustic songs of Mostly Autumn and Karnataka.
****1/2
Jason Ritchie
If you believe the journalistic comparison that Waking the Witch was a
Brit-folk version of Crosby, Stills, Nash and Young - comprising four
harmonising singer-songwriter guitarists - then Patsy Matheson must surely
have been cast in the role as the Neil Young figure. With the premature
break-up of the band, her first solo album in over a decade gives her the
opportunity to express herself more extensively than she might have had in a
group situation.
"A Little Piece of England" might suggest that this is Matheson's "State of
the Nation" album, but while some songs such as the anti-war "Precious
Little Soldier" or the bluesy "Lamb to Slaughter", with its protagonist
(Amy/Britney) as the sacrificial prey of the paparazzi, might have a topical
edge, the record acts as an album of snapshots of the personal and the
universal in England in the early 21st century. It makes no pretence of
presenting a balanced overview: it simply gives an honest account of what
was important at a particular time and a place in the writer's life. On
these terms it gives "a piece of England" which encompasses gypsy
travellers, dead-end towns and reveries over summer boating trips, as well
as the more contemporary tales mentioned previously.
After the heavy production of the last Waking the Witch album Patsy has very
wisely decided to musically strip down to basics here and most of the album
essentially features her on acoustic guitar and vocals with support from
producer Sam Bartholemew. Percussion and backing vocals appear at times but
the sound is largely left uncluttered with the warm and intimate acoustic
guitars and vocals to the fore.
Overall, "A Little Piece of England" is a very classy album with just that
little touch of grit in it to give it some edge.
Steve Wilcock, Triste magazine
‘this one is great – it's a lovely CD – I am most impressed' - Genevieve Tudor, Sunday Folk Show, BBC Radio Shropshire
The quiet joys of sisterhood
Late of the now defunct Waking the Witch, Patsy Matheson's first solo album for a decade is a quiet joy and a real grower. Sonically it falls slap bang into the rather overcrowded "female acoustic singer-songwriter" slot but lyrically it's head and shoulders above it. Opening with "Addiction To You", a pared-down haiku of a song that encapsulates the "I know I shouldn't but I can't help it" feeling so common to so many fractured relationships, it takes in cutting comment on contemporary Britain ("Play the Game" and "Treading Water Town") and Iraq ("Precious Little Soldier") as well as the perhaps more expected relationship songs ("This New Song" and "Sunday Morning Song"). The latter is particular interesting as it was apparently conceived as a positive celebration of family life, yet contains the couplet "And I think of the boy that I married/And I look at the man in my bed"), which could at the very least be read in an entirely different way.
The only accompaniment to Matheson's wistful, often elegiac vocals are a muted acoustic guitar and occasional hints of percussion and this all comes together best .. Down To Wroxham", a perfect pastoral encapsulation of a languid summer's day with a lover. Overall this is a very English album, littered with geographic and cultural references, most notably on contemporary folk tale "Ulverston Gypsy", and Matheson brings it all back home on the final title track, both love letter and statement of personal place. All in all, a triumph.
Jeremy Searle, www.americana-uk.com
Having been a cornerstone of cult all-female quartet Waking the Witch for 5 years, Patsy Matheson certainly knows her way around the British folk circuit. With her warm, generous voice and a lyrical complexity that has made great strides since her earlier career (pre-Waking The Witch) as a solo artist, Matheson has used her time in the band to hone her love for rich melodic folk and 'A Little Piece of England' is the first fruits of her labour.
An intentionally subtle and intimate affair, this record finds Matheson freed from the shackles of female-only harmonies and (rather than opting to multi-track her own vocals) calling on the services of Sam Bartholomew to add some strong male textures. The results are a delightful contrast to Matheson's work with Waking The Witch.
As you'd expect from such a practised songwriter there are eight accomplished cuts of UK acoustica on this record. Yet it's the lyrics and stories, which sit at the heart of 'A Little Piece of England', that remain the album's calling card. From strong and intelligent protest songs (aimed at Brown's dysfunctional government) through vibrant tales of freewheeling gypsy girls and love letters to her Yorkshire homelands, this record sparkles with the wit and perspective of a remarkably erudite singer/songwriter.
And it's the latter - when Matheson settles down to talk through personal snapshots of England - that remain with you long after the record has finished. On the album closer 'Row Down to Wroxham' Matheson tells a story of 1920's Norfolk life that is hugely evocative and undeniably touching. It's a fitting climax to a fine record that adds further evidence to support Matheson's position as one of the UK 's great contemporary female folk musicians.
A little piece of England she may be, but she should be treasured in whatever capacity she chooses to release her music.
'A Little Piece Of England' is available now through Witch Records
Stephen Jasper (www.freshdeermeat.com)
Leeds based acoustic quartet Waking the Witch having quit while they were ahead, Matheson has slipped back into solo mode, making a swift return to the frontline with new album A Little Piece of England (Witch). Still rooted in melancholic folk-rock tinged with the blues while there's an electronic background thrumming to the trad feel of the connection-themed This New Song, there's been no major sea-change since the group's farewell album The Boys From The Abattoir. The harmonies may be missed, there'll be no complaint about the power and passion of Matheson's vocals or, indeed, her guitar work.
The new songs come with plenty of bite too. Precious Little Soldier, the anti-war story of an unwed war widow and her child with his toy gun, and the Amy Winehouse inspired paparazzi blues Lamb To The Slaughter both burn with the political and personal, while a fiery Play the Game keeps its tit for tat imagery nicely ambiguous.
There's darkling romanticism with Addiction To You, heart's yearning for the title track, and tenderness on Sunday Morning Song while Row Down to Wroxham is dreamy reverie and Ulverston Gypsy a tale of a female musician's life (and loves) on the road. Perhaps the best moment though is the aching weariness of Treading Water Town , a song of stagnation and frustration played on fingerpicked and finger-tapped guitar destined to become a live highlight.
She'll likely be catching up on her previous solo albums in the set list too, but hopefully she'll also find room to conjure up a couple of Witch memories too, after all songs like Rock n Roll and Jenny Thornton & The Boys From The Abattoir are too precious to consign to history.
Mike Davies, (Birmingham 101)
Patsy Matheson - A Little Piece Of England (Witch)
A founding member and one quarter of the award winning, all-female acoustic group, Waking the Witch, Patsy Matheson has had a busy decade touring and recording with one of the outstanding groups on the British folk circuit. In fact, A Little Piece Of England is her first solo album since 1996's With My Boots On, and it's a winning return, and one that nestles comfortably with the current crop of female singer-songwriters. Her style is less overtly ‘folky' than one might expect, though lyrically, she focuses on a number of issues that effect modern life, surely a prerequisite of any contemporary folk writer and performer. “Precious Little Soldier” touches on the Iraq war and “ Treading Water Town ” and “Play The Game” speak for themselves. Of course, relationships, in all their many aspects, are also explored, though without too much in the way of cliché, and all handsomely delivered with Matheson's pensive voice and gentle guitar.
Rob F, Leicester Bangs Dec 2008