Domino Girls

www.folkradio.co.uk/2014/03/patsy-matheson-domino-girls/

Although I was slightly disappointed to find that The Hollies was a trad flavoured fiddle driven song about her teenage lost love fellow musician rather than a tribute to the enduring Manchester legends, Matheson’s third solo album since the demise of Waking The Witch, is a listening pleasure that serves to underscore her, somewhat undervalued, status as one of contemporary folk’s finest voices and writers.

Opening with the beguiling slow waltz title track Domino Girls, a bittersweet number about a commitment-phobic ladies man that features O’Hooley and Tidow on backing vocals, she rings several stylistic changes, moving between the acoustic cello-blessed, self-conflicted No Contract where she evokes classic Janis Ian (as indeed she also does on Seven Buttons’ sensually slow breathy blues vibe (accordion courtesy O’Hooley) about stolen moments of love and the jazzed folk echoes of Pentangle to the deftly fingerpicked ‘don’t fall for me’ warning that is Not The One.

Backed throughout by Jon Short on double bass, Anna Esslemon on fiddle and either Will Reddy or Richard Ferdinando on drums, it’s as musically accomplished as you would imagine, but it’s her relaxed, assured vocals, catchy melodies and wry lyrics that are its greatest strengths.

Listen to the breezy shuffle of Red For Danger’s playful invitation to a prospective lover not to be put off by her red hair (a true story told to her by an elderly lady in her audience, apparently) and the husky timbre in which she delivers Song For Norman’s thank you for a devoted platonic relationship and then note how smoothly she switches tone with From Your Computer, its sinister account of webcam hacking cyber-stalking embellished by brooding double bass and the spooked witchwood folk atmosphere.

There’s just one non-original number here, the closing jazzy shuffle Chasing Rainbows having been penned by Boo Hewerdine. It’s light and engagingly upbeat, but it’s testament to Matheson’s talents that it’s also the weakest and least interesting song in the collection. Go on, box ‘em domies.

Mike Davies, Folk Radio

www.telegraph.co.uk/culture/music/cdreviews/10806148/Folk-Music-treats-for-spring-2014.html

PATSY MATHESON’S fine lyrics are deceptively simple, as in the opening slow waltz Domino Girls (‘Look at them fall/Fall at your feet/All the domino girls you meet’) about a shallow and ultimately lonely womaniser. The track features Belinda O’Hooley and Heidi Tidow, who add their accordion, keyboards and backing vocals to Domino Girls, the third solo album from former Waking The Witch band member Matheson. Not the One is stark and striking and her smooth vocals and guitar work are on top form throughout.

Martin Chilton, The Telegraph – “Folk Music: treats for spring 2014”

getreadytorock.me.uk/blog/2014/03/album-review-patsy-matheson-domino-girls/

Two years on from the excellent ‘Stories Of Angels & Guitars’ Patsy Matheson is back with a new album and a departure in that she uses a lot more guest musicians, along with a lot of strings which is always a welcome treat in my book.

Like previous albums the majority of the songs are about relationships or current events, like the creepy practice of teenagers webcams being hacked on ‘From Your Computer’. ‘Song For Norman’ shows the benefit the added cello brings, which coupled with the multi-tracked harmony vocals on the chorus make for one glorious listen. Mention to the double bass playing of Jon Short that provides a steady beat, none more so than on ‘Red For Danger’ and lends a more menacing air to the aforementioned ‘From Your Computer’.

The only downside to the album? It is only ten songs, but then each one warrants its place and ‘Chasing Rainbows’, the only song not written by Patsy but by Boo Hewerdine, gives a positive end to the album.

Quite possibly her most accomplished album to date and an album that reinforces her as my favourite female singer next to Kate Bush and former Nightwish vocalist Tarja.

****1/2

Jason Ritchie, Get Ready To Rock

www.halifaxcourier.co.uk/what-s-on/arts-entertainment/patsy-matheson-domino-girls-1-6516648

Singer-songwriter Patsy Matheson has returned with her most accomplished work to date.

‘Domino Girls’ is a stunning collection of 10 songs that confirms her standing as one of the most talented artists on the folk scene today.

West Yorkshire-based Matheson has always been comfortable occupying centre stage with her guitar, her poetry and her voice. On this album she has also surrounded herself with a stellar cast of collaborators – musicians she has both admired and championed, folk favourites Belinda O’Hooley and Heidi Tidow, former Uiscedwr fiddle player Anna Esslemont and cellist Sarah Smout, (Rosie Doonan & the Snapdragons, Michael Chapman), among them.

This has resulted in a mature, sumptuous sound where the honeyed vocals drip with emotion and a flirty playfulness, adding to the rich textures which blend perfectly to produce a supremely satisfying whole.

On the face of it ‘Domino Girls’ feels like a very personal album for Matheson – yet the songs deal with universal themes of love, longing. regret and friendship which means it has wide appeal.

It is virtually impossible to pull out highlights which gives an indication of the album’s strengths.

‘Domino Girls’ is a significant addition to Matheson’s body of work and it will be fascinating to see how she follows this triumph.

John Metcalfe, Halifax Courier

LIVE at KORKS, Otley – 16/05/2014

Patsy Matheson – Edginess adds to an impressive folk set

Patsy scowled and turned to face the bar. Oblivious, in incongruous stilettos the two women continued their hushed conversation. Patsy would sort them out in the break with a few well chosen words but they were disrupting her flow.

In some ways the edge that this provided was echoed in the songwriting. Patsy provides a soundtrack for the Pre Raphaelites if they had been a sisterhood. And this sisterhood brooks no interruption. First set solo, percussive finger picking underpinning serenades to male friendship and family ties. Woe betide the man who falls for her – as with the Pre-Raphs her male “stunners” are warned “don’t fall in love with me cos you are not the one”. Being folk music any man ignoring the warning may be taken out and shot.

After a break Patsy was joined by Sarah Smout, lathering her cello all over the songs and “the best bass player in the world”, Jon Short.

A generous performer Patsy welcomed Georgette Hilton, who had opened for her, back to the stage to share vocal duties. I enjoy the democracy of folk – there is a genuine sense of a community of performance.

The massed choir of Korks back room provided a hushed chorus on a couple of occasions and some rather dodgy whistling – fortunately just once.

Patsy delighted in her recent 4* review in the Guardian if only because it would increase the Otley circulation by one – her mum! National critics have raved about these songs and so did the Otley crowd. Songs that mine the history of folk but take an alternative view.

A subtle craft is at work here. Beautiful reflections on family and identity – how tragedy in one life can lead to new life, how we take on and develop important facets of our parents and grandparents and how we can choose the image we present to the world.

Red for danger but chasing rainbows until the end.

Ant Cotton

SPIRAL EARTH interview (10/04/2014)

www.spiralearth.co.uk/news/story.asp?nid=8452

Founder member and one quarter of the award winning female acoustic group, Waking the Witch, Patsy has been writing songs and winning over audiences ever since 1991, when, as a young singer/songwriter, she entered a song writing competition, and was chosen as the winner by none other than Maddy Prior and Clive Gregson.

Congratulations on your album. How does it feel now it’s out?

Thank you. Yep. It feels brilliant actually. It’s released on 31st March, so not really ‘out’ yet officially, but a few people have had copies for reviewing, radio play etc. It feels good to have it finished. It’s the same with every record I’ve done – I always feel very excited when it gets delivered and I open the boxes, get one out, unwrap the cellophane and stick it on the player – but I was particularly giddy about this one. I’m happier with this record than with any other I’ve made. It feels more grown up and more musically accomplished – mainly because of the wonderful contributions from my friends who have played on it. Usually at this stage I worry about whether people will like what I’ve done or not. But I’ve given up all that now. It’d be nice if everybody loves it – but it’s far more important that I know it’s the best thing I’ve made yet. I’ve always striven to move forward and not stand still musically.

How did the recording go?

I love recording anyway, so it’s always a delight for me – but there were some particular high points with this one. I recorded much of the guitars and vocals live with the drums – so we got a real relaxed live feel going – which was something I’d not done before. Will Reddy who is my nephew did most of the drumming. He’s only fifteen – but his playing is fantastic throughout – and we have that real intuitive connection thing going on where you instinctively know what where the other person is going to go next– like siblings – which was just ace. Another high point was when I first heard Sarah Smout’s cello part for the song ‘No Contract’. I did actually sob. I was very moved that someone could contribute something so beautiful to something that I’ve written. And Belinda O’Hooley’s Fender Rhodes bit on ‘From Your Computer’ also made my bottom lip go a bit wobbly when I heard it. And Anna Esslemont’s fiddle part on ‘the Hollies’. And Belinda and Heidi’s singing. It was all a bit overwhelming really.

How do you find the writing process? And were there any particular themes you explored?

I don’t have a set writing process. Songs appear in all sorts of different ways, and the ones on this record are no exception. Sometimes they just pop up out of nowhere – a bit like being given a present, and the whole thing flows out in one go in a  couple of minutes – (‘Say You Do’, ‘No Contract’)  or sometimes I decide I want to write something about something particular – and then they take a bit of work (‘From Your Computer’ – about webcam hacker/stalkers) Or sometimes I wake up in the middle of the night with an idea and then develop it the next day (‘Domino Girls’).

There’s a song called ‘Red for Danger’ on this record which is about a chance meeting and a love at first sight experience that happened when the hat belonging to the red headed girl in the story was blown off by a gust of wind, and the man who picked it up and returned it to her, immediately fell in love with her. I wrote this following a conversation with an elderly lady in the audience at one of my shows. She was being very complimentary about my hair, and told him that hers had once been the same – and the hat story was how she met her husband who was so smitten with her ginger hair that he fell in love with her at first sight. She said that a song should be written about it and that she thought I was the girl to do it. So I did. But I set it in Otley where I live. And wrote it in the first person.

‘The Hollies’ is another anecdotal love song. It’s based on a true story too, with some of the facts just massaged a bit to make it more interesting. This was me when I was 18 and with my first proper love. We spent an entire year listening to Planxty and playing Irish tunes in pubs. I was at Leeds University and doing a degree at the time…not a lot of studying was done. Anna Esslemont plays the fiddle on this one, and it brings the whole story alive.

When did you first pick up a guitar? And what/when was your first public performance?

I picked up the guitar when I was fifteen. I’ve never had any lessons, and just play by ear. I’m a completely illiterate musically actually – and never even know what key I’m playing in. It’s a pity. But too late now to change. I sang in a couple of bands at school, but didn’t really perform seriously until I moved to Leeds. My first proper public performance with me and a guitar was at the Grove Inn in Leeds, which is one of the best music pubs on the planet. I still play there from time to time.

How’s your area of the world for musicians and fans?

I live in Otley, which is just North of Leeds and I do believe that everybody in Otley is either a musician themselves or lives with one. It’s an amazing place to be. Phil Snell, who co-produced’ Domino Girls’ and my last album ‘Stories of Angels & Guitars’ with me, lives next door but one and his studio is in his house – so that’s really handy. I have two fabulous music venues – Otley Courthouse and Korks – both at the end of my street – so I get to see lots of my friends as they’re passing through. Tonight it’s Brooks Williams!

What were some early key albums you listened to?

‘Blood on the Tracks’ and ‘Desire’ by Bob Dylan
‘Tubular Bells’ – Mike Oldfield.
‘Joan Armatrading’ – Joan Armtrading
‘Catch the Wind’ – Donovan
‘Solid Air’ – John Martyn
‘Deja Vu’ – Crosby Stills Nash & Young
‘America’ – America

All pinched from my big brother’s collection of vinyl. I still listen to all of these records from time to time. My taste hasn’t developed a great deal really!

Who are you currently listening to?

Belinda O’Hooley and Heidi Tidow, ‘the Hum’. Great record. I love Paul Weller. Boo Hewerdine – I love his writing. And he’s very funny and makes me laugh. Kate Bush. I have her on in the car a lot. She is a genius. And I MUST get tickets to see her live show in August.

If the phone rings tomorrow and you are invited to join someone’s tour, who would you want it to be?

I did a whole series of gigs supporting Christie Moore sometime in the last century.  I supported him at his Bradford gig and ended up being invited to do the rest of the tour. It was amazing – great big venues (Birmingham Symphony Hall, Liverpool Philharmonic, etc) and I was very honoured to be there. And he is just brilliant – fantastic performer, hugely charismatic and a lovely bloke. I had met him a few years previously and he had changed the strings on my guitar for me. He said it had been fifteen years since he’d done that, as he has a team of techies that do his! I also supported John Martyn a couple of times – who was equally lovely. If he was still with us, he’d be my first choice.

What’s next for you?

Well short term – I’m looking forward to releasing the album and getting back on the road again. The tour starts next Thursday (27th March) in Rothbury and continues through till mid May. There’ll be a few guests turning up along the way – so some of the shows I’m doing completely on my own – which will be exciting – and some will be more of a collaborative, spur of the moment thing. I love that. I’ve not really thought a great deal beyond that. I’ve been treated for cancer over the last couple of months – and I have a five week, five days a week course of chemo and radiotherapy coming up starting as soon as these dates finish – so my short term goal is to get through all of that and remain smiling. I’m talking to Anna Esslemont about doing some work with her in the Autumn – she’s a great singer and fiddle player and we’d both love to find the time to work together – so it would be daft not to really – plus I’d like to take Sarah Smout out on the road too. Sounds like a right band to me.