In today’s competitive music market there is no room for
bands to rest on their laurels and Sussex based Hatful of Rain understand the
importance of connecting with both their existing and potential fan base.
Praise has been showered on the quartet following their debut release,
including a successful session with Bob Harris, but the recording of a new
album could just be the impetus they need to take their music to a wider
audience. Along with this excellent sophomore album, the band that produce an
eclectic roots sound to excite specialists in the country, folk and Americana
scene, are also in the throes of breaking out from their south coast zone with
a tour of venues further afield. The good news is that in THE MORNING KEY they have
a record to carry on the momentum.
Under the guidance of the good folks at the Union Music
Store and leadership from producer Al Scott (The Levellers, Oysterband), this
13 track comprehensive collection of self-penned songs shows the democratic approach
to music making the band have and how well they utilise their musical and vocal
talents. All four band members have contributed to the writing process and in
their own individual style shape the sound with waves of fine musicianship. The
beautiful choral-like vocals of Chloe Overton grace the majority of the tracks
and she also supplies string input in the guise of banjo, mandolin and guitar.
Phil Jones drives the band along with his onstage enthusiasm, double bass,
banjo and guitar contribution as well as lead vocal on ‘Bread Woolly Back’ and additionally, playing a significant part in raising the band’s
profile.
Although the quality rarely dips during the album’s 52 minute
play time, there is an undeniable high early in the listening with the
outstanding ‘Good Way (To Make a Bad Man
Worse)’ and the inspirational ‘One
Promised Land’. The opportunity to experience these songs live is a mouth-watering
prospect. The opening track ‘These
Streets’, lifted as the first single, and ‘Map or Compass’ embed the bluegrass sound in the band which is
further enhanced by the regular contributions of Fred Gregory and James
Shenton. Gregory, also a member of likeminded group Porchlight Smoker, excels
on mandolin, guitar and double bass as well as singing and writing the twin
tracks ‘Superman’ and ‘Stay’, the latter a duet with Chloe.
Shenton provides the essential fiddle sound which weaves its way through the
tracks peaking with ‘Stranger’, an instrumental
he composed.
The album also benefits from a number of guest musicians
including John Breese, who was seen live recently playing banjo with The Coal
Porters, and Max Sweatman, the source of the hurdy-gurdy sound added to the
stompin’ finale ‘Little Bird’. With
such a positive and upbeat ending, you are left with little alternative but to
press repeat and re-live all the many high spots again.