Paul McClure’s ‘difficult second album’ is now here and any fears of it not meeting widespread approval have been consigned to the trash bin. SONGS FOR
ANYONE is the worthy follow up to his debut 2014 release and further proof of
his engaging nature as an alluring songwriter. From a position as the
troubadour counter balance of the Clubhouse Records roster, twelve adaptive
tracks have been recorded in a fluid format to switch effortlessly between the finely
produced studio version and the stripped back entity to accompany Paul on the
road. It is perhaps the road which has defined Paul McClure over the last
couple of years and the innovative way that he has been prepared to reach out to
music listeners. Suggest to Paul to find a venue in your area and he will
enthusiastically proclaim the value of the house concert. With his old moniker ‘Rutland
Troubadour’ being formalised into a trademark, perhaps now is the time to
re-brand him the ‘Living Room Troubadour'.
Of course the first port of call for many fans will be
acquiring his music and the new album explicitly represents a grounded
singer-songwriter often finding inspiration in the most mundane of everyday
situations. Ray Davies was a great purveyor of ‘kitchen sink’ songs and ‘Unremarkable Me’ hits a similar mark with its
stark observations. Inevitably a personal approach to love controls the
steering wheel of the album’s content and no finer line exists in the record
than ‘Paris got no romance without your kiss’ from this standout track. Two
other tracks staking an early claim to be first among equals are ‘I Could Be a Happy Man’ with its
wonderful explicit imagery of ‘drinking beer and listening to long playing
records’ and the tender number ‘Every Day
is Mine to Spend’.
The Clubhouse contingent have rallied round to assist in the
making of this record with Joe Bennett sharing his musical expertise in the
production role and Hannah Elton-Wall adding a delicate touch with her exquisite vocal
harmony. Two instrumental inclusions enhance the album’s home listening appeal
with some horns being added to the up tempo and slightly aggressive number ‘My Big Head Hat of Dreams’, along with a faint organ sound adorning the
slightly modified title track ‘A Song for
Anyone’ giving it a warm feel. The ubiquitous presence of Paul’s road
tools, namely harmonica and guitar, are in plenty supply with the former giving ‘Holding a Ten Ton Load’ a Beatles-ish opening. Maybe it’s unfair to refer to Lennon, McCartney, Davies, Springsteen, Young, Dylan et al, but you can detect Paul McClure’s influences and fans of these icons will find
merit in his work.
The sum of this record is a meaty effort with the running
time hitting fifty minutes as the strains meander between laid back West Coast vibes
and the grittiness of urban England. Paul is an unpretentious, refreshingly
honest songwriter and engaging with his work is quite a straightforward act of
artist-audience interaction. While listening repeatedly to the record is far
from an ordeal, the ultimate song connectivity will come from a live show where
the true background stories and inspiration will no doubt be revealed.
There will be countless opportunities to catch Paul McClure
live in 2016, just check out the usual sources and the ever informative world
of social media. The good news is that his debut album SMILING FROM THE FLOOR
UP now has a buddy on the merchandise table in the form of SONGS FOR ANYONE. This
will continue to present Paul McClure as an artist worth listening to in whatever
setting you choose. If the 'difficult second album' syndrome did exist, it has evaporated into thin air upon release.
