The first advisable rule for making an album grab a listener’s
attention is to toss in a memorable opening track. Obviously, this needs to be
followed up with the remainder of the content being of a similar quality; a
feat that has been achieved with the brand new album from Scottish –based singer-songwriter
Willie Campbell. Along with the assembled ensemble billed as The Open Day Rotation,
this artist -more specifically from the Outer Hebrides- has produced an extremely
engaging and accessible album that never veers off a high plane highway. NEW
CLOUDS IN MOTION greets the listener with a striking sky image on the cover
before unleashing a dozen original tracks in a mature transition from artist to
listener. Perhaps by design, not an album for genre purists, but definitely one
for those possessing an open ear.
For descriptive purposes, take this record as a fringed-pop piece
of adult contemporary rock, moulded into a package that would appeal to fans
exploring the outer edges of folk, country and Americana. Where the record does
score high is on the plentiful supply of chorus friendly melodies, occasionally
heading into anthem territory, but never coming across as trend-chasing
efforts. Willie’s experience working with Craig Wiseman in a Nashville song-writing
role around a decade ago is certainly evident in the standard of song
construction. The superior level of Music City song writing is indisputable in
its ability to meet the needs of different markets and its imprint is found on
these songs.
This album’s strength is that most of the tracks could be
singled out as the focal point, but for me the two strongest are the superb and
engaging opener ‘Mary Rest Your Head’
and the character-led high tensile metaphorical ballad ‘Winter Late in Spring’. The latter ends on a subtle twist and
indicates a depth to the writing.
Throughout the duration of the record, which gets close to
the hour mark, the fullness of the band sound makes a significant mark. An
organ/sax input adds spice to ‘Going
Through the Motions’, while the cello gives a sombre folk feel to ‘Circles’. If you want a connotation for
these two tracks settle on The E Street Band meets Blue Rose Code. In other
words, contemporary working class America with a classic Scottish twist.
While Willie takes control on a majority of the vocals, he
does stand aside for Fiona McLeod to adopt the lead on ‘Toxic & Sweet’. The feel of this track raised comparisons with
Bob Collum and the Welfare Mothers, who made a similarly excellent album a couple of years ago. There
is a slight switch in the overall tempo in a couple of tracks towards the end
of the album especially in ‘What We Are
Now’. Interestingly, the key feature of this nostalgia-inspired song is the
line ‘mortality hit me at 30’. Oh for the thought!
Critically, this is an album free of formula, despite coming
across as an easy ear friendly listen. It succeeds in drawing in those who make
an enquiry into its worth and prospers by holding their attention. One possible
amendment could have been slicing ten to fifteen minutes off the listening time
and thus making the quality ultra-focussed. To Willie’s credit, I would not
know where to make the cut.
While this album falls into the sizeable category of
acclaimed Scottish singer-songwriters, to name Justin Currie, Roddy Frame and
Ross Wilson to get the list underway, it is packed with credentials to spread
far from the domain of its homeland. NEW CLOUDS IN MOTION does not indulge in a populist chase, but with the prevailing winds of good fortune, it will resonate with
many people who it comes into contact with. Whatever your prior experience of
Willie Campbell and The Open Day Rotation, the songs enrich the listener and make
this a late candidate when considering releases that have made a significant effect in 2017.
www.wiiliecampbell.co.uk
