"Boys From The Abattoir" CD Reviews

HMV CHOICE (www.hmv.co.uk)

‘ quite simply it's different – it isn't about love or money or all the normal sort of stuff – it's real life – I love it! Even the title's a bit different – and oh, deepest of deep joy, not only are they four girls, they all write and play and sing, but they are not silly girls – they are real women' – Nonny James, Presenter, BBC Hereford & Worcester

‘a really good bunch of songs, and great voices' – www.theacousticstage.net

‘best album yet, best songs, very tasteful accompaniments and arangements, you're still Waking the Witch!' – Graham Chalmers, Harrogate Advertiser

Rock n Reel, Spring 2007 (****) - I still vividly remember my first encounter with Waking the Witch when I stumbled into a tent at Glasto a few years back. I stood there stunned and, yes, enchanted, for 45 minutes basking in the most scintillating mix of sparkling acoustic picking and lusciously interwoven vocal harmonies I'd heard since Crosby , Stills, Nash & Young.

Yorkshire 's Waking the Witch enjoys a superabundance of talent in the shape of four gifted and individual singer-songwriters who also know how to work together as a band. This, their third album, shows no sign of them slowing down or running out of material or ideas. If anything, they're widening their sonic horizons with smart touches like the evocative Northern horn quartet on the title track, the powerful slide/harmonica duet in ‘Only Human' and the wine bar hubbub at the start of ‘My Conscience Keep', which also boasts a beautifully poignant string arrangement.

Cuts like ‘Me Leaving Me' prove they can rock out when necessary, but the real strength lies, as it should, in the sheer exuberance and verve of the glorious singing and acoustic playing. (Johnny Black)

Guitar Techniques, Spring 2007 - Waking The Witch are four acoustic guitar-toting girls who are constantly gigging up and down the UK with their own brand of folk rock heavily laden with close harmony vocals. And what a darn fine job they make of it too!

This is their third album and a huge leap forward in both performance and material quality. Producer Dave Creffield - best known for his work with Embrace - has certainly captured the essence of the Witch.

The overall quality is so good that it is hard to select highlights. However Me Leaving Me (featuring Bruce Watson from Big Country on electric guitar) certainly leaves a lasting impression, as do the melancholic harmonies on my Conscience Keep. Crunchy on the outside but sweet and tasty on the inside, this witch is well worth waking.

MAVERICK (****1/2) - This uncompromising group radiates womanly zest, energy and attitude.

Yorkshire’s Waking the Witch have built a solid reputation for their live gigs over the past three years, and now, with this third album, are set to make the major impact with the general public that their original approach to music deserves. The four girls’ previous albums were a refreshingly rich blend of folk, pop, rock, and soul. In short, a musical hybrid that defied easy categorisation.

For this latest album outside producer Dave Creffield (Embrace, the Kaiser Chiefs) has come on board and given the girls a much more vibrant, edgy sound that he describes accurately as ‘indie acoustic’. The very word ‘indie’ means outside of the mainstream, but as the major labels have found to their cost, indie can sometimes be more commercially successful than the safe and predictable ‘mainstream’ and can certainly enjoy a much longer shelf life. So be prepared to see Waking the Witch take off and soar.

So does that mean a sell-out? Far from it. There are still the incredible vocal harmonies to die for; the wide mix of musical styles; the superb original songs, and the expert musicianship and compelling inter-changing lead vocals that Waking the Witch have built their rock-solid reputation upon. Rachel Goodwin, Patsy Matheson, Becky Mills and Jools Parker are not prepared for compromise to court fame and fortune. There’s still a deep-down folk vibe to much of this album, especially in the irony of Jenny Thornton and the Boys From the Abattoir, the gorgeous Spring Song and the folk-rock delicacy of Yorkshire Boy.

The acoustic guitars are filled out with a solid rhythm section of Jon Short (bass) and Dave Bowie (double bass), or Mick Bedford (drums, percussion) plus additional colouring from Bruce Watson (electric guitar), John Burr (harmonica), Fluff (violin, cello), and a horn section. The girls also provide additional slide guitar, jaws harp, and mandolin.

At times shimmering, rocking, soaring and inspirational, this is a stunning album that should be in every living room across the length and breadth of the British Isles. (Adrian Clarke)

www.folkradio.co.uk - Another group of very talented young ladies to listen out for. They can all sing and they can all play great acoustic guitar, oh, and they all write their own songs. Heaven! Beautiful album and very touching lyrics… I nearly shed a tear on one track but I'm not admitting which one. You have to have lived to understand what I mean… and I ain't exposing my soul to you lot. I need another pint before I do that… (Alex Gallacher)

Fireworks Magazine - My pal David can't understand my need to be exposed to so much music across a wide range of genres and artists, as he restricts himself to maybe 10 classic bands (it took me nearly 20 years to get him to appreciate Dream Theater) and my response is that if I were similarly restricted then I'd miss out on so much wonderful material such as this, the third album released by Waking the Witch.

The band consists of four young ladies (Rachel Goodwin, Patsy Matheson, Becky Mills & Jools Parker), who can all sing, all play guitar and write songs and if you like beautifully constructed and delivered harmony vocals then these girls are absolutely to die for. Imagine a cross between Fireworks favourite Jaime Kyle and Shaw/Blades and you get just a taste of what they are about, albeit the songs are rootsier in style and subject matter and I suppose one could say very British.

Every song here is an absolute winner; and a step up in terms of craft and memorability from their previous albums, with the story telling being of top quality. The quasi title track (‘Jenny Thornton & the Boys from the Abattoir') is utterly splendid, as it paints a picture of the angst and insecurities felt by a young girl growing up in a dead-end town somewhere in the North of England. The lyrics, by Mills, are brilliant as witnessed by the following verse ‘'This town doesn't have a great history to speak of, old buildings or celebrity names, it's got arches running through it, twenty foot in the air, that they built just to carry the trains – so they don't have to stop in this town''. Even this early in the year it is slated as one of my tracks for 2007.

The fact that all four can sing means that they bring slightly different sensibilities to their respective tracks and that really works as they match vocal styles to the mood of the song. There are no crunching guitars or a slavering of keyboards but that doesn't detract whatsoever from the sheer quality of the songs and performances.

Wonderful!

Gary Marshall

‘I've just been listening to ‘Boys from the Abattoir' and it's as involving as you'd have every right to expect from any undertaking which involves surprisingly visceral lyrics with luminous harmonies and intricately woven guitar interplay. A sympathetic production by Dave Creffield (Embrace/Kaiser Chiefs) lands the album right in your lap, and the inevitable conclusion is that you simply must go out of your way to catch them if you are remotely interested in roots music with its heels dug firmly into contemporary territory'
Marco Rossi, Dorset Echo

FISH RECORDS - This is the Yorkshire based, all female quartet's third album, and while the previous two were strong independently released discs, this is the album that will bring them to a wider audience. Where previously their sound was minimalist and a little too sparse; here the production and range of instruments used brings a more confident and upbeat sound that makes them much easier to enjoy.

Having four musicians, singers and writers in the band brings a good range of styles to the disc, add to this the fact that they all share lead and backing vocals across the album means that each song feels distinct and individual and there's plenty of diversity over the 11 songs.

Their sound and style has much in common with Chris While and Julie Matthews and at times it's feels like there's a direct link between them, but the extra voices and added instrumentation and production gives the Witches a sound of their own.

On the back of a huge local reputation and growing national support, they have secured the services of producer Dave Creffield (famous for his work with Leeds band Embrace) and Bruce Watson (Big Country's guitarist), the result is a polished and more contemporary disc. It's still acoustic driven music, but it feels smarter and more thoughtfully put together than their previous releases.

11 songs full of honest writing and strong acoustic backing that is all held together by some great harmonies from the four voices – those interested in contemporary acoustic music will find much to enjoy here.

LEEDS MUSIC SCENE - This CD concludes with desire for a solid Yorkshire Boy. Well, if it weren't for the age-restriction built into that phrase, a front runner could be Michael Parkinson - because  much offered by Waking the Witch in the eleven new songs on Boys From The Abattoir has the type of showbiz gleam that earns the attention of Barnsley 's elder statesman. Could this music be the right the sort of career vehicle to carry these four guitar-playing singer-songwriters from Leeds City Varieties to Las Vegas without needing to refuel? A super-confident ease of delivery, some peachy harmonies, and more than ample versatility await the explorer of what producer Dave Creffield describes in the press release as 'a new kind of sound. I suppose you could call it indie acoustic.'

The album's blood-tinged title might have listeners expecting a bit of rock music to go with it, and though not found in 'Rock and Roll' the contemplative opening track, it soon make its first appearance with 'Me Leaving Me', where a hint of a rumour of Fleetwood Mac might be imagined among the other sounds. In 'Only Human' a compelling and successful dance-rock number, a bit more wallop in the vocals would be an option; it might be a benefit also in 'Horse To Water', and in 'Yorkshire Boy' it could be a definite gain.

The requirements of other styles are met to perfection : 'Jenny Thornton And The Boys From The Abattoir' swells from delicate Celtic to stirring Northern brass ; a restrained yearning ballad gets string accompaniment in 'High Fire And High Water', 'Look Right Back' develops a Caribbean feel, and a tasty combination of bossa nova and cynicism laps its way through 'My Conscience Keep'; penultimately, big balladry shapes 'Top of the Hill.' There's absolutely no doubt that many an audience find all this a real treat.  (John Hepworth)

NET RHYTHMS - It's gonna sound like a cliché, I know, to brand Boys From The Abattoir as “difficult third album time” for this totally cool Leeds foursome, and so all credit to the girls for coming up with a sophisticated and mature offering fully worthy of its participants that in many ways rings the changes on its two predecessors yet remains entirely true to the WTW brand-name and the band's ultra-distinctive musical identity. First of all, what hasn't changed, without a doubt, is the girls' sheer consistency of output in the face of the striking, and often strikingly contrasted, songwriting and singing styles of the four of them (it's easy to identify which is witch – if you forgive the obvious homonymic pun!), which prove tellingly complementary. And the quality of the songs is once again outstanding, there's no other word for it; they encompass a great variety of mood and approach which is reflected in the diversity of the equally innovative musical settings. And the trademark WTW lush vocal harmonies and intensely assured acoustic guitar work are still firmly in place at the centre of the group sound.

But there are some marked changes: for this new album, WTW have engaged the services of Dave Creffield (famous for his work with Leeds band Embrace) as producer, and in so doing, they claim, they've “become the instigators of a new genre of roots music” – “indie acoustic”. Well I'd go along with that, if only because it can be interpreted as providing a convenient tag for the Witches' headily original sound-world, which has hitherto obstinately defied categorisation. And maybe in marketing terms the tag's a headline-grabber that might just get WTW some overdue attention from the more influential sectors of the industry. But whatever, the end product is tremendous.

Boys From The Abattoir takes a step back from the intimacy of the shiveringly beautiful, hushed aura and minimalist stance of Hands And Bridges and then expands the sound outwards again but in intriguingly different ways. On the majority of the eleven new songs this involves bringing on board a vibrantly edgy rhythm section (Jon Short on bass and Mick Bedford on drums), which keeps things on the move and the balance sharply defined; this is achieved spectacularly well. At the same time, greater depth is given to the overall picture by making the textures attractively richer, by the creative use of extra instrumental resources such as some stirring, burnished electric guitar (courtesy of Big Country's Bruce Watson) on Me Leaving Me , funky bluesy harmonica (John Burr) on Only Human , sweeping violin and cello (the enigmatic Fluff, latterly with the re-formed Incredible String Band) on three songs, as well as some percussion from James Goodwin and double bass from Dave Bowie. There's even a mini-brass-choir on the sort-of-title track, while at the same time the Witches have extended their own personal musical armoury with the addition of slide guitar (Bex) and mandolin (Pats).

Every track's a strongly individual composition, complete in itself of course, while different to, but recognisably from the same stable as, each of the rest; and as you'd expect by now, each of the four girls proves herself once again to be a special talent in her own right, lending each song its definitive character and flavour. The assurance of the writing is stunning, whatever the feel or idiom of any particular groove, from Pats's brilliant, beautifully narcotic love-song Rock ‘n' Roll to Bex's punchy rap-rhythmed Horse To Water , Jools' darkly glistening string-soaked torch-song High Fire And High Water to Rach's pounding “gothic anthem” Me Leaving Me .

But in truth there's so much great writing on display here (musically and lyrically) that you can easily forgive (in fact, I rather liked) the occasional cheeky nods to folkier territory:  for instance the insistent chiming mando-riff of Yorkshire Boy (chart single here we come!), which is pure Show Of Hands, and the perky schoolgirl-chant of Jenny Thornton & The Boys From The Abattoir which recalls While&Matthews' Class Reunion …

Notwithstanding the Witches' strong reputation as a fearsome live outfit, this is a fully credible studio outing that would put many a studio-based band in the shade. And it's an album that already has a place assured on my selective best-of-2007 list. (David Kidman)

GET READY TO ROCK - This band are one of the joys of discovering new music as their second album was a stunning mix of acoustic arrangements and divine vocals. How they are not better known is a mystery although this second album coupled with an award at the Classic Rock Society, namely Acoustic Roots Performer of the Year 2006, their profile is on the up. This time around they have nabbed Embrace's producer Dave Creffield plus some name guests including Big Country's Bruce Watson (he guests on ‘Me Leaving Me', a sublime piece and his guitar parts weave well into the tune). There are so many delights from ‘Spring Song' which reminds you of classic Joni Mitchell through to ‘Look Right Back' where you can see where they get their ‘ indie acoustic/folk' tag from. But my personal pick is the album closer ‘Yorkshire Boy', fun lyrics and mandolin – can't go wrong! Sound wise it is perfect as it allows each of the four vocals to shine and you can pick out each instrument. Compared to the last album this one sees a wider range of instruments used and a slightly edgier sound.

Put simply if you like harmony filled acoustic music then BUY THIS NOW! If you like bands like Shaw/Blades, the Thorns and Joni Mitchell this will amaze and delight your ears. How they will beat this on album number four remains to be seen but it will be worth the wait. ****1/2 - www.getreadytorock.com

FATEA RECORDS - Being in Waking The Witch must be like being in an oestrogen fueled Beatles, with the added advantage that no one has to be Ringo . The band consists of four singer songwriters all vying for slots so the standard of the writing is exceptionally high, as is the singing and performing. "Boys From The Abattoir" comes on the back of a year that has seen Waking The Witch building their reputation both on the back of previous cut, "Hands & Bridges" and Live. This album provides as awesome start to the year. Packed with stunning words and fantastic performance. On the Buy list. www.fatea-records.co.uk/magazine/releases.html

BLUES MATTERS - First I want to say that I have liked the two previous releases from this Leeds based foursome. However with 2005's Hands & Bridges there was a little feeling of it being a set of fine songs but by four individuals. With this soon to be released offering the girls have certainly made a leap into new territory and made it very much as a collective band of musicians.

For sure the writing credits, lead vocals and lead guitar parts still reflect the strengths of Patsy, Becky, Jools and Rachel. Under the direction of Dave Creffield (Embrace & The Kaiser Chiefs) WTW have come up with a sound that is more street wise, darker and with a sharper attention to creating a unique package.

It works a treat especially on a song like Me Leaving Me, which has a terrific spooky guitar support from Bruce Watson (Big Country, Four Good Men). Rachel's high register vocal matches the guitar fabulously. Unfortunately this songs' electric marriage will prove difficult to replicate when on the road in support of this release. However that is a very minor point and does not detract from the overall feeling that this album can be done live, and well, even without any augmenting additional musicians.

The title track is a wonderful descriptive look into life in a small town, which drags the central characters' dreams of something better back to the grime and the reality of the mundane.

Everywhere you go on this CD you are met with gorgeous trademark four part harmonies and highlights include Look Right Back, High Fire & High Water, Only Human, Yorkshire Boy with its brief sound of Elton John intro and Rock 'n' Roll.

The girls have set their bar high with this CD. It has a distinctly new very agreeable sound to it whilst retaining the folk, bluesy and acoustic rootsy traditions from whence they came.

Strong stuff and a joy to listen to.

KEIGHLEY NEWS ONLINE - It's not often a man of my limited patience keeps one album in the car cd player for more than a day at a time. However, we're now more than a week into putting Waking the Witch's third album into it - and it hasn't seen daylight since.

From what has gone before, Boys from the Abattoir is a huge step forward for the Witches, more accessible to the casual listener, with more warmth and a truly varied set of songs. Where before there may have been bare voices and guitar, we now have percussion, strings and even brass. It's still at its heart folk music, it's still got great harmonies, but it has a real edge, excitement and warmth.

It's extremely hard to pick favourites - hence the length of time spent in my cd player - but Me Leaving Me, the deeply gorgeous and achingly beautiful High Fire and High Water and the insanely addictive Yorkshire Boy are absolute joys.

Each of the four Witches has her own unique voice and they've all contributed classic tracks to this album. This could really be the record that catapults them to the recognition they genuinely deserve. Teaming up with indie producer Dave Creffield seems to have been a master stroke.

Definitely in my top five albums of 2007 already - no matter what comes in the remaining 11 months! (Stuart Roberts)

AMERICANA - "Difficult third album” hurdle negotiated with aplomb by four piece female acoustic outfit

Now, I damned Waking the Witch's last album as thin and gutless, lacking soul and far too tasteful to boot. So it was with some trepidation that I agreed to review their latest offering, but they asked me to (for which they deserve much kudos – how many bands do you know that ask the authors of bad reviews to have another go?), and I've got to say I'm delighted that they did. In essence it eliminates most of the things I disliked about the last one while retaining all of the things I liked.

It opens with Patsy Matheson's “Rock and Roll”, an harmonic piece recorded so close you can her the guitar strings squeak, and as beautiful and graceful a lover song as you'll hear in many a year. Next up though is the keynote track “Jenny Thornton & The Boys From The Abattoir”. This marks a harder, grittier approach to their songwriting that is no way undercut by the sweetness of their vocals. It's a bitter song, a story of lost dreams in a town where they've built twenty foot high arches so that trains don't have to stop there. It's definitely the standout of the album, but much of the rest isn't far behind. Jools Parker's “High Fire and High Water” (“all these things I used to count on/I am counting on you never coming back”), Becky Mills staccato social commentary “Horse to Water” and Matheson's lovelorn “Top Of The Hill” are all up there too. There are some lapses though. “Yorkshire Boy” is slight and predictable and “My Conscience Keep” overly sweet. But in the main the songs are a step up from last time out. The sound is much the same as before - basically four women singing with acoustic guitars - and it's still a little too polished in places, where it can descend into pleasant but anonymous background noise. But they sure can sing, and “Boys From The Abattoir” is well worth a punt. I'd still like a whole album with the blood and guts of “Jenny Thornton…” though. (Jeremy Searle)