Tag Archives: Ben Reed

On Record – Laura Groves: Radio Red (Bella Union)

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by Ben Hogwood

What’s the story?

This is the first album Laura Groves has released under her own name. Previously known as Blue Roses, the singer-songwriter marked her move to the Bella Union label with a fresh album of songs recorded with multi-instrumentalist Ben Reed.

The album’s name derives from the two radio transmitting towers near where Groves’s studio is based. The track titles and lyrical content take communication as their theme, providing helpful metaphors for relationship-fuelled feelings with those close by while also noting the interference threatening those connections.

What’s the music like?

There are some beautifully written songs here. The first thing to note is the vocal delivery, for Groves has a naturally appealing voice. To use an old cliché, she could sing the phone book and hold an audience – but when the lyrical content is laden with emotion, as it is here, then the songs are even more meaningful.

Sky At Night sets an airy scene, starlit but with a lingering darkness behind the upward looking melody, which explores the very top of Groves’ range. Good Intention is similarly descriptive, with bittersweet tales of love and vulnerability that extend through the album. This track and D 4 N feature the complementary tones of Sampha, whose rounded timbre is an ideal foil, the latter a lush duet.

At times Groves bursts with positivity, but there is an undercurrent of frustration too, with missed opportunities and misunderstandings. “Can we just get on with it, I’ve got a lot to give!” she sings on I’m Not Crying. There is a strong pull to the yearning Sarah, missing its subject with the line “I hope you’re doing fine”. Time, is irresistible, its winsome melody softly delivered, while in Silver Lining the album has a dreamy coda with underlying resolve.

Does it all work?

It does. The careful shading of the production on this record gives the vocals the ideal platform from which to make maximum expression – which brings parallels with the much-loved Scottish band The Blue Nile to mind. As with them, less is most definitely more.

Is it recommended?

Yes – provided you give it time, Radio Red will have you under its spell by the third listen.

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On Record – Ben Reed: Bandaged (Esoteric)

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by Ben Hogwood

What’s the story?

Ben Reed has an eclectic musical CV, so it stands to reason his first album on the Esoteric label should live up to those promises.

So far his credits include playing for artists as diverse as Frank Ocean, Sampha, Orlando Weeks and David Byrne – while his own original work draws from progressive rock old and new but reaches back further, to classical music and beyond.

Bandaged has been in the pipeline for three years, with Reed himself recording the vocals – but with guest support featuring a starry array of names. These are Caravan’s Jimmy Hastings, Ross Stanley (organist in the Steve Howe Trio), steel guitar royalty BJ Cole, flautist Rachel Hayter, singer / songwriter Laura Groves on keyboards and Matt Weeks, who doubles up on horns and extra production.

What’s the music like?

Bandaged is a consistently rewarding album. As with all music of a progressive nature it doesn’t reveal all of its treasures immediately, but there is plenty for the first-time listener to hang on to.

The chorus of Tale Of Cleopatra is an obvious case in point, taking up root in the head immediately, but so too is the more complicated, virtuoso performance behind I’ve Got Chains, a lyrical masterclass which also provides an uncanny reflection of modern life and all its pleasures.

The richly coloured and beautifully scored opener Plea finds Reed looking back towards Medieval music in some of the rhythmic trickery, yet he doesn’t fall into the trap of making it too cheesy. Instead, music old and new adds up to something wholly rewarding.

Comparisons with the Canterbury scene are valid for many good reasons, and songs like Everything That Matters enjoy a closer stylistic parallel while keeping a healthy sense of humour, but there are also references in Reed’s work to late-1960s psychedelia. On the other hand, he can write a study in thoughtful meditation, as No Arms No Legs No Body At All and Dwindled turn out to be, the latter with ghostly visions.

Tangled Branches has beautifully layered harmonies and a lively flute counterpoint from Hayter to tell its story, while on the darker side we have Chapter Of Risk, its lower layers of doom enhanced by Hastings’ contrabassoon.

Does it all work?

Yes. While there are a lot of experimental tendencies on Bandaged they are brilliantly managed, and there is almost always a musical hook to hang on to. Lyrics are excellent and memorable, too – when did you last hear the word ‘rivulets’ in a song?!

Is it recommended?

Definitely. Bandaged is a very English progressive record, in the best possible way.

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You can explore purchase options for Damaged on the Cherry Red Records website