Share the post "Album review: THE MIGHTY BOSSCATS – Are You The Person You’ve Always Wanted To Be / Photoshoot"
Self release [Release date 29.09.23]
Richard Townend is an indefatigable singer-songwriter, guitarist and band leader of The Mighty Bosscats, who never let rust sleep.
His consistent output has the feel of a diarist who needs to get the minutiae of his existence down in the here and now.
Such is his exploratory output that I’m grouping together his last 2 album; 2023’s ‘Are You The Person You’ve Always Wanted To Be?’ with his brand new release called ‘Photoshoot’.
His trusty Essex band The Mighty Bosscats feature Matt Gillam on bass and vocals, Mark Hall on drums, percussion and vocals and Tony Sales on keyboards, and they contribute fully to the arragements on both albums.
Indeed, their input significantly helps move ‘Photoshoot’ on from the previous Knopleresque guitar and groove-led reflective songs, towards a more lyrically detailed direction. It’s populated by cool guitar tones and instricate percussion which gives the new album a clearer sense of identity.
Townend is the creative force, a story teller who occasional dabbles in social commentary, with glimpses of the philosophical and more straight ahead tender love songs.
Last year’s enquiringly titled ‘Are You The Person You’ve Always Wanted To Be?’ is essentially a double album, which incorporates 2 bonus tracks making 17 in all.
He uses the familiar touchstones of Mark Knopfler’s early career piercing guitar tone with JJ Cale style grooves, to shape his own style, which is rooted in the late 70’s, but is given a contemporary lyrical feel.
That said, the opening ‘How ‘s It All Come To This’, evokes The Beatles ‘Don’t Let Me Down’, complete a Billy Preston style electric piano.
The cleverly observed ‘Several Ways To Replace A Lover’ crosses Knopfler style guitar with a Johnny Cash vocal, albeit Townend’s wry lyrical bent is as good as either of those influences.
And if the title is a distant reminder of Paul Simon’s ‘50 Ways To Leave Your Lover’, then the exclamatory ‘It’s Over’ – an acoustic into a full band work-out with jangling guitar work – still reminds us of Roy Orbison’s similarly titled hit in the chorus.
The second bonus track ‘After Midnight’ also borrows a J.J. Cale title (another salient influence), on a reflective mid-tempo piece topped and tailed by shimmering guitar tones.
In between, there’s the sinewy lilting funk of ‘How Many Times?’ and an enquiring title track, which opens with powerful chords, and moves to intricate guitar work and thoughtful lyrics.
Sometimes it feels as if there’s a slight disconnect between his keen analytical lyrics and retro style music, but there’s no denying the frequent prosody when the two meet head on.
Listen for example, to the lovely drifting piano over crashing chords on ‘The River’, a song which draws us into the themes of an “unfulfilled dream” and a collection of “broken souls.”
It’s another reflective song which flows as eloquently as the song title, and benefits from a taut, uplifting and clean toned solo.
The poignant road song ‘Home With You’ is a withering reflection of a musician’s lot and the pull of home: “I waste more time than a man in jail” “there were good time and bad times, lonely times too when I’d rather be home, with you.”
The catchy ‘Pretty Boulevard’ is a highlight, as it marries the art of story telling with a commercial impetus. It’s underscored by a tinkling piano, brushed stroked percussion and darkly humorous lyrics, all topped by doowop bv’s.
He reverts to a sparser arrangement on ‘Weatherman’, on which the core trio is bolstered by a subtle organ, while he slips into Americana on ‘Why Oh Why’.
The dreamy slide and piano accompaniment give it a broader sonic depth, which frames more biting lyrics; “I guess we’re all pawns in a global game of chess, and some people play by the rules and some people make a mess.”
Deep into the album, he gives us the intricately woven ballad ‘A Little Bit Of Kindness’ on which his clean toned solo leads to Floydian slide finish with layered organ.
The topical ‘Ukraine’ benefits from perfect musical accompaniment and heartfelt lyrics which ring out loud and clear.
Richard Townend clearly understands the value of restraint and the art of knowing when to fill a chord with telling notes, and when to emphasize his expressive vibrato, always in the service of the song. ****
Self release [Release date 04.05.24]
The thematically titled ‘Photoshoot’ is a metaphor for the narrator’s all pervasive gaze, as he approaches his subject matter with an analytical mind.
The album has a broader sonic and atmospheric feel, encompassing funky grooves and even a Latino feel to fill out the album’s photographic aesthetic.
The title track is a departure, as some very familiar opening chords give way too an acoustic-into-electric, pop-rock melodic sweep.
It neatly underpins his lyrical take on the symbiotic relationship between celebrities and the media: “And at the end you know You got to take a judgement call Who’s making money from the photo Is it them or the press call.”
He also merges the atmospheric funk, throbbing bass and pinched harmonics of ‘Pray Harder’ with a reggae back beat, to usher some acerbic observations: ““With your modified moral beliefs All I can ask of you Don’t cherry pick the verses Which support your point of view.”
‘Next Big Thing’, is another reflective song with a familiar observation: “Each generation sings I want be the next big thing.”
He almost gets side tracked by his own negative concerns on ‘John Crow’ and the dark addiction narrative of ‘Pass The Favour On.”
But then he cleverly counterweights that brace of songs with the uplifting ‘Let It Go’, as the band adds sumptuous bass, acoustic guitar, close-to-the-mic harmonies, cooing bv’s and congas, to underpin more astute observations: “Better to concentrate on things you can change. Reality’s own device. And keep in check your passionate thoughts It’s not worth the sacrifice.”
He adds more percussion on the Latino rhythms of ‘Beat Of The Drum’ which has an 80’s Paul Simon feel and weary lyrics about social media: ““These computers they make us so brave on a page. Go out on the street and give us cou-rage We got to silence this beat of a drum. The drummer boy he needs to go he’s had his fun.”
He’s almost playful on the Web Wilder style tremolo infused rockabilly of ‘I Want To Be In Love’. It provides an unlikely but very persuasive backdrop to his own lyrical eclecticism ain which he explores the women behind historical and movie figures.
He returns to the catchy pop-rock of the title track on ‘I Can’t Ride With That’ which features a big trumpet-led flourish, and he rounds things off with a meditative love song called ‘You Are My Love’ which basically restates his lyrical integrity.
And there you have it; the latest pit stop of The Mighty Bosscats ever evolving aesthetic neatly snapped in their own ‘Photoshoot’. ****
Review by Pete Feenstra
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