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Garret T. Willie—Same Pain—Independent Gtw006

(www.garrettwillie.com)

Canadian singer, guitarist and bandleader Garret T. Willie’s
vocals have a weathered, lived-in quality that belies his 23
years, whilst musically he is a blues-rocker drawing on all

the right influences. From Chuck Berry and Elvis through
Ten Years After and The Rolling Stones to Stevie Ray
Vaughan and George Thorogood, Garret is aware of them

all. Note though that he takes what he needs from them
to create something new.

Do note though that he is in no way a retro artist, just take a listen to ‘What It Means

To Me’ with its subtle echoes of Hendrix’s ‘The Wind Cries Mary’. And just when you
think you got the measure of the man, he comes out with a Johnny Cash inflected
vocal on the title track!

His arrangements are fine throughout this release. ‘Out In The Rain’ draws liberally
from ‘The Red Rooster’ and has great sheets of electric slide guitar and a fearsome
vocal, and contrasts strongly with the gentle soul-inflected ballad of the first half of
‘So So Long’ – not the kind of thing many blues-rockers would think of attempting.

So, here’s a new name to watch. I’m sure we’ll be hearing more from and about him
in the future.

Norman Darwen

Ma Polaine’s Great Decline—Molecules—Omh Records

(www.mapolaine.com)

Recorded in Frome in Somerset, this is a rather lovely set
of folk tinged Americana with more than a hint of soul
from the duo of vocalist (and occasional harmonica

player) Beth Packer and guitarist Clinton Hough, aided
and abetted by a couple of local musicians in Nick Pini and
Jimmy Norden on bass and drums respectively. The duo
were beginning to build a head of steam when lockdown
hit, but if you’ve not been able to catch them live, you may

know the name from Cerys Matthews’ show, or other radio appearances.

This is a quiet, delicate and reflective release, as befits one born when we were all
isolated, and Beth’s vocals convey both fragility and resilience. ‘Alone’ has stronger
hints of country and pop (and Beth’s brief Bob Dylan flavoured harp break), and
‘Audrey’ is tougher, with shades of blues-rock, whilst ‘Blame It On Me’ has shades of

the vaudeville sounds of the 20s and early 30s. It is certainly a listenable and
enjoyable set, maybe not the pure blues, but that is indeed one of the elements in Ma
Polaine’s Great Decline’s approach.

Norman Darwen