Album: Jonathan Wilson – Fanfare

Released 14th October

Downton Records

9/10

‘Ambitious’ is the  word that sums up Jonathan Wilson’s second album. The entire record is a barefaced tribute to Wilson’s diverse influences, ranging from 60s folk and psychedelia to 70s and 80s funk and prog-rock. It treads the right side of pastiche with cameos from David Crosby, Graham Nash and Jackson Browne confirming Wilson’s sincere devotion to Laurel Canyon’s rich musical heritage.

California’s Laurel Canyon is the famous home of 60s icons such as Jim Morrison, The Mamas and Papas, The Byrds, Crosby, Stills and Nash and Buffalo Springfield. Wilson is the natural heir to this heritage of Californian folk-rock, and in the last five years he has revitalised the scene. By introducing many of these eminent 60s artists to young musicians and producers at hazy jam sessions at his studio he has updated and revived Californian psychedelia. He has also produced many of these young musicians’ records, including Dawes and Father John Misty, the latter of whom also appears on Fanfare.

The album opens with a soft crescendo that fizzles into a crashing string ‘Fanfare’, as promised by the first track’s title. This bold opening segues into the album’s single ‘Dear Friend’. This track has a real prog-rock vibe and one of the finest guitar solos I’ve heard since Gilmour’s scorcher on ‘Comfortably Numb’, in contrast to the gentle counterpoint of the chorus.

Other notable songs include ‘Cecil Taylor’, which culminates in an abstract skat vocal breakdown featuring David Crosby and Graham Nash. ‘The Illuminations’ is a dark and haunting symphony, which could almost be a hidden track on Dark Side of the Moon. Performed and produced exclusively and painstakingly by Wilson, it is a real testament to his creativity.

The cover of psychedelic legends Sopwith Camel’s ‘Fazon’ was the track that really won me over with its infectiously funky groove that veers towards the sublimely ridiculous.

‘Love to Love’ is the only weak point in this otherwise flawless album. The writing sounds like Springsteen in his heyday, though Wilson’s vocals fail to match up to Brucey’s anthemic intensity.

Despite this, and whether you’re a sixties buff or not, Jonathan Wilson has fingers in enough tasty pies for there to be something for everyone on this album. He’s set to be a major player in years to come, and his show at Gorilla on the 28th not to be missed!