This triumphant debut album from Salford-born singer/songwriter JOHN HERRING stands alone as a celebration of song-writing talent certainly, but also as proof positive of the work ethic that’s necessary in order to operate at the very highest level.
Already a veteran on the live/festival circuit thanks to eighteen months of near-constant gigging ‘Tales…’ is Herring’s first full-length release since the 2007 ‘Unobtrusive’ EP. Recorded at Salford’s Blueprint Studios (home of Mercury Prize winners Elbow), Herring shares production duties with Blueprint’s impressive in-house engineer Gary Hadfield (also noted for his sterling work with the likes of The Courteeners, The Twang et al).
Though essentially a solo project (the power of self-release sees Herring’s immense creative potential realised in not just the music but the artwork and just about every other decision involved);this twelve-strong collection of songs draw their collective strength from being obvious products of the same purple patch. However, the ideas also flourish thanks to the energy and sheer chemistry generated between John and an eclectic and strong supporting cast.
Guest appearances from bohemian Derby duo JASON DUNKLEY & THAT GIRL SUE are interspersed with cameo appearances from established solo artists Phil Davies and Mike Kneafsey. Drums come courtesy of former MEADOW and KILLER HEELS man Tim Thomas, with ORANGE bass player Martin Roberts completing the once-in-a-lifetime combination.
People and places prove to be of equal significance , sharing the bill as the drama unfolds. Instead of unfinished oil-on-canvas, the melodies evoke a collage of monochrome snapshots and mental images in an attempt to define an ever-changing landscape that’s populated by best friends and lost lovers.
Shared experience is the key as Herring trusts in the perceptive power of empathy to highlight the psychic and romantic essence of human relationships. This is Manchester as seen from the Salford side.
The reflective, autobiographical ‘City Boy’ gets this collection off to a flier. Traffic sounds and street conversations enhance the unique flavour of city-centre Manchester (You can just about hear the surreal sound of a drunk and his slurry version of obscure 1970s TV theme ‘Van Der Valk’!) whilst subtle strings somehow complement the sound of tyres on wet tarmac within a wonderfully delicate arrangement.
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Meanwhile, ‘Urban Decay’ documents the huge social and landscape changes that have wiped out the Salford of old, mirroring the effects of ‘regeneration’ across the UK as a whole.
In between the physical geography of cobbles and terraced houses are the inevitable tales of romance. ‘Love Don’t Cut It’ is a deeply considered and alarmingly soulful ballad that’s beautifully underscored by the classical guitar playing of Jason Dunkley.
This is surpassed however, by a third-person emotion-by-proxy take on love as experienced by a close friend. Understated and full of genuine empathy, ‘That Was Me’ is song-writing of the highest order. It’s a Lennon and McCartney trick alright, one that recalls the Fab Four’s halcyon days as the removed sense of urgency flourishes along with the rattle of an incredibly uplifting melody.
Other highlights include the visionary ode to Herring’s roots entitled simply ‘Home’, which features the cello playing of BOB BUTLER (of CORNERSHOP fame) as well as a choir as the singalong chorus reaches it’s zenith.
As a celebration of this musically revered part of the North-West and beyond, you’d be hard pushed to find a more honest collection - or a more melodic. There honestly isn’t a bad track on the whole record. ‘Tales From A Northern City’ represents the rise to prominence of one of the region’s most creative and talented songwriting talents.
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