Simon Stanley Ward & The Shadows Of Doubt. Songs From Various Places

s-s-ward-tsod-songs-from-various-places-300x300Long a mainstay of the London pub gigging scene Simon Stanley Ward released a fine debut album a few years back but since then he’s developed a career as a stand up comedian so it was with some trepidation that we bunged this on the player. The first song, Jurassic Park, is about, well, you guessed it, the movie Jurassic Park. Over a pumped up new wave backdrop Ward sings about how he wished he was Jeff Goldblum in the said movie. It ‘s the type of song a band like The Vapours could have slain Top Of The Pops with back in the eighties which is fine but it doesn’t bode well for the remainder of the album.

Thank heavens then that the remainder of the songs are built on stronger foundations although there’s little of the Alt Country feel of Ward’s debut. They are light hearted in the lyrical sense as he sings about Beluga whales and the import of water and stylistically they wander from fifties rock to grungy Spanish Stroll like riffs with only one song venturing into country territory. It helps immensely that Ward has assembled an ace band composed of some familiar names including Paul Lush (who also produced), Henry Senior, Tom Collinson, Geoff Easeman and Neil Marsh – have a look through your collection and you’ll find those names in there.

The ramshackle honky tonk, I Heard It All, on the perils of voicemail and ensuing paranoia, recalls some of the work of Phil Lee and it’s our favourite number here purely because it reminds us of the first album. However, the next song, Wow, is an absolute cracker as it zooms off like a Thin Lizzy and Hawkwind merger. Here Ward recounts a true event when an astronomer working on the SETI project believed he had received an alien message (look it up). The band zoom into outer space as Lush lets rip with some stratospheric guitar solos before it all boils down with some interstellar warbles. Grand stuff. Beluga Whale is more restrained, the band laying down a fine beat as Ward imagines himself one of these clown like leviathans while laying down a nice plea regarding the fate of these beasts. Meanwhile Water (You’ve Got To Have It) comes across as an environmental lecture being delivered by a somewhat dishevelled Bob Dylan (with his heart in the Highlands) as Ward does his best impression while the band wheeze and heave mightily with some excellent accordion from Gill Frost.

Settling into the album there’s the sublime Mexican tinged Goodbye, the glowering funk of Set In Stone and the sunny delight of A Friend (Who Isn’t Me) with pedal steel and chunky twang guitar giving it a fine swagger. All fine songs and quite smart lyrically but we’ll reserve the last words for the closing Wine. It returns to a new wave type of style but here it’s more Joe Jackson than The Vapours as Ward meditates on the results of spilling his last glass of Rioja into his bath as he soaks. Again, the band are a salve as they revolve around Ward’s words with a great degree of empathy. If Elvis Costello is looking for a new backing band he should start here.

Overall Songs From Various Places is an odd album but there’s no doubting the craft that’s gone into the making of it. After listening to it over the past few days we’d actually love to see Ward do a 1980’s TOTP video for the opening song, skinny ties and all and he could maybe persuade Jeff Goldblum to do a cameo.

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Simon Stanley Ward.

When Blabber’n’Smoke met with Ags Connolly back in April we were talking about albums we were currently enjoying. Ags mentioned that he was really digging the debut album from Simon Stanley Ward, a London based musician who’s been pretty much a feature of the London scene for the past ten years or so. Ags also mentioned that Ward had Paul Lush from Danny & The Champs playing guitar all over the album which was incentive enough (apart from Ags’ impeccable taste) to search out this album.

Well, Ags spoke the truth as Ward’s album is one of the best UK based “Americana” albums we’ve heard in some time. Over the course of 10 songs he delves into honky tonk, bitter sweet country ballads and some rockabilly coming across, believe it or not, as the missing link between Lonnie Donegan and Dwight Yoakam. Ward has a similar nasal twang to Donegan in his voice and although there’s nothing pioneering here, like Donegan he’s a Londoner singing songs inspired by an American dream. In fact Ward homes in on this potential dilemma with his inspired song, American Voice where he admits he “never heard a whippoorwill cry at night and I don’t drink whisky, I never been in a fight” but in his defence he has been “so lonesome I could cry.” The irony here is that Ward sings this with a fine sense of braggadocio while his band of local worthies conjure up an excellent country rock skirl, fiddle blazing away before a characteristically brilliant guitar solo from Lush. The playing throughout the album is excellent. While Lush might draw in fans of The Champs the band (David Rothon (Redlands Palomino Company), pedal steel; producer Arthur Rathbone Pullen, keyboards; Geoff Easeman, bass; Neil Marsh, drums and Ben Wain, fiddle) match him with their ensemble efforts while Lorraine Wood and Laura Tenschert support Ward with some fine backing harmonies.

The album opens with a brooding guitar twang on Monster Song, a moody and remorseful apologia which summons up the ghosts of Roy Orbison and Mary Shelley, a mood immediately dispelled by the spritely rockabilly strut of 100 Days In Heaven. Trouble Somewhere weighs in with a classic pedal steel introduction as Ward and the band parade their finely honed Burritos’ styled country rock while Please Excuse me (I Feel Sorry For Myself) returns to Yoakam like hillbilly rock. There’s some more retro riffing on the Buddy Holly hiccups of Obvious To You while Homesick rattles along with a sound and vigour that recalls Dylan and The Band going pell mell in 1965. Dylan comes to mind again on the closing song, Over Here although this time it’s the latter day biblical prophet who’s mined here with an organ led soulful groove sounding like an out take from Slow Train Coming.

Elsewhere Ward delivers some finely honed sob stories. Another Page is a plaintive ballad with lonesome guitar pleadings while Behind Closed Doors is a simply beautiful and heartfelt love song. Laced with yearning pedal steel, gentle piano and wistful harmonica the song is haunting with some vivid images in the lyrics as Ward recalls a first walk around a lake with his partner “getting naked in every possible way.” Ward sings wonderfully here, wounded and lost as the song meanders to its conclusion.

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