The Sweetest Illusion - Record Collector Magazine
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Album, Reviews

The Sweetest Illusion | Basia

Basia Trzetrzelewska might still be best remembered here for a brief spell of fame with jazz pop outfit Matt Bianco, but her career stretches back into the 70s in her Polish homeland, where she’d sung in bands as diverse as Alibabki – an all-girl vocal ensemble – and an early version of rockers Perfect, though not recording with either. 
Perhaps neither were the ideal place for her beautifully smooth tones, though her vocals on Matt Bianco tracks, secondary to Mark Reilly’s, hinted at what she could deliver, so that when she and long-time partner Danny White split from Reilly, the class that oozed out of the first album under the Basia by-line, Time And Tide, was hardly a surprise, welcome though it was.
She’s not exactly been prolific since then, with The Sweetest Illusion originally appearing in 1994 as her third and, for many years, final studio album, a slow burner in sales terms, as elegant as Time And Tide but without her debut album’s more catchy, hooky numbers even while possessing an appealingly sophisticated transatlantic jazz swing.
This comprehensive reissue, handsomely folding-out into its three-disc package, will be overstated for all but the most dedicated, containing a morass of instrumental versions and radio edits, though it also collects a handful of more essential additional songs recorded for a Best Of retrospective. 
Cherry Red | CRPOP 171
Reviewed by Ian Abrahams
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Martin Stephenson

The Daintee Stephenson, sympathetically supported by Jim Morrison (violin), James Cole (banjo, guitar) and Anna Lavigne (occasional vocals), brought his acoustic guitar-picking and a stream of jokes and stories that hit the mark. The material was a well-judged blend of originals and rootsy covers, such as Cannonball Rag (Merle Travis) and Deep Rive…

Rod Stewart

Rod The Mod stormed onto a
60s-style stage to Love Train, not
looking anywhere near his 65
years. What has diminished
slightly, though, is the power of
his voice. Still the smooth but
gravelly crooner, he sometimes
struggled to be heard over his big
band, which included a driving
horn section. He sounded best
on softer ballads like Ha…

Billy Bragg

For hardened fans, this was a formulaic set with the anticipated new tracks slotted in. Still, there was a surprise cover of Anaïs Mitchell’s Why We Build The Wall, and the strength and relevance of the message in Billy’s new tracks was not lost on the audience. Saffiyah Smiles induced silence among the crowd, while favourites like Levi Stubb�…

Live At Aachen Open Air Festival 1970

 

Held over three temperate
days in June, 1970’s Aachen
Open Air Pop Festival must
have been quite the blast.
In among festival perennials
guaranteed to get bums on,
er, tufts – Free, Taste, Deep
Purple and the Broughtons –
you would also have found
Canterbury scenesters (Kevin
Ayers, Caravan) and krautrock…

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