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Richard Walters – Umbrella Songs EP (Beard Museum)
Reviewed by: Russell Barker
Richard Walters was destined to be a singer-songwriter. That someone can convey this much angst in such a beautiful way is truly amazing. The singer-songwriter is a much maligned genre, but Walters lifts it to a higher plane and shines like a beacon of talent above Oxford. He’s onto a winner as soon as he opens his mouth, his heavenly voice swooning over the plaintive guitar backing. If ever a man could sing the phone book and make it sound wonderful then this is he.
He takes the interesting but uncommon way of opening the EP with a cover, namely John Denver’s ‘I’m Sorry’. That people I’ve spoken to think this live staple is one of Walters’ own speaks volumes for the guy’s way round a tune. Onto his own tunes, ‘Crawl Up To My Room’ is a bittersweet melody, perfect for anyone slightly disappointed by the latest Kings Of Convenience album. ‘October’ is desolate and desperate, Richard stretching his voice in an understated Jeff Buckley way over minimalist plucked guitar. ‘Kathryn’ is almost a twin piece musically to ‘October’, but the best is saved for last. ‘All At Sea’ barely scrapes past the two minute mark but pulls the heart strings more than a mini operetta. The piano backing is simplicity itself, letting the sadness and beauty drip from Richard’s voice. A quite wonderful EP from the rarest of things nowadays, a guy who wears his heart on his sleeve and sounds like he means it.
Source: www.robofdoom.co.uk
Richard Walters Umbrella Songs EP
by Princess Tess
Richard Walters has none of the screaming machismo of his rock contemporaries, but his achingly pure voice mesmerises me from start to finish of his debut EP, Umbrella Songs. He reminds me of Nick Drake, but with a bucket load more fervour: an impassioned young Jeff Buckley. Recent collaborations with The Cranberries’ Noel Hogan have meant that he might finally be making a name for himself.
His songs are delicate yet powerful. He sings love songs; he’s hardly NME fodder, but you certainly won’t find any whining self-indulgence a la Dashboard Confessional on this five-song offering either. His EP starts with a cover of John Denver’s I’m Sorry, stripped down to the bare bones, with a single acoustic guitar accompanying Walters’ beautiful falsettos. “I’m sorry for all the lies I told you,” he pleads, beseechingly. It makes me want to forgive him, and all I’ve ever done is love his music. The singer-songwriter is a much maligned genre, but Walters is a shining beacon of an ambassador among the plentiful Dylan wannabes.
His self-penned songs are just as accomplished. His haunting vocals are highlighted by the sparse arrangements, not least on October. “I don’t know why I ever thought you could be the one to save me,” he wails, firmly tugging at the heart strings.
It’s difficult to believe that this is Walters’ first EP, so engaging it is. He is a master of beautiful simplicity, and Noel Hogan might just have the undeniable pleasure of making Walters famous.
Source: journotess.blogspot.com
Richard Walters 'Umbrella Songs' EP
Review by Jack Jones.
We live in an age where you can barely move for sensitive doe-eyed songwriters, clutching their best Jeff Buckley impression, an acoustic guitar and Sylvia Plath's Bumper Book of Rubbish Things About Life. What makes Richard Walters think he's so special?
Fans of his live show will know. There's the hush of Mass as we lean forward to catch his angelic vocals and minstrel-like guitar. He bears his cathedral-sized heart and the music seems to be flowing from another world and time entirely. 'Umbrella Songs' perfectly captures this intimate magic, intensifying it with deft production touches. Best of all are Walter's self-sung harmonies; they surprise like an unexpected kiss.
The tracks are well-sequenced, unfolding a loose meditation on love. Gently stunning opener 'I'm Sorry' strips down the panoramic MOR of John Denver's original to one guilt-stricken freeze-frame - it's over and it's all your fault. 'Crawl Up To My Room' and 'October' place the blame on both sides; all faith in love is now lost having seen it choked repeatedly by selfishness and lies. The minimalist approach combined with Walters' startling lyrics tells of the frailty of it all.
But then 'Kathryn' presents its strange angular chords and finger-cymbals, blossoming unexpectedly into a tale of devotion, and closing with Walters' doubled vocals spiralling up into The Cocteau Twins' vault of celestial blues. When the dusty sunlit piano fades on 'All At Sea', it leaves us with a tangible sense of redemption and new-found hope.
There are moments when the songs lapse from beautiful minimalism into feeling a little inconsequential, but they are few. 'Umbrella Songs' is crammed with quiet magic and fans of Damien Rice, American Music Club and Ryan Adams will love it. Singing in the rain rarely sounded better.
Source: www.openviewonline.com
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