herbert and howat. 8-1-2-1-9-8-0, liverpool days, and the last song in abbey road. reviews by alan haber. buhdge

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8-1-2-1-9-8-0 (2004) Liverpool Days (EP) (2003) Herbert & Howat Real Live Music The Last Song in Abbey Road Kenny Herbert Real Live Music (2002) Crafting songs inspired by John Lennon and Paul McCartney is a tricky business; the thing is, you don't want to come off as a copyist, for there's no point, really, in trying to be someone you're not. The trick, as it were, is to soak up the things that make them great, the things that define them, mix them up good, and then write songs that pay tribute to them in some way, that, in the end, reflect your experience. Kenny Herbert and Rab Howat are two people who have learned the tricks quite well, thank you very much. They've lived the Lennon-McCartney sound. Their souls have been changed by the songs and lives of the four lads from Liverpool. This is music that has influenced them, that has, in effect, defined them. From these influences, they have crafted their own sound, working in the spirit of those times gone by, but still alive, still oh so very alive. They've come up with, so far, two albums and an EP's worth of original songs tipping a collective hat to the work of their heroes, and you would do well to drop what you're doing right here and now and add them to your collection. The duo's most recent release, 8-1-2-1-9-8-0, named for the title song that celebrates the life of Lennon, is an extremely fun ride, full of great songs and glorious harmonies that will keep a smile on your face long after the CD has finished spinning. The aforementioned title song, a blistering rocker, is a real corker, in the mode of a faster, head-spinning version of "Revolution." Herbert, who looks a lot like McCartney, delivers an affecting lead vocal. The harmonies, sung by Howat and Nobby Clark, are very cool. Written in the style of the Beatle's early period, Clark's smoking "Slowdown" cautions against getting too far ahead of yourself, atop a first-class Ringo-esque drum part from Martin Wykes. The album's two other rockers, "Let It Go" and "Look What You've Done to My Heart," similarly draw from the considerable pool of influences intricate harmony and background vocals, exuberant playing, and total honesty. Too much can't be made of the players that came together to make this record sparkle, great players all, from guitarist Howat to drummer Wykes, pianist (and producer) David Valentine, and David Paton, whose bass parts are especially Beatlesque (Paton, you will no doubt remember, was a member of Pilot, and wrote the classic song, "Magic"). A great job all around. The ballads are as good as any of the faster numbers. Highlights include Howat's pretty "Millionaire," sporting a delicate melody that is as catchy as it is well-drawn (the harmonies are spot-on, widescreen wonderful). "Right from Wrong," a love song co-written by Herbert and Paton, wears remnants of the Beatles' early-to-mid period ballad style on its formidable sleeves. Paton's "I Wonder" is about as Beatlesque as anything here, opening with a nod to the Fabs' "Strawberry Fields Forever" and rolling along atop clever, affecting chord progressions played with great warmth and style. There's warmth and style to spare on Herbert's solo album, The Last Song in Abbey Road, which appears to be a solo turn in name only, as the same players that appear on 8-1-2-1-9-8-0 form the band here, as well. Produced, as was 8-1-2-1-9-8-0 by David Valentine, Last Song was not only recorded in Edinburgh, Scotland, but also at Abbey Road Studios in London, which only adds to the truly special experience on offer through its grooves. From the very Beatlesque rocker "Amazin' Eyes" to an affecting, acoustic version of "Live the Life," which also appears early in the album in mid-tempo, electric form, this is an amazing achievement. The harmonies are, as on Herbert & Howat's most recent album, simply alluring, and the songs...well, they're simply out of this world wonderful. A walk down the lane of a very English growing up, "Childhood Days," is a tuneful, name-checking reality tour, accented by a trumpet part straight out of "Penny Lane." "Just Say the Word" is a catchy, mid-tempo, orchestrated ballad that could have been included on the Beatles' A Hard Day's Night album; the acoustic guitar solo is reminiscent of George Harrison's playing on "If I Fell." The toe-tapping rocker "Money Tree Fun" is, indeed, a lot of fun; the string arrangement really kicks, in kind-of a country hoedown way, and Wykes plays the drums like there's no tomorrow (Howat's blistering guitar is another draw). It's a number with a lot of oomph. The Liverpool Days EP, released between the two albums discussed above, is fronted by the catchy title cut, another nostalgic number, this time focusing on the port city with a heart that spawned the Fab Four. The decidedly melodic masterpiece "Wrong Place RIght Time" is a classic slice of pop songwriting, featuring the usual array of splendid harmonies and keen songwriting skill. The early-Beatles-like thumper "Tell Me Why" features another Ringo-esque drum part from Wykes, and those classic harmonies. The heartfelt ballad "I Want You So Bad," a love song sung from the, well, heart scores big with harmony vocals to die for. The majestic "Everyday Without You" is anchored by a great, catchy chorus and an emotionally-charged choral section near the end. Full of classic harmonies; catchy, extremely well-written classic pop songs; and a whole lot of heart, the works of Herbert and Howat are golden examples of how to wear your influences on your sleeve and still come up with songs that are wholly original, breathtaking creations. Any of these three releases are worthy of your purchase, but, really, you ought to get them all, don't you think? Alan Haber April 24, 2005
alan haber's pure pop buhdgeblog hot buhdge \| pop buhdge \| buhdge remembers television buhdge \| film buhdge \| books buhdge video buhdge \| buhdge fine print \| links about buhdge \| write for buhdge \| contact home (c) 2004 Alan Haber

8-1-2-1-9-8-0 (2004)
Liverpool Days (EP) (2003)
Herbert & Howat
Real Live Music

The Last Song in Abbey Road
Kenny Herbert
Real Live Music (2002)

herbert & howat's 8-1-2-1-9-8-0 Crafting songs inspired by John Lennon and Paul McCartney is a tricky business; the thing is, you don't want to come off as a copyist, for there's no point, really, in trying to be someone you're not. The trick, as it were, is to soak up the things that make them great, the things that define them, mix them up good, and then write songs that pay tribute to them in some way, that, in the end, reflect your experience.

Kenny Herbert and Rab Howat are two people who have learned the tricks quite well, thank you very much. They've lived the Lennon-McCartney sound. Their souls have been changed by the songs and lives of the four lads from Liverpool. This is music that has influenced them, that has, in effect, defined them. From these influences, they have crafted their own sound, working in the spirit of those times gone by, but still alive, still oh so very alive. They've come up with, so far, two albums and an EP's worth of original songs tipping a collective hat to the work of their heroes, and you would do well to drop what you're doing right here and now and add them to your collection.

The duo's most recent release, 8-1-2-1-9-8-0, named for the title song that celebrates the life of Lennon, is an extremely fun ride, full of great songs and glorious harmonies that will keep a smile on your face long after the CD has finished spinning. The aforementioned title song, a blistering rocker, is a real corker, in the mode of a faster, head-spinning version of "Revolution." Herbert, who looks a lot like McCartney, delivers an affecting lead vocal. The harmonies, sung by Howat and Nobby Clark, are very cool.

Written in the style of the Beatle's early period, Clark's smoking "Slowdown" cautions against getting too far ahead of yourself, atop a first-class Ringo-esque drum part from Martin Wykes. The album's two other rockers, "Let It Go" and "Look What You've Done to My Heart," similarly draw from the considerable pool of influences intricate harmony and background vocals, exuberant playing, and total honesty.

Too much can't be made of the players that came together to make this record sparkle, great players all, from guitarist Howat to drummer Wykes, pianist (and producer) David Valentine, and David Paton, whose bass parts are especially Beatlesque (Paton, you will no doubt remember, was a member of Pilot, and wrote the classic song, "Magic"). A great job all around.

The ballads are as good as any of the faster numbers. Highlights include Howat's pretty "Millionaire," sporting a delicate melody that is as catchy as it is well-drawn (the harmonies are spot-on, widescreen wonderful). "Right from Wrong," a love song co-written by Herbert and Paton, wears remnants of the Beatles' early-to-mid period ballad style on its formidable sleeves. Paton's "I Wonder" is about as Beatlesque as anything here, opening with a nod to the Fabs' "Strawberry Fields Forever" and rolling along atop clever, affecting chord progressions played with great warmth and style.

kenny herbert's the last song in abbey road There's warmth and style to spare on Herbert's solo album, The Last Song in Abbey Road, which appears to be a solo turn in name only, as the same players that appear on 8-1-2-1-9-8-0 form the band here, as well. Produced, as was 8-1-2-1-9-8-0 by David Valentine, Last Song was not only recorded in Edinburgh, Scotland, but also at Abbey Road Studios in London, which only adds to the truly special experience on offer through its grooves.

From the very Beatlesque rocker "Amazin' Eyes" to an affecting, acoustic version of "Live the Life," which also appears early in the album in mid-tempo, electric form, this is an amazing achievement. The harmonies are, as on Herbert & Howat's most recent album, simply alluring, and the songs...well, they're simply out of this world wonderful.

A walk down the lane of a very English growing up, "Childhood Days," is a tuneful, name-checking reality tour, accented by a trumpet part straight out of "Penny Lane." "Just Say the Word" is a catchy, mid-tempo, orchestrated ballad that could have been included on the Beatles' A Hard Day's Night album; the acoustic guitar solo is reminiscent of George Harrison's playing on "If I Fell." The toe-tapping rocker "Money Tree Fun" is, indeed, a lot of fun; the string arrangement really kicks, in kind-of a country hoedown way, and Wykes plays the drums like there's no tomorrow (Howat's blistering guitar is another draw). It's a number with a lot of oomph.

herbert & howat's liverpool days EP The Liverpool Days EP, released between the two albums discussed above, is fronted by the catchy title cut, another nostalgic number, this time focusing on the port city with a heart that spawned the Fab Four. The decidedly melodic masterpiece "Wrong Place RIght Time" is a classic slice of pop songwriting, featuring the usual array of splendid harmonies and keen songwriting skill. The early-Beatles-like thumper "Tell Me Why" features another Ringo-esque drum part from Wykes, and those classic harmonies. The heartfelt ballad "I Want You So Bad," a love song sung from the, well, heart scores big with harmony vocals to die for. The majestic "Everyday Without You" is anchored by a great, catchy chorus and an emotionally-charged choral section near the end.

Full of classic harmonies; catchy, extremely well-written classic pop songs; and a whole lot of heart, the works of Herbert and Howat are golden examples of how to wear your influences on your sleeve and still come up with songs that are wholly original, breathtaking creations. Any of these three releases are worthy of your purchase, but, really, you ought to get them all, don't you think?

Alan Haber
April 24, 2005