The title track is a new recording of the song she wrote for 2015 Poozies album, Into The Well, featuring real rather than electric piano, given a softer feel and with Tom Bull on double bass, Sally Barker’s follow-up to Maid In England, the 2014 album on the back of her appearances on The Voice, is woven around a theme of abandonment and putting your heart back together.
One of the first reactions to being dumped is want retribution, and smoke-wisped jazzy blues opening track ‘Emperor Of Cool’ taps into the narrator’s embittered feelings towards the ex who cruelly tells her, “the harmony to all of your songs” he only dated her for a bet, sharing his less attractive attributes with whoever she meets.
Realisation of being broken arrives with the early Dylan influences of ‘I’m Not Whole’, the acoustic guitar riff behind the piano written and played by her son, its lyrics built around imagery of the sea and being washed up on the shore. Delivered against a steady acoustic guitar pulse and streaked by pedal steel, ‘Like Sugar’ offers a different spin, a woman lonely while her soldier husband is away at war being courted by a local chancer bringing food and stockings and offering to help with a little DIY.
Picking up the ‘Ghost Girl’ imagery and running with it, ‘Vampire of Love’, featuring Sally on piano and guitar, is a slow dance romancer with a 30s styled waltzing chorus that, set in Victorian England, draws on the dangerous sexuality embodied in the Dracula-inspired seducer.
The mood shifts again for the 60s R&B sultry groove of ‘Hand of Fate’, apparently written for Tom Jones and inspired by the offer of major label deal following The Voice, one which, perhaps wisely, she declined. Bolstering the instrumentation with keys, slide and electric guitar (Knopfleresque solo provided by PJ Wright), the country tinged ‘Mr Bang’ apparently has its inspiration in a difficult and troubled chap who also happened to be very loud drummer.
If it’s been about loss, betrayal and loneliness so far, the even more country slow waltz ‘Two Hearts’, again featuring pedal steel and with Ian Crabtree on Spanish guitar, addresses the possibility of finding new love, hope tinted with hesitancy.
Underpinned by double bass, the earlier jazz vibe resurfaces for the smoky, finger clicking ‘Queen of Reckless Feelings’, a lyrical throwback to Barker’s earlier and less complicated singleton days. She reminds me here slightly of Janis Ian, as indeed she does on the spare acoustic ‘Tell It Like It Is’, a brittle break up of an affair number, even if the publicity blurb evokes Dory Previn, another 70s singer-songwriter doyenne of songs about spurned and discarded lovers.
The album ends with Glenn Hughes on piano for the brief instrumental ‘Theme to ‘Ghost Girl’’. But, before that pedal steel, Spanish guitar and the theme of new but difficult starts are reprised with the folk and country tones of ‘Canada’, a strummed first person narrative of hardships suffered by settlers encouraged by the British Government to emigrate there in the early 1800s on the back of the fur trade boom and build new lives for their families. Some went under, but many more survived and emerged stronger for the experience, which, in a nutshell, is the message at the core of this fine album.
Artist’s website: www.sallybarker.co.uk
‘Ghost Girl’ live: