Neptune

I won't say this is better than Red Rice, but Eliza is clearly in top form on this album. I think Neptune will appeal to many people with different tastes, as it is eclectic. It's easy to enjoy, but far from simple. Eliza's voice sounds rich and sincere; the carnival atmosphere keeps Neptune fun while anticipating the Wayward Band. The lyrics are clever, particularly on 'Blood on my Boots' and 'Monkey.' But as with the other crucial elements on this record that I've mentioned, they're not overdone. Eliza isn't obsessed with hearing herself sound clever because she's mastered subtlety. Excellent record.

Eliza Carthy should write a book on the art of risk management. She is a woman who refuses to be pigeon holed into any strict musical box and knows how stir up some welcome controversy along the way. Its almost now superfluous to state that she is the daughter of folk royalty since she is in her own right one of the best British musicians treading the boards, working in addition with a dizzying array of the best and brightest including Nick Cave, Billy Bragg, Paul Weller and the Transglobal Underground.Her new album "Neptune' like 2008s "Dreams of Breathing Underwater" before it, shows her new found determination not just to interpret other peoples songs but to develop as a songwriter and stick two large fingers up to the confines of musical genres. This could loosely be described as a folk album but its much more besides containing a feast of torch songs, jazz and clever pop songs. Moreover anyone that can start an album with the opening line that "I was drinking champagne with Jerry Springer." should be warmly embraced and lauded. The line comes from the truly lush opener "Blood on my boots" which starts a slow jazz blues lament and builds into a bawdy waltz stretching over six minutes. It's a tremendous start but is happily matched by other excellent songs not least the wicked social observation of the "folk funk" of "Britain is a car park". Other highlights include the personal and reflective "Revolution" which is one of the best songs she has penned thus far, accompanied with her trademark mezzo soprano vocals. The pick of the bunch however is the slow piano ballad "Thursday" a song of restrained power underpinned with a lovely arrangement (respect to both Phil Alexander's piano and Bethany Porter's emotive cello at this point) and Carthy providing a vocal that hits the emotional bull's-eye which she in turn nearly matches on the brilliant "Write a letter". A question at this point to Amazon since the I Tunes download also includes an eleventh track the joyous "Little gods and monsters"? This has almost a African feel and really must be seen as essential to the sequencing of the album since its once of the most commercial songs that Carthy has ever recorded."Neptune" sees Eliza Carthy on sparkling form and crying out to be bought in large quantities by the great British public. We are currently being subjected yet again in the UK to one of Simon Cowell's interminable productions. Britain has indeed got talent and its doesn't need a panel of C list judges to recognise that in Eliza Carthy we have a very precious asset.(PS Happy 70th Birthday Martin Carthy)

I love this album, with its thought-provoking lyrics, brilliant musicianship, and the rich, vivid vocals Eliza's fans know to expect. The songs have a harder edge than some of her more traditional recordings, and feel very real and personal. There are a couple of lovely ballads and every song is a story. It's made my Christmas shopping very easy.

great

The cd arrived very quickly and met expectations. Elizas voice is well suited to the songs on the disc. The song writing is excellent