Skint Fairies!

It's review time folks. Over the next few weeks we will be bringing you our Top 10 of the year. We would have finalised it earlier but Gruff Rhys had to be a douchebag and release an absolute gem 2weeks before the end of the year. Honestly!

10. Skint & Demoralised – This Sporting Life

The comeback of the year by far.

In 2008, Skint & Demoralised appeared to be going from strength to strength when Mercury came along and snapped them up. Alas, Mercury lost its bottle shortly after and ripped the rug out from underneath their feet. Rather than allow the bitterness to set in, Matt Abbott dusted himself down and set about delivering a glorious slice of Northern observational poetry and pop music.

Musically TSL is not a million miles away from the debut Love and Other Catastrophes. The Johnny Marr-esque guitars are in full force, especially on Did It All Go To Plan… TT predicts a John Lewis advert beckons for this one.

Abbott still has a great knack for featuring characters in songs and on Maria, Full Of Grace, this is done with harrowing splendour. The tale of Maria is one of a friend who has lost confidence and faith in herself but is oddly ensnared in a spritely Smiths framework which will have you tapping along and then feeling guilty afterwards, no doubt.

The Lonely Hearts Of England is easily one of the singles of the year: A raucous Pogues-meets–the-Crookes effort in which Abbot professes his defiance to anyone and everyone who feels differently to him.

Welcome back chaps!

9. Sugarplum Fairies – The Images We Get

The L.A. based Viennese duo are relatively unknown in the UK but with this slice of Dream Pop, so eloquent and beautiful, it won't be long before they are essential to indie collectors everywhere.

Opening track ‘Waves’ sets the tone for this dreamy gem. It hazily meanders its way from start to finish, giving a nod to The Pastels circa 'Truckload of Trouble' and a wink to The Boo Radleys on 'I Wish I Was Skinny'.

With the help of producer Todd Burke (Belle & Sebastian and Ben Harper) SF manage to capture their love of the Velvet Underground perfectly on the wistful ‘Plastic Sky’ and ‘Heart Hell’. The latter takes Lou Reed's introspective genius and splices it with the heartache of Ian Curtis. Anyone who can listen to this song and not stare off into the distance contemplating past failures would probably score alarmingly high on an 'Am I a Serial Killer' test.

In amongst the escapist heartbreak they do so well, is the stand out track ‘Jump the Game’ which has the same sinister, haunting quality of Johnny Cash's ‘I Hung My Head’.

In an era of record labels flogging bravado in leather jackets by the bucket load, SF brilliantly manage to threaten to launch into such a mode but always hold off. In doing this, they expose you to the twisted nature of their song-writing which leaves you feeling a little wired yet exhilarated simultaneously.

The ‘Images We Get’ is one of those rare albums which will always fit your mood: it will blow away the fog on a hangover, reduce you to tears when heartbroken, and always leave you dreaming of those great drunk days of your youth which are painfully hard to recapture.

Pulled Apart By Horses - V.E.N.O.M

As the festive period approaches nostalgia will take control of the airwaves and the live circuit. For those of you still hoping for the new, you shall wait no longer. Amidst the album tours and longing to hear MacColl and McGowan be prepared to feel invigorated by V.E.N.O.M the new single from the Leeds quartet.

V.E.N.O.M is a firecracker of tune. It explodes out of the traps with raw yet catchy riffs reminiscent of Hundred Reasons on 'If I Could' and 'Silver'. In amongst the guitar frenzy lies a hook worthy of The Rapture that will have indie/rock clubs sweating through their latest Topman purchase and spilling cheap vodka to their hearts content.

So with the amusing demise of EMI Traveller's Tunes urges you to get behind one of independents finest Transgressive, and back this bona fide rock belter and make V.E.N.O.M the launch pad for the Yorkshire lads.

Spectrals - Bad Penny

There have been a lot of bands springing up this up year with surf-rock tinged guitars, and whilst many are fun, few are as intimate as Spectrals on their new album, Bad Penny. The fact they hail from West Yorkshire gives the album a real sense of day dreaming, evoking a longed for escape which, in today’s political climate, is always welcome.

Spectrals’ withdrawn approach to the hazy beach sound often lends itself to comparisons with the San Francisco band Girls’ 2009 debut ‘Album’ (no, really, it’s called Album) as they plod gloriously through their sunshine grooves. However, scratch the surface and all is not as happy as it may first appear as the entire album centers around Louis Jones’ ex and how she consumes his every thought and action. Behind every whimsical riff lies a lyric of confusion and unrequited love.

Standing head and shoulders above all is the track Big Baby. This is an out and out Phi Spector masterpiece. Sometimes an act comes along and mentions influences which leave you thinking “you don’t get it at all”. Well, not here. The spirit of the Shirelles and Ronettes will have a long and prosperous future due to the Spectrals’ flare to combine 60s girl groups with indie pop.

Lockjaw and Many Happy Returns show their Yorkshire heritage with a nod to Richard Hawley’s recent work on Coles Corner and Lady’s Bridge. TT believes that the Yorkshire connection is crucial to why Spectrals are great. They are the link between the Arctic Monkeys to the surf rock trends of today that many have been looking for.

Yes, escapist beach anthems are great but history has proven that British folk love their pop music with grit and heartache like the Monkeys served up on their debut. That is exactly what the Spectrals deliver.

 

Spectrals - Big Baby by Spectrals

Spectrals - Get A Grip by Spectrals

To Kill A King - My Crooked Saint

Communion Records continue to discover acts reinventing the folk wheel and To Kill A King are the perfect example. Championed by Laura Marling, the queen of folk herself, TKAK release the highly emotive EP, My Crooked Saint, on the 17th October.

On the opener Bloody Shirt, TKAK have taken The Cure at their downbeat best on Lullaby and twisted them with the bittersweet melodies of John Martyn. This approach feels so fresh it is going to make the big industrial noise of Editors and White Lies a thing of the past. 

If Bloody Shirt feels like a smooth gear-shift away from the big indie bands around, then We Used To Protest/Gamble is like getting a mushroom on Mariokart away from them. Ever wondered what it is about the Chapel Club that’s missing? Well, it’s this. Chapel Club are a good band - make no mistake, but To Kill A King don’t need a rabble-rousing chorus to convey their love and hurt. Straight from the off, they are tugging on the heartstrings and then subsequently building on the nagging feeling they place in your hearts.

Family is TKAK's epic number which builds and builds until a crescendo of beauty at the end. On the surface, this track is most likely to be the newcomer’s way in due to its great simplicity, but the lyrics are on a whole other level. The words on this track will have fans shouting "Yes! Yes! This is how it is for me!" as they convey the underlying (and rarely spoken) love/hate relationships people have with their families. The music press will never recognise this as a social commentary of the same ilk as Cigarettes & Alcohol or London Calling but Travellers Tunes is sure this will resonate with most people.

In an interview recently, Paddy Considine said he would definitely direct a film with Shane Meadows within the next 10 years. TT hopes they listen to My Crooked Saint when they do so. The amount of warmth and pain conjured up on this EP is enough for the gritmasters of film to sink their teeth into and create something equally as pure and compelling.



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Sissy & The Blisters @ Tooting Tram and Social

XFM’s John Kennedy hosts the free gig tonight and is clearly beaming from ear to ear in anticipation of Sissy & The Blisters headliner slot. It takes no time at all to see why as they rattle through their set, often sounding like an aggressive stripped-back Interpol with the pop sensibilities of Dennis The Fox’s ‘Piledriver’.

It is hard not to be immediately drawn to singer James Geard as he bounds back and forth from the organ to the microphone. His deep vocals suit the organ leg garage rock anthems perfectly, and none more so than on the new single Let Her Go. This is a joyously raucous number with fragile lyrics about not being able to move on, evoking memories of Doors' Love You Two Times but fuelled by the urgency of The Buzzcocks.

In a venue where there are far too many sofas on display, the crowd find space to dance like there is no tomorrow to previous single We Are The Others. Geard is clearly buoyed by this and opts to throw himself into the front of the crowd for a little dance of his own. Many new bands have singers with dreams of stage-diving and being the iconic wildman but very few are authentic. Geard thankfully falls into the latter category with his ‘kid on cherryade’ enthusiasm.

In an era where synth bands are ruling the indie airwaves, people are about to get one hell of a guitar and organ-based kick in the plums. This band ooze sex and danger, yet have the great quality of being humble as they chat away at the bar afterwards. With radio play from Zane Lowe, Huw Stephens, Lemacq and XFM already under their belt, it truly seems only a matter of time before the world knows about Sissy & The Blisters.

Bestival 2011 may have been marred by one or two disgraceful acts this year but Traveller’s Tunes will not let this tarnish the finest festival in the land.

Here are our highlights from the weekend:

Yuck

Opening the Main Stage after an hour’s delay may have given fellow
bestivillians a reason to go elsewhere. Much to Yuck's delight though, a packed crowd turned up for their Sonic Youth and Dinosaur Jnr tinged delights. Yuck is most notable for their bass player, Mariko Doi, standing front and centre, shades on, looking more despondent than Cobain and Yorke on a hangover. An absolute princess of cool.

Young Rebel Set

A set filled with bluegrass, folk and Springsteen-esque numbers would
have suited the sunshine so much more than the chilly 22:45 slot. Nevertheless, the boys from York had the Sailor Jerry's stage bopping away from start to finish. Not content with releasing their debut album, Curse Our Love, to critical acclaim earlier this year, they unveil three new tracks tonight, Hooligan being the highlight of the three.

Diplo

Arguably the greatest thing about Bestival is the energy and buzz created by never having gaps in the schedule. So many festivals treat the gaps in-between live performances as a chance for folk to go to the overpriced bars or be subjected to adverts. None of that tripe here! Bestival hands over to top class dj's which have crowds dancing as if their lives depended on it. No-one is better this weekend than Diplo. What a set. He tore the Big Top crowd a new one on Saturday night whilst many stood watching The Cure be self indulgent on the Main Stage. Great band or not, nobody should be playing for two and a half hours. Yawn fest.

Diplo has the tent shaking from the start when he drops Scrillex. Seriously, Scrillex must get through a laptop a week with the filth he pumps out! To chill things out (only a little, mind you) Diplo spins Joe Goddard's new single Gabriel to a great reaction. This thrills TT as it's an awesome tune! One of the most important things for bands and dj’s festivals is recognising the crowd are shagged out and the need to get people’s adrenaline flowing. So when Promises is played, it is met with a rapturous reception. This spoke volumes about Diplo's set. A crowd hungry for the new and underground has been whipped into such a storm for forty mins, that this Number One hit felt like the door being kicked open for all that had gone before.

Frank Turner

Well, TT is running out of superlatives for Turner without changing our blog title to WE LOVE FRANK. Being billed as a special guest didn’t prevent a big crowd cramming around the tiny Sailor Jerry's stage. Tonight saw just Frank and his guitar rattle through his back catalogue to a boisterous yet friendly crowd. TT remarked to our dear self-titled friend, the Duke of Greenwich, how this gave his a set a warm feeling akin to Nancy singing in Oliver. It was at this point we knew it was time for bed!

SBTRKT

If you imagine Burial awakening from his sullen slumber to see a sunset in San Antonio then you are on the right path to SBTRKT. They combined dub, soul and electro to great effect in the early afternoon slot, acting as a musical Bloody Mary for many a sore head. The gifted nature they have to mesh these styles still has TT dumfounded as to where their Mercury nomination was.

Two Wounded Birds   

Cool as fuck. Surf-rock is on the rise in 2011 and here we have
Margate's answer. Ok the surf probably isn’t up to much but their Beach Boys/Ramones tunes are. These are defo ones to watch in the forthcoming months.


Public Enemy

After the farce of Brian Wilson (see next post) TT was worried about the emergence of more legends on the Main Stage this weekend. Fret not though, Chuck and Flava were a joy to behold. They had all the wit and outlaw persona of 1988's It Take's A Nation Of Millions To Hold US Back and then some. Flava in recent years became a bit absurd with his appearance on celebrity big brother in USA but today showed thirty thousand he is still a force. His rapping was never in doubt but his bass guitar and drumming skills allowed a crowd to recognise that he was, and always will be, on par with Chuck in the creative department.

Ultimately though, the thing TT admires about them most is their message of one love and racial equality. In an age which has handed Jay-Z godlike status for being consistently boring with his lyrics, Public Enemy's ability to connect with the average punter stems from their simple and right on values.


 

Primal Scream  
So, to the highlight of the weekend, Primal Scream. This is no ordinary Scream set, playing Screamadelica is never a run of the mill feat. The seminal album pinned dance and rock music together perfectly in 1991 and is ultimately what Bestival is all about.

Gillespie has always had a great sense of showmanship about him, and playing Screamadelica in his preferred live order heightens this. Ending on Come Together was one of the most beautiful things TT has ever witnessed via live music. The crowd sing for five mins in perfect harmony before they return for a triumphant encore which included Country Girl and Rocks.

Damaged was the set highlight however. On an album full of the spirit of 88’s second summer of love, this little bluesy love song sits there as a slice of reality. Whether coming up or down, relationships remain a constant and Gillespie has everyone in love beaming and anyone suffering from heartache recalling every tear.

The power this album still has after twenty years is mesmerising. Apart from the NYE show in Edinburgh, this is the last performance of the album on British shores, so we can only hope they rattle off another gem in 2012.

An Underdog God Walks Among Us!

Watching Frank turner (sadly on bbc3) at the Reading Festival this weekend brought tears to our eyes at TT. Working alongside the mainstream music industry for 4 years now, I have heard important people claim he is nothing, he has no hits and he will fall by the wayside several times. GET FUCKED!

Watching live and then re-watching another 43 times on the iplayer his performance of Photosynthesis was like hearing it for the first time all over again. The song has virtually become the mission statement for Traveller’s Tunes so imagine our glee when we see 30 thousand people watching, most of which were singing along. We always knew he was a genius and this is the ultimate proof!

In a year where Adele and XL Recordings have smashed the major labels out of the park, the independent scene is a joyous thing to be a part of. Frank’s story is the complete opposite to Adele’s and one that is more likely to cast Sam Riley in the biopic adaptation for the big screen in years to come. Touring almost non-stop since 2005 since the ugly break up of his band Million Dead, FT has scratched and clawed his way to the main stage at Reading. He has played every stage at the festival over the years, so to see a massive turn out felt like Wimbledon beating Liverpool in the 88 cup final.

If the chumps at Radio 1 want to continue to break artists like Tinchy Stryder and Taio Cruz who have worst lyrical content than ITV’s Loose Women then so be it. Frank should be an example of just how far hard work will get you. Don’t take no for an answer, fret not when the playlist rejections keep coming. There will always be a Traveller’s Tune blog willing to write, a Steve Lemacq ready to spin your single. In the words of our dear Frank “something as simple as rock ‘n’ roll will save us all.

Baxter Dury - Happy Soup

Lyrically the album is littered with promiscuous gems his old man would be proud of. Lead track ‘Isobel’ dives straight into this world proclaiming “I think my mate slept with you when you were in Portugal”. Combine this with a mature sounding Jamie T guitar lick and it’s winner winner chicken dinner time folks.

Trellic is probably the most Blockheads-esque of all tracks on the album but the accompaniment of Madeline Hart on vocals gives the song its own sumptuous identity.

You would be forgiven for thinking that Graham Coxon co-wrote this album with Dury. It has all the hallmarks of his early Blur guitar parts. Catchy enough to pull it into mainstream consciousness but quirky enough to know your not being sold a Menswear.

Without question, the standout track is ‘Claire’. It has a tender fragile feel which gives the impression Dury is making a desperate plea to someone he cares for deeply. It is one of those great songs which is seemingly just a catchy pop song but scratch deeper and you will find something to cling to for a life time.

Anyone lucky enough to get tickets to Pulp at Brixton academy over the bank holiday get there early to see Baxter in full flow!

Male Bonding – Endless Now

All the way from America via the immense Sub Pop label is Male Bonding……..what?.........their from DALSTON!!!!!!!

That’s right folks, a trio from North London are releasing an album (their 3rd) on Sub Pop. Unsure as to how that happened, well so are TT but from the opening riff of ‘Tame The Sun’ its not hard to see why. Embodying Sonic Youth’s ‘Goo’ and Jesus and Mary Chain’s ‘Upside Down’ the album is an instant hit. I mean melody and distorted guitar sounds, what’s not to like?

Carrying and Seems to Notice have such sumptuous guitar licks it beggars belief that The Drums are even bothering with a 2nd album. the aid back nature of The Drums ‘I Wanna Go Surfing’ is made to look futile with MB’s emphasis on urgency and energy.

Since the emergence of Wavves the renaissance of music similar to Pavement, Sonic Youth and the Mary Chain is becoming more and more prominent. Christ, even Sebadoh are touring again! With a little luck Male Bonding look as though they are about to time their assault of the airwaves to perfection. Plus, with Howler’s debut release round the corner they are the perfect prelude.

PIP PIP!

Introdiction is the first solo effort from the Stanford-le-Hope’s Scroobious Pip and is brimming with his glorious dark and moody delivery. Moving away from his collaborator Dan Le Sac’s love of Electro into an out and out hip hop sound, Pip has managed to create sense of being an outsider fighting for attention.

The Thunderous drum roll into the 2nd verse will have anyone with pent up aggression ready to roar those around them. There is not too much change in style of Pip’s delivery here, which, it being top draw for two albums we are not unhappy about.

He continues his assault on rappers that say “ho” which he began in cult classic Thou Shalt Always Kill much to TT’s delight. We pray to the music gods that Pip casts himself into the public eye as no longer can we bare the tongues up Jay-Z and Kanye’s arseholes because of their production. They have nothing to say and say it far too loudly.

Long Live Pip!

Do You Remember The First Time

Hyde Park was the setting for Sheffield's finest triumphant return to London and not even the corporate muck which looms over the wireless festival like a floater in the toilet is going to spoil it.

With an impressive line-up on the various stages TT brings you the low-down on a monumental comeback.

Clock Opera

In many ways they are like Pulp. They show so much promise in their early days but will 'that hit' materialise. They manage to entice a big crowd from Metromony on the main stage churn out a litter of Friendly Fires indie electro numbers which are tinged with a darker edge. Thankfully their are no pompous scenes of Hawaiian dancers here.

The Horrors

Have they played to a bigger crowd than this? we're not so sure. Two things come to mind during their set. Firstly, they have to win the Mercury Award this year with Skying. Primary Colours was robbed in 2009 by the distinctly average Speech Debelle, and Farris' talent deserves the extra recognition and bigger exposure, which sadly, the mainstream will never give it in the current climate.

Secondly, standing in amongst 20thousand misfits and outsiders restores
TT's faith in mankind. More importantly it restores the faith that bigger and better days are in store for the Horrors of this world. In 1993 nobody thought these fans existed but then Pulp and Suede ruled the airwaves for their next few years.

Foals

What a set! 50minutes of jaw dropping indie played with a passion and drive rarely seen from bands who have already made it. Every second counted in the big top for them this afternoon, was like they still needed that first record deal. Miami is a simply stunning event. It is as if Pink Floyd lost their pomposity and donned a pair skinny jeans.

The intense heat of the big top tent is cooled with the stunning beauty of Spanish Sahara. probably the single of 2010 has this odd age group ranging crowd looking on in awe as the Oxford lads come close to upstaging Cocker's triumphant return.

Pulp

As a 12 year old in 1996 I took on a 356 paper round for the Thurrock Gazette. Armed with my brothers Daiwa Double Bass walkman and my Shine 3 compilation, I set about earning money. The purpose was very clear, I needed cd’s in my life!

Obsessed with Steve Lemacq’s Evening Session and the John Peel Show when I could get away with staying up that late, I had a list of albums I had to have. 2nd after What’s The Story was Pulp’s Different Class and owing to the fact my brother already had What’s The Story… I plumped for Cocker’s masterpiece. At the time it was sheer pop perfection that had me dancing round my bedroom. As a 27year old it is still this but lyrically everything resonates much more powerfully.

Pulp open with ‘Do You Remember The First Time?’ the memories of missing the odd house out on the paper round so I could get back in time for Neighbours came flooding back.

Nostalgia aside, Pulp are as good as anything on the live circuit today. Jarvis sparkles in conversation between songs and even inappropriately dedicates the hit ‘Babies’ to his mum.

Different Class album opener ‘Mis-Shapes stirs the crowd into a frenzy. Amidst the heartless job cuts and sickening blameless culture amongst the banks, thousands upon thousands here today connect with its sentiment more than 15years ago.

Sadly Mis-Shapes and Common People are the type of tracks which bands seem incapable of writing in this narcissistic leather jacket wearing era. Nevertheless, this should not overshadow what was one hell of a comeback. Meany people knock bands reforming, to them TT says do one. this was a special afternoon, a reminder of the little guy can win and he will win again.

We Are The Dogs!

 

What should have been a glowing review of Dogs’ new 7 track album Fly Like Eagles has been soured by the shocking news they have decided to call it day. Travellers Tunes is flying at half mast today and is unsure when the gloom will be lifted sadly.

The new album marked a new chapter in Dogs musical career. Gone were the The Jam meets Queens Of The Stone Ages belters and in came a new lo-fi love of the Pixies and Pavement. The album is free to download on their website http://www.dogsmusic.com/

It feels only right that we mourn this loss in appropriate trip down memory lane. TT first encountered Dogs in the Radio 1 tent at the 2004 Reading Festival .Whilst waiting to see the hotly tipped Bloc Party, Dogs came on and really shook up a hungover Reading crowd.

Tuned To A Different Station will be the one song a generation of bored kids never heard. A rip roaring, life affirming hell raiser. Bands come along like Dogs so rarely it is disgusting to see labels like Universal treat them so badly. They had genuine hits on their 1^st and 2^nd albums, yet a major label (and indie Weekender Records) seemed to lack the knowledge or belief to push them through to daytime radio.

One thing has eaten away at Travellers Tunes more than anything in the past 24 hours. When opening a promotional email from Ticketweb, it had acts such as The Feeling and The Kooks lining up big gigs for the autumn. This crock of bland shit may sell out these venues and people may sing along but they will never be loved. Fans will never put their CD on indoors and jump around the room, posing in the mirror and sing at the top of their voices. When The Kooks play Naive they will receive a ripple of wolf whistles and whoops. Dogs will be on a level with their audience the moment they walk stage. They were gang just like you and me who wanted to make it and disgracefully the gods opted not to take a punt.

So for one last time Dogs fans. Let your hearts beat with a fury of adrenaline…..

Real Time!

The Enemy have returned this week online with the demo of new tune This Is Real. As is to be expected, three chord bliss! It signals a real return to form for the Coventry boys whose 2^nd album was a real hit and miss affair.

Many have called them fakers over the years, but Travellers Tunes has done and will always herald Tom Clarke’s ability to resonate with the average Joe. Its not about class, it never has been with The Enemy. It’s always been about their perception of the working man, love and loss and long may it continue.

Without further ado…

Hear Ye Hear Ye!

Having been stupidly questioned on his Eton past last week Frank must be glad to have his new album out for all to buy. TT is particularly thrilled to have Turner's 4th solo instalment 'England Keep My Bones' booming from the speakers.

Turner's solo career has always been an enigma. Debut Sleep Is For The Weak was littered with songs any outsider could cling to yet no real success. The single Photosynthesis from the follow up Love Song & Ire is a call to arms anthem that should have indie discos jumping through the ceilings every Saturday night. Alas, BBC6, XFM and late night radio one didn’t really pick up on Frank's genius until his 3rd album and only now is he a mainstay of their playlists.

Lead of single 'Peggy Sang The Blues' from EKMB is by no means his best work but the daytime plays on XFM is will win Frank a new set of fans. Why? Well, for one it’s a song about his Nan and how if he beat her at cards she would give whiskey to put him off his stride. More importantly, it displays everything that is great about him. When Turner steps up to the mic he sounds like he is laying down his life. The

ever increasing passion in this crescendo driven tune should have anyone saying 'post-dubstep “its time I re-evaluated my life”.

As with every Turner album there is always one song which is head and shoulders above the rest. I Still Believe is that song here. A simple rock n roll song about, well, rock n roll. These are the songs that, if your in band and not striving to make you should do us all a favour and go play golf and admit your boring.

The final track Glory Hallejuah is the funniest song which is not written by the Morrissey. The jovial chorus 'There Is No God' is delivered and doesn’t failt to raise a wry smile every time. As always with Turner there is always more to his songs than first meet the eye. This is not just an atheisis bash at religion, it is desperate plee for mankind to embrace life as it comes. By some miracle he has managed to pen Orwell's early novel 'Clergyman's Daughter' into 4minutes 35secs of folky rock n roll and remind everyone that life is short so live it now!

Redemption see's Turner in a brutally introspective mood as he examines the nature of his song writing ability. This is without doubt the bravest thing he has ever written. Musically it’s not pushing boundaries for him, but to dig in to the colon of your soul like this can only be admired.

Those who are new to Turner with this helping will be hooked for life. This is the ultimate ‘way in’ for anyone wondering 'who is frank tuner'. Catchy folk tales, rock n roll belters and poignant lyrics , this album has it all for anyone with a steeped sense of English pride