August 29, 2022

Almost a year to the day since Stunted Records released Eddie Tatton’ debut solo album, Canons Under Flowers, a second seven-track mini album “Burning Flame : The Lost Tapes” is now released (August 2022). Firmly straddling his work with “Out Of The Blue” in the late 90s and the majestic beauty of 2021s “Canons under Flowers“, this album is a must for aficionados of quality song-writing and blistering guitar work.

John from Stunted Records says: “It was during a routine clear-out in our loft that we stumbled across a CD with Eddie’s name and number on it. I vaguely remembered contacting him in Stunted’s early days and this must have been the demo he sent to me. It was evident from the first listen that this should be out there, so speaking to Eddie we set about finding the tracks on defunct computers and hard drives, to enable Wayne Proctor at House of Tone to master them ready for release, so there we have it, The Lost Tapes!” (I’d love to know what Eddie first said when all this came about!😂)

So, to revisit: Canons Under Flowers generated some very positive vibes including yours truly. Elliot Randall ( Steely Dan ) said “priceless actually, a beautiful album” while Matt Schofield said “Eddie was one of the first cats in the UK doing modern blues“. Ross Muir from Fabrications HQ thought that “Canons Under Flowers proves unequivocally that you don’t have to shred or play dozens of notes in one bar of music to be a good guitarist. Or, in this case, an exceptional one“, while Paul Gregory went further in the September 2021 issue of Fireworks Magazine: “This contains brilliant guitar work reminiscent of something Joe Bonamassa might do, and other times there are Jeff Beck influences as well. This opus covers so many different styles of music and is a guitarist’s album; however there are many tracks containing other superbly played instruments and wonderful vocals too”. Your very own Velvet Thunder review said “All in all, not knowing what to expect, I was completely captivated by this album! The quality of the many guitar parts and the singers is outstanding”.

Shy Eddie?!

Here, we have a further seven tracks providing around 27 minutes of sumptuous music. It starts with the title track, sweeping in with a global vibe, with what might be a sitar providing the core sound – or perhaps just Eddie’s total mastery of his guitar. Once again, the “lost tapes” also mean “lost sleeve liner notes”, so I’m left high and dry pondering the wonderful singing voice that is flowing from my speakers!

Higher again features our magical, mysterious, woman singer, plus another dose of the catchy, world-music feel of the rhythm section. And then Eddie comes in with a simply delicious wah-wah lead lick, the timbre and sweetness of this is not to be missed!

Fuzz Interlude is quite different, we’re into bar-room blues territory as a full-band sound swings into action. It starts off as almost Cajun, then some neatly loping basslines presages a scorching guitar break, still set against that funky rhythm. An all-too-brief track is still a mini-opus, which then fades away with stark snare-drum and another touch of wah-wah! Baby I Love You pulls us further into that fat blues rock sound, the scorching vocals sitting so well with Eddie’s wonderful guitar work. The solo here is spot on, restrained yet powerful – lovely, timeless stuff!

Marry You continues the bluesy bar-room vibe, it’s almost lounge-lizard stuff! You can picture yourself sat in a small audience watching a really tight band working through this number on a tiny hotel stage, it reeks of atmosphere! Set Me Free is more of the same, some beautiful guitar licks punctuating the singers verses. And the further bursts of bluesy guitar serve to underline Eddie’s total mastery of his instrument, the comparisons with Joe B being fully deserved. I do love the tone he chooses to adopt on his guitars, mellow and fruity at the same time.

Outro is the album’s brief closer, it reinforces the atmospheric, smoke-filled, bluesy nature of this song selection. And again Eddie is simply but shimmeringly, peerlessly running through cadences of notes. The album is more bluesy than its predecessor, but just as classy, I continue to be amazed that this guy isn’t a household name in the music industry!

Worth pointing out that although these might be “lost tapes” there’s nothing at all wrong with the production and mix – as I said before, it’s like you’re sat in the room with them, a beautiful loose, live, jazzy feel to it all. My namesake Wayne has done a superb job in getting this out into the light of day!

But talking of little known names, Eddie and Stunted Records really need to give a bit more info on the rest of the gang – the lead singer is so strong, a perfect partner in rhyme on this sumptuous record – come on guys, spill the beans!

Available for download / streaming from all major online stores via Shellshock / The Orchard (Sony) distribution, the physical CD is available from Stunted Records Bandcamp store, Cat. No. STDCD19.

Stop Press! John from Stunted Records tells me the performers on this little beauty are as follows: the singer on tracks 1 and 2 is Helen Raeburn, and on 4, 5 and 6 it’s Wendy Martin. Bass and drums on 4 and 5 are Simon Sparks and Nigel Lobley respectively, everything else is Eddie! Stand up and take a bow guys, you all deserve it!