Released 7 September 2009.

Back in 1999/2000 I interviewed Dot Allison in Leeds prior to her show at the Cockpit. I remember the interview well for two reasons. First we both tried to get the club bar manager to switch off the music so I could record the interview (he didn’t, the bastard). The second reason is that it was shortly after the release of her excellent AFTERGLOW album, the reason behind me wanting to interview her. Since then she has remained a bit of an enigma to me and mainly because she’s continually shifted and turned musically so I never quite know where she’s heading, or even how good she really is…

So here we have her latest album and once again she seems to have taken a different musical route! This time it’s an intimate, understated, raw, acoustic direction, and I’ve got to admit that it’s rather good. ‘Cry’ opens with a simple piano refrain meandering along below Allison’s breathy, fragile vocal. Now this lady can write songs, and this is a good example. It houses a strong melody, moving lyrics and a beautifully judged instrumental arrangement. The more I listen, the more I like. ‘Paved With A Little Pain’ moves along at faster pace in a light country and western style. There’s another strong melody, catchy choruses and more assertive vocal.

The standout track comes next in the form of ‘I Wanna Break Your Heart.’ Now so far there’s no real adventure just easy, understated songs. This one breaks the mould in that it opens as though Allison is in her kitchen singing to herself complete with guitar glitches which are corrected. Her voice is at it’s most fragile (and remains so throughout). Then Pete Doherty arrives and things take a different turn. The choruses are wonderful, Doherty talks and sings, the melody is gargantuan, and I’m playing this little beauty one on my radio show next Sunday night! ‘Buzzing Round The Honeypot’ features some of the most delicate finger-picking and singing I’ve heard in a while. It’s a pretty song where Allison’s vocal reminds me of one of my all-time favourites Beth Gibbon. Utterly beautiful.

‘Room Seven And A Half’ is as close-mic as you can get (hell you hear every breath). Allison gives a gorgeous vocal performance that rises and falls as the song builds in the chorus. The instrumental arrangement is sparse and magical. Melody has always been Allison’s forte and this one is a monster. Wonderful. ‘Fall To Me’ is a slow, bolder song with firm piano notes behind another expressive vocal. It’s another highlight here and one that grows on one the more it’s played. ‘Love’s Got Me Crazy’ features a duette with Paul Weller which is charming in the extreme. The song meanders along like a mountain stream, and is a delight. ‘Montague Terrace (In Blue)’ trundles along at snail’s pace as Allison’s voice drops a few notes in another song spiced with country. It sounds like she is in contemplative conversation with the scraping acoustic strings. ‘Jonny Villain’ takes on a traditional folk vibe. The song is punctuated by hammered bass, the vocal is bolder as the tune fairly races along at a constant speed.

This is an interesting and entertaining album. Allison’s voice adapts well to each song’s message, and I think the album represents some of Allison’s best song writing to-date (certainly since AFTERGLOW which was exceptional). Dot Allison fans will love this and I suspect it will attract a much wider buying audience.

4/5