Ed Alleyne-Johnson's music is difficult to fit into a category, being as it is, an instrumental electric violin crossover of rock and classical styles, played in his own inimitable way. Although he has penned many of his own compositions (the 'Purple Electric Violin Concerto' being possibly his magnum opus), his last album 'Echoes' was made up entirely of covers of popular tunes. This new album treads similar ground, being favourite songs of Ed's from the 1970's but what an amazing collection of covers they are!
Track one, Pink Floyd's 'Shine on you Crazy Diamond' weighs in at around a hefty 13 of the album's 62 minute total and is probably worth the price alone. It is instantly Floyd yet also Alleyne-Johnson in equal measures. The technique he has of making the violin sound like an electric guitar never ceases to impress.
Bowie's 'Life on Mars?' is the next to receive the Alleyne-Johnson treatment and a nice version it is too. A particular favourite of mine, Led Zeppelin's 'Kashmir' follows and doesn't disappoint. The original benefitted from its string arrangement and naturally seems at home here as Ed manages to create a full-on orchestral treatment with strings and guitar-sounding violin dipping then soaring to create a wall of sound. Marvellous. 'Without You', made famous by Nilsson, though written and also performed by Pete Ham and Tom Evans of Badfinger, might at first thought, seem an unlikely next track but it works, with the plaintiveness of the original maintained by emotive violin work.
Three rock classics follow, Lynyrd Skynyrd's 'Freebird', the Lynott/Moore 'Parisienne Walkways' and Deep Purple's 'Child In Time'. The 'guitar', alright, violin, is awesome on these tracks with the solo on 'Child In Time' being particularly memorable and leaving this reviewer breathless.
The penultimate track, Focus' 'Sylvia' is another of those times when you'll find yourself wondering how a violin can simulate an electric guitar so well.
The last track, Neil Young's 'Like A Hurricane' brings us more back to Ed Alleyne Johnson's traditional style, though is still recognisable as the classic song and another showcase for this musician's amazing talent.
The respectful treatment of each track also shows how much Alleyne-Johnson reveres the originals, in my opinion,
In closing, this is a wonderful album made all the more so by the fact that it is the work of one man, ably assisted by mandolin, bass, acoustic guitar, keyboards, a computer and a 5-string electric violin.
Highly recommended.