I can’t quite remember how and why I found Cam Cole. It certainly was not through the traditional means of scrolling through the perfunctory music site gubbins.
It was 100% not through the often tedious PR mails that flip and flap through the inbox. It was not, even, down to Ted Lasso.
What I do remember is that having heard the grinding riffs of I See, and as my foot began to tap of its own accord, I knew I had found something special.
Now, you need to be careful when throwing superlatives around, I’ve lost count of the times I have told people about a great song and then found that the rest of the catalogue simply ain’t up to scratch. Not so with Cam Cole.
Crooked Hill, Cole’s second full length is a raucous, soulful, stomping call to arms.
Kicking off with the sludge of Albion, chunks of Silverchair-esque nostalgia prick up your ears, distorted vocals sing out over a grinding and then, at the 1 minute mark an ‘Oh Yeah!’ drops in the track proper and you are sold.
It is easy to forget that these songs have been road tested, quite literally, by Cam, his guitar and his pedals, on the UK’s streets. It is just him. And it is just us...the listener. No airs, no graces. Proper music, without the artifice.
In late 2019 things seemed to be going well for the one man music machine Cam Cole, his series of YouTube vids were picking up pace. Press were beginning to get a whiff of this exciting new talent who would pitch up and play wherever the hell he wanted.
Such was the buzz building that a worldwide tour beckoned. Debut album I See had done the rounds, hoovering up rave reviews and a second LP (This One) was ready to drop.
Then The Rona appeared.
Rather than wallow in how unfair life was, Cole got to work on Crooked Hill, and has created an urgent and angry album
There are quieter moments, of course, Now That We’re Here echoes Jethro Tull and Regret again brings Silvervhair’s Daniel Johns to mind. Meanwhile, Commercial People probably lets you know what Cole thinks of the so-called elite. Heavy does it what it should and takes your face off before Fuck You Motherfucker closes the show among pulverising chords and well-aimed barbs.
While Royal Blood have been busying themselves cosying up to Run The Jewels and Metallica, they could do themselves a solid and give Losers a good going over.
Though influences are clear, Kyuss, Led Zep, Sabbath etc etc there’s also hints of Kasabian and The Music in Cam’s songwriting. Again, we need to be clear, that which you hear is just one guy. One!
If you have not yet heard Mama yet, what have you been doing?
Get on the Cam Cole bus now, am certain he’d welcome you.
Albion is out now on Interstreet Recordings.
