𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 - this week: Breakout - Ross Cantrell

Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, a series of weekly reviews by Charles Connolly - an artist in his own right. Here, Charles delves into the greatest brand new singles brought to you by the best unsigned artists on our electrifying and eclectic set of 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.

𝘽𝙧𝙚𝙖𝙠𝙤𝙪𝙩 - 𝙍𝙤𝙨𝙨 𝘾𝙖𝙣𝙩𝙧𝙚𝙡𝙡

Charles reeds allowed…

Do you remember when you were 20 or so? I mean, I know some of you are maybe not yet 20, and others of you might be thinking “well, of course I remember; it was only a few years ago”. But let’s face it, for most people who read these articles of mine, age 20 was a while ago. I think I can safely say that. So, DO you remember it? Do you remember the feeling? Do you remember what you were thinking? Do you remember what your big, bold plans were? Did you have plans to change the world? Were you instead rolling around on the floor in a stupor, wondering what all the fuss was about…? Maybe Plan A with a side portion of Plan B? I think a lot of us were ready and poised for great things, no? As if it was all a matter of course. That things would simply fall into place. I personally had my entire early life mapped out. I was going to break out. Not in hives, but by the age of 23 I was going to be a rockstar/popstar. Obviously. I was going to be married at the age of 27, and the rest would simply just happen. At the age of 21 I already had my music degree from a tiny music college in a cruddy part of London (which has since moved to an equally cruddy part of London), and I sort of assumed I would simply “be discovered”. HA!! My naivety was slightly astounding when I look back on it. Worryingly so. These days I am a realist to the point of pessimism. But only because the reality is not so hot. I mean, just look around. I don’t see the vibrant smiles of 1996. The carefree attitude that once ruled London. Things seemed genuinely to fall into place. Breakout was obvious and inevitable…

But it wasn’t, of course. We used to dream, and think big. Now we plan, worry and fight. Surely this is not the right attitude for a 20 year old. Should the world’s troubles way heavy on your shoulder? You’re not a world leader. You can do little in this respect. Sort your OWN life before even thinking about the rest of the population of the world. It might seem selfish to some, but I think that youthful way of thinking is more healthy. So when I was 20, that’s exactly what I did. I concentrated on my own life. Still living “at home” with my parents (how long do we call it “home” after we’ve moved out?), I wrote and recorded song after song. I always remember that year as being my most prolific year in terms of writing and recording. I made 26 songs that year. They were just falling out of me. As if my mind and body had been creating them from birth, but now that I had the skill and will to make something of them, I finally did. I was however completely unaware that anything was quietly being created in years previous. I started writing when I was 19. That year I wrote just 2 songs. But by the age of 20, something just HAPPENED. I couldn’t stop. There were NO barriers. If I wanted a certain sound, I would somehow make that certain sound. I remember one time when I wanted a tambourine sound, but I didn’t have a tambourine. I ended up putting a few coins in my palm and loosely shaking my hand (it came easily at age 20). Anyway, it worked. I felt invincible!

In those days I was in various bands. It was fun. One particular band was called Bathroom Sally. Don’t ask why. I never knew why. The lead guitarist was not very good, but he thought he was. He just wouldn’t DIG IN. His fingers were like spider legs. Never tucked in neatly. Always got to me. Another instrument he claimed to play - but couldn’t - was the sax. I only remember him repeatedly rushing through the Pink Panther theme. Always got to me. So! He was due to go on holiday for a week, and I asked if I could borrow his sax for that week. He (slightly amazingly) agreed. It took me two days to play a nice sounding note. By the end of day 4, I had written and recorded a new song (‘Dancing In Your Shoes’), complete with a sax solo. By the end of day 7, I had written and recorded another song (‘Company Policy’) with a big fat four-part sax riff stomping through the whole thing. I absolutely loved this horn, and really saw the potential for the future. The following day, I gave it back. I have not played the sax since. Over the years I have realised that this is how I tend to treat instruments. Use them for whatever is needed, then discard. Like a whore. But hey, I was horny and the sax was good. Moving on! I don’t really know if I WAS actually “going anywhere”, but I felt in some way I was. The following decade was a bit of a waste, but very, VERY fun. I remember those days in fondness. By the time I had reached 30, I think I reluctantly admitted defeat, and that music was never going to be my life (despite it still being my life). Fast forward roughly another 10 years, and “Look at me now, mom!” - I’m actually doing music for a living! My very own breakout!! Finally, I realise that all those songs I wrote were not wasted, but in fact the experience I needed in order to produce for other artists, for money. Look; a man’s gotta eat. I suppose what I’m saying, is that age old trope that follows you around on the internet ad nauseam: Don’t give up on your dream. But do be honest with yourself. If you’re just okay, maybe leave it as a hobby rather than a potential career. But please, if it gives you pleasure, don’t stop that hobby! Ahem. Just don’t go parading around like you’re the best in the world when you know you’re not. Otherwise you might find yourself OFF the right path…

Speaking of the best in the world, let’s move on to this week’s pick of the pops! We have a young one. Young but absurdly talented. One that I have reviewed before, but not for a very long time. More than 4 years, to be relatively precise. Here’s that review, should you feel like perusing the past. Please welcome Ross Cantrell, with his first release in 2 years! Normally, I would come right out and say the title of the track, but this time it’s a little different. Different because although I am reviewing a song, I am reviewing more than that. You see, Ross has released a full five-track EP, and I believe it should be listened to as one. A little bit like my previous pick of Rich Allen’s (almost) voiceless LP. Last week’s mammoth review really put me in the mood for instrumental music. This way, I can REALLY immerse myself in the music itself, and not get sidetracked and distracted by the vocals. There really is something to be said about music with no voice. BUT!! I think the music has to be that much better, because there can be no reliance on the vocal melody, the words, and that personal mark that vocals always leave. There is no instrument more personal than the human voice. No connection stronger. And yet, here I am, surrounded by my (occasionally discarded) friends: the tools. Sorry, the instruments. No voice necessary…

The nice thing about an EP, is that it usually comes in at under 20 minutes, as does this one. An LP demands quite a bit of your time. Sure, it’s perhaps more immersive, but it does mean that should you give it the respect it deserves (listening in one sitting), you will need somewhere between half an hour and an hour and a half to spare. Of course, Taylor Swift’s ‘The Life of a Showgirl’ at 42 minutes, is an exception because you need only waste a maximum of one minute in order to realise that it really isn’t worth bothering with. But what with her succeeding in her very own “breakout” (to say the least), my opinion will have little consequence on her career. The good news in me saving you the time of listening to the showgirl for yourself, means that you now have time to listen to Ross Cantrell’s ‘Off The Right Path’ EP. Don’t say I’m not good to you. I see the EP as being a brief summary of life. ‘Breakout’ is stage one, as one finds one’s feet. ‘Pressure’ is when things get serious. ‘The Turning Point’ is the point when one is closer to the end than the beginning. ‘The Final Stretch’ is the last gasp. ‘Beyond’ is the afterlife (should that be a thing for you). I just ADORE EPs and LPs that have a theme. Something to tie it all together. Otherwise it’s just a collection of songs. Which is nice, but hardly any different to a playlist. Of course, this is somewhat easier to do with instrumentals because it’s only titles that one has to worry about. But IS it easier? With no words, how does one create a thematic string of instrumental pieces? There are no running themes in terms of melodies, and each track has its own vibe. And yet it works seamlessly. How…?

Well! I think it could have something to do with this man’s talent… When I last reviewed Ross all those years ago, he was studying music at Bath Spa University (Bath incidentally being one of Britain’s most beautiful cities). Fast forward a few years and he has completed the degree. He failed. Apparently passed out on the floor of the examination room. Okay, that’s not true. He not only passed, but passed with first class honours. Not too shabby, I must say! My guess is that Ross Cantrell is not much older than 20! So, how has this degree helped him? Well, he was already writing music from the age of 14, so it’s not like this degree taught him everything he knows. But once you press play, you’ll see where his talents lie. Predominantly, the saxophone. It was never discarded. In this EP, you’ll only hear the alto sax (I think), but he’s proficient in all manner of saxes. Hardly a battle of the saxes, but perhaps an occasional transsaxual. Of course, like most talented bastards, he doesn’t just play the one instrument. He also plays the piano - absolutely beautifully. And this EP is just FULL of both. I’m going to ask something of YOU now. Look deep into the cover art of this EP. Stare almost beyond it and relax your eyes. Have a look at those wavy lines. Do you see them moving? Ebbing and flowing? Gradually rolling from side to side? No? Keep looking. You see it? Nah, me neither. It’s completely stationary. Unlike the music, which truly MOVES.

Actually, now listening again, I’m wondering if the first track uses all manner of saxes. The range is phenomenal. ‘Breakout’ shows off both his piano playing (at first), then his horn takes over. The vibe of this track really does portray the get-up-and-go of youth, mainly in the piano lines, but also in the confidence of his obvious prowess. It’s like saying “I’m here, and I ain’t afraid to be so. Lock up your women; Ross is here!”… Pure seduction with a chiseled jaw. ‘Pressure’ takes on that uncomfortable time of push versus struggle. There’s a darkness here, where both trepidation and daring come into play. Not all notes will fit as you expect, but he’s the maker of this jigsaw puzzle, and they do all indeed fit. He comes out on top. Oh, and that FABulous growl at the end!! ‘The Turning Point’ is perhaps the most interesting of all tracks (but not the best as an introduction to Ross, hence me choosing ‘Breakout’ as the one to listen to first). The intro is both haunting and enticing in its synth work and looser style of horn playing. At times it is almost played like a duduk. The bass is prominent, but not as deep as that kick. Oh, that KICK is just so wonderful. I think this track really does show life experience, both in mood and maturity. The whole tracks succinctly takes us through the movements of life, in time changes and in vibe. ‘The Final Stretch’ to an extent gives me shivers of the final Bowie album; majestic in its “boy done good” attitude. The precision in every slur and fall-off shows a lifetime of getting it right. His switch from piano to electric piano and glockenspiel-type sound is to show that it really doesn’t matter which instrument he chooses; his music will always sound good. It’s a modest admission of success that comes at the ripest age. ‘Beyond’ takes us to the sea. It is a comforting bed that floats into the distance as he sleeps. The sax rests by his side, as unmoving as he. The reed as dry as his brow. For this is a piece for the piano, not for the sax. The next chapter is yet to be heard. But I have a feeling we’re going to hear it.

Surely it’s only a matter of time before Ross stops doing wedding gigs and takes on the big league. Yes, he is THAT good. Indistinguishable from the big players. ‘Off The Right Path’ is exactly where he’s heading. He’s doing the right thing, differently.

When starting out on sax, don't blow too hard.

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