Izzie Derry

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"Hush! A Summer Celebration"


Last evening at Earlsdon Carnegie Community Library saw the "Hush! A Summer Celebration" event, another in the series of collaborations between the Library & "Hot Music Live Presents" and the first one since the announcement of the Library's national recognition in the shape of the Queen's Award for Voluntary Service: a marvellous & deserved accolade for the success of Julie Rubidge, Lucy Winter & the team at the charity which now runs it in rescuing the Library from closure, restoring it to glory & promoting such a range of community focused events including "Hush!"

Showcasing a range of artistic skills including music, the evening was another highly successful one, opening with Force of Love (Spiros Abatis) who offered us fruits of his creativity in two distinct formats: music & poetry.

This act was something of a revelation for me: recommended by Izzie herself (and he's also worked with Joe as it happens), I hadn't previously seen him perform and he is certainly a very dynamic & arresting showman who delivers his material in a way to stimulate audiences.

 If you check out his work online, you may well consider his starting point to be the more experimental end of music, but this really doesn't mean that it's so avant garde that it's inaccessible. The forms are easily engageable with & can be enjoyed on an immediate level, though it's clear how important the content & message are to him: close attention to the words brings additional rewards.

 His guitar playing (he admitted to being at the loud end of the acoustic spectrum) had many flamenco aspects to it & was an interesting mixture of the instant & the melodic. How words were passionate & gave some sort of clue to the name for his act: the concept of Love permeated the songs and poems whether for each other or the world we inhabit.

 I am not sure when I last witnessed a poem of such length being recited (though given the nature of his performance "enacted" might fit the bill more closely) without error: quite an achievement & one which consequently had a proportionate impact on the audience. A second one, also as arresting in scope & imagery was one he was working on so I think we'd all readily accept his need to read more of that one out from the text.

 I gather he'd not performed for around three years, but judging by his act & the reaction, any potential rustiness was blown away & I hope to catch him again.

 The second  item on the bill was a look at the novel writing of local author J T Wilson who gave two readings from his most recent release "Impossible Animals: or Other Outstanding Attractions" and answered questions from the audience and a handful from me on both this book, his earlier "Cemetery Drive" and his craft in general.

I wasn't sure how comfortable the audience might be in terms of asking questions (hence my preparation of a lot of my own just in case) but I was delighted to be reassured. Stimulated by the readings: which were dynamically performed with the experience and skills of someone used to the stage, there were effectively no barriers to break down & we went straight into a discussion of cryptozoology without any need for prompts etc: if the audience had not previously been familiar with the concept, they picked it up instantly from the reading. In fact so impressed with what they saw, two separate audience members suggested that Joe take this performance to the Edinburgh Fringe: an idea I suspect he'd not considered beforehand but took away as food for thought.

 Many readers will have been aware of Joe's work as a musician: featured in this magazine & in several incarnations on various volumes of "Hot Music Live Presents". How that writing interacted with his prose writing was another area those present were interested in exploring & he gave detailed accounts not only of how the different modes offered distinct opportunities to express himself, but also on his writing technique: he brought along a notebook in which initial vignettes and passages were conceived (in longhand!) and recorded for later combination into longer work and how elements of Pop Culture were so ubiquitous in his writing.


The headlining act, Izzie Derry will need no introduction to most readers of the magazine as we have covered her releases & gigs many times. However, although her EP launch at The Tin in March 2020 was literally the last live performance I saw let alone reviewed for a long time, it's still over two years since I've caught one of her gigs.

 And to take the theme of her closing song "Learn To Grow", her music has evolved in that period (knowing Izzie that's not a great surprise). I don't actually mean that her new material is a development (she took time out from recording her latest album to play this gig), though the evidence supports that. Izzie has mainly written the new songs on piano and as performing on that instrument last night wasn't very practical, we got a mostly older set of guitar compositions (and so got the classic Izzie show of continuous swaying motion which is so charismatic yet hard to photograph) and it is these which have developed.

 I mentioned some years ago when she unveiled her full band lineup how powerful her sound had consequently come (and at that point she started playing a Telecaster on stage) and that certainly informed recent releases which were with her band. That makes perfect sense I hope: what wasn't so predictable was the residual effect on her solo acoustic back catalogue.

 At one point last night she suggested that her songs could broadly be categorised as "sad" or "angry" (and I'm pretty sure I'd not really grasped that in any of my reviews: not least due to the beauty which to some extent distracts from that) and to a significant degree the latter has predominated in her more recent writing (I gather that it would be true for much of the new album too). Thus I was perhaps not too surprised when a song as stunning & powerful as "Fire" which is definitely an "angry" one came across as compellingly in a solo version as the band one I'd only ever previously heard her play it live: what hit me more was an even earlier song such as "Give Me A Reason To Stay" whose angry undertones are now much more to the fore: transforming my understanding of the song (which has been in my awareness for at least five years).

 Generally that dynamic applies to the changes Izzie has wrought & impacts in various ways: songs have certain elements of menace in their playing with more ominous riffs and even more ominous dramatic pauses. Her voice too has evolved: still confident in her upper register which has always been a characteristic of her singing, now her lower range is coming to the fore more: perhaps stimulated by the changes in writing style, or maybe to some extent exploration: when I raised the issue with her afterwards, she primarily credited a desire to refresh the older material with any changes she had made to performing it.

 That said, Izzie has written two songs on the guitar for the new album & gave us our first chance to hear one live and it was a most potent one: definitely from the "angry" category and delivered appropriately. I gather that much of the album is in this mode & apparently informed by personal experiences: I did raise my condolences with Izzie at having gone through negative interactions in this manner, but her response was that at least she got some powerful songs out of it, so if she can process them so positively then I think we can just sit back & enjoy her artistry without too much angst on her behalf.

 What we are getting is a tendency not to mince her words nor hold back lyrically: I don't think anyone will be mistaking her messages. That said, it's Izzie Derry we are discussing here and though her gloves may be off these days, the result is not mindless abuse but considered reproaches to those who've wronged her & a disinclination to demean herself by sinking to their level: above all she's not abandoned the compassion & humanity of her work and it now sits alongside defiance.

 Izzie Derry on solo acoustic guitar is a stunning live act in such a beautiful & intimate space which actively rewards her sound & strengths & the audience were greatly moved by what they experienced. However great last night was, I wonder how often we'll be getting to hear it in the future? Given her live work in recent years & the nature of the new album, it's hard to imagine solo gigs like this being the norm: and that's fine by me as I'm glad she's moving on & developing her potential. That such nights have a special magic is undeniable & if you've never caught one, I suggest that you take advantage of others she might play. Equally Izzie is clearly (however much she is still beloved in Coventry & Warwickshire) a more national name now: she has a professional & personal base in Brighton is playing all over the country, building a wider audience: no wonder her album will be funded by her successful Kickstarter campaign.

 Her next local gig is on 29th June for Sofar Sounds & I assume that will be a solo performance too….

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"Fire" solo video by Izzie Derry


I do like being taken be surprised by music (to be honest I'm not sure I enjoy reviewing music which fails in some way to do so) and I hope I am big enough to acknowledge when I have to revise a previously stated opinion.

My personal take on the arc of Izzie Derry's career was (to put it simply) that she has evolved from a purely solo writer & performer into one who now collaborates very closely with a band for recording & performing and that this must affect how she now writes. Up to her departure for university in Brighton, her performances & records were pure Izzie. Since then, she has worked with a number of fellow students & gradually the Izzie Derry band has coalesced in a current lineup of Herbie Walker (keyboards and backing vocals), Jake Morris (bass guitar), Tom Hammerton (electric guitar) & Noah Haines (drums and percussion).

Previously issued songs were filled out in new arrangements with the extra elements, one ("Let This One Be Mine") even rerecorded with the band.  The magnificent ‘Lost At Sea' EP of April 2019 really explored how her writing could work with these new collaborators, although several of those songs had been played solo before recording so clearly could exist comfortably in either format. In fact key gigs such as Izzie's one with Fairport Convention still featured her playing this material solo to the usual excellent effect.

However, I felt with her 'Take It From Me' EP which was recorded with Grammy winning producer Roger Lomas and released in February (and reviewed in "Hot Music Live"), that for the first time her songs were written to be played in full arrangements & consequently would work only, or best as such (and the EP launch at the Tin, which remains the most recent live experience for me certainly showcased stunning band versions).


Circumstances since then have completely derailed Izzie's many plans for gigs with the band in 2020 & instead she has been offering us a weekly live stream on Sundays at 7 pm, complete with groovy backdrop & increasingly recipe tips (and like many others in similar boats, learning to master the necessary technology to best effect).

Necessarily that has meant a reversion to solo performing & the ‘Take It From Me' songs have all appeared in that format & worked really well: just as powerful in their stripped back form, often more raw in emotion (which works given their lyrical themes) and complementing the fuller arrangements. So, as I say, I hold my hands up as I had underestimated just how flexible & robust these tunes are.

So successful has this been, Izzie has now unveiled a formal live solo video (courtesy of The Factory in Worthing) of one of the songs in question, one of my favourites & a previous single "Fire". I have always found it a really powerful, bluesy number with the band live & perhaps the most strong indicator of how her music has evolved from "folk" into something definitely "folk rock" and probably  blues rock in this case.

As you'll see if you go to https://www.facebook.com/thefactoryliveworthing/videos/263643184850440,  "Fire" solo retains its intensity & some aspects of it actually come across as even more personal & insistent now.

I doubt if anyone knows yet if & when the Izzie Derry Band will play or record together this year & it will be interesting to see how this interlude is reflected in her writing of new material. Ultimately, as with many other excellent writers, this period & its live streams & solo versions may end up as an interesting footnote in careers, but one thing it does do is expose the excellence of writing & help explore the depths of individual songs.

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Launch gig for the 'Take It From Me' EP by Izzie Derry


If you are anything like me, among the myriad challenges to our communities currently being presented, the probable curtailment of live music for some period is probably saddening if not traumatic. Being selfish, it is an important emotional & psychological part of my life & I'll be diminished by any hiatus. More importantly than my self centred bleatings though is the potential impact upon the musical scene and business. Already tours & festivals have been called off, long anticipated gigs, often launching new releases etc have been cancelled & many others have doubt hanging over them. Beyond the affected musicians & audiences, not only will the former lose vital income as well as the chances to entertain, but venue staff both technical & support will also & the viability of venues themselves may be threatened. We can only hope that the problems are resolved as soon as possible, structural support measures enacted & already suggestions on support from musical communities can be found online.

It was with sombre thoughts like these in my head that I went along last evening to the launch of Izzie Derry's ‘Take It From Me' EP (reviewed in "Hot Music Live" on February 23rd). I was even wondering if it would take place at all, but the Tin had placed sensible precautions in place (as you knew they would) and if this is to be my last live experience for a while, what a great one it was to sign off temporarily with. Thankfully many others shared my desire to be there: it was an excellent & highly enthusiastic audience.

Having already had a launch event in Brighton where she & her band are currently based, Izzie returned to her home town & invited one of her favourite local acts, and a fellow "Hot Music Live Presents" band, Stone Bear to support them.

David John & Jeff Dennis are no strangers to reviews in this magazine & you will not be surprised to hear how well they played & went down with Izzie's fans. Their set focussed on material recorded since their debut album, most of which was reviewed in the magazine, such as the great singles "Train" "Ole Cherry Tree" & "Woke Up This Mornin'".

Structuring their set in an interesting way, David opened solo with just his voice guitar & harmonica. This really suited the more country blues stylings they have been exploring over the last year or so and gave him ample room to display his talents to the great appreciation of the room. Jeff joined him & without departing from the general style, the volume went up as his urgent & highly inventive drumming added further layers of texture & meaning. No wonder he is so highly regarded at his craft.

One highlight for me was the most recent single "Train": in reviewing the song, I had not fully realised how the track (among many other powerful aspects), emulates a train leaving a station & gradually picking up speed: maybe one has to experience some songs live to get every nuance. However is was spectacular last night. I've heard Stone Bear playing really quietly & they can do really loud too, despite being an acoustic guitar led duo. However I can honestly say I've never heard them play so fast as at the climax of "Train" with not a single intricate fill nor lick fluffed nor missed: and both were as complex at high speed as they were at the beginning.

What on earth can one say about Izzie Derry that I have not said before? Like Stone Bear, I have reviewed her live & recorded work many times & such were the superlatives I used from the beginning that finding fresh ones is a challenge each time... and as I said in reviewing the EP itself "..how to handle it when people you really admire still manage to exceed even your own sky high expectations?".

I even ran this conundrum past two Izzie fans from the earliest days of her career, interested to know their take: which included the observation that it was one of her best gigs ever. Considering how staggeringly high that particular bar is, praise indeed.

There is however no doubt that Izzie, however great her innate talents always have been, is growing as an artist & developing new aspects of her craft. Partly her studies at BIMM (in Brighton) must influence this & I have little doubt that working with this set of highly gifted musicians (Herbie Walker (keyboards and backing vocals), Jake Morris (bass guitar), Tom Hammerton (electric guitar) & Noah Haines (drums and percussion)) for the last couple of years is part of the answer too.

The whole band have evolved as a unit since I first saw them playing together. Originally they provided a high class accompaniment to Izzie in performing her existing material live & gradually became part of expanded arrangements of new material, providing new layers of musical texture & detailing. During this period, all her material (including that on the ‘Lost At Sea' EP of 2019) was equally capable of being delivered effectively to her own solo guitar, in small venues with mostly Jake & Herbie or as a full band. Now however, the songs sound like that are band songs from inception: it is harder to imagine stripped back versions of the ‘Take It From Me' tracks.  This part of the process has no doubt also benefitted from the production skills & experience of Grammy award winner Roger Lomas.

I should date my realisation of what was afoot to seeing this lineup last summer at Leamington Peace Festival: I was shaken by the increase in volume & how they really rocked. No wonder Izzie's web description now reads "folk rock" rather than just the former word. She even donned a Telecaster herself, the first time I've seen her play an electric guitar, for the final part of her set. However louder her accompaniment is though, she still has the vocal power to be heard clearly above it: something which must have been worked on given the current demands as compared with her solo days.

Each band member now is emboldened to contribute more than effective accompaniment: all have more complex instrumental parts on both the new material & rearranged older songs: and not just instrumental: Herbie's backing vocals are now much more prominent & go beyond just harmonising.

The result is quite honestly electrifying on several levels, and I understand the audience comments I cited  above. To return to my own earlier concerns at how to describe the show, I'd say that this is "Izzie Plus": as good as ever but with some new additional & very powerful weapons in her armoury to get her music across.

Understandably the set favoured more recent material which was created by the band: the last two EPs, the seasonal single "In A Year" etc but there was also older material, reworked to often stunning effect in terms of bringing new aspects to our ears and which included "Let This One Be Mine" (released as a single in its new form last year), "Give Me A Reason To Stay" and even "Keep Walking". Plus a rendition of "Happy Birthday" for an audience member.

Whether you feel that this represented a paradigm shift in Izzie's career (I would note that she herself switched the traditional gig brownies for lemon drizzle cake which may be a signifier) or as a huge further step forward in it, doesn't matter I think. There was total consensus that this is a musician going somewhere, and going there fast and with a clear sense of purpose. I guess what is needed now is greater exposure so many others can hear what we regard as an established set of opinions about how great she is.

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'Take It From Me' by Izzie Derry


One conundrum I face with reviewing the calibre of artist I tend to focus on (it's an enjoyable challenge really) is how to handle it when people you really admire still manage to exceed even your own sky high expectations?

What words do you use in later pieces when you have already used up your superlatives in earlier ones? I faced this with trying to describe the other week how Titine La Voix's superb voice had got even more superb. Today's challenge is to try to describe to you the new EP from Izzie Derry, ‘Take It From Me' which comes out on February 23rd (you can pre-order it from tomorrow & actually get the title track at that moment) when I raved so much about the material on her ‘Lost At Sea' EP from last April: songs which then & now I believed were her best to date & I certainly wasn't alone in thinking that.

Now I've heard her  four new ones & already other people with really great perspectives, either due to their professional experience or from having followed her career for a long time, are again joining me in dubbing it "her best ever": even better than the last lot & that set the bar very high.

As a sort of transitional route between the two EPs, as I reported last month, Roger Lomas remixed the track "Learn To Grow" from ‘Lost At Sea' as a single, but now, as I also mentioned in the review, we come to a set of tracks recorded from scratch at his studio. Many indicators of artists' progress must be quite subtle to pick up, but in Izzie's case to get the approval of a Grammy winning producer & band like Fairport Convention within a few months of each other, the story this tells is a really clear one. She's rated by those who really know.

Working with the close band of collaborators she has had over the last couple of years,(the lineup being Izzie Derry, vocals & guitar, Jake Morris on bass, Herbie Walker on keyboards & backing vocals, Tom Hammerton on electric guitar & Noah Haines on drums)  the new songs are  "All For Something", "Now I See", "Fire" and "Take It From Me".

If Izzie's musical progression can be rendered graphically as a steep upwards curve, then perhaps her own perceptions of her life in general can also be followed with some clarity via another medium too: her songs.  The vast majority of them are in depth self examinations of herself, her life & her reflections on the world she inhabits: and they are both soul searching & beautifully articulated. If her ‘Goodbye' album was the work of a writer leaving home, ‘Lost At Sea' was a series of musings on her subsequent internal as well as external journey and now we have Chapter Three.

"All For Something" opens the EP with a theme of challenging self doubt (knowing Izzie you won't be surprised to hear that despite her rigorous self analysis, she does locate positives). Lyrically it is her most mature to date with elements of opposing thoughts having to be reconciled & there is an element of accepting the possibility of failure which the pure optimism of earlier songs didn't so readily admit. Musically, the progression is again a big jump forwards: although her work with a band since ‘Goodbye' has brought excellent new textures & nuances to her songs, this one really is a "full" arrangement with Roger's skill building a much more "band" sound, powerful, with hints of modern jazz & full of little touches which add a range of emphases to the various twists & turns of the lyrics.

"Now I See" is maybe Izzie's first really adult romantic song and again self doubt is part of her thinking (we are blessed indeed with wonderful local musicians of skill & sensitivity but you can't help feeling for some of them as people: I've said as much in recent reviews of Joe Dolman & Ollie Bond and now we have another: the line between sensitive & ego free self examination & "beating oneself up" can be a thin one.  May they all enjoy happy times ahead). This one musically is a little closer to her recent types of arrangement, steadily building with instruments joining in to ramp up the emotional clout and again to vary the sonic picture subtly.

"Fire" is Izzie like you have never heard her on record before: this really emotive track has a power of its own & leaves the "folk" box she has been filed in hitherto in her career way behind her (she now refers to herself as "folk rock" on social media): this is a calling card for her as a diverse style performer, being much more jazz/blues. It certainly reminds me how I felt when I heard her with her full band in the summer of 2019: used to her by herself or with a small band, the sheer loudness was a (pleasant) shock as was the sight of them genuinely rocking out. In a way I suppose a parallel would by with Ellie Gowers' recent & equally astonishing "Against the Tide": a break out of constraints type of quantum leap. Like every song on this EP, great as her voice has always been, I think this is the moment for Izzie to sing this song as her vocalisation owes much to her accumulating experience as much as to her innate talent: we are talking ‘Torch Song Izzie' here. It sizzles with emotion & truth and for the first time on the record the emotional & internal doubts are pushed aside for a moment.

The title track, which as I said above can be accessed from the 9th & so is possibly the first song you'll hear,  concludes this stunning set & like "Now I See" it's a builder and the closest to her previous styles in terms of sound & lyrical concerns. I'm going to put myself on the line here (just watch me get it wrong), but it sounds more like the ideas she was exploring on ‘Lost At Sea' so I'm wondering if it was the earliest of these four to be written? However, on the other hand it does speak with a confidence of tone consistent with overcoming the previously expressed self doubts so....

Roger in his inimitable way has taken an existing gem of a talent and added extra polish: his work enhances Izzie's songs & shows them off to their best advantage & never imposes upon them. He knows so much about how to structure the arrangements & you can hear that & his approach to mixing ensures that the songs themselves have an almost indefinably new way of sounding to her previous ones.

Above all of course, this is an EP of progression: five musicians spending more & more time playing together & learning how to do so to greater & greater effect. A writer who is exploring more & more exciting possibilities for expressing herself & whose voice is adapting itself to all of them. A triumph & a major career milestone.

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"Learn To Grow" by Izzie Derry


It's odd: the more reviews you write, the more patterns emerge. Sometimes they are pretty obvious ones like when you spot how certain artists are on a hot streak & releasing material prolifically. Other ones like the fact that artists are greatly favouring EPs over albums probably illustrate music business wide trends.

One which certainly isn't as widespread & so probably more reflects the values of  & pride in their own compositions of particular artists is of (re)releasing tracks which have already come out, either in new arrangements/mixes (for example Antonia Kirby's recent "Fool"/"Fool (Funk)") or completely new recordings.

One such example of the latter was Izzie Derry's "Let This One Be Mine" reworked in September 2019 after having appeared on her debut album. I applauded her dedication to this song at the time, but assumed that it was a one off reflecting a very specific desire to maximise the effect of the song as she originally conceived it & after reflecting on the first recording over a long period of time. After all Izzie is most definitely on a roll with new compositions which are clearly developing her writing each time.

However, to confound me (and maybe all good artists should confound even their followers who kid themselves that they "get" them?), she is following up her last release, "In A Year" (released on December 12th 2019 & reviewed in "Hot Music Live" the same day) with a new mix of her "Learn To Grow" single of April 2019 and which also appeared on her ‘Lost At Sea' EP in the same month.

Bearing in mind that I have said very publicly that this was, to my mind one of her strongest songs to date & certainly a really strong candidate for my personal Izziesong, why do this? Clearly there was absolutely nothing wrong with the original release.

The answer in fact seems ironically to lie less in any weakness but conversely the very excellence of the track. Grammy award winning producer Roger Lomas has joined the swelling mass of Izzie Derry fans and a desire to work with her band (and I have strong reasons to believe that they have been recording brand new tracks together for release in 2020) led him to also focus on "Learn To Grow" and suggest to Izzie some great ideas he had for a remix. So here you have it. Same track, same recording (by Jake Morris) and same musicians (Izzie Derry on vocals & guitar,  Herbie Walker playing keyboards and providing backing vocals, Tom Hammerton on electric lead guitar, Jack Smith  on bass, Noah Haines  plays drums  & Ellie Timlin and Eva Trim  are also on backing vocals) yet now with the Lomas stardust sprinkled on it.


And why not? After all I have often remarked how strong Izzie's writing skills are given that her songs can be equally effectively played in a variety of formats & arrangements: they are very robust as well as flexible. I have seen & heard this one alone presented with just an acoustic guitar, with a "half band" of acoustic guitar, bass, keyboards & backing vocals and with a full band adding drums & electric lead guitar.

So what does the new mix sound like? To be frank, I am always sceptical of remixes. Some serve the useful purpose of correcting inadequacies in the original version which begs the obvious question of why the first try was released. Others I find tend to elevate the artistic vision of the remixer over the artist & their vision of the song. For me, the ideal remix is one which not only retains what the artist intended for the song & the original skill of performance but offers both the composer & their audience an interesting & valid new perspective on the material. Some songs simply aren't strong enough to support such varieties of interpretations & others are just nailed so well first time that the possibility of revisiting them is rendered a bit futile.

Fortunately this instance is an ideal example of taking something which was inherently really strong and looking at it in a new way which serves to demonstrate just how good it is. Roger's instinct for the possibility was as spot on as you'd imagine & nothing in the new mix detracts from "Learn to Grow" nor the original performances: quite the reverse.


To my ears, the changes tend towards create new tensions & dynamics throughout the piece which in turn place new emphasis upon the excellent lyrics which of course are one of the glories of this great song. In some places, instrumentation seems more muted which places Izzie's voice in a more prominent place (leaving elements such as snare drum or muted guitar strumming as the main accompaniment), notably in the reflective parts of the song, only to surge back to full arrangements in the bits when she is singing triumphantly about having learned to grow or intending to grow yet further: creating a really effective contrast between the two aspects of her thought. Other changes seem to point towards Roger's great experience & subtlety as individual instruments suddenly come to the fore for a short period: particularly little bass licks & the keyboard parts and one very catchy & eerie sound which I can't even identify: possibly generated by keyboard or even electric guitar.

It's the final section however, the culmination of the song where the most powerful changes are located: a staggering finale when massed vocals build to a climax, parts overlapping with each other in a manner which if anything reminds me of the sort of thing Kirsty MacColl used to do in emulation of the Beach Boys: multiple layered harmonies with herself. What an effect.

As I said just now, despite my considerable respect for all concerned, I came to this as with any remix in a state of caution & am delighted to say that it is a very worthy exercise which definitely takes this fine song somewhere really worth going. I urge you to buy both versions. They are worth it.

Russell Whitehead who made the excellent video for the single when it first came out has kindly made a new one (in collaboration with Laurence Moore) which can be seen here;


His  video of the original single is still available at https://www.youtube.com/watch?v=YwYqLoItFLA&fbclid=IwAR1VTiP2m0-Z2ditQZgJTIkSKJUw5wI7Y8tEN9QXnWBVyWvF3-mJU1wGczQ

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"Let This One Be Mine" by Izzie Derry


I find myself here writing a review which I had never anticipated.
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Izzie Derry with her special guests King of the Alps


Last night was one for the connoisseurs: a whole evening of nothing but top class original music written from personal perspectives & played with ...
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"Lost At Sea" EP by Izzie Derry


A real headache for me is trying to express my admiration for work I consider is an artist's best so far without sounding like I didn't ...
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Izzie Derry & Hannah Woof return to the Magic Lantern


 Under normal circumstances, reviewing, or attempting to review, precisely the same musicians I had less than four months ago (see my review on 18th ...
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Izzie Derry & Hannah Woof at the Magic Lantern


You can keep your headphones & your immersive sound systems.
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Godiva Festival 2018


Firstly an apology: this is not & cannot pretend to be a broad overview of the 2018 Godiva Festival (the 20th in fact): I think that is beyond anyone ...
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Izzie Derry live at the Godiva Festival: not once but twice


While everyone at "Hot Music Live" is getting excited about the "Hot Music Live Introducing" night at the Zephyr Lounge on 20th October in ...
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"Alternative Sounds" celebration event


The purposes of this event were several: having released a four track EP and two 21 track albums of "the cream of Coventry & Warwickshire music, ...
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Izzie's debut album launch, Goodbye

Promotion .
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