ESTHER O'CONNOR - Right Here CD

If, within one minute of the opening track on an album, you've inexorably fallen in love with it, then you know you're talking major talent at work - and that's exactly what we have here - right here!! Which, funnily enough, is the title of the opening track and the album itself. The track wastes no time introducing itself as the drums, bass, guitars and keys provide the solid opening only to drop back as the warm, passionate, airy, emotive lead vocal from Ms O'Connor, simply flies into being with heart and soul to the fore, the yearning of the verses matched only by the glory of the choruses, as the combination proves utterly irresistible. The backing ascends and falls as the vocal soars and dives, the arrangement taking the odd diversion, a brief slower mid-section leading into a folk-rock flute which then sails effortlessly back into the wondrous chorus. By the time it ends, you're already singing alongside it, wasting no time in putting it back to the beginning and playing it all over again – I played it four times running before I felt I really had better get on and review the rest of the CD. The perfect introduction to a CD in this style. So, we move on to “Hold On”, a weaving violin leading the way over the solid shuffle of the rhythm section and the acoustic guitar, as the more higher register, lightly hushed lead vocal exudes more of a pastoral, almost “girly” quality to it, no less warm and rich than before, but here the gliding of the verses sliding into the high-flying chorus where the combination of light passion and wide open musical spaciousness provides you with a slice of folk-meets-country that would keep the DJ's at American Country FM stations in raptures of delight for months on end. “Saturday Man” opens with mandolin (I think) and strident electro-acoustic backing as the piece surges into the chorus via the briefest of verses, the presence of the electric guitar and organ giving it more strength and more of an overtly folk-rock appeal, while the vocal remains the focal point, exuding all the warmth and radiance that you've now come to expect, as yet another gloriously simple but oh-so addictive chorus, comes into play. Yet again, it's got “hit single” written all over it – The Coors in their heyday, would have killed for a track as good as this!! “Honesty” provides us with our first ballad as that husky vocal weaves its charms over strummed acoustic guitar, slowly becoming more forceful within its yearning framework, as distant keyboard adds texture to the backdrop, the vocals lightly rising and falling as a gem of a song sails slowly by. One thing I've neglected to mention, but is so important, is that the songs themselves so far, work a treat by virtue of the heartfelt, personal, impassioned lyrics and the resultant performance, Ms O'Connor really pouring her heart and soul into what she is singing.
“Yesterday's Too Late” gives us a solid slice of powerfully lurching folk-rock as a stronger rock element is added to the arrangement, without losing anything of the atmosphere that has made this such a sublime album so far. The choruses are higher flying, the lead vocal more forceful with slide guitar a bit Floyd-like, the organ giving that extra dimension, as the multi-tracked choruses and solid lead vocal put the icing on the cake. “Out On The Water” has a flowing quality to its structure, the harmonies a neat contrast to the strong, lower register delivery of the verses, and this time, even with a multi-tracked chorus, more of a song that's reflective rather than emotive, still in keeping with what's gone before and another neat change in direction without sacrificing what makes the songs so special. “Chasing Rainbows” is almost heavy by comparison but then drops back to a more floating quality before powering up once again with strong verses that act as choruses as the whole thing just soars into life with a mixture of beauty and strength in equal measure, working an absolute treat. “Hope” is a warm-hearted slowly unfolding ballad with breathy vocals, strummed acoustic guitar, light tablas, soaring violin textural shakers, a thing of great beauty. “All Right, Right Now” returns us to her more energetic folk-rock style, with a solid, purposeful arrangement, determined lead vocals from that voice that can do no wrong, all leading into another soaring chorus before falling back to earth for the strident musical backing that leads the vocal strength through its twists and turns, chorus returning to provide the take-off, electric guitar providing the rock edge, the song itself wonderfully arranged to contrast between the gentility of the verses and the catchy qualities of the choruses. The album ends on “Tomorrow's City”, as a sultry, solid vocal delivers a verse that sails effortlessly into a passionate but equally sultry chorus, the arrangement flowing along as the whole thing has a depth and strength that really makes it so moving, almost later era Pink Floyd-like in its feel in parts, but decidedly Esther's creation and a gorgeously flowing end to what has been a nigh on perfect album. With nothing wasted, nothing superfluous and verything as it should be, this is a song album to beat many a more famous offering hollow – a 100% unqualified gem of an album!!

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