Samuel Roberts is a longtime freelance musician and composer, based in Birmingham, UK. Secondary Horse is the eponymous debut EP from his band Secondary Horse, where he says he can “cut loose” and offer his “true expression.” Cutting loose or not, he’s released a strong record.
The seven tracks on the EP alternate between vocal (odd-numbered) and instrumental (even) tracks. For the vocals, Roberts doesn’t sing, but rather, he speaks. It’s not rap, and calling it “spoken-word” doesn’t do it justice--these are poetry performances. The music supports the poetry, adding emotion, tension and release in just the right spots. It’s done so well you don’t even realize it’s happening--you just ride the wave. Notably, Nick Hartland’s drums are just perfect throughout. They’re interesting where they need to be, and supportive where they need to be. You know they’re there; you appreciate his work but aren’t overwhelmed by it. His playing is the very essence of musical taste. Roberts’ playing is terrific, too. He covers everything non-drum-related (guitar, bass, keys), and delivers flawless performances. What’s even more impressive is how Roberts’ music morphs in style and feel over the seven tracks. Where we start isn’t where we end, and Roberts’ playing adapts well to the changes in the score. Our journey begins with “Scherzer” and its tight, riff-y guitar work. I hear bits of Black Sabbath, Guns N’ Roses, Rush and even some Keith Richards in there. The lyric is a surprise--an ode to Major League Baseball ace Max Scherzer, delivered in a UK Midlands accent. Mr. Scherzer should be flattered. The guitars continue to drive the music on “Secondary Horse Theme.” Is it Rush? Satriani? Chet Atkins? However you label it, it works; there’s very nice interplay between the bass and guitars in the breakdown section too. The arpeggiated, swirling guitars on “The Curse” support the spooky poem well, and Roberts throws in a great, dramatic solo to boot. The instrumental “Mind Purge” begins the transition from guitar-driven to keyboard-led songs and more mystical lyrics. I particularly liked “Jores’ Theme”, where an ‘80s video game meets ‘70s prog-rock and jazz fusion, all held together with an exploration of whole-tone scales. For “Standing Upon Clouds,” the final track, did Roberts borrow one of Pete Townshend’s old synths from Face Dances to deliver that classic sound? I’m fortunate to have heard Secondary Horse. I’m in awe of the artistry, and am still smiling from the musical journey.
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