Usually albums arrive, either physically or digitally, and I give them a few plays and a review is fairly easy to do. I either like the music or don’t and, subsequently, I can choose to play it more times, or it can be put to one side and forget about it. No emotional connection that, good or bad, makes it stick in the heart and mind. Sadly, due to a series of circumstances, that were like a perfect storm of brown stuff, Duncan Parsons latest release made a deeper impression in my consciousness than I would have hoped. This is no reflection on the album as I doubt that Duncan could make a bad record if he tried. Just that life got in the way.
The story behind this review covers a few months and will also explain why it took me so long to write this, but I think that it is a prime example of how music can be a soundtrack to a chapter of life’s story. Tunes that will forever remind someone of a time and place which aren’t always happy.
This particular example started in mid-to-late December when I gave Duncan a promise to review his latest addition to his Music for Stairlifts series of albums. I received the download and enjoyed what I heard and then, as I was in the process of writing a review, I found out that a cherished relative had died. Although she had been ill for a while and it was hardly unexpected, the news still hit me hard, and my attention was diverted to maudlin thoughts which were not conducive to creating cheerful superlatives about an album.
Then, just as I was settling myself down, into a mental state of equilibrium and started to listen to the record once more, I found out that my brother had died. This time it was unexpected and even if it would be hypocritical to try and claim that we were close, the news hit me like a punch from Tyson Fury and left me in a place that I had not expected to be.
It was pure coincidence that those two events landed slap bang in the middle of my reviewing process and they made me want to delete the music files and never hear it again, but eventually I approached it once more but, on opening up the word document I found that the laptop had thrown a wobbly and lost what I had managed to write in the first, and second, places. I felt that the whole thing was cursed, with the added problem that having to recapture my initial feelings for the music would be impossible.
However, time passes and, even if the emotional connection to the album remains, I now feel that I am in a suitable place to keep my promise to Duncan and hope that he will forgive me for being so slow in paying suitable tribute to his work…
For those of you familiar with the John Hackett Band, you will know that Duncan Parsons is the drummer and resident comedian. But he wears many hats, both literally and figurative, so he has talents that are not always evident at the band concerts, with his light hidden under a bushel. He composes, plays many instruments and even sings. This allows for a parallel solo career that is not only prolific but also eclectic. Styles, genres and thought-provoking topics do not daunt him, and he seems to enjoy a musically creative process that might daunt many a musician who is stuck in a rut which a single genre might dig.
His two previous sojourns into the tongue in cheek titled Music for Stairlifts series have been interesting, at times, challenging but always enjoyable and never predictable and volume 3 is carrying on that tradition. For some of his other, less stairlift-related, albums he has managed to attract contributions from such musical giants as Steve Hackett, Leland Sklarr and Bill Bruford but in this instance, he is showing off his talents by playing all instruments himself; although there are no drums on the entire album which is strange for a drummer. The bloody showoff!
And, like the album title, all of the track titles also have the tongue firmly in the cheek…
Secondhand Sandwich Shop is an upbeat joyous tune that makes me think of happy mornings where the day is full of potential and optimism. Lots of strange sound effects but they add to the texture. At first I thought that the title of The Ballagon related to a footballer, but it was the wrong spelling so I am still none the wiser as to what the word means and as Duncan likes to tease with titles I am afraid to ask. Another fun track that chugs along nicely and, in places, makes me think of an Alan Parsons Project instrumental. But I am not sure if the two are related. Next up is Forever Until Whenever. All I can say about this is that it is sweet but, thankfully, not in a sickly way, and would have made an ideal soundtrack tune to a 1970’s thriller. Think of Jeff Wayne’s tune for the Golden Rendezvous film and you’d be heading in the right direction.
Being a fan of the philosophical concepts Duncan tackles Occam’s razor in the succinctly titled Occam’s Tweezers, and wins the award for my favourite tune title. The music itself carries on the journey that the previous tracks started and, even if there are no surprises, it still made me want to carry on listening. Whereas Perpendicular Parking came dangerously close to breaking the first rule of Prog Club. If the Orb or Enigma had recorded this it would have easily become a dance track but thankfully Duncan just stays within the permissible beats per minute and note sequences to avoid it turning techno ambient dance. Rosie’s Smile is another pleasant instrumental that is enjoyable and swept over me like a welcome warm shower after a long workout at the gym. The Curvature of Clowns is yet another great tune. It’s hard to describe, and I wanted to find something bad to say, so that the review didn’t come across as nothing but sycophantic hyperbole, but I couldn’t fault it. A lovely tune.
Up until now the music had a similar feeling to it but Skying changed that. It might only be slight, but it is noticeable and welcomed. Up-tempo, almost triumphant and I particularly liked the acoustic guitar.
Perhaps my favourite tune on the album. Finally, there is Old Year’s night. Strange but fun.
Other than some vocal jiggery pokery and loops, there are no vocals so there are no lyrics for me to attach interpretations to, but if you wanted me to come up with something you can use to categorize the album think Anthony Phillips and his Private Parts and Pieces series of albums. Never predictable but always entertaining and I am sure that if Ant were to listen to this, and the other Stairlift albums, he’d not be offended by the comparison.
There you have it, due to the emotional connection I might never listen to this album again but that is not Duncan’s fault and, had it been happier times I would probably play it many times and smile on each occasion.
TRACK LISTING
01. Secondhand Sandwich Shop (4:21)
02. The Ballagon (4:17)
03. Frever Until Whenever (5:46)
04. Occam’s Tweezers (2:38)
05. Perpendicular Parking (3:51)
06. Rosie’s Smile (4:50)
07. The Curvature of Clowns (3:12)
08. Skying (3:58)
09. Old Year’s Night (3:51)
Total Time – 36:42
MUSICIAN
Duncan Parsons – Nylon Strung, 12/6 Double Neck Guitars, 6 String Fretless Bass, Rhodes Piano, Celeste, Voices
ADDITIONAL INFORMATION
Record Label: Independent
Country of Origin: UK
Date of Digital Release: 26th December 2025
LINKS
Duncan Parsons – Website | Facebook | Bandcamp | Instagram
