This CD is simply perfect. I have also Paul's first CD "Lost in love town" and also in the past I was enthusiastic about his music. Seven Shades ... has the same great recording-quality and the lyrics (incl. lyrics from Carol Douglas) are so heartful and true. His music is very recommendable and I wish Paul Jeffery much success here and in England on the stage. Always it is a pleasure to play his music in my German radio-station and my listener loves Paul's music so much.

"As the webmaster of the International War Veterans' Poetry Archives (IWVPA), I had the pleasure of receiving an email from Carol that contained the lyrics to her song, "Where's the Hand?". After reading them I was moved to obtain her permission to add those lyrics to the IWVPA website. After she gave me directions to enable me to listen to the song here. I was blown away, particularly as I then found out the song was played at the 2003 Bolton remembrance Day Ceremonies.
Carol is to be congratulated on a beautiful and meaningful song... a song that epitomises the agony of the war that is fought by the loved ones of all those who are in harm's way for the cause of freedom and justice.
I am honoured to have been contacted by Carol... and am proud to still be in communication with this talented and dedicated song writer and composer; I commend her works to all."
Anthony W Paul....2004...   http://iwvpa.net/index.php

Little did I know that when I first met Carol Douglas (then known as Bolton Song Bank) when reviewing Melancholy Country Blues (August 2004) that she would prove to be one of the most interesting songwriters Soundclick has thrown up. I use the term songwriter because Carol purely writes songs, then inveigles other people to breathe life into them. Its in the roll call of musicians she has collaborated with that is - besides the excellent songs - the mainstay of Carol's unique approach. With names like Nad Sylvan (When The Tide Rolled In), Maria Daines (Varog Varog!), Sahib (Money From The Satisfied Man) and Evan Paul Kozaris (Snowflake in a Flame) all should tell you she isn't one to mess about. For A Two Grand Wager Carol has teamed up with Australia's own Brian Ralston who is maybe more better known to us as SelfTort, no slouch in the songwriting department there either.

So, a match made in musical heaven? I should coco.

A Two Grand Wager is incredibly apt in these troubled financial times and is based on another financial fiasco, this time from the year 1836 when you could, apparently just go and get your own gold at the Bank of England. For more information on that, click me. From the getgo it was obvious that Carol is a songwriters songwriter (if you know what I mean) and its a signal of her skill that so many talented musicians literally queue up to work with her. Even the merest glance at the lyrics of this track should show you that she has perfected her art, the pace and structure of the piece evident even by simply reading it.

The actual track is an incredibly detailed, richly textured mindmeld of folk and prog rock that sounds odd in black and white but works a treat in the flesh (as it were). If you are familiar with SelfTort's own work you will already know that this is a musician to be reckoned with and has much in common with my other favourite Aussie, David Pendragon. His work is always immaculately presented and performed with consummate skill. Although the musical lineup of the track is pretty basic, for sure what those instruments are up to is anything but basic. Considering the subject matter, and the lyrical flow for this track to work it could only have gone one way and that is what SelfTort obviously recognised and built on. It's quite a wordy piece and it took some time for the lyrics to properly settle in my brain but the music had me from note one.

Excellent traditional - but highly original - folk rock. Highly Recommended.

"Old Lady's Lullaby" has a haunting, instantly appealing quality which leaves the listener feeling compelled to play it over and over again. It has beautiful lyrics and melody, a delightfully constructed story-line and it also has the "simple power" to enthral audiences of any kind of music. I am convinced that in the right hands, with the right kind of promotion, this song will be a huge success.
JOE FISH
(27 years Producing & Presenting Radio programmes) BBC Radio Lancashire, UK.

--Joe Fish...BBC Radio Lancashire 2004

I'll state immediately that this songwriter is one of my oldest Soundclick friends as well as being the well deserved recipient of an early Stevie for her collaboration with Nad Sylvan on When The Tidal Wave Rolled In (2005). Fact is, she IS a terrific songwriter whichever way you look at it. Take a look at the class of musicians she gets to work with and that should give you another clue that - whatever I think - Carol Douglas is a well respected and prolific songwriter of the old school. In truth her nick should be The Greal Collaborator because that is the way all her tracks (including many songs now regarded very faourably) get made.

On Too Numb Too Cry she is joined with yet another old friend, Nigel Potter, another artist I have a great amount of time for. It is actually a co-write for the pair and I can see why that should be because - try as I might - I cannot see the join at all between what Carol or Nigel contributed. I'm fairly certain that the dark, edgy feel of the track has much to do with Nigel Potter, although it suits the sombre lyrics that accompany the music. Like myself, Nigel has had his life somewhat warped by Hawkwind and their influence suffuses everything about this track but the ending is pure space rock and probably nicked from the band

All of which may sound like the dogs dinner.

Which is better than no dinner at all, this being the nature of the song. With sentiments like 'I'm dying, lying in the snow, submitting to the horror show' wailing their agony in your ears, you may well run away with the impression that it would be best to run away. Not at all, because despite its sombre content, Too Numb Too Cry is a wonderfully realised gothic horror show in sound. The flat, atonal vocals (supplied by Nigel I assume) and the Annie Lennox soundalike wailing away in the background lend themselves to the woebegone feeling that permeates this track, piling on the tension until you think you will go stark, staring mad. Which, I suppose, may be the whole point of the thing. Whatever else it is, it's a keeper for me.

MUST HAVE rock. A musical nightmare made with great beauty.

Steve Gilmore

Being an active member of an online music community like Soundclick demands lots of different disciplines and - let's face it - an awful lot of give and take. Sure, it's OK for someone like me who pretty much works by myself, only taking on the odd collaboration.

I feel really sorry for those people who - like Carol Douglas - write the songs and then have to find people who will realise their musical vision.

Carol Douglas has been a long standing member of Soundclick and is well respected for her songwriting skills (this is the person, after all, who first introduced me to the immaculate Maria Daines) when she and Paul Killington got together with Carol to put together the classic 'Varog! Varog!' track - now a couple of years in the past...

So what has she been up to lately? Would you believe getting money from a satisfied man? Decidedly saucy innit??

Think about it? What would you consider is the harder - a rocking peice of music or a lyric that reaches out of the song and touches your heart? Personally speaking from a deep well of bitter experience, I'd say a well turned (and phrased) lyric is probably THE most important element in modern music.
I mean, take a look around; there are literally millions of people who make music in varying degrees, but you can count the number of good (read consistent) songwriters with the loan of a couple of your mates fingers. ie barely f*** all.

I have known Carol for a couple of years and she is a consistently good songwriter so a review request could not be ignored. In fact, I followed the progression of the song through two music factories; one I am very familiar with and one that was a total unknown for me.

Sahib Radio should be a familiar name, as well he should be because the man is everywhere - his brand of American rock does seem to appeal right across the board.
The first version of Money From The Satisfied Man is fairly typical Sahib style (think a New Orleans sound Springsteen) although I thought that Sahib kinda rushed some of the lines. Still, musically, it's a peach and well up the usual high standard I have come to expect from this musician. Style like this you don't hear everyday and I'd recommend this on the music alone - a fine blend of Springbean and Dylan that is pure Sahib Radio.

Paul Jeffery was the unknown name here and where Sahib's rock is gritty and raw edged, Paul's version does - I feel - highlight the songs original feel and meaning. I say that knowing full well that I am singling out a rock ballad (oh dear, God forbid etc) for praise. It isn't, as you know, one of my favourite grazing areas but Paul Jeffery's brings out a much more classic rock approach than you would expect and he has a very personable rock growl when pushed to deliver.
I found myself liking both varieties; the raw, steamy Louisiana rock and the classic english rock sound - both bought something different to the party. And that, my friends, is what makes a good song - one that other people can interpret in their own way. Lovely start to the month.

Classy rock song, that comes in two tasty brews... Highly Recommended.

Carol Douglas/Nad Sylvan - As The Tidal Wave Rolled In

When the year opened with the South Asia Tsunami tragedy, there was only one song that - to me - encapsulated the immensity of this disaster and went some way towards showing how much it affected the whole of humanity.

Written by Carol Douglas and performed by the incomparable Nad Sylvan (winner of the Artist Of The Year 2003 Stevie), this beautiful track deserved all the praise heaped upon it.

I felt mighty honoured reading this post of Steve's.
Big Online Heart Award (Individual) 2005

Carol Douglas is a songwriter (predominantly) who I met a couple of years ago. As ever, we struck up a friendship and I've watched her progress since. Over that time she has been associated with some great music, usually slanted towards what she may be getting better known for - an overridding concern about the plight of those less fortunate than ourselves.
Twice this year she has been the driving force behind musical projects that have a goal other than stroking someone's ego. Yeah, there's a thing. It was her Varog Varog that first introduced most people to current online darlings Maria Daines and Paul Killington; a track being used to publicise the plight of Romanian orphans.
Her collaboration with Nad Sylvan on the Tsunami Appeal is yet another way she puts her skills to positive use, and one I have discussed earlier. The lady gets my respect, every time.

I BET you will yahooo like a bathtub as soon as you hear the first few bars of this delightful knees up. If you don't, baby you have no heart. What a great barrelhouse blues this is and I do know the genre well enough to say that and be able to back it up with examples. You could go into any bar south of the Mason Dixon line (or more specifically any bar on Bourbon Street) and hear music as authentic as this. It's gotta be a hell of a jaw dropper when you take into account where BSB hail from. Bolton, the Pearl Grit of the North, home of Peter Kay, the man, the legend. Rather a long way from the swamps of Louisiana what? That'd be right chuck, and it don't come no finer than this. As I say, I don't always like this genre but every once in a while it will throw up a winner - and this is it.
Most highly recommended for that inner cowboy in us all.