Press
TIME OFF, August 2007
ANDREW MORRIS
Union Bars (Warner/ABC)
Following on in quick succession from last year's amazing Valleys, Brisbane singer-songwriter Andrew Morris is back and in fine, albeit different, form with his third album Union Bars.
Morris teamed up with renowned producer/multi-instrumentalist J Walker of indie ensemble Machine Translations to record the album, and between them they covered all the instrumentation themselves. The burning lead guitar runs that permeated Valleys are more subdued this time, and the instrumentation has expanded to include a greater degree of piano and violin. But the album still has its fair share of bite, with the Keith Richards-inspired riff and guitar interplay of 'Strawberry Valentine' providing the best example of this.
Single and opening track 'Here You Are, There You Go' contains some wonderfully poignant lyrics and an unforgettable melody, but then there's also the charmingly bouncy ditty 'Everybody Knows' and the spinning rockabilly of 'L.A.'. 'Spinning (Around & Around)' also captures Morris diving successfully into abstract political commentaries.
Although more of a grower and overall not as immediate as Valleys, this latest effort still finds Morris growing even more confident in both his songwriting and voice.
Justin Grey
The Courier Mail, August 2007
Union Bars
Those who know the Andrew Morris secret can often be heard sighing and lamenting the fact the prodigious Brisbane talent has not yet reached the wider audience he deserves.
Like his two previous efforts, album No.3 exudes that same feeling of expectation, something bubbling away with all the excitement of a treasure waiting to be discovered.
There is still that Neil Young, circa-Harvest flavour permeating through those instantly recognizable scorched, sunburnt vocals. But Union Bars continues more in the rock vain of its prepredecessor from last year, the electrified Valleys.
Highlights include the steady-paced rocker Here You Are, There You Go, the Elton John honky-tonk pianos of L.A., ands the simplicity of the drum-driven and barely-there electric guitar on Overtime.
And don't forget You Are Everything That I'm Not, a lovely little number with some biting lyric woven through one of the catchiest melodies yet.
In fact, if Morris had the profile of Pete Murray et al, his vocals would be ranked among the best in the country. Surely that secret can't be kept much longer.
Patrick Lion
XPRESS, August 2007
One might worry that Andrew Morris is another dime-a-dozen singer/songwriter picking his way through folksy ballads and radio friendly but watered-down hayseed hoedowns. Thankfully, Union Bars, Morris's third solo album, has enough diversity and insightful writing to allow it to stand up without having to lean on the graves of Gram Parsons and co.
Strawberry Valentine ensures the listener that they aren't in for an acoustic borefest with some crunchy electric guitar, organ and a soulful vocal delivery. Listeners fond of Paul Weller's most recent solo work should like this and similar tracks on the album. Spinning (Around and Around) is a clever and catchy comment on political spin. Tracks such as You Are Everything That I'm Not and The Bitter End make it pretty clear that Morris played in Bernard Fanning's Tea And Sympathy backing band, but the diversity of L.A. (Elton-esque piano rock) and In My Town (Kinksy urban romanticism) sets Morris comfortably apart from his old band boss.
A good summer road record for those long trips down south.
David Craddock
Time Off
LIVE REVIEW
ANDREW MORRIS, JACKIE MARSHALL, LEENA
The Zoo: 18.08.07
In an unfortunate twist of fate, tonight's hometown launch of Andrew Morris' third album Union Bars is inadvertently a David vs Goliath duel of alt-country pulling power, with out-of-towner Ryan Adams also playing across town. Nevertheless, Morris and band - abetted by two wonderful support acts - put on a delightful performance, one which the loyal yet far-from-capacity crowd thoroughly appreciates.
Resplendent in a long white scarf, Perth-based singer-songwriter Leena is first to grace the stage, genuinely appearing grateful for the warm response to her heartfelt songs and gentle yet soulful voice.
With a beer in one hand and her setlist in the other, a particularly jovial Jackie Marshall moseys onstage and congratulates the crowd for getting behind the locals and being at The Zoo and not Ryan Adams. Chris Brady provides electric guitar for a buoyant opening cover of Cyndi Lauper's 'Girls Just Wanna Have Fun'. Marshall's distinctly Aussie charisma permeates her entire set, and backed by a four-piece band the laconic performer is thoroughly entertaining.
Andrew Morris leads his new three-piece band onstage, and launches into Union Bars' opening track and lead single 'Here You Are, There You Go'. Morris and co churn out the majority of his impressive Union Bars' material, and on the immediately gratifying 'Strawberry Valentine' both lead guitarist Dan Parsons and Morris himself deliver tasteful, bluesy solos. After chugging a XXXX and thanking punters for turning up to the local derby, Morris effortlessly delivers the lilting, falsetto chorus of 'Overtime' and rocking early highlight 'Spinning (Around & Around)'.
Picking up an acoustic guitar, Morris strums wistful ballad 'You Are Everything That I'm Not' - another amazing new song - then follows it up by inviting a hitherto subdued audience down the front to jive to feel-good ditty 'Everybody Knows'. A brief yet fucking amazing twin-guitar fuelled blues jam leads into older ripper 'Let It Roll', before the set closes with swinging rockabilly tune 'LA'. Returning for a three-song encore, Morris is greeted with a smart arse's shout of, 'Go, Ryan', and in true mock-Aussie fashion Morris jokingly threatens to leave the stage. Ending on the highest possible note, Morris and Parsons harmonise on a wonderfully chosen and delivered cover of Paul Kelly's 'Look So Fine, Feel So Low'.
JUSTIN GREY
Indaily - August 2007
Brisbane singer/songwriter Andrew Morris just gets better and better. Union Bars is a combination of acoustic pub sounds with alternative country feelings mixed in with slightly grungy qualities and lashings of poetic flair. To date, Morris has enjoyed success as a stabled country styled artist but this latest album blows that well out of the water.
Working with Machine Translations' J Walker appears to have made a big difference; Morris' lyrics are sharp and snappy for the best part of Union Bars, with J Walkers atmospheric mixes adding a very high quality. Opening track, Here you are, there you go and You are everything that I'm not are standout favourites along with Overtime and In my town -- the album's worth a listen just for these catchy songs and yet everything else on the album maintains solid quality.
It's always exciting when an artist starts to surpass already excellent work. Honestly, look out for Andrew Morris and get on board his wagon now, before it gets too crowded at the bar to feel you've had your fill.
David Jobling
RAVE - August 2007
Country-tinged collection from Aussie indie singer/songwriter
Union Bars was recorded with the involvement of just two people. These 11 Morris originals were performed exclusively by Morris and indie luminary J Walker, who also produced, engineered and mixed the whole affair. Opening track Here You Are, There You Go almost brings to mind a more ragged Josh Pyke, singer-songwriterly pop but with a sparser, warmer production. The album goes on to more country-inspired fare (Oh Tonight, the crying-in-your-beer lament The Bitter End), '70s MOR (You Are Everything That I'm Not) and drivetime rock & roll (LA).
The instrumentation is also surprisingly full for a record with just two people playing on it. Fortunately, Morris is adept at guitars, bass and drums, so he plays all of them, while Walker pitches in on keyboards, percussion, violin, harp and a bit of drums, bass and guitar as well. As a result, Union Bars sounds like a full-blooded rock album, with the individualistic stamp of Morris' bittersweet lyrics and just-plain-sweet melodies.
Matt Thrower
Drum Media - August 2007
Produced by the wunderkind J Walker from Machine Translations, Morris' career is off to a strong start. J Walker knows how to push the right buttons in the studio and Union Bars sounds convincing. Strawberry Valentine has a great guitar riff that would fit on a Matthew Sweet album without any trouble. Having grown out of the Brisbane scene, Morris has a sound that comes straight out of the northern independent guitar pop mould. The infectious single Here You Are, There You Go has a Go Betweens feel and is incredibly memorable from the start.
Things get almost a bit country on Here He Comes, one of the stronger tracks on the album. Morris almost sounds like Pete Townshend here, with a higher trill to his voice. Having toured in Bernard Fanning's solo band, Morris seems to love his guitar hooks and simple rock melodies. It's obviously given him a sense of confidence in the approach to laying down the tracks.
Another highlight is the acoustic Everybody Knows, which rollicks along under a sensitive English sounding melody. Similar to Josh Pyke, heres a writer with a tale to tell and an ability to keep the melody interesting. The production overall is pretty lo-fi but makes up for it in the effusive freshness of the songs.
One of the final tracks, LA, is also remarkably strong and is a lot of fun. I'm not sure what any of this has to do with Union Bars, but the album is a real winner.
Sebastian Skeet
Time Off, Valleys Launch
ANDREW MORRIS, THE GIN CLUB, THE GALLAGHER BROS
The Zoo: 10.11.06
As a sea of cascading colour brightens the stage, one briefly wonders if the lighting engineer hit the wacky tabaccy during the set change. Instead, as Andrew Morris and his band of merry men appear, it's evident we're in for a special night. Morris is backed by a full accompaniment: a game-fit Danny Widdicombe on guitar, the moustachioed Chris Brady on bass, while The Gin Club's Scotty Regan and Dan Marsden take drums and keys respectively. Even recently-departed drummer, 'Father' Dave Gilbert, is there, guesting on percussion, backing vocals and drums.
It makes for a tight unit as they rip through cuts from Valleys, the album Morris is launching tonight. 'You Give Me Reason', 'Station Road, Tempe' and 'Beaten & Blown' all gain an airing, and sound even more vibrant on stage. 'You're Makin' It Hard' rocks with its balls out, and sounds even more like the illegitimate, country bumpkin cousin of AC/DC.
Vocally, Morris sounds better than ever, and when he breaks out the occasional old track like 'Rattle The Head, Rattle The Snake', it's evident how far he's come to find his own voice. He dedicates 'Shining' to his absent parents, who apparently can't take the late nights. Given his Dad played in late 60s band The Allusions, its descent into a psychedelic breakdown proves fitting.
Morris leaves recent single 'Let It Roll' until late in the set, but the near-capacity crowd aren't about to cut and run after hearing the hit. As they bay for another encore, it's a sure bet Morris will get plenty more chances to leave crowds crying for more.
MATT CONNORS
Time Off, 1st November, 2006
Andrew Morris
Valleys
The follow-up to 2004's debut album Little By Little finds Brisbane troubadour Andrew Morris sounding more assured as he stamps a distinctive presence on 12 glistening tracks.
A soulful blend of alt-country rock mixed with a West Coast 70s sound is the dominant paradigm, yet Valleys isn't aping the past with mere pastiche. Each track buzzes with energy (see opener 'Station Road, Tempe'), abattoir-sized hooks and Morris' new-found confidence in his own voice. Sure, at times, he still sounds a little like his mate Bernard Fanning - in fact he's got a much better falsetto - but is that such a bad thing?
Single 'Let It Roll' bristles with verve, but the down-tempo cuts ('Sweet Lucinda', 'Miracle Mile' and the folk of 'See The Smoke') are the ones that reward with repeated listens. 'Shining' works its magic via some blistering guitar, while 'You're Makin' It Hard', if you'd believe it, could well be the bastard child of AC/DC.
Self-produced, Valleys proves Morris has got the songwriting smarts, playing ability and the musical mettle to step up to the big time.
Matt Connors
Review in The Courier Mail, 19th October 2006
Andrew Morris
Valleys
Brisbane troubadour Andrew Morris has delivered one of the best local releases this year, defining his own musical identity with this confident collection.
His wonderful 2004 debut album Little By Little was inward in its focus and based on country stylings, but Valleys is a bigger record: more instruments, more sounds and, ultimately, more enjoyment.
And that gives Valleys songs such as Station Road, Tempe more hips, more swagger. That said, Morris still has the ability to take things down a notch, tracks such as Beaten & Blown swaying behind a piano and acoustic guitar. But in there, always, is that voice: big, emotive, tender, soft, but rough if it needs to be.
Take the first single Let It Roll, a cracking slice of blues electric guitar with Morris spitting out the lyrics high above: "Let it roll, let it roll, let it open up my soul!". Valleys, with its heartfelt and humble interpretations, sounds just as open and honest.
Patrick Lion
'Little By Little' Review: The Drum Media (February 22, 2005)
For almost a decade Brisbane singer/songwriter Andrew Morris has carefully crafted ballads in his bedroom, playing the occasional gig, but never laying down an album of his own. With live experience including time in Brisbane alt-rock band Palladium, this (solo) debut sees him finally finding his feet under the guidance of producer and friend Bernard Fanning. Recorded at Fanning's (somewhat musically appropriate) semi-rural home studio, it's a brilliant ten-track album which borders on alt-country, a far cry form his earlier Palladium exploits.
A very raw and stripped back release, Little By Little is the kind of album which draws you in with the simple things which make music great - catchy songwriting: smart melodical hooks and vocals which are uncluttered by superfluous layers upon layers of instruments. Dylan, Neil Young and McCartney (?) are proudly worn on his sleeve as Morris ducks between songs which scream of pain and loss, and those which are warm and mellow.
As has become common with much of today's roots music. Morris' alternative viewpoints are quite apparent through his lyrics. His hands in the air "everybody say freedom" ballad, High Times, preaches an apparently anti-Capitalist message. He asks, "How does it feel, to live like you do/With your market share hanging overhead?" Morris stands tall with Australian pride, whispering sweetly of paperbark trees, fresh summer breezes in Bury Me Down and elsewhere he vividly captures the solace many find in a cool storm in Let It Rain.
Much of the album draws at your heart strings. You weep along with the lady in Heart Bounded By Sorrow, a beautiful bluesy ballad in which Morris somehow finds hope in a world crumbling for a lady struck with bad luck.
Little By Little is the first great building block in the solo career of Andrew Morris. If his future releases and live gigs are just as poetic and masterfully melancholic, he may well find people fill rooms to see and hear him.
Dave Hayes
'Little By Little' Review: Tsunami (February 2005)
Andrew Morris
Little By Little
Soularch Records
Palladium's former frontman delivers the goods here on his debut solo album. With a weeping After the Goldrush era Neil Young sensibility, Little By Little is a well hung set of songs from a genuine talent. Dirt speckled country roots show through a languid rocky folk soundscape here, whilst inherent flashes of contemporary Australiana ebb through naturally. Accordions, harmonicas, mandolins... there's a sparsity of texture in the production that lends itself perfectly to the compositional intent expressed. 'Heart Bounded By Sorrow' lilts Gram Parsons style and the opener, 'Don't Know Love Anymore', is a sparkling little acoustic guitar/mandolin sing along; "My aim was to write an album that I could play solely with acoustic guitars and vocals" Morris has said, and he has managed it. The tracks on the album aren't performed solely on acoustic guitar and vocals but the point is 'that they could be', which means the songs are strong in themselves. This is the genuine article.
EVAN ALEXANDER
CD Launch - Gig Review: Time Off (December 8, 2004)
Andrew Morris, Tylea
The Tivoli
December 3, 2004
It's like walking into a room full of friends at the Tivoli tonight, so comfortable is the vibe. Tylea is onstage and playing a gorgeous Epiphone that sounds impeccable under her beautifully soft vocals. Like bedtime lullabies for adults, her softer songs have a quality that comes only from experience.
It's clear to see Tylea has played a few rooms in her time, conversing with the seated audience as if there's no stage at all. She works through tunes from a forthcoming double album, displaying the "two sides of Tylea"; the darker songs show her impressive range.
Like most audience members, this reviewer has little prior knowledge of ex-Palladium member Andrew Morris's solo work. Launching his new CD 'Little By Little', Morris opens the show with fellow guitarist Danny Widdicombe and first song off the album 'Don't Know Love Anymore'. The curtain rises behind them to reveal Denvar's Dave Gilbert on drums, Halfway's Chris Brady on bass and brothers Rob and Harry Gallagher on guitar who bring some stunning harmonies to 'Rattle The Head, Rattle The Snake' as Morris works through the album from start to finish.
Producer and friend Bernard Fanning is introduced and plays keys, also providing backing vocals that sit like no one else's could behind Morris's, whose own voice is nothing short of perfect. Rounded and full, he has a wonderful presence and seems to truly love what he does.
Sydney's Bec Innes provides some lovely vocals in 'Let It Rain' while Caterina Senese's piano accordion places deep sighs in the song. Widdicombe is an incredible guitarist, switching effortlessly between electric and acoustic as he provides brilliant lead solos throughout the night.
Title track 'Little By Little' is a superb song, with tambourine to fill the space behind lyrics that are gentle and thoughtful. It really is a privilege to be a part of an experience that makes you feel like family.
Andrew Morris has come a long way since his first performance with Tylea at the long defunct Babble On. A "scrawny little rat" no more, Morris has some serious talent. His songs fill one's head and swim around inside for days. All ten album tracks played are not nearly enough and an encore is gladly received.
Deciding to pay tribute to some of his influences, Morris starts solo with Gillian Welch's 'Look At Miss Ohio' that silences the room in appreciation. He invites the whole crew back once more for a five-part harmony in 'The Night They Drove Old Dixie Down' before a wonderful rendition of Sam Cooke's 'Bring It On Home' completes the evening.
Hana Cowell
'Little By Little' Review: Scene Magazine (December 1, 2004)
All I can say is thanks God for the demise of Brisband Palladium, because without it we might not have this brilliant solo album from that band's songwriter Andrew Morris. It's still a very Brisbane affair: recorded and mixed locally, and produced by Bernard Fanning; however it sounds like ti could have been made in Nashville or California about 30 years ago, a credit to its rustic timelessness. Inspired by his love of records like Neil Young's 'Harvest', Morris has written a stripped back acoustic record which is unfailingly excellent for the entirety of its duration, a collection of uncompromising country music so pristinely melancholy that it could induce tears of whiskey to pour forth from the corpse of Johnny Cash or cause the scattered remains of Gram Parsons to form mysterious patterns in the desert sky. The sparse production perfectly translates the heartbreaking melodies, dusty slide guitar and lonely harmonica that grace these dignified country blues hymns, on tracks like 'Don't Know Love Anymore', 'Bury Me Down' and 'Heart Bounded By Sorrow'.
Jeremy Day
'Little By Little' Review: Time Off (December 1, 2004)
ANDREW MORRIS
Little By Little (Soul Arch)
First, let's get one thing straight: Little By Little doesn't sound anything like Andrew Morris's former rock outfit Palladium. Where Palladium embraced loud guitars and pub rock riffs, Morris's solo venture tugs at the heart via country-tinged acoustic ballads.
More Dylan than Dinosaur Jr, more Gillian Welch than Guided By Voices, Little By Little sees Morris in Sunday afternoon storytelling mode.
'Rattle The Head, Rattle The Snake' is a freewheeling ride down the desert highway, while 'High Times' is a moodier piece set around a Nick Drake styled guitar line. Album highlight 'Heart Bounded By Sorrow' is a sad tale but, like the best of songs, still manages to inspire and uplift.
Predominantly a guitar, voice and light percussion album, Morris colours the tunes with sprinklings of harmonica, harp, inventive backing vocals ('Passing By') and piano accordion.
If Morris was feeling the weight of Palladium's legacy on his shoulders, he can finally relax. Entirely written and recorded in just ten months, Little By Little marks the beginning of a new adventure and proves Morris is one of the most versatile and consistent songwriters currently roaming the Brisbane landscape.
Nick Coppack
'Little By Little' Review: The Weekend Australian (November 13 - 14, 2004)
Little By Little
Andrew Morris
Soul Arch / Reverberation
Once of Brisbane alt-rockers Palladium, Andrew Morris has set off on a solo songwriting path with a stripped-back nod to some of his favourite artists. Thus the plaintive strains of Neil Young, John Fogerty and the Band echo in titles such as Let It Rain, Shine On and Rattle the Head, Rattle the Snake respectively. Thankfully, there's more going on here than a mere tribute. Morris's voice, when he lets it go, has a sleek, penetrating tone that shines to best effect on the acoustic tracks, especially the luscious opening Don't Know Love Anymore and the James Taylor-esque Passing By. The album was recorded at Bernard Fanning's Leafy Bug (home) Studios and the Powderfinger singer also co-produced and appears on a handful of songs. One can hardly find fault there or in the material's influences. All Morris has to do is inject even more of himself into the stylings he so obviously adores.
Iain Shedden
