I'd better be careful here, what with Ms Nimmo being an Embra lass. She might hunt me down and do me some damage, if I disparage her second album, "Home". Luckily for me, that's not likely to happen, what with it being a bit good an that.
Of course, it helps that I'm a bit of a sucker for singer / songwritery lassies, and with Ms Nimmo slotting easily into that ever so wide, seventies influenced category, all it took were some good tunes and a great voice. So, mission accomplished. As you would expect, given her background in jazz and blues, there are a few of those influences to the fore. But she also drops in some folk, country and Americana licks, just to make sure all the bases are covered.
The PR folk drop the name Dory Previn, as if everyone is familiar with "Mythical Kings and Iguanas", but she really doesn't sound like anyone else, even if there are enough themes in common, to make the former Mrs Andre Previn an influence on Ms Nimmo. There are plenty songs on "Home" that will fulfill your desire for a wow factor, with 'Life Can Pin You To The Wall', the jazzy 'Moonglow Music' and the darkness of 'The End', just three of the songs that will have you hitting the repeat button.
It's one of the best singer / songwriter, acoustic jazz-blues country-folk (phew) albums you'll hear all year, so get yourself off to her website sharpish.
A wise man – actually it was a woman when I come to think of it – once said "it's all in the breeding". Listening to Rosie Nimmo's second album "Home" gave rise to that uncommon feeling of inbuilt quality. Perfectly poised throughout, she showed the kind of style and class that few have these days.
Her phrasing is with just the merest hint of Julie London huskiness evident in "Low Blue Way" and "Life Can Pin You To The Wall" but there is more here than late night listening for the melancholy at heart. Almost as if Ms Nimmo is showcasing what she can do as a songwriter, she lightly sidesteps into something a little offbeat, even cabaret, like "Time Clock" before tiptoeing into the mainstream with "Precious Mistakes". However, mastering the conventional takes seemingly little effort and Ms Nimmo soon moves into the heart stealing business with the wistful "The End" (and that's the one that sold this album to me).
I can see this album taking up residence on the CD players – it is way too good for an iPod - of the cognoscenti and, nicely produced by Marc Pilley, it will sound right at home there. Like I said, Ms Nimmo shows she is truly a class act here.
Review by: Bluesbunny
It's different for girls. Apparently. And much more difficult too, I would imagine. In an industry still top-heavy with men, both in terms of artists and influence, just exactly where do you pitch yourself when you have already fallen foul of that dreaded "singer/songwriter" descriptor? Forever conjured up in people's minds as some sort of peak-capped folkie bearing an uncanny resemblance to a young Joan Baez and ideologically on the way back home from Yasgar's Farm before they have even heard a note, there has to be many a river to cross. Do you therefore go for a spot on the trajectory somewhere between KT Tunstall and Martha Wainwright, position yourself as another alternative to Feist, Joan Osborne or Sandi Thom or merely allow your promotional people to invite comparisons with Dory Previn and Billie Holiday? In Rosie Nimmo's case only the latter is entirely true, even though the assertion remains at best inaccurate and at worst unhelpful.
So what does the Auld Reekie songstress do for her second album? Well, she writes eleven deceptively simple songs about love and life and those mundane and magical moments in between, gets some good friends who just happen to be very accomplished musicians on board, knocks the tunes out at Shed Recording in a pure voice, assured and fragile in equal measure, and then sits back waiting for all those tired and lazy similarities to be drawn. Joan Wasser springs most notably to mind on "Life Can Pin You To the Wall " and this constant searching for verisimilitude occasionally detracts from Rosie Nimmo having a voice of her own, but her light ultimately shines through and imbues her future with a cautious, though not entirely unique optimism.
www.allgigs.co.uk online review
It's difficult to work out exactly where Rosie Nimmo sits on the acoustic spectrum, part folk, part blues, part Americana, hailing from the troubadour tradition. There's an almost timeless quality to her music. Her keen sense of observation and empathy with events going on around give "Home" a life's highways and byways feel. It's an album that's in no rush to get anywhere, just happy to take in the view and absorb the rich tapestry of the vista. The real trick is to turn that around and take the audience with you to those places, it's a trick Rosie's got off pat.
www.fatea-records.co.uk online magazine
On her second album, Edinburgh-based singer-songwriter Rosie Nimmo proves as gently persuasive as she was on her debut. Nimmo's versatility is well in evidence, her background in jazz and blues coming to the fore on the sophisticated 'Moonglow Music', whilst the pizzazz of 'Timeclock' sees her inhabiting kooky singer-songwriter territory.
The peak performance, though, comes in the form of 'The End's' drifting atmospherics, an ambitious and darkly brooding composition hallmarked by Nimmo's alluring vocals and sweeping yet understated guitar.
'Listen To Your Own Voice', an insistent acoustic pop-rocker that nods at blues and New Wave influences and offers a sort of crash course in self-analysis is another example of the range and imagination on offer, whilst the shuffling jazz of 'Being a Child Again (In The Snow)' sees her revisiting her youth, echoes here of the stylish vocal elegance of Eddi Reader.
Home is an especially accomplished collection that is particularly difficult to pigeonhole, and that's a good thing.
Lazy and Mellow
Cette chanteuse originaire d’Edimbourg a plusieurs casquettes : auteur, compositeur et interprete. Peu connue en France, la chanteuse a pourtant un reel talent, conjuguant avec dexterite le jazz, la folk et des sonorities blues sur lesquels se pose une voix gracieuse et un style epure. Cet album trouve toute sa place dans une discotheque jazz digne de ce nom.
This singer from Edinburgh has many hats: author, composer and interpreter. Little known in France, nevertheless, she has a real talent, dexterously combining jazz, folk and some sonorous blues on which she displays a gracious voice and a pure style. This album is a welcome addition to our jazz library.
(Original here - opens pdf)
www.ville-sevres.fr online review
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