DEAD LIKE HARRY

Professional Demo Review - October 26, 2009

-“Out of the three demos, this band’s image really suits the sound of their music, which is very important“

-“With the likes of Paolo Nuttini strutting up the charts I think hooky, upbeat folk music has a place again”

-“Usually I like to hear a pre-chorus in a song, but in this case, leaving it out and coming straight to the point works well” - http://www.hitquarters.com

The Sheffield music scene seems to just roll out talented artists; what with ex-Longpigs crooner, Richard Hawley, and the Arctic Monkeys being two of the latest exports.

Dead Like Harry are the newest act to try and top the already crowded musical tree.

Formed in spring 2007, this quirkily named sextet claim to be a band which draws influence from rock, blues and even folk.

On paper, it didn't sound like a particularly original formula.

I was prepared for a bunch of un-inspiring teenagers trying to copy the style of their heroes, except with limited musical training or ability.

However, I was pleasantly surprised to find this was not the case, for Dead Like Harry were not dead like anyone at all.

Everything was perfectly arranged. The soft acoustic guitar riffs, delicate piano melodies and strong vocals effortlessly floated over the thudding bass and drums below.

And although the venue was small, every song was never too loud.

'Fight', a Travis-esque rock song, and 'When We Were 17' deserve particular praise. A mass of musical talent was always evident from the first songs right through to the bittersweet last songs 'Hope We Meet Again' and 'Joanna'.

It puzzles me how they demand so much attention; the band don't prance around like McFly or use similar amounts of pyrotechnics to bonfire night. They just play instruments and sing, remaining rather still most of the time.

The reason they are so popular is, quite simply, due to their fantastic music.

So many artists nowadays just follow the same 'alternative' or 'indie' formula. Dead Like Harry actually create a style. They are unique.

I could eat a meal with their music on in the background. I could chat with friends and drunkardly jig along to their music. I could drive for hours and hear each track over and over without realising, or caring, that I have just driven to the Moon.

Now that is a style I like.
- Sheffield University Magazine

There is a rawness about Dead Like Harry that we haven't heard for a long time. It's back to basics rock, skillfully put together by talented musicians. Track 2 is a folk classic, bit like a more down to earth Dashboard Confessional; it's simple, and reassuringly, doesn't pile on effects to build up power. The more upbeat tracks are also brilliantly arranged; a perfect combination of Ben Folds Five and country music; a voice as good as Dolly Parton too! Dead Like Harry are one of a kind; they are real, and thats a difficult word to throw around. It's summer music; film music; life music...pretty great music!" - Imperial College Radio

Sheffield sextet Dead Like Harry are tipped for big things currently and when a band leave you with a nice, warm, glowing feeling all over then why not? Such is the case for me after listening to new single Fight which has just been released on student label Syllabus Music. Brothers Matt and Sam Taylor and their band of merry men (and one woman!) are making waves at the moment with Steve Lamacq, amongst others, championing their refreshingly honest and thoroughly organic blend of folk, country, blues and rock. Fight itself is a great example of this combining as it does a sweet folk melody with dirty wah-wah guitar and a sweeping production courtesy of Alan Smyth whose former credits include Arctic Monkeys, Pulp and Richard Hawley. Elsewhere tracks like When We Were 17 and Walk In Through The Morning display songwriting craft and sound musicianship in spades and there is enough depth here to suggest that Dead Like Harry are set to be around for a while. This is music free of frills and inessential stylistics which delivers on a level that bypasses the head and goes straight to the heart. Let's hope they get up to Liverpool sometime soon!

- Liverpool Sphinx Magazine

There are four members of Nether Edge's Dead Like Harry on the phone line when they speak to the Sheffield Telegraph about their latest iTunes releases. Following four confusing introductions (two are brothers and sound identical), the band starts to talk about their latest project – internet releases Couldn't Love You Anymore, When We Were 17, Streets and Tilt the Moon, which will be available for download on iTunes from June 2.

Produced by Sheffield's Alan Smyth (Arctic Monkeys, Milburn, Little Man Tate, Reverend and the Makers and Pulp), the tracks have the production stamp of quality.

With guitar, keys, accordion, bass, harmonica, drums and two vocalists, Dead Like Harry possess a lush, dense sound. But rather than overload the listener with an onslaught of over-instrumentation, tracks like When We Were 17 are sensitively mixed. Instrumental subtleties are highlighted, rather than buried, among layers of music.

Dead Like Harry are a world apart from the indie pop of the Arctic Monkeys, Reverend and the Makers and Milburn.

DLH's country-tinged songs make them more evocative of Nashville than Sheffield: "We're not a typical Sheffield band at the moment – certain bands like Tiny Dancers have that sort of sound but Sheffield doesn't usually give off the vibe of the Americana region," laughs Sam Taylor, (bass and lead vocals).

Their Americana sound is refreshing. In When We Were 17 the vocals roll in country style with a swinging, melodic quality that drives the song. Alice Faraday's gentle, husky vocals contribute to the band's steel guitar sound.

But while steel guitars and whisky-laden vocals evoke images of American trucks and open dusty highways, Dead Like Harry's appeal goes far beyond the typical alt country audience.

The band's Shallow Grave is featured in the Anglo/Indian Bollywood film Quick, Slip Me a Bride, shot in India and Yorkshire – proving that Americana can spring up in the most unlikely of places, even South Yorkshire!

Dead Like Harry's tracks will be available for download on iTunes from June 2nd. DLH also play at the Frog and Parrot this Saturday
- Sheffield Telegraph

After a quiet stint on the recording front, Dead Like Harry have begun to once again release consistently excellent examples of their song craft in their latest EP (When We Were Seventeen) and single (Fight/Walk in Through the Morning). Fight is particularly exciting, as the Harrys rock out with a wild-west call to arms, reminiscent of Bon Jovi's Young Guns, except, you know, actually good. This song is intense when played live, and it loses none of this headrush in the studio. Walk in Through the Morning is a beautiful and near-perfect piece of country pop. The EP is strong as well, with the standout track being Streets, with its simple and beautiful guitar figures. Now, a full album would sure hit the spot. - Sandman Magazine

“A well-crafted, grown-up and thoroughly enjoyable strain of pop and all the better for it.”
Alan Jackson - The Times

"Strong of melody, rich in lyrical content and bound together by top-notch musicianship, Dead Like Harry's fresh take on traditional influences such as the blues, rock and folk is a real treat to behold. Surely fame beckons for this Sheffield-based six piece."

BBC Radio Sheffield

"Dead Like Harry come as a breath of fresh air in market populated by clones of clones. This is tuneful music of high order."

Pat Edison - Radio Caroline

“One of the best new bands I have heard in ages, they blend great pop songs with terrific hooks and sweet harmonies. I will be playing them regularly on Glastonbury Radio and expect to see them in the pop charts within a year!"

Ross Hemsworth, Glastonbury Radio

“Rolling keys, fluid guitar melodies, accordion and velvet vocal structures – Dead Like Harry play intricately-crafted pop in which no sound is superfluous.”

Rachael Clegg - Sheffield Telegraph

“Dead Like Harry are the Steel City's answer to Fleetwood Mac”

Sandman Magazine

“Their musicianship and harmonies are a wonder to behold”

www.whatsonsouth.com

“Sheffield country magic”

Sheffield Scene Magazine

"Well crafted pop songs, uplifting harmonies and nifty guitar licks"

Maz -Little Man Tate

- Press Quotes

“This could be the year for this Sheffield sextet, with their fine lyrics and musical diversity. This love tale is one to watch.”

– Poppy Cosyns

- The Sun newspaper

With a guitar sound even bigger than their choruses, Dead Like Harry deliver blue-collar rock that makes you want to roll up your shirt sleeves and learn a lot more about classic cars.


Brothers Matthew and Samuel Taylor know how to put a song together.


From the fist-pumping Streets and Satellite, to the more introspective Driving to Nowhere and Cross The Water each track is a wonderfully crafted love letter to a romanticised reality somewhere between Sheffield and Arizona.


Gaslight what? Bruce who? It seems the real cowboys live just south of Barnsley.

- The Sun

Artist: Dead Like Harry


Album: Know The Joy Of Good Living


Tracks: 14


Website:http://www.deadlikeharry.com


When I first heard Dead Like Harry, they reminded me very much of Fleetwood Mac (Stevie Nicks era), and as Fleetwood Mac have always been one of my favourite bands, it was obvious that I was going to like them too.


With the release of Know The Joy Of Good Living, their third official album, it is clear that they have progressed. Fleetwood Mac were never this good. DLH have become masters of both the soft, dreamy acoustic tracks, and of the heavier, rockier numbers. Even at their most heavy, though, Alice's vocal harmonics, Matt's scintillating keyboards, or Sam's acoustic guitar shine through, so that their songs are always delightfully pretty.


The album goes on general release in February, but they produced an advance run of 100 copies, of which I was lucky enough to get one. The CD itself looks quite unlike any other I have seen, appearing to have been made from vinyl, like an LP, with the cover designed like a fan-fold LP cover.


It opens, with a hissing crackle, so familiar to any of us who remember vinyl, before an onslaught of sound from "Streets". I'm used to hearing their live running order of "Streets" followed by "Cherry Street", but probably owing to the optimistic nature of "Cherry Street", they've bookended the album with the two songs rather than run one into the other. The effect, though, is slightly watered down by the addition of two bonus tracks, "Hope We Meet Again" and "Joanna", which appear after the final song, "Cherry Street".


I defy anyone not to be singing along on a second listen to my favourite track on this album: "You're Not Alone". Somehow, when Alice sings, 'You're not alone, 'cos I am here with you", just before Adam's drums, Robin's bass and John's electric guitar storm in for the crescendo, it feels as if Alice isn't just singing, but as if she has drawn the sound out of the ether.


With their last album, "Red Dress", having been released back in 2006, and with Sam and Matt's phenomenal rate of song writing, they had a wealth of songs that could have been included, and have at least enough material for a further album already. Consequently, of the fourteen tracks on this album, I already knew and loved thirteen of them, and there is only one track, "Driving To Nowhere", (a beautiful acoustic number, in which Sam twists the words into your heart, like knives), that is new to me. If you're new to this band, you'll love all the tracks, instantly.


They are currently editing a live DVD, which will hopefully be released later this year, and are touring in February. Do get to see them if you get the chance.


Pete Bradley

- Fatea Magazine

Pin-sharp pop

I’ve no idea who the deceased Harold might be but he’s missing out on this four track party and missing out good style. Perhaps, of course, the joke is that if Harry’s dead and parties this hard then the bloke with the cowl and scythe should pop round more often. There are only four tracks here from the Sheffield song writing Taylor brothers (plus able support, particularly Alice Faraday on harmony vocals) but hopefully this should be a sign of more good things to come. They are tight, proficient, sharp and – in song writing terms – worldly wise. Certainly if songs such as “Couldn’t Love You Anymore” were to get a decent amount of radio play then ‘pop music’ might mean something again and the chart rundown might be relevant. In a parallel universe somewhere this Ep is Number One on the hit parade and the band are planning their European Tour. Great pop-Americana from talented hopefuls. More of this would be nice.

- Americana UK