Rory McLeod-is also at www.rorymcleod.com for more

Comedy. In depth and revealing Documentary and Drama. Six feet under, Shameless. Smack the pony sometimes. Nature programmes, thrillers with a twist,

Other Collaborations Guest Appearance: "Woody Lives" (with various Artists, Dick Gaughan, Rab Noakes, Bert Jansch) On Black Crow records. A benefit for Huntingdons disease and a tribute album to Woody Guthrie.

Rory also has performed his songs in concerts with a horn section, doubling up on bass and keyboards with Bob Morgan (clarinet, alto sax, keyboards) and Richard Sadler (baritone sax, soprano sax and bass), with Rory also playing Trombone as part of a 'roaming' horn section at festivals, (The Fire-Walkers) playing Rory's tunes in the middle of fields, outside bars, tents and 'blowing along' as a horn section with whoever would invite them to.

"Rory Mcleod must be the musical equivalent of a six or seven ball juggler... " The Guardian (UK)

Rory McLeod - Brave Faces (Talkative) We've waited far too long for a new album from this maverick iconoclast of a performer, but this fulsome showcase is no disappointment in any respect. Setting off listening to it, well it's just like going to see him live - you don't quite know what to expect, other than that you'll be entertained big- time: stunned into heady silence by his full-on friendliness and innate instrumental virtuosity and his eclectic mastery of every musical idiom in the world (and several others besides, no doubt!), and by turns enchanted, provoked and delighted by his ultra-creative lyrics. Brave Faces also reflects Rory's live act in the sense that the guy's virtually unstoppable - you get the feeling that if a CD wasn't physically limited to 79 minutes there would be loads more music here. He shows no sign of running out of steam or ideas or energy even after 78 minutes! And that would be considered great value, whatever the standard of the music, but you've no worries on that count either, for these 19 tracks represent Rory at his most persuasive. 12 of these are brand new own-compositions, stylistically unpredictable as always but containing such invariably brilliantly characterised storytelling and thus absolutely typical of Rory's art. But even though Rory's previous record releases have always provided a more than satisfying memento of his live act there have been occasional longueurs and moments which haven't always translated to the harsher recorded medium. Brave Faces, however, succeeds entirely and keeps one's interest throughout with its dazzling parade of ideas and sounds. The new songs are tremendously strong, almost too powerful to cope with on first hearing or even second. They make well-observed statements without ever preaching - Rory is able to convey depth of feeling and highly-charged views without oppressing your brain! - just take a listen to the jaunty calypso- backed A Cut In Pay, or the caustic irony of Cold Blow These Winter Winds couched in a deceptively gentle whimsy, or .the heavily-accented "alienation tango" of No More Blood For Oil. Two opposite poles of intimacy are provided by the potent global concerns of Thirsting For War and the beautifully intimate and affectionate Doing Time Together (the latter one of a handful of tracks featuring the gorgeous Aimee Leonard, here on both vocals and bodhrán - otherwise this is very much a Rory McLeod solo tour-de-force that transcends any casual novelty value). Several of the songs last longer than 5 minutes, but not so you'd ever notice for not a word or chord is wasted or superfluous. And another thing I constantly find unbelievable (that is, when I take a breather to think about it!) is that however desperate or depressing the subject matter, ideas and/or lyrics, Rory's music is always fun to listen to, and full of interesting and unusual textures. He's clever but not clever-clever, if you hear what I mean, for he's got the skill of communicating immediately and acutely with his audience, you're gently compelled to listen just like you would to a good mate. Rory's truly unique: a creative minefield, against whom a hell of a lot of other self-styled singer-songwriters can so easily seem one-dimensional. And that creativity extends right out into the cover versions (there's five here, and two purely instrumental tracks too): two of the highlights on this set are acappella treatments - the traditional Oh Death is given a chillingly wayward reading, whereas The Glory Of Love (never a favourite song for me) wins me over completely by being superbly inventive, fresh and Fun. Then there's the old Elvis number Guitar Man, which has Rory's tap-dancing bottleneck in full flight, while I don't think Hank Williams' Rambling Man has received a better cover. On the closing track, The Man Who Couldn't Say Goodbye, Rory may be obviously playing for laughs but it's also a perfect, larger-than-life re- creation of the man, his personality, his ultimate irrepressibility (the image persists of Rory lifting up the coffin lid with a cheeky "Hello"!)…. Brilliant, and definitely Rory's best yet; if this don't convince you the man's a major talent then nothing will! www.rorymcleod.com David Kidman

Folk Roots Review August-September 2005

Rory McLeod There's a tendency to dismiss Rory McLeod as a glorified novelty act, a maverick one band who's a great live act willfully dipping into different styles, but doesn't somehow merit consideration as a serious songwriter. This is the album to blow that myth out of the water. Here the stylistic form is as seemingly random as ever, a veritable musical maze of ideas, but the lightning barrage of words isn't quite as intimidatingly clever as it can be, with the result that you end up admiring the quality of the songs rather than the performance. McLeod's instinctive inventiveness is especially acute this time round too. A Cut In Pay marries a clever lyric about monetarism, which someone should send to Bob Geldof to play at the next G8 summit, to a full-blooded Caribbean steel drum sound. It also includes some mighty yodelling on Hank Williams's Rambling Man, an optimistic cover of Dylan's The Man In Me, a glorious soulful acapella version of the standard Glory Of Love that's worthy of Smokey Robinson, an unnerving, unaccompanied old-timey Oh Death (a variant of which was once sung demonically by Peter Bellamy) and a lovely slide guitar romp through Jerry Reed's Guitar Man, famously covered by Elvis. It's fun but it has substance and his own songs offer the authentic voice of the intrepid, singular troubadour McLeod has been for so long. He's always sided with the underdog, but with Guitar Man pointing the way, the poor old travelling songsmith is invariably the one being championed here in colourful, anecdotal songs like the 7-minute Not For Sale, the gorgeous, gently defiant Cold Blow These Winter Winds and, mostly for laughs, The Man Who Couldn't Say Goodbye. Emperor's New Clothes - played to a background of his son's sampled voice - must surely rank as one of the best things he's ever written. I'm not too sure the deceptively jaunty arrangement works with choir and all, but Ballad Of The Burston School Strike - relating the extraordinary story of a strike by Norfolk schoolchildren in 1911 with far-reaching consequences - could even become his The World Turned Upside Down. It's true that the best live performers can't always transfer the magic into the studio and some element of that may also apply to Rory's past recording career. Not anymore it doesn't though. This is the poodle's rude bits. Colin Irwin

Phil Daniels -Online review

With a mammoth 19 tracks on this new offering, the people who said Rory McLeod had been away too long certainly have something meaty to get their teeth into. 19 tracks that jump for one musical style to another as frequently as the lyrical content. McLeod has produced something here that is not only complex and intriguing, from start to finish it is utterly compelling. It’s fair to say that Rory McLeod is one of the best storytellers on the scene and has gained the huge underground following because when people listen to him they are instantly hooked. That happens here as from one song to another the mood is constantly changing, you really don’t know what direction the record is going to leap in next, which certainly adds to it’s charm. Hugely powerful songs come thick and fast here, which at times are really disturbing. However the blatant ‘telling it like it is’ style is very refreshing even in such edgy numbers. Songs about the opposition of war sit side by side with songs about domestic violence and the depression of alcoholism. Now I know that sounds like this album should be filed in the slit your wrists category but the fact many of these dark subjects are performed to a musical backdrop including flamenco and calypso, keeps the songs accessible whilst still getting the message across to the listener. With 12 brand new songs, 5 covers and 2 instrumentals, you definitely get your money’s worth. The brilliant version of Hank Williams ‘Rambling Man’ stands out, with a superb vocal performance, however it’s Rory’s self penned songs that make this record for me and reiterates what an all round fine musician this man is. It’s also great to see ex Anam singer Aimee Leonard popping up on the odd track, as she possesses one of the best voices in celtic music, that can only enhance things. It is a fantastic record, but you do have to give it time. Really listen to the lyrics, as it is just 19 stories being told perfectly by one of the best performers on the circuit.

Record Collector November 2005. Brave faces Review By Ken Hunt.

Back in the Vinyl 1980s there was this bloke with elongated vowels called Rory McLeod. Being introduced to his musical dynamism was one of the best turns anyone did me in a decade of painful partings. I never did the upgrade shuffle; so ‘Brave Faces’ (TALKATIVE ****) Is the first time I’ve heard him on Compact Disc. His prelude recitation to ‘Another Glass Of Forgetfulness’ is priceless, going from humour to studied desperation. ‘Ballad of The Burston School Strike’ reminds me of Guthrie and Ochs. ‘A Very Nice Bloke’ reminds me of Brecht and that is no bad thing because I need to think of Brecht’s writings more (since the Brecht Bookshop closed in East Berlin just by Brecht’s burial site. I have visited Brecht’s connected places instead of reading him.) ‘Brave faces’ made me think and smile. And then it all came swimming back. The ‘exactly why’ McLeod ranks as one of the most incisive insightful songwriters and interpreters. Here he does Dylan’s ‘The Man In Me’ One of my fave trad blues from the strangulated vowel delta, the post Georgia Sea Islands singers ‘Oh Death’. And his measured, harmonica led percussive, body-stomping version of the klezmer clarinettist maestro Dave Tarras’, to the disciple of the Trisk Rabbi.) Listening to Brave faces brought it all flooding back. 19 tracks may be recklessly overgenerous but I could fill a page or two of this magazine just narrating or responding to McLeod’s generous musicianship. His ‘A Cut In Pay’ should be force-fed down every employer that whines and whinges about paying, say a freelancer. Do expect this at the end of the years best.

Living Tradition. Review by Alan Rose.

I bet it’s been twenty years since Rory McLeod’s first recording of multi- tracked harmonica-fuelled, adrenalin-laced whoops and hollers found it’s way into the hands of Peter Bellamy. For months after, anyone and everyone was bombarded by the tape from Peter with the exhortation. “You have got to listen to this….” Sadly, Peter is not around to hear Rory’s acapella treatment of Hank William’s ‘Rambling Man’ Dylan’s ‘The man in Me’ or the traditional ‘Oh, death’ on Brave Faces, so I suppose it’s down to me to shout, “You have GOT to listen to this…” Unaccompanied covers are far from the whole story – there’s a load of his own stuff too. Typically Rory packs every digital second of available space (the nineteen tracks have an astonishing playing time of 78.12…) with a dazzling array of lyrics both prose and rhyming, spoken and sung in a helter-skelter, roller-coaster ride through a welter of emotions, issues and musical tom- foolery. Both vocals and instruments (guitar, harmonica, trombone, bass and all sorts of percussion) are stacked into great teetering layers, which threaten to tumble down and make the whole thing a nonsense-but never do. His music combines the expertise of a virtuoso with the enthusiasm of a child, while his writing cuts straight to the heart of his subject, be it poverty, child abuse, relationships of having a drink or three. For example, in “No More Blood For Oil” he speaks for many of us when he states “….we’re not disturbing the peace, we’re disturbing the war”. Rory McLeod is a rare, unique and beautiful talent, and Brave Faces is a true reflection of what he does. You ought to see him live though…

More Record Reviews:

"Rory McLeod has a profound disadvantage-for pigeon-holers and hacks-that he is so original it's nigh impossible to compare him with anyone else. Writing songs packed with streams of words, often so dense that the casual listener could easily let the craft, beauty and power of the content slip by. An awe inspiring live performer who, you discover when you repay his craft with the scrutiny it deserves, writes quite brilliant songs." Ian Anderson. Folk Roots.

Angry Love

A wide variety of styles should certainly have appeal far beyond the tight confines of the British folk circuit" 'Swagbag' UK.

Rory's tune smithery is impressive throughout Songs are strong, rhythmic and singable which is striking for someone so prolific" 'Folk Roots', UK.

Angry Love " Rory McLeods insidious charm and unflustered bravery are a delight to uncover. A lyrical eloquence that's cheeky, endearing, strong and striking. This is an overtly political album in many ways (Personal to international) while acknowledging the ties that bind the family without cloying sentimentality." 'Sounds'. UK.

Kicking the sawdust. "Autobiography with all cupboards open." 'Leeds 'Other Paper' UK.

No-one, not one soul in this whole crazy world, can help but fall in love with Rory McLeod's latest Double CD 'Kicking The Sawdust.' ...an album infused with happiness, with not one dud track. Jam packed with 21 wildly original tacks. Each song is a delight with playful tunes and lyrics worth listening to, time and time again. Nic Rigby. Evening News. UK.

Footsteps and Heartbeats. "These nine songs are among the most interesting you're going to hear all year" 'Folk Roots'. UK.

Uncompromisingly earthy and edgy" 'BJ Cole, Guitar Magazine.'

Restless footsteps and the pulsing heartbeat of the music takes the listener on journeys through the streets of Britain, the dusty plains of the East and the ramble tamble of the south Americas. There are some excellent melodies at play; it's Mcleod who provides the beating heart." 'Broadbeat', Scotland.

" I love this record, it's non-stop aural caressment.... Singing Copper' is a journey to a policemans' heart and soul, a high point lyrically. This is world music, real, vital and intensely listenable. Probably one of the best collection of Love songs you'll ever hear." Rock and Reel. UK.

" ...philosopher Descartes had it right when he said " the simplest man with passion will be more persuasive than the most eloquent without." Add a traveller's ability as a teller of tales and a compassionate eye for detail and you get the idea." 'Entertainer' - Australia

" Lovers of folk music will breathe a huge sigh of approval upon auditioning Rory's superbly crafted release." 'Cape Country Courier' – Tasmania

Travelling Home. " 'Back to Donegal' is a Bacchic delight of banjo, fiddle, Uillean pipe and spoons-filled Irish tunes. A joyous travelogue. (A high energy 'Coney Island') And there's social criticism that's not detached and dogmatic. Rather, he breathes a passionate angry fire into songs about the ruin and rot of our country..(the Rhumba-esque 'Defending our Homes') or racism (a hearty adaption of Broonzy's Black Brown and White) And then there's a more light -hearted edge. 'Compatability' a chirpy duet, is a witty analysis of a relationship. Soulful, passionate and transcendent. A blinder of a record." Folk Roots- UK.

Lullabies for Big Babies. "Seldom is it that a small shiny plastic disc so easily evoke so many sensory pleasures. Lullabies...takes you to places where you can inhale the freshness of newly cut grass, soak up market aromas, feel the sunshine on your skin, taste succulent fruit, feel tipsy on booze and life, glow with the warmth of friendship and ache with loneliness. Rory McLeod creates music that celebrates life.....the good, the bad and the ugly." 'Sarah Coxson, Folk Roots' - UK. #170/171

Mouth To Mouth (Double CD)

"'A beautiful mix of tender love songs, powerful political messages and everything in between." (Byron Shire Echo, Byron Bay, 9 Jan 2001) '"This album is getting acclaim world wide and it's easy to hear why. This man makes socio-political stance a joyous right instead of a tiresome ballad. A body of work that's fresh and full of life, laughter and song." (XPress, Perth, 11 Jan 2001) "His songs evoke a life lived at the edge with great joy" (Northern Rivers Echo, Byron Bay, 11 Jan 2001) "Unorthodox and brilliant" (Green Left, Weekly, Australia, 1 Feb 2001) "Immerse yourself in the vibrant and emotive words and music of Rory McLeod and you will certainly feel most pleased to be alive!" (Beat Magazine, Melbourne, 7 Feb 2001) "A treasure trove." (Geelong Advertiser, Geelong, 18 Feb 2001) "A panoramic collection of infectious songs and instrumentals that is fully of warmth, humour and insights... Affectionate songs about 'ordinary' people." (Canberra Times, Canberra, 1 Mar 2001)

LIVE REVIEW

Rory McLeod, The Black Swan Folk Club, York

RORY McLEOD is a one-man world music factory. Travelling the globe for inspiration, he absorbs different languages, cultures and rhythms to compose songs and tunes about what it means to be human. He played a selection of them at the Black Swan, Peasholme Green, York, last night, with tremendous energy, passion and consummate musical skill. He even changed the key of several compositions to accommodate his sore throat. Bad cold or not, McLeod’s notes still soared through the pub’s upstairs room, thrilling a capacity audience. Wearing tap shoes, he stamped out a hypnotic beat on a wooden board wired for sound, while playing potent finger-style guitar. His virtuosity on harmonica was astounding, playing a klezmer tune that conjured up images of Jewish festivities and a number called Miners Picket Dance, complete with police sirens. He also played spoons and produced a trombone, bought for £50 from a Leeds pawn shop, for his encore. London Kisses takes the listener on a stream-of-consciousness tour of the metropolis; What Would Jesus Do? is McLeod’s defiant answer to a right-wing radio phone-in presenter in the Bible Belt of America; and The Dreams We Breathe Through is a candid view of love and divorce. McLeod creates art out of ordinary lives, weaving the magical musical tales of a true troubadour. But injustice makes the fire in his belly burn brightly. No More Blood For Oil is a powerful indictment of the American-led invasion of Iraq. Richard Foster sub-editor, Evening Press, 76-86 Walmgate, York Y01 9YN

LIVE REVIEW TREGARON. WALES.

The devoted following that this amazing man boasts revealed itself in the unprecedented number of enquiries we received about camping facilities adjacent to the Talbot ... there's something about what he does that naturally lends itself to the outdoor life, beloved of festival stalwarts, but while the Talbot's function room was unable to reproduce accurately the atmosphere of Glastonbury - smoke, miscellaneous cooking smells, dodgy latrines (I dunno, sounds like the Talbot to me. - Ed.), it certainly gave us the privileged chance to see this unique artist at work close up. First off, Rory's instrumental skills are exemplary: his guitar playing emcompasses choppy rhythm patterns as well as a blues vocabulary, including some dextrous slide work, that would admirably serve any aspiring traveller on that particular highway ... his nifty footwork, on a miked-up footboard, provides a firm foundation that substitutes for a rhythm section, and his prowess on harmonicas is really outstanding - and it was his wailing, unamplified harp that kicked off proceedings at floor level, before hitting the stage for 'Baksheesh Dance' ... from here, Rory launched into an evening's music (a little under three hours) which showed his image-packed songs to be marked by wit, humanity, political awareness, and a high moral tone ... From 'Dreams for Forgiveness' to 'Shirley's her Name' (a touching paean to his Mum), by way of 'Huge Sky' (dedicated to exiles everywhere), 'When My Mum and Daddy Made Me', 'Emperor's New Clothes', 'The Miner's Picket Dance' (harmonica and spoons), the much-requested 'London Kisses', 'Too Old For the Orphanage', and 'Dancing on the Prison Wall' (the long-awaited trombone work-out), Rory's charismatic presence and sheer versatility delighted the fans who were familiar with his oeuvre as much as the uninitiated ... he's a consummate performer with a well-honed inter-song patter …..Rory did a fine job. He's one of the few acts around that give proper old-fashioned hippies a good name

ONLINE.

> Has anyone ever heard about a harp player called Rory McLeod? One of my > co-workers saw me perform last evening and recommended him to me. Just > looking for more info. My friend said he saw him play one harmonica > through another at a show last summer.... but this guy does not play > harp himself, so who knows what really happened. :-) I'd like to add to the chorus of approval for Rory. I first saw him busking in London underground (metro) stations about ten or twelve years ago (hmm, more like 15 thinking about it!), and have managed to keep up with his career fairly well. The most memorable Rory gigs have always been at Glastonbury Festival, a 4 day, camp-out, Woodstock style annual event with 5, 000+ acts on 30+ stages. He started out playing the tiny acoustic folk stages in the 2am slot, and graduated to the larger marquees at respectable times of day after a while. I'll not beat about the bush - I think Rory is one of the most talented harmonica entertainers there is. My memory of his first Glastonbury performance, to about 10 people at 2:45am on a stage about as big as a drum riser, is one of my most treasured memories ("so often remembered that the memories are worn", John Prine). His style is totally unique. He's an intensely rythmic player, especially when he plays by himself. Lots of whoops and hollers in that seamless Sonny Terry fashion, lots of Madcat style "hup-pah" turbo charged chugs, harp and vocals so interwoven you'd swear he is doing both at the same time, usually playing some purcussion device with at least one hand, and the whole time his HUGE size 3 million Doc Martens stomp out the beat. And a *mean* tone when he wants it. On that tiny plywood stage he had the whole structure bouncing and crashing around. At one point he had both feet going, a set of spoons in one hand, two tin camping plates in the other hand and his harp between his teeth, singing "Beethoven's Mother's Blues", one of his funniest off the wall songs. He's playing a ska version of Beethoven's 9th, gradually building it up and adding phrases in, as if he's composing it on the fly, pausing occasionally for the dialog, Other great Rory songs are "Love Like a Rock" and ‘Farewell Welfare.’ Best album is probably "Footsteps and Heartbeats", on which he plays all the instruments (and plays them well - including some awesome slide guitar work). Rory McCloud for Pope. If you see an album, buy it. If you get a chance to see him live, do yourself as favour! -- hugh

MOJO- The Music Magasine.

(September 2000 Issue) FOLK ALBUM OF THE MONTH! Rory McLeod Mouth To Mouth Ex-Circus clown and fire-eater McLeod showcases his eccentric and singular talent on a typically eclectic double. McLeod's Blitzkrieg of originality should have made him a national icon long ago. That he remains a mere cult hero in a specialist field has much to do with his own incessant lust for adventure, reflected in a blaze of contrasting musical and lyrical reference points which scarcely keep him in one place long enough to milk any glory. Part Talking Blues, part world music visionary, he switches from unexpected sentiment (Unlearning Song) to rampaging political observation in a voice that makes Billy Bragg sound like a public School boy, while skipping lightly through a musical history of the world. The First CD is an especially moving Song Cycle, including telling contributions by ex-Anam singer Aimee Leonard, an inspired re-working of Ewan Macoll's 'Joy Of Living' and one epic, mind-boggling socialist anthem 'What would Jesus Do? Inspirational. (Colin Irwin)

FOLK ROOTS OCTOBER 2000 (number 208)

MOUTH TO MOUTH A dazzling double album by one of our greatest mercurial talents. It's almost too much to take in - 28 tracks, a veritable hurricane of ideas flooding at you from all directions amid a startling torrent of words, sounds and style gleaned from here, there and everywhere. All of which ultimately adds up to a highly individual talent and a richly entertaining album with a massive range of colours, most of them primary. There's ranting politics, touching sentiment, humour, anger, love and hate and there's blues, rock, rap, jazz, folk musical styles from various corners of the world. One minute he's delivering a frenzied new take on Ewan Macoll's Sweet Thames Flow Softly swapping buses for boats on London kisses; the next he's taking on Macoll himself with a moving interpretation of the song Ewan wrote as his own epitaph, The Joy Of Living. Equally the kaleidoscope of music surrounding his passionate poetry is equally dizzying……yearning bottle neck guitar on You Were Everywhere, trombone on Cold War Of The Heart, full blooded harmonica at the intro to What Brings You Here Tonight, A beat primitively banged out on tap shoes throughout the album. Blues licks meeting African rhythms and turning both on their heads. McLeod has never stood still long enough to be discovered, literally or metaphorically. A gloriously instinctive performer in a category of one, Rory follows his heart and his heart rarely lets him down as you discover while attempting to hang on to his coat tails through the maze of energy and burning whimsy he leaves in his tracks. On Stranger-God he raps non-stop for nine minutes an involved, bizarre tale of a strange Java legend about strangers, in that matey, knockabout voice of his, while he plucks banjo and didgeridoo rumbles behind him and it doesn't seem strange at all. On When Mum And Daddy Made Me he also turns in a slightly cheesy elegy to the miracle of childbirth with a disarming frankness that encompasses the very act of conception without a trace of self- consciousness, and then sings the praises of woodwork over wailing harmonica on Sandpaper Blues. He's probably at his best, though, with his tail up, fury in his belly, targeting prejudice and narrowmindedness with his blistering invective. The hypocrisy of religious zealots from Paisley to the Ayatollah are hammered in God Loves Me (" He is our God but he can't stand you ") and better still is What Would Jesus Do, an epic which seems to encompass every protest song ever written under one blazing roof. Guests include Aimee Leonard, Conrad Ivitsky, Bob Morgan, B.J. Cole, Ian Lothian, Mary Macmaster and Phil Budden, but this is incontrovertibly McLeod's hour. And it's probably his finest.

MOUTH TO MOUTH Reviews by folks who bought the album.

After the first listen our favourite track is definitely 'When Mum And Daddy Made Me'. This has probably got something to do with the fact that we had a baby girl ourselves six weeks ago, and she is certainly a 'sweet bundle of joy'.

I love it...its hard to fill a double album full of great songs, but somehow Rory does it :) I don't take it out of the CD player, unless to put in the 2nd CD. I really like "The Unlearning Song", that would definately be my favorite. They sing well together! Other great songs are "Too old for the Orphanage" and "Cold War of the Heart". All in all a well put together album, I never get tired of listening too.

Love the honesty (like Leonard Cohen). I carry the words with me. Thanks

It's in my car CD on a semi-permanent basis as it lifts my spirits on the way to work in the morning. Unfortunately I can't quite hit the high notes like Rory and Aimee. We have many favorites; London kisses, A lover should teach a lover, What would Jesus do, No regrets and We were dancing are so so good. Love with a social conscience and good humour.

I went to see Rory recently, in Oxford, not long after having ended my relationship with the father of my son. I was at the gig with a man I had a secret crush on... The first song Rory played was about a couple who meet and fall in love, and both have children from previous relationships, and after that he played London Kisses. I was overwhelmed by the appropriateness of his songs to my situation - and when he played 'When Mummy and Daddy made me' I felt so optimistic about the future - what a great song. Well, the story has a happy ending, and I ordered two copies of 'mouth to mouth' from you, as the man I had a secret crush on turned out to feel the same about me. I suppose partly because of the emotional relevance to my life, I think Mouth to Mouth is one of the best albums I've heard in years, but there is something a bit special about the songs - a different kind of love to the saccarine trash on the radio, and some bitter sweet and tragic bits hidden between happy, easy going ideas. I love it.

'Whistling in the dark' is a particularly poignant submission, which is like an old friend who you haven't seen for many years, yet it seems as though the friend hasn't aged at all. The term full circle springs to mind.

I was suprised to see all of my favourites there. Particularly London Kisses, When Mum and Daddy and Patron saint. As for the rest...... well I'm not really worthy. A truly beautiful and funny and moving and, and, and......What can I say. Great stuff. And as for Amiee. You have yourself a wonderful asset. She is a real treasure and each time we come to see you, you're both just sounding better and better.

Music and lyrics like I've never heard before. A constant source of pleasure and understanding. Passionate yet angry. A great singer and musician - there's no comparison.

It arrived yesterday, and is wonderful. It plays like a long musical poem, with all those harp riffs and rhythms that is unmistakeable in its originality.

yes we do like it - especially the addition of pedal steel/dobro/bodhran.

Mouth to Mouth arrived today --- wow what a terrific sounding record Stranger God has got to be one of the abum's show pieces. big open warm sound. Aimee's vocals and bodhran sound excellent and fit in perfectly with Rorys' songs

What an incredible variety of song stories, emotional expressions of yourself, other people and the many situations - all richly rooted in your world travels.

So much hypocrisy and drivel has been sung over the decades about the great man Jesus, its so refreshingly different to hear your views behind your "What would Jesus Do" song. I think you should allow internet viewers hear this song free over Xmas, or better on his real birthday date -the 7th of March.

I love it. It is my morning music! It gets me going for the day. Singing. Dancing. Whistling, in a half-assed happy way! Thank you so much. And the pictures never fail to make me smile.

"What would Jesus do" reminds me about why we are here. My 'Heaven on Earth' and your's sound so much the same. "Whistling in the Dark" just made me want to hug you. We just keep travelling and who knows who's steering. I try to keep on course but sometimes the wind blows us to unexpected places. Even there we sometimes achieve unexpected things and chart new and suprising ways home. Every place we go can be moved a touch closer to our 'Heaven' just by us being us, there, talking, sharing and being. Especially amongst the young people who are still searching. Sometimes just one person and sometimes alot.

Music and lyrics like I've never heard before. A constant source of pleasure and understanding. Passionate yet angry. A great singer and musician - there's no comparison.

I guess my two favorites are a Lover should teach a Lover and Unlearning song - Aimee's voice mixed with Rorys sounds other worldly it's really very special - but like I said - very sad. God Loves Me - well I live in the thick of redneck Australia so that strikes a cord! What would Jesus do? - yeah I agree with you. What would Jesus do about what's happening to the Aborigines here I wonder - the death rate (suicide, hopelessness, premature every illness) exceeds the birth rate in our part of the world - so the government will have it's way and achieve 'assimilation' by annihilation. the Joy of Living is gorgeous London Kisses took me back to the Tower blocks we lived in….and that full time - makes me think of friend Maggie managing to decorate half of our flat at Hermes in about 10 minutes flat.

I deeply enjoyed the new album, my favourite track is What Jesus would do and Unlearning song is a true masterpiece. I was coming back from this weekend's Piper's Gathering at Horth Nero {please fell free to switch the first letters . . . I couldn't} and had my first real listen to your new disc.

Holy Shit . . . . It f#%kin rocks and rolls through me ! I love it ! ! ! I haven't even gotten through the whole thing yet for kicking it back to repeat a track and sing along again and again . . . I wonder if you'll mind me performing some of your songs ?

I'm learning " Too Old For The Orphanage " and I want to do "God Loves Me" but that'll take a bit more time !

Thank you so very much for this important album

LIVING TRADITION A wonderfully vibrant assured quality prevails throughout and there's little to complain about here. Seeing Rory live is invariably a life affirming experience and this recording captures that invigorating sense of clout fairy successfully. You should clear some space in the "M" Section of your CD shelving for this one. Clive Pownceby

BRAVE FACES. The Daily Telegraph Arts review August 13th 2005. Listening to Rory McLeod is like taking a long journey, not a simple motorway dash but a bumpy, winding haul in which the scenery changes often and is not always pretty. His music is harder to define. It ranges from the irresistible to the overbearing. McLeod’s version of Hank William’s Rambling Man, for example, is close to perfection, but while modern historians might pore over his epic account of the 1911 Burston School Strike, others will just be exhausted. For confirmed fans, the 19 tracks will reflect the generous spirit of a hard- working, one-man band who never short changes his audience. With iPod editing or old fashioned fast forwarding, the rest will cut it down to essentials and still find plenty to enjoy. by Colin Randall

"I permanently damaged my spine carrying heavy loads, but I found a wonderful doctor, when I couldn't afford the operation, he touched up the X-rays."

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