 1994 "SOMEONE TO DANCE WITH" - ALBUM REVIEW ::::::::::::::::::::::::::::::::::::: I was never a member of the Scullion claque. In the late Seventies and early Eighties many saw them as typifying a generation of Irish songwriters whose art had been unappreciated both at home and abroad. I dissented from that verdict; Scullion had their moments but I also figured they had too many competing ideas and voices and too little genuine coherence.
Then, last summer, I caught Sonny Condell playing the Béal Bocht with Máire Breatnach. There was an unassuming gentleness to his music that seemed once to have been swamped in Scullion. And if I'd once suspected that his songs were often marked by hippie whimsy, now I heard a depth and maturity I hadn't bothered to notice before. His many advocates' case started to make sense.
Someone To Dance With will also further his cause. At best, it has a unforced serenity that Scullion often forfeited in their busy haste to impress. Any strange changes are meshed into the music instead of jostling for affect and attention.
One reason must be Condell's musical partner and co-producer, Máire Breatnach, who refuses the temptation to be a show-stealing violin virtuoso and who only intervenes when it really counts. Check the impressive trance chant of 'Downrunning' bolstered by Máire Brennan's harmonies; Breatnach is patient and only takes fire after Condell and Brennan have established the mood.
Even when Condell is flirting with the mainstream's idea of a well-made song, there's a twist. 'Pleasure' starts off in Bob Marley terrain but then refuses to take the mock-reggae option; 'Old Poet' may be a train tune with a shuffle-beat but Condell switches it down different tracks with a dab of Beatles' White Album harmonies. 'Someone To Dance With' dabs, but it doesn't smother, the songs in make-up.
Inevitably, it's an album of memories but the past is valued and pondered upon instead of being trivialised in some instant confessional. Exactly because these songs mean something to Sonny Condell himself, the listener too can be gradually persuaded by his quiet but firm sincerity.
It's not quite perfect. Towards the end, there's moments of haziness when the album needs a jolt of renewing energy, though 'Dream Sequence' and 'Pink Promenade' keep the album cantering through the final furlong. Fans will feel their loyalty confirmed by Someone To Dance With but it's neutrals who should pay the most attention. They may find it Sonny Condell's most inviting calling-card.
Bill Graham - HOTPRESS MAGAZINE
Rating: 9 / 12
1999 - "FRENCH WINDOWS" - ALBUM REVIEW ::::::::::::::::::::::::::::::::::::::::::::::
SEPIA-TONED and timeless, Sonny Condell's velvet-tinged voice and mystically-inspired songwriting have long been such an integral part of the Irish musical landscape that he's lately been overlooked in favour of some of his more commercially-inclined peers such as Kieran Goss and Brian Kennedy.
This is a shame really, as his live shows, both solo and with sometime partners Scullion, are always compelling affairs. But on record his brilliance shines through even more forcefully as French Windows once again demonstrates.
Recorded with a band that includes Neil McColl, Roy Dodds and Graham Henderson (who also produced), it's slightly more contemporary sounding than his last couple of outings with more electric guitars and expansive arrangements.
His songs, in the main moving vignettes replete with emotional tension, are instantly recognisable - the opener, 'Wishful Thinking' is quintessential Condell, with driving acoustic guitar, clipped vocals and a gently soaring chorus. Even better is 'They Don't' Say' a lushly-textured countryish ballad with a gorgeous melody, while 'A Dust of Frost' is another evocative song with opaque lyrics.
The title track, coming at the end of the album is most complex rhythmically and melodically, blending a Bo Diddley riff with a shimmering keyboard backdrop.
If Condell has a fault it's a tendency towards sameness in the tempo of the songs and a lack of a discernible hook in some otherwise solid numbers. But that said, this will doubtless further enhance his reputation as one of our most valued talents.
Colm O'Hare - HOTPRESS MAGAZINE Rating: 9 / 12
2001 - "BACKWATER AWHILE" - ALBUM REVIEW ::::::::::::::::::::::::::::::::::::::::::
Sonny Condell released his fourth solo recording entitled "Backwater Awhile" in November. The CD is released on Backwater Records and is distributed by Ritz Music Group.
Sonny formed Tir na nOg in the seventies with Leo O'Kelly and was a founder member of Scullion in the eighties. Both bands still return to tour from time to time.
The majority of the songs played by these groups were original and Sonny contributed greatly to their creation offering his unique blend of soft spoken accustic/rock/jazz/poetry.
Born in Wicklow, Sonny now lives in Dublin, but the shade and taste of the countryside pervades his work. He has continued to be a prolific writer of songs.
His album "Backwater Awhile" is a combination of old and new material. A friend inspired Sonny to produce this himself. He is accompanied by Garvan Gallagher on bass who assisted him greatly during the recording and Eddie McGinn plays drums and percussion. This trio have played many gigs throughout the country for the last three years. Special guest Leo O'Kelly plays fiddle and guitar on "Kings", "Big Tree" and "Still". Both of Sonny's daughters participated in the recording. Georgina singing the main vocal on "Easy Praise" and Amy joining her on the backing vocals for "Kings".
IMRO REVIEW
2007 -----Navigation Reviewed By John O' Regan of Irish Music Magazine:::::::::::::::::::::::::::::::::: 'Navigation' marks the latest page in the lifelong journey of Sonny Condell.
Having done the rounds as a solo artist and participator with Leo O'Kelly in
Tir Na Nog andScullion -the call of the band has hit him again and Radar is Sonny's latest
ensemble. The band has talent in spades in Paul Barratt, Garvan Gallagher both
highly experienced studio musicians, Eddie McGinn's youthful exuberance trimmed to
simmering point coloured by Mick deHoog's evocative violin and mandolin and Sonny's
vocal and compositional skills haven't deserted him either. 'Subway' with Mick
DeHoog's strings and Paul Barrett's keyboards lighting the atmosphere and the pop
sensibilities of 'Buy a Ticket' slip deceptively into ambient mode, Sonny's languid
vocals coloured by a subtle yet tightly woven inhabiting a typically Condellian
landscape. His voice soars in this setting, taut and powerful equally at home on the
gentle loping strains of 'Whirling Water', the up tempo 'Long Distance Call' and
'Say You' where guest musician Greg Boland adds a Scullionesque lead guitar. The
backings are taut and lean yet colourful and yet sparsely intimate. One of Ireland's most talented wordsmiths, Sonny Condell has delivered the goods once more and Radar
proves to be a solidly supportive company. 'Navigation' wont hit the brain cells
straight off. It demands time and exposure for its fruits take hold but the harvest
when gathered and reflected upon reveals a wealth of unexpected charms.
© John O'Regan November 2005
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