Artist:Holly Taymar
Album:Waking Up Is Hard To Do
Label:GenieCake
Tracks:11
Website:http://www.hollytaymar.com/

I first came across Holly Taymar in York one night doing one of the three showcase support spots for visiting Americans Rod Picott and Amanda Shires. I was knocked out by her songs then and I've continued to watch her progress with keen interest. I think this is because Holly sings the sort of songs I like. I've always been more interested in songs about everyday mundane subjects such as waking up in a morning, not being able to feel ones toes of a frosty morning or cutting down old bushes that have outstayed their welcome. The interesting thing about these songs though, is not the actual subject itself, but how Holly manages to transform such wistful thoughts into such beautiful songs.

A few of the songs here have been tried out and tested on audiences in the ensuing months since I first saw her that night in the Basement Bar, and to have them finally down on disc for posterity is a good thing indeed. Joining Holly on this collection of songs is regular guitar player Carl Hetherington who was also responsible for production, piano and 'random percussion etc.', with other contributions from Mark Mellack and Dave Hartley. On stage Holly and Carl remind me of 'Hokey Pokey' period Richard and Linda Thompson, with Carl hunched over his guitar whilst Holly delivers each song with no small measure of confidence and an abundance of self assurance.

"Toes" stands out as another one of Holly's gems, alongside "Home" from her previous album 'Before I Know', which incidentally has been generously handed out at gigs as a free supplement to the current CD, being the best bargain since Radiohead started flogging their albums for, oh you know, whatever. A beautiful song in its own right, "Toes" is given a tasteful arrangement with additional piano and glockenspiel, which adds to the gentle ambience of the song. There's no clutter on 'Waking Up Is Hard To Do' in terms of over-arrangement or over-instrumentation, it's all pleasantly balanced to bring these songs to life in the way they were intended.

With yet another nod to her home, Holly has packed her new collection of songs into a sleeve featuring a cover photograph showing a housing estate in York, with a contemplative Holly seated at the bottom of a bed, whilst her musical companion stands in the distance, resting his guitar upon his shoulder; both seemingly lost in thought. The songs on this album have the same sort of dreamy quality. An absolutely delightful album, which should be filed next to your James Taylors and Jonis.

Allan Wilkinson

Since 2005's Less Than Nothing, Holly's life has changed somewhat. Following the death of her close friend Steve Hartley and her leaving home, she has thrown herself into her music and produced ten tracks of a slightly more savvy nature.

"Where will I go?" she asks imploringly at the beginning of 'Home' before embarking on a journey through jazz, folk and all points blues. Her playing is relaxed, soothing and seductive, while her voice possesses an unassuming versatility that conjures up the heartbreak of Julianne Regan, the bounce of Katie Melua and easy-on-the-ear blues of Bailey-Rae. I'm not sure about her trying to rewrite 'Stairway To Heaven' on 'Went To War,' but this is a good sipping album, locally brewed, that showcases Holly's talents beautifully and blends the twin allures of nostalgia and innocence with just a hint of experience. Serve with a summer day, when it finally stops raining.

Rob Wright

I have trawled through numerous, turgid, raw and badly produced demos in my time but this is not one of them. This is a finely polished, stripped down, low-key gem, combining elements of Jazz and Folk with startling effects.

Holly has produced a charming, spectacularly refined and delicately feminine package that provides an unpretentious and positive insight into her world. The more hard-faced, too cool for school, testosterone fuelled journo could dismiss this outing as middleclass dinner party coffee table pap but if you disregard the obvious comparisons to her stigmatised mainstream Jazz contemporaries, then you actually get a whole lot more for your money.

From the eastern inflected “Indian Sky” to the wistful lullaby “Getting Ready for No One” you are treated to an absorbing, warm and beautiful vista, free from cynicism. After a night of belligerent, tinnitus inducing Indie-Rock, this is exactly what you need to put on your stereo, an understated aural delight to soothe and repair your Eustachian tubes.

Holly has laid solid foundations on the strength of this release but now needs confidence and determination to diversify and develop her sound to push her to the forefront of the music scene.

Jim Flanagan

Nearly all previous reviews of Holly Taymar both live and on disc peg her firmly in the Cullum/Melua/Jones jazz camp – aural honey to some, musical axis of evil to others – and while jazz is her stated preferred style, the label does her music a bit of a disservice. Indeed, the strongest moments on this 6 tracker are when she’s being the least jazz, and more folksy, accompanied by her guitar playing alone.

“Indian Sky” has a superb, atmospheric guitar figure, and “Getting Ready for No One” is a simple, tender song with an excellent lyrical twist. Another pleasing aspect of her music is her lyrical portrayal of quirky, simple, everyday vignettes, a very English approach that stays just the right side of saccharine. “Shoes” is, not surprisingly, a series of memories triggered by a scuffed old pair of shoes, and the short, almost a capella “Lady” a scene from a café….

There’s much to enjoy here, and encouragingly, nearly all of this is self-penned. This is limited to 100 copies, with sleeves hand-painted by the lass herself, so get it while you can.

Tim Procter

The next act is Holly Taymar who I last saw last year playing in session at the BBC studio's for Matt Seymour's More Raw show. Back then I was blown away by the voice that came from such a young lady. Tonight she excels herself again leaving me both stunned and moved, along with the rest of the audience. She begins her set with 'Dream a little dream' by Mama Cass. Her voice glides beautifully and effortlessly, sending a shiver of goose bumps throughout all who stare on in awe. Her next track is Britney Spears 'Toxic' more recently covered on the Mark Ronson album 'Version'. The cover is superb, her vocal seductive and flawless throughout. She ends her set with two Carole King numbers 'Will you still love me tomorrow?' and 'I feel the earth move'. It's hard to believe that somebody so young can perform the tracks with the such maturity but again as she dreamily strums away, sat on her stool the melodies pour out of her so naturally. A carefully chosen set which compliments her magnificent voice.

I've been impressed by Holly Taymar's strong voice and natural stage charm before, but tonight her music matches. She shifts breezily between straight ahead folk and jaunty jazz, she takes domestic vignettes like having sod all to do or a favourite pair of old shoes and makes them thoroughly engaging. 'Indian Sky's' Eastern-tinged picking is stunning (and she's injured a finger too!)

Bravely, she stands up and does an a cappella number. She goes down a storm.

The Last Drop Inn seems to be York's spiritual home for chilled out blues and soul as well as York's top acoustic talent, and so its no surprise to see one of the region's most prodigious talents, Holly Taymar, playing on the pub's Tuesday night live music slot. Although her music is perfectly suited to the venue, that doesn't mean tonight is going to be easy for her. Her keyboardist George seems intent on spoiling the mood with one of the most ghastly Hawaian shirts I've
ever had the misfortune to lay my eyes on, and only three songs in she gets herself hit in the face by her own microphone, courtesy of a clumsy gentleman attempting to get past her to the upstairs toilet.

Holly's response to this is as cool as her music, simply giggling and saying "wow, that’s the closest I’ve ever come to a bar-brawl", before carrying on where she left off. Its enough to make everyone in the entire pub think twice before going to the toilet, and taking extreme caution once nature's call gets a little too loud. As for the music, its still fantastic, taking in a range of styles from Jazz to Blues to Hip-Hop, with Holly at times sounding Shirley Bassey-esque in style and showmanship. There’s also a more obvious comparison to be made with Joss Stone during the more hip-hop numbers.
There's experimental stuff in the set too. A song written the day before, with no instruments other than Holly's microphone-tapping percussion, gets an airing, as do a few songs still called 'Untitled' which are said to be on the next album - also going under the name 'Untitled' at the moment.

The gig offers exactly what you'd expect from a Holly Taymar. The music and musicianship are professional and there’s enough audience interaction to make the audience feel part of the event. There’s also extra marks to be had too for using a tub of rock salt as percussion and for playing a song called 'Trolley Taymar'.

liam o’brien

Holly's set was taken from her debut album 'Less Than Nothing', of which I particularly enjoyed the title track. There was a good mix of up beat and more chilled out songs, and there was clear evidence of varied influences, including blues and swing. The thing that most impressed me, however, was the sheer strength of her voice, particularly for someone so young. She could easily hold her ground against the young stars that she takes her influences from. Not only that, but she is a great performer - completely unafraid to dance, have minor costume changes and get the audience involved with a drum roll. Her energy is infectious, and it is great to see someone who is enjoying themselves so much.

Her debut album is available now, and I strongly recommend it for a great mix of smooth ballads and faster numbers, all sung with real emotion and beautiful vocals.

Jenni Westmoreland

Holly is a young York lass with a very confident and strong voice. Geniecake, her label and songwriting team, produce credible original material in the light jazz vein to suit her voice and King George Hall provides a perfect platform through excellent piano accompaniment for that skill to come through. This is her strength.
It was a fine crack at the whip and particularly the second set openers which featured Holly singing solo with acoustic guitar showed an effective contrast Lennon's 'So This Is Christmas' brought a hush to the venue and was delicate, understated and note worthy. I think she is someone to keep an eye on.

Dean Saint John