Album Review: Jimmy Lee Morris – Truth is the Talisman

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

Album Review of Jimmy Lee Morris: Truth is the Talisman

You know how we feel about Jimmy Lee Morris here at the Blog. He’s a singer-songwriter with an identifiable sound, a voice that can range from smooth and soft to that of an edgy rocker, and an ability to write in a variety of styles and voices, melding influences ranging from the obvious folk to multiple subgenres of rock ‘n roll and at times a touch of the blues.

His Truth is the Talisman release is a collection of 20 songs, spanning 40 years of songwriting, recorded by Jimmy during the 2020 COVID-19 lockdown. Album-opener “Moon Over Cairo” had its roots in 1980, while the title track is all 2020. The album itself was released in January 2021, so I’m a bit behind on sharing it with you, but please take a listen and enjoy. It’s an interesting trip, spanning a variety of times and influences, covering the many faces/voices of Jimmy Lee Morris.

Though I’ll skip around a bit and share thoughts on several of my favorite songs, there are no weak links on this album; you can depend on the quality of every track, with each of them potentially being one of your favorites.

Jimmy Lee Morris – Truth is the Talisman

image courtesy of Jimmy Lee Morris

Of course, the very first song, the aforementioned “Moon Over Cairo,” is one that’s particularly worth mentioning. It’s got an eerie, “Wicked Game”-ish opening, a compelling rhythm, and a delivery that pulls the listener in, as if revealing an important secret. With prominent pianowork augmenting – and occasional guitar noodling supporting – the relentless rhythm, this is a slower-tempoed rock song, recalling for me something you might hear from Peter Gabriel or Sting.

The title track, next, is more dead-center the sort of sonically-rich storyteller I’ve grown to expect from Jimmy. “Truth is the Talisman” is well-crafted, lyrically insightful, and thoughtfully delivered with a warm earnestness. As always, Jimmy sets a high bar for himself.

“Get Away” follows, a bit of a “travellin’ song,” lightly voiced, with a little faster tempo than the song before it but still motoring along at just a modest tempo, tossing in some neat little playful hooks and just a hint of psychedelic feedback.

Both musically and lyrically, “You’ll See It in Her Eyes” sounds like it could have been the lead song on the soundtrack of a ’70s movie about starcrossed lovers. The pianowork, guitar accents, and Jimmy’s voice all stoke the melancholy.

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

“Atlantic Highway” has a light, Wilderness Wood-like classic Jimmy Lee Morris vibe, as best embodied on that disc by its title track and “Campervan Song.” “Atlantic Highway” is a cheerful number that’ll lift your spirits with lyrics like “Mr. Harrison said if you don’t know where you’re going, any road you chose to take will take you there. So let yourself go where the wind is blowing, and you will always find yourself somewhere.” In all, the song is laid back, with the purpose of having the listener grin along.

The rest of the disc falls within the parameters of the songs above, all centering around Jimmy’s trademark, central sound while continually exploring his various influences.

“Hold Me Close,” for example, is a sweet, soft, almost lullaby-tempo love song.

I’m also particularly fond of the broad, bright openness of “Giving It All Away,” a song that occasionally brings to mind a dash of John Mellencamp, both early on and in some of the in-song transitions, though the places it travels elsewhere in-between are more uniquely Jimmy Lee Morris.

“I’ve Been Sinking Down” is a versatile number that’s delivered with a bit of an off-balance vibe throughout and that, with some restructuring, I’d think could be performed in a variety of styles, befitting band formats ranging from a jug band to a blues outfit to anything in-between. In the case of Jimmy’s “original” version, it’s a toe-tappin’ strummer atop a low-level but solidly rich music bed. In its present form, it serves as a solid lead-in to “Someone Like You,” a mid-tempo guitar-rocker that leans on just a little distortion and a ’50s/’60s rock-inspired arrangement to augment its energy level.

Another favorite, “Tomorrow Is Too Late,” which follows “Someone Like You,” is similarly styled and keeps its predecessor’s energy going.

Also noteworthy is “Love Will Come Your Way,” a rich, warm, mid-tempo number whose smooth delivery makes it feel like you’re lying contentedly on a sunny patch of grass, despite the actual weather outside on any particular day.

The album’s penultimate track, “I Never Thought,” is a slower number, primarily with a rich, orchestral feel but with a few bluesy chords scattered throughout to provide its uniquely original character. Think slow-dance song at a big country-leaning dancehall.

Jimmy closes the disc with the raucous, rock ‘n roll “Hey Hey.” As if directly from a Happy Days sock hop or the Back to the Future “Enchantment Under the Sea” dance, if you didn’t know this was a Jimmy Lee Morris original, you could be convinced it’s a timeless rock ‘n roll classic. It’s a satisfying way to end the album.

And that’s it. I almost feel bad about skipping over some of the other songs on the disc, as they’ve become like old friends of mine during the last few months of listening, but they’re all along the lines of the songs I’ve written about above, with just enough variety to maintain interest, causing Truth is the Talisman to pass much quicker than you’d expect from a 20-song opus. It’s a solid disc, worthy of many. many listens, something that never surprises me from a Jimmy Lee Morris collection.

More From Jimmy Lee Morris

Jimmy has been busy since releasing Truth is the Talisman in January. In May, he released a four-song single featuring three additional tracks alongside “In the Diamond Rain”; and in August, he made available a nine-song LP entitled Homespun, which he notes on his Facebook page was recorded in 2007/08 with his late musical collaborator Andy Coote playing drums. As if that hasn’t kept him busy enough, he has branched out into some children’s book writing, as well.

Looking Ahead

There haven’t been any recent performances mentioned, but if and when Jimmy Lee Morris plays live, you can find those dates on the “Events” tab of his Facebook page.

Album Review: Jimmy Lee Morris – Jumping Falling Flying

Backstory

As I’ve mentioned in previous recent reviews, I’m currently working through a years-old backlog of album reviews, as I’m again finding time to write semi-regularly. This spot in my review queue had been reserved for Jimmy Lee Morris‘ 2018 release Last of the Tall Ships, which I quite enjoyed getting to know. (Personal favorites from that release were “Buying Time” and “Something About You.”) But Jimmy continues recording, so instead I’ll be taking a look at the January 2020 release, Jumping Flying Falling. Technically, it’s not the newest Jimmy Lee Morris album. That distinction would fall to his July 6th release, Distant World, on which Jimmy re-imagines songs from his early-’00s band The Collaborators. Or perhaps Jimmy Lee Morris, a sort of greatest hits collection released on July 20th. But Jumping Falling Flying remains his most recent release of new songs, so here’s a review of this latest release of new originals from a talented singer-songwriter.

Album Review of Jimmy Lee Morris: Jumping Falling Flying

Jimmy Lee Morris - Jumping Falling Flying

image courtesy of Jimmy Lee Morris

The Jimmy Lee Morris albums I’ve heard since I first reviewed his music a mere four years ago have been hooky, mellow, and pop-folky. This disc infuses a bit more rock ‘n roll than the others. It’s all very much in-style for Jimmy, not a surprising departure; in fact, there was a bit of this on Last of the Tall Ships. Jumping Falling Flying is more just a nudge toward the rockin’ end of the Jimmy Lee Morris musical canvas, and it’s always fun when a favorite artist explores his various influences. Though it was released in January, Jumping Falling Flying is an ideal collection of laid-back yet energetic, song-driven, light summer rock music. And again I mention the hooks. As soft-touch as Jimmy Lee’s music is, his discs are chock-full of hooky earworms.

Album-opener, title track “Jumping Falling Flying,” gets things started in the right, energetic direction. Old-style rock organ in support of a steady rock rhythm and occasional sunny guitar lick that amply serves as a hook, supporting a light, airy melody and vocal. Indeed, the first of many new favorites on this recording.

“All These Things” again leans on the rock guitar as a bit of a distorted light-rock backdrop framing Jimmy Lee’s emotional, memorable, insightful vocals and lyrics.

Next up, it’s sock hop time. “Rock and Roll Party” is a throwback. The sort of catchy golden oldies-style rock song made modern, as you might expect from Huey Lewis. With an opening riff straight from the Happy Days jukebox or the Hill Valley High School “Enchantment Under the Sea” dance, you’ll be twisting, watusi-ing, and getting down while listening to classic axework on this fun third track. Tune in Saturday, via time machine, to hear Dick Clark introduce this one on American Bandstand.

Time to catch your breath? Nope. “Big Shot” is a country-rock saloon number with some surf-rock guitar. Jimmy Lee Morris’ songs are versatile, maintaining a signature vibe across a wide variety of arrangements. Four songs in, and it’s becoming apparent there’s no point in trying to predict what’s next on this fun ride. Sure, the turns are smooth and comfortable, sometimes subtle, but the highway isn’t straight.

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

“White Witch and the Highwayman” and its harmonica introduce a lively, mid-tempo Americana flavor to the record. This recalls several previous Jimmy Lee Morris songs, painting pictures and telling tales with its lyrics, an exceptionally emotive spoken-word vocal delivery steering the ship. I’m wondering if “Wilderness Wood,” a title song from an old album, might hold up well under a similar musical arrangement. I’m betting it would. But this is “White Witch and the Highwayman,” a fun frolic at song number five.

Starting the back side of the album, “Love and Lies” hints at a light Grateful Dead vibe while pleasantly, wistfully reminiscing.

“À La Tienne” and “Look up to the Sky” mark a return a Jimmy Lee Morris style more akin to that we’ve reviewed frequently here at the Blog. Mellow, emotional light folk strummers with pop influence. Pleasant, comfortable, and enjoyable.

“Not Going Back” has a little of Tom Petty and the Heartbreakers’ jangly rock vibe to it. A mischievous glint runs through the delivery and musical arrangement. The song moves; it’s what I refer to as a traveling song. Maybe something George Thorogood would play if in a really laid-back mood, or maybe a semi-mellow Jeff Healey track from the Road House soundtrack. But nah, it’s still quintessential Jimmy Lee Morris. Yet another style of arrangement but still part of a cohesive collection.

And, finally, “It Always Rains Around Here.” A bit of a Randy Newman vibe to this toe-tapper. A pleasant song that’ll put a smile on your face, and a terrific way to close the album satisfyingly.

I must say, as a complete package, Jumping Falling Flying is a particularly interesting Jimmy Lee Morris disc. It holds together well, and the album is a journey, traveling through a variety of rock, folk, and even country influences. If you’ve dug his past work, this collection is a must-have. And if you’ve yet to sample some Jimmy Lee Morris music, this album would be a mighty fine place to start.

Looking Ahead

Well, first of all, Jimmy Lee Morris has been active. Jumping Falling Flying was only released in January, and it’s already four-deep on Jimmy Lee’s Bandcamp page, after the aforementioned greatest hits album, the reimagination of his work with The Collaborators, and and actual old album from The Collaborators. It has been a busy release schedule for Jimmy Lee Morris this year, but yes, Jumping Flying Falling remains his most recent album of new originals.

Obviously, gigs are in short supply now, but when they’re happening again, you can find Jimmy Lee’s performances at his Facebook page.

Single Review: Jimmy Lee Morris – “What It Is”

by Eric Harabadian, Contributing Blogger

Single Review of Jimmy Lee Morris: “What It Is” (Producer: Adam Hanington)

Jimmy Lee Morris - What It Is

image courtesy of Jimmy Lee Morris

The latest release from British singer-songwriter extraordinaire Jimmy Lee Morris comes in the form of a tight, nifty single entitled “What It Is.” Morris has previously released fine independent acoustic-based folk and pop that has always put the emphasis on wordsmithing and strong melody. This latest single adds an infectious beat to his resume that recalls everything from the Beatles and the Kinks to Nick Lowe and Elvis Costello. The song is a pure collaboration of Morris’ ever present acoustic guitar as an anchor, with the addition of Hanington’s production gloss of synthesized keyboards and bouncy rhythms. The result is a tune that is extremely catchy and fun, with a nod to the ‘60s as filtered through a mid-‘80s lens. If you don’t start tapping your feet and gyrating in some form or fashion upon the song’s first downbeat, then you better check your pulse!

Looking Ahead

The “live” page of Jimmy Lee Morris’ website shows several dates coming up in 2019, including three in March: Friday, 1st March at Napoleon Inn, Boscastle, Cornwall (9:00 pm); Saturday, 23rd March at Crowhurst Park, Battle, East Sussex (8.30 pm); and Saturday, 30th March at The Jolly Sailor Inn, West Looe, Cornwall (8:00 pm). For dates April and beyond – and to check for additional gigs to be added – be sure to check the website.

Album Review: Jimmy Lee Morris – Gallery

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

Backstory

We’ve reviewed several of Jimmy Lee Morris‘ recordings in the past here at the Blog. After I initially reviewed Wilderness Wood last spring, Jimmy contacted the Blog about writing some reviews for us, and as he’s such a talented wordsmith, he has been a terrific reviewer for us, too. Of course, since then he has continued to release music, rather prolifically, and he remains one of our favorite folk musicians. I reviewed his two-sided single last summer, and contributor Eric Harabadian reviewed his recent Campervan EP, which was a February release. Jimmy’s newest full-length album, Gallery, reviewed here, dropped on June 2nd.

Album Review of Jimmy Lee Morris: Gallery

Jimmy Lee Morris - Gallery

image courtesy of Jimmy Lee Morris

Relatively light and cheery from beginning-to-end. That was my immediate reaction to Gallery. And how could it not be, as most of the songs feature the mandolin, a cheerful instrument if ever there was one. Gallery as a whole recalls for me Jimmy’s Wilderness Wood album in its upbeat, hopeful reminiscence and nostalgia. As usual, though the songs mostly reside within a tight range of singer-songwriter-folk, he explores all manners of style, energy, and influences, resulting in an album that engages and surprises (in small ways) around each corner of this 8-song collection.

Javier Forero

Javier Forero; photo courtesy of Jimmy Lee Morris

Jimmy again surrounds himself with exceptional talent. On this CD, Javier Forero provides percussion, cajon and drums and Tim Kent plays octave guitar. Gallery was recorded, mixed, and mastered by Simon Scardanelli, who also supplied glockenspiel on two tracks.

“Mandolin Dreams” kicks things off in enthusiastically folky fashion, a high-tempo romp about a “vintage eight-string mandolin.” Then “5 O Clock in the Morning” quickly brings the tempo down, with Jimmy’s emotional, precise vocals straddling the border between melancholy and reminiscent. It’s followed by “Take Me Home,” which, musically true to its lyrics, is a mid-tempo drinking song with a sea shanty flavor. See what I mean? Small surprises.

Tim Kent and Jimmy Lee Morris

JLM with Tim Kent; photo courtesy of Jimmy Lee Morris

One of the songs that grew on me slowly to became a now-favorite, the title track “Gallery” is particularly slow-tempoed; Jimmy’s soft, sentimental, thoughtful croon carries the tune throughout.

“Stargazing” immediately lightens things up, though, with its playful melody and lyrics, like a romp through a meadow on a sunny day, when everything’s in bloom. “You and Me (Clinging to a Song)” maintains that energy, the two songs providing a back-to-back sunshine infusion, the latter with a bit of seventies radio-friendly folk-pop sprinkled into the mix.

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

Penultimate number “Looking Back” sports a rich guitar sound as it builds from super-mellow to merely mellow, a hopeful song in which Jimmy deploys a particular warmth in his vocals, emoting in such a way that the words sound particularly profound, whether or not they actually are.

The disc ends much too soon with the song that quickly became my personal favorite and remains my very favorite on the disc, “End of the Road (’69 Campervan)” an energetic ode, presumably, to Jimmy’s much-sung-about campervan. The song becomes a bit ’60s pop-rock during the chorus, melding well with the old-school radio-friendly folk verses and bridges. In all, a well-crafted song to end a superb eight-song disc.

As always, Jimmy Lee Morris writes well-designed songs, surrounds himself with talented musicians and a top-notch producer, and performs his songs earnestly with an overarching sense of folk-rock fun. As a result, Gallery is yet another Jimmy Lee Morris album worth checking out.

EP Review: Jimmy Lee Morris – Campervan

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

by Eric Harabadian, Contributing Blogger

EP Review of Jimmy Lee Morris: Campervan (Automix Records)

Jimmy Lee Morris - Campervan

image courtesy of Jimmy Lee Morris

UK-based singer-songwriter Jimmy Lee Morris is a talented artist with no pretense. He writes songs that define the term “folk.” In other words, they are down to earth, and about people and relationships, with resonant melodies and memorable hooks. This four song EP Campervan is Morris’ latest and follows the 2016 album Wilderness Wood.

Jimmy Lee Morris has been crafting songs since the ‘80s, fronting bands such as Mojo Filter and The Collaborators. He’s worked with Pink Floyd producer Ron Geesin and has toured extensively throughout the UK and Denmark.

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

With this current effort, Morris provides a lean and economical window into his creativity. “Campervan Song” opens the EP in a pleasant and forthright manner. This bears a well-thought-out melody with lyrics that address escape and the open road. It’s all about being self-reliant and throwing caution to the wind. Simply, the song states: “And here’s to the camper that never breaks down, and here’s to the journey it takes us upon, and wave to the others as we go along, it’s just you and me on the road.” And you get this traveling troubadour kind of feel too via Javier Forero’s driving percussion and Clare Lees’ light and billowy flute.

Bethan Lees

Bethan Lees; photo courtesy of Jimmy Lee Morris

Although Morris wrote all the material here no one could accuse him of being dictatorial or autocratic. Bethan Lees is a young and very special vocal chanteuse, and Morris is more than happy to place her in the spotlight on his beautiful tune “Amor Compartido (A Love We Share).” Bethan has an angelic and lilting soprano that sends this lovely song into stratospheric trajectory. It’s entirely sung in Spanish, and the rhythm section of Morris on acoustic guitar, along with Richard Leney’s lithe bass, Javier Forero’s percolating drums and producer Simon Scardanelli’s tasty lead guitar give this a brilliant salsa feel.

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

“When I’m Gone” is a bluesy-flavored number with a classic Beatles-meets-Jim Croce kind of vibe. It’s a song about love and longing. Anyone that has ever been separated from their significant other or main squeeze for any length of time will certainly appreciate this. Phillipe Guyard chimes in with a wailing sax solo that really kicks.

The final selection in this brief, but fine, collection is another rootsy kind of tune called “Temptation.” As is Morris’ style, he is direct and to the point in the communication department. In this he sings: “I’m holding you, you’re holding me, I’m loving you and you’re loving me. We don’t need no complication, just give in to your temptation, stay with me.” This has a real down home feel courtesy of Morris’ mandolin and Duncan Campbell’s countrified Dobro.

 

Two-Song Single Review: Jimmy Lee Morris – “When I’m Gone”/”Temptation”

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

Jimmy Lee Morris – “When I’m Gone”/“Temptation”

The Backstory

I reviewed Jimmy Lee Morris‘ full-length album Wilderness Wood here on the blog this spring.  This is his newest recording, a two-sided single that’s available as a single-file digital download. Its official release date was yesterday, September 16th. Like Wilderness Wood, this double-single was produced by Simon Scardanelli.

Review of Jimmy Lee Morris: “When I’m Gone”/“Temptation”

Jimmy Lee Morris - When I'm Gone/Temptation

image courtesy of Jimmy Lee Morris

Is folkabilly a word? Jimmy Lee Morris’ “When I’m Gone” puts a bit of a ‘50s rock spin on pop-folk with a bit of a hillbilly edge. And some nice jazz/blues horns. With a happy, upbeat energy that’ll have you swaying to the rhythm by the middle of the song.

It’s followed by “Temptation,” whose lower register gives it a dark edge when you hear it directly following “When I’m Gone,” though it rattles and shakes pleasantly enough. The twang in “Temptation,” though, is decidedly more bluesy.

These two songs are, indeed, a well-matched pair, ideal for a two-sided single release.

Album Review: Jimmy Lee Morris – Wilderness Wood

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

Jimmy Lee Morris – Wilderness Wood

Backstory

There’s a little backstory, as this album was produced by Simon Scardanelli, whose music I’ve reviewed as long ago as the mid-1990s and whose latest release I reviewed here.

Jimmy Lee Morris has a significant musical backstory of his own. He started writing and recording in the 1980s. I won’t run through his entire background, but he has done solo work, and bands in his past include A La Tienne, Mojo Filter, and the Collaborators. The album Wilderness Wood was released on April 1st, 2016 on Automix Records and published by Musica Scardanelli.

Album Review of Jimmy Lee Morris: Wilderness Wood

If I had to describe Jimmy Lee Morris’ Wilderness Wood in just a single phrase using way-too-many hyphenated adjectives, I’d describe it as a full-sounding, folk-influenced, singer-songwriter-styled, song-driven recording. But it’s more than that, and you can identify specific other genres influencing some individual tracks on the LP. Beyond folk, you’ll hear some Americana, a hint of blues, and a little jazzy flair.

Jimmy Lee Morris - Wilderness Wood

image courtesy of Jimmy Lee Morris

Disc-opener “Give Me All Your Love” has a folk base, but the full orchestration is rather soft-poppy, and the guitar picking suggests Americana/Western. I’d call it eclectic, but that might suggest inaccessibility; in the end, it’s a singer/songwriter type of tune that significantly carries the aforementioned influences. And therein lies the difficulty in describing Jimmy Lee Morris’ music – while much of it defies categorization, it always sounds familiar.

Jimmy possesses a high, strong, rich voice. The songs on Wilderness Wood are well-written. And the production and instrumentation is full and lush, except where a light touch called for. But it’s interesting to run through the songs focusing on the edges, where the songs differ from each other rather than how they’re so cohesive and similar, so with that in mind…

Probably the best pure folk song is the traipsing-through-the-woods-ish song about a trip – technically, I suppose it’s a song about a driving trip, with its title a dead giveaway on that point – “Campervan Song.” This one will have you swaying left and right, perhaps flashing a peace sign, and most likely wanting to sing along once you learn enough of the words to make it worthwhile. Meanwhile, the catchiest pop-folk song of the collection may well be “Sunshine,” with its happy whistle and light, enthusiastic tone. It’s a musical tonic for shaking the blues.

Speaking of blues, the award for best blues edge on Wilderness Wood clearly belongs to “On the Outside.” Great bluesy guitar riff. And a classic recurring blues line in”Nice of you to tell me to my face…” Yeah, it’s blues-folk; heckuva job on this mild genre-bender.

Continuing in the genre-combo theme, do you like a dash of polka seasoning in your folk? The next song, “Home From Home,” achieves just such a convergence. Sure, it’s mostly folk, but it’s just another example of how this disc, while maintaining its folk center and featuring Jimmy’s emotive, identifiable vocals, explores additional influences to juice up individual tracks.

The external influences keep coming. Prefer a little jazz with your folk? There are a couple spots you’ll find it in Wilderness Wood, but “Don’t Fear the Night”‘s sax intro isn’t just a tease; yeah, you’ll find jazz in spades throughout. Daddy-o. If there were such a thing as hipster jazz-folk, this would be it.

Also worth mentioning are “Nothing to Fear,” with its ’70s soft rock/lounge flavor (and sleek, cool sax line); lullaby-esque ballad “Sleep in the Morning”; and “It’s You That I Love,” which has a similar lullaby flavor but tends a bit toward a slow dance song, something you might expect at a ’50s high school sock hop.

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

Finally, my favorite track (the one you’ll find on my personal smartphone playlist, in fact) is “This is the Life That You Chose,” which sports a twangy, Western folk-Americana feel. And, of course, in my mind at least, its title phrase can be a bit snarky.

Throughout the album, you can tell Jimmy Lee Morris knows his way around a song and is well-skilled with his instrument and his voice. And the album’s lush, full production is rich enough to fill a room. If your musical tastes include folk-Americana music that incorporates other influences, you’re likely to really dig Wilderness Wood. Despite the variety of influences – well, actually, because of them as a 13-song disc of pure folk would get somewhat redundant for anyone but the most hardcore folk aficionado – it’s a cohesive collection that takes its listener on a pleasant journey.

On the Road

Jimmy just kicked off a tour of radio appearances and live gigs. I’ll list them below, but you can also find them on Jimmy’s website.

You can hear Jimmy on the radio May 8th in Seaford on Seahaven FM; May 25th in Uckfield on Uckfield FM Folk Is Not A Rude Word; and May 30th in Brighton on Reverb Radio.

You can see Jimmy perform live on May 26th in Uckfield at Folk & Blues Club Ringles Cross; on May 27th in Hastings at Gecko Bar; on May 31st in Lewes at The Lamb; on June 1st in Lymington at Folk Club the Thomas Tripp; on June 4th in Lingfield at The Star; on June 11th in Mayfield at Rose & Crown; on June 18th in Eastbourne at the Pentacle Drummers Solstice Festival; and on June 19th in Battle at Crowhurst Park.

Be sure to check Jimmy’s website for any additions or updates.