Originally published by Fortitude Magazine. http://www.fortitudemagazine.co.uk.
Recorded at Wolverhampton university, Higher Paradise is the debut solo EP by Tammy King. The 21 year old has recently been seen plying her trade on the X Factor tour and supporting agit-pop-amazon P!nk, following a bout of sessioneering. The Warwickshire native has a number of songs on YouTube, showing her skill at singing covers.
More importantly, this era of her development shows her moving away from being a session/sideperson towards being an artist in her own right, something that has evidently been her focus since day one. A fairly bare-bones affair, with King accompanying herself for the most part, Higher Paradise contains 4 original compositions, two with a full band.
First things first-King has a stand-up voice. Lots of control and dexterity, and a fearlessness to go for the big intervals. Occasionally the guitar work falls short, as evidenced on the KT Tunstall-ish ‘You Can’t Take Me Alive’. The production is extremely uneven, as though it was simply recorded and not mixed. In truth, an artist who has plenty of studio and live experience shouldn’t have let this through, and the conveyed feeling is one of naivety and slapdashery.
‘Living In Disguise’ is a significantly improved showcase of Kings’ ability. Melodically more astute and aware, better balanced, and despite the low-rent lyricism, the verses are slow-burning and tense; less is definitely more in this case. As ‘Fossils’ stumbles into view, the slack-as-a-bag-of-ties playing starts to rear it’s head again. The backing track carries aBeverley-Knight-unplugged vibe, though the vocals sound like they were recorded in a different studio with other people.
Final track ‘Scent On Your Skin’ weighs in with slide guitar, tenderly muted country drums, and a well-judged vocal performance from King. Four songs of this calibre would have been great-King sounds much more comfortable and personable in this style than reaching awkwardly for second hand gospelisms.
There is absolutely no question that King has a serious voice, capable of a great deal, but is hamstrung in this instance by an unforgivably incompetent production and some disappointing musicianship. The whole recording has a hesitant air, which may stem from first-time jitters about her own material. There’s an abundance of natural skill and a proper set of lungs to build on here, but Tammy needs to decide who she is.
Watch for future changes, as there’s a warm, gentle voice underneath these songs.