Hailey Tuck – Alcohol/Junk

Until yesterday, Hailey Tuck was a name that had passed me by. Maybe I’d seen the label ‘soft jazz covers’ and thought that her music wouldn’t be for me. But how wrong I’ve been? 


She’s been around for a while, an American still in her 20’s who has spent the best part of a decade living in Paris and reconnecting with a time that was altogether more glamorous. Sporting a beautiful bobbed haircut and giving the impression that she means every syllable that she purposefully utters, it was the video to a track from her forthcoming (and debut) album, Junk, out in May that got me foaming at the mouth. 

I’m a fan of The Kinks and firmly believe that Ray Davies is a songwriting genius. It’s fair to say though that his tune, Alcohol, from the Muswell Hillbillies album might never be considered a classic of their catalogue. However, Hailey Tuck has scrubbed the song down, added extra clarity to the slightly muffled vocal of the original and come up with a tune tinged with beautiful sadness. When she sings ‘who thought I would fall a slave to demon alcohol?’, you believe her every word. 

I had to get a copy of the album and promptly requested a preview copy. 

‘Why don’t you shut the door and close the curtains?’, asks Jarvis Cocker in Pulp’s fine tune, Underwear. In their version, it’s the sound of a seedy Sheffield, bedsits off Bramall Lane. But Hailey transforms the song and its meaning into a slightly skewed but perfect love song. Her voice is truly to die for.


Underwear falls towards the end of this most astonishing of listening experiences. I’ve never really been one for cover versions or tribute acts but on Junk, Hailey (and her fine band of jazz players) take us through an eclectic mix never once dropping a beat. From soul to folk originals, she turns Solomon Burke into Peggy Lee and Broadway musical-tunes into heart-wrenching ballads that you want to hear again and again. 

‘I fought against the bottle but I had to do it drunk’, sings Hailey in the opening track of the record, her cover of the Leonard Cohen song, ‘That don’t make it Junk’. Battles against addiction do surface from time to time, perhaps nowhere more so than in her exquisite cover of Colin Blunstone’s ‘Say You Don’t Mind’. Hailey knows that the word ‘wining/whining’ has double-meaning when she pleads to be forgiven for her wrongdoing in this classic. 

Ultimately, this is an exercise in taking old tunes from a range of genres and finding something new, immediate and exciting within. Her art form (soft jazz covers) might be as old as the hills but Tuck breathes and invigorates new life into it.

We’re at the final track of the album – a cover of Paul McCartney’s Junk. ‘Something old and new, memories for me and you’, sings Hailey and you suspect that sums up her modus operandi. 

Make no mistake though – this record is far from junk. 


Scam Avenue – Sailor

Sometimes, it pays to check your junk mail. 

 Every now and then , I open the folder within my google mail account. Mostly, I’m greeted with odd looking offers telling me that my cheque is waiting to be cashed or that I’d be a fool to miss out on my final-ever opportunity to take advantage of a great deal – the text of which looks remarkably similar to a mail that surfaced within the junk mail folder just a week before. 

 Sometimes, a female with a voluptuous sounding name (often Russian) wants to become my bride; at other times (and perhaps in anticipation of me taking up succulent Svetlana’s offer), I’m offered help with some sort of penile dysfunction.

 You can perhaps understand why dipping into my junk mail folder is a thing to do fleetingly.

 But, yesterday I was glad that I did.

 Lurking in that box was an E-mail from a PR company that I’ve got a fair bit of time for. Quite quickly it became obvious why filters had worked in the way they had for this was promoting a video from a band called Scam Avenue. Entirely new to me, I had a watch and a listen. 

 There’s no getting away from the fact that the video verges on the creepy. A woman in a zombie-like trance being followed down a dark street by man in a similar trance-like state can be nothing but. I guess that’s the overall point though? For ‘Sailor’ seems to be about confronting fears head-on in order to achieve something on a different, higher level. 

 It’s the exquisite indie-pop charm of the music that really appeals within this though. The male and female vocal lines might take influence from some fine pop from the 1980’s and the relaxed electronica some of St Etienne’s  better moments but the overall sum becomes something quite new and exciting. 

 This track, Sailor, appears to be the first release from a forthcoming EP of the same name. I’m very glad that Scam Avenue found their way from my junk.