SE London singer-songwriter Chris Marksberry rocks out and channels those who’ve inspired him most on his second album – The Perry Vale Sessions.

Our writers John and Howard do a double take…

JOHN’S TAKE

STORY-DRIVEN AND BIOGRAPHICAL

The Perry Vale Sessions is the second album from SE London singer-songwriter Chris Marksberry and it follows hot on the heels of his 2025 debut offering, End of the American Dream. 

Chris takes his inspiration from the Laurel Canyon folk community and from counterculture icons such as Bob Dylan, Neil Young, Lowell George and Joni Mitchell.  But, if those influences pervade the Perry Vale Sessions like the cherries in a fruit cake, the cake is still, most definitely, of Chris’s own making. And, like those who have been an influence, Chris Marsberry reflects his own life experiences in his songs – his lyrics are story driven and biographical. 

The Perry Vale Sessions is an energetic, exhilarating album that incorporates and blends varying musical styles.  Rock & roll, folk rock, country, rockabilly, jazz and blues – they’re all here and Chris and his guests have the knack of serving them up, laced with an authenticity that is breath taking.  And a list of those guests makes impressive reading: Phil Madeira (piano and Hammond organ), Frank Walden (sax), Ramon Ylas (congas and percussion), Tony Morra (drums and percussion) have all proved their worth, supporting artists as diverse as Emmylou Harris, Amy Winehouse, Chicago and others.

A FAST, GRITTY STATEMENT OF INTENT

The ominous sound of a breaking thunderstorm gets opening track, A Bolt of Lightening, off the ground, and we’re up – and we’re running.  Chris plays guitar and organ on a dose of clean, punchy rock & roll.  David Holmes’ bass and Johnny Bucci’s drums provide a solid foundation – it’s fast, it’s gritty and it’s an unmistakable statement of intent.

Noon Day Gun Salute has a slower-pace but is equally powerful.  There’s a pulsing rhythm to the song and the music packs a real sense of openness and freedom, especially when Chris breaks into the bright “We’re a long, long way from home” chorus.  Influences are begging to be picked out – Lowell George is there in the big sound and Chris’s harmonica solo sounds like it’s sprung directly from Dylan’s lips.

Paul Riley’s soft-yet-solid bassline sets the pace for the twangy country rock of Restitution.  Chris’s vocal style is Dylan-goes-to-Nashville, with a dash of humour tossed in.  There’s a metallic tone to his guitar and the harmonica harks right back to the days of the Orange Blossom Special.

NAME-DROPPING AND SPIRIT-CHANNELING

Things take a bluesy turn for the lush Let’s Ride, an album highlight.  Jeremy Clark’s strings and organ add a rich, velvety coating and Chris punctuates the gaps with bursts of bluesy guitar.  It’s exactly the type of song that David Crosby would come with – it’s cut from the same cloth as Almost Cut My Hair or Wooden Ships – and, in Chris’s hands, it’s a mini-epic.

It would be easy to convince an uninitiated listener that Let’s Ride is an undiscovered track from a 1970 album, and the same could be said for Hippy World.  Neil Young, Joni Mitchell, Jimi Hendrix, John Lennon, Mick Jagger and others are all name-dropped in a delightful burst of conga-driven soft rock.  And the payoff line: “I wanna live in a hippy world” – will bring happiness to old hippies everywhere.  I speak with experience and feeling.

Chris Marksberry is, very clearly, a specialist in finding the vocal style to suit a particular song and that talent is particularly evident for the delta blues of Razor Love.  The song is bluesy, swampy and heavy and Chris channels the spirits of Captain Beefheart and Dr John to help him get the message over.  Al Richardson’s harmonica is equally authentic and there’s a definite undercurrent of voodoo at work in Phil’s Hammond organ licks and in Ramon Yslas’ crazed percussion.

INSTRUMENTAL POWER

The rockabilly Pretty Little Irish Belle is a song that opens up like the petals of a blooming tulip.  Chris has got the instrumentation spot on with this one – a throbbing rhythm from a pared-down drumkit, Electric bass eschewed for its stand-up cousin and electric guitars cast aside in favour of acoustics.  And all accomplished without the slightest loss of intensity.

Chris half-speaks, half-sings his lyrics to Gun in My Hand, a straight-ahead, clangy rocker.  There’s a forceful confidence about him as he delivers lines like: “I put my heart in your hands and in my hand they put a gun,” and the overall impact recalls Dylan in one of his raucous ‘Tombstone Blues’ moods.

There’s no cutting back on instrumental power for the joyous Mama What’s Become of Me, a fast-paced jazz-rock shuffle, complete with horns and chunky piano.  Indeed, the sound is like something that Little Feat and The Band would come up with if they pooled their resources.  Chris spits out his lyrics, just like Dylan would, and there’s a party mood happening.  Without doubt, it’s a song destined to become a live show high point, if it hasn’t already achieved that status.

THE PERFECT ANTIDOTE…

And – to close an exhilarating album – Chris has taken the wise decision to slow things right back down.  Closing track, Slow Down Time does exactly what the song’s title suggests.  Chris sings his lyrics to an accompaniment of piano and there’s a sweet, reassuring, tone to his voice.  Jeremy Clark overlays a rich orchestration and the result is the perfect antidote to the foregoing excitement.

“These songs were recorded across multiple sessions when the concept for the second album was still unclear and we were trying out new styles and instruments,” says Chris.  “These songs mark a time and place, when I hear them they transport me back to the live room at Perry Vale Studios and the many wonderful days spent with producers Pat Collier and Jess Corcoran.  I was excited by this period of songwriting and these sessions, along with the musicians that worked with me on these songs, made this a very enjoyable time.”

You know what, Chris?  It was well worth the effort!

HOWARD’S TAKE

WELL CRAFTED MUSIC

The excitement and joy in his efforts to create something new shines through each track and as Chris says, ‘These songs mark a time and place…….many wonderful days spent with Pat and Jess……….a very special and enjoyable time.”

Not only have we got the rollocking pure rock’n’roll of Bolt of Lightning and but also the moody orchestration of Let’s Ride, which is a sheer delight. There is even a touch of Dylan-esque electric rock in Restitution.

GROOVES, MOODS AND BRASS

Memories of a groovy period in Hippy World are encapsulated musically and vocally with reference to the groups, events and sounds of the time. Driving percussion and Rickenbacker guitar tones accentuate the sound.

A wild, bluesier mode runs through the stomping Razor Love and the rapid rock of Gun In My Hand. The brass of Mama (What’s Become Of Me) emphasises the versatility of these eclectic songs.Respite eventually comes as we are allowed to cool down in Slow Down Time with its swirling melodic grand piano led orchestral backing.

HIGH CALIBRE MUSICIANSHIP

Much of this album may link to old time rock n roll but with high calibre musicians like David Holmes, Jess Corcaran and Pat Collier, with a reputable list of guests and the orchestral arrangements of Jeremy Clark there is no sign of any datedness.

Clearly a lot of love, passion and care has gone not only into the composition but also in the production of this excellent piece of work.

Watch the official video to A Bolt Of Lightening – the album’s opening track – below:

Chris Marksberry: Website

At The Barrier: Facebook / X / Instagram