Janis Haves - Big Front Door reviews

Michal Mee – Review - www.netrhythms.com

Listening to Big Front Door, the first solo album from Janis Haves – one half of Haves and Haves the other being her husband, guitarist and producer Geoff - is a bit like being a welcome guest in her home, you're privileged to be there as a well-thumbed family album is opened. Warm memories and experiences pour out of every note and line. It is impossible not to be enchanted by the magical world Haves has created. To step through the Big Front Door is to enter a better place.

Somehow it is entirely fitting that the artwork for the album should come from a birthday card given by Geoff to Janis. It encapsulates the whole weave of personal and family history that runs though the heart of Big Front Door. It also provides and instant connection between artist and listener.

Haves also provides a reminder of how incisive, beautifully simple folk
music can be. Her voice on songs like The Box pierces through the darkness
like a pinpoint of light. There is a crystal clarity about what she says and
how she says it.

In common with the very best of folk singers, male or female, Haves displays
a strength of purpose. As with Joni Mitchell or Joan Baez, there is nothing
twee or condescending about either Janis Haves or Big Front Door, Waiting
For Jesus for one is sombre and direct . But whether it's the touching Gwendoline or the well of emotion that is In My Chair, a song written and
performed through her grandfather's eyes, or even the straight, pacy
narrativeof Mary and Me it is impossible to escape the magnetism of these
stories. For the space of an album her personal is your personal. She is so
engaging a performer that you can't help but become inextricably entwined in
songs like Blind Leading The Blind, but more important than that you can't
help but care about them.

Big Front Door is the musical equivalent of having a masterpiece painted
before your eyes. Each song adds another shade until the picture is
complete.

AMERICANA UK LIVE REVIEW

Songwriters in the Round - featuring Michael Chapman, Peter Bruntnell and Janis Haves - The Borderline , London - 9th October 2004

Michael Chapman is one of those names that echoes around the roots scene like a distant memory come back to life. He just refuses to go away. He sits calmly on the end of the line in London’s Borderline club with the two younger songwriters like a favourite uncle proudly watching his young charges, as gruff and determinedly Yorkshire as ever.
At first the choice of three Brits playing a Saturday night slot as part of the Spirit of Austin Festival seemed a strange choice, even the line-up itself seemed an rather unlikely combination but actually it couldn’t have worked better. Each of these three artists is different but they are connected by one thing – talent! If the ‘Spirit of Austin’ was all about really great music played with from the heart without pretensions (and not about another obvious opportunity to package up the latest touring Americans, great though many of them undoubtedly are) then these three were the perfect choice – and hats off to the Borderline having the courage of it’s convictions.

The three songwriters sit on stage in a line taking a song in turn. The first song is by Janis Haves, the newest face on the stage and one half of the duo (Haves and Haves) in relaxed fashion, she introduced a beautiful song written from the point of view of her Grandfather. She has a voice that instantly commands attention, clear, warm and fluid and it makes an excellent start to the evening and cheers follow. Michael is next and plays with all the intensity and darkness of a man who has truly nothing left to prove and nothing left to see, great textural guitar work and trademark bleak unimpressed vocals, this is a man who has experienced the alternative side of life.

Peter Bruntnell follows with ‘Here come the Swells’ a Bob Harris favourite, his dreamy slightly husky/sweet vocals have a way invading your head and he obviously had quite a few converts in the crowd that night as the song brought an immediate cheer. The three artists are obviously enjoying themselves and exchange chat with the audience as well as themselves.
The first set seems to disappear in a heartbeat with a Janis playing a quite stunning song ‘Mississippi in the Spring’ which showed a vocal range beyond the remit of most singer/songwriters, Michael playing an awesome version of ‘The Mallard’ a train song he wrote while sitting on a station (Leeds I think he said) while in ‘poor condition’ and Peter’s understatedly catchy ‘You Won’t Find Me’.

A short break and the three were then joined in the second half by Geoff Haves on guitar, seated slightly behind the three artists, he proceeded to demonstrate just how good a guitarist he is, never overplaying, and subtly changing style with each artist.
As the set progressed Michael and Geoff teamed up playing off each other in most impressive style, before long all the artists were contributing to the music, multiple guitars laying up the sound, harmonica (from Peter) and backing vocals and even a conga style percussion played on the back of her guitar from Janis.

This is a show that really demonstrates the talent that exists here in Britain, Janis Haves is a very fine songwriter indeed and is one of the best singers I have heard for quite some time, she provides a lighter note in between the darker styles of the other two artists which offsets them and her perfectly. Peter has a voice perfectly suited to the melancholy sad/sweet material that is his own, his songs telling of corporate corruption and urban disappointment and despair - then Michael, of course, brings the house down; at 63 years old, the man still plays like a tempest.

The show was closed with a Peter Bruntnell song ‘May the Sun Always Shine’ in which the whole ensemble played and Janis joined Peter with some very sweet harmony vocals. Definitely catch this show if it comes near you.

Dai Woosnam - Folkworld

The thing that strikes me about this album is that it is ideal material for consideration should they be wanting to bury a capsule that incorporated all that is quintessentially ENGLISH in 2005. Note that I said “English” and not “British”.
Janis has a pleasant warm voice that seems blissfully unmannered. And Praise God she is not singing in an English regional accent (about three notches up from the regional accent in which that performer would SPEAK!): but rather in RP (“Received Pronunciation”) English with diction that thus makes her splendidly readable lyrics (in white on charcoal grey in the liner booklet) a bit superfluous.
Janis and husband/producer Geoff Haves have built a solid reputation these past few years as performers. She has one of those sweet fragile voices: just like an English version of Irish songstress, Dana. Janis is a former staff writer of potential hit records at the famous Rockfield Studios in Monmouth. And it shows.
My favourite track is her opener. “Gwendoline” evokes the memory of her singing teacher. You might think it too personal a song for other artistes to pick up on: but no. It does not matter that you or I did not have a singing teacher called by this name: we can all relate to it. She marvellously evokes the kind of memory we ALL had as kids of certain people in our life. A mixture of love, respect and – yes, a little – FEAR too! I certainly felt just the same way about the lady who taught me piano as a small boy, and I am sure I would get much the same sensations should I return to her house today after half a century.
There is a commercial aspect to the sound of her songs: they all are knocking at the door of instant memorability (essential if one’s writing pop songs). Of course Janis will say that these songs (aimed incidentally at the memory of several now-deceased women who had made an impact on her life) are the very antithesis of pop. And of course they are: but that said, her knowledge that the HOOK is everything in pop, never leaves her. So “Waiting For Jesus” (a very serious song) has the catchiest of choruses.
She won’t thank me for saying that I see her voice as more Lynsey De Paul than Joan Baez! (Yes, dig myself out of THAT one! Well actually, I don’t have to: Lynsey De Paul was a very tuneful singer!)
But what the heck! Janis is NATURAL. She is sweet and a breath of fresh air.




		Big Front Door - Reviews
	Michal Mee – Review - www.netrhythms.com Listening to Big Front Door, the first solo album from Janis Haves – one half of Haves and Haves the other being her husband, guitarist and producer Geoff - is a bit like being a welcome guest in her home, you're privileged to be there as a well-thumbed family album is opened. Warm memories and experiences pour out of every note and line. It is impossible not to be enchanted by the magical world Haves has created. To step through the Big Front Door is to enter a better place. Somehow it is entirely fitting that the artwork for the album should come from a birthday card given by Geoff to Janis. It encapsulates the whole weave of personal and family history that runs though the heart of Big Front Door. It also provides and instant connection between artist and listener. Haves also provides a reminder of how incisive, beautifully simple folk music can be. Her voice on songs like The Box pierces through the darkness like a pinpoint of light. There is a crystal clarity about what she says and how she says it. In common with the very best of folk singers, male or female, Haves displays a strength of purpose. As with Joni Mitchell or Joan Baez, there is nothing twee or condescending about either Janis Haves or Big Front Door, Waiting For Jesus for one is sombre and direct . But whether it's the touching Gwendoline or the well of emotion that is In My Chair, a song written and performed through her grandfather's eyes, or even the straight, pacy narrativeof Mary and Me it is impossible to escape the magnetism of these stories. For the space of an album her personal is your personal. She is so engaging a performer that you can't help but become inextricably entwined in songs like Blind Leading The Blind, but more important than that you can't help but care about them. Big Front Door is the musical equivalent of having a masterpiece painted before your eyes. Each song adds another shade until the picture is complete. AMERICANA UK LIVE REVIEW Songwriters in the Round - featuring Michael Chapman, Peter Bruntnell and Janis Haves - The Borderline , London - 9th October 2004 Michael Chapman is one of those names that echoes around the roots scene like a distant memory come back to life. He just refuses to go away. He sits calmly on the end of the line in London’s Borderline club with the two younger songwriters like a favourite uncle proudly watching his young charges, as gruff and determinedly Yorkshire as ever. At first the choice of three Brits playing a Saturday night slot as part of the Spirit of Austin Festival seemed a strange choice, even the line-up itself seemed an rather unlikely combination but actually it couldn’t have worked better. Each of these three artists is different but they are connected by one thing – talent! If the ‘Spirit of Austin’ was all about really great music played with from the heart without pretensions (and not about another obvious opportunity to package up the latest touring Americans, great though many of them undoubtedly are) then these three were the perfect choice – and hats off to the Borderline having the courage of it’s convictions. The three songwriters sit on stage in a line taking a song in turn. The first song is by Janis Haves, the newest face on the stage and one half of the duo (Haves and Haves) in relaxed fashion, she introduced a beautiful song written from the point of view of her Grandfather. She has a voice that instantly commands attention, clear, warm and fluid and it makes an excellent start to the evening and cheers follow. Michael is next and plays with all the intensity and darkness of a man who has truly nothing left to prove and nothing left to see, great textural guitar work and trademark bleak unimpressed vocals, this is a man who has experienced the alternative side of life. Peter Bruntnell follows with ‘Here come the Swells’ a Bob Harris favourite, his dreamy slightly husky/sweet vocals have a way invading your head and he obviously had quite a few converts in the crowd that night as the song brought an immediate cheer. The three artists are obviously enjoying themselves and exchange chat with the audience as well as themselves. The first set seems to disappear in a heartbeat with a Janis playing a quite stunning song ‘Mississippi in the Spring’ which showed a vocal range beyond the remit of most singer/songwriters, Michael playing an awesome version of ‘The Mallard’ a train song he wrote while sitting on a station (Leeds I think he said) while in ‘poor condition’ and Peter’s understatedly catchy ‘You Won’t Find Me’. A short break and the three were then joined in the second half by Geoff Haves on guitar, seated slightly behind the three artists, he proceeded to demonstrate just how good a guitarist he is, never overplaying, and subtly changing style with each artist. As the set progressed Michael and Geoff teamed up playing off each other in most impressive style, before long all the artists were contributing to the music, multiple guitars laying up the sound, harmonica (from Peter) and backing vocals and even a conga style percussion played on the back of her guitar from Janis. This is a show that really demonstrates the talent that exists here in Britain, Janis Haves is a very fine songwriter indeed and is one of the best singers I have heard for quite some time, she provides a lighter note in between the darker styles of the other two artists which offsets them and her perfectly. Peter has a voice perfectly suited to the melancholy sad/sweet material that is his own, his songs telling of corporate corruption and urban disappointment and despair - then Michael, of course, brings the house down; at 63 years old, the man still plays like a tempest. The show was closed with a Peter Bruntnell song ‘May the Sun Always Shine’ in which the whole ensemble played and Janis joined Peter with some very sweet harmony vocals. Definitely catch this show if it comes near you. Dai Woosnam - Folkworld The thing that strikes me about this album is that it is ideal material for consideration should they be wanting to bury a capsule that incorporated all that is quintessentially ENGLISH in 2005. Note that I said “English” and not “British”. Janis has a pleasant warm voice that seems blissfully unmannered. And Praise God she is not singing in an English regional accent (about three notches up from the regional accent in which that performer would SPEAK!): but rather in RP (“Received Pronunciation”) English with diction that thus makes her splendidly readable lyrics (in white on charcoal grey in the liner booklet) a bit superfluous. Janis and husband/producer Geoff Haves have built a solid reputation these past few years as performers. She has one of those sweet fragile voices: just like an English version of Irish songstress, Dana. Janis is a former staff writer of potential hit records at the famous Rockfield Studios in Monmouth. And it shows. My favourite track is her opener. “Gwendoline” evokes the memory of her singing teacher. You might think it too personal a song for other artistes to pick up on: but no. It does not matter that you or I did not have a singing teacher called by this name: we can all relate to it. She marvellously evokes the kind of memory we ALL had as kids of certain people in our life. A mixture of love, respect and – yes, a little – FEAR too! I certainly felt just the same way about the lady who taught me piano as a small boy, and I am sure I would get much the same sensations should I return to her house today after half a century. There is a commercial aspect to the sound of her songs: they all are knocking at the door of instant memorability (essential if one’s writing pop songs). Of course Janis will say that these songs (aimed incidentally at the memory of several now-deceased women who had made an impact on her life) are the very antithesis of pop. And of course they are: but that said, her knowledge that the HOOK is everything in pop, never leaves her. So “Waiting For Jesus” (a very serious song) has the catchiest of choruses. She won’t thank me for saying that I see her voice as more Lynsey De Paul than Joan Baez! (Yes, dig myself out of THAT one! Well actually, I don’t have to: Lynsey De Paul was a very tuneful singer!) But what the heck! Janis is NATURAL. She is sweet and a breath of fresh air.

Big Front Door - Reviews

Michal Mee – Review - www.netrhythms.com

AMERICANA UK LIVE REVIEW

Dai Woosnam - Folkworld