Related Reviews
East Anglian Daily Times
'[Joe Stilgoe] proceeded to delight the audience with his take on a plethora of cinema classics.'
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'[Joe Stilgoe has] boundless energy and a cheeky precociousness, wide-ranging musical tastes and, most important, substantive cred as singer and pianist...a rockin' cruise through his cinema-going youth with a slick doo-wop feel.'
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Jazz Podium
'...a technically well-made old-school album from a film buff.'
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In Tune International
'I was quite impressed with the singer's refreshing jazzy take on his personal choice...'
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BA High Life
Cerys Matthews' Pick: ' might dig this...'
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4 Stars
'...what came across most forcibly was not only film buff Joe Stilgoe's evident love of this material, but also the infectious joy of performing it...'
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The Observer
4 Stars
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Daily Business Group
'I was in the presence of something hour of breathtaking musicianship...Just stunning. Highly recommended.'
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The Sunday Times
'quick-witted and end of fun'
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Soul and Jazz and Funk
'Joe delivers with gusto, humour (where required) and an obvious passion for his source material.'
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Joe Stilgoe - Songs On Film: The Sequel - The Herald (Live Review)

05 August 2016
The Herald
Rob Adams
4 Stars

Joe Stilgoe appears not to have had a misspent youth. Judging from this latest instalment of his survey of songs and related films - and its predecessors - every waking hour that led up to the suave, effortlessly entertaining Mr S becoming a jazz musician was devoted to accruing knowledge of the cinema and ingesting soundtracks. 

The overture here, with Stilgoe alone at the piano in a Darth Vader mask, was a superb appetiser with an, at first, apparently random but presently wittily assembled running order establishing a connection with the audience that grew as he was joined by bassist Tom Farmer and drummer Ben Reynolds.

They're more than his rhythm section; they're essential parts of the choir-cum song and dance act-cum-sound effects unit that delivers Stilgoe's own cineaste's catchy boogaloo What's On, investigates Tom & Jerry-esque slapstick and visits Sweet Charity with impressively smooth voice and double bass aplomb.

Heaven knows how many songs and tunes, not to mention films, are referenced in an hour that's quickfire and yet somehow remarkably detailed, including the suitably eerie, torch-lit finale to the Doors' People Are Strange during the horror section. It's probably best not keep the score - no pun intended - and just go with the flow of an involving, smartly turned and variously rocking, swinging and casually informative presentation.

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