CDs of the week: Emeli Sande, Speech Debelle and Field Music

EMELI SANDÉ
Our Version of Events
(Virgin)
***

When Emeli Sandé, pictured right, receives the Critics' Choice Award at the Brits later this month - the prize predicting future success which has previously been won by Adele, Jessie J and Florence + the Machine - the organisers will hardly be sticking their necks out. The Scottish singer-songwriter has already appeared on hits for Chipmunk and Professor Green, written for Susan Boyle and Leona Lewis and had a No 2 hit of her own: Heaven, last summer.

Now comes her debut album, which ticks every box required to make it a guaranteed No 1. There's the focus on her big, soulful, voice, sure to appeal to the millions who are still buying Adele's 21. It copes with full exposure on the piano ballad Hope and the acoustic Breaking the Law. There are tearjerkers straight out of the X Factor finale playbook, Clown being the prime example. All those slowies make it a ponderous experience, however. In places the album is as grey as its cover, tasteful but often dull.

The few energetic tracks that are there leap out, especially the skittering drums and dramatic strings and horns of Heaven. Next to Me's booming drums and powerful piano make it resemble an anthem by Coldplay, the band she's soon to support on a major tour. There's no chance of her stumbling before then - she can't fail, but it would be nice if she did something unexpected here and there.
DAVID SMYTH

SPEECH DEBELLE
Freedom Of Speech
(Big Dada)
****

After her debut, 2009's Speech Therapy, became the least successful Mercury Music Prize winner, south London's former Corynne Elliott all but disappeared, resurfacing only to leave her record label then rejoin it. Now comes Freedom of Speech. It may be naffly titled (presumably album number three will be Ring Debelle) but it's trounced all expectations. Whereas Speech Therapy was a one-trick, hip-hop pony, Freedom of Speech is an ideas-laden statement of intent. It speculates on a world without oil on Collapse; embraces soaring pop on I'm With It; is genuinely moving on Angel Wings and doesn't forget the power of fury on Blaze Up a Fire. It all comes together on the closing Sun Dog, where her anger meets her despair and her overpowering tenderness. Impeccable.
JOHN AIZLEWOOD

FIELD MUSIC
Plumb
(Memphis Industries)
***

Field Music is a pair of brothers from Sunderland - Peter and David Brewis. This is the brothers' fourth record, following 2010's Measure. Plumb is an altogether more concise work - 15 songs speeding past in just over 35 minutes. It is tempting to call this album promising, although that would be patronising in the circumstances.
Field Music seem to have taken their musical inspiration from Sparks - high-pitched vocals over a flurry of time changes make Plumb a fidgety kind of record. The opening trio of tunes - Start The Day Right; It's Okay to Change and Sorry Again, Mate - whistle past in a skittish blur; darts of melody gleaming from what occasionally sounds like prog-rock lite. Songs such as Choosing Sides and (I Keep Thinking About) A New Thing are refreshing, the violin, cello, trumpet and clarinet colourings lend texture, but somehow Plumb is always coyly out of reach.
PETE CLARK

GOTYE
Making Mirrors (Island)
****

Unless you've been hiding under a rock this year, you'll have by now heard Gotye's Somebody That I Used to Know - an impassioned break-up ballad that's notched up more than 55 million views on YouTube.

The nom-de-disc of Wouter De Backer, a Belgian-born, Melbourne-based Mika look-alike, Gotye (pronounced: go-tee-yay) is a chart-topping star back home.

His third album might be a little too odd to elevate him to such status over here, referencing everything from Graceland-era Paul Simon (In Your Light) to spoken-word electro (State of the Art), but there's plenty to suggest that there'll be life after that single. Smoke and Mirrors, in particular, is the sound of a popstar with greatness within his grasp.
RICK PEARSON

RONNIE SCOTT'S ALLSTARS /JAZZ CLASSICS
(Ronnie Scott's Records)
****

People are Strange. One Day I'll Fly Away. These are hardly jazz classics. Neither is Wonderful World (not the Louis Armstrong ballad but the "I don't know much about histo-ree" version). Better forget the title and persevere with this high-spirited album, which features five of London's most popular and industrious artists.

The James Pearson trio support international stars at Ronnie Scott's all year round and, joined here by tenorist Alex Garnett and livewire singer Natalie Williams, they grab the spotlight with a vengeance. Williams exudes soulful exuberance and Garnett cuts loose like a young Sonny Rollins.

Behind them, bassist Sam Burgess and drummer Pedro Segundo light the touch-paper for Pearson's Oscar Peterson-style piano pyrotechnics. Sometimes absorbing, always entertaining, it's music with an engaging in-person buzz.
JACK MASSARIK