26th March 2019 appearance on Everyone's Live Lounge, South Birmingham Radio. Hosted by Gary Haywood

Sunflower Lounge Review 3rd February 2017​

Jack Goodall is based in nearby Bromsgrove and his music takes influences from Nigerian afro-beat as well as blues and funk from around the world. Kate Wilkins joined on keyboards and percussion by Jack Smith and David Rees Jones. The band used the event to launch their new album  ‘The Whole Thing Is Moving’ which can be found on Bandcamp, and is well worth a listen. Check out the high energy funk track  ‘Left Behind’ which had everybody in The Sunflower Lounge dancing like a West Midlands Mardi Gras!

Phenomenal Joe and You're Going To Love Me videos. Live at The Crown, Kings Heath

Phenomenal Joe:                                                               https://www.youtube.com/watch?v=TQfnfBFLZAQ
                                    You're Going To Love Me:                                                    https://www.youtube.com/watch?v=6L1jKN8-li8

Rubber Soul Rebound Promotional Video


the mike davies column december 2015

There’s two other similarly ‘faithful’ covers, The Eggmen (featuring members of local Celick rock outfit the Holy Showband as opposed to the Austin-based Beatles tribute band of the same name) offering You Won’t See Me and, from Sutton Coldfield’s Acoustica, Steve Birkett on steel string acoustic and Bill Hudd on classical guitar for a lovely world-weary In My Life.
Interestingly, it’s the lesser known, more obscure names that provide the reimaginings and interpretations, no more so than (Jack) Goodall who takes The Word and gives it a schizophrenic breakdown that swings between deadpan spoken robofunk with parping minimalist synth and fingerclicks and bursts of full blown piano pop variously punctuated by Thelonius Monk style avant garde jazz piano trills. Slightly more sedate, filtering Carole King and Kate Bush, Eleanor Dattani gets behind the piano to turn Wait into a terrific show tune while Hannah Brown channels early Baez on her strummed anthemic 60s protest folk cover of What Goes On. I’m also utterly enamoured with the watery guitar, piano backed, quivering vocal moody-folk rework of George Harrison’s Think For Yourself by Moseley four-piece Sylvia (from whom new music is well overdue) that could have come from the darker shadows of late 60s Laurel Canyon.
The album ends on a major Run For Your Life rowdy party with everyone involved getting together and taking turns on the lyrics as The Rubber Band with a guest turn on guitar from Steve Ajao. Obviously, nothing here eclipses the original versions (though a few give them a run for their money), but it’s can certainly hold its head high in triumph. Now,, next year Revolver? 
Copies of can be bought on-line at https://kingsheathwalkoffame.bandcamp.com/album/rubber-soul-rebound
or from Polar Bear Records on York Road in Kings Heath.

Rubber Soul Rebound Review

It’s not the first time it’s been done, This Bird Has Flown being issued a decade ago and featuring the likes of Cowboy Junkies, Sufjan Stevens and Dan Williams, but, officially launched as part of the Kings Heath Walk Of Fame's Christmas Party on the afternoon of Sunday 6 December at Fletchers Bar on York Road, Rubber Soul Rebound is a 50th anniversary tribute to the classic Beatles album. The brainchild of joint Walk of Fame organisers Bob Prew and Ken Whittaker, recorded at Highbury Studios with Rob Peters behind the desk and limited to just 500 copies, it features a bunch of local artists providing their interpretations of the 14 songs.
Projects of this type can be very uneven in terms of quality and approach, but it’s good to say that, while I personally find Tim Walkerdine’s delivery of Norwegian Wood a little vocally over emphatic, the standard of interpretations and performances is very high. The roster is a mix of the relatively familiar and acts that might be little known in Birmingham itself, let alone the wider region. Abi Budgen (she of the Miracle Tonic) is the first of the former, opening proceedings with Dan Wilkins on Drive My Car, her vocal all sultry Southern belle. Undoubtedly, the best known name here is Trevor Burton whose jangling acoustic version of If I Needed Someone harks to the 60s folk-pop of Dylan and The Byrds, while, in a similar vein, Boat To Row’s Michael King gives I’m Looking Through You a pastoral folksy makeover burnished with strings as it takes flight into the clouds. There’s two other ‘veterans’ of the Birmingham scene, with (Rob) Peters & Dog offering a strummed guitar take of Girl that mirrors the original, albeit with an added wah wah blues guitar solo, and erstwhile Fuzzbox VIX and her MsChiefs providing one of the standouts with a beautifully vocally controlled cover of Nowhere Man, the band providing street corner harmonies behind her. Meanwhile, David Garside rests his orchestral pop sound for a stripped back, slightly jazzy intimate voice and acoustic guitar reading of Michelle.

Album review: Goodall – Canada (Brum Notes)

It’s a strikingly original and surprisingly mature release that toys with overall genre. With the band’s aptitude for the unconventional and Jack Goodall’s endearingly English wit and flair for off-kilter lyricism, Canada proves that a debut album can be more than an introduction, but can stand alone, as artful showcase for technical, inventive but accessible song writing.

Canada is out now

By Guy Hirst - November 24, 2015

Rarely do local artists debut with fully-fleshed-out 12 track epics, it’s a gutsy manoeuvre, introducing yourself for 46 minutes and 38 seconds. But when there’s nothing formulaic to introduce, everything is impossible to predict, and Canada constantly thrives on unexpected moments in beautiful and daring song craft.

Cities Burn is the best example of this, it is the crown jewel of the album. Listen to it, it’s poetic, fun and cleverly misleading. The first 30 seconds, one man and his guitar,
is an unlikely precursor for a foreboding filthy synth attack, an eccentric rock-opera climax, and an intro that could belong in The Rise And Fall Of Ziggy Stardust. Nothing is off the table, and despite all these juxtapositions everything is fluid, it has creative conviction, it sounds refined and not stumbled-upon.
If a song is not in contrast to itself, it is still unique to the rest of the Canada. Border Police, a bluesy meditation turned krautrock jam sets itself apart from tracks like Exotic Names – a downtrodden ballad. A Letter For You is a quaint and quiet soliloquy turned hazy guitar reverie. Way Home is a drifting electric guitar nocturne. Every track is distinct but complementary to one another, and because of this, Canada embodies the concept of the album very well.

the mike davies column november 2015 (Roots and Branches)

Whatever the hybrid genesis, however, it’s a fascinating, inventive and ambitious collection of material that variously throws up such influences as Talking Heads, Hendrix, Bowie, Zappa, Wire and Zappa. The lyrically scathing Liberal, which features just Goodall and Hollick on violin, suggests Ray Davies is in there too.Stylistically embracing rock, funk, blues, jazz, funk, pop, psychedelia and Afrobeat, it’s an incredibly musically variegated affair that constantly takes off at different tangents, often within the same number.
Opening number Phenomenal Joe is a meld of stuttering Byrne-esque funk and cosmic Bowie, immediately followed by just Goodall’s voice and electric piano on Yorkville’s 109 second ballad about going hungry in Toronto that reminds me of Vinnie Peculiar before the vocal intro to the urban conformity-bashing Cities Burn (“does anyone know the way out of this middle class hell”) gives way to angular, jagged snarl of Bowie-esque krautrock synth.
You never know what to expect from one number to the next, sliding from the jazzy cellar blues of Saskatoon to A Letter To You, where lush balladry meets distorted guitar, and the slow waltz Exotic Names, with its soaringly anthemic, piano and drums crashing chorus, to the itchy dance rhythms of Talk Like Me and another clear nod to Bowie.
It ends on a haunting note with Way Home, the sparse guitar conjuring a similar intoxicating mescal dream feel as The End by The Doors and featuring a spoken passage by David Freja framing just one impassioned cry of dislocation (“I've lived in towns and cities feeling wrong I'm never in one place too long”) from Goodall. Raw round the edges at times, but this is a remarkable piece of work.
Erstwhile frontman for Bromsgrove indie outfit Our Mutual Friend, Birmingham-based Jack Goodall now heads up GOODALL, an eponymous project that features OMF bassist Thom Hollick, powerhouse drummer Jack Smith and new live addition Kate Wilkins from Abie’s Miracle Tonic who takes over the keys when Goodall plays guitar.
Smith, however, features on only three tracks from self-released debut album Canada, the title down to the fact Goodall was a student there and it was where some, if not all, of the songs were written. One, Border Police, is actually a playful riposte to the titular grim-faced US-Canada patrol officers who “look like they haven't smiled in a week.”
The other members of OMF, drummer Sarah Workman, pianist Joe Priest and guitarist Steve Ashford also feature (Priest on all but four) and it seems likely that several of the tracks were intended for release by Goodall’s former outfit. Indeed, Spare Me was originally the B side of their Truly Gone single while Saskatoon (a struggling muso song that parallels the flatness of the city with his flatlining bank account) appeared under the band’s name (though Goodall was the only member featured) on Hinterland, a 2012 Canadian compilation album produced by Mark Planke, who also mixed this album in Ontario.
Whatever the hybrid genesis, however, it’s a fascinating, inventive and ambitious collection of material that variously throws up 

Goodall- Canada (SLAP magazine)

The album continues in much same the manner with, Jack
throwing everything and the kitchen sink in, as he lives out all his musical fantasies over the compelling, inventive and above eclectic twelve track affair. Canada shouldn't work, it truly is a ramshackle mix of style and substance and I guess I should be using words like self-indulgent mess, but instead I'm drawn towards such couplings as maverick genius, visionary and true originator, a unique and captivating
debut from a unique, compelling talent.

Will Munn                             www.facebook.com/JGOODALLOMF
Goodall - Canada

Jack Goodall was once the frontman of hotly tipped indie
rockers Our Mutual Friend, a band that once courted the
attention of both Guy Garvey and bluesman Aynsley Lister and
performed around Ireland, the UK and Canada during the group's short tenure. The other members of Our Mutual Band moved onto other projects and so Jack decided to focus his time on his own music, resulting in the writing and recording of Canada, under the monicker of Goodall.

The album runs through a gauntlet of styles and influences from upbeat, and bombastic indie rock to a more hushed, rootsy take on modern day folk and beyond, hinting at numerous contemporaries and yet retaining an original and compelling identity all of its own.

The album opens with Phenomenal Joe, a track that one minutesounds like a striking indie rocker, complete with anguished yelps and the next an atmospheric 80's slice of electro with a near spoken vocal hook, it's a quirky yet compelling opener that urges the listener on. From there Yorkville changes direction again with a sub two minute piano led aching ballad, with Goodall delivering a wonderful, weary croon lamenting the irritants of the location, whether that was the weather or indeed the fellow habitats.

Cities Burn twists and turns, opening with a solo acoustic guitar before a distorted electro throb joins the mix and shards of punctuating electric guitar, whilst a combination of both spoken word and effects ridden vocals at times bring to mind Slaves before the melody mutates again into a mutant take on 50's rock 'n' roll. In direct contrast, Liberal is all social commentary, mournful violin, plucked guitar and subdued vocal drawls hinting at that aforementioned folky tinge, Saskatoon is a stunning bluesy number that ranges from a hushed, jazzy beginnings to a brief White Stripes like outburst and back again.

Artist of the Week: Goodall

Goodall is the former lead singer for Brit rockers Out Mutual Friend, and now that the group has more or less disbanded, his live performance has been trimmed down from five members to three, including OMF bassist Thom Hollick. The two, along with drummer Jack Smith, have toured around England, playing at pubs like the Dodford Inn and theaters like Birmingham Town Hall. Goodall plays his official album release show for Canada this Friday, October 16 at Ort Café in Birmingham

October 14 by lukejfrenette

When he’s not at The Golden Cross Hotel pub in Bromsgrove, England with friends, on holiday in France, or reading Flann O’Brien, Birmingham singer/songwriter Jack Goodall (aka Goodall) is at his upstairs loft studio writing music and exploring sonic avenues. Below, the TV occasionally blares with the Colosseum-like sounds of an Aston Villa F.C. football match, and outside bees enjoy the sweetness of Goodall’s pristine English garden. Here, all processes have reached final production from the making of the musician’s morning eggs and toast to the completion of the songs on his debut LP entitled Canada. The songs on his new record are no strangers to Canada (having been mixed by Mark Plancke at Sharktank Productions), and neither is Goodall; he was an exchange student and studied at the University of Windsor a few years back. In fact, he made an informal agreement with a friend he met in Windsor to make the new album. Here’s a link to a review of Canada on this blog.

Online reviews of international LPs and EPs

If it’s not the vastness of the prairies that contest Goodall, it’s the extremes of Canadian seasons and the polarity of Ontario big-city life. “Yorkville” describes both an inclement opposition and a social oppression the singer deals with as he walks roundabout in an urban hell inhabited by contemptuous corporate Torontonians. But Canada isn’t governed solely by the intellectual’s knack for pessimism. During the comical rock number “Border Police,” Jack and his bandmates play music for the US-Canada patrol who “look like they’ve not smiled in a week.” The song is a welcomed satire of the primarily humdrum border experience. The recording process for Canada involved a series of live-off-the-floor recordings with Joe Priest (bass player from Our Mutual Friend and Goodall’s co-producer) behind the controls. It seems the LP has finished well off the floor indeed.
Canada is available for purchase at CDBaby, Amazon, Spotify, iTunes, and via goodall1.bandcamp.com.


Jack Goodall lives near Robert Plant’s hometown, and, apparently, the rock n’ roll legend attended one of Goodall’s shows. Led Zeppelin’s aging vocalist should see this kid now. Goodall left his parents’ century-old home in Bromsgrove, England in order to perform for audiences in the UK and North America; he’s also written and co-produced a debut solo LP entitled Canada, which was released worldwide today (Friday, October 9th). Goodall is the former frontman of British indie rockers Our Mutual Friend whose band members are now busy with other projects in Wales and France; as a result, the singer/songwriter has had time to focus-in on his own music.
“I’m recording all of my best songs, or what I think are the best,” he writes from his home studio located just outside Birmingham’s bustling city centre.
And Goodall’s best is good enough. Canada outperforms many indie solo records made this year due to its compositional maturity and lyrical wit. Blues notes plot out the wandering-poet narrative of the song “Saskatoon,” during which the singer draws a clever parallel between the prairie city’s eternally “flat” landscape and Goodall-as-struggling-artist/foreign exchange-student’s perpetually leveled out bank account. The Canadian agriculture mecca is a pilgrimage destination from which he “can’t afford to get back.” Goodall’s ability to work out a story in the duration of a pop tune is remarkable and puts him in the company of notable UK balladeers Villagers and King Creosote.
Interview about the Project Soundlounge Festival by Natty OfComplex Jones
Goodall, Matt Tyrer and Guy Hirst 
features live recordings by Goodall, Midnight Bonfires, Friendly Fire Band, Namiwa Jazz, Dan Wilkins, Lobster, Malarkey and He Is A Pegasus
Interview about Project Soundlounge/Project Soundlounge Preview - Live! Arts Radio
By Live! Arts Radio Birmingham
features solo acoustic version of 'My Livelihood'

Interview: Our Mutual Friend

So what are the band working on now?
“We have about two or three albums-worth of songs and more being written all the time but I don’t think we will do a full album until we have a decent concept or structure nailed down,” says Thom. “We’re not in any particular rush. We’ve just released a video for Truly Gone and there’s a remix by Camcussion, who’s a Canadian electronic artist, up online.”
And one final thing – the band name refers to a Dickens’ novel, right?
“We named the band after The Divine Comedy song of the same name,” says Thom, “a beautiful eulogy to a thwarted romance in a world that is changing beyond recognition in every other heartbeat. The original recording has a fantastic string orchestration, but the mood of the piece, a sort of naïve nostalgia, is something we often try to recreate in some of our own songs.”
“I am a Dickens fan and I read the book later but it was crap,” ends Jack.
Our Mutual Friend play the Brum Notes July Issue Launch Party at The Sunflower Lounge on July 2 with My Grey Horse and The Mourning Suns. Entry is £3 on the door.

by Amy Sumner - June 30, 2014

“We’re all over the UK right now so it’s a serious affair,” says Our Mutual Friend singer and guitarist, Jack Goodall. “[Bassist] Thom and I have known each other all our lives and he lives just up the road from me. I don’t think we were always friends – I was an annoying little kid making plays and putting on shows and he was an annoying little kid destroying those shows. We didn’t plan to form a band but I’d been writing songs for ages and they were there…there wasn’t much of a recruitment process.”
Split between Cardiff, London, Lancaster and Bromsgrove, the young five-piece craft the self-professed sounds of ‘glamorous middle England’, drawing on The Kinks, Lou Reed and Neil Young to produce beautifully nostalgic whimsy belying their years which veers from the delicate British Summer Time to slices of David Bowie glam. Yet they manage convincingly to keep it from disparity.
“Bromsgrove doesn’t especially inform our music because our musical tastes originate from much further afield,” says Thom, “but perhaps there is something about the growing up in a relatively cultural backwater which gives our stuff a little bit of an Arcade Fire Suburbs style of claustrophobia and restlessness.”
“It’s a very conservative place,” continues Jack. “Lovely, but there’s a temptation to be as subversive as possible. I think it inspires a bit of a perverse stance. Like a lot of satirists, there’s a front of respectability…you’re more likely to trust the guy screaming at you if he’s wearing a suit and tie.”
Last February the band released their five-track Ambition EP. Jack explains its composition.
“I’d been writing songs when I lived in Canada as a student and a lot of those were about Canada. That got me thinking about England and what that means to us personally and as a band, so on the EP there are songs about childhood, memory and unemployment. The title track definitely has this sense of having to be on the move…like the place cannot hold us anymore. We’d love to do albums called England, Canada and France because the songs do fit into those categories. When I wrote the Canada songs I was alone but Ambition feels like we’re collectively wondering what’s out there. We’re not children anymore.”
Ambition was followed by Truly Gone, a stand-alone single which the band released on orange vinyl last month.
“The sales of CDs and vinyl in particular have held up surprisingly well in the post-digital environment, and perhaps that is part of a backlash of people who don’t like this impersonal, anonymous style of culture consumption via digital media,” explains Thom of the band’s decision to physically release. “It’s probably the same people who campaign to keep live music going by supporting small, independent venues. It’s also undergone a kind of conversion from a transportation and delivery device into a piece of art with value in its own right. Look at all the exciting new packaging for CDs like the recent Atoms For Peace album with foldout artwork, or Alt-j’s pop-up pyramid; the days of the old plastic boxes are gone,” says Thom.

our mutual friend. Truly Gone Review (The Sunday Experience)

Posted on June 22, 2014

Strictly limited to just 150 orange vinyl copies – one of which we want – is the (I assume to be) the debut single from our mutual friend. ’truly gone’ is I’ll admit a bit of a curio, not your straight in your face immediate slab of tuneage but rather more something that quietly lays deceptive seeds which hatch in your headspace forming hooks causing you to whistle its coda just when you least expect it thereupon urging you to revisit it for a repeat play. In terms of reference markers it posits itself somewhere between Ben Folds 5 and Hefner, indeed I’ll agree a strange union but it does take that subtle swing vibe from the former and that crushed and poignant warts n’ all what you see is what you get realism from the latter and wires the resulting brew with something that should find swooning appeal from admirers of the monks kitchen. ’spare me’ over on the flip has a gorgeous way of unravelling from its off centred soul funk tethering, its punctuated and angular motifs having us recalling a youthful Joe Jackson. All said its on their version of (i could be wrong here) Robert Johnson’s ‘sweet home Chicago’ that they really pick up the baton and blossom, seductively smoked, ragged and laid back these dudes kiss this delta blues cornerstone in a superbly cruise controlled prairie prowling purr.

Our Mutual Friend: Truly Gone (Brum Notes)

single reviews June 2014

Snazzy orange vinyl anyone? Truly Gone gets it's physical release on June 15th. Until then, listen to the Fleetwood Mac/Kinks-inspired hues of it via the Bromsgrove five-some's Bandcamp. Listen out for the 50s swing in it's step. 

Our Mutual Friend at The Full Moon, Newcastle Under Lyme March 2012

Incoming Chief Editor Victoria Taylor reviews Our Mutual Friend's gig at the Full Moon in Newcastle.
When a friend invited me along to see Our Mutual Friend at the Full Moon on Friday night, I jumped at the chance to end the semester with a couple of beers and a bit of live music. I’d not heard of the band before, but I like the Full Moon as a venue and it certainly provides an alternative to the campus hang- outs I’ve done to death this term. I arrived just in time to get a pint before their wild leg-wiggling front man launched into their first song ‘Melancholy’. I was instantly impressed with the pure talent on show – these weren’t just uni students procrastinating with a guitar; these were skilled musicians, who obviously worked hard to create some fantastically juxtaposed classic guitar riffs and electronica-inspired synth work.
      It wasn’t just the technical skill that had me hooked. Front man Jack Goodall delivered some angsty lyrics; ‘Does anybody know the way out of this shit hole, cause my eyes are turning grey from the concrete in my soul.’ This is a band which keeps you on your toes. A great cover of the Cold War Kids’ ‘Hang me up to dry’ got both the band and the crowd tapping their toes and gave an insight into where Goodall gets his crazy jerky leg dance from…
      By the end of their set the small crowd in the Full Moon had certainly picked up – all attention was on the stage, there were no stragglers at the bar or people talking outside. And rightly so. Goodall interacted with the crowd, breaking his sometimes dramatic performance by waving at friends and encouraging us to clap along, which the audience gladly did. 
      If I had to categorise this group I would really struggle. Their third song ‘Spare me’ had me picking up bits of Blur and Nirvana, whilst there was a Bowie-like quality projected by the confident lead vocalist throughout their set. As with many bands, the front man stole the show – but what was clearly evident, was that this band is heavily dependent on each component for their success. The bassist, Thom Hollick, has a vocal talent that allows him to harmonise at a hauntingly perfect pitch whilst Sarah Workman on drums and Ste Ashford illustrate their considerable talents.
      The bassist concluded with a promise of ‘forthcoming physical material’ – if these guys sound as good on record as they do live, you will want to get yourself a copy of their EP…even if it’s for one of those once-in-a-life-time days when you can’t choose between Bowie and Cobain.
Victoria Taylor