The roller coaster ride that is Scot singer-songwriter Phil Campbell's life thankfully climbs back up to a peak with the release of this his second album of what has been termed 'uneasy listening'. After a big break about ten years ago Campbell's world (and advance payment) fell apart in drug binges and hangers-on. That must have been before it could have made him a household name in the tabloids and OK/Hello then - maybe he should have just gone shopping whilst flashing his bits. Where was his kilt when he needed it?It's a breezy busking start with 'No Love Songs', and Campbell's smoky Paulo Nuttini meets James Morrison voice immediately registers in a pleasant if not hugely memorable lightweight song which seems to prematurely run out of steam. Experiences from his bad times are the common vein (no pun intended) running through this album, with lyrical nuggets like: "Tracing patterns all up your arm / Chasing Limits that will do you harm / Your eyes will open once more and you won't die today" and "Ten years older but you're no further on". However, without determined listens this autobiographical grit is more often than not submerged in the full-on beefed-up singer-songwriter production from Andy Bradfield (Rufus Wainwright, Damien Rice). It is this David Gray sheen - or dare I say the 'B' word - that actually, for me, detracts from the intimacy and makes the connection much harder to make. A couple of tracks have a distinctly mid-Atlantic feel as they edge towards the likes of John Cougar Mellencamp and Bob Segar - not necessarily a bad thing, just that Campbell's own persona suffers. Low points are 'Isn't She Beautiful' which goes through the motions and does draw comparison with our favourite squeaky ex-tank commander, and odd-ball rock song 'Hey Mama' featuring glam falsetto backing vocals.On piano ballad 'Should've Stayed At Home' Campbell admits to having "put a blizzard up my nose" and being told by an ER doctor "You won't get sympathy from me" on taking his collapsed junkie girlfriend to hospital. It is the most affecting song here - partly due to the no holds barred personal confession and partly precisely because the voluminous backing of elsewhere is kept at arms length. It's memorable and gives the whole album heart. With more of a hook, 'Joy' has a more of a proper 'band' sound; as does 'Maps'. More loose and rootsy, and all the better for that, the latter's radio-friendly swagger breaks into a clichéd but infectious handclap chorus. It's the obvious choice for first single. Final song 'After The Garden' mines his personal history once more: "I can still taste the bitter flavour of the life that I chose". But it has an overall pomposity that belongs to Curtis Stigers and only once I knew of his back history did I feel any desire to listen closely - and then just once.I first came across Campbell solo on 'Later With Jools Holland' and was impressed. His influences are Waits, Elliot Smith, Neil Young, Dylan and Exile On Main Street era Stones, and in that performance this shone out. The sort of person I'd much prefer to enjoy busking alone than on a major stage with attendant string section - not that I'd wish a career of busking on any aspiring artist, especially one who's seen much worse. There's little doubt that in this case what I think won't make any difference - this will be successful - deservedly so, and I've got no problem with that. The guy's got undeniable talent - but with a variation in approach this could have been a much more satisfying, more moving, more uneasy experience. When in doubt, just ask yourself: what would Neil or Bob do? 68%Links Phil Campbell [myspace]