In a sense it's most appropriate that Fellside should be showcasing an up-and-coming act in their 30th anniversary year, as this was a large part of the original raison d'être of the label when Paul and Linda Adams first conceived it. This trio have three self-produced albums to their credit, so have in a sense served their time. Their last one was a faux tribute to Stoke-on-Trent (thank God it was them and not Robbie Williams, heaven knows what that would have turned out like!). This album, is almost totally comprised of self-penned material, and almost by definition allows reproduction of the lyrics without having to ask permission. The songs' origins are also explained, although somebody needs to remind their author that, for example, Norfolk is in Europe.

The instruments are predominantly stringed, acoustic of course. Gary Wilcox, who handles most of the lead vocals, also plays more percussion instruments than you can shake a stick at (and I think he probably does that also). The only ‘trad' offering is Rounding the Horn, which has been altered from a straightforward song in common time and simple modal tuning (D Mixolydian) to an eccentric rhythm coupled with an, at times discordant, chordal arrangement (I think I would have preferred it if it had been kept as a shanty).

Their own compositions cover diverse subjects ranging from Fair Trade coffee and natural disasters to road accidents and collapsing land in Staffordshire (it's the mines don't you know). Most of them feature competent enough musicianship and fair harmonies – they're trying hard and showing great potential, but the subject matter is probably going to limit the scope for cover versions. The CD includes a video file that crashes every computer I tried to view it on (but the sleeve notes do warn us that the band can't guarantee that it will work). Don't get me started on technology…

Reviewer: Grem Devlin

Until writing this review I had not really heard of The Queensberry Rules. I feel ashamed now, having listened to their fourth album, which is very good. From the great opening track, Sinking Town, I knew that this was an album that was going to be worthwhile listening to and I'm glad I did.

The Queensbury Rules are a 3-piece band performing with a wide range of instruments from Guitar, Bouzouki, Mandolin, Harmonica, Bass, Fiddle and even Percussion. They play all these with great conviction and between the three of them (Gary Wilcox, Phil Hulse and Duncan Wilcox) they certainly deliver a full rich and textured sound, which is clearfrom the album's opening tracks. The album has 12 great tracks, all presenting different flavors of the band's unique sound and their influences. There is even an unaccompanied track, A Mothers Love, which was the big surprise and helps break up the album from the rest of the material, which is generally moreenergetic and guitar-led. This track also showcases one of their strengths and that is their relaxed and heart-felt harmonies. Gary Wilcox is in charge of lead vocals, singing, at times, in the style of Jon Boden (of Bellowhead), John Jones (of Oysterband) and Mark Chadwick (of The Levellers). Here lie three of the band's key influences, which were all easily recognizable to me throughout the CD. All three of these influences can be heard on Perkin Warbeck.

The Queensberry Rules also demonstrate that their influences are not necessarily placed within the boundaries of Folk Music but in modern day rock music as well. A classic example for me was The Miles Around, where they tip their hat slightly to Radiohead's No Surprises, with the acoustic guitar backed by the Xylophone, an instrument that you hardly ever hear in folk, which makes these musicians sound different from just another acoustic folk roots band. I would choose to describe The Queensbury Rules as a contemporary-traditional group. By that, I mean, they perform contemporary-traditional songs (those that are not traditional but sound like they should be, either musically or lyrically). Traditional songs (and folk songs in general) aim to tell a story and the album is a selection of stories, as the title suggests, from the Black Dog, Perkin Warbeck and The Herring Girl. On first reflection it can be thought that they wear their influences on their sleeves but listen again and you will find enough new ideas and directions to balance everything up.

The Queensberry Rules are one of a growing number of young modern acoustic roots bands, which also include The Machine Breakers, whose album I have also heard. I will say that I prefer the `Rules' album much more as it is much easier on the ear and you don't need to be in the right mood to listen to it. Even with four albums already available this band still sound new and fresh. I'm sure they are destined to keep growing musically and in status and are sure to be around for many years to come. That said, I would fully recommend you hear this and their other albums. I think you will be very impressed, as I was.

Reviewer: Martin Cornelius

The up-and-coming Queensberry Rules trio consists of Phil Hulse (vocals, guitar, bouzouki, harmonica), Duncan Wilcox (vocals, fiddle, double bass, mandolin) and Gary Wilcox (vocals, percussion). Since coming together in 2001 they have released three albums before this one, played many folk clubs and festivals, and supported artists such as Jez Lowe, Christine Collister and Chris & Kellie While. Their mostly self-penned songs reflect folk, bluegrass, country, blues and skiffle influences, all combined with wry lyrics, catchy choruses and splendid tunes. The group’s enthusiasm and commitment are apparent in their live performances and this new CD (which also features a video of The Black Dog) covers a wide range of themes, from contemporary issues to reflections on Perkin Warbeck and a fine interpretation of a traditional song, Rounding The Horn. Other highlights include The Herring Girl (a wistful number that could have been written by Billy Bragg), Can't Comprehend (a reaction to the devastating Asian tsunami of 2004), touching a cappella harmonies on A Mother’s Love, and Architects Of The Fall (a heartfelt plea for genuine free trade). The defiant opening track, Sinking Town, also features on Fellside’s excellent landmarks compilation. Highly recommended.

Don't be fooled by what look like a petulant rock band on the album cover -this British trio features enthusiastically cynical, but uptempo folk. Especially enjoyable is Phil Hulse's cleanly played guitar work, reminiscent of a young Richard Thompson. He plays bouzouki, banjo and harmonica, too. Holding down the percussion end is Gary Wilcox; his brother Duncan plays bass, mandolin, fiddle and cowbell. Starting with an airtight vocal harmony part, "Jam Jar Wakes" recalls the exuberance of visiting a local fair. The chorus is so singable you’ll walk around all day humming it. “Conspiracy” dryly assures us of “facts” about Elvis, the grassy knoll and Roswell. While “Saggar Makers Bottom Knocker” sounds like a comedy piece, it’s actually a bleak tune about labourers in the pottery industry from the 1700s and later. The title cut chronicles the loss of jobs in the U.K., particularly the movement of industry to other countries. “Flowers” is a ‘60s style death ballad complete with mournful chorus. The production is clean and the arrangements refreshing, with plenty of hooks and well-blended vocal harmonies. While the overall musicianship is great, the harmonica was a bit off-key in places and some of the percussion sloppy, but who cares, it only adds to the overall live vibe of this disc. I’ll bet these guys are a hoot in concert.

Reviewer: JA

Singer-songwriters are two-a-penny in many folk clubs, often with instantly forgettable tunes and dismal lyrics of failed relationships or social hardship; if they make a CD, the effect is little better. From time to time, however, an album , such as 'Heritage & History, comes along which is is clearly in a very different league, and a real pleasure to listen to. Queensberry Rules are a trio from the Midlands that have played in a supporting role to some top names in the pop-folk-rock scene. Their material, all self-penned except for a Dick Gaughan cover (Both Sides of the Tweed), is well-written and interesting, social comment perhaps but never in your face. The accompaniments, on a variety of percussion & string instruments are melodic, powerful but in no way electric folk rock, and with good tunes and vocal delivery, altogether much easier on the ear! The title, and opening track is brilliant - all that remains is Heritage & History when the traditional industries have gone, but it retains hope, like the imaginative Mapman. As another song title says, you can't please everyone, but this album should certainly satisfy many!

Reviewer: Colin Andrews

When I first read the sleeve notes and saw snare drums and bongos, my heart sank. They are not my favourite instruments. I put the CD on and listened and I was very pleasantly surprised.

The Queensberry Rules are three young men who sing and play in a modern up beat way which is likely to appeal to the younger generation. They have important messages to pass on and they manage to do this in a lively but meaningful way. The demise of industry in this country and life in the not too distant past, are written about with feeling but not sentimentality.

Being a lover of traditional song or self penned songs performed in the traditional way, I am encouraged by the way The Queensberry Rules have managed to add life and vibrancy to words which have such depth of meaning. Their rendition of Both sides of the Tweed performed their way is refreshing to hear. I'm sure these young men will go far and also that they will hear other people singing "their" songs in folk clubs around the country. I will certainly watch out for them to appear at a festival or club near to me so that I can see if their stage presence is as good as their CD. I feel that groups such as this one will encourage the younger generation to listen to the message and be mindful of our past and what little we have left and hopefully encourage them not to abuse it. Well done The Queensberry Rules, keep writing and performing in your own chosen way.

Reviewer: Marje Stanley

Heritage & History, meanwhile, proves The Queensberry Rules to be quick learners. Only a couple of years ago they were despondent, diffident rock musicians, tired of the gig and grind. Now they’re stripped back, tight, acoustic and full of vim and vigour. The folk scene has taken to their good-natured humour and instantly accessible material, these guys listen and react. Suggestions are taken on board, they try things, making them approachable and flexible. Give us something more rooted, more obviously folksy cried the fans – so they have, adapting Dick Gaughan’s Both Sides The Tweed as folk beat – jolly fine it is too, an obvious single should they want one. Saggar Maker’s Bottom Knocker – not some weird perversion but an archaic pottery trade – and Jam Jar Wakes both show how they’re using their own North Staffordshire patch to create a distinct identity. Yet they’ve not lost any of their Braggish etiquette: Mapman and Birmingham Song are food for thought. Moreover, they’re maturing on stage, I’ve seen a couple of festivals this summer where they pulled dismal bills out of the mire and made everybody smile. All in all then, pretty damn good.

Reviewer: Simon Jones

The Queensberry Rules offer a good name and an enticing sleeve for their second album Six Gun Heroes (Confidential Waste Music).

They are also hot on lyrics, as witty/sad dating song GSOH enticingly demonstrates.

The vignettes of modern life are colourful enough but the earnestly plodding arrangements and delivery are worryingly retro.

Reviewer: Colin Irwin

Immediate sound from acoustic popsters, Queensberry, who claim they’re creators of contemporary folk song! Hmmm. Clean cut, strings and just enough angst. They’re not angry just mildly wrankled, When This Was All Fields. Equally adept at harmony, they credit Woody Guthrie as a benign, spiritual influence. Interestingly, they’ve copped Josef Porter’s love of history here, re-jigging the story of Charles II’s escape as eyewitness news, flashes of Reginald Perrin inhabit The Man Who Walked Into The Sea, showing a black sense of humour. Arcane Magician and We’re Not Moving To California display a healthy dose of cynicism. All round decent enough debut lads, but begin to explore your own back yard a bit more, must be plenty of stories worth telling there.

Reviewer: Simon Jones

Acoustic trio The Queensberry Rules have produced an inventive, intelligent and well-crafted first CD. The main musical focus is the vocals, nicely sung and adorned by some fine harmonies. Songs are thoughtful, individual snapshots of modern life from the perspective of a young bloke who thinks there’s more to things than the next issue of Loaded. There’s the sad picture of sad people in A Problem Shared and the splendidly ironic (We’re not) Moving To California. The last song, You Don’t Need Heroes, You Just Need Friends is lovely, the lapse towards cliché about trying “to make sense of it all” offset by some nicely witty lines, like “I asked ‘Are you the Messiah?’ and you said “Come again?”

There are some less successful stabs at bigger historical perspectives, including a song about saving Charles the Second. Why? Possibly useful if faced with an audience thirsty for heritage or blood, but much less interesting than the songs where they know about things first hand.

But, aside from these reservations, Look Beyond The Physical is a promising album which leaves you hoping to hear more from the group in the future.

Reviewer: Robb Johnson

Thanks to new breed of artists like Nick Harper and The Bush, the Tree and Me, folk music is becoming poppier. The Queensberry Rules definitely aim to join them. Before September 2001, however, the trio were three quarters of “semi-successful” guitar band Bonetti who began as a folk-pop outfit some nine years ago. Consequently, the intense yet minimalist accompaniment (guitar, double bass and drum) to this album’s bittersweet lyrics, occasional humour and the odd history lesson is the epitome of fluency.

Still for an outfit aiming to bring ‘new folk’ to a wider audience he best song is When this was all just fields, a paean against indiscriminate development – it’s vaguely reminiscent of sixties protest songs. Crossover potential is also limited by the fact the album is only available by mail order so to bag yourself a copy and get your ears around Look beyond the Physical.

Reviewer: Joe Lavelle