This collection is memorizing. When I first learned that Peter Lacey and Stephen Kalinich were putting together a recorded effort, I was intrigued at the prospect. Lacey’s effervescent compositions and Kalinich’s whistful lunge into prose always make for unique explorations into sound scapes. Peter and Stephen draw the expressiveness out of one another in an art form almost all its own. Perhaps the greatest strength of this album is the marriage of English history with music expressed through Kalinich’s eyes. When Stephen takes a break, Peter takes the reins and doesn’t let go. Like the song says, “This Is The Time For Laughing.”

Reviewed in Endless Summer Quarterly by David Beard, USA

The duo of Peter Lacey and Stephen Kalinich has created a quiet masterpiece with South Downs Way. As is my past habit of listening to Peter Lacey releases, I always give it several spins before I really pay attention to the lyrics, to let it sink into my subconscious. But this time I couldn't escape the intertwining of the lyrics and the melodies to evoke emotions, and not many artists can do that! The album touches on heavy themes - such as war, with uplifting themes - hope and beauty; the end result being a metaphor about the "journey of life". Despite the heavy subjects of some of the songs, the ultimate message of the album is "the spirit of eternal hope", and the album ends on a very uplifting note with its final song. South Downs Way is the perfect balance of beautiful melodies and evocative lyrics - so far, my favorite album of the year.

Reviewed in Ear Candy by Ronnie Dannelley, USA

Plenty of us are healthily obsessed with the sonic architecture of The Beach Boys: but few can claim a more thorough understanding of the inner workings than the great Peter Lacey. Peter's albums have staked out an elegant, weightless territory which to my ears nods more towards Carl Wilson than Brian (specifically, the Surfs Up-era visionary of 'Feel Flows' and 'Long Promised Road'). It was surely inevitable that he would eventually come to the attention of The Beach Boys' inner circle, and so it has proved with South Downs Way, a collaboration with Stephen Kalinich. Stephen worked as a lyricist with The Beach Boys, and South Downs Way weaves his emotive, avowedly pacifistic narrative poetry into a range of intensely melodious backdrops. To hear the title suite, 'The Rose & The Weed' and 'He Loves Her (More Than She Will Know)' is to be pleasantly reminded of 'Mt Vernon & Fairway' and even The Doors' An American Prayer, while the luscious pulse of 'Play On Maestro' and 'I Know Roads' will effortlessly satisfy the cravings of my fellow Carl-o-philes.

Reviewed in Shindig! by Marco Rossi, UK

One-time Brian Wilson collaborator Stephen Kalinich and Peter Lacey (the cult contemporary songwriter) create 10 delicate songs on South Downs Way, inspired by the lovely hilly surrounding of Sussex. When Lacey takes the mic, comparisons are instantly drawn to Surf's Up-era Beach Boys, while Kalinich's spoken-word poetry is more of an aquired taste. The synth-based production lets the side down at times but, all in all, this should sate the appetite of Brother Records fans.

Reviewed in Record Collector by Jon 'Mojo' Mills, UK

On the face of it we have here an unusual pairing - Peter Lacey, Sussex’s “one man in a loft studio” soft rock cottage industry, meets Californian globetrotting poet and lyricist Stephen J Kalinich. Each has a strong style and identity of their own, but this intriguing pairing brings a synergy all of its own rooted in their common and shared interests. Peter has long given us music of depth, woven with deep, questioning, evocative, mysterious, sometimes introspective, lyrical and musical/vocal textures drawn from a richly coloured palate. Stevie has graced us with his lyrical dexterity, broad vision and emotional renditions of his poetry for more than 4 decades. Both of these artists allow their love of nature and landscape, optimism, and humanity to infuse their work. Both are also able to use elements (both lyrically and musically) of the past, and past times, to inform the present and the future. And of course both are steeped in their own way in the music and influences of the music of The Beach Boys and Brian Wilson - Peter reflecting this in his song writing and lush vocal arrangements, and Stevie with his long membership of the inner circle of the Beach Boys world spanning from the 60’s to the present day. On meeting in 2008, they recognised a kindred spirit, both musically and in their lyric poetry, and the project was born then and there. The song writing and recording flowed easily during that spring and summer. The album title, South Downs Way, was inspired by Stevie's love of nature and he fell in love with the rolling Sussex landscape around Brighton, Peter's own native countryside.

The material on the album itself is a mixture of songs and narratives, exploring emotions, feelings, humanity, some preoccupation with war, and a quest for peace- particularly, but not exclusively, in its centrepiece, the 'South Downs Way Suite'. The structure of the album takes in gentle melancholy, war and humanity, and ultimately, optimism. Instrumentally Peter too goes into some new territory - his affecting sound effects/collages underpin the delivery of Stevie’s poetic tours de force. 'I know Roads' kicks the album off - beautifully sucking the listener gently in to an inner journey of mixed emotions. It’s a gentle acoustic guitar and bass driven number, using flute effects and distorted guitar solos. The following track, the superb 'Play On Maestro' is very Beach Boys meet The Pearlfishers (praise indeed) in feel, with rich, lush harmonies reinforcing its melancholic air. Stevie’s insistent narrative is then set to a tense rhythm track on '27 Young Men' a post apocalyptic war verse, with a Universal Soldier theme. 'Humanity (The Best You Can Be)' is another gentle, philosophical, questioning piece, featuring a light acoustic guitar track offset by Peter’s effortless vocal. It fades slowly, with both lyrics and chord sequence unresolved...

Now comes the centrepiece of the album. The 'South Downs Way Suite', split into 3 parts: 'Picture Window', 'South Downs Way' and 'Chattri'. The listener is taken on a sonic journey in music and narrative (and utilising sound effects), evoking by turns ideas/moods/feelings/memories and resonances. Stevie sets the scene describing the view of the Downs outside his window ('Picture Window'). Then we are led out into the countryside itself ('South Downs Way'). This element, part folk tune, part narrative journey, with Grapelliesque violin features evoking times gone by, leads us into 'Chattri'. The Chattri is an Indian monument on the Downs, erected in memory of 1st World War Sikh and Hindu soldiers cremated there. Stevie was fascinated by the white marble temple rising out of the meadows of the South Downs, and a narrative and instrumental emerged from Peter and Stevie's visit there. This narrative reverie on time spent there, considering what it represents and reflecting on the nature of war is complemented by Indian instrumental drones and (gentle wind chime?) sound effects.
The next track 'Widows Whisper' flows naturally on from where the “Suite” ends. Driven by a military marching track and sound effects evoking explosions, a bell tolling and the tunes soldiers may hum, the track considers Stevies thoughts on visiting the War Graves in Northern France, and considers a wider reflection on the “voices of war” and “useless atrocities”.

The mood is broken by the rockier 'This Is The Time for Laughing', much more about Stevie exhorting the listener to live in the moment, wherever they may be, containing the catchy chorus refrain of “rise and shine like a starflower, laughter all the way, shine on Stevie K!”. 'He Loves Her More Than She Will Know' starts with just piano and is joined by a rich wordless backing vocal, while Stevie narrates a short poem of longing- beautiful. The track runs into 'The Rose And Weed Together', another narrative of optimism and hope, underpinned by Peter’s rhythmic, brooding backing track. The final track 'At The Village Hop' is a light-hearted closer to the album (remember those early Beach Boys albums?). The guys act out a short tale – their arrival, introductions and performance of a corny ragged RnR scat instrumental and vocal at the Village Hop, to the cheers of the assembled kids. All in all an unqualified triumph - a work of understated low key instrumentation and vocal arrangements, set against powerful lyrical and narrative performances. A superb set, possibly the best yet from either artist. Highlights for me have to be 'Play on Maestro' and the 'South Downs Way Suite' - but it’s difficult to single out the highlights in a work of such consistency. This album is a joy. Apparently their creative juices are still flowing, and we should expect more - and I for one can’t wait.

Reviewed in Good Vibrations by Chris Branch, UK

Peter Lacey is a songwriter who’s joined by Stephen J Kalinich who’s worked with many of the greats including Randy Crawford and Brian Wilson. The results are quiet but very appealing. 'I Know Roads' is a sweet and evocative opener, with a soft lead vocal. '27 Young Men' is a narrative about war that manages to be quite stirring. The backing is soft and suggestive. 'South Downs Way Suite' is a few songs linked together and it works just fine. It’s a spoken narrative of great lyrical sensitivity that proves the duos approach is fresh and innovative. 'The Rose and the Weed' is carefully put together and shows the duo at their best. It’s a wonderful album, all told.

Reviewed at Collected Sounds by Anna Maria Stjärnell, USA

Spoken word projects are a strange beast, rarely, very rarely do they deserve or require repeated listenings (aside from 'American Prayer', which was in truth a masterpiece of sleight of hand misappropriation). To be frank you either love them or loathe them. Peter Lacey has taken a vast side step in direction and teamed up with Stevie K and created a hybrid work that combines the modus operandi of both artists in such a way that such disparate idioms become a wholely uniformed whole. The words are used for emotive as much as literal effect, sometimes the music detracts and on others the poetry/narration diverts attention away from the music, but it's this juxtaposition of styles that make it a refreshing stylistic work. According to Stevie, the two met when Stevie performed Galactic Symphonies in Brighton, with accompaniment by Richard Durrant. Peter sensing he could equal, if not surpass, that particular collaborative effort, approached Stevie and like the best song writing partnerships, the first few pieces were written within weeks. The South Downs Way became the foundation for the pair, becoming “a shared place of inspiration” for them; many great photos exist from these lazy, hazy, halcyon Spring/Summer days.

'I Know Roads' is a Beam! flavoured opener; a few fine harmonies and not much else - a gentle "intro to the album" that sets the benchmark for what is to follow. 'Play On Maestro' is another slight track, gently passing hither and thither but leaving little mark. Peter's vocal is amongst the best he's sung, sounding like Macca at places; after years of trying he's found a melody he seems perfectly at home with. '27 Young Men' is the first of Stevie's WW1 reflections/musings; a very heartfelt poem dealing with the sheer horrors and waste of war. Peter, in a moment of genius, took Stevie's desperation and wedded it to an upbeat almost funky track; the contrast is sublime and by far the most succesful song so far. 'Humanity (The Best You Can Be)' is another torch ballad sung by Peter; his gently lilting vocal brings back to the Lacey sound of old. Not as interesting as the previous track, but certainly a far more universally appealing one. The 'South Downs Suite' starts with a Stevie submission entitled 'Picture Window', then a strange violin led trad folk song interjects/interrupts Stevie's earnest recitation until he pops up again singing the virtues of the part of the world I grew up in and love the most. I can totally relate to this suite; for anyone who's walked the Seven Sisters thru Seaford Head or traipsed across the northern Downs, this is a perfect descriptive piece. A short but beautiful vocal overdub leads into a strange, totally out of place (until you wrestle with the geography, there are many war memorials littering the Downs) war flavoured poem which is rescued by a brilliant Eastern flavoured outro.

'Widows Whisper' can be found on YouTube (thanks Freddie Ray Orbit); Jules and I were treated to it when we collected the Alan cds from Freddie's Hobbitt Hole; he was justifiably proud of his efforts, although I agree with Buggles on the film/music marriage, I can see the images in my mind and often they don't match Freddies, but heck, it's had a zillion hits so someones doing something right. 'This Is The Time For Laughing' is upbeat, fun and lyrically mawkish, containing a line so truly awful that my fingers can't type it; then again, every good album can carry a 'Sloop John B'. 'He Loves Her (More Than She Will Know)' is by far the most radio friendly song; almost Beach Boyish with Stevie giving his subtlest recitation. It's both lovely and too damn short - we need a F.R.O remix . 'The Rose & The Weed' should follow on from the 'South Downs Suite' and, on my ipod, it does. Another terrific Eastern bit; if only Peter would record an entire album of tabla, sitar, swordmandel and dilruba music, I would die a happy man - he certainly has a gift and feel for the genre. 'At The Village Hop' is the kind of coda The Bryds used to think was funny; at least they were stoned. If this is a Lacey/Kali party then count me out. 'This Is The Time For Laughing' was bad enough but this is a duffer - maybe funny... once. A strange (at best) way to end an album full of such snippets of beauty. In summation, there is enough worthwhile material here to interest both Peter and Stevie's legions of fans. Its NOT easy listening, but if you sit down with a bottle of anything, relax and listen - the rewards are huge.

Reviewed in Stomp by James Crowther, UK

The beauty of the South Downs enchanted poet and musician Stephen John Kalinich and has always had a place in the heart of singer-songwriter Peter Lacey as native of the area it covers. Now the pair with such a strong music pedigree have teamed up to release their album South Downs Way. Stephen put all the craft that he used as lyric writer for The Beach Boys and a staff writer for Motown Records into the project.

Multi-instrumentalist Peter, from Burgess Hill, is a hugely experienced session musician and has worked with hit maker Clifford T Ward. The South Downs Way album came about after the two met just across the hills from Mid Sussex in the seaside city of Brighton. They pooled their talent to produce a charming album of songs, spoken narratives and poems set to music and highlighting the charms of the rolling hills from Hampshire to Sussex. The album is likely to interest people who have a similar affection for the South Downs and have spent many hours walking on them.

Peter also turned cameraman for the project ,filming the beauty of the scenery depicted by the words and music on South Downs Way. He says special thanks are due to Paul Adsett, Rod Orrvell and Davinder Dhillon of the Chattru Society for their help. The album is on Pink Hedgehog records www.pinkhedgehog.com and iTunes.

Reviewed in the Crawley Observer, UK

The album South Downs Way by Peter Lacey and Stephen J Kalinich arrived this morning. Great cover art and an interesting short history lesson in the liner notes. Initial reaction to the content is pretty darn good, four tracks I would like to single out. 'I Know Roads' a moody but somehow also an uplifting track just about life. Very Sting like and that is meant as a compliment. I could see Sting perform a track like this. Now to '27 Young Men', the opening thuds hide what is coming, very powerfull words and a real cool instrumental break as two guitars struggle to outdo each other. 'Widows Whisper' a hard and unforgiving track about the futility of war. Close your eyes and you are almost in one of those horrendous foxholes. 'He Loves Her (More Than She Will Know)' just beautifull, great harmonies. My instant favouirite at present. A fan of Peter Lacey for many a year, his 'Sandman' track is one of my all time favourite tracks. I have never been a great fan of the spoken word, but my feelings are changing with the aid of albums like this. Check out the album, it is well worth your hard earned pennies.

Reviewed at Beach Boys Britain by Dave Maclean, UK

What a stroke of genius and good fortune it was when Stevie Kalinich hooked up with kindred spirit Peter Lacey on a visit to the Brighton Festival for a series of music/ poetry recitals. Peter’s reflective and beautiful 'I Know Roads' opens the album and it’s as good as anything he has done. Stevie’s '27 Young Men' is a poetic narrative ruminating on the waste and futility of war with some stunning electric guitar. The pinnacle of the album is the 3 part 'South Downs Way Suite' alternating between the two artists and coming together in unlikely but successful fashion. There is much, much more to enjoy on an extraordinary album which you might expect from a talent such as Lacey and a man who wrote two of the songs with Dennis Wilson on one of The Beach Boys’ best albums and the track 'Rainbows' from Wilson’s solo album Pacific Ocean Blue and has also worked with Brian Wilson. You will not hear anything quite like this for a long time, totally original and utterly absorbing.

Reviewed in Acid Dragon by Phil Jackson, FRANCE