Think of this: Fifties Rhythm and Blues back on the scene – crazy?

Martina Topley Bird has produced a sublime album, with a huge dash of Fifties Blues oozing from every orifice.

The relatively undocumented artist has produced a third successive album, The Blue God. It has quirks, deception, and creative brilliance written all over it. In a huge flank from current mainstream, Bird has sprung up a quite quixotic record. Eclectic blends of synths, strings and husky vocals conjure up a modern take on Nineteen-Fifties Rhythm and Blues.

It’s hugely bizarre how something sounding so dated can, at the same time, sound so contemporary. We have seen the resurrection of Sixties and Seventies Rock and Roll, now, Martina Topley Bird is sure to revive the beauty of Fifties Soul.

On a twelve-track LP, Bird takes the listener on a sure-to-be journey of serenity. The tracks are short lived in places, deriving a sense of disappointment of their early finish – but only until the next track comes on, and then you’re happy again!

Baby Blue is one of too many to mention highlights of the album. Distinctive in its Fifties Soul sound, a simple chord progression is all is needed to carry the song through as Bird quite beautifully – almost bird like – chirps her lyrics that lie peacefully on the ear.

Poison, another stand-out track, is upbeat in its comparative nature to the others, leaving a nostalgic hum in one’s head - once you’ve repeated the catchy number an incessant amount of times that is!

The Blue God, jam-packed with talent, soul and chill-out class, is a rejuvenated reminder of how much Rhythm and Blues should not be a thing of the past, nor indeed, is Martina Topley Bird.