Thursday 29 March 2012
23rd March 2005 - The Zutons - Brixton Academy
The Zutons were touring their first album "Who Killed The Zutons?" which at this point had been out for a year. However, they sounded really fresh and gave a really enthusiastic performance. What impressed me about the band live was their sheer musicality. The songs were really good, and a lot of thought had clearly gone into the arrangements of the songs when played live. Abi Harding's sax contributions were particularly tasteful. It really was a case of 'less is more' and there was no hint of showboating, although she is clearly a very accomplished player. This in fact goes for the whole band. Good songs played well by a band who were clearly enjoying the experience. What more could you want?
Wednesday 28 March 2012
23rd March 1982 - The Jam + Rudi - Leicester De Montfort Hall
This was one of the most keenly anticipated gigs that I have ever been to, and in some ways one of the most disappointing. The Jam were playing two nights in Leicester on their "Trans-global Unity Express" tour, and a lot of my friends had been the previous night. They had apparently played for about two-and-a-half hours and had played pretty much everything that you would want to hear.
The gig was a sell-out and De Montfort Hall was absolutely rammed. The support band Rudi were a punk band from Belfast, but I don't really remember very much about them. I remember The Jam's set was pretty firmly weighted in favour of the current album "The Gift". They had a keyboard player and a brass section on stage with them to enable them to do justice to the newer material. They had been on-stage for about an hour when Paul Weller's guitar started to cut out really badly. This had happened a couple of times earlier in the set but had appeared to have been fixed. However this time it seemed that things were irretrievable and Weller completely lost it. He took his guitar off, smashed it and his amplifier up and stormed off-stage.
The crowd became increasingly restive as the minutes ticked by. Eventually the cockney geezer-ish tones of John Weller (Paul's Dad and manager) came over the PA announcing that the gig was over and asking everybody to leave. He then added that he was sure that we would agree that we'd had our money's worth. This was a grave error as the audience went beserk! People invaded the stage and smashed up the band's gear. When people started to throw seats from the balcony onto the stage my mates and I decided it was time to leave. At least the pubs were still open......
The gig was a sell-out and De Montfort Hall was absolutely rammed. The support band Rudi were a punk band from Belfast, but I don't really remember very much about them. I remember The Jam's set was pretty firmly weighted in favour of the current album "The Gift". They had a keyboard player and a brass section on stage with them to enable them to do justice to the newer material. They had been on-stage for about an hour when Paul Weller's guitar started to cut out really badly. This had happened a couple of times earlier in the set but had appeared to have been fixed. However this time it seemed that things were irretrievable and Weller completely lost it. He took his guitar off, smashed it and his amplifier up and stormed off-stage.
The crowd became increasingly restive as the minutes ticked by. Eventually the cockney geezer-ish tones of John Weller (Paul's Dad and manager) came over the PA announcing that the gig was over and asking everybody to leave. He then added that he was sure that we would agree that we'd had our money's worth. This was a grave error as the audience went beserk! People invaded the stage and smashed up the band's gear. When people started to throw seats from the balcony onto the stage my mates and I decided it was time to leave. At least the pubs were still open......
22nd March 2004 - The Who + The Black Velvets - Kentish Town Forum
This was a warm-up gig for The Who's forthcoming appearance at the Royal Albert Hall in aid of the Teenage Cancer Trust, hence the relatively small (for The Who) venue.
Support came from The Black Velvets who were a pretty faceless generic rock band. They were an adequate live band certainly, but not particularly memorable.
The Who took the stage to the strains of Roger Daltrey singing "Maybe It's Because I'm A Londoner". Hmmmmm.... Luckily we didn't have to endure this for long as the band kicked into a very enthusiastic version of "Who Are You". A bit of a departure this as whenever I've seen them since the early 1980s they've tended to start with either "I Can't Explain" or "Substitute". Still, it was no matter as those two stalwarts followed immediately afterwards, together with "Anyway Anyhow Anywhere". There was then another departure from the norm when "Another Tricky Day" was hauled out of retirement. This was from their poorly received "Face Dances" album of 1981, and I'm pretty sure that it hasn't been played live since the early 1980s. It received a fairly muted response tonight, which reflects its standing in The Who's canon. It's by no means a bad song, it's just not a particularly good Who song.
Townshend's guitar playing throughout is astonishingly good. Fans may hanker for the glory days when The Who were recognised as the loudest band on the planet by the Guinness Book of World Records no less, but there is more in the way of light and shade in Townshend's playing than there was in days of yore. Sure he can still make your ears melt when he wants to with the loud bits, but when he turns the volume down there are some marvellous moments of delicacy.
"Who's Next" gets a good seeing-to by way of a very raw "Bargain", "Baba O'Riley" and "Behind Blue Eyes". Likewise "Quadrophenia" is revisited with "5.15", "Sea And Sand" and "Love Reign O'er Me" being dusted off. This was the first time I had seen The Who since John Entwistle's sad passing, and I was delighted at how well Pino Palladino's playing fitted in with the rest of the band. However, there were moments when the power of Entwistle's attack was very sorely missed. A key example was the introduction to "Baba O'Riley". When the bass and piano came in it sounded terribly weedy. This is only a minor quibble however.
The early 1980s were revisited again as we got "Eminence Front" from "It's Hard" and "You Better You Bet" from "Face Dances". These two songs are probably the only ones from this part of The Who's career which really stand up. It probably doesn't hurt that "You Better You Bet" was their last hit single, reaching the lofty position of no.9 in 1981.
Then something very unexpected happens. The Who play a new song. There is much confusion and head-scratching in the audience. Probably. Townshend explains that "Real Good Looking Boy" is their new single, and that their record company have transferred the band from the part of the label which is "for dead people" to the part which is for active artists. Hooray! The song itself is a little underwhelming, starting with an intro which quotes "Can't Help Falling In Love With You". However, it's still very exciting to hear new Who material. In the event the single doesn't get a full release. It simply gets added to the new singles box set. A pity.
"The Kids Are Alright" and "My Generation" follow in quick succession and then it happens again: another new song! This is "Old Red Wine" which is Townshend's tribute to John Entwistle. Entwistle apparently collected very old, expensive and pretty much undrinkable red wine, hence the title. It's a fairly slow ballad. However, the coda is far more interesting: a stinging guitar riff displaying all the hallmarks of classic Who material. A hopeful sign for the future!
That coda leads into a vicious version of "Won't Get Fooled Again" which ends the main set. The band put a skimming stone through "Tommy" ("Pinball Wizard", "Amazing Journey", "Sparks" and "See Me Feel Me / Listening To You") for the encores and another Who gig ends.
Although there are now only two original members of the band left, the character of The Who is undiminished. With a Who gig you can never be sure of what is going to happen. There is always the impression that they are only just getting through by the skin of their teeth and the whole thing may fall apart at any moment. During this gig there were guitar errors, Daltrey forgot lyrics and there was absolutely no attempt to hide those errors, and the gig was all the better for it.There's a temptation to view The Who as sort of indestructible and tonight's gig only reinforced that temptation. Sure Townshend looked absolutely knackered at the end of the main set, but this was a robust performance and a thoroughly great gig.
Support came from The Black Velvets who were a pretty faceless generic rock band. They were an adequate live band certainly, but not particularly memorable.
The Who took the stage to the strains of Roger Daltrey singing "Maybe It's Because I'm A Londoner". Hmmmmm.... Luckily we didn't have to endure this for long as the band kicked into a very enthusiastic version of "Who Are You". A bit of a departure this as whenever I've seen them since the early 1980s they've tended to start with either "I Can't Explain" or "Substitute". Still, it was no matter as those two stalwarts followed immediately afterwards, together with "Anyway Anyhow Anywhere". There was then another departure from the norm when "Another Tricky Day" was hauled out of retirement. This was from their poorly received "Face Dances" album of 1981, and I'm pretty sure that it hasn't been played live since the early 1980s. It received a fairly muted response tonight, which reflects its standing in The Who's canon. It's by no means a bad song, it's just not a particularly good Who song.
Townshend's guitar playing throughout is astonishingly good. Fans may hanker for the glory days when The Who were recognised as the loudest band on the planet by the Guinness Book of World Records no less, but there is more in the way of light and shade in Townshend's playing than there was in days of yore. Sure he can still make your ears melt when he wants to with the loud bits, but when he turns the volume down there are some marvellous moments of delicacy.
"Who's Next" gets a good seeing-to by way of a very raw "Bargain", "Baba O'Riley" and "Behind Blue Eyes". Likewise "Quadrophenia" is revisited with "5.15", "Sea And Sand" and "Love Reign O'er Me" being dusted off. This was the first time I had seen The Who since John Entwistle's sad passing, and I was delighted at how well Pino Palladino's playing fitted in with the rest of the band. However, there were moments when the power of Entwistle's attack was very sorely missed. A key example was the introduction to "Baba O'Riley". When the bass and piano came in it sounded terribly weedy. This is only a minor quibble however.
The early 1980s were revisited again as we got "Eminence Front" from "It's Hard" and "You Better You Bet" from "Face Dances". These two songs are probably the only ones from this part of The Who's career which really stand up. It probably doesn't hurt that "You Better You Bet" was their last hit single, reaching the lofty position of no.9 in 1981.
Then something very unexpected happens. The Who play a new song. There is much confusion and head-scratching in the audience. Probably. Townshend explains that "Real Good Looking Boy" is their new single, and that their record company have transferred the band from the part of the label which is "for dead people" to the part which is for active artists. Hooray! The song itself is a little underwhelming, starting with an intro which quotes "Can't Help Falling In Love With You". However, it's still very exciting to hear new Who material. In the event the single doesn't get a full release. It simply gets added to the new singles box set. A pity.
"The Kids Are Alright" and "My Generation" follow in quick succession and then it happens again: another new song! This is "Old Red Wine" which is Townshend's tribute to John Entwistle. Entwistle apparently collected very old, expensive and pretty much undrinkable red wine, hence the title. It's a fairly slow ballad. However, the coda is far more interesting: a stinging guitar riff displaying all the hallmarks of classic Who material. A hopeful sign for the future!
That coda leads into a vicious version of "Won't Get Fooled Again" which ends the main set. The band put a skimming stone through "Tommy" ("Pinball Wizard", "Amazing Journey", "Sparks" and "See Me Feel Me / Listening To You") for the encores and another Who gig ends.
Although there are now only two original members of the band left, the character of The Who is undiminished. With a Who gig you can never be sure of what is going to happen. There is always the impression that they are only just getting through by the skin of their teeth and the whole thing may fall apart at any moment. During this gig there were guitar errors, Daltrey forgot lyrics and there was absolutely no attempt to hide those errors, and the gig was all the better for it.There's a temptation to view The Who as sort of indestructible and tonight's gig only reinforced that temptation. Sure Townshend looked absolutely knackered at the end of the main set, but this was a robust performance and a thoroughly great gig.
22nd March 1986 - The Cherry Bombz + The Baby Sitters + Dogs D'amour - Birmingham Portland Club
This was an evening of rock'n'roll writ large. Dogs D'amour were a Faces influenced bunch from the North-East of England led by the indefatigueable Tyla. I believe they're still going in some form today. The Babysitters had previously supported Hanoi Rocks on tour so their place on the bill was well deserved, as The Cherry Bombz were Andy McCoy's post Hanoi Rocks band. Their singer was the very lovely Anita Chellemah who had previously been a backing singer for Billy Idol. If you think of The Cherry Bombz as a female fronted Hanoi Rocks then you're not very far off course, and they were every bit as good and enjoyable as that comparison suggests.
Monday 26 March 2012
20th March 1986 - The Nightingales + Ted Chippington + We've Gotta Fuzzbox and We're Gonna Use It + compere: John Peel - Birmingham University
John Peel was an arbiter of musical good taste for at least two or three generations of music fans, therefore any tour to which he lent his support was not to be missed. It was pleasing to discover that even when he was speaking on stage he was as diffident and understated as he was on the radio. I don't know whether John actually chose the acts for this tour, but I suspect he may have had some hand in it. They were all pretty different from each other, but were of a similarly high standard.
We've Got A Fuzzbox and We're Gonna Use It looked like the result of a series of explosions in dressing-up boxes and make-up drawers. Both their look and their music had a certain day-glo quality. They were obviously barely tutored in their instruments, but their sheer creativity overcame that obstacle. This was no virtuoso performance but their material was very good, especially "XXSex". Unfortunately they had to run the gauntlet of bad undergraduate humour (e.g "show us yer fuzzbox!"). They were very imaginative, but were later given a corporate pop sheen by WEA and re-branded as Fuzzbox.
Ted Chippington was a spoof working men's club comedian and singer. His jokes were given a very flat delivery and usually started with the line "walking down the road the other day", for example: "walking down the road the other day I was stopped by one of those long-haired blokes (you've seen them around) and he said 'hello mate, would you like some grass?' I said 'I've got crazy paving mate, grass is no good to me'". Hopefully this gives you a flavour of his humour. He'd had an EP released called "Party Hits of the 50s, 60s and 70s" on which his 'singing' was every bit as flat as his vowels. He was actually hilarious but some of the students just didn't get it. One bloke yelled out: "who the f*** are you?!!" Without missing a beat Chippington replied: "Ted Chippington's the name mate". They don't tell 'em like that anymore.
A degree of gravitas was brought to proceedings by The Nightingales who were perceived as 'proper' artists. They were promoting what would be their final album before splitting: "In The Good Old Country Way". The quality of Robert Lloyd's songwriting was never in doubt, and his sonorous baritone only served to underline that quality, inviting the audience to listen as well as leap about. Whatever your reaction to them, they certainly didn't give the impression of a band about to implode. All in all, a memorable gig!
We've Got A Fuzzbox and We're Gonna Use It looked like the result of a series of explosions in dressing-up boxes and make-up drawers. Both their look and their music had a certain day-glo quality. They were obviously barely tutored in their instruments, but their sheer creativity overcame that obstacle. This was no virtuoso performance but their material was very good, especially "XXSex". Unfortunately they had to run the gauntlet of bad undergraduate humour (e.g "show us yer fuzzbox!"). They were very imaginative, but were later given a corporate pop sheen by WEA and re-branded as Fuzzbox.
Ted Chippington was a spoof working men's club comedian and singer. His jokes were given a very flat delivery and usually started with the line "walking down the road the other day", for example: "walking down the road the other day I was stopped by one of those long-haired blokes (you've seen them around) and he said 'hello mate, would you like some grass?' I said 'I've got crazy paving mate, grass is no good to me'". Hopefully this gives you a flavour of his humour. He'd had an EP released called "Party Hits of the 50s, 60s and 70s" on which his 'singing' was every bit as flat as his vowels. He was actually hilarious but some of the students just didn't get it. One bloke yelled out: "who the f*** are you?!!" Without missing a beat Chippington replied: "Ted Chippington's the name mate". They don't tell 'em like that anymore.
A degree of gravitas was brought to proceedings by The Nightingales who were perceived as 'proper' artists. They were promoting what would be their final album before splitting: "In The Good Old Country Way". The quality of Robert Lloyd's songwriting was never in doubt, and his sonorous baritone only served to underline that quality, inviting the audience to listen as well as leap about. Whatever your reaction to them, they certainly didn't give the impression of a band about to implode. All in all, a memorable gig!
Last Week's Boat Floaters
Treetop Flyers - Bury The Past
Country rock from London!
The Beatles - Live At The Star Club, Hamburg 1962
Appalling sound quality - raw energetic performances! The Fabs have been repeatedly suppressing this since it was first issued in 1977. It has come out in various guises, being rapidly withdrawn each time. My copy is a Japanese import which, much to my amazement, I found in HMV a couple of years ago. Needless to say, I haven't seen a copy since. It's available on Amazon for £365 (my copy cost me a tenner), although used copies can be had for about £40.
Country rock from London!
The Beatles - Live At The Star Club, Hamburg 1962
Appalling sound quality - raw energetic performances! The Fabs have been repeatedly suppressing this since it was first issued in 1977. It has come out in various guises, being rapidly withdrawn each time. My copy is a Japanese import which, much to my amazement, I found in HMV a couple of years ago. Needless to say, I haven't seen a copy since. It's available on Amazon for £365 (my copy cost me a tenner), although used copies can be had for about £40.
Friday 23 March 2012
19th March 2002 - Vex Red + Halo - London Kings College
At the time of this gig Vex Red were being touted (I suspect mostly by NME) as being the next big thing. I hadn't heard anything by them that impressed me so there must have been some reason why my mate dragged me along.
We arrived at the venue, took a cursory look at the stage where Halo were re-heating somebody else's long dead ideas of what a rock band should sound like, and headed for the bar. As we did this, a pothead pixie in a stupid woolly hat bounded up and asked us whether we were "from Sony?". As one we rounded on him and said "no - f*** off!". I suppose he didn't think there could be any other reason why people who were possibly over thirty should be there.
Halo finished torturing their instruments and the sensibilities of the audience (none of this in a good way you understand) and Vex Red appeared. In my opinion the biggest curse that can be laid at the door of any band is declaring them to be the next big thing. My God - if that was the case regarding this lot then the only option left for me would be to remove my ears with whatever was available, even if it happened to be a broken plastic beer glass.
Vex Red had essentially jumped on the rear bumper of nu-metal, and were bouncing along the road behind that clapped out banger as it spluttered its last. They split up, got married and had kids (or did whatever else retired nu-metallers do) and we all lived happily ever after. The End.
We arrived at the venue, took a cursory look at the stage where Halo were re-heating somebody else's long dead ideas of what a rock band should sound like, and headed for the bar. As we did this, a pothead pixie in a stupid woolly hat bounded up and asked us whether we were "from Sony?". As one we rounded on him and said "no - f*** off!". I suppose he didn't think there could be any other reason why people who were possibly over thirty should be there.
Halo finished torturing their instruments and the sensibilities of the audience (none of this in a good way you understand) and Vex Red appeared. In my opinion the biggest curse that can be laid at the door of any band is declaring them to be the next big thing. My God - if that was the case regarding this lot then the only option left for me would be to remove my ears with whatever was available, even if it happened to be a broken plastic beer glass.
Vex Red had essentially jumped on the rear bumper of nu-metal, and were bouncing along the road behind that clapped out banger as it spluttered its last. They split up, got married and had kids (or did whatever else retired nu-metallers do) and we all lived happily ever after. The End.
19th March 1990 - The Stranglers + Ugly As Sin - Guildford Civic Hall
I'd seen The Stranglers at least three times before this gig, and as they were always a good proposition live, I wasn't going to miss this.
Support Ugly As Sin were pretty impressive. They had loads of attitude and the material to back it up. They also had two front people, a girl and a bloke who seemed to work well off each other. I looked forward to seeing them live again. Sadly I never got the opportunity!
It wasn't known at the time, but this would be Hugh Cornwell's last tour with The Stranglers, and I for one have always viewed his departure from the band as a bit of a tragedy. The band were touring their album "10", the lead single from which was a cover of "96 Tears". I didn't particularly rate the material from the new album, but the older stuff was presented with the customary venom. There was a particularly good rendition of "School M'am" during which a girl from the audience was called up on stage, given a mortar board and gown to wear, and invited to spank Hugh Cornwell, which she duly did!
When the band exited after the encores, one bloke in the audience was foolish enough to boo. What he hadn't realised was that Jean Jacques Burnel was crouching down at the front of the stage chatting to someone. At least the guy who booed can tell his grandchildren that Jean Jacques Burnel told him to f*** off!
Support Ugly As Sin were pretty impressive. They had loads of attitude and the material to back it up. They also had two front people, a girl and a bloke who seemed to work well off each other. I looked forward to seeing them live again. Sadly I never got the opportunity!
It wasn't known at the time, but this would be Hugh Cornwell's last tour with The Stranglers, and I for one have always viewed his departure from the band as a bit of a tragedy. The band were touring their album "10", the lead single from which was a cover of "96 Tears". I didn't particularly rate the material from the new album, but the older stuff was presented with the customary venom. There was a particularly good rendition of "School M'am" during which a girl from the audience was called up on stage, given a mortar board and gown to wear, and invited to spank Hugh Cornwell, which she duly did!
When the band exited after the encores, one bloke in the audience was foolish enough to boo. What he hadn't realised was that Jean Jacques Burnel was crouching down at the front of the stage chatting to someone. At least the guy who booed can tell his grandchildren that Jean Jacques Burnel told him to f*** off!
18th March 1998 - Rialto - London Oxford Street Virgin Megastore
This was a lunchtime in-store gig to promote Rialto's self-titled album, and as it was taking place just around the corner from my office it seemed rude not to go.
The band were onstage for the best part of an hour and I think played the whole album, including the singles "Untouchable" and "Monday Morning 5.19". They were a very tight live band and I must confess that I thought their brand of classy indie rock would take them a long way. Louis Eliot is an extremely good songwriter and I suspect that the reason that the band didn't get much further (they released a second album "Night On Earth" in 2002) was simply because they weren't heard enough!
The band were onstage for the best part of an hour and I think played the whole album, including the singles "Untouchable" and "Monday Morning 5.19". They were a very tight live band and I must confess that I thought their brand of classy indie rock would take them a long way. Louis Eliot is an extremely good songwriter and I suspect that the reason that the band didn't get much further (they released a second album "Night On Earth" in 2002) was simply because they weren't heard enough!
16th March 1991 - Uriah Heep + Dangerous - Guildford Civic Hall
Uriah Heep are 1970s rock legends and this was the first time that I had seen them. However, we were first entertained by Dangerous about whom I remember little apart from them being a typical late 1980s heavy rock band. They did have a very good female singer however.
Uriah Heep have been around since 1969, although only Mick Box remains from the original line-up. The line-up from this particular gig had been together since 1987 (and would remain unchanged until 2007) and in addition to Mick Box comprised Bernie Shaw (vocals), Trevor Bolder (bass), Lee Kerslake (drums) and Phil Lanzon (keyboards). The band gave a committed and enthusiastic performance in what was a disgracefully sparsely populated Civic Hall. The audience consisted of two rows of people along the front of the stage, but the way the band performed you would have thought that the place was sold out. Now that's commitment!
We got superb renditions of "Stealin'", "The Wizard" and the wonderful "July Morning". I only feel sorry for the people who could have been there!
Uriah Heep have been around since 1969, although only Mick Box remains from the original line-up. The line-up from this particular gig had been together since 1987 (and would remain unchanged until 2007) and in addition to Mick Box comprised Bernie Shaw (vocals), Trevor Bolder (bass), Lee Kerslake (drums) and Phil Lanzon (keyboards). The band gave a committed and enthusiastic performance in what was a disgracefully sparsely populated Civic Hall. The audience consisted of two rows of people along the front of the stage, but the way the band performed you would have thought that the place was sold out. Now that's commitment!
We got superb renditions of "Stealin'", "The Wizard" and the wonderful "July Morning". I only feel sorry for the people who could have been there!
Sunday 18 March 2012
This Week's Boat Floaters......
Swell Maps - A Trip To Marineville
DIY from 1979
22-20s - 05/03
Fantastic live EP. They were a great band - whatever happened to them?
Anna Calvi - Anna Calvi
A future classic. In atmosphere very reminiscent of Grace by Jeff Buckley
Television - Marquee Moon
Tom Verlaine forever changes the way in which the electric guitar is perceived.
The Pogues - If I Should Fall From Grace With God
Bringing St Patrick's Day to life!!!
DIY from 1979
22-20s - 05/03
Fantastic live EP. They were a great band - whatever happened to them?
Anna Calvi - Anna Calvi
A future classic. In atmosphere very reminiscent of Grace by Jeff Buckley
Television - Marquee Moon
Tom Verlaine forever changes the way in which the electric guitar is perceived.
The Pogues - If I Should Fall From Grace With God
Bringing St Patrick's Day to life!!!
15th March 1986 - Heartbeat '86 - Birmingham NEC
This was a charity gig in aid of Birmingham Childrens' Hospital, and Birmingham bands from the previous twenty-five years or so stepped up to the plate to do their bit for a very worthy cause.
Proceedings kicked off with a set from the Steve Gibbons Band, who were West Midlands pub-rock heroes. They certainly looked very self-assured on the big stage, almost as if they played arenas every day of the week! They had a sniff of the big time in the mid 1970s when The Who took them under their wing for a while and they regularly supported the rock legends. They had also had a Top 40 hit in 1976 with a cover of Chuck Berry's "Tulane". That didn't get played today but they did play "Share It With You", "Till The Well Runs Dry" and "BSA".
This was very much a West Midlands mini Live Aid, and from the start it ran every bit as smoothly and slickly as that other great concert. Next up were The Fortunes who played the Everly Brothers' hit "Let It Be Me", and their own hit "You've Got Your Troubles".
Roy Wood followed. This gig was supposed to feature a performance from a re-formed Move, but Wood announced that this hadn't been possible "for various reasons" (he didn't go into details but sounded pretty pissed off about it). We were treated instead to a trio of Wizzard hits: "See My Baby Jive", "Are You Ready To Rock" and "I Wish It Could Be Christmas Every Day". It really was tremendous stuff and the crowd loved it, but all too soon Woody was gone.
UB40 and Ruby Turner pitched up with "I Got You Babe". The band had to start without Astro who seemingly had managed to get lost between the dressing room and the stage - shades of Spinal Tap! I thought UB40's first album ("Signing Off" from 1980) was a superb social commentary, and I was disappointed that they chose to produce what was essentially pop pap for the rest of their career.
The Applejacks re-formed specifically for the event and played their 1964 hit "Tell Me When". They were once dubbed 'the Solihull sound', but they sounded like typical unremarkable mid-60s British beat to me. However, they clearly meant a lot to people in Birmingham and it was good of them to re-form for this show. They certainly didn't give the impression that they hadn't played since the end of the 60s.
Denny Laine made a terribly nervous appearance to play "Go Now" which he had a hit with in 1964 with The Moody Blues. Laine had to have two attempts at the song before his ordeal was mercifully over.
Robert Plant, possibly one of the most hotly anticipated acts of the day, appeared next with The Big Town Playboys. The Big Town Playboys are a rock 'n' roll revival band, and their short set with Plant wasn't dissimilar to the mini-album that he'd recorded with Jimmy Page and Jeff Beck as The Honeydrippers the year before. Perhaps it wasn't what people expected from Robert Plant, but since the demise of Led Zeppelin he has made something of an art form of doing the unexpected.
The Rockin' Berries made a brief appearance performing their 1964 hit "He's In Town", before The Moody Blues appeared with all of their customary grandeur. The Moodies turned in a three song set which incorporated some of their best work: "Tuesday Afternoon", "Question" and "Nights In White Satin". Their music has always had a somewhat sumptuous quality, and this performance certainly did that quality justice.
The Electric Light Orchestra were the day's final band. This was their first UK gig since 1982, and would indeed be their last. A great pity as the band put in a storming performance. Again it was a veritable parade of hits: "Telephone Line", "Do Ya", "Rockaria", "Hold On Tight" and "Don't Bring Me Down". Then the band were gone.
Naturally there was going to be an encore, and the massed ranks of Brummies returned Live Aid finale style. Jasper Carrott (one of the day's comperes, along with Peter Powell and a very drunk and obnoxious Jim Davidson) made a short speech before introducing "the icing on the cake - the former Beatle George Harrison!" That was sufficient to light the blue touch paper and the whole place erupted! "Johnny B Goode" burst into life with George providing lead vocals for the first verse. After additional contributions from (a seemingly much recovered) Denny Laine and Robert Plant it was all over.
Whilst the show was inevitably weighted toward Birmingham's musical past it was a great opportunity to see some fabulous artists doing their stuff. It was however a pity that there weren't more of Birmingham's recent artists on the bill. Ultimately though it was a day of great music and it raised a lot of money for Birmingham Childrens' Hospital.
Proceedings kicked off with a set from the Steve Gibbons Band, who were West Midlands pub-rock heroes. They certainly looked very self-assured on the big stage, almost as if they played arenas every day of the week! They had a sniff of the big time in the mid 1970s when The Who took them under their wing for a while and they regularly supported the rock legends. They had also had a Top 40 hit in 1976 with a cover of Chuck Berry's "Tulane". That didn't get played today but they did play "Share It With You", "Till The Well Runs Dry" and "BSA".
This was very much a West Midlands mini Live Aid, and from the start it ran every bit as smoothly and slickly as that other great concert. Next up were The Fortunes who played the Everly Brothers' hit "Let It Be Me", and their own hit "You've Got Your Troubles".
Roy Wood followed. This gig was supposed to feature a performance from a re-formed Move, but Wood announced that this hadn't been possible "for various reasons" (he didn't go into details but sounded pretty pissed off about it). We were treated instead to a trio of Wizzard hits: "See My Baby Jive", "Are You Ready To Rock" and "I Wish It Could Be Christmas Every Day". It really was tremendous stuff and the crowd loved it, but all too soon Woody was gone.
UB40 and Ruby Turner pitched up with "I Got You Babe". The band had to start without Astro who seemingly had managed to get lost between the dressing room and the stage - shades of Spinal Tap! I thought UB40's first album ("Signing Off" from 1980) was a superb social commentary, and I was disappointed that they chose to produce what was essentially pop pap for the rest of their career.
The Applejacks re-formed specifically for the event and played their 1964 hit "Tell Me When". They were once dubbed 'the Solihull sound', but they sounded like typical unremarkable mid-60s British beat to me. However, they clearly meant a lot to people in Birmingham and it was good of them to re-form for this show. They certainly didn't give the impression that they hadn't played since the end of the 60s.
Denny Laine made a terribly nervous appearance to play "Go Now" which he had a hit with in 1964 with The Moody Blues. Laine had to have two attempts at the song before his ordeal was mercifully over.
Robert Plant, possibly one of the most hotly anticipated acts of the day, appeared next with The Big Town Playboys. The Big Town Playboys are a rock 'n' roll revival band, and their short set with Plant wasn't dissimilar to the mini-album that he'd recorded with Jimmy Page and Jeff Beck as The Honeydrippers the year before. Perhaps it wasn't what people expected from Robert Plant, but since the demise of Led Zeppelin he has made something of an art form of doing the unexpected.
The Rockin' Berries made a brief appearance performing their 1964 hit "He's In Town", before The Moody Blues appeared with all of their customary grandeur. The Moodies turned in a three song set which incorporated some of their best work: "Tuesday Afternoon", "Question" and "Nights In White Satin". Their music has always had a somewhat sumptuous quality, and this performance certainly did that quality justice.
The Electric Light Orchestra were the day's final band. This was their first UK gig since 1982, and would indeed be their last. A great pity as the band put in a storming performance. Again it was a veritable parade of hits: "Telephone Line", "Do Ya", "Rockaria", "Hold On Tight" and "Don't Bring Me Down". Then the band were gone.
Naturally there was going to be an encore, and the massed ranks of Brummies returned Live Aid finale style. Jasper Carrott (one of the day's comperes, along with Peter Powell and a very drunk and obnoxious Jim Davidson) made a short speech before introducing "the icing on the cake - the former Beatle George Harrison!" That was sufficient to light the blue touch paper and the whole place erupted! "Johnny B Goode" burst into life with George providing lead vocals for the first verse. After additional contributions from (a seemingly much recovered) Denny Laine and Robert Plant it was all over.
Whilst the show was inevitably weighted toward Birmingham's musical past it was a great opportunity to see some fabulous artists doing their stuff. It was however a pity that there weren't more of Birmingham's recent artists on the bill. Ultimately though it was a day of great music and it raised a lot of money for Birmingham Childrens' Hospital.
Wednesday 14 March 2012
14th March 1993 - Belly + Radiohead + Sidi Bou Said - Kentish Town, Town and Country Club
This was one of the last gigs at the old Town and Country Club before it was taken over and renamed the Forum, and had an agreeably good line-up to see the old place off with.
Sidi Bou Said commenced proceedings with their somewhat ethereal brand of indie, and were followed by Radiohead who were promoting the first album. Thom Yorke at this time had shoulder-length blond standard rock star hair. Was it meant to be ironic? You'd have to ask him.
Belly was a vehicle for ex-Throwing Muse (and ex-Breeder) Tanya Donnelly, and they were promoting their already very successful debut album "Star". They were a very potent live force - an effervescent moshpit forming as a tribute to their live prowess. Thom Yorke joined the band on vocals for the encore.
14th March 1998 - Miles Hunt + Carina Round - Camden Monarch
Carina Round at this time was a purveyor of largely delicate acoustic folk songs. A particular highlight was her version of the standard "In My Time of Dying", as recorded by Bob Dylan on his debut album, and Led Zeppelin on "Physical Graffiti".
Miles Hunt delivered an acoustic set of mostly Wonder Stuff songs, which despite their setting had quite considerable energy. The Monarch is better known these days as Camden Barfly.
Sidi Bou Said commenced proceedings with their somewhat ethereal brand of indie, and were followed by Radiohead who were promoting the first album. Thom Yorke at this time had shoulder-length blond standard rock star hair. Was it meant to be ironic? You'd have to ask him.
Belly was a vehicle for ex-Throwing Muse (and ex-Breeder) Tanya Donnelly, and they were promoting their already very successful debut album "Star". They were a very potent live force - an effervescent moshpit forming as a tribute to their live prowess. Thom Yorke joined the band on vocals for the encore.
14th March 1998 - Miles Hunt + Carina Round - Camden Monarch
Carina Round at this time was a purveyor of largely delicate acoustic folk songs. A particular highlight was her version of the standard "In My Time of Dying", as recorded by Bob Dylan on his debut album, and Led Zeppelin on "Physical Graffiti".
Miles Hunt delivered an acoustic set of mostly Wonder Stuff songs, which despite their setting had quite considerable energy. The Monarch is better known these days as Camden Barfly.
Tuesday 13 March 2012
13th March 1987 - The Cult + Gaye Bykers On Acid - Birmingham Odeon
Sadly I remember very little about seeing Gaye Bykers On Acid at this gig. However the name of their alter-ego band in which they gigged in drag if I remember rightly always amused me: Lesbian Dopeheads on Mopeds.
The Cult however made a very definite impression on me. I had seen them a couple of years previously on the "Love" tour in Leicester. This time they had gone further down the road of adopting the values of late 1960s/early 1970s rock music, with Ian Astbury firmly ensconced in his Jim Morrison persona. They were promoting their "Electric" album, on which some of their musical 'borrowings' were on the edge of being legally actionable. This was especially true of "Love Removal Machine", where the second half of the track bore more than a passing similarity to Led Zeppelin's "Heartbreaker" (mind you, Led Zeppelin had no cause to complain, having liberally 'borrowed' from a number of blues and folk musicians who they had to give composer credits to years, and sometimes decades, later).
This borrowing took nothing away from their live performance however. By this point in their career they had become a traditional 'proper' rock band and still had the youthful swagger to carry it off. At one point Astbury wore a hat that appeared to have been made from a fox's head. Did he look ridiculous? Yes! Did he care? No! He was the focal point of the band, along with guitarist Billy Duffy who ripped death-defying solos from his Gretsch White Falcon as if his life depended on it. The 1980s were often desperately lacking in rock 'n' roll. This particular band more than filled a need!!!
The Cult however made a very definite impression on me. I had seen them a couple of years previously on the "Love" tour in Leicester. This time they had gone further down the road of adopting the values of late 1960s/early 1970s rock music, with Ian Astbury firmly ensconced in his Jim Morrison persona. They were promoting their "Electric" album, on which some of their musical 'borrowings' were on the edge of being legally actionable. This was especially true of "Love Removal Machine", where the second half of the track bore more than a passing similarity to Led Zeppelin's "Heartbreaker" (mind you, Led Zeppelin had no cause to complain, having liberally 'borrowed' from a number of blues and folk musicians who they had to give composer credits to years, and sometimes decades, later).
This borrowing took nothing away from their live performance however. By this point in their career they had become a traditional 'proper' rock band and still had the youthful swagger to carry it off. At one point Astbury wore a hat that appeared to have been made from a fox's head. Did he look ridiculous? Yes! Did he care? No! He was the focal point of the band, along with guitarist Billy Duffy who ripped death-defying solos from his Gretsch White Falcon as if his life depended on it. The 1980s were often desperately lacking in rock 'n' roll. This particular band more than filled a need!!!
Monday 12 March 2012
On This Day I Saw:
The DTs - Leicester Dores Wine Bar - 1984
The DTs were an r'n'b band very much in the vein of Dr Feelgood, and like them were excellent exponents of 'pub rock' (n.b - don't be fooled by the name of the venue: it had previously been called the Dixie Arms, and the name was all that had changed). In Simon 'Honeyboy' Hickling and Steve Walwyn they had respectively an excellent vocalist and guitarist. In fact, Steve Walwyn did become a member of Dr. Feelgood in around 1990. The DTs' set mostly consisted of covers, and their renditions of Chuck Berry's Talkin' 'bout You and The Beatles' One After 909 were particularly good. I do remember them having a single called BSA Rocket III which was built around a Bo Diddley riff with loads of slide guitar, but they rarely seemed to play it live. I saw them quite a few times and they were a great night out.
Mansun + Travis - Reading Alleycat - 1997
Mansun had released their album Attack Of The Grey Lantern about three weeks previously and were touring the toilet circuit to promote it. They had already released a series of accomplished singles prior to the album being released and put in a pretty fiery performance on this particular night. Travis on the other hand were thoroughly unremarkable and I really did not expect to encounter them again!
The DTs were an r'n'b band very much in the vein of Dr Feelgood, and like them were excellent exponents of 'pub rock' (n.b - don't be fooled by the name of the venue: it had previously been called the Dixie Arms, and the name was all that had changed). In Simon 'Honeyboy' Hickling and Steve Walwyn they had respectively an excellent vocalist and guitarist. In fact, Steve Walwyn did become a member of Dr. Feelgood in around 1990. The DTs' set mostly consisted of covers, and their renditions of Chuck Berry's Talkin' 'bout You and The Beatles' One After 909 were particularly good. I do remember them having a single called BSA Rocket III which was built around a Bo Diddley riff with loads of slide guitar, but they rarely seemed to play it live. I saw them quite a few times and they were a great night out.
Mansun + Travis - Reading Alleycat - 1997
Mansun had released their album Attack Of The Grey Lantern about three weeks previously and were touring the toilet circuit to promote it. They had already released a series of accomplished singles prior to the album being released and put in a pretty fiery performance on this particular night. Travis on the other hand were thoroughly unremarkable and I really did not expect to encounter them again!
Sunday 11 March 2012
On This Day I Saw:
1984 - Hawkwind + Bronz - Leicester De Montfort Hall
During the 1980s Hawkwind seemed on occasion to be cursed with very average support bands, and Bronz were no exception, being purveyors of mediocre and instantly forgettable heavy metal. Hawkwind on the other hand provided a singularly memorable experience. At this time the band still attracted 'freaks' wearing white lab coats decorated with art either inspired by or copied from Hawkwind album sleeves. The music seemed capable of transporting one to other galaxies or times without the use of any form of chemical amusement whatsoever (although I am reliably informed that this can enhance the experience). On this occasion the band were joined by bassist Dave Anderson, who had left after the release of the In Search Of Space album in 1971.
1998 - Cornershop + Les Rhythmes Digitales - Shepherds Bush Empire
Les Rhythmes Digitales was a vehicle for Jacques Le Cont (aka Stuart Price) and was essentially his homage to French house music. He seemed to be having a good time on stage and that translated to the audience to an extent.
Cornershop were touring their When I Was Born For The Seventh Time. Cornershop are not necessarily the most arresting live performers, but their music has sufficient depth to draw in the audience, so it doesn't really matter that presentation is very much a secondary consideration.
During the 1980s Hawkwind seemed on occasion to be cursed with very average support bands, and Bronz were no exception, being purveyors of mediocre and instantly forgettable heavy metal. Hawkwind on the other hand provided a singularly memorable experience. At this time the band still attracted 'freaks' wearing white lab coats decorated with art either inspired by or copied from Hawkwind album sleeves. The music seemed capable of transporting one to other galaxies or times without the use of any form of chemical amusement whatsoever (although I am reliably informed that this can enhance the experience). On this occasion the band were joined by bassist Dave Anderson, who had left after the release of the In Search Of Space album in 1971.
1998 - Cornershop + Les Rhythmes Digitales - Shepherds Bush Empire
Les Rhythmes Digitales was a vehicle for Jacques Le Cont (aka Stuart Price) and was essentially his homage to French house music. He seemed to be having a good time on stage and that translated to the audience to an extent.
Cornershop were touring their When I Was Born For The Seventh Time. Cornershop are not necessarily the most arresting live performers, but their music has sufficient depth to draw in the audience, so it doesn't really matter that presentation is very much a secondary consideration.
Saturday 10 March 2012
This Week's Boat Floaters (in no particular order) :-
Allo Darlin' - Allo Darlin' (LP)
The Just Joans - If You Don't Pull You're Gonna Walk Home On Your Own (track)
The Stranglers - No More Heroes (LP)
Malevolence and menace from 1977
Tame Impala - Innerspeaker (LP)
Psychedelic stoner rock
Sugarcubes - Life's Too Good (LP)
Possibly the most bonkers band ever......
Dr. Feelgood - Oil City Confidential (DVD)
Fascinating and frequently hilarious documentary charting the career of the Canvey Island Band
Dr. Feelgood - Goin' Back Home (DVD & CD)
Feelgood's homecoming gig at Southend's Kursaal ballroom in 1975
Allo Darlin' - Allo Darlin' (LP)
The Just Joans - If You Don't Pull You're Gonna Walk Home On Your Own (track)
The Stranglers - No More Heroes (LP)
Malevolence and menace from 1977
Tame Impala - Innerspeaker (LP)
Psychedelic stoner rock
Sugarcubes - Life's Too Good (LP)
Possibly the most bonkers band ever......
Dr. Feelgood - Oil City Confidential (DVD)
Fascinating and frequently hilarious documentary charting the career of the Canvey Island Band
Dr. Feelgood - Goin' Back Home (DVD & CD)
Feelgood's homecoming gig at Southend's Kursaal ballroom in 1975
Thursday 8 March 2012
On This Day I Saw:
1983 - 10CC + Locomotiv GT - Leicester De Montfort Hall
This was 10CC after the departure of Kevin Godley and Lol Creme, who left the band after the release of the band's "How Dare You!" album in 1976. In 1977 the remaining members, Graham Gouldman and Eric Stewart released the "Deceptive Bends" album, which was essentially a 'last hurrah' for the former high quality of their output. The subsequent album "Bloody Tourists" released in 1978, featured the casually racist hit single "Dreadlock Holiday" and was at best disappointing. From the point of view of creativity in the studio it was downhill from there.
However, they were still a reasonable live band, sensibly concentrating their set on the pre-"Bloody Tourists" era. They were supported by the Hungarian rock band Locomotiv GT, UK gigs by whom were pretty rare with the Cold War in full swing.
1990 - Rik Mayall + Andy De La Tour - Guildford Civic Hall
2008 - Levellers + Dreadzone + Alabama 3 - Brixton Academy
With the best will in the world this was a bit of a nostalgia-fest for early to mid '90s alternative protest music. The Levellers are still a good live proposition though, and the most recent album that I have by them (2002's "Green Blade Rising") isn't bad.
This was 10CC after the departure of Kevin Godley and Lol Creme, who left the band after the release of the band's "How Dare You!" album in 1976. In 1977 the remaining members, Graham Gouldman and Eric Stewart released the "Deceptive Bends" album, which was essentially a 'last hurrah' for the former high quality of their output. The subsequent album "Bloody Tourists" released in 1978, featured the casually racist hit single "Dreadlock Holiday" and was at best disappointing. From the point of view of creativity in the studio it was downhill from there.
However, they were still a reasonable live band, sensibly concentrating their set on the pre-"Bloody Tourists" era. They were supported by the Hungarian rock band Locomotiv GT, UK gigs by whom were pretty rare with the Cold War in full swing.
1990 - Rik Mayall + Andy De La Tour - Guildford Civic Hall
2008 - Levellers + Dreadzone + Alabama 3 - Brixton Academy
With the best will in the world this was a bit of a nostalgia-fest for early to mid '90s alternative protest music. The Levellers are still a good live proposition though, and the most recent album that I have by them (2002's "Green Blade Rising") isn't bad.
Gig Review: Allo Darlin'
Allo Darlin’ / Vadoinmessico / The Vaudeville – Brighton Haunt 3/3/2012
Due to appalling timekeeping on my part I managed to miss The Vaudeville entirely. However, I’ve caught up with them on Youtube and will make the effort to see them live in order to make up for my previous tardiness!
I did however see the last three or four songs of Vadionmessico’s set. I would describe their music as ‘interesting’: electro-tinged indie with folk elements (well, there was a ballad featuring acoustic guitar and they used a banjo on their last song). They’re one of those bands that seem to swap instruments at the end of each song. I’ve never been able to make up my mind whether this shows a degree of versatility or is just plain annoying! Is it a sign of a band who are too clever for their own good?!! It certainly interrupts the flow of the set.
I have seen Allo Darlin’ described as twee, which I’ve always viewed as a bit of a derogatory term. However, they undeniably display signs of being both cute and sweet, which I guess is sort of OK. I was a little dubious about Elizabeth Morris’ extensive use of the ukelele, and wasn’t sure how that would work live. When they arrived on stage Elizabeth was toting a very nice Fender Mustang and their jangly indie pop was far more muscular than I expected.
About four songs in Elizabeth switched to ukelele for the song “Darren”, which is about their friend Darren Hayman, who Elizabeth protested that she is not in love with. The uke sounded absolutely fine, but during this song her Mustang, which she’d leant against the drum riser, fell over. Invest in a guitar stand Elizabeth!
The band seemed to hit their stride with “The Polaroid Song” with some very impressive pogoing from bassist Bill Botting (who later also took an equally impressive leap from the drum riser). This was the last night of the band’s UK tour, and they definitely seemed to be having fun, the sense of which was infectious. However, this didn’t get in the way of their performance. Whilst there was plenty of exuberance, there were also moments of great understatement which had the audience absolutely rapt. Sometimes less really is more.
They finished their main set with “Dreaming” during which Bill Botting’s lead vocal lines were unfortunately all but inaudible. They quickly returned to the stage for the encores amid dry ice which apparently reminded Elizabeth of “high school discos”! They played a great cover of “If You Don’t Pull You’re Gonna Walk Home On Your Own” by the Just Joans, and finished with “Kiss Your Lips” and “My Heart Is A Drummer” complete with funky coda that sounded a lot like “Girls Just Wanna Have Fun” by Cyndi Lauper.
Allo Darlin’ aren’t doing anything new, but they do what they do with considerable aplomb (especially Paul Rains’ C86/Johnny Marr influenced guitar inflections). Primarily though, this band is about fun (and romance – listen to the lyrics). If you see them they won’t make you re-assess the way in which you live your life or lecture you on the inequalities of modern life, but you will almost certainly leave the gig with a smile on your face.
Mark Kelly
Introduction
Welcome to my music blog! I shall be using this as a vehicle for my musings, to tell you about the gigs I've seen and the music I've been listening to, together with some occasional stuff relating to art forms other than music.
I must apologise to Ian McNabb for partially appropriating the title from one of his songs with The Icicle Works: "Birds Fly (Whisper To A Scream)". In my opinion Ian is one of the most undervalued and overlooked songwriters that Britain has produced. I shall be adding an overview of his career in due course.
I hope you all enjoy what I churn out, and that you'll feel free to add comments, even if only to tell me I'm talking rubbish!
Mark Kelly
I must apologise to Ian McNabb for partially appropriating the title from one of his songs with The Icicle Works: "Birds Fly (Whisper To A Scream)". In my opinion Ian is one of the most undervalued and overlooked songwriters that Britain has produced. I shall be adding an overview of his career in due course.
I hope you all enjoy what I churn out, and that you'll feel free to add comments, even if only to tell me I'm talking rubbish!
Mark Kelly
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