The Rolling Stones - Get Yer Ya-Yas Out
The self-proclaimed 'greatest rock 'n' roll band in the world' recorded live on their 1969 tour of the US on the lead-up to Altamont. This album is probably the best live representation of the Stones.
Augie March - Moo, You Bloody Choir
Australian band who are essentially a vehicle for the not inconsiderable song-writing talents of Glenn Richards.
The Auteurs - Now I'm A Cowboy
Not quite as good as the previous year's (1993) New Wave album, but still pretty good. After all, any album that includes the excellent Lenny Valentino can't be bad can it?!!
Anna Calvi - Anna Calvi
Yes I know - again! I make no apologies for this album being on high rotation at Kelly Towers. This is a future classic.
Deep Purple - Made In Japan
I was very sad to hear of the passing of keyboardist Jon Lord this week. This album admirably highlights his keyboard skills. Indeed, the high quality of musicianship in general on this album is striking. Particularly noticeable is drummer Ian Paice's dexterity and lightness of touch. It's not all biff! bang! pow! y'know!
Badly Drawn Boy - The Hour of Bewilderbeast
A classic that Damon Gough doesn't seem to have matched since. An inspired, varied and beautiful album.
The Band - The Band
An album stuffed with classics: Rag Mama Rag, The Night They Drove Old Dixie Down, Up On Cripple Creek, Jemima Surrender......RIP Levon Helm.
Monday 23 July 2012
Monday 16 July 2012
Last Week's Boat Floaters
Anna Calvi - Anna Calvi
A truly astonishing album from last year. Who says that it's no longer possible for music to be taken in a different direction???
Howling Bells - Radio Wars
This is the 2CD version with a live disc. A great band with excellent material who seem to be criminally ignored.
Cornershop - Brimful of Asha
The CD single with both the original version of the track and the Norman Cook remix. It's rather frightening to think that this came out 14 years ago!!!
Paul McCartney - McCartney
Paul's lo-fi (although I don't think that the term had been invented then!) first post-Beatles effort. It wasn't well received at the time as McCartney was almost universally blamed for breaking up The Beatles. It wasn't public knowledge then that John Lennon had actually left the band in September 1969. This album contained the superlative Maybe I'm Amazed which would have been more than at home on any Beatles album.
The Who - Quadrophenia
Reckoned by Pete Townshend to be the last great Who album (he's probably right). Despite the lavish production it's one of the most vital works that The Who committed to vinyl.
The Beatles - Yellow Submarine Songtrack
This was a 1999 pull-together of the Beatles tracks on the original Yellow Submarine album (it excludes the George Martin orchestration which, whilst pleasant, is hardly essential) together with the rest of the songs which were on the film soundtrack. It was also the first (pretty successful) attempt at remixing and remastering Beatles tracks. Of the four songs recorded for the film, Hey Bulldog and It's All Too Much are criminally underrated.
Ash - Intergalactic Sonic 7"s
One of the most consistent producers of cracking singles of the nineties and noughties. If nothing on this album brings a smile to your face then it's possibly wise to start checking for rigor mortis.
A truly astonishing album from last year. Who says that it's no longer possible for music to be taken in a different direction???
Howling Bells - Radio Wars
This is the 2CD version with a live disc. A great band with excellent material who seem to be criminally ignored.
Cornershop - Brimful of Asha
The CD single with both the original version of the track and the Norman Cook remix. It's rather frightening to think that this came out 14 years ago!!!
Paul McCartney - McCartney
Paul's lo-fi (although I don't think that the term had been invented then!) first post-Beatles effort. It wasn't well received at the time as McCartney was almost universally blamed for breaking up The Beatles. It wasn't public knowledge then that John Lennon had actually left the band in September 1969. This album contained the superlative Maybe I'm Amazed which would have been more than at home on any Beatles album.
The Who - Quadrophenia
Reckoned by Pete Townshend to be the last great Who album (he's probably right). Despite the lavish production it's one of the most vital works that The Who committed to vinyl.
The Beatles - Yellow Submarine Songtrack
This was a 1999 pull-together of the Beatles tracks on the original Yellow Submarine album (it excludes the George Martin orchestration which, whilst pleasant, is hardly essential) together with the rest of the songs which were on the film soundtrack. It was also the first (pretty successful) attempt at remixing and remastering Beatles tracks. Of the four songs recorded for the film, Hey Bulldog and It's All Too Much are criminally underrated.
Ash - Intergalactic Sonic 7"s
One of the most consistent producers of cracking singles of the nineties and noughties. If nothing on this album brings a smile to your face then it's possibly wise to start checking for rigor mortis.
Friday 13 July 2012
12th July 2012 - Anna Calvi + Cold Specks + Eugene McGuinnees - London Somerset House
Arriving at a very rainy Somerset House we are greeted with the news that sound checks are still in progress. So in common with most of the audience who have arrived thus far we shelter in the arched entrance to the venue. Eventually we are allowed into the rainy courtyard and with minimal delay the first of the supports takes the stage.
This particular artist is Eugene McGuinness. He has toured as part of Miles Kane's touring band and has clearly taken on board one or two tips from Mr Kane. Eugene and his band are very sharply dressed. Their look features slicked back 50's hair coupled with a vaguely mod style of dress. The look Eugene appears to be trying to achieve is that of a late 1950s / early 1960s heart-throb. The whole presentation is decidedly retro with Vox amps well to the fore.
The music is very influenced by the 1960s with a touch of the Mark Ronsons thrown in for good measure. One song ("Shotgun") 'borrows' the riff from Duane Eddy's "Peter Gunn", but builds upon the riff sufficiently inventively to obviate the need for lawyers to become involved. The band are very tight live, the songs are good, and they have a marketable image. They should go far.
Next up are Cold Specks who are essentially a vehicle for Al Spx, a Canadian singer/songwriter who performs under a pseudonym as her parents disapprove of her career choice (they really shouldn't...). Al has a fabulous blues voice and could sing a soup can label and inject it with meaning and emotion.
Having said that, the songs create a feeling of crafted sophistication without any of them particularly standing out. Although the musicianship on display is superb, the instrumentation adds discreet pastel shades to the songs rather than colour. I suspect that Cold Specks are probably more of an 'at home' listening experience. The songs do occasionally rouse themselves, but generally the tend to trundle along on one level. I can visualise them sound-tracking dinner parties.
This all changes with the last song (which may or may not have been called "Stink") which features a brief sax solo (the sax player has provided an impressive procession of saxes incidentally) before the song builds to an impressive crescendo. Unfortunately though it's too little too late. A cold wet crowd standing in the rain needs to be grabbed by the throat otherwise they'll drift off to the bar, which many here did.
In terms of the 'feel' of her music I have often compared Anna Calvi to Jeff Buckley. Perhaps this is a comparison which she agrees with, as before she takes the stage we are treated to a hefty chunk of Buckley's "Grace" album over the PA.
Anna takes the stage dressed as a matador as is her habit, and goes straight into album opener "Rider To The Sea". Immediately her guitar playing is simply jaw-dropping, with a fantastic display of flamenco stylings which I've never seen attempted on a Telecaster before!
During this song Anna is joined by her band, consisting of Mally Harpaz on harmonium, an enormous selection of percussion and occasional additional guitar (or as Anna gestures later: "all this"); and Daniel Maiden-Wood on drums and backing vocals. I'm not sure why, but I was expecting a rather less minimal line-up. However, the backing the two of them provide is more than adequate.
A quick fire procession of "Suzanne & I", "Blackout", "I'll Be Your Man" and "First We Kiss" soon make us forget about the rain (for which Anna apologises). Having been gob-smacked by the guitar playing, next up are the vocals. Anna's voice is rich and powerful without being strident. It is also capable of being tender too, and her whole performance oozes passion and emotion. She could be remarkable for either her singing or her guitar playing, but having both simultaneously? Well, it's just not fair!!!
Anna has a great understanding of how an electric guitar should be used and abused. Indeed, I don't recall seeing a guitarist who combines so many styles of playing within the framework of one song, and whose playing seems to be so intuitive. I certainly wasn't expecting this degree of guitar mangling! It's a while since I've seen anybody banging the body of their guitar with their fist in order to get feedback.
The main set finishes with "Love Won't Be Leaving" which features more astonishing guitar pyrotechnics. Seemingly as the intensity of the song increases, so the rain becomes heavier! That must have been a coincidence right? Anna quickly returns to the stage for encores of "The Devil" and (first single) "Jezebel".
This is one of the most amazingly good performances that I have seen for years. There are times when an artist appears to fall fully formed from the sky, yet when you see them play you know that you are witnessing the artist at the beginning of their journey. Such artists are very few and far between. Anna Calvi is such an artist, and I strongly recommend that you follow her on her journey.
This particular artist is Eugene McGuinness. He has toured as part of Miles Kane's touring band and has clearly taken on board one or two tips from Mr Kane. Eugene and his band are very sharply dressed. Their look features slicked back 50's hair coupled with a vaguely mod style of dress. The look Eugene appears to be trying to achieve is that of a late 1950s / early 1960s heart-throb. The whole presentation is decidedly retro with Vox amps well to the fore.
The music is very influenced by the 1960s with a touch of the Mark Ronsons thrown in for good measure. One song ("Shotgun") 'borrows' the riff from Duane Eddy's "Peter Gunn", but builds upon the riff sufficiently inventively to obviate the need for lawyers to become involved. The band are very tight live, the songs are good, and they have a marketable image. They should go far.
Next up are Cold Specks who are essentially a vehicle for Al Spx, a Canadian singer/songwriter who performs under a pseudonym as her parents disapprove of her career choice (they really shouldn't...). Al has a fabulous blues voice and could sing a soup can label and inject it with meaning and emotion.
Having said that, the songs create a feeling of crafted sophistication without any of them particularly standing out. Although the musicianship on display is superb, the instrumentation adds discreet pastel shades to the songs rather than colour. I suspect that Cold Specks are probably more of an 'at home' listening experience. The songs do occasionally rouse themselves, but generally the tend to trundle along on one level. I can visualise them sound-tracking dinner parties.
This all changes with the last song (which may or may not have been called "Stink") which features a brief sax solo (the sax player has provided an impressive procession of saxes incidentally) before the song builds to an impressive crescendo. Unfortunately though it's too little too late. A cold wet crowd standing in the rain needs to be grabbed by the throat otherwise they'll drift off to the bar, which many here did.
In terms of the 'feel' of her music I have often compared Anna Calvi to Jeff Buckley. Perhaps this is a comparison which she agrees with, as before she takes the stage we are treated to a hefty chunk of Buckley's "Grace" album over the PA.
Anna takes the stage dressed as a matador as is her habit, and goes straight into album opener "Rider To The Sea". Immediately her guitar playing is simply jaw-dropping, with a fantastic display of flamenco stylings which I've never seen attempted on a Telecaster before!
During this song Anna is joined by her band, consisting of Mally Harpaz on harmonium, an enormous selection of percussion and occasional additional guitar (or as Anna gestures later: "all this"); and Daniel Maiden-Wood on drums and backing vocals. I'm not sure why, but I was expecting a rather less minimal line-up. However, the backing the two of them provide is more than adequate.
A quick fire procession of "Suzanne & I", "Blackout", "I'll Be Your Man" and "First We Kiss" soon make us forget about the rain (for which Anna apologises). Having been gob-smacked by the guitar playing, next up are the vocals. Anna's voice is rich and powerful without being strident. It is also capable of being tender too, and her whole performance oozes passion and emotion. She could be remarkable for either her singing or her guitar playing, but having both simultaneously? Well, it's just not fair!!!
Anna has a great understanding of how an electric guitar should be used and abused. Indeed, I don't recall seeing a guitarist who combines so many styles of playing within the framework of one song, and whose playing seems to be so intuitive. I certainly wasn't expecting this degree of guitar mangling! It's a while since I've seen anybody banging the body of their guitar with their fist in order to get feedback.
The main set finishes with "Love Won't Be Leaving" which features more astonishing guitar pyrotechnics. Seemingly as the intensity of the song increases, so the rain becomes heavier! That must have been a coincidence right? Anna quickly returns to the stage for encores of "The Devil" and (first single) "Jezebel".
This is one of the most amazingly good performances that I have seen for years. There are times when an artist appears to fall fully formed from the sky, yet when you see them play you know that you are witnessing the artist at the beginning of their journey. Such artists are very few and far between. Anna Calvi is such an artist, and I strongly recommend that you follow her on her journey.
27th June 2012 - Howling Bells + Steve Smyth - London Lexington
Howling Bells chose the rather marvellous Lexington as the venue for a warm-up gig for their appearance at the Hop Farm Festival.
Support was provided by Steve Smyth, a singer/songwriter very reminiscent of Josh T. Pearson whilst also coming on like a cross between Captain Beefheart and The White Stripes. He sings in a gnarled American accent which sounds as if it has been marinaded in bourbon for a goodly number of years. However, when he speaks he is very clearly English! No matter - the songs are good and I was sufficiently impressed to purchase his "Release" album.
Howling Bells are always pretty good live and tonight was no exception. All three of their albums were fairly evenly represented in the set list, which was a crowd-pleasing list which had probably been put together with the weekend's festival in mind. I suspect that the Lexington may be a bit of a local for the band (they had their after-show drinks there when they played The Scala last year) and this very much had the feel of a homecoming gig. The Howling Bells live experience always feels an inclusive one. This was demonstrated when Juanita announced that she is expecting by patting her stomach and introducing "a new member of the band: The Bump!"
The band are not afraid to display their musicianly chops, and often extend songs with interesting jams, without becoming self indulgent. In fact, at times when they do this they remind me of Led Zeppelin in their live heyday, apart from the fact that they have a very clear idea of how to edit themselves.
All too soon they finish their main set with Live On from The Loudest Engine album, before returning for an encore of (what else??) Low Happening. It never fails to surprise me that Howling Bells are not more popular than they are. They consistently release good albums and are a cracking live band. On the other hand, I'd rather not have to see them at Wembley Arena!!!
Support was provided by Steve Smyth, a singer/songwriter very reminiscent of Josh T. Pearson whilst also coming on like a cross between Captain Beefheart and The White Stripes. He sings in a gnarled American accent which sounds as if it has been marinaded in bourbon for a goodly number of years. However, when he speaks he is very clearly English! No matter - the songs are good and I was sufficiently impressed to purchase his "Release" album.
Howling Bells are always pretty good live and tonight was no exception. All three of their albums were fairly evenly represented in the set list, which was a crowd-pleasing list which had probably been put together with the weekend's festival in mind. I suspect that the Lexington may be a bit of a local for the band (they had their after-show drinks there when they played The Scala last year) and this very much had the feel of a homecoming gig. The Howling Bells live experience always feels an inclusive one. This was demonstrated when Juanita announced that she is expecting by patting her stomach and introducing "a new member of the band: The Bump!"
The band are not afraid to display their musicianly chops, and often extend songs with interesting jams, without becoming self indulgent. In fact, at times when they do this they remind me of Led Zeppelin in their live heyday, apart from the fact that they have a very clear idea of how to edit themselves.
All too soon they finish their main set with Live On from The Loudest Engine album, before returning for an encore of (what else??) Low Happening. It never fails to surprise me that Howling Bells are not more popular than they are. They consistently release good albums and are a cracking live band. On the other hand, I'd rather not have to see them at Wembley Arena!!!
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