Well, the film is actually called The Killing Of John Lennon but the opportunity to pun on the previous post was too much to resist. In any event, Chapman wasn't a coward - just a grade A nutter.
The film was put together from Chapman's own writings and just confirmed that the confluence of circumstances which allowed him to kill Lennon seemed almost so random. Who's to say that if he hadn't been able to see Lennon on that fateful day that history may have been different.
As an ardent fan of the Beatles and their solo careers, it's possibly not the type of film that you can actually enjoy. But it is certainly one that you will want to see to try and see if you can gain some kind of understanding of the events that lead to Lennon's death. I think you might understand what happened - but as to WHY it happened, that will take something else again.
The depiction of the actual shooting was fairly gruesome and brought home without any hint of subtlety what a horrible way it was for anyone to die. An interesting counterpoint to the almost romantic tinge that surrounded the Jesse James film.
I well recall how shattered and desolate I felt when I woke up on the morning of 9th December 1980 to be greeted with the news of the shooting. This brought those feelings all rushing back and, to that extent, that's probably enough to mark this movie as a successful venture.
Does it leave any room for even some sympathy for Chapman? Not really, even though he was clearly mentally unstable and was incapable of anything other than dysfunctional relationships. He's still in Attica and, I suspect, likely to stay there. Frankly, I doubt he'd last long in this world were he to be released.
Monday, 10 December 2007
Sunday, 2 December 2007
Film Review : The Assassination Of Jesse James By The Coward Robert Ford
Caught this today and it's certainly going to be a contender come Oscar time. Brad Pitt gives an awesome performance and the sheer menace he portrays onscreen is terrific, whilst Casey Affleck gives a career defining performance as the young man who fawns after James reputation and celebrity (although it would have had a different word for it in those days) but who finds that there is a twist in the tail for him after the fateful deed. And also a mention for Sam Rockwell (who's been away from our screens recently) who is excellent as the older Ford brother.
I was so sure that this film was what the word "elegiac" was designed for that I checked out a dictionary definition which suggested that it meant lamenting, and suggested other alternatives like melancholy, sorrowful and mournful. Absolutely spot on.
As the story unwinds at a slow pace (which doesn't labour in a long two hours plus film) you begin to feel that James somehow selected Ford as his nemesis given his state of mind at the time the story is unfolding, notwithstanding Ford's collaboration with the law to seek to deliver James and thus ensure his own fame and fortune.
I fully expect to see this film and its' principal actors amongst the Oscar nominations once the new year rolls around. I think both performances and film were better than American Gangster, and I now await with keen interest the release of Charlie Wilson's War which does appear to be the early runner for the statuettes.
I was so sure that this film was what the word "elegiac" was designed for that I checked out a dictionary definition which suggested that it meant lamenting, and suggested other alternatives like melancholy, sorrowful and mournful. Absolutely spot on.
As the story unwinds at a slow pace (which doesn't labour in a long two hours plus film) you begin to feel that James somehow selected Ford as his nemesis given his state of mind at the time the story is unfolding, notwithstanding Ford's collaboration with the law to seek to deliver James and thus ensure his own fame and fortune.
I fully expect to see this film and its' principal actors amongst the Oscar nominations once the new year rolls around. I think both performances and film were better than American Gangster, and I now await with keen interest the release of Charlie Wilson's War which does appear to be the early runner for the statuettes.
Thursday, 29 November 2007
Concert Review : Back From The Melody Motel
When a band opens a show with two of their best known numbers you begin to wonder how they're going to be able to wind up a show on an appropriate high. Squeeze did this tonight with Take Me, I'm Yours followed by Up The Junction - songs that have previously featured at the other end of the bands sets.
However, as they pepper their set with familiar songs and you realise that there's still a considerable range of superb songs left to choose you realise that you are listening to a band with a back catalogue of songs of considerable merit. They eventually finished after one hour and fifty minutes still playing hits - the last one being Another Nail In My Heart.
Glenn Tilbrook and Chris Difford are another couple who have found the unfortunate facts of rock'n'roll life - that when you've had an illustrious past like them that the public will flock to see you together when they wouldn't whilst you remain apart. Last time I saw Tilbrook he was playing King Tut's Wah Wah Hut (approximate capacity of 300) whilst Difford was seen supporting Elvis Costello. Tonight the reformed Squeeze played a packed Carling Academy which holds 2,500. The math is as compelling as it's obvious.
Two of the reformed band are from Glenn's solo band whilst the bass spot is filled by the returning John Bentley who played on the three albums before the bands' first split in the early 1980's.
The set was filled with just about every song you might expect and a good few that you wouldn't - Slightly Drunk, I Think I'm Go-Go, Melody Motel and Messed Around being good examples. Only down point was the inclusion of Frank's Love Circles which I've always thought an extremely poor example of their songwriting craft (or, less politely, it's shite!). Tillbrook remains one of the most gifted singers around, and his songs are able supported by Difford's excellent lyrics.
When introducing the band Glenn said "he's back for good" when introducing Bentley. I'd like to think that means there will be some kind of future for Squeeze. If nothing else, tonight showed how much I'd missed them in the relatively short time they've been away
However, as they pepper their set with familiar songs and you realise that there's still a considerable range of superb songs left to choose you realise that you are listening to a band with a back catalogue of songs of considerable merit. They eventually finished after one hour and fifty minutes still playing hits - the last one being Another Nail In My Heart.
Glenn Tilbrook and Chris Difford are another couple who have found the unfortunate facts of rock'n'roll life - that when you've had an illustrious past like them that the public will flock to see you together when they wouldn't whilst you remain apart. Last time I saw Tilbrook he was playing King Tut's Wah Wah Hut (approximate capacity of 300) whilst Difford was seen supporting Elvis Costello. Tonight the reformed Squeeze played a packed Carling Academy which holds 2,500. The math is as compelling as it's obvious.
Two of the reformed band are from Glenn's solo band whilst the bass spot is filled by the returning John Bentley who played on the three albums before the bands' first split in the early 1980's.
The set was filled with just about every song you might expect and a good few that you wouldn't - Slightly Drunk, I Think I'm Go-Go, Melody Motel and Messed Around being good examples. Only down point was the inclusion of Frank's Love Circles which I've always thought an extremely poor example of their songwriting craft (or, less politely, it's shite!). Tillbrook remains one of the most gifted singers around, and his songs are able supported by Difford's excellent lyrics.
When introducing the band Glenn said "he's back for good" when introducing Bentley. I'd like to think that means there will be some kind of future for Squeeze. If nothing else, tonight showed how much I'd missed them in the relatively short time they've been away
Wednesday, 28 November 2007
Music Review : Runnin' Down A Dream
Tom Petty always had an element about him of being the luckiest man alive. His music (which I've always enjoyed) never seemed to be remotely cutting edge, but was based on the old fashioned values of good playing and good songs. Which is more than fine, but there are other artists that you can say the same about - but they never got to play with Bob Dylan, Johnny Cash, George Harrison, Roy Orbison amongst others. The converse, of course, is that these guys ain't mugs and wouldn't be consorting with Mr Petty unless they had a pretty high impression of him.
An entirely seperate question would be if the career of Mr Petty was worth a four hour documentary. Runnin' Down A Dream is just such a beast directed by Peter Bogdanovich (still best know for the classic The Last Picture Show and for being by far the worst actor in the Sopranos!!) albeit that it's split over two discs allowing a comfort break in between.
Four hours on anyone sounds like more of a threat than a promise but it has to be said that having sat through it tonight that it makes more than a fair stab at painting Tom as a pretty crucial figure of the past thirty years. It would probably be fair to say that he's more important to Americans than he might be those of us in Europe (although he's unquestionably a major player in these parts as well) but the documentary tells the tales well through interviews (current and past) alongside loads of vintage footage. I think the best compliment it can be paid is that it held my attention for the duration.
Does it change my view of Petty? Yes, I think it does. He's never been greatly innovative as a songwriter or a performer but the quality of his songwriting has stayed at a consistently high level for the full length of his career. He's also taken some pretty significant stands against the music industry along the way and it's clear that his integrity is important. There's also a terrific piece of footage from the sessions for Roger McGuinn's album Back From Rio where Petty lays into the producers who are trying to get McGuinn to record what Petty feels is a substandard song for someone of his stature to be recording. McGuinn acknowledged that he was being submissive and would have gone along with the request without Petty's intervention; and that Tom was absolutely right in doing what he did. Needless to say, the song in question never appeared. And the continual piling up of songs that you recognise and enjoy begins to make its own very persuasive case.
As with all these things, if you don't like Petty there's probably little in the documentary to change your mind but for commited fans or those like me who have enjoyed his work it might be a worthwhile investment.
In addition to the show, the DVD set also comes with a complete concert recorded in Tom's hometown of Gainesville which celebrated the 30th anniversary of the band, as well as a CD with a selection of complete songs from otherwise unreleased performances that are used in the film. I got this online for about £22 so it's very good value package.
An entirely seperate question would be if the career of Mr Petty was worth a four hour documentary. Runnin' Down A Dream is just such a beast directed by Peter Bogdanovich (still best know for the classic The Last Picture Show and for being by far the worst actor in the Sopranos!!) albeit that it's split over two discs allowing a comfort break in between.
Four hours on anyone sounds like more of a threat than a promise but it has to be said that having sat through it tonight that it makes more than a fair stab at painting Tom as a pretty crucial figure of the past thirty years. It would probably be fair to say that he's more important to Americans than he might be those of us in Europe (although he's unquestionably a major player in these parts as well) but the documentary tells the tales well through interviews (current and past) alongside loads of vintage footage. I think the best compliment it can be paid is that it held my attention for the duration.
Does it change my view of Petty? Yes, I think it does. He's never been greatly innovative as a songwriter or a performer but the quality of his songwriting has stayed at a consistently high level for the full length of his career. He's also taken some pretty significant stands against the music industry along the way and it's clear that his integrity is important. There's also a terrific piece of footage from the sessions for Roger McGuinn's album Back From Rio where Petty lays into the producers who are trying to get McGuinn to record what Petty feels is a substandard song for someone of his stature to be recording. McGuinn acknowledged that he was being submissive and would have gone along with the request without Petty's intervention; and that Tom was absolutely right in doing what he did. Needless to say, the song in question never appeared. And the continual piling up of songs that you recognise and enjoy begins to make its own very persuasive case.
As with all these things, if you don't like Petty there's probably little in the documentary to change your mind but for commited fans or those like me who have enjoyed his work it might be a worthwhile investment.
In addition to the show, the DVD set also comes with a complete concert recorded in Tom's hometown of Gainesville which celebrated the 30th anniversary of the band, as well as a CD with a selection of complete songs from otherwise unreleased performances that are used in the film. I got this online for about £22 so it's very good value package.
Friday, 23 November 2007
Concert Review : 30 Years On
Wishbone Ash to the Sex Pistols? No problem to me!
Last Sunday saw me at the SECC in Glasgow to catch the Sex Pistols on the last of their 30th Anniversary gigs. I saw them in 1996 when they first reunited in the wake of the successful outcome of their lawsuit against Malcolm McLaren. I got the impression that they felt that they had a point to prove, and that was they were far from being the puppets that McLaren has revelled in painting them as. And as far as I was concerned, they accomplished that mission very successfully.
Another eleven years on, the original quartet are back again. There's nothing new to play short of the entire Bollocks album plus the pick of the B-sides and covers that they played in their heyday. Unfortunately, this didn't include Satellite, the flip of Holidays In The Sun and of which I'm rather fond. But everything else was present and correct.
The classic troika of singles (excluding Holidays which isn't really in the same league) of Anarchy In The UK, God Save The Queen and Pretty Vacant are up there with the best and the muscular live renditions were more than enough to have me sharpening up (and down!) my pogoing skills. Submission was one of the great tracks on the album and was just as impressive in a live setting. And their cover of Iggy's No Fun was simply immense - it's one of these riffs that when the band get into that groove they could play it all night long without complaint from me.
Forget all the "they can't play their instruments" nonsense - that's just McLaren's big lie. This is a superb rock band from top to bottom and one more than worthy of placing amongst the greats. They might not be able to play with the virtuosity of, say, Yes. But I'd reckon that Yes couldn't play with the power and drive that the Pistols exhibited last Sunday night.
Last Sunday saw me at the SECC in Glasgow to catch the Sex Pistols on the last of their 30th Anniversary gigs. I saw them in 1996 when they first reunited in the wake of the successful outcome of their lawsuit against Malcolm McLaren. I got the impression that they felt that they had a point to prove, and that was they were far from being the puppets that McLaren has revelled in painting them as. And as far as I was concerned, they accomplished that mission very successfully.
Another eleven years on, the original quartet are back again. There's nothing new to play short of the entire Bollocks album plus the pick of the B-sides and covers that they played in their heyday. Unfortunately, this didn't include Satellite, the flip of Holidays In The Sun and of which I'm rather fond. But everything else was present and correct.
The classic troika of singles (excluding Holidays which isn't really in the same league) of Anarchy In The UK, God Save The Queen and Pretty Vacant are up there with the best and the muscular live renditions were more than enough to have me sharpening up (and down!) my pogoing skills. Submission was one of the great tracks on the album and was just as impressive in a live setting. And their cover of Iggy's No Fun was simply immense - it's one of these riffs that when the band get into that groove they could play it all night long without complaint from me.
Forget all the "they can't play their instruments" nonsense - that's just McLaren's big lie. This is a superb rock band from top to bottom and one more than worthy of placing amongst the greats. They might not be able to play with the virtuosity of, say, Yes. But I'd reckon that Yes couldn't play with the power and drive that the Pistols exhibited last Sunday night.
Thursday, 22 November 2007
Concert Review : Sometime world...
It's been a few weeks since I've been able to add to this. A family illness has curtailed my activities and I've not been able to (or, to be honest, wanted to) devote the relatively small amount of time needed to keep a regular flow going here.
In the meantime, I have been exhibiting all my usual characteristics of supporting young, up and coming bands. Let's see - I caught Wishbone Ash at The Ferry in Glasgow. What do you mean, they don't qualify!!
I have a particular bond with Wishbone Ash as their first album was one of the first two albums I bought with my own money. The other was the eponymous T. Rex album (the one with the fold-over picture of Marc and Micky on the cover). I don't think they ever really fully fulfilled their potential and, after the excellent Argus, their albums became more uneven for various reasons. Wishbone Four had some excellent songs, but was appallingly produced and Locked In simply stank to high heavens - of the others, Just Testing is probably the best but they all had a little something that stopped them from being absolutely top notch.
They are also one of those bands where there is now a couple of version of the band to choose from. The "official" version is led by Andy Powell (who certainly has the chronological right to the name) which Martin Turner leads his own version (who go out as Martin Turner's Wishbone Ash) who, in my opinion, probably contain the spark that made the band so special.
It was the Andy version that I saw and they gave a fine show as they have always done. There's a spattering of newer material but the set is based largely around some Argus favourites plus a varying range of other back catalogue songs. They've been active on the new album front but I must confess that their latest "The Power Of Eternity" is just the wrong side of mediocre.
I would love to see Martin' version of Ash. They've put out a couple of live albums (including some tracks featuring original guitarist Ted Turner - no relation) which suggest that they are harder hitting than their namesakes and feature Martin's distinctive singing and bass-playing. They also have a more esoteric on the back catalogue as well.
It would be good to think that differences could be buried and Martin and Andy join forces to really take Wishbone Ash to a higher level even at this stage of their career but it does appear that bridges have been well and truly burned with little prospect of any kind of reunion.
Anyway, Universal have just issued a 35th anniversary edition of Argus so if you've got a hankering after twin lead guitars and great songs then check it out
In the meantime, I have been exhibiting all my usual characteristics of supporting young, up and coming bands. Let's see - I caught Wishbone Ash at The Ferry in Glasgow. What do you mean, they don't qualify!!
I have a particular bond with Wishbone Ash as their first album was one of the first two albums I bought with my own money. The other was the eponymous T. Rex album (the one with the fold-over picture of Marc and Micky on the cover). I don't think they ever really fully fulfilled their potential and, after the excellent Argus, their albums became more uneven for various reasons. Wishbone Four had some excellent songs, but was appallingly produced and Locked In simply stank to high heavens - of the others, Just Testing is probably the best but they all had a little something that stopped them from being absolutely top notch.
They are also one of those bands where there is now a couple of version of the band to choose from. The "official" version is led by Andy Powell (who certainly has the chronological right to the name) which Martin Turner leads his own version (who go out as Martin Turner's Wishbone Ash) who, in my opinion, probably contain the spark that made the band so special.
It was the Andy version that I saw and they gave a fine show as they have always done. There's a spattering of newer material but the set is based largely around some Argus favourites plus a varying range of other back catalogue songs. They've been active on the new album front but I must confess that their latest "The Power Of Eternity" is just the wrong side of mediocre.
I would love to see Martin' version of Ash. They've put out a couple of live albums (including some tracks featuring original guitarist Ted Turner - no relation) which suggest that they are harder hitting than their namesakes and feature Martin's distinctive singing and bass-playing. They also have a more esoteric on the back catalogue as well.
It would be good to think that differences could be buried and Martin and Andy join forces to really take Wishbone Ash to a higher level even at this stage of their career but it does appear that bridges have been well and truly burned with little prospect of any kind of reunion.
Anyway, Universal have just issued a 35th anniversary edition of Argus so if you've got a hankering after twin lead guitars and great songs then check it out
Thursday, 25 October 2007
Rock's Greatest Secret
It was on the 30th October 1973 (when I was just sweet sixteen) that I went to see Argent at the Apollo Theatre in Glasgow. This was actually my first gig at the newly refurbished venue which had previously seen service as Green's Playhouse. Interestingly, the support act was a band called Glencoe who contained some musicians who later formed part of Ian Durys' most excellent Blockheads.
That evening was a good gig but what was more important was that it provided the entry point for one of my musical obsessions. I was convinced to attend a gig the following evening to see Man at the City Halls in Glasgow. I was short of money and unfamiliar with the band, but the promise of a few drinks being bought for me was enough to convince me to go along.
There were three acts on the bill that evening. The opener was John St Field who was actually Jackie Leven in undercover mode - he went on to form Doll By Doll (whose albums have recently been reissued and are recommended) and thereafter on a solo career with a number of fine but little heard albums. Sandwiched in the middle was Deke Leonard's Iceberg which included two former members of Man (Deke himself plus Martin Ace), followed by Man themselves who were promoting their Back Into The Future album.
Much as I would like to rectify this, I can't say I remember much of John St Field and this may well be because we were ensconced in the bar. However, Iceberg were a revelation (and any Manfans out there will appreciate that particular pun) with a set based mostly on Deke's album of the same name. Particular highlights were 7171 551 (which is based on Michael Nesmith's name as interpreted via an old style telephone) and A Hard Way To Live which has to be one of the best singles never to have made the charts.
Man followed and were at their spaciest and I just fell in love with the whole ethos that seemed to surround the band. The fact that they were touring with guys who had been in the band not too long before seemed unusual but was a breath of fresh air.
And then they all got on stage together at the end for a riotous rendition of Spunk Rock. Rather like the reaction of babies to music they heard in the womb, hearing the riff from that piece does something to me and just elevates me to a higher place. The particular adjective used there possibly helps describe the feeling.
Man split up in 1976 (and in the intervening period Messrs Ace and Leonard rejoined to take part in the wonderful journey) but reformed in 1983 and have been proceeding in one way or another since then. I suppose everyone has a band that didn't quite make it (notwithstanding that Man played and managed to sell out the Apollo in their own) that they have a particular affinity with and Man are certainly mine. I can't for the life of me understand why they are not celebrated as one of the great UK rock bands.
The particular point (another Manpun!!) of this is that their back catalogue is now getting the level of respect it deserves and the first three albums of their Liberty/UA catalogue have been issued on Esoteric Recordings. The first of these (simply entitled Man but with a naked painting of the species on the cover to allow it to merge in quietly in the background of any album collection) is perhaps the least essential but the other two are albums that you simply should own if you consider yourself a fan of rock music. The album Do You Like It Here Now? Are You Settling In? is a stone cold classic where the idea of filler was simply inconceivable and where the song writing and playing is exemplary. It's boosted by live tracks from a German gig that, even over 35 years on, makes me regret that they were unknown to me at that time. Seldom has a live band sounded so on fire.
And just to prove that the gig was no fluke the other album is all live. Live At The Padget Rooms, Penarth was issued as a budget release (and was at number 1 on the mid-price charts for the one week it was available as a limited edition release) but the reissue features the complete concert. Quite simply stunning - there is no other word for it.
Separate from the Esoteric releases, the Greasy Truckers Party album which features Hawkwind and Brinsley Schwartz as well as my intrepid heroes has also been given an extended reissue. The version of Spunk Rock that appeared on this is, in my opinion, simply the greatest piece of live music that ever found its' way to an album. If there is one Man track you need to hear before you pass from this earth, then this is it.
The next few months will see the remainder of the bands UA output released by Esoteric and it is hoped the current version of the band will be touring in 2008 around the UK. In the meantime, I'll settle for my regular visit to Swansea to enjoy the band at their regular Xmas gig and will delight in the company of the many friends I've discovered through my love of his exceptionally fine band
That evening was a good gig but what was more important was that it provided the entry point for one of my musical obsessions. I was convinced to attend a gig the following evening to see Man at the City Halls in Glasgow. I was short of money and unfamiliar with the band, but the promise of a few drinks being bought for me was enough to convince me to go along.
There were three acts on the bill that evening. The opener was John St Field who was actually Jackie Leven in undercover mode - he went on to form Doll By Doll (whose albums have recently been reissued and are recommended) and thereafter on a solo career with a number of fine but little heard albums. Sandwiched in the middle was Deke Leonard's Iceberg which included two former members of Man (Deke himself plus Martin Ace), followed by Man themselves who were promoting their Back Into The Future album.
Much as I would like to rectify this, I can't say I remember much of John St Field and this may well be because we were ensconced in the bar. However, Iceberg were a revelation (and any Manfans out there will appreciate that particular pun) with a set based mostly on Deke's album of the same name. Particular highlights were 7171 551 (which is based on Michael Nesmith's name as interpreted via an old style telephone) and A Hard Way To Live which has to be one of the best singles never to have made the charts.
Man followed and were at their spaciest and I just fell in love with the whole ethos that seemed to surround the band. The fact that they were touring with guys who had been in the band not too long before seemed unusual but was a breath of fresh air.
And then they all got on stage together at the end for a riotous rendition of Spunk Rock. Rather like the reaction of babies to music they heard in the womb, hearing the riff from that piece does something to me and just elevates me to a higher place. The particular adjective used there possibly helps describe the feeling.
Man split up in 1976 (and in the intervening period Messrs Ace and Leonard rejoined to take part in the wonderful journey) but reformed in 1983 and have been proceeding in one way or another since then. I suppose everyone has a band that didn't quite make it (notwithstanding that Man played and managed to sell out the Apollo in their own) that they have a particular affinity with and Man are certainly mine. I can't for the life of me understand why they are not celebrated as one of the great UK rock bands.
The particular point (another Manpun!!) of this is that their back catalogue is now getting the level of respect it deserves and the first three albums of their Liberty/UA catalogue have been issued on Esoteric Recordings. The first of these (simply entitled Man but with a naked painting of the species on the cover to allow it to merge in quietly in the background of any album collection) is perhaps the least essential but the other two are albums that you simply should own if you consider yourself a fan of rock music. The album Do You Like It Here Now? Are You Settling In? is a stone cold classic where the idea of filler was simply inconceivable and where the song writing and playing is exemplary. It's boosted by live tracks from a German gig that, even over 35 years on, makes me regret that they were unknown to me at that time. Seldom has a live band sounded so on fire.
And just to prove that the gig was no fluke the other album is all live. Live At The Padget Rooms, Penarth was issued as a budget release (and was at number 1 on the mid-price charts for the one week it was available as a limited edition release) but the reissue features the complete concert. Quite simply stunning - there is no other word for it.
Separate from the Esoteric releases, the Greasy Truckers Party album which features Hawkwind and Brinsley Schwartz as well as my intrepid heroes has also been given an extended reissue. The version of Spunk Rock that appeared on this is, in my opinion, simply the greatest piece of live music that ever found its' way to an album. If there is one Man track you need to hear before you pass from this earth, then this is it.
The next few months will see the remainder of the bands UA output released by Esoteric and it is hoped the current version of the band will be touring in 2008 around the UK. In the meantime, I'll settle for my regular visit to Swansea to enjoy the band at their regular Xmas gig and will delight in the company of the many friends I've discovered through my love of his exceptionally fine band
Sunday, 21 October 2007
The real world intrudes.......
Just back from a relaxing (lazy would probably be more accurate description) weeks holiday in Spain, and the real world of work is returning to haunt me tomorrow morning.
Frustratingly, I missed three gigs during my absence that I would probably otherwise have made an attempt at attending - Richard Thompson, The Undertones and Ian Hunter - but my bank manager may be grateful for that.
Oh well, back to the grindstone.......
Frustratingly, I missed three gigs during my absence that I would probably otherwise have made an attempt at attending - Richard Thompson, The Undertones and Ian Hunter - but my bank manager may be grateful for that.
Oh well, back to the grindstone.......
Thursday, 11 October 2007
Concert Review : Andy Fairweather Low continued.........
I shouldn't have been so pessimistic - The Ferry was well filled and jumping this evening. As expected, an excellent gig featuring just about everything you would expect to be played along with an eclectic range of other material including old country, gospel and rock'n'roll tunes.
The reaction of the audience also seem to take Andy and the other musicians aback somewhat with much singing along with the boat rocking to the encores of Bend Me, Shape Me, Hello Suzie and (If Paradise Was) Half As Nice.
If you've liked what Andy has done along the way and you've got a chance to catch this tour I'd heartily recommend it. You won't be disappointed.
The reaction of the audience also seem to take Andy and the other musicians aback somewhat with much singing along with the boat rocking to the encores of Bend Me, Shape Me, Hello Suzie and (If Paradise Was) Half As Nice.
If you've liked what Andy has done along the way and you've got a chance to catch this tour I'd heartily recommend it. You won't be disappointed.
Tuesday, 9 October 2007
Andy Fairweather Low
I'll be heading off to see Andy Fairweather Low perform at The Ferry in Glasgow tomorrow night. He counts as one of the forgotten men in rock (and I do fear this might be proven in the attendance although I'll more than pleasantly surprised to be proved wrong) although he has been more than gainfully employed in the service of others for more than the last 20 years.
As lead singer in Amen Corner, I recall his somewhat static singing style and how he appeared to sing out of the corner of his mouth. He was the epitome of the uncomfortable young man on Top Of The Pops. Although they had a number of good to excellent singles, it seems that Andy had always wanted to be a guitarist and that this was perhaps the source of his discomfort.
After Amen Corner split, Fairweather emerged from the ashes (albeit this was effectively the same band but without the horn section) and had another fine hit with Natural Sinner. This didn't last any more than an album and Andy disappeared for three years before released a fine trilogy of albums in Spider Jiving, La Booga Rooga and Be Bop N'Holla. The latter was notably less successful both critically and commercially than the previous two and Andy's profile dropped for a few years until 1980 when he released Mega-Shebang which unfortunately didn't live up to its' title.
Since then, he had concentrated on being a hired hand and has served in the bands of Roger Waters, Eric Clapton and Van Morrison amongst others and was also present at the tribute concert for George Harrison.
I first saw Andy perform a brief set of blues in support of Man at the Coal Exchange in Cardiff in December 2001. To be honest, it was only there that I appreciated what a wonderfully emotive guitarist he was.
So I was delighted when he issued an excellent new album last year called Sweet Soul Music. There's nothing earth shatteringly original on there - it's just great songs by a great musician with a great voice. What more can you ask for?
I saw him last year in Edinburgh at the Queen's Hall when he did a brief tour when the album came out and I'm hoping for more of the same tomorrow. So that'll be a mix of blues and gospel songs alongside songs from his seventies albums plus a healthy chunk of the new album as well.
And he did give a nod to his sixties legacy performing Bend Me, Shape Me and (If Paradise Was) Half As Nice as an encore.
I will be driving so I can tell you that I won't be wide eyed and legless!
As lead singer in Amen Corner, I recall his somewhat static singing style and how he appeared to sing out of the corner of his mouth. He was the epitome of the uncomfortable young man on Top Of The Pops. Although they had a number of good to excellent singles, it seems that Andy had always wanted to be a guitarist and that this was perhaps the source of his discomfort.
After Amen Corner split, Fairweather emerged from the ashes (albeit this was effectively the same band but without the horn section) and had another fine hit with Natural Sinner. This didn't last any more than an album and Andy disappeared for three years before released a fine trilogy of albums in Spider Jiving, La Booga Rooga and Be Bop N'Holla. The latter was notably less successful both critically and commercially than the previous two and Andy's profile dropped for a few years until 1980 when he released Mega-Shebang which unfortunately didn't live up to its' title.
Since then, he had concentrated on being a hired hand and has served in the bands of Roger Waters, Eric Clapton and Van Morrison amongst others and was also present at the tribute concert for George Harrison.
I first saw Andy perform a brief set of blues in support of Man at the Coal Exchange in Cardiff in December 2001. To be honest, it was only there that I appreciated what a wonderfully emotive guitarist he was.
So I was delighted when he issued an excellent new album last year called Sweet Soul Music. There's nothing earth shatteringly original on there - it's just great songs by a great musician with a great voice. What more can you ask for?
I saw him last year in Edinburgh at the Queen's Hall when he did a brief tour when the album came out and I'm hoping for more of the same tomorrow. So that'll be a mix of blues and gospel songs alongside songs from his seventies albums plus a healthy chunk of the new album as well.
And he did give a nod to his sixties legacy performing Bend Me, Shape Me and (If Paradise Was) Half As Nice as an encore.
I will be driving so I can tell you that I won't be wide eyed and legless!
Monday, 8 October 2007
Brian Wilson
It's been one of the great pleasures (and without the slighted pang of guilt) to have enjoyed the musical renaissance of Brian Wilson over the last decade. At the outset of this period I wouldn't have bet a single penny on my chances of seeing him perform far less that I would by now have seen him so often (now into double figures) and that they would be without exception the greatest concerts I have seen. Everyone else simply trails in his wake.
During that period I've seen him perform Pet Sounds in its' entirety, start to perform songs that you might have thought he would have been reluctant to revisit culminating in the performance of a completed version of SMiLE.
That would seem to be enough for any artist to allow themselves a gentle rest on their laurels, and it appeared that Brian might have been doing that when more straightforward hits-based shows followed the completion of the SMiLE tours. (And I am aware that to describe some of Brian's songs as "straightforward" is a considerable abuse of the English language).
However, Brian has certainly astonished me with the recent performances of his latest work "That Lucky Old Sun - A Narrative". I had the pleasure of seeing him perform this in London at the Royal Festival Hall on Saturday 15 September and again in Edinburgh the following Saturday at the Festival Theatre. Bolstered also by becoming more familiar with the piece as a result of some audience recordings I think it's fair to say that this work is the real deal and is going to be heralded alongside some of the peaks that Brian enjoyed in the 1960's.
Whilst his solo albums have been enjoyable, they have never been sufficiently consistent. For every moment of inspiration there's been too many moments of perspiration or just incomplete ideas. That Brian was able to record and release new material was a joy in itself but I held out little hope that we could ever see an album of new material that would match his best work.
However, That Lucky Old Sun will do just that if, as is to be hoped, Brian takes his excellent band and the Stockholm Strings & Horns into the studio to record it. At thirty five minutes it may be too short for an album in these modern times, but I do think it deserves to stand alone without other songs to distract attention from what is undoubtedly a major piece of work.
Surf's Up!!
During that period I've seen him perform Pet Sounds in its' entirety, start to perform songs that you might have thought he would have been reluctant to revisit culminating in the performance of a completed version of SMiLE.
That would seem to be enough for any artist to allow themselves a gentle rest on their laurels, and it appeared that Brian might have been doing that when more straightforward hits-based shows followed the completion of the SMiLE tours. (And I am aware that to describe some of Brian's songs as "straightforward" is a considerable abuse of the English language).
However, Brian has certainly astonished me with the recent performances of his latest work "That Lucky Old Sun - A Narrative". I had the pleasure of seeing him perform this in London at the Royal Festival Hall on Saturday 15 September and again in Edinburgh the following Saturday at the Festival Theatre. Bolstered also by becoming more familiar with the piece as a result of some audience recordings I think it's fair to say that this work is the real deal and is going to be heralded alongside some of the peaks that Brian enjoyed in the 1960's.
Whilst his solo albums have been enjoyable, they have never been sufficiently consistent. For every moment of inspiration there's been too many moments of perspiration or just incomplete ideas. That Brian was able to record and release new material was a joy in itself but I held out little hope that we could ever see an album of new material that would match his best work.
However, That Lucky Old Sun will do just that if, as is to be hoped, Brian takes his excellent band and the Stockholm Strings & Horns into the studio to record it. At thirty five minutes it may be too short for an album in these modern times, but I do think it deserves to stand alone without other songs to distract attention from what is undoubtedly a major piece of work.
Surf's Up!!
Sunday, 7 October 2007
Film Review : Control
I was never a huge fan of Joy Division although Love Will Tear Us Apart was clearly a thing of rare power and beauty, so I'm not going to claim to be one of the several millions who seemed to attend their gigs but who can't be clearly accounted for by a review of their gigging schedule during their relatively brief existence.
However, that didn't stop me going to see Control at the cinema as the story of Ian Curtis life and death is clearly one that has helped to cement the legendary status that the band now hold. I'm very glad I did as it's an excellent movie and one of those rare films that inhabits your thought processes for hours after the credits have rolled.
The casting was excellent (with perhaps the one exception being Tony Wilson) and it gave a real sense of Curtis as an already insecure but talented individual backed into a corner by the troika of growing success, a failing marriage that he needs to continue to cling to and the ongoing impact of his epilepsy.
There's one scene in particular which seemed to sum up his life in many way when he is confronted by his wife Debbie (played by Samantha Morton) where he backs off and continues to back off until he ends up in the corner of the room with nowhere else to go. It doesn't take much to imagine that was how he felt the morning that he decided to take his own life.
Impressively, the actors who played Joy Division actually performed the music themselves and it came across very well indeed. Sam Riley himself was a revelation as Curtis and he made the character live (if that's not a somewhat inappropriate description but I hope you see what I mean).
All in all, the experience was sufficient to encourage me to reinvestigate the Joy Division back catalogue (recently reissued in the remastered and expanded form) and to purchase Deborah Curtis' book on which the film was based.
However, that didn't stop me going to see Control at the cinema as the story of Ian Curtis life and death is clearly one that has helped to cement the legendary status that the band now hold. I'm very glad I did as it's an excellent movie and one of those rare films that inhabits your thought processes for hours after the credits have rolled.
The casting was excellent (with perhaps the one exception being Tony Wilson) and it gave a real sense of Curtis as an already insecure but talented individual backed into a corner by the troika of growing success, a failing marriage that he needs to continue to cling to and the ongoing impact of his epilepsy.
There's one scene in particular which seemed to sum up his life in many way when he is confronted by his wife Debbie (played by Samantha Morton) where he backs off and continues to back off until he ends up in the corner of the room with nowhere else to go. It doesn't take much to imagine that was how he felt the morning that he decided to take his own life.
Impressively, the actors who played Joy Division actually performed the music themselves and it came across very well indeed. Sam Riley himself was a revelation as Curtis and he made the character live (if that's not a somewhat inappropriate description but I hope you see what I mean).
All in all, the experience was sufficient to encourage me to reinvestigate the Joy Division back catalogue (recently reissued in the remastered and expanded form) and to purchase Deborah Curtis' book on which the film was based.
Concert Review : From Rush to the Rezillos
I was at two concerts this week. Rush played at the SECC on Wednesday. Although open to considerable debate, I suppose you would generally classify them at the prog end of the scale. On Friday, I went to see The Rezillos at the ABC2. Definitely not at the prog end of the scale, and probably most easily classified as punk (although equally open to debate).
I had a great time at both gigs but I know of many people who struggle with the idea that I can accomodate both within the realms of my listening. Frankly, I struggle with the idea that they can't!
Even though the so-called punk wars took place thirty years ago history seems to have been written in a way that suggests that punk slayed the dinosaurs of rock. A look at the facts easily shows this to be utter bollocks.
Punk did provide a kick up the pants to the music scene and (as with just about every trend) left us with a batch of great bands that we remember with fondness and still listen to and even more that we've probably forgotten sufficiently to be embarrassed about ever giving them the time of day in the first place.
In any event, it always struck me that punk was more about attitude than either the music or the fashions of the day. It's greatest legacy was the proliferation of independent labels, and the acceptance that bands could do it all by themselves. This continues to this day, aided by the technological advances which mean that everyone's bedroom can be a recording studio and where the Internet allows you to get that music out to an audience at the proverbial touch of a button.
I was in my late teens when punk hit in the seventies and was just old enough not to be overly concerned with purging my musical past to make way for the new bands. I was happy to continue to listen to the Pink Floyd whilst loving the Sex Pistols classic run of singles. Happy to enjoy The Clash without feeling the need to worry about Elvis, Beatles and The Rolling Stones in 1977. And so it continues to this day with my concert double-bill from this week.
The irony, of course, is that the artists who rose to the surface via punk that survived and prospered were ones that, by and large, had a very fine grasp of their musical heritage and ultimately had no real belief that punk was any kind of Year Zero whatever their rhetoric might have been. That's not a problem to me as we are all no more than the sum of our contradictions anyway, although too often we damn our heroes because of theirs.
I had a great time at both gigs but I know of many people who struggle with the idea that I can accomodate both within the realms of my listening. Frankly, I struggle with the idea that they can't!
Even though the so-called punk wars took place thirty years ago history seems to have been written in a way that suggests that punk slayed the dinosaurs of rock. A look at the facts easily shows this to be utter bollocks.
Punk did provide a kick up the pants to the music scene and (as with just about every trend) left us with a batch of great bands that we remember with fondness and still listen to and even more that we've probably forgotten sufficiently to be embarrassed about ever giving them the time of day in the first place.
In any event, it always struck me that punk was more about attitude than either the music or the fashions of the day. It's greatest legacy was the proliferation of independent labels, and the acceptance that bands could do it all by themselves. This continues to this day, aided by the technological advances which mean that everyone's bedroom can be a recording studio and where the Internet allows you to get that music out to an audience at the proverbial touch of a button.
I was in my late teens when punk hit in the seventies and was just old enough not to be overly concerned with purging my musical past to make way for the new bands. I was happy to continue to listen to the Pink Floyd whilst loving the Sex Pistols classic run of singles. Happy to enjoy The Clash without feeling the need to worry about Elvis, Beatles and The Rolling Stones in 1977. And so it continues to this day with my concert double-bill from this week.
The irony, of course, is that the artists who rose to the surface via punk that survived and prospered were ones that, by and large, had a very fine grasp of their musical heritage and ultimately had no real belief that punk was any kind of Year Zero whatever their rhetoric might have been. That's not a problem to me as we are all no more than the sum of our contradictions anyway, although too often we damn our heroes because of theirs.
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