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Tuesday, 26 February 2013

Bad Boys in Rock N Roll...


In the wake of the recent moral pronouncements regarding the singer and entertainer Chris Brown it brings to mind more than a few other artists with similar pasts and lifestyle discrepancies that are casually overlooked and in some cases actually go as far as improving a legacy/reputation of those involved showing the next generation the type of pirate living stylish gunslingers who came before.

Below are a few other musicians/artists who’s personalities, behaviour and outright foolishness leaves them on paper less than reputable as individuals but who’s musical output has put these minor details in the shade of their historical biography. Hopefully the questions will now be raised on whether “do you judge an artists by their work, or by their personalities and daily lives?”


Ike Turner

No point beating around the (nut)bush lets jump in at the deep end. The name itself is vilified beyond repair thanks to the 1993 movie ‘What’s Love Got To Do With It’ based on the book ‘I,Tina’ by Tina Turner. From that portrayal Ike is shown to be a hard nosed womanising, drug addicted bully who beat poor innocent Tina within an inch of her life most evenings due to his overwhelming jealousy of her talents that far outweighed his own, ending with him in jail and her beyond thunder-dome under the spotlight of her 1980’s AOR rock comeback. The film takes massive exaggerations with the truth and events and these have in fact been discussed at length by the individuals present and by Tina herself who later admitted some of the movie was sensationalised for the good of the script and overall movie. The truth sometimes isn’t as movie worthy and exciting as the reality so for drama and popcorn sales sake some peoples lives are bent all out of shape.



Nobody is saying that Ike Turner was a gentle soul that would never raise his hand in anger but this was also the same man that played piano on the very first bona fide Rock ‘N Roll song ‘Rocket 88’, the same guy that was a talent scout for Sun and Modern records and brought Howlin’ Wolf, B.B King, Bobby Bland and countless others to the forefront of music and gave them the platform to start their careers. He was a cornerstone and an innovator of electric blues who’s group The King’s of Rhythm were THE band to see on the R&B ‘Chitlin Circuit’ of the deep south. He employed future stars such as the teenage Jimi Hendrix in his group and behind the scenes financially assisting artist that had fallen off the radio’s top ten.

Rediscover the raw beauty of Ike & Tina’s early material such as ‘A Fool In Love’, ‘I Think It’s Gonna Work Out Fine’ and the beautifully sleazy ‘I’m Blue (The Gong-Gong Song)’ recorded by Ike's backing singers The Ikettes and you’ll find that for real fans of R&B and Soul their 60’s soul revue couldn’t be matched and while Tina Turner’s 80’s solo career was as lucrative and MTV pop-lite to the masses how far it falls off the radar quality wise when put up against her early records and Ike Turner productions. She made him? Do me a favour.



Lead Belly

O.K so we’re going back old-school here but nether less the fact still remains that Lead Belly (Huddie Ledbetter) performer of countless folk standards such as ‘Cotton fields' (later covered by The Beach Boys)’, 'Goodnight Irene' (recently covered by Jack White), ‘Rock Island Line’ (covered by EVERYBODY) and ‘In the Pines’ (later re-christened ‘Where Did You Sleep Last Night’ by Nirvana on their ‘Unplugged in New York’ album) and many, many more was in fact a short tempered two time imprisoned murderer who had killed a relative in a fight over a women and knifed another in equally murky circumstances.



Hardly the guy you want your daughter bringing home for Christmas dinner but his legend still remains to this day in the archives music and within the very DNA of what would become Rock N Roll and popular music. His Library of Congress recordings by John and Alan Lomax remain undoubtedly some of the most important musical artefacts of the 20th century.



Jerry Lee Lewis

The ol’ 'Killer' himself. Everyone’s heard the stories, the fact that he was multi-bigamist, a member of a fire and brimstone church who’s preacher was disgraced evangelical spokesman Jimmy Swaggart (his cousin!), the fact he married a 13 year old teenage girl (another cousin!!).



The pills, the thrills and bellyaches of the early wild Rock N Roll. While stoking the fires of hell with his demonic piano assault and singing Rock n Roll classics such as ‘Great Balls of Fire’, ‘Whole Lotta Shakin’ Goin’ On’ (once named the greatest Rock N Roll track by John Lennon) and ‘Crazy Arms’ he also found time to destroy multiple pianos, shoot his bass player Butch Owens point blank in the chest “by accident” while fooling around with a loaded gun one rehearsal and being wrestled and arrested by Elvis Presley’s home security guards after the severely drunk Lewis was seen climbing over the gates of Graceland armed with a loaded handgun demanding to see the boss. He’d still get a standing ovation if he took the stage today and quite rightly so.


James Brown

The Godfather of Soul, Soul Brother Number 1!,The Hardest Working Man in Show business, Mr Please Please Please, The Minister of the New New Super Heavy Funk… could also be described as a man that was arrested multiple times for drink driving (including a two state full on police chase which ended after his tyres were shot out beneath his truck leaving him driving on the wheel rims!), spousal abuse and assault.



He is still remembered as a true great, musical maverick and someone who seemingly never had a bad word about anyone (I.e. when asked about The Mafia “I guess they are doing the best they can”). He also made Rocky 4 bearable.


Phil Spector

Phil Spector is probably the oddest of the odd one out in this list for the simple reason that his reputation and personality has overshadowed his great musical contributions of his early days. His run of hit records in the 1960/70’s with girl groups and artists such as The Crystals, The Ronettes, Righteous Brothers, John Lennon, George Harrison and Tina Turner can’t be viewed as anything other than a gargantuan achievement, although as he currently sits in a prison cell on a murder charge it swings the pendulum a little too far out of reach if he’s expecting a lifetime achievement award any time soon from his piers.



I’ve often thought about whether the term ‘genius’ is justified with Phil Spector as he was an all rounder hard working guy that managed the business side, production technique, song-writing and talent scouting, it wasn’t due to a natural ability but simply because of his own personal drive and ambition. His reputation as a nutcase appeared after his string of successes dried up as styles changed with him flat refusing to move an inch out of his comfort zone and instead took on the persona of a reclusive mad genius who preferred to be locked away in his haunted mansion rather than in the studio. It’s the reclusiveness and the ‘genius’ tag that got hung around his neck that I believe was the factor that pushed him off the path of normality. The studio horror stories about guns being waved, sessions lasting all night and the verbal abuse lashed at anyone that didn’t obey his orders are almost as legendary as the final records that he released.

The most famous of his ‘victims’ being his ex-wife Veronica ‘Ronnie’ Spector who reportedly spent her wedding night locked in the bathroom of their hotel suite while her new husband screamed obscenities and threats at her. Legend has it that he also told her that he had a solid glass Snow White-esque coffin in his basement for if she ever tried to leave him, the glass top was practical so “I can keep and eye on you”. Her opinion on him "I think Phil was a very normal person at the beginning of his career. But as time went on, they started writing about him being a genius. And he said, 'Yeah, I am a genius.' And then they would say, 'He's the mad genius.' And so he became the mad genius."

Musically, Phil Spector is a legend. He brought a new dynamic to POP music that has never been bettered , it’s an overall vision possibly closer to a movie director or a landscape artist, he has the ability to see the finished product before a single note has been recorded and like a sculpture he’ll keep chipping away until the end is finally revealed. The wall of sound has now for him been replaced with a wall of bricks and barbed wire but the records will last forever as perfect moments in POP music.

So do we all forgive Chris Brown? The answer is of course…NO. The reason? It's too soon. In the world of social media, immediate news 24 hours a day it's near impossible to quitely leave something like spousal abuse to the history books, especially when your spouse is one of the biggest pop stars in the world. He also needs a few more great songs under his low slung belt, a few Michael Jackson by way of Usher dance moves don’t cut it for me. Come back in a few years with a classic album or two under your wing then you’ll be assimilated into the living being of Rock N Roll where sins are forgiven, transgressions are washed away in a baptism of time, good feeling and rose tinted glasses.

Tuesday, 12 February 2013

Martyr - The Vex



‘Martyr’ The Vex


As we all know music like all art is purely subjective when it comes to what’s good and what’s crap. In some cases though there are bands where no discussion is required, no pub debating about set lists and envelope pushing barrier breaking, instead a simple nod of appreciation among the crowd that confirms that everyone is feeling the same thing, pure elation and good ol’ fashioned luck of the draw that they’ve been at the right place and the right time when the new wave finally broke.

This is the feeling I get when I watch The Vex play, the outright passion in their playing is above anything as petty as showing off and far above aimless strumming while posing for another pointless MySpace photo (I know! Who the hell even uses MySpace any more?) It’s all about the ‘moment’ and if you blink you’ll miss it. You’re either with them 100% or you simply don’t get it and if you are in the team of the latter then you never will. Influences are interwoven throughout their songs although nothing ever falls to the side of pastiche or copycat. Not since The Libertines early days has a group planted their flag so deep into the ground and proclaimed their arrival on the London scene.

Their debut single ‘Martyr’ released on the 1st March is quick, sharp and with fewer wasted notes than a Ramones guitar lesson and clocking in at a fat trimming 1 min 59 it’s a track that hasn’t got time to waste itself on extended outros or face melting guitar solos, this is a sonic hit and run!

Inspired by the recent Pussy Riot court case in Russia The Vex are carrying the torch and tradition of groups such as The Clash without resorting to the empty sixth form political posturing of their later days, instead they are providing a soundtrack to the day-to-day news stories without trying to “bring down the government man!”, instead they’ll just provide the soundtrack while it falls all by itself. Get it.


www.thevexofficial.com

March 1st The Vex single launch at The Barfly, Camden Town.

Monday, 14 January 2013

Marianne Faithfull - Broken English (Deluxe Edition)




Marianne FaithfullBroken English (Deluxe Edition) [UMC/Island]


In the tapestry of rock and roll there have been many icons and artists that have fallen by the wayside, either from drink, drugs, ego problems or simply just losing the will to continue on the merry-go-round of show business. There are few survivors that come back stronger than they left.

In 1979 Marianne Faithfull was a shadow of her former self. The once consort of Rolling Stone, Mick Jagger, 1960’s poster girl and every rock stars fantasy girlfriend was now in a new decade homeless, addicted to heroin and penniless. Although wounded and fluttering the fire that began in the 60’s to create something worthwhile and something that would last was still burning, if only a slight ember.

She has been interviewed since about this period and has commented that she wanted to “show everyone”, to prove to everyone (and maybe herself) that she wasn’t finished and in fact could contribute something of value within music.

'Broken English' has been called a masterpiece and although I think this is a strong word to throw about I can honestly say that it’s Faithfull’s own jewel in the crown. A collection of songs that sit easily amongst the most popular new music and one I’m sure will be rapidly re-discovered by the trendies, upon the re-issue release this month.

Backed my musicians such as Steve Winwood (whose synth arrangements fit the lyrics and production perfectly) are noticeable throughout. Complete with looping bass lines and robotic drums they are paired with Synthesizers and guitars without becoming overused and clichéd. Unlike a lot of music of the same era, here they are used as icing on a well constructed, if poisoned, wedding cake and unlike the others have kept the soul rather than just directionless posing at the forefront.

The mostsurprising ‘instrument’ used throughout is Faithfull’s voice. The once soft clipped beautiful vocals from ‘As Tears Go By’ are replaced with a cigarette and drugs ravaged gravely tone which give the weight of the lyrics within, a real sense of truth and authenticity to the subject matter.

The song writing is great throughout with tracks such as ‘Witches Song’, ‘Broken English’,’The Ballad Of Lucy Jordan’ (which has become one of Faithfull’s most famous performances) and the final track ‘Why D’Ya Do It’ which was surprisingly offered to Tina Turner by writer Heathcote Williams before Faithfull took hold of it. After the first minute of the song you’ll realise why Tina couldn’t have sung this in a million years and with lyrics such as “Why D’ya do it, she said, when you know it makes me sore, cause she had cobwebs up her fanny and I believe in giving to the poor” I’m sure you’ll agree. The album was later rated R13 in New Zealand and was plastered with a ‘Parental Advisory’ in North America.

An essential album for anyone into the dark underbelly of rock and roll and proof that no matter what life throws at you there is always a chance you can climb back up to the top.


Released on January 28th
www.mariannefaithfull.org.uk

Monday, 7 January 2013

20 TOP TIPS FOR WANNABE ROCK STARS




20 TOP TIPS FOR WANNABE ROCK STARS


01. Don’t bother. The racks and iTunes lists are already rammed with rubbish bands, why bother adding to the carnage?


02. O.K., so you’ve ignored the advice of your parents, teachers, careers advisors and pretty much anyone else that has a vested interest in your post secondary school future, you’re in a band.


03. Sack your mate, he’s rubbish. He’s probably hiding back on bass guitar or rhythm guitar. He’s no good but he thinks you’re great so you keep them for your weekly ego boost. Cut to the chase early as it’ll just cause a row later. If you are the bass player or rhythm guitar player you should probably commit indie hara-kiri and dive in front of the gravy train before you ruin everyone else’s chance.


04. Impressing your mates isn’t enough. Yes you really got the crowd going at your cousins 16th birthday and that ‘gig’ at your mates end of year party really went over well but the average bitter drinking brick layers down the Dog and Bollock pub in Fulham think you’re a “bleedin’ racket” so play something people want to hear on a Friday night or pack your Japanese Les Paul copy away for good.


05. Cover vesions always work better than your finally honed original compositions but if your want to play originals don’t add a cover or two into your limited set as it just draws attention to how shit your songs actually are.


06. Listen to the sound guy. 10 years ago they were standing in your shoes and they have a massive chip on their shoulder. If you ignore their pleas to “turn that guitar amp down from 10” they’ll screw your sound up as you prepare your stance for the big ‘November Rain’ solo and make you sound like George Formby.


07. Throw away any business cards that get pushed in your palm from people that “work for a record company and really want to sign you”. If ANYONE is interested in you then you don’t need to chase them and beg for it, they’ll find you and make the first move.


08. Band managers fall into a few categories. The guy with cash on the hip, love for music but no real experience at all within the industry. These guys are great for getting rehearsals paid for, blagging some new equipment and for getting the band drunk after the gig. They’ll do nothing to get you to the next stage of your career. The second lot are the ex-music industry guys that were once accepted behind the velvet rope but are now as welcome at the EMI Christmas party as Jimmy Saville at the Early Learning Centre. These are the most dangerous kind, they’ll fill your head with magic and lies about how “we’re really making ground with Steve Lilywhite” when in fact their email to his MySpace page bounced back a few seconds after their message was sent. These guys/girls are a waste of time and an iron ball around your skinny jeaned legs. For Gods sake don’t sign a contract with these leeches.


09. It’s ALL been done before. Just because you and you’re mates haven’t heard it doesn’t mean there aren’t 1000 bands that sound just like you around or in fact 20 years ago. There are 12 notes in western music. You think you’ve got a new combination? Good luck. Just make your own chair, don’t try and re-design it with 6 legs.


10. Shut up. If you’re the drummer then play drums, if you’re the singer then sing. Nobody wants your thoughts on the Middle East crisis or the fiscal cliff when you’re plugging your demo on Hospital Radio in Derby. Talk about the music, more importantly YOUR music, NOT bands you hate.


11. Be honest. But not dull. If you in fact spent Saturday night at your mums drunk on hooch with the bassist rowing about the C minor chord not falling into the F properly for your new songs chorus then keep this fine anecdote to yourself, even your mum didn’t care . Stick to “we’re just working on some new sounds at the moment, really exciting times, we can’t wait to bring them into the set” if asked.


12. Clothes maketh the band. You don’t have to be The Hives but you all need to look like you’re in the same band/gang. Your guitarist may work in a bank Monday to Friday but if 99% of the band looks like Lemmy and the other like Brian Epstein then you have a problem.


13. Get a day job. You play gigs at night, all your audience works or studies in the day time, get out of bed and get some money rolling in until…well the money starts rolling in. Guitar strings and rehearsals cost money. Major sore point and cracks appear when one or more of the group is backing the rest but is getting no say in the musical side or direction at crunch moments. Pay your way you lazy dreamers.


14. Don’t jump on trends. By the time new trends are making waves and getting column inches in the music rags then they are already 6 months old and by changing to suit the new fad you’ll look like a Teddy Boy at Woodstock.


15. Stick to the script. If some snot nosed reporter or blogger asks what other bands you like, be honest but not dull (see point 11) if you’re a metal band, a nod to Led Zeppelin, Metallica and Motorhead is fine. Bringing up your Ravi Shankar Box set you got for Christmas to improve your “exotic scales” isn’t. The truth is that most music fans already know nearly everything about the bands they love it’s comforting to have them regurgitate facts they’ve already heard, you’re funding to the NRA or EDL is only going to effect the mosh pit numbers.


16. Listen to your betters, not your elders. Just because someone has been a record producer for 30 years doesn’t mean they know anything about making a successful record. The evidence? Well if they did know the secret to a successful hit record then they would’ve done, many times over. If the “friend” of the manager is putting you up in his ‘vintage’ studio and has “worked with them all” but is smoking roll ups and borrowing a fiver off before you’ve plugged in your tuner then it’s safe to say that he has more riding on you being a success then you do. Ditch em’. Music Tech students are a great blag, they want to work and get experience, usually have free access to studios at college/university and can be pushed around by 5 musicians easily enough.


17. Remember that it’s not about talent, but drive. You want to see a talented musician at Wembley Stadium then look to the right of the stage during the gig, he’ll be the one tuning and changing strings for the guitarist on stage as he furrows his brown looking for the elusive E7#9 chord. The musicians that are driven are ready to play when and wherever the chance arises, at no point do you want people to say “I didn’t know you were in a pop group”. It should be the only talk about when discussing you. The famous groups DO get out of bed at 5am for a Breakfast Radio spot to discuss their new single for 20 seconds. Bands you’ve never heard of sleep in and nurse another hangover.


18. Set realistic goals for yourself. Baby steps and goals that are achieved show progress, keep momentum and confidence high. Playing one gig, getting paid £200 (less beer money) and announcing to the crowd that Oasis will be supporting YOU this time next year will only be setting you up for the fall, and for us Brits, we love to see people knocked of their perch. Proof? Look how David Blaine was revered in the USA but mocked in the UK for his “I’m in a Perspex box ‘trick’”. Nobody over the age of 15 likes a big mouth smart arse.


19. Write and tailor songs for the venues you play. If you are playing in the back room of your local ‘real ale’ pub then a sixteen minute quasi-classical rock opera is probably going to fall on the few deaf ears that turned up. Save the ‘Sgt.Pepper’ tracks for the album. Your live shows should be full of songs that people want to hear and sing along to, they’ve paid their money on the door, they are your boss for the evening. Give em’ what they want to hear and mean it!


20. No stupid band names. Although ‘Jimmy Hitler and the Wheelchair Dodgers’ sounded hilarious at 4am while the band was stoned off their chuffs if the band beats all the odds and makes it to a record deal then you’ll be followed around by this moniker forever. See ‘The Beach Boys’ who for reference considered changing their name to ‘Beach’ in the early 70’s as 30 something family men with beards being touted as ‘Beach Boys’ while the Vietnam War raged on seemed a bit restrictive to their image on the rock underground. See also The Bollock Brothers.


Tuesday, 4 December 2012

The Grinch Who Saved Christmas

The Grinch Who Saved Christmas


Christmas time for me and a lot of people is a time to look forward to. It has very little to do with religious dogma , stories of stables, uncaring inn-keepers and nosey shepherds and more to do with the occasion to eat, drink and be merry surrounded by friends and family.

A staple of my household festivities has always been the music played and among the Dean Martin’s, Sinatra and Slade getting a pounding there has always been a single album that stands high above the rest as the hallmark of the holiday season. This album is ‘A Christmas Gift for You from Phil Spector’ from 1963. It is an album of Christmas classics such as ‘White Christmas’, ‘I Saw Mommy Kissing Santa Clause’ and ‘Winter Wonderland’ given the ‘Wall of Sound’ treatment from the Phil Spector stable of artists such as The Crystals, The Ronettes and of course Darlene Love who’s standout track ‘Christmas (Baby Please come Home)’ has been the official song for the David Letterman Christmas show for as long as I can remember.



The album was a labour of love for Phil Spector and this alone raised a few eye brows when news started to filter out from the studio about what his next project was. This after all was the work of a confirmed Jewish Atheist 22 year old guy that was known to be less than friendly to most people he met making a happy Christmas album. A guy with more enemies than friends who’s tyrannical approach to record making was ripping up the format and catching lightning in a bottle over and over again could only create jealously among his pears who couldn’t wait for his first slip up before they descended upon him to bring order back to the old guard.

The studio sessions throughout the hot summer of 1963 were fast paced and furious to the musicians involved. One commented later that it was very disorientating to be shaking jingle bells and playing Xmas songs for 11 hours then walking out side to a hot summers day and readjusting back to bikini’s and surfboards but eventually after weeks and weeks it was complete. The musicians were pushed to their very limits with sessions sometimes running into weeks rather than the standard hours slots. Roomfuls of top first call musicians such as Hal Blaine, Carol Kaye, Glen Campbell,Cher(at 17 years old!) and legend has it even Beach Boy Brian Wilson turning up to add their own musical talents (Wilson even states that this album is his favourite of all time), this was either going to be his greatest achievement or biggest commercial flop.

It is literally impossible to feel depressed while listening to this album. Christmas can after all be a depressing time for some that may be away from their family or secluded due to circumstance and although this is no magic pill definitely sugars the medicine to a level where a smile forms on even the most humbug laden individual.
The album itself was pretty much guaranteed to be a smash hit after insiders listened to the first pressings and considering the un-matched run of hits Spector had produced throughout the year it was a definite ‘sure thing’. This was stopped abruptly in it’s tracks by the release coinciding with the assassination of JFK (the same day!). The album subsequently found it’s audience and with it’s re-release by The Beatles own Apple Label in 1972 eventually found it’s way into most record collections.



I’d admit I am bias as I admire Spector’s work greatly and will hold my hands up to the fact that I have listened to this on the beach in Spain before while slowly getting sun-burnt. It’s an album for 365 days a year for me but for those that like your Christmas’s white and cold with turkey and stockings over the fire place I can’t think of a better way to spend it.

Tuesday, 27 November 2012

Albums of 2012

Albums of 2012



01.Boys and Girls - Alabama Shakes
Not only the discovery of the year for me personally but easily the album of the year also. Songwriting, performance, soul all combined with an honest love for the music that influenced them. Live they are a revelation that keep the crowd with both eyes on them all the way. Incredible vocals from Brittany Howard throughout.


02.Blunderbuss - Jack White
Is he ever gonna slip up? Jack White's Midas touch and ability to bring the best out of each band/artist he works with hasn't been lost when editing and producing himself. A great album from the opener 'Missing Pieces' to the cover of Little Willie John's 'I'm Shakin'.


03.TempestBob Dylan
For the doubters out there that think Dylan has lost a few steps and isn't the artist of days gone by just give his mammoth 14 minute track to the sinking of the Titanic 'Tempest' a listen and see that the winding, hallucinatory, stream of conscious lyrical ability may sometimes lay dormant but is still burning low none the less. The album also includes stone cold classics as 'Scarlet Town', 'Early Roman Kings' and the beautiful 'Soon After Midnight'.


04.Signs And Signifiers - J.D McPherson
There is a difference between being 'retro' and simply playing your influences genuinely and heartfelt, J.D McPherson is the latter. Not only does he caputure the essence and soul of the 1950's records he clearly loves but he also writes great songs as well, an area some artists have missed out when they've tried to capture an older classic sound. A great album full of great tracks including the Little Richard screamer 'North Side Gal'.

05.Aufheben - Brian Jonestown Massacre
A truly sonically impressive collection of songs from everyone's favourite rock and roll psychedelic maverick Anton Newcombe.

06.Old IdeasLeonard Cohen
2012 seemed to be the year for members of the 'old guard' to show the new guys how it should be done and with Leonard Conhen, Neil Young and Bob Dylan all producing great work that sits comfortably in their own canons of releases it's no surprise that compared to a lot of new music it proves that inspiration and imagination to re-create the form isn't only for the young but also for the 'should know better' as well.

07.Psychedelic PillNeil Young & Crazy Horse
A Psycheldic feedback drenched opus from a guy that has quit all drink and drugs? Only Neil Young does this stuff and thank God that is the case. His guitar playing hasn't progressed and still sounds like a cranky teenager who's un-refining his solo's as he gets old as to get closer to the source inside him that fires it. She's Always Dancing is a particular standout with Crazy Horse at their loose best.


08.BabyTribes


09.Locked DownDr John
The good doctor returning to his 'Gris-Gris' New Orleans or 'Newarrrlinnes' R&B "Fonky" sound with the help of Black Keys guitarist and frontman Dan Auerbach. Not for everyone but the stongest thing Dr.John has produced in a long while and when the medicine is available you take it.

10.Sweet SourBand of Skulls




Tracks of 2012


01.R U Mine?Arctic Monkeys

02.DefaultDjango Django

03.I'm Shakin'Jack White

04.You Ain’t Alone - Alabama Shakes

05.HonkyThe Ho-Dads (1963) *old record but it’s new to me and it’s my list so shut up*

06.I Can’t ComplainJ D McPherson

07.Soon After MidnightBob Dylan

08.Now There Is NothingHot Chip

09.Doom & GloomThe Rolling Stones

10.Corner of an English Field - Tribes

Friday, 2 November 2012

DRY THE RIVER LIVE@SHEPHERDS BUSH EMPIRE



DRY THE RIVER

o2 SHEPHERDS BUSH EMPIRE

01/11/12

Performing their biggest headline slot tonight at Shepherds Bush Empire are Dry the River who’ve managed to turn the historic venue into an after hours lock in. Their set list was made up of tracks from their debut album Shallow Bed including standouts such as ‘New Ceremony’ and ‘Bible Belt’ although the gig itself was short by normal standards (barely an hour long including encore). The songs were performed professionally although a little too rehearsed for my taste, almost to the point of auto-pilot (hey at this point we’ll both jump off the drum riser etc.) although they still managed to keep the music ball in the air throughout and energy high all the way through.

The band themselves are a strange bunch, they play acoustic based folk-rock but have a rhythm section that would rather be in Metallica. A strange moment in the evening came during the set where I watched the bass player head banging like Jason Newsted to a mid tempo folk ditty while the tattooed drummer flails through drum fills fulfilling in his own Tommy Lee fantasies especially in one of their harder numbers ‘Lions Den’. Somewhere in the record company there is a finger twitching stylist itching to get their hands on the group to try and ‘Mumford’ them up a little and make them a more uniformed group that actually ‘look’ like a group rather than a rag tag bunch of school mates in their first band.

The playing is professional and precise although it’s their vocal abilities that really sell the band as ‘one to watch’, with close harmonies throughout (especially on the fan favourite ‘Weights and Measures’ which was performed initially without microphones or electric instruments). The risk of trying songs a cappella is a risky one in front of a rowdy audience as a group like The Futureheads found out when they performed their recent Rant album on the road. The encore song ‘Shaker Hymns’ was performed with just acoustic guitar, fiddle and vocals sandwiched in the middle of the crowd without amplification and just the glow of a thousand phones lighting them up. Amazingly the crowd fell completely silent throughout to hear the inflections and harmonies. Overall a good gig although falling a little short of great. A strong taster of things to come in 2013.

6/10

http://www.drytheriver.net/gb/home/

'originally on 405'