Just time today to quickly bring your attention to two unrelated snippets I came across over the weekend. Both made me laugh.
One was a report of a 58 year old prisoner who smuggled his mobile phone into prison in Colombo, Sri Lanka by stuffing it up his backside. His subterfuge was only discovered when the device began ringing and he had to be taken to a local hospital to have it removed. I assume that by then the caller had left a message.
The second was a quote I read from Noel Gallagher concerning his brother Liam:
'He's the angriest man you'll ever meet. He's like a man with a fork in a world of soup'.
Nice one Noel.
Monday, 25 February 2013
Friday, 22 February 2013
Kevin Ayers
The music world has heard of two deaths this week. First early Beatles collaborator and mentor Tony Sheridan passed away at the age of 72. Then yesterday I learnt of the death of Kevin Ayers at 68.
It seems fitting that I reproduce here, a tribute from his friend and colleague, Robert Wyatt.
'About 50 years ago, someone said to me that there was another bloke with long hair in east Kent, so I should meet him because we'd be sure to get on. I did, and we did. He wrote songs and sang in an amazingly deep voice for someone so young.
His little record collection included Astrud Gilberto and acoustic jazz guitarist Charlie Byrd. He admired Oscar Wilde and Louis McNiece. His songs were witty and touching.
He and a couple of us decided to try to form a group using just our own tunes. We called ourselves Soft Machine [with William Burroughs' permission]. We played together, in various incarnations, until the end of 68.
By that time, we'd become a mainly instrumental band, in which Kevin played bass guitar. Kevin wanted to get back to song writing, which resulted in a sequence of great records such as Joy of a Toy.
In 1970, I played in his new band, The Whole World, a few times. Playing with Kevin was like basking in sunshine. He was funny, wise and unhurried. I am very lucky to have worked with him all those years ago. Goodbye Kevin'.
I was not a great collector of the music of Kevin Ayers but I do feel that Soft Machine were never as good without him and I did own a vinyl copy of his 1974 album 'The Confessions Of Dr Dream & Other Stories'. I never got round to replacing that on CD but I must rectify that now as well as increasing my collection of his music.
Incidentally while reading through a couple of obituaries, I noticed that his father Rowan Ayers created the BBC music programme, 'The Old Grey Whistle Test'. I never knew that.
RIP Kevin
It seems fitting that I reproduce here, a tribute from his friend and colleague, Robert Wyatt.
'About 50 years ago, someone said to me that there was another bloke with long hair in east Kent, so I should meet him because we'd be sure to get on. I did, and we did. He wrote songs and sang in an amazingly deep voice for someone so young.
His little record collection included Astrud Gilberto and acoustic jazz guitarist Charlie Byrd. He admired Oscar Wilde and Louis McNiece. His songs were witty and touching.
He and a couple of us decided to try to form a group using just our own tunes. We called ourselves Soft Machine [with William Burroughs' permission]. We played together, in various incarnations, until the end of 68.
By that time, we'd become a mainly instrumental band, in which Kevin played bass guitar. Kevin wanted to get back to song writing, which resulted in a sequence of great records such as Joy of a Toy.
In 1970, I played in his new band, The Whole World, a few times. Playing with Kevin was like basking in sunshine. He was funny, wise and unhurried. I am very lucky to have worked with him all those years ago. Goodbye Kevin'.
I was not a great collector of the music of Kevin Ayers but I do feel that Soft Machine were never as good without him and I did own a vinyl copy of his 1974 album 'The Confessions Of Dr Dream & Other Stories'. I never got round to replacing that on CD but I must rectify that now as well as increasing my collection of his music.
Incidentally while reading through a couple of obituaries, I noticed that his father Rowan Ayers created the BBC music programme, 'The Old Grey Whistle Test'. I never knew that.
RIP Kevin
Friday, 15 February 2013
Newcastle City Hall - On With The Show
It is with some relief that I can now update my posting dated 24 November 2012 in which I reported on the possible closure of Newcastle City Hall. A petition against the proposal to close this iconic venue was raised by the North East Music History Society and they obtained about 11,000 signatures resulting in an announcement that the venue is not to close after all.
The leaders of Newcastle City Council are now in talks with the management at Newcastle Theatre Royal (another fine, historic building) with the intention of allowing the theatre management to take over the running of the City Hall.
While the future of the City Hall is not yet assured, at least we know it has been given a stay of execution and with further support can surely continue to provide the north east of England with a number of fine cultural events for many years to come.
Well done to all the wonderful people who have worked so hard to secure this result.
Now it's on with the show!
The leaders of Newcastle City Council are now in talks with the management at Newcastle Theatre Royal (another fine, historic building) with the intention of allowing the theatre management to take over the running of the City Hall.
While the future of the City Hall is not yet assured, at least we know it has been given a stay of execution and with further support can surely continue to provide the north east of England with a number of fine cultural events for many years to come.
Well done to all the wonderful people who have worked so hard to secure this result.
Now it's on with the show!
Wednesday, 13 February 2013
Steven Wilson - 'The Raven That Refused To Sing (and Other Stories)'
Despite the fact that Steven Wilson has produced an impressive body of work (Porcupine Tree, No-Man, I.E.M., Bass Communion plus a couple of previous solo albums), I confess that until an advance copy of this album arrived in the White Room, I had never heard anything by him. Those of you familiar with his work are probably shaking your heads in disbelief and muttering "shame on you". I am sure that you have been awaiting this album with eager anticipation. Now that I have listened to it a few times myself, I can understand why.
Those of you that have no time or inclination for 'Prog-Rock' may as well stop reading now and browse elsewhere, for this is most definitely progressive rock music. The influences that I can clearly detect, are King Crimson, Weather Report, Pink Floyd, The Enid, Mahavishnu Orchestra and a bit of Frank Zappa thrown in for good measure. Listening to it is almost like being transported back to my own record collection in 1973.
The album is made up of six fairly lengthy tracks (three are over 10 minutes long), in which Wilson weaves his multicoloured threads through pieces of music (it would be inaccurate to call them songs) that despite the influences, are clearly his own.
Most tracks go through a variety of changes in rhythm and texture. For example opening track 'Luminol' begins at a frantic pace with some powerhouse drumming (think Billy Cobham) and thudding bass. Then Theo Travis comes in with some jazzy flute before everything stops suddenly and a cappella voices sing in tight harmony. The pace continues behind a synthesiser melody but after about four and a half minutes everything slows down and over the top of lush guitar chords, Wilson sings a melody which is answered by beautiful harmonies that put me in mind of those on 'October 26' by The Pretty Things. Piano than takes over as the lead instrument before some Yes - like harmony vocals lead us into a slightly heavier section featuring some distinctly King Crimson sounding mellotron. Eventually it all comes together as we are taken back to the opening theme.
And that's only track one.
The following 'Drive Home' is all taken at a much more sedate pace and puts me in mind of 'Dark Side of the Moon', an album which Wilson became familiar with during his formative years. This is followed in turn by 'The Holy Drinker' the opening of which sounds to my ears a little like Mahavishnu Orchestra circa 'Birds of Fire'. But, yes you guessed it, that doesn't last long.
Perhaps at this point I should mention the superb musicians who grace this album. They are:-
Guthrie Govan - guitar
Nick Beggs - bass
Adam Holzman - keyboards
Theo Travis - saxophone & flute
Marco Minnemann - drums
The album is superbly produced and was engineered by renowned recording engineer Alan Parsons who honed his craft on such classics as 'Abbey Road' and 'Dark Side of The Moon' and who of course fronted his own prog-rock outfit, The Alan Parsons Project. The result is an amazing sounding album where every instrument and every note can be clearly heard. It's a sonic masterpiece in whatever format you choose to listen to it. I have focused somewhat on the music of the album but I should also point out that lyrically the tracks are pretty interesting, each one being a short story with a supernatural theme. For example, 'The Pin Drop' tells the tale of a woman floating down a river reflecting on the fact that she was murdered by her husband. Think of the works of Edgar Allan Poe and you won't be far off the mark. And of course it is all perfectly complemented by the music.
The title track which closes the album goes through fewer changes that its predecessors. Based on a simple melody over four piano chords, the effect is mesmerising and gradually the music builds into what we used to refer to as 'symphonic rock' back in the day. I am reminded somewhat of The Enid and their early 70's albums 'In The Region of The Summer Stars' and 'Aerie Faerie Nonsense'.
As it ends, I reach immediately for the remote control to start it all over again. Simply wonderful and yet another contender for album of the year. Is it really only February?
Postscript
I know I have arrived rather late to this particular party but I do feel that the back catalogue of Mr Wilson merits some further exploration. The trouble is, there is so much of it and there are only so many hours in the day. Some advice as to the 'essential' recordings from Steven Wilson or any of his other projects, would be much appreciated.
Most tracks go through a variety of changes in rhythm and texture. For example opening track 'Luminol' begins at a frantic pace with some powerhouse drumming (think Billy Cobham) and thudding bass. Then Theo Travis comes in with some jazzy flute before everything stops suddenly and a cappella voices sing in tight harmony. The pace continues behind a synthesiser melody but after about four and a half minutes everything slows down and over the top of lush guitar chords, Wilson sings a melody which is answered by beautiful harmonies that put me in mind of those on 'October 26' by The Pretty Things. Piano than takes over as the lead instrument before some Yes - like harmony vocals lead us into a slightly heavier section featuring some distinctly King Crimson sounding mellotron. Eventually it all comes together as we are taken back to the opening theme.
And that's only track one.
The following 'Drive Home' is all taken at a much more sedate pace and puts me in mind of 'Dark Side of the Moon', an album which Wilson became familiar with during his formative years. This is followed in turn by 'The Holy Drinker' the opening of which sounds to my ears a little like Mahavishnu Orchestra circa 'Birds of Fire'. But, yes you guessed it, that doesn't last long.
Perhaps at this point I should mention the superb musicians who grace this album. They are:-
Guthrie Govan - guitar
Nick Beggs - bass
Adam Holzman - keyboards
Theo Travis - saxophone & flute
Marco Minnemann - drums
The album is superbly produced and was engineered by renowned recording engineer Alan Parsons who honed his craft on such classics as 'Abbey Road' and 'Dark Side of The Moon' and who of course fronted his own prog-rock outfit, The Alan Parsons Project. The result is an amazing sounding album where every instrument and every note can be clearly heard. It's a sonic masterpiece in whatever format you choose to listen to it. I have focused somewhat on the music of the album but I should also point out that lyrically the tracks are pretty interesting, each one being a short story with a supernatural theme. For example, 'The Pin Drop' tells the tale of a woman floating down a river reflecting on the fact that she was murdered by her husband. Think of the works of Edgar Allan Poe and you won't be far off the mark. And of course it is all perfectly complemented by the music.
The title track which closes the album goes through fewer changes that its predecessors. Based on a simple melody over four piano chords, the effect is mesmerising and gradually the music builds into what we used to refer to as 'symphonic rock' back in the day. I am reminded somewhat of The Enid and their early 70's albums 'In The Region of The Summer Stars' and 'Aerie Faerie Nonsense'.
As it ends, I reach immediately for the remote control to start it all over again. Simply wonderful and yet another contender for album of the year. Is it really only February?
Postscript
I know I have arrived rather late to this particular party but I do feel that the back catalogue of Mr Wilson merits some further exploration. The trouble is, there is so much of it and there are only so many hours in the day. Some advice as to the 'essential' recordings from Steven Wilson or any of his other projects, would be much appreciated.
Thursday, 7 February 2013
Family - 'Bandstand' 40th Anniversary Deluxe Edition
'Bandstand' was the sixth and penultimate long player from Family. Originally released in 1972, it was probably their most commercially successful album and opened with their hit single 'Burlesque'.
Now, like many other albums of that era, it has been given the 40th anniversary deluxe treatment. In this case, that apparently means it has been newly remastered and features a second disc containing four previously unissued demo tracks from those sessions. It all comes to us courtesy of Snapper Records who have also been responsible for the recently issued ultimate box set, 'Once Upon A Time'. (For more on that see my earlier post from 26 November 2012). This is a little confusing as the remastered album is included within the box set, yet these demo tracks are not. Which effectively means that anyone who stumps up the rather exorbitant cost of £125.00 for the box set, will still have to purchase this anniversary re-issue in order to get their hands on these four tracks. Hmmmm!
Anyway, on to the main purpose of this post which is not to have a pop at the box set, but rather to review the remastered version of 'Bandstand'.
Rather than do a track by track review of an album you may already be familiar with, I will simply say that I personally find the new master absolutely wonderful. I have compared it with my original CD version issued in 1988 (SEE CD 241) and in my view this new version possesses far greater clarity and depth of sound. I am so impressed that I have found myself playing it several times this week despite being extremely familiar with the album.
I will now move on to the bonus demo tracks which take up all of the second CD.
First comes a version of 'My Friend The Sun' which starts off sounding very similar to the released version but at the end of the first chorus features some lovely acoustic guitar and then has some delightful harmony vocals in the second chorus. The violin (or is it synthesiser?) in the instrumental break and during the final verse is also much more prominent in this version. Very well worth having.
Next up, comes 'Glove' which begins with John Wetton's five note bass intro and then carries on pretty much the same as the released version until the tempo and volume pick up with the line "she said walking...". At this point, the vocals are very different to the released version and then just where the original version settles down to the opening tempo, the demo features a short instrumental passage of fuzzy bass and thumping drums. Where the guitar solo comes in on the original there is just a bass, drum and organ backing with the organ particularly prominent on the demo. In fact where your attention might focus on the piano, guitar and the lovely Del Newman orchestration of the original, the demo forces you to focus more on Rob Townsend's drumming, which I have to say is superb. Overall I would say that this is definitely another track worth having and I'm not sure whether I prefer this or the original.
The third demo is 'Coronation' which differs from the released version right from the start. It features different vocals and nice piano very high up in the mix. While the piano chords survived onto the released version, the tinkling piano runs were replaced by Poli Palmer's vibes. Nothing wrong with that, but I actually like both. Unfortunately it goes badly downhill during the second chorus when John Wetton joins Chappo on vocals with the line "coronation jug of mine" (thankfully replaced by "mug" on the released version). His singing is so off key that it is really quite painful. And he seems to affect Chappo as even he is off key for the final chorus. Also, the instrumental section is far superior on the released version. But that's only what you would expect isn't it?
The final track on this 'bonus' disc is a demo version of 'Bolero Babe'. Where the released version fades in very gradually and features much synthesiser knob twiddling from Palmer, the demo begins with the rhythm played by Wetton on bass and he is then joined by some squawky soprano saxophone (credited to Roger Chapman). Eventually, where the vocals would normally appear, the melody is played entirely on saxophone. It should be pointed out that this demo is entirely instrumental - something that's not made clear on the album cover. It's pleasant enough but not a patch on the final version.
.
Whether you want to invest in this reissue is I guess very much down to personal choice. If you don't own the album then I wouldn't hesitate. It is one of the band's finest works without a doubt. If like me you owned the original album then I would say it is probably worth upgrading for this fine remaster. Personally I enjoy hearing good quality demo versions as they give you an insight into how a song has developed but as I said earlier, this is a matter of personal taste.
Whatever you decide, I have no regrets about purchasing this deluxe edition. It has made me listen again to a great album by a fabulous band. And I'm loving it!
Monday, 4 February 2013
Family at Shepherd's Bush Empire
I first reported on the live reunion of Family back in September and since then have been eagerly awaiting this momentous event. One disappointment concerned my ticket which despite being ordered via Ticketline four months before the date of the actual gig, was not delivered in time. Ticketline blamed the promoter and made arrangements for me to collect my ticket from the venue on the evening of the gig itself, but frankly that is not good enough in this day and age when tickets can be printed out at home. Shame on Ticketline. I will not be using their services again!
That aside, it was with a great sense of anticipation that I set off from home on Saturday morning (2 February) to meet my pal at Newcastle Central Station for the journey to London. I was not only excited at the prospect of seeing Family live after 40 years, but also of making my first visit to Shepherd's Bush Empire.
This famous venue was built as a music hall in 1903 but is perhaps best known to many of us as being the home of the BBC Television Theatre between 1953 and 1991. Consequently a number of very famous programmes were broadcast from there including The Old Grey Whistle Test and Hancock's Half Hour.
We decided to get to the venue early to allow for any problems in obtaining the aforementioned ticket. This was a wise decision as the process was not straightforward but eventually things were sorted and I had the ticket in my hand. Then it was off for a few pre-gig pints, watch some televised rugby and grab a bite to eat.
We had decided to skip the support act Papa George. No offence George but we felt that we would benefit more from a few beers to lubricate our tonsils as there was likely to be much cheering and singing along. I suspect that guest master of ceremonies, former football legend Frank Worthington had also lubricated his tonsils as he seemed reluctant to leave the limelight but eventually the moment came and after 40 years absence, Family took to the stage. To be more accurate it was actually Family & The In-Laws for that was how the additional musicians were dubbed.
The crowd roared their delight as Family launched into their opening number 'Top of the Hill' quickly followed by a personal favourite of mine, 'Drowned in Wine'. It is true that the legendary voice of Roger Chapman has lost some of its range and that distinctive vibrato has been replaced by a more Dylanesque growl. Nevertheless the songs were adjusted accordingly and the band members were clearly in fine form. 'Holding the Compass' was followed by a live favourite 'Part of the Load', then after 'Ready to Go' Chappo took a brief break while the band delivered a Poli Palmer instrumental 'Crinkly Grin'.
We had been promised an evening of music spanning their full career, so I was a little disappointed that there was nothing from their debut album 'Music in a Doll's House'. Also, rather surprisingly, there was only one song - 'Sweet Desiree' - from their final album 'It's Only a Movie'. Nevertheless it was a fine selection of songs they delivered. For you completists out there, the remainder of the set was made up of 'Burning Bridges', 'No Mule's Fool', 'Sat'dy Barfly', 'Between Blue and Me', 'Hung up Down', 'Burlesque' and 'In My Own Time'. The encores were the crowd favourite 'The Weaver's Answer', 'My Friend the Sun' and 'Sweet Desiree'. Then the band were taking their bows and saying a fairly emotional farewell.
Throughout the evening there were frequent mentions of constant Family member and Chappo's songwriting partner, John 'Charlie' Whitney. He had been invited to take part but is apparently enjoying the sunshine in Greece so he declined. Mention was also made of other members who for one reason or another were unable to be there. Namely, Ric Grech, Jim King, John Weider, John Wetton and Tony Ashton. They were an integral part of the history of this fine band and they will not be forgotten.
God bless 'em all. For they were Family.
That aside, it was with a great sense of anticipation that I set off from home on Saturday morning (2 February) to meet my pal at Newcastle Central Station for the journey to London. I was not only excited at the prospect of seeing Family live after 40 years, but also of making my first visit to Shepherd's Bush Empire.
This famous venue was built as a music hall in 1903 but is perhaps best known to many of us as being the home of the BBC Television Theatre between 1953 and 1991. Consequently a number of very famous programmes were broadcast from there including The Old Grey Whistle Test and Hancock's Half Hour.
We decided to get to the venue early to allow for any problems in obtaining the aforementioned ticket. This was a wise decision as the process was not straightforward but eventually things were sorted and I had the ticket in my hand. Then it was off for a few pre-gig pints, watch some televised rugby and grab a bite to eat.
We had decided to skip the support act Papa George. No offence George but we felt that we would benefit more from a few beers to lubricate our tonsils as there was likely to be much cheering and singing along. I suspect that guest master of ceremonies, former football legend Frank Worthington had also lubricated his tonsils as he seemed reluctant to leave the limelight but eventually the moment came and after 40 years absence, Family took to the stage. To be more accurate it was actually Family & The In-Laws for that was how the additional musicians were dubbed.
We had been promised an evening of music spanning their full career, so I was a little disappointed that there was nothing from their debut album 'Music in a Doll's House'. Also, rather surprisingly, there was only one song - 'Sweet Desiree' - from their final album 'It's Only a Movie'. Nevertheless it was a fine selection of songs they delivered. For you completists out there, the remainder of the set was made up of 'Burning Bridges', 'No Mule's Fool', 'Sat'dy Barfly', 'Between Blue and Me', 'Hung up Down', 'Burlesque' and 'In My Own Time'. The encores were the crowd favourite 'The Weaver's Answer', 'My Friend the Sun' and 'Sweet Desiree'. Then the band were taking their bows and saying a fairly emotional farewell.
Throughout the evening there were frequent mentions of constant Family member and Chappo's songwriting partner, John 'Charlie' Whitney. He had been invited to take part but is apparently enjoying the sunshine in Greece so he declined. Mention was also made of other members who for one reason or another were unable to be there. Namely, Ric Grech, Jim King, John Weider, John Wetton and Tony Ashton. They were an integral part of the history of this fine band and they will not be forgotten.
God bless 'em all. For they were Family.
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