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PLAYING OUT LOUD!
REVIEWS
Gig Reviews -
CD Reviews
Gig Reviews
(top)
Larmer Tree 16th Birthday Party, Salisbury Arts Centre, Saturday
April 29
 Two bands who will be appearing at this year’s Larmer Tree Festival in
July
took the stage to celebrate - Betika and The Michael Wookey Band. We only had
time to catch the former band after sussing out the considerable improvements
to the arts centre since our last visit.
And Betika are certainly a band worth seeing. Singer Carolyn got the gig
off to a good start with a rather mournful song, before Dave took over with a
song about death. According to Betika’s website, the six-piece are a very
accident-prone crew, and death seems to figure very highly in the content of
their
original songs. Depression and misery also seem to be popular with the band,
as Dave demonstrated with the song “25.” But despite the somewhat traumatic
lyrics to their songs, Betika are a very lively band, with a lot of
arm-waving, hand-clapping and general movement on stage. With Dave playing
guitar and
often spinning around to play to the drummer, and trumpeter, come shaky-thing
player Martin synchronising his clapping with Carolyn and backing singer Lexi,
they certainly hold the attention.
The band have been compared to various acts including Belle and Sebastian,
The Magic Numbers, Nick Drake, Mojave 3 and The Smiths. While there are hints
of all the aforementioned artists in their work, their style is very much
their own, and in Dave they have a very audience-friendly frontman. Their lyrics
are full of wry humour, there is plenty of variation in their setlist, and
their obvious enthusiasm and collective eccentricity make for a refreshing
change from the current multitude of “guitar-thrash” bands. I’m certainly
looking
forward to seeing them again in July at the Larmer Tree.
GOSPORT & FAREHAM EASTER FESTIVAL -
APRIL 13 - 17
Our team spent an enjoyable weekend travelling backwards and forwards to this
people-friendly festival catching a good proportion of the acts at Fareham’s
Ferneham Hall.
First, Martin Sirl gives his impressions of the support act for
the Friday night concert, Brian McNeill:
 A
curious mismatch of acts on Friday night saw Brian McNeill opening for Hayseed
Dixie. Faced with a slightly disappointing early evening turnout the
ex-Battlefield Band member had a fair crack at warming up the audience with a
subtle mix of dry Scottish humour and musical dexterity. McNeill might look a
little like that scary grandad you had when you were young, but it doesn't take
long to work out that here is an impressive multi-talented musician, equally at
home on fiddle, mandolin, hurdy gurdy or just voice. A short but impressive set
list contained elements of politics (“Join The Union”), history (“My Bonnie Yew
Tree”), and humour, with McNeill recalling his teenage evenings in Falkirk,
donning a suit and 'Enough aftershave to make you smell like an old whore's
handbag'. A good start to the weekend.
Peter Ashton continues with his reaction to the following
headline act Hayseed Dixie:
Currently one of the festival favourites on the UK music scene, Hayseed Dixie
bounded on to the stage to open with what is effectively their theme tune, AC/DCs
“Dirty Deeds Done Cheap.” After assuring us that the band had not been
drinking beer all day, lead singer Barley Scotch went on to tell us what to
expect from this quartet of redneck hillbilly players. Songs about drinking,
cheating, killing and going to hell - the four basic components of mountain
music. The most appealing thing about Hayseed Dixie is their obvious enjoyment
in playing live. Couple this with instrumental dexterity in all departments,
particularly the banjo playing of Don and Barley’s fervent fiddling, and you’ve
got a band who always deliver. “Walk This Way,” “Ace of Spades” and “Duelling
Banjoes” were just a few of the highlights of a roistering all-action show.
Peter
Ashton was back on Saturday afternoon to see a trio of acts who delivered a
well-balanced three hours of entertainment”
 Kerfuffle, a new band to me, were
first up, and they impressed with a spirited set. Hannah James on vocals and
accordion was a star turn, a charismatic young lady who added another dimension
to the band with some captivating folk dancing. Their mix of traditional and
original material had the crowd with them all the way, and they are obviously a
band who are going to make new f riends wherever they go. Former Wolfstone
members Duncan Chisholm and Ivan Drevers followed with another intriguing set.
Exquisite violin playing by Duncan was the highlight of the duo’s performance
for me, but Martin Sirl will be covering the pair in more detail in his review
of their evening performance. The
afternoon ended with the inimitable Last Night’s Fun. Chris, Denny and Nick are
a trio who never disappoint. Chris’s humorous patter and astonishing squeezebox
playing, Denny’s singular guitar style and haunting vocals and Nick’s expert
pipe playing combined for a riveting performance.
Martin Sirl took over for the evening’s entertainment featuring
support act Duncan Chisholm and Ivan Drevers, followed by headliner Janis Ian.
 What was tonight an all-seater venue was perhaps not the best setting for former
Wolfstone members Duncan Chisholm and Ivan Drever’s brand of traditional
Scottish song, and I suspect their low-key afternoon set may have shown them in
a better light. Nevertheless, Chisholm's lilting violin and Drever's distinctive
vocals easily captured the attention of an almost-full Ferneham Hall.
Rousing reels, traditional ballads and Wolfstone standards like the haunting
“Song For Yesterday” were served up with the same degree of charm and
professionalism, even if Chisholm's sore throat did entail the audience
occasionally helping out. But perhaps the highlight of the set was a version of
Cyril Tawney's “The Grey Funnel Light,” which was especially poignant after the
Hampshire singer's death in 2005. It's a mighty long way from Inverness, but
hopefully Chisholm And Drever will be making the long journey south again soon.
From the moment Janis Ian took to the stage to the strains of |”That's What
America Means To Me” two things were clear. Firstly, that Janis's voice is still
as powerful and as soothing (in equal measures) as it was when she first sprang
to fame in the early 70s. And secondly, that we could all look forward to an
evening of deep introspection and bitingsatire. In fairness I doubt too many
people attend a Janis Ian concert expecting a barrel of laughs, and more than a
few tears were shed tonight as Ian ran through her songs of lost friendships,
broken love affairs and teenage angst. But even in her fifties the lady still
possesses a razor sharp wit and self-deprecating humour that sadly surfaces all
too rarely in her songs, one exception being the hilarious “My Autobiography.”
Without the likes of Ian and her contemporary Joni Mitchell I doubt we would
have artists like Nanci Griffith today, but then I guess we can forgive her for
that. Certainly tonight's audience were both knowledgable and respectful of her
influence on the modern folk scene, reserving the warmest ovations for “Dance
With Me,” “ Fly Too High” and, of course, “At Seventeen.” Janis responded in
kind, visibly relaxing as the evening wore on and commendably joining the
audience afterwards to meet as many of her fans as possible. Yet even then she
was persuaded to return to the stage for an unscheduled second encore. That
final number, “I Bring You Joy,” might have seemed rather ironically titled
given the intense nature of many of her songs, but there is no doubt the
majority of Janis Ian fans left Fareham happy.
Confirmed Saw Doctors fan Tim Smith took over reviewing duties
for the Sunday night performance by the Irish band and his comments follow:
The Saw Doctors appeared on stage to the theme tune of “Tales of the
Unexpected,” which was just about the most unexpected thing of the entire
evening (unless you count a very passable version of “Get It On,” during the
encore).
But then the fans of Tuam's finest, many sporting Galway or Mayo shirts, weren't
there for anything groundbreaking or new, but for what they got - a rousing two
hours of songs about first love, Gaelic football and childhood memories of the
West of Ireland. Kicking off their UK tour frontmen Davy and Leo were this time
leading a five piece band, including a keyboard player, which added to the Saw
Doctors sound. A good selection of songs from the new album, “The Cure,” was
mixed with old favourites like “N17,” “ I Useta Lover” and “The Green and Red of
Mayo.”
Occasionally bordering on the cheesy as ever - the band looked a mite
embarrassed at doing the Tommy K dance - they turned in a great performance
which had the whole Ferneham Hall buzzing. There's a line in one song that says
'I'll
stick to what I know'. Well, that's what the Saw Doctors do - and look like
they're enjoying every minute - and in the best Irish showband tradition
provided a top night out.
CD Reviews
(top)
Ray Davies. Other People’s Lives.
 V2Music. Running time: 61:07
Ray Davies’ long awaited solo album is slightly disappointing. Maybe my
expectations were too high, but it seems to me that some of the songs here are
very average, no matter how well they are performed. The opening two tracks are
reasonable, "Things Are Gonna Change" and “After The Fall” contain some
nice riffs, but it isn’t until "Next Door Neighbour" that you really get into
typical Davies territory, with a bit of humour coming into proceedings. "Is
There Life After Breakfast?" is another strong song, and “Stand Up Comic" strays
into Ian Dury territory, with a song that I can’t help feeling that Ian would
have done better. "The Getaway (Lonesome Train)" is an over-long trip into
alt country territory, while “Run Away From Time” gets back into average
mode. "Creatures of Little Faith" is a bit of a plodder too, revolving around a
domestic dispute, while "All She Wrote" is a stronger song with an appealing
folk-guitar
intro before it explodes into full-on rock. The title track “Other
People’s Lives” and the bouncy “The Tourist” are both more typical of what we
have
come to expect from Ray, but the closing track “Over My Head,” is another
average over long song. Well produced and Ray’s voice is as distinctive as ever,
but no real stand-out songs.
The Vines. Vision Valley.
 Capital Records.
Running time: 31:36
This is The Vines’ third album,and the first since Craig Nicholls was
diagnosed with Aspergers Syndrome, which seems to account for some of his past
behaviour. The opening track “Anysound” benefits from a great guitar solo, and
there’s a good balance on the album between hard rock and slower ballads. And
you don’t have time to get fed up with any particular track as they are all
around the two minute mark, with the exception of the Bowie-esque closer
“Spaceship” which is a bit of an epic at 6 minutes. “Don’t Listen To The Radio,”
is
one of the better tracks on the album, along with the slower “Take Me Back”
and “Going Gone” but there are plenty of more typical Vines tracks like “Fuk
Yeh” and “Atmos” to please diehard fans. Overall, not a bad album, with some
great guitar and drums, but nothing sensational.
The Little Willies (featuring Norah
Jones)
 Milking Bull Records.
Running time: 43.33
The Little Willies are a covers band formed in a bar in New York in 2003,
just to play and have a good time with some classic American music, the songs of
Hank Williams, Willie Nelson and others.
Included in the lineup are
singer/pianist Norah Jones, Lee Alexander on bass, Jim Campilongo on electric
guitar,
Richard Julian on guitar and vocals and Dan Rieser on drums. And now they
have transferred their loose, live style successfully on a studio album. Very
good it is too, with standouts including Norah taking the lead on the old
Elvis classic, “Love Me” and a rollicking homage to Lou Reed, called
appropriately “Lou Reed.” The styles here range from Western swing to country to
jazz
and it all rolls along very niclely with further standouts including Townes Van
Zandt’s “No Place To Fall” and Willie Nelson’s “I Gotta Get Drunk.”
Recommended.
Steve Marriott. Tin Soldier Anthology.
 Castle Music
A neatly presented 3-CD anthology of the work of the late Steve Marriott from
his entry into show business in Lionel Bart’s “Oliver,” through the Small
Faces and Humble Pie eras, plus solo projects and other collaborations. Well
over two hours of music begins with Steve belting out “Consider Yourself” fom
“Oliver!” Not a track that I’d like to play again for a while, but proof that
even as a child Steve was confident and talented. This is on Disc 1 which
contains the Small Faces’ early hits “Whatcha Gonna Do About It?,” “All Or
Nothing,” and “Lazy Sunday” and many more classic hits. Disc 2 covers the
Humble Pie years, yielding such delights as “Natural Born Bugie,” “30 Days In
The
Hole” and “Drown In My Own Tears.” A well-selected reminder of what a great
band Humble Pie were, and how crucial Steve’s work was to their success.
Disc 3 culls some solo efforts like “Cocaine” and collaborations with the likes
of Johnny Thunders on “Daddy Rolling Stone,” a couple of tracks with Peter
Frampton, some less well-known Small Faces tracks and various other offerings.
Throughout, that strong, soulful and highly identifiable voice of Steve’s
stands out, alongside some great instrumental performances. Closing Disc 3 with
“Stay With Me Baby,” this trilogy of albums is a well-balanced reminder of a
much missed artist.
The Strawbs. Painted Sky.
 Wychwood Media. Running time: 56:08
A pared-down acoustic version of The Strawbs consisting of Dave Cousins, Dave
Lambert and Chas Cronk recorded this album in the studio over 2004/2005. Fans
of the band will probably like it, despite the fact that all but two of the
songs are already available in their original form on other albums recorded in
the 60s and 70s.
So basically it’s an album of remakes with different
arrangements. Songs include "Oh How She Changed," "The Antique Suite,"
"Benedictus," and the multi-part "Autumn." There’s a gentle, wistful feel to the
album,
more folk than folk-rock, but I must say that Dave Cousins’ tremulous voice
did start to get on my nerves by the end of the album. That said, and it’s
only a personal opinion, Strawbs fans will like it, as it includes some of the
band’s best tracks in a different format, and is a good representation of their
style and songwriting talent.
SINGLE REVIEWS BY MARTIN
SIRL:
Manchester by The Beautiful South
After three stunning albums The Beautiful South rather lost the plot in the mid-
nineties, being eventually forced to fall back on that old standby: a covers
album. But this former BS devotee is pleased to report that Paul Heaton and the
boys (and with the odd girl) are right back on track with this breezy paean to
the home of United, Morrissey and Coronation Street. As with all their best
stuff, Manchester takes a few plays to worm its way into your subconscious but,
once there, sets up home and stays for good.
Breakaway by Kelly Clarkson
Sadly not an ode to the dodgy chocolate bar, but the age old story of small town
girl who ups and leaves, leaping from fast train to jet plane in search of a
better life. It's an old story, but retold here in glossy, sugar-coated style.
Whether or not you're a fan you won't be able to resist humming along with the
'arms in the air and sway along' chorus to Breakaway, although you might be
advised to avoid listening too closely to the banal lyrics underneath as
Clarkson croons 'I'd just stare out my window. Dreaming of what could be. And if
I'd end up happy. I would pray'. Enough said I think.
Follow Me Home by The Sugababes
Whatever you think about The Sugababes, there is no doubt they fill a gap in the
market with their own particular brand of well crafted soul/pop. And I really
believe many of their songs will continue to feature on the radio long after
much of the output from their more respected contemporaries has been forgotten.
But having raided the Taller In More Ways album three times already the
standard, usually so high, is beginning to fall away, with Follow Me Home no
more more than a watery ballad that keeps theatening to go somewhere but never
quite gets past mediocre.
Love Tape by The Pinker Tones
An impressive brass arrangement helps power this Scissor Sisters-style romp from
Barcelona DJs The Pinker Tones. Elements of jazz, blues and soul get stirred up
together to produce something which is punchy, unusual and pretty interesting.
If you're looking for a touch of summer on an otherwise rainy day buy this and
bring a touch of Latin sunshine into your living room.
What I Say And What I Mean by The Like
One of the few stand-out tracks from a The Like's fairly ordinary debut album
Are You Thinking What I'm Thinking?, What I Say is a spunky foot-tapper
reminiscent of Elastica at their best. This 'girl power' anthem was previously
released as a limited edition but has now been granted a full release by popular
demand. And if the girls from LA can come up with a few more gems like this the
second album might be worth a longer listen. For the time being the jury remains
out. Live UK dates in May may tell us more.
Shakedown by King Billy And The Marvelous
Being named after an old Aboriginal rights campaigner I had expected a lot from
this Suffolk outfit. Instead what we get is a rather dull brand of ska-influenced
punk; a kind of Clash without the passion. Danceable it may be, but even then
odd changes of time signature are thrown in presumably to impress the listener,
but which only manage to confuse. All the evidence I've read points to King
Billy being a cracking live band, but I suspect like many others of their ilk
they might have trouble transferring the spark of their stage set into the
studio.
Black And White by The Upper Room
Second single from Brighton's The Upper Room who are close to unveiling what
they claim is a pop masterpiece of a debut album. Well Black And White certainly
bodes well; a Smiths-influenced number full of jangly guitar and gorgeous
high-pitched vocals of the kind our very own Delays were producing before they
went all quiet at the end of 2004. Frankly you would have to be dead not to tap
your foot along to this. Yes, it's black and white: The Upper Room are good.
No Promises by Shayne Ward
Already a Number 1 artist there is enough about Shayne Ward to suggest that his
could be Will Young-type path leading to genuine lasting success rather than
than a Gareth Gates-style walk off a very short pier. As syrupy as a plate of
your mum's treacle tarts, admittedly, but Ward's classy delivery and photogenic
good looks will ensure that, like that one left-over tart that nobody wants,
he'll be hard to shift and could be sticking around for a while yet.
Chariot by Gavin DeGraw
Taken from the highly acclaimed album of the same name Chariot is the latest
release from a New York singer-songwriter who is fast gaining a reputation as a
top notch live act. Putting one in mind of Jamie Cullum, with a little touch of
early Springsteen thrown in, DeGraw's voice is just the right side of grating
and one has to say that this is a pretty fine effort. DeGraw sings and plays
with a confidence betraying his young age and is already gaining considerable
Radio 2 airplay, while the fact that a previous effort I Don't Want To Be has
already featured heavily in the American series One Tree Hill indicates that
people in high places are already taking note of what could be a prodigious new
talent.
Saucer Crash by Black Ramps
I'm convinced that somewhere in here there is a good song trying desperately to
get out, but I'm afraid I've yet to find it. All the good work is more than
undone by a wall of guitar so thick it buries everything in its path, and by
vocals far too weak to hold their own in the face of the growing onslaught. More
subtlety might yet pay dividends to this Northampton-based 3-piece but for now
subtlety is one thing sadly lacking.
Bright Idea by Orson
No doubt this will be another huge smash from the No Tomorrow guys. Just as
immediate as it's predecessor, Bright Idea opens with another Orson angular
guitar riff before quickly exploding into a chorus so infectious you find
yourself wondering why no-one has throught of it before. 'Economy' seems to be
the buzzword for a band who trade in short, sharp musical blasts and are gone
before there's any chance of the listener becoming bored. Like all the best pop
songs, Bright Idea is short but well r ounded and wonderfully fulfilling. Let's
hope there is plenty more where this came from.
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