Spin Doctors Mobile Disco

Halloween 2009 @ Blaker’s Park

2009-10-25T12:05:00.001-07:00

Halloween 2009 @ Blaker’s Park

Next Saturday 31st October 2009 is Hallowe’en.

As usual, Blaker’s Park in Brighton is the venue for a great Halloween party hosted by Dishy’s Café.

The event runs from 4pm until 9pm and activities include…

Fancy Dress
Apple Bobbing
Doughnut Dangling
Pumpkin lantern Competition
Mulled Wine free with every large coffee
Seasonal foods

Creepy music supplied by Spin Doctors Mobile Disco

Be there to be scared!

Brighton Urban Rangers in attendance – OOO-OOO-OOO

Blaker's park Community Picnic 2009

2009-03-04T12:25:00.000-08:00

We are getting together a list of names of potential helpers for this year's picnic. Although the date has not yet been fixed we'd like to ask you to consider volunteering as early as possible.

Jobs on the day will include preparing and decorating park, stalls, setting up stage etc, marshalling bouncy castle, litter collection, general dogsbodying etc, etc, etc

Also anyone wishing to take on tasks prior to the event such as publicity, printing, liaison etc would be welcome to step forward too

please get in contact by emailing ianhowardlawes@lineone.net or ringing 01273 270501

In anticipation of your generosity - "Thanks"

HALLOWEEN 2008

2008-10-20T15:12:00.001-07:00

HALLOWEEN 2008

HALLOWEEN @ BLAKER'S PARK WILL BE CELEBRATED FROM 4 O'CLOCK ON FRIDAY 31ST OCTOBER

ORGANISED BY DISHY'S CAFE

REALLY NASTY FOOD AND REVOLTING COCKTAILS

PUMPKIN LANTERN COMPETITION

DISGUSTINGLY HORRID FUN & GAMES

SCARY SOUNDS FROM Spin Doctors Mobile Disco

TOTALLY AND TRULY TERRIFYING COSTUME COMPULSORY

Abi Rhodes' Zigzag Wanderings

2008-04-29T09:02:00.000-07:00

Abi Rhodes' Zigzag Wanderings
Twenty Thousand Lemmings Can't be WrongBlaker’s Park Community Picnic 2008
Blaker’s Park Community Picnic 2008

If you’ve been in the Fiveways area for some time now, you will probably know that every year The Friends of Blaker’s Park hold a Community Picnic in the Park every year, in conjunction with the Stanford Avenue Spring Fair. The Picnic is essentially meant to be a break-even affair aimed at giving the local community chance to get together in a spirit of neighbourliness and enjoy some simple entertainment whilst sharing a bite and a beverage.

This year’s event is due to be staged on Saturday June 28th running from 11am till 6pm. So far, a number of plans have been hatched and preparations are being made as you read this. Besides the traditional attractions which occur as the Spring Fair, there will hopefully be a Bouncy Castle and a variety of fun and games. Entertainment will be provided by local bands – about 15 booked so far – linked together with music from Spin Doctors Mobile Disco. Any performer wishing to appear should contact Ian on 270501. Besides stage acts, we would welcome jugglers, acrobats and other entertainers who might like to busk it around the site, showing off to small groups of picnickers etc.

Food and drink will be available at Dishy’s wonderful Blaker’s Park Café and the Cleveland Public House for those who wish to supplement there own picnic and anyone who forgets to bring sustenance.

Any local group, society, business or individual wishing to run a side-show or a stall selling art and crafts, or workshops displaying activities and skills or demonstrating services such as therapies etc are welcomed – there is a charge of £10 for most of these – money which goes towards covering costs. Prior booking is advised and can be arranged by phoning Philip Smith on 553330.

We would be pleased also to hear from any person or group willing to help out with preparations and on the day itself. As well as the above-mentioned organisational stuff, there is distribution of publicity newsletters, tidying of the Park and Garden Beds, stage building and technical jobs associated with the music, decoration of the site, various stewarding tasks and litter clearance afterwards. The main burden of the work is usually shouldered by a few trusty stalwarts, but they will not always be available. New blood is always welcome both to lessen their load and to ensure continuity from one year till the next. So please consider offering your services – ring Philip on 553330 or Ian on 270501.

We look forward to welcoming you at Blaker’s Park for our 2008 Community Picnic. Please come with your hamper and a cheery smile. If we’re lucky we’ll all be blessed with a warm sunny day which will see us through till next year’s event!

Visit http://www.myspace.com/bpcp2008 to keep up to date on progress and news.

Abi Rhodes

Blaker's ParkCommunity Picnic 2008.....

2008-04-13T07:43:00.000-07:00

... will be held on Saturday 28th June. Go to www.myspace.com/bpcp2008 to read full details.

If you wish to have a stall, perform or help out on the day please contact us at 01273 270501 and ask for Ian or email abi.rhodes@tiscali.co.uk

Record Reviews

2007-12-19T00:30:00.000-08:00

Lots of new reviews of Brighton gigs and new record releases can be found at

Abi Rhodes ZigZag Wanderings

- the blog that proves that 20,000 Lemmings can't Be wrong

Christmas at Blakers park

2007-12-19T00:28:00.000-08:00

This Saturday 22nd December 2008 - Blaker's Park

Sally of Dishy's Cafe has organised an afternoon of Christmas Joy

Santa will be there as well as Festive Food and Drink

Music provided by Spin Doctors Disco

Halloween Party @ Blaker's Park

2007-10-09T04:25:00.000-07:00

Halloween Party in Blaker's Park 2007

Halloooooo.....!!!!!!!!!

It's time to get out your scary cossies and get down to Blaker's park for the annual Halloween bash. Sally at the Cafe has organised all sorts of goodies to eat and join in with. Special scary food, lantern competition, apple bobbing etc etc etc.
Music supplied by Spin Doctors Mobile disco.

Witching Hours 4pm- 9pm. Wednesday October 31st - of course!

Come for a trick or Treat

Up A Gumtree???

2007-06-03T05:06:00.000-07:00

Brighton Gumtree is a brilliant site for info and ads about Community Events and Small Ads of all kinds.

I have directed you to the Brighon section but press the link anyway if you're somewhere else and you can navigate to your locality.

By Joshua!

2007-02-10T04:06:00.000-08:00

Waking up…where do we find ourselves?......

The sun streams in through the over-arching fingers of the tree canopy hundreds of feet above our little dugout as we drift down the Mekong Delta, the air stiff with cordite and Nepalm and bristling with the threat of gookish eyes watching from the lush shadowy banks on either side. It’s another day of constant fear and sunburn as we patrol every inlet in search of….

Or perhaps, we’ve wandered in off the dust of Haight Street into the gloom of the vast auditorium of the Dandelion Tearooms as The Dead idly noodle on for a thirteenth or fourteenth hour of directionless stoned labyrinthine boogie through their psychedelic gazetteer of inner spatial awareness playing only to rats, cockroaches and a few hair-infested bodies who left the planet the day before…..

Or else, it’s…..

…but no, on closer inspection we find we’re actually listening to the brilliant new recording to be issued by Gulcher Records.

It’s called JOSHUA JUGBAND 5 (and/or) DAMASCUS DOLDRUM and every home should have one – it’s so good!

The tracks are handily totally devoid of such misleading things as titles. This allows you, dear reader, to go about supplying the filmtrack which it is so obviously in need of completely unhindered by any preconception attached by its maker thus limiting the commentary you can apply – you are absolutely free to let the music [for this is MUSIC to be sure] lead you where it likes and you allow it to. This is artistic liberation to the highest degree. Be assured.

It took us a long time to reach this happy plateau. Now it is our duty to stay and enjoy life to its full extent. Let us pray…

Oh! Mighty Gulcher!

You have thus far supplied us with many many wonders. Now you have brought us into the ecstasy of The Damascus Doldrums where we wish to remain forever and for always, if not longer.

Please continue to nourish our souls with many equally edifying and glorious sonic landscapes in which we may pass the rest of our days in peaceful contemplation and orgiastic revelling.

World without end.

2007-02-02T09:22:00.001-08:00

BodyRockers

2007-02-02T09:22:00.000-08:00

BodyRockers
BodyRockers
Mercury Records 967138-8

Picked this up in a charity shop and when I got to hear it, I was totally blown away. I'm always cynical about quotes on the packaging. In this case it was emblazoned with "A frenetic collision of rock & dance that welds screaming guitars and roaring vocals to Funky House beats," from Heat magazine.

Oh Yeah?

Well, Yeah, actually. In fact, it's probably the most crossed-over record I've ever heard. Starting out with a bit of Classical (Handel on Your Face), it then goes into their clubby hit, 'I like the way you move.' Further great numbers follow, amalgamating all sorts of styles and voices akin to Heavy Metal, Edgar Broughton, Jim Morrison, High School Hop, Space-rock, ZZTop, electro, some cool jazz and plenty more.

On top of all this, there's no doubt... it got da funk!

My only regret is that with 11 short tracks, there's just not enough of it.

There's no getting away from the fact that this is one hell of a record. If it wasn't a smash hit album when it first appeared in 2005 then why not help to make it one now.

Long Time Coming

2007-02-02T02:53:00.000-08:00

I should have reviewed this CD a couple of months back but somehow never got round to it. But I think you'll agree, it's been well worth the wait

CRAWLSPACE : The Spirit of '76
Gulcher Records 607
LINK
www.gulcher.gemm.com

Right from the very first note that opens this record, you know you're onto a winner. It's exactly the sort of disc the term 'garage music' was coined for. It sounds like a hotch-potch of local kids just threw it together for open mic night down at the milk bar. And the dear little lads really do pour out their hearts, souls and everything else [including their warts] to put on a good show! Spirit of '76? More like '64 when everyone who heard The Beatles for the first time, rushed out and got a cheap acoustic in the local second-hand store and got it wired up with a pick-up and was gonna be a star.

There's a brilliant interpretation of Patti Smith doing Hey Joe, their 'Fight for Liberation' sounds more like 'Jesus wants Me for a Sunbeam' [Bless!] and their big finale is 'Sympathy for the Devil,' which once the instruments all find the same tempo and near-enough the same key, floors you and leaves you breathless enough to just want to go home to get a good night's sleep. In between there's all sorts of fun and games to excite the jaded pallette and leave you wondering when you'll be able to get your hands on the next piece of pure Crawlspace gold.

Another real treasure from the Gulcher hoard!

Stoned Soul Picnic

2007-01-28T03:59:00.000-08:00

Noel Redding with 3.05AM : West Coast Experience
recorded live in San Francisco & Los Angeles in 1998
Prism PLATCD 723

I picked this up for a pound in FOPP with no great hopes of it amounting to much. You probably already know that I'm not generally a fan of live albums, but I'm surprised and pleased to announce this could just be one of the all-time great live recordings.

Noel Redding spent part of his prime backing perhaps the greatest musical innovator of the 20th Century so he has little if anything to prove. He's also spent the best part of 30 years in the wilderness having to cope with the aftermath of the fame and adulation gained in those few short years at the end of the sixties - the man's been through the mill and I'm sure he wouldn't be out to create a carbon copy of the former Experiences.

This album is totally unpretentious. It's simply a good time old fashioned psychedelic blues jam like they used to be - with the addition of one great ingredient which is only available after all this tume - that is MATURITY.

Noel and the band don't even try to stun us with new tricks - they just get on with the business of entertaining us with a spectrum of old favourites from across the board as it was in those days - the Beatles' 'Rain,' Dylan's 'She Belongs to Me,' Bo Diddley's 'Not Fade Away' and of course a selection of Hendrix tunes. They are all executed in a thoroughly professional manner, not even pretending to be anything more than a nostalgic trip down Memory Lane. Much of the credit has to be given to the excellent backing by 3.05AM especially the horn section, but Redding is also very amiable and relaxed in his terse communication with the sympathetic audience to the extent that the CD-listener almost feels present at the event.

There is no clever stuff in the production - it's more than adequately clear but has those fuzzy edges which add extra feeling to the whole laid-back atmosphere generated by the record. It's a great buy.

Real Cool, Man.

Bionic Bare

2007-01-24T08:17:00.000-08:00

Bobby Bare Jr: The Longest Meow
Bloodshot Records BS 132

www.bobbybarejr.com

This is one of those rare records which pop along every now and then that make you sit up and say “Now this is REAL music.” The level of creativity is one step beyond today’s norm and the clear enjoyment invested in these grooves is palpable. You can measure it with a yardstick.

The name Bobby Bare is known to many as one of those Legends of Country from way back, so one tends to assume this must be new country or similar. Then one notices ‘…featuring members of Morning Jacket,….Trail of Dead, Lambchop, Clem Snide’ on the cover and draws the obvious conclusion. Then read, ‘A genre-bending Bobby Bare Jr.., do NOT damn Bobby to the alt-country ghetto!’ and one’s credulity begins to sag.

But it turns out to be right. This is no formula album for that particular cliquey genre. It’s a really eclectic eye-opener. Starts with a short avant-garde noodle ‘Bionic Beginning’ which you want to linger longer over, then it dives into ‘The Heart Bionic’ a brilliant pounding rocker on the subject of techno-reincarnation, in which we learn Bobby runs on electric blood. Cool!

Yer Man has a fascinating adenoidal voice which sounds like it sucked too many Zubes. You can’t fail to love it. Jonathan Richman with a sore throat is the nearest comparison I can provide.

Although there is an underlying country style to the music the predominating vibe is a 70s southern rock groove, enhanced with an appropriate bit of mariachi here, some modern jazz there as the individual number’s mood requires.

This CD’s a great discovery and I want to share it with everybody. So do me and Bobby a favour – get on the net and track it down.

TOO PEACEFUL MAN??????

2007-01-20T04:51:00.000-08:00

Eddi Reader: Peacetime Rough Trade RTRADCD233
www.roughtraderecords.com

This record will undoubtedly hit the mark in the folk charts, but it remains to be seen whether it will appeal to a wider audience. Given enough play on the easy listening programmes at weekends on BBC Radio 2, I guess it stands a very good chance. And chance is what it’s all about – success I mean not the record!

Eddi has a very fine voice in terms of quality but I question whether she has the required definitive characteristic which will mark her out from the ever growing field of fierce competition for success among female vocalists. I think we have probably reached the stage not too far off market saturation, so it will take something special for yet another big name to hit the heights.
Eddi Reader already has some recognition gained from her half dozen previous albums especially the success of her Robbie Burns project, and the choice of songs, arrangements and musicians here is clearly of the highest order. I just find her voice that little bit uninteresting enough to query whether this record is good enough to break through any significant barriers. In other words, perhaps it’s just a little bit dull.

Neil Young & Crazy Horse: Live at the Fillmore East

2007-01-16T11:59:00.000-08:00

Neil Young & Crazy Horse: Live at the Fillmore East

I don’t know just what to make of this one. I guess it really comes down to what you think about live albums. Sometimes they can really add to the artist’s cannon of recorded music – other times they just look like an excuse to milk the fans of a little more of their hard earned cash.
My difficulty lies in the fact that this is rather a fine recording of what was seemingly a great performance. But there is no ‘live’ atmosphere to boost the album into a different ball park than the same songs appearing on the more thoughtfully put together studio records [in this case mainly ‘Everybody Knows This is Nowhere’ – one of my all-time Top 5 LPs].

Apart from the slight variation in playlist I would say that unless you’re an NY completist, there is no good reason to spend good cash on this when you can get the original probably much cheaper and the world is brimming with great new music to buy.

So, in short, a very good recording – but of little consequence. It’s up to you.

SHAMEFUL

2007-01-16T09:34:00.001-08:00

It is almost impossible to pick up a leaflet issued by B&H City Council without being struck by the PC virtues it apparently espouses. Whether it be their consideration for the environment, the concern they lavish on minority and disadvantaged groups or the lip-service they pay in encouraging community initiatives, they impress by the commitment they seem to give to every section of our very diverse society.

The Fiveways area is noted for a lack of facilities for the youth in its community and The Children's Musical Playhouse, currently operating from Beaconsfield Road, has been struggling to fill a gap in the culture of the area for several years now. Apart from the classes in music and dance provided to the children of local families, there have been successful projects working with handicapped and mental health groups - the very sections of the community the Council is so keen to support.

I was therefore saddened and somewhat surprised to hear that the Environmental Health Department has just refused to allow the music workshop to carry on its normal activities from the present address. This is about the sixth time this popular and worthwhile organisation has had to seek new accommodation. It must be very frustrating indeed for the folk who have put so much effort into developing each venue as they have moved from place to place. It is a mark of the importance and commitment they have in the community that supporters have not allowed them to become totally discouraged to the point of giving up. This is not to mention the amount of expense incurred and the time wasted in finding new funding at each relocation.

Is the Council incapable of putting its money where its mouth is by finding this excellent community initiative a permanent home from where it can get on with the job it has striven so hard to do for so many years without having to worry just how much longer it has to wait before it is forced to move on yet again?

Spin Doctors at Blakers Park

2006-12-18T12:56:00.000-08:00

During thebusiest Spin Doctors' weekend to date, we spent 6 hours providing a musical background to the goings-on at Blakers park on Saturday 17th December. Go to Blogging for Blaker's for a full report of the afternoon. Yours truly even got to chat with the guest of honour....

Queuing Up for Art

2006-12-11T00:03:00.000-08:00

This is a painting entitled Brass Band by Artist Tom Walker

From 15th January until 3rd February you can view paintings from this new series of pastels entitled

SNOOKER IN THE FRAME by Tom Walker at the Star Gallery in Lewes

visit his website to see further examples of the work on display and further details of the exhibition

During the coming week Tom will be travelling upto Sheffield to be interviewed about his snooker pictures by the BBC during the UK Snooker Championships. Watch out for Tom on the Box!

tURniNggREen: what have we done

2006-11-27T03:50:00.000-08:00

tURniNggREen: what have we done

turning green: what have we done www.turning-green.com

Fans will have been waiting for this masterpiece for some time. If you have been lucky enough to have seen this lot in one of their London or Brighton area residencies or on tour, you will know what a great group they are.

But Live Performance and Studio Recording are 2 quite different artforms. This CD will prove that tURniNggREen are expert in both.

In live performance, they are beyond comparison – each appearance is a religious experience for the growing hoard of cognoscenti. The atmosphere is almost orgasmic.

On disc, they whole thing is toned down to the extent that you could play it in the presence of your grandmother without causing too much offence. The live performance is put into perspective in that the disc is so well produced that you can hear every brilliant word of the songs. You can hear the perfectly balanced virtuosity of the individual players and how they each contribute to the group. And although they are each masters of their instruments there is a Gestalt at work here that makes the combination so much more impressive. They are a well matched outfit – everyone contributes to a brilliant whole.

The most noticeable aspect of the CD is just what accomplished jazzers tURniNggREeN are. Not just jazz-funk, but acid, lounge lizard and Jimmy Smithery too. Chuck in some psychedelic or bluesy prog-rock riffs, a bit of flamenco guitar, Robert Wyatt and other assorted punky voices and you have a recipe for a great new departure in recorded music.

There is a horrible habit developing in CD album production at the moment. It believes that if you’ve got one or two good songs, it’s OK to pad out an LP with fillers. Thank Goodness tURniNggREen have not fallen into this trap. Not that they’d be likely to – their song-writing and tune-smithery are so well developed that every number is strong, entertaining and different. Having said that you will have some favourite tracks as I do. It’s nice being able to put words to some of the live performance standards – Flavour, Flick Knives and If You Believed It – are my personal selections for single release!

Anyway, get yourself along to the website and order up a copy. And if you haven’t got their earlier offering ‘Heavy Petal’ you can get that there too.

The Lady's not for Turning Green - but I'm sure YOU are

2006-11-26T05:08:00.000-08:00

I have been very remiss and I am hanging my head in shame.

A couple of days ago, I received the following email, which I should have passed onto you....

'Ello Abi

The Drookit Dogs are a fantastic band - and we're very pleased to be playing at their Dog Show - this Friday 24th upstairs at The Hope - Queens Road - Brighton. We'll be on around 9 - entrance - I guess - will be a fiver max.

Come on down for a fine evening of music.

Whoop!
http://www.turning-green.com

Whoop!

ALIEN INVASION

I'm soooo sorry - you'd have loved it

I had a bit of a rigmarole getting there on B&H buses, but bumped into my old friend Margaret on the way which was nice [give our love to Lizzie and Jim, Margaret]. The venue was The Hope in Queens Road, an establishement I have previously not frequented. It was handily close to a bus-stop, so I conveniently avoided my third drenching of the day - it being a dark and stormy night! Anyway enough of me ... let's cut to the chase.

It seems like some of you haven't been paying attention. I have told you time and time again that if there is just one thing to do before you die Turning Green are The Band To See and time may just be running out for you!

The Hope Upstairs room is a proper sweaty little dive [if it's possible to dive upstairs] and as I stepped inside the heat and noise hit me like a tidal wave [or tsunami as we are meant to say nowadays]. The evening's opening act had just started their set and were going down a storm [to continue with the geophysical metaphor] . Strangely monikered Raineater [is this a literary allusion? - perhaps you can tell me] they played an envigourating form of what I can only categorise as prog rock versus Tom Waites joins the Red Hot Chilli Peppers. Interesting, no promising I'd say - I hope they go far. I would add that they would have impressed even more if the people who set up the sound systems {PA?} at such gigs could do a rather better job than they generally do. It's the 21st Century for goodness sake.

{Boring Old Fart's aside: I saw a fledgling Led Zeppelin in a field in Bath in 1969. The sound system was so good you could have heard a pin drop - why isn't this possible today in any venue with half-reasonable acoustics - it seems a little thing to ask but how often can you actually HEAR what a vocalist is singing - not often I'll warrent}

Turning Green were up next and it seemed that quite a few of their regular posse were present in support of their idles oops - I mean idols - if there's any future in religion I believe that this is the one.

Our four heroes seemed to be forming up for a group hug, the obligatory way of preparing for an onslaught nowadays so my more politically correct friends tell me , but no.... they launched into an explosive acapella vocal of enough impact to stun the audience just long enough to allow them to pick up the respective tools of their individual trades to begin the meteor storm [geophys again] that is their act.

Now if you were to meet either of bassist Dan Teale or keysman Matt Gest on in a country lane on a dark night, you'd run a fucking mile, they are so scary.

Both have protuberant eyes which seem determined to escape from their anchors and go for any throat exposed to their hungry stares. [actually in real life Dan is a chartered accountant and Matt embroiders willy covers for residents in old people's homes]. The psychotic personae depicted in the above images do actually relate directly to the manic sound which issues forth when Turning Green are in full flow.

Because although the group possess all the honed skills of students dedicated to years of cloistered study in the Arts of Jazz-Funk, power-pop and psycho-babble, put them in front of a set of microphones and they become manic. Axeman Dunstan Belcher and saMUEL Walker on drums do their best to keep the other two in check but sometimes they just can't hold them down long enough to inject the tranquillisers.

It's no wonder they're not top of the bill. The audience needs the nice calming chill out provided by the likes of The Drookit Dogs before they're in any state to face the journey home.

So your project for the week is to make preparation to get yourself along to The Lansdown in Lewes on Friday 1st December to receive your next dose of treatment which will hopefully Turn YOU Green.

AFTERMATH

Spin Doctors in da Park

2006-11-23T14:35:00.000-08:00

On October 31st being All Hallow's Eve, Blaker's Park hosted a Halloween Event as it has for the past couple of years. There was the usual array of spine-chilling activities including donut-chomping, apple-bobbing, lantern competition, specially devillish food and drink and so on with an accompanying soundtrack of Horrific music c/o Spin Doctors.

My thanks are due to Nicola for the photo

For more news of what's happening in Blaker's Park, please check out BLOGGING FOR BLAKER'S

New Reviews

2006-11-17T13:11:00.001-08:00

I'm sitting here with a pile of discs I've accumulated over the past couple of months while I've been sans computer. A couple are from promo firms but most are recent things I've uncovered in Charity shops etc. The market for junk CDs is booming at present and thankfully it's a buyers' market. I rarely buy anything above £1 and when I do it's because I'd have been willing to buy it at full price in regular outlets.The best finds lately have included 2 promo discs from the Buffalo Springfield Box Set at a mere 10 pence each! Lucky me. The price one pays means that most of them are rubbish, but there are gems amongst them. Several of the records in my pile I've yet to sample so I could be extolling the virtues of previously undiscovered masterpieces or slagging off dross - who knows. Read on to find out.
First up, we have...
MONKEY SONS: Uh-Oh Here Come The Monkey Sons Naked Ape records NAR001website
Actually I lied a bit above. I have heard this before - in fact I've been playing it to death. This is a great little record from a local Brighton-based band describing themselves fairly accurately as indy psychedelic hip-hoppers. The lead track Ha-Ha featuring Elemental is as good a candidate for top of the pops as I've heard in many a long year. It's fun, catchy, crazy and grooves along at 60 mph. Just the sort of thing that would have got a 'tingggggg!' on Juke Box Jury in Days of Yore. One other great highlight is their version of Down and Out from that wonderful gangster movie Bugsy Malone. Would make a great party record at Christmas. Seek it out and enjoy.
J*S*T*A*R*S: Put Me On A PlanetAlbum Sampler23 Records LINK Well, I couldn't find much useful info on this outfit - variously described as trance, dance, electronica etc by different sites on the Net, I have to supply my own label to pigeonhole the record. It's a bit like Cacharpaya on Speed to listen to but I guess ethno-electro-jazzfunk might be an approximate description to give you some idea what it's all about. Personally I dig it and rather wish I had the whole album plus anything else they've produced in my collection. It's got a great groove throughout and although some might say it's a bit mechanical and I'd agree there is plenty of room for developing the repertoir in the future, I'd be happy to bop for a few hours to just this record at any club offering it up as an alternative in preference to most of the pappy dance tunes you hear nowadays. Interesting stuff.
Nneka: The Uncomfortable TruthYo Mama's Recording Company Cat. No. YPS 82876736682 1. The Uncomfortable Truth (3:49)2. Stand Strong (Live Version) (4:01)LINK

Great Old School (dreadful phrase!) Soul from German based Nigerian born female singer with powerfully dynamic voicebox. The instrumentation on the title track has great horns and an afro drum beat to die for. Very funky. The live track is more in the modern R'n'B bag but Nneka's voice makes it interesting and different enough not to lump it in twith the mass of dross masquerading under this epithet merey issued to grab the money burning holes in the pockets of gullible teenage girls. Pretty good stuff. I look forward to hearing and seeing more of this lady.
Next please.....
alteredvibes presentsGum Drop: 'Hi-Falutin'AVBPM005 LINK Cool jazzy soul with variety of vibes - elements of hip-hop, jazzfunk, stevie wonder, mid-60s psychedelia, blaxploitation - you get the picture. Not exactly unforgettable but not at all bad. If any of the foregoing are your bag you'll probably dig this.
Max Tundra: Some Best Friend You Turned Out To BeDomino Recording Company WIG82LINK Noodly doodly electronica this one. Good fun on the whole but a bit pedestrian in places. I notice it's from 2000 and Max has had several release on the same label since then. By rights he should be ripe for picking by now!
Well, I think that's probably all I can manage for now. Quite wearing listening to unfamiliar records and trying to pass instant fair judgement, which I hope I've been able to do. There are plenty more where these came from so I'll try and repeat the exercise again soon! Ta-ra for now. Abi

Me at Work

2006-11-17T12:36:00.000-08:00

here's a pic of Abi at work on Halloween in Blaker's Park

goto Nicola Anthony's Flickr account to see more of her fine fotos
thanks to Nicola for permission to reproduce the snap

12 CENT DONKEY

2006-09-03T04:57:00.000-07:00

12 CENT DONKEY: Where there are No Roads
Gulcher Records GULCH 605

Gulcher Records never fail to surprise. One just got used used to them supplying offbeat garage punk and rock'n'roll. Then they come out with a spate of freeform acts. Now we get a record of top class ambient chillout music.
There's not too much to add except to say the quality is impeccable, the atmosphere created induces alpha brainwaves within seconds. I have been sitting here blogging for over two hours with this CD on repeat feeling perfectly relaxed and content. The effect beats any dope you could care to mention. Get it now and quit all your bad habits.

MYKAL XUL - GIZMO MY WAY

2006-09-03T04:56:00.000-07:00

MYKAL XUL - GIZMO MY WAY

Gulcher Records GULCH 606

More trashy bedroom punkrock from the Gulcher-Gizmo Axis. If you want headbanging moshpit pogo anthems, why waste time going elsewhere. You can't say nuffink interlectural abat dis.
Get down & get with it!
As it says on the sleeve....

PLAY LOUD ON CHEAP STEREO!!

Ute Lemper - PUNISHING KISS

2006-09-02T14:54:00.000-07:00

Artist: Ute Lemper
Album: Punishing Kiss
Title: Little Water Song
Authors: Cave
Duration: 3:58

I'm pleased because I found this single in a junk shop this week. It's a great iterpretation of a Nick Cave song in case you don't know.
It made me go searching for my copy of the album it comes from...

Artist: Ute Lemper
Album: Punishing Kiss
Year: 2000
track listing:
1. Little Water Song
2. Case Continues
3. Passionate Fight
4. Tango Ballad
5. Couldn't You Keep That to Yourself
6. Streets of Berlin
7. Part You Throw Away
8. Split
9. Punishing Kiss
10. Purple Avenue
11. You Were Meant for Me
12. Scope J
13. Lullabye

This is one of the sexiest records I own. If you don't know it you should go out and find it today. It's not exactly lounge lizard material - but in a similar area. To show I'm not the only person to love it here's a review nicked from Amazon...

<< Nick Cave's opener Little Water Song is a hauntingly beautiful piece - the last thoughts of a girl as she is drowned by her lover - Joby Talbot's wonderful string arrangements serenely evoke her watery grave. Joby's usual colleagues, The Divine Comedy, played a large part in this album as they performed most of the music and Joby co-wrote three of the songs with Neil Hannon.

Neil duets with Ute on two tracks including Tango Ballad which was included to mark the anniversaries of Kurt Weill's birth and death (100 and 50 years respectively) but it has been given a 'modern feel'. I'm not sure if this is a good thing or not, the 'tango' aspect being rather diluted. It is also a peculiar subject - happy reminiscences of an abusive and exploitative relationship but it grows on you and Neil's voice harmonises beautifully with Ute's.

This is even more evident on the wonderfully theatrical lovers row Split (by Hannon and Talbot). Of their other tracks The Case Continues begins with a simple and very Irish sounding piano phrase then expands widthways - Riverdance anyone?! Very dramatic! You Were Meant For Me is fantastic, somewhere between a tango and a Bond movie theme it builds to a passionate crescendo of desperate, obsessive, unrequited love. You'd have to have a heart of stone not to feel moved.

Elvis Costello co-wrote three of the songs, including the title-track which is surreal, like smooth dark chocolate with an exploding sherbet fizz centre! Passionate Fight is a lovely dance through a doomed affair with a '60s feel. It reminds me of Scandal by The Pet Shop Boys (with Dusty Springfield) or Cowboys and Angels by George Michael.

The two Tom Waits ballads are gentle, soulful and atmospheric, reminiscent of late afternoons and continental cafés.

Scott Walker's finale is less a song than a composition. Scope J is a musical journey through the limbo of semiconscious delirium. With disjointed snatches of lyrics, musical frenzy and serenity it veers between nightmarish paranoia and drifting calm, but somehow it all works and isn't bad to listen to.

Ute's wonderfully expressive voice combined with such a wealth of musical talent make this a very special album which draws you back time and again.

- Fiona Thorne >>

If you reckon you're a true connoisseur of fine music, your collection will not be on the road to completion until you possess a copy of this great record

The Who - Wire & Glass

2006-07-31T13:58:00.000-07:00

The Who: Wire & Glass - Six Songs from a Mini-Opera Polydor 1702801

This is the closest thing the Who have produced to their absolute top masterwork 'Quadrophenia.' It's wonderful to hear Pete & Roger up-and-running once more even if Mooney & The Ox can't be here to join in the fun. The songs are vibrant and memorable. I don't need to say much more on the artistic front other than 'We Got A Hit' on our hands here.
On the financial front, however, I might question the policy of issuing what looks like a mini-album at nearly four quid when it turns out that 5 of the 6 tracks clock in at less than 2 minutes each, especially when it seems the same tracks will also appear on the album due out in October. Wouldn't it have been nicer to have been able to obtain this mini-masterpiece for a couple of pounds - then not only would it have been a great new record from our ageing heroes but we would have got ourselves a bargain into the bargain!

new business cards

2006-07-27T13:46:00.000-07:00

bought them at www.vistaprint.co.uk

6/99 pounds per 100
not bad eh?

Want more??????

2006-07-22T03:46:00.000-07:00

even more great reviews can be found at

http://abi-rhodes.typepad.com

so check 'em out!

Cerys Matthews: Never Said Goodbye

2006-07-22T03:44:00.000-07:00

Cerys Matthews: Never Said Goodbye
www.roughtraderecords.com
www.cerysmatthews.info

This album announces itself with a thumping bass drum intro which asserts, 'I mean business!' And I think The Business is what we get.
Cerys Mathews is one of those singers who is instantly recognisable and the lilt of her voice is both sexy and comforting - it reassures you that quality music is in store. Rather like Kate Bush, she's been around and proved her credentials - she's not one of the clutch of female singers who are constantly springing up that have a pretty voice but really don't know how to use it effectively. They hit the charts with one or two stunning songs then just don't have the nous to sustain the momentum.
Cerys grooves and has a wide repertoire of vocal stylings to call on. I note she now lives in Nashville - I envy her - but that environment has probably broadened her horizons - there's one track here, 'Oxygen', that reminded me of Dylan in John Wesley Harding mode, but heavily rocked up and highly effectively at that.
I guess my only complaint is that one or two of the songs are a bit lightweight and singalong, such as track 4 'Open Roads' which is to be the first single from the album and whose hook line provides the album title. But I appreciate that some people want just this quality - it makes for great atmosphere in the concert hall where we can all feel part of a wonderful night out because the words are so easy to remember or intuit as one goes along.
' The Endless Rain' is a perfect example of the Cerys magic. It's such a simple song with a poetic feel. The backing is spare, but the effect is powerful. You really think you've heard a great performance when it's over. In fact, the overall impression one's left with from the whole album is that Cerys is someone who knows how to harness power to its best advantage, to her advantage and the advantage of the listener.

Showing my age, I think my favourite is 'Morning Sunshine' because of its Harpers Bizarre/Honeybus/Fifth Dimension hippy groove - it's so well executed that anything goes as I'm transported right back and is flying like a bird down 59th Street with Maggie in her Nimble Balloon down 59th Street! Happily the disc rounds off with an atmspheric anthemic ballad 'Elen' which sounds like an escapee from Lord of the Rings. This is so full of pathos I'm sure it'll have many of you holding back a tear when cuddling up with a loved one at a late evening listening snuggled on the sofa.

To sum up - what a great release. It deserves to make it really big. Over to you!

New Classical Records

2006-07-22T03:41:00.000-07:00

MODERN & RELEVANT
There is a muliplicity of reasons for the wide gulf between classical and popular musics and most of them are nonsensicle. Prejudice is fostered and maintained on both [or more] sides. One audience views its music as of greater intellectual or spiritual value than the other's. Because certain music might require a higher level of technical knowhow or virtuosity, it is possible to argue that this format is of greater importance. It may be enduring quality or contemporary relevance which swing it for some. it could be the sophistication of the required technology or the closeness to historic roots which impress others.
All these points of view are fundamentally polluted by the basic belief that what I choose to like is more valid than what someone else chooses and my justification is more reasonable than theirs. In other words, snottiness.
One particular way that the lovers of much classical music have shot themselves so badly in the foot is to cling on so preciously to the notion that a [fairly large] number of pre-20th century composers and musical forms were the benchmarks to judge everything else by and that this list is sacrosanct and never need reviewing. Anyone not holding this creed who hears much of the available catalogue will soon come to the conclusion that most of the 'Old Masters' did indeed write some wonderful tunes, songs and composite works, whilst also turning out a heap of dross alongside them. I have rarely heard this type of critical comment made by persons who listen almost exclusively to classical music.Have you ever heard any of them suggest that even Mozart and Beethoven might have written and published a certain number of pieces which have no place in today's musical cannon? I bet you haven't.
An extension of this addled thinking leads to the belief that the golden age is over and anything new is suspect and has to be of extraordinary quality before it's even worth considering putting in front of the common people for their appreciation. Thus the number of 20th and 21st century composers 'the man in the street' can name can possibly be counted on just one hand. Even listeners to the likes of Classic FM will probably only need their own hands and feet to count the list they can enumerate. Therefore classical music is ghettoised as being for the intellectual, the highbrow, the better-off, those who are capable of understanding it etc. This is probably the desired effect originally intended by the upper classes in less enlightened times - it kept the common citizen in the pub where they could enjoy rowdier more suitable pursuits and away from the concert hall, where nicer people could feel safe and superior. The effect is maintained by preserving the notions that you have to wear a tail suit and dickie bow to the opera, that you can't clap when you feel you want to, booing is only allowable if certain recognised guardians of morality sanction it by expressing outrage, that it is best to be able to follow the score and comment is only allowable if you can demonstrate technical knowledge and know all the italian terminology. It is necessary to approach the music with a degree of solemnity and to go out for a good time is very very secondary.
Thankfully, not everyone who matters takes this approach. Many times I have commented on the fact that Naxos produces excellent music at reasonable prices and I wonder why other classical labels insist on maintaining their ridiculously high prices. Perhaps its more of the type of thinking that equates quality and price - the classical 'cogniscenti' buy their records from Hyperion and Chandos because one's instinct marks them out as being of superior stripe! Thankfully I see some of these labels struggling to keep their heads above water and hope eventually to see them sink without trace. They are welcome to ressurect themselves in a more realistic and democratic guise when they feel sufficiently chastened.
Not only does Naxos give us all the 'Old Masters' performed by top class orchestras at prices we can afford, but it also issues quite large numbers of discs with music by modern composers and explores fields most traditional labels would be frightened to touch for fear of losing cash. Fortunately this policy probably operates in Naxos's favour as they find themselves with little or no realistic competition in these fields.
Anyway the point of all the above diatribe is that this month most of the review copies I received from Naxos happened to be twentieth century music. So if you are one of those who has been manipulated by the way the industry operates into not exploring modern 'classical' music then I hope to illustrate how rich and varied the available material can be. I firmly believe that there's something to suit the taste of almost any true music lover. And the comprehensive notes provided with each recording will arm you with enough jargon and background knowledge to beat any musical snob at his/her own game!

Toru Takemitsu: A Flock Descends into the Pentagonal Garden etc Naxos 8.557760
Bournemouth SO, Martin Alsop

You'll have guessed no doubt that this music comes from a Japanese composer. Takemitsu was the first from his country to gain an international reputation for his composition. Although, sadly, I have never found any particular 'Japanese' characteristics in his work, he does have a 'touch' akin to the feel one gets from oriental painting and lettering - one where the space is as important as the filled in bits, and there's a tremendous sense of colour in his music. The notes tell us that he was influenced by the likes of Debussy and Stravinsky - a fact that is clearly borne out by the richly tonal nature of the music. At the risk of sounding a bit of a pseud, I have to say that, to me, the sound is very visual. One can find the music creating images of moving landscapes and moody atmospheres. Then one's not surprised to discover that the contents list includes' Three Film Scores for String Orchestra'. In fact I believe the advent of film did a lot that could have helped Classical Music advance its image and dragged it screaming into the modern world. Sadly, by & large, that boat was missed. Takemitsu is just one of dozens of composers who were working hard to make the dream a reality but the musical establishment let them down by its resistance to change. This CD helps redress the balance by bringing top quality composition to a forum into which anyone who has the inclination can be [almost] freely admitted. If you haven't got the admission fee, perhaps your local library can help you bypass the turnstile!

Malcolm Williamson: Choral Music Naxos 8.557783
Joyful Company of Singers, Peter Broadbent

This fabulous vocal music from Australian composer Malcolm Williamson, who was appointed Master of the Queen's Music in 1975, spans choral styles from across the centuries but feels very modern yet at the same time, eternal. One gets mental images ranging from Gregorian Chant right through to the Khatachurian and Ligeti atmospherics in Kubrick's '2001- A Space Odyssey'. The opening work is aptly entitled 'Symphony for Voices' and illustrates perfectly what a fine instrument the human voice can be, and when combined with others how powerful an orchestra can be created. It also helps to dispel the idea that choral music needs necessarily to be religious in content - it being a setting of poems by fellow Australian James McAuley. English Eccentrics Choral Suite is similarly based on poetry - this time by Edith Sitwell - the title speaks for itself - the music is as quirky as the title! The gorgeous 'Requiem for a Tribe Brother' is religious in nature and was written in reaction to the death of a young Aboriginal friend, specifically for a 1992 performance by the Joyful Company of Singers who actually sang it at the composer's funeral in 2003.

Woljciech [Wojciech] Kilar: Piano Concerto etc Naxos 8.557813
Waldemar Malicki, Piano. Wieslaw Ochman, Baritone. Warsaw National Philharmonic Choir & Orchestra, Anton Wit

This CD grabs you right from the word go. The first work, Bogurodzica, opens with a machine gun like gattle of the side drum. The choral & orchestral bursts which follow leave you in no doubt that there is struggle and strife on all sides. It builds up and dies back in relentless threatening waves. A final triumphant shout suggests there is resolution, but one is left wondering.
Piano Concerto starts with Andante con moto sounding rather like it might be a classical version of Mike Oldfield's Tubular Bells, or of Eno's Music for Airports. Very restful inducing a mental alpha state. Minimalistic - like one of Steve Reich's phased pieces - you don't want it to ever end. Sadly, it does. The second movement Corale is quite different and much more solemn, perhaps reminiscent of the more sombre parts of Tchaikovsky's 1812 Overture and in a couple of places the 'Here come the planes' section of Laurie Anderson's O Superman. Those planes take off in the 3rd Movement Toccata and we find ourselves embroiled in a heavy dramatic conflict of epic dimensions - the piano persistantly pounding and soaring strings underlining the urgency of the situation. The denouement comes swiftly and decisively. But, strangely, it all seems unresolved. One is left somewhat unsatisfied but maybe this is an accurate reflection of real life in that one can never be sure of a happy ending. This is a truly magnificent piece of writing and deserves to be widely known. Maybe Naxos should consider releasing it as an 'EP' as it should be heard complete but on its own . The rest of the music which surrounds it on this CD album is excellent but Piano Concerto is absolutely superb and would stand well on its own feet if allowed to.
Siwa Mgla is again quite different, starting with an uneasy equilibrium which threatens to collapse at any moment. This situation is reinforced when a somewhat uncomfortable vocal is added, then swiftly joined by some ominous percussion and worried strings. Suddenly.... horns blare, kettle drums thunder, then another mournful refrain from the baritone - instability builds like an approaching earthquake might unsettle the local dogs and cattle. Then a shaft of sunshine, but is it just the lull before the storm. I fear so. I leave you to decide.
The final offering Koscielec 1909 is a symphonic poem which once more seems full of foreboding - perhaps this is Kilar's trademark - if so, he's a master of it and he should perhaps write scores for horror or sci-fi movies. Both restful in tempo and worrying in content, this is like a disturbing dream. you'll remember the feeling but possibly not the detail. So next time it comes round it will be just as terrifying.The musical equivalent of Quatermass and the Pit.
I feel I cannot recommend this record strongly enough. It represents everything I admire in modern music but fear that the majority of people will never be aware of it. Naxos is doing its best to bring us this material, but they need as much encouragement as we can muster for them!
Please help by hearing the music, then spreading the word.

Intimations on Immorality

2006-07-11T05:33:00.000-07:00

Gerald Finzi: Intimations of Immortality/For St Cecelia
John Gilchrist, Tenor Bournemouth Symphony Chorus and Orchestra cond. David Hill
Naxos 8.557863 www.naxos.com
If you have not encountered Finzi's Intimations before, then you're in for a rare treat when you hear this.
Based on Wordsworth's Ode 'Intimations of Immortality from Recollections of Early Childhood' it is a genuinely heart-rending example of the unsurpassable pathos which exists in many pieces of 20th Century English Music. I have been a fan of Finzi, Howells, Vaughan Williams etc for some 20 years now since being herded into this delightful flowering summer meadow by my good friend 'Harold' and I still fail to be unmoved on hearing such delights as 'Intimations', VW's 'The Lark Ascending' and Elgar's 'Nimrod'. Of course, televisual images created by the likes of Ken Russel have helped permanently cement the landscapes of interwar England into one's visual cortex and conjure idyllic images of a, no doubt, largely fictional Golden Age we would all love to inhabit. Oops - I'm rambling..
'For St Cecilia' is quite a different sort of offering than 'Intimations', starting in a somewhat anthemic style and dramatic in a very different way. It settles back into a more poetic mode but never attains the gut-wrenching emotional levels of the former work. I question whether pairing the 2 pieces on the same disc is a such good idea. Although I'm normally all for maximising the available space and thus helping the pocket of the record buyer, on this occasion, I think 'Intimations' (given its approximate 40 minute length) is sublime enough to warrant issue on its own - just this once. It's the type of music that one needs a little time to recover from when it's finished.
Apart from this, as usual with Naxos, this disc, in my view, is faultless and will provide you with as good a version of the masterpiece as you're likely to find.If you only buy one clasical record this year, I beg of you, let it be this one!

Nomvula

2006-07-11T04:31:00.000-07:00

Freshly Ground:Nomvula Tinto Tinta

If I'm honest [and, when it comes to reviewing records, I think I generally am!], I'd say this CD isn't exactly my cup of tea, but I am able to see its attractions to a wide variety of record buyers. It's not a straightforward world music record from southern Africa. The tunes aren't all in the same style, which is interesting in itself. I'd say this will appeal to lovers of jolly samba/carnival type music and other positive vibrations, fans of Joan Armatrading, Michael Jackson and the Bhundu Boys, R'n'B aficionados, Afro-Celts and many more. But not me.... and I can't exactly put my finger on why. The production is very good indeed. The vocal styling is impeccable and the technical musicianship is faultless. Maybe it's just a bit too well put together - too clean, too sweet, too nice. Perhaps it lacks soul, spirit, conviction.... I can't really say. But hey, just because I don't like it much doesn't mean you won't. So go and check it out for yourself.

Record review: The HeatShkok Project

2006-07-11T04:29:00.000-07:00

Record Review

Freddy Jay presents:The HeatShkok Project
Planet Reef (2004) www.heatshkok69.com

This is a very interesting, very entertaning fusion experiment - lots of sampling & scratching of all kinds music, newsclips, speeches, ads etc interspersed with regular songs and tunes. I'm always a sucker for someone who can work Prokofiev's 'Montagues & Capulets' into their creations. It's pretty much a successful attempt at working these diverse elements into a effective and meaningful whole. My only complaint is that there's rather too much of that ear-popping jerkiness often encountered when samples and loops are extensively employed. It becomes a bit unsettling, even nauseating. One wonders if this is intentional or an accidental by-product of the technology - perhaps it only affects some listeners this way - maybe it's the audio equivalent of strobe lighting. Your views on this will be welcomed.

I'll just round off by quoting a bit of the sleeve note....
"The Heatshkok Project is the sincere introspection of a real music aficionado and acts as a testament to this multi-faceted DJ. Freddy Jay confides a very personal, original and conclusive crossover project, overstepping the boundaries of genres all the while remaining totally homogeneous."
Pseuds Corner or what?

See you at the next episode.

Michel Berger -'Pour me Comprendre'

2006-07-03T07:54:00.000-07:00

Record Review: Michel Berger -'Pour me Comprendre' [wea 5051011539923]

On a recent visit to Languedoc, I noticed that a French TV magazine was giving away this CD from 2002 with that week's issue. Needless to say, although the name meant nothing to me, I was unable to resist buying.

Now, my French is very basic and although I was able to decipher rough meanings for most of the 18 titles - the actual gist of the songs were pretty much incomprehensible to me. Therefore I was in my element - I was able to listen from a purely musical angle disregarding lyrical content beyond the mood set by intonation and simply taking the voice as just one of the instruments in the arrangement.

Michel's voice is in fact very musical. Although he does not have a particularly large vocal range Michel is light in touch, melodic and quite pure in style. In many way he is what I consider to be a typical French chanson singer. The backings featuring Michel on piano, accompanied by bass, synth, guitar, sax etc are gently thoughtful and far from overdone. The arrangements vary quite widely from straight dramatic ballads,through anthemic stadium pop, to very groovy modern jazz numbers, although I think it would be true to assert that they manage to maintain a French ambience throughout.

In fact, I'd say this is a most enjoyable CD and I'd not hesitate to recommend it to even the most cynical of singer-songwriterphobes among whom I count myself. In fact, I go as far as to say I'd be very interested to hear Michel's latest album and that I'd be very disappointed if it wasn't just as good as this one, if not better.

Let's hope the idea of giving away slightly ageing CDs with TV magazines catches on universally!

The Puppini Sisters: Betcha Bottom Dollar

2006-07-03T07:52:00.000-07:00

Record review

The Puppini Sisters: Betcha Bottom Dollar www.thepuppinisisters.co.uk
[Review based on 5-track promo album sampler]

You can get a general idea of how The Puppini Sisters might sound like if I list a few of the tunes they cover. Boogie Woogie Bugle Boy, Mr Sandman and Jeepers Creepers all get the straight-forward kind of treatment you might expect for favourites from the forties. There is some quite interesting Django-type guitar but otherwise no particular surprises. Not that I'm complaining - the ladies' voices are sweet, sexy and superb. But it's when you hear the arrangements of Gloria Gaynor's Disco Classic 'I Will Survive' or Kate Bush's 'Wuthering Heights' that you realise there's plenty potetial here for fun back-dating modern music. Let's face, you'll either love this or hate. I love it.

JUMP STURDY!

2006-07-03T07:49:00.000-07:00

JUMP STURDY!
Record Review: Dr John - 'Mercernary' - Songs of Johnny Mercer
EMI 0946 3 55567 2 8 DRJOHN 06

I was not hitherto aware that Johnny Mercer was responsible for quite so many well known enduring songs - standards if you will - as are represented here, let alone a myriad more that are not, no doubt. Blues in the Night, I'm an Old Cowhand, That Old Black Magic, Moon River, Lazy Bones, Come Rain or Come Shine, You Must have been a Beautiful Baby are among 13 numbers getting that unmistakeable funky Mack Rebennack treatment we are so familiar with. It's been almost 40 years since we first stumbled across the Gris-Gris Man Walking on Gilded Splinters and pointing us in the direction of Professor Longhair and other musical gumbo from down old New Orleans way. There have been ups and downs and other nefarious changes of direction but in general, the maestro has remained true to his roots , while updating his skills all the time and simultaneously paying tribute to great innovators of the past - previously Duke Ellington and now, Johnny Mercer. Dr John is quite a rarity - a sixties survivor still worth paying close attention to. This self-produced album is well up to par and provides us with a variety of moods, mainly suitable for late night chillin' and creating an intimate atmosphere. The piano playing is as honky as ever and the familiar creaky old voicebox sexily snakes itself around Mercer's lyrics with consummate ease, with the exception of I'm an Old Cowhand which sadly is presented here as an instrumental - odd I should find myself writing this but I feel it would have sounded ten times better sung. That small criticism aside, I am really surprised I find this CD just quite as enjoyably groovy as I do, when it might have been far more middle-of-the-road. Laid back for sure, but lazy? - No Way!

What do you get if you cross.....

2006-07-03T07:46:00.000-07:00

......Glen Campbell, Jim Morrisson, Scott Walker and Neil Diamond??????

Well apart from a physical impossibility or an excess of testosterone, one result might be the music of Adam Green. His CD 'Jacket Full of Danger' released on Rough Trade (cat no RTRADCDP293) is a fabulous amalgam of all these great voices plus, I daresay, you'll want to add a few more of your favourites.

The songwriting is equally impressive with tantalising titles such as Hairy Women, Vultures, Nat King Cole and Animal Dreams. Believe me, the songs do not disappoint any expectation these titles might evoke.

The production, orchestrations and just about every other aspect of this recording are exemplary. If we don't hear an awful lot more of Adam in the years ahead, then I'm a Dutchman - which I'm not!

Corinne Bailey Rae:Corinne Bailey Rae

2006-07-03T07:42:00.000-07:00

Corinne Bailey Rae:Corinne Bailey Rae
[review based on 5-track sampler CD]
When I first heard 'Put Your Records On' on the radio I thought, 'This is very good.' I thought this lady's voice was cool and original. But I have to say it wasn't too long before I was quite bored with the whole thing. I remember I had the same experience a few years back when Macy Gray appeared with her single 'I Cry." I've never liked a Macy Gray record since. Sadly I have to say that I feel much the same about the songs on this sampler and so I fear for the whole LP. You've heard one - you've heard the lot. Sorry but this is one album I won't be rushing out to buy and can't foresee myself looking forward to the next or any subsequent offering from Corinne Bailey Rae.

Smoking & Drinking on a Tuesday Night

2006-07-03T07:40:00.000-07:00

The Soulsavers Sound System: Smoking & Drinking on a Tuesday Night (2003) www.thesoulsavers.com
I discovered this disc on one of my trawls through the cheap baskets in a Brighton junk shop - I just pick up stuff which looks somewhat offbeat or substantially different from the common lot - paying as little as I can for the priviledge in the process. What we have here is a Mix CD of the highest order - it cost me a mere 50 pence - probably the best buy I've had in ages. It contains a real funky assortment of tunes some well known, others less so, but nearly all of such a high calibre one cannot easily single out any particular favourites. The general mood here is of the jazzier side of the Woodstock Generation. Imagine Sly and the Family Stone meets Charles Lloyd, or the Temptations do a cultural exchange with Traffic - these people do not as far as I can tell appear on the mix but would be representative of the genres covered herein. Psychedelic Soul is what I'd call it. If you're an arts student making a movie of the Seventies Blaxploitation type, this would make a great soundtrack. My only beef is that being a mix cd you can't easily select a particular track, as they all flow into each other without separation so you have to listen to the lot. But if you like the sound of the album, then get onto the website and see if you can get your grubby mitts on a copy. If you succeed, you'll be eternally grateful!

LISTEN UP!

2006-07-03T07:37:00.000-07:00

Record Reviews:
The Hat - '4 Tales' www.the-hat.co.uk
The Rohan Theatre Band - 'Cemetary Songs [or The Delectable Fruits of an Morbid Fascination]' www.rohan-k.co.uk

Way back in the late 60s and early 1970s there was a trend for multimedia presentations including the sublime marriage of pop, poetry and humour. I'm thinking of such performers as The Bonzo Dog Doo-Dah Band, Liverpool Scene, Bob Kerr, Scaffold, Barrow Poets, Doggerel Bank and of course the recently demised demagogue Ivor Cutler. In the intervening years, there have been a few new names added to the list - Jilted John/John Shuttleworth/Graham Fellows is one that springs immmediately to mind, but in general the genre has largely fallen into disrepair - certainly in terms of any wde public awareness. If you have not yet explored this fruitful area of leftfield culture, I would advise you to set out on the path of discovery forthwith!
My.... re-awakening, if you like, happened a couple of months ago when I was invited by my friends in Turning Green to attend a benefit gig in aid of The Cambodia Trust at Brighton's 'Ocean Rooms'. The line-up for the evening was rich and varied including The Greens and a powerful boombox outfit called Mr Finn and Juxtachrome. But the act that stole the show was The Hat - a really odd looking bunch who wowed the audience with their highly original amalgam of power-pop, jazz, rap and poetry. When they announced they had a CD for sale, of course I just had to have it!

I'm glad to say that the record does not disappoint in any way other than it contains only 4 songs. It is filled with drama and pathos, telling stories loaded with emotions of the highest order set in arrangements which build tension and excitement enough for any sensitive soul. Clever use of language and intonation set against humorous exotic rhythmic backgrounds paint atmospheric moving pictures which transport the listener into wild and whacky worlds of wonderful whimsy (hem-hem!). Yes - it's brilliant! Give it a go and I'll guarantee it'll leave you wanting to hear more - much more - of The Hat.
Waxing lyrical about The Hat to my friend, Ewan, a record dealing street-trader in North Laine, some while after the gig I've mentioned above, he turned to me and, dipping into the treasures laid out on his stall handed me a copy of Cemetary Songs and said, "I think you'll like this.' The delivery van I was driving at the time had no CD player on board so I had to sweat through the rest of the day's work before I could get the CD home to hear what gems it had to offer. The wait was well worth it!
To quote the sleeve note, 'The Rohan Theatre Band includes piano, Hammond organ, accordian, guitar, banjo, bass, trumpet, alto saxophone, violin, percussion and voice.' All these are curtesy of one Rohan Kriwaczek, as is the songwriting, composition and production. A true polymath that Rohan!
The 11-track album kicks off with a suitably gothic introduction and as it progresses we are treated to a series of sad tales inspired it seems by regular visits to Brighton's Woodvale Cemetary, variously delivered in a style somewhere between Vivian Stanshall and Tom Waites to name but two of Rohan's possible muses. The musicianship is beyond question and the songwriting/storytelling is immaculate in both conception and execution. Let me give you a taste of the oeuvre in the form of a few of the song (or rather dirge) titles - 'The Undertaker's Ball', 'Everybody's Happy to be Dead', 'Things I should Have Said', 'Reunited at Last' - hopefully these will illustrate the ground covered - or excavated - by Rohan on the record. The whole is an awesome (gruesome) project which deserves a wide audience of discerning music lovers - make sure you're among the chosen few.

So I'm extremely happy with this mini-revival of this particular crossover genre. I hope it heralds a positive flood of similar projects. If you are aware of similar work which needs broader appreciation please don't hesitate to let me know so that I can climb aboard that bandwagon too.

Scrap Multimedia Release 1 [DVD]: ScrapKillarRoadMovies

2006-01-29T10:02:00.000-08:00

Scrap Multimedia Release 1 [DVD]: ScrapKillarRoadMovies
www.scraprecords.com
Regular readers will know that I’m not a lover of the music DVD. In general I feel music and video do very little to help each other. But I have to say that this DVD grabbed my attention right from the word go. The imaginative way the tracks are introduced and linked ensure you keep your eye on the ball. And what a ball we have! Psychedelia from Brighton’s Criminals of Evolution, a stunning animated mix of Metropolis and Guernica from Theodor Bastard from St Petersburg. Ren’s CGI film of George W waxing lyrical. Live Mayhem bringing Global Warning from Pete Missing and DJ Hazard out of New York. Even the more conventional performance footage and what could be dull self adulatory ads for Dirty Squatters’/Scrap’s other wares and traveller/eco-warrior propaganda are well put together. They are neatly doctored and edited in such a varied manner that the potential boredom factor disappears into the overall impression is of an excellently integrated product. No doubt the whole thing would be even better viewed on one of those giant home cinema systems in a darkened room enhanced with aromatic ambience enhancement. But on a crappy little 14” telly the effect is good enough for me!

Rosolina Mar: Before and After Dinner

2006-01-29T09:55:00.000-08:00

Rosolina Mar: Before and After Dinner Wallace records
www.wallacerecords.com
www.robotradiorecords.com

If Justice was a feature of the record industry, this would be one of the most widely acclaimed discs of the century so far. It’s absolutely brilliant. Not least because it’s one of those all-too-rare occurrences nowadays – a purely instrumental album. Plus, it’s executed with consummate skill and extreme panache.
It kicks off with a very mysterious theme reminiscent of a dark geisha house scene in one of those 1970s Japanese movies which no-one really comprehends but everyone nods sagely about when it’s mentioned in late night conversation. Then we move onto an amusing piece of early Zappa cartoonery - a staccato jazz/space-rock fusion the likes of which has not been experienced for many a long year. This sets the tone for several numbers of the same ilk. Some develop quite a groove conjuring ancient visions of The Who at Woodstock or The Magic Band charming the snakes of the Mojave Desert, while others have bluesy or proggy guitar riffs which again recall bygone golden ages – sadly missed by us ageing hipsters. At the same time it has an insistent punky dimension that gives it added verve [that makes it sound like a dogfood – so lap it up].Some of the tracks are really quite sparce but this proves highly effective in producing the dramatic result the musicians presumably intended. This I judge to be a measure of the competence of an instrumentalist. Less is more - and all that. Lastly, but not leastly – the CD has one of the most surprising endings I’ve ever heard.
So, here we have a truly momentous record of great importance to lovers of the musical genres mentioned above. You’d be foolish not to visit the websites to find how to get hold of this gem. Meanwhile, I’d be grateful to anyone who can supply me with translations of the intriguing Italian titles many of the tracks sport – it won’t change my opinion of the music but I’m always curious to see if my perception ever ties up with the artists’ intentions!

The Muel: Rough in the Bedroom

2005-12-21T02:08:00.000-08:00

Website www.mrfinn.co.uk/themuel
Email: muelmessages@yahoo.com
Joe Meek famously recorded The Tornados’ “Telstar” in his bedroom. In 1962 this was a sensationally novel concept, but nowadays with the advancement of miniaturisation and digital technology it is a possibility for us all given the will to do so.
The Muel, aka SaMUEL Walker, has the will, the way and the talent to do it and has done it successfully.
This is a well produced album of highly original songs and tunes in the style of… well – in the style of no-one else at all – they’re pretty well totally new concepts in pop/rock music. To help you imagine what the CD might sound like, I’d have to point you in the general direction of Robert Wyatt (Moon in June, The End of an Ear), early Mothers of Invention (Burnt Weeny Sandwich, Uncle Meat), Tiny Tim or any of Mike Oldfield’s noodly stuff, but it doesn’t really sound like any of these. It’s just in that leftfield area. Tell you what – go to the website and listen to the tracks which are available there – but know that the sound quality of the disc is way beyond that of most computer /internet sound capabilities.
To be honest, Sam is no choirboy so don’t expect purity – but his intriguing off-key vocal meanderings fit the moods of his often downbeat teen-and-twenty bedroom lyrics perfectly. All the instruments, with the exception of saxophone , are played by The Muel – quirkily but expertly exploring areas of jazz-funk previously left blank on the musical map. ‘Rough in the Bedroom’ has all those qualities the inquisitive music fan, tired of the run-of-the-mill would hope or expect to find in a new departure – except roughness. I very much hope this is just the first of many such productions.

REALLIFEISGOODENOUGH

2005-12-15T11:21:00.000-08:00

REALLIFEISGOODENOUGH

Had a great night out at the Komedia on Monday

As I told you last week I was going to see my friend Sam Walker aka The Muel performing both on his todd and as the backing band for John Watts - ex-Fischer-Z

It was a storming night out

They played a zonking set of the first order and confirmed that the fashion in recent years for duos (White Stripes) etc is fully justified in economic terms

There's just no need for the full orchestra when you've got a good singer and a totally empathetic multi-instrumentalist sidesperson

John is an absolute hoot - his sense of humour is right off the scale and his songs are funny, pithy, pathetic and everything else you could wish them to be
His style varies from Neil Young heavy grungy Country Rock (particularly good on the Rust Never Sleeps and Freedom type sounds) to 70s punk and all stops in between
He jumps about like a slow-motion Pete Townshend - someone once said every teenager's fantasy is to be in the Who - John is living this fantasy at 50!

Sam's drumming and melodica playing (!) was shit hot - very funky but tight to the extent of anal retention and was able to follow John's every wayward twist and turn

The photo is a bit out of date - they didn't look 1/4 as studious as that but I forgot to take my camera - sorry!

About 100 were in the audience and although many were clearly existing fans of one or the other musician it was clear that those who'd just come along for the ride had a stonking good time too

REALLIFEISGOODENOUGH is the title of the current CD album release
www.johnwatts.co.uk is Watt's website - visit it to try the sample track and then buy it!

The outfit deserves much wider recognition & appreciation than it currently has in the UK - they're huge in Germany apparently - but it's nice to feel part of a very well kept secret

Turning Green's Christmas Massage

2005-12-12T10:07:00.000-08:00

Hello Abi

Two dates - one mission:

To dance, drink have a stonking great time with as many of you as possible before Christmas. Our present to you is our new show which we like to call 'The Wind Free Opera Show'. It contains the cream of our old favourites mixed up with our freshest new tunes - all naturally stuffed full with dirty grooves for your pleasure.

First off we'll be at the Landsdown on Station Street in Lewes (near Brighton) this Saturday the 17th.

Then it's to the Lion on Church Street in Stoke Newington (London N16) on Thursday the 22nd.

We hope you can join us on one of these dates - if not we'll take this opportunity to wish you a very fine Christmas!

Whoop!

Dunstanmattsamanddan

http://www.turning-green.com

Great Spin Doctors Gig

2005-12-11T12:38:00.000-08:00

Last night I had the great pleasure of running a 3-hour gig at The Ship in Shoreham.

The people in the bar were great - they loved me playing hard rock, punk, new metal and reggae. At most gigs all that people seem to want is R'n'B - not that I dislike it - it's just not my favourite music.

Anyway they really seemed to like what I did and the landlord & landlady say they'll get me in again - I'll be happy to oblige.

Another Point of View

2005-12-09T14:56:00.000-08:00

The Muel

Doin' anything Monday evening?

2005-12-09T13:57:00.000-08:00

I am

I'm going down to the Komedia in Sydney Street.

A great friend of mine is appearing Live from 7pm

The Show stars John Watts - poet/musician who made his name back in the 70s as Fisher Z - better known in Germany than here in Blighty

He is supported by Sam Walker aka The Muel, who will also be performing music from his home grown album 'Rough in the Bedroom'

Go to the website

Rough in the Bedroom to find out more about this. I will be reviewing the album here very soon - so watch out for that

Anyway back to the gig .... entrance is a mere £7, concessions (whatever they are) £5

Hope to see you there

Technorati

2005-11-27T09:49:00.001-08:00

GOTO

2005-11-22T01:35:00.000-08:00

goto

assistant blog

for another review of the Hush Collector gig

Value for Money

2005-11-20T14:05:00.000-08:00

Mozart: Requiem
Naxos 8.557728
Miriam Allen [soprano], Anne Butler [mezzo-soprano], Marcus Ullmann [tenor], Martin snell [bass], Gewandhus Chamber Choir, Leipzig Chamber Orchestra, conductor – Morten Schuldt-Jensen
Surely, even the greenest classical music fan will know that Mozart’s death is surrounded by mystery and conspiracy theory. Some will also know that he is supposed to have been instructed to compose his own requiem mass by some sort of apparition. We will probably never know the truth about these things, at least until time travel is mastered and even then it will be a shame to debunk such powerful mythology.
Nevertheless, it is a truism that this music is among the most universally acclaimed in any genre. Despite the fact that poor Wolfgang did not complete his appointed task himself, it did eventually turn out very well thanks to the consummate skill of F X Sussmayr.
It is not necessary to comment on the composition, it being so widely known and appreciated, but I have to say that once again Naxos has gathered together a fine ensemble of performers and technicians to produce a CD which is well up to their usual very high standard.. I would therefore have no hestation in recommending this recording to anyone seeking their first version of the Requiem, and I am sure that long-time fans of the piece will be more than pleased to add this one to their collections.
The disc is completed with 2 offertory choruses – Inter natos mulierum and Misericordias Domini, neither of which I was previously acquainted with. They are both excellent works, the second of which seems to contain an air that Beethoven may well have been interested in!
This being Naxos’s release of the month in this their 18th birthday year, there is a bonus disc thrown in for those quick enough off the mark to obtain a first pressing copy. It’s a brilliant compilation of 11 ‘Grand Choral Classics’ including the Hallelujah Chorus and Ode to Joy.
So my advice would be – if you’ve got a bit of spare pocket money burning a hole in your pocket , rush out and buy a copy now - you’ll get 2 great CDs and you’ll still have change from a fiver!

Photos from the Hush Collector Gig

2005-11-19T13:01:00.000-08:00

2005-11-18T04:34:00.000-08:00

Hushcollector Debut Gig

2005-11-18T02:33:00.000-08:00

Last evening, I had the great pleasure and honour to be present at the debut public performance and EP launch party, which took place at the Cella Venue (dreadful name!) at the Sanctuary licensed cafe-bar in Brunswick Street West, Hove.
I reviewed their 'Flowby' EP CD a few weeks back and suggest you visit the review to refresh your memory about my favourable reaction.
I have to tell you that the evening was, for me, a stunning success. Hushcollector are even better live than on disc. This is always particularly pleasing as it is so easy to doctor a recording to enhance the quality of artists. It's not the case here.
The group consists not one, but two, fine female singers who both also play keyboards and acoustic guitar and share the leading roles more or less equally which in itself widens the band's versatility and potential. The 3 male 'backing' instrumentalists - electric guitar, bass, drums and a variety of bits & pieces, are all accomplished musicians who could clearly make it without the ladies, but sensibly choose to ply their trades accompanying the singers and each other. The effect is one of those units which add up to much more than the sum of its individual parts.
So what of their style. Mmm..tricky to be precise and I'm sure the group will not thank me for suggesting that they are essentially a very good country-rock band. But they're much more than this. They supplement their sound with a fairly heavy jazz-funk-rock fusion which can really build a body- swaying groove at times - I was just one of several onlookers who were finding it very difficult not to dance - only the intimate (cramped) venue prevented us from properly donig so. In fact, to use a rather old-fashioned but very useful term, I'd say that 'Groovey' would be a good one-word description of Hushcollector.
Now, I have to warn them that it's a harsh competitive world and they will have to work extremely hard to gain the recognition they clearly deserve. They need to take their time to develop & polish their individual and group skills and probably define an image and niche in which they feel comfortable. No way should they pursue the limelight of the pop charts, rather they should seek to have a long term future growing their reputation as first class musicians and performers who have much to offer and can maintain a place in the hearts of real music lovers. I give this advice in good faith because they are damned good and I feel it would be a shame if they were sidetracked into deadends in the interests of short-term gain which could easily happen if certain people 'discovered' them.
Please take the time to visit their website and listen to some of their music. Remembering that they are a brilliant live act, look out for them appearing in your area in the not too distant future. In Brighton - that'll be pretty soon I hope!
Good Luck Hushcollector - I'm rooting for you.
[PS - if the band are kind enough to email some photos from the gig - I'll publish them alongside this review later.]

Sony recalls copy-protected CDs

2005-11-16T14:17:00.000-08:00

Someone sent me this press release. I thought it was worth passing on in this public forum. Please feel free to do the same.
It concerns the controversial copy protected compact discs that have been appearing lately. They prevent us making copies of our own CDs for use on computers, car CD players etc or where we do not want to endanger our original copy.

Neil Diamond's latest album sold well despite the XCP row Sony BMG is recalling music CDs that use controversial anti-piracy software. The software was widely criticised because it used virus-like techniques to stop illegal copies being made.
Widespread pressure has made the music giant remove CDs bearing the software from stores. It will also swap bought CDs for copies free of the XCP anti-piracy software.
Sony is also providing software to make it easy to remove the controversial program from Windows computers.
Swap shop
Sony's music arm could be recalling millions of CDs because at least 20 discs are known to use XCP some by best-selling artists such as Celine Dion, Natasha Bedingfield, and Amerie.
One of the discs, Neil Diamond's 12 Songs, was the top seller on Amazon.com for several days.

XCP PROTECTED CDS
Trey Anastasio - Shine
Celine Dion - On ne Change Pas
Neil Diamond - 12 Songs
Our Lady Peace - Healthy in Paranoid Times
Chris Botti - To Love Again
Van Zant - Get Right with the Man
Switchfoot - Nothing is Sound
The Coral - The Invisible Invasion
Acceptance - Phantoms
Susie Suh - Susie Suh
Amerie - Touch
Life of Agony - Broken Valley
Horace Silver Quintet - Silver's Blue
Gerry Mulligan - Jeru
Dexter Gordon - Manhattan Symphonie
The Bad Plus - Suspicious Activity
The Dead 60s - The Dead 60s
Dion - The Essential Dion
Natasha Bedingfield - Unwritten
Ricky Martin - Life

No detailed figures have been given by Sony for how many CDs are protected with XCP or how many have been sold.
However, work by respected net expert Dan Kaminsky found that more than 500,000 networks have at least one machine on them using XCP.
Although the CDs containing XCP were only released in the US, Mr Kaminsky found that 44,000 copies were installed on machines in the UK.
In its statement announcing the recall Sony BMG said: "We deeply regret any inconvenience this may cause our customers and we are committed to making this situation right."
Security exploit
The alarm about XCP was raised by Windows programming expert Mark Russinovich who discovered that it used a "root kit" to install itself deep inside the operating system.
Subsequent to his discovery virus writers started exploiting XCP's stealthy abilities to hide their own creations.
In the same statement about the recall Sony BMG said it would make it much easier to uninstall the XCP system from Windows PCs on which is has been installed.
Before now any customer wanting to rid their PC of XCP had to go through a several stage process of telling Sony what they wanted to do and then waiting for it to respond. As well as being criticised for its inconvenience security researchers found that the uninstaller left Windows machines vulnerable to several exploits. The XCP copy protection system only installed on machines running Windows.
Writing on the Freedom to Tinker blog, researchers J Alex Halderman and Ed Felten found that cleverly written webpages could exploit the programming code used to remove XCP to install their own potentially malicious programs.
The pair also provided tools that help people work out if their Windows machines have been left vulnerable in this way.
The news about the uninstaller came as anti-virus firms and Microsoft announced tools to find and remove the "root kit".
The row about XCP has also led to Sony BMG facing several class-action lawsuits over the potential security problems that the software causes.

A message from Hushcollector

2005-11-14T02:23:00.000-08:00

PoppyHush Collectorwww.hushcollector.co.uk
Hello allJust to let you know, that Hush Collector are making our live debut thisweekend on Phil Jackson's BBC South Live show. Show starts at 7pm (2pm USAEast/11am USA west) and you can tune in on 95.5 FM or stream it live fromthe BBC website . (You will need Real Player). Comments and messages canalso be posted on the same page, so get typing. (Please go easy on us, it'sour first live performance!). There are a couple of guest passes availablefor this show, so if you are interested, please email us before 11amtomorrow.
We are also really looking forward to our launch/party the following
Thursday 17th November
at the Cella Vanue, Hove. Entrance is FREE to our members, werecommend you get there early as it is a small, intimate, venue and the bandwill probably take up half the space(!). For this reason, we will be closingthe mailing list at 9pm. (£3 entry for non-members). We'll be playing arelaxed live set around 9.15 and there will be a short acousitc set a bitearlier from guests ReMolo. The bar is open until 12, so we can sit down andhave a drink with you all after (hooray). Please remember the email youregistered with for the guest list on the night.
Sanctuary Cella VenueLocation
The ep is still available from Virgin Megastore Brighton and online fromRough Trade and The Night Cafe and Action Records . For those in the USA,the cd can be found at CD Baby and Tower Records - So if you can adfford 4quid, please support us, as we are eager to get back into Church Roadstudios and get the album finished.
That's about it for now, looking forward to seeing some of you nextThursday.
CheersPoppy Pete & Katieps - Jamesons & Coke, Vodka & Coke and a pint for Pete ; )

2005-11-13T10:07:00.000-08:00

Ring of Fire – The Legend of Johnny Cash

2005-11-13T09:22:00.000-08:00

Johnny Cash : Ring of Fire – The Legend of Johnny Cash
UMTV 602498878507
It’s hard to come to terms with the fact that tracks such as ‘I Walk the Line’ and ‘Fulsom Prison Blues’ were recorded at Sun almost fifty years ago. It’s also hard to stomach the fact that the man who sang these wonderful numbers is no longer with us. It’s actually two full years since The Man in Black passed on to who-knows-where.
If you’re unfortunate enough not to own a good collection of Johnny Cash’s music, then this will probably be the one you’ll want to get your hands on. It includes many of this best known songs spanning the near half-century he was here to serenade us.
Issued to coincide with the forthcoming biopic ‘Walk the Line’ it includes a good selection of the Rockabilly stuff, the obligatory live tracks from San Quentin and more recent recordings such as those by or made with U2 and Trent Reznor’s ‘Hurt.’ Some songs such as the latter are very moving, others illustrate Cash’s empathy with those on the edge of society, while there are a few like the title track and ‘I’ve Been Everywhere' are just pure joy to revisit.
Setting aside the obvious criticism that you just can’t truly represent such a great star’s work on just one album, I’d say this is as good a cross-section of JC’s work as you’re gonna get, so get it!

Sorry Folks

2005-11-04T05:37:00.000-08:00

Hi
I've been getting so many spam comments, I've had to turn on word verification for comments. Sorry for the inconvenience this causes but please do leave legitimate comments even if it takes those few extra seconds

The Sound of a Different Drum

2005-11-04T04:59:00.000-08:00

David Hoffbrand: To the Sound of a Different Drum Branded Music BMCD1270
http://www.davidhoffbrand.com/
Being naturally averse to religion in the first place and having found most so-called Christian rock I’ve listened to either so pious or rubbish musically I tend to steer clear of it. Now I don’t know whether Mr Hoffbrand considers himself to be a Christian Rocker or not, but his music is somewhat religious, in a similar way that much of Dylan’s later stuff was. Most of the songs on this album are clearly to do with his faith but can be heard in the more general sense of being about love and devotion. What catches my attention is the quality of the musicianship herein, David’s fine voice and the grooviness of the composition. In fact the comparison with the Big Zim does not seem entirely inappropriate. A fine record that deserves to be more widely heard

Earthly Delights

2005-11-04T04:27:00.000-08:00

John Garden & Earthly Delights: A Box of Earthly Delights
http://www.earthlydelights.com.au/
One of my all-time favourite live bands was Blowzabella, so when I see any album featuring hurdy-gurdy & bodhran on offer at 50pence in a junk shop, I just can’t resist putting hand in pocket! Even more so when the album is a double!
Now 2 hours and 19 minutes of original folk tunes may not be absolutely everybody’s cup o’ mead but this Box of Earthly Delights is tempered somewhat by the fact that styles and instruments are drawn from many mediaeval traditions & modern cultures world-wide. 90 tunes put together in 32 arrangements perfect played loud for raucous party bopping in the barn or more sedately as ambient background to a 10-course banquet back at Ye Olde Castle. The discs provide very entertaining & highly infectious jollity for folk of all ages and classes of society. And anyone wanting to pick up their instrument and play the tunes themselves can get hold of a companion notation manual, ‘A Book of Earthly Delights’ – visit the website for full details. Top Gear!

Elgar Marches

2005-11-03T09:05:00.000-08:00

Elgar: Marches
Naxos 8.557273
Pomp & Circumstance Marches, Polonia Symphonic Prelude, Coronation March, Funeral March, March of the Mogul Emperors, March from Caractacus
New Zealand Symphony Orchestra, James Judd

My first observation here is about packaging. I should think any CD sporting a cover illustrating a military marching band would contain music played by such an outfit not a symphony orchestra. So I think there’s an issue of misrepresentation surrounding this record. So I guess that the label ‘Buyer Beware’ could reasonably appear on the case to warn of possible disappointment. For it’s probably true that many marching tunes are greatly improved when presented by a military band. It would certainly be true for most of the pieces presented here, I feel. Of course, Pomp & Circumstance No 1 is as excitingly jaunty as ever in this format, but frankly the other works sound rather pedestrian, even flat-footed, when compared to the imagined possibilities available from a marching band. It’s all just a bit too smooth. It needs to be more exciting, more brash, more jagged even.

2005-11-03T09:02:00.000-08:00

From the bottom of that pile

2005-11-03T08:56:00.000-08:00

Ivor Novello Vol 2 – 1939-50 Recordings – The Dancing Years & King’s Rhapsody

www.naxos.com Naxos 8.120781
I freely admit that Ivor Novello is known to me mostly as a name often heard on the radio in my childhood without being associated with any particular song titles or shows. I could tell you nothing about him other than certain awards are given in his name. So it has been good to read the sleeve notes with this album and learn that he was a multitalented international star – film actor, composer, playwright and producer. He wrote many well-known tunes of the first half of the 20th century including ballads and morale-boosters such as ‘Keep the Home-Fires Burning.’
The 2 works on this disc are successful operettas from their day and both were made into films, the second starring Errol Flynn. This again helps to put Novello into some sort of context for me.
I have to say that the music herein sounds terribly dated to me and has little relevance for today. I find the style rather ‘nice,’ singers concentrating on correct diction rather than imparting any sort of meaningful emotional content. The lyrics are light and inconsequential. No doubt these songs fitted the plot of their shows, but fail to stand alone as either meaningful art or entertaining diversion to a modern ear. I guess I need to explore the work of Ivor Novello a bit further to discover his place in the history of modern music. It certainly isn’t evident here.

Bottom of the Pile

2005-11-03T08:50:00.000-08:00

I have to say that the life of a record reviewer is a strange one,. Since starting to do the job seriously my listening habits have changed radically. I can no longer sit down to relax by listening to one of my favourite albums or even fill my CD changer and put it on random play as I used to. No, I feel obliged to put on a totally unknown CD I’ve been sent by a promotion company and judge it.
I must say it has sharpened up my critical faculties and I no longer dismiss music in such an offhand manner as perhaps I used to. I look for merits I previously would not have paid any attention to in the hope of being able to say something positive about the record. I have fully considered the possible implications and consequences of giving a bad review – especially to a young or new artist – and no longer throw around such epithets as ‘rubbish,’ ‘utter crap’ or ‘worthless’ as once perhaps I would.
Similarly, working a mobile disco business has not been quite the picnic I might have imagined. I guess I thought it would be my job to go along to parties armed with my favourite albums and enlighten all and sundry into adopting the good taste I had myself. Instead, I’ve found people know what they want to hear and [quite reasonably] will pretty soon put you right if things are not going just as they require. I find I am required to purchase discs I previously would not have given houseroom and these prove to be the records most regularly requested. It’s been a pretty abrupt and harsh education.
You will probably not have a lot of sympathy – anyone who can earn money by receiving free records and listening to them or be paid for going to parties can’t be having too bad a time – and I agree. All I’m saying is that there’s more to both of these jobs than meets the eye and the experience one receives from listening to music is changed beyond belief.
One of the ‘problems’ attached to the reviewing activity is that one accumulates a pile of discs that never get listened to, let alone reviewed, owing to the fact they get constantly pushed to the bottom of the pile and, eventually, get lost in the deep litter filing system that most of our kind run in the spare room we laughingly call our ‘office’. I have become increasingly concerned about this, not least because I could be missing out on hearing a life-changing disc, more mundanely because I feel I owe it to the record company, the artist and my reader to find enough time to do the job properly. This would be easier if one could earn enough from reviewing to devote one’s whole time to the task instead of fitting it in around a day-job and other family commitments. Sadly, this is not possible. But I am determined to do something about it. I have gathered together a bottom-of-the-pile pile, which I intend to go through and write a rave review or at least devote a couple of informative lines about as many CDs as possible. This may entail grouping some discs together if they seem to be in some sort of bag or have another linking factor e.g. same record label.
When this has been accomplished I intend to start writing bits on the ‘ones that got away.’ I mean those records which none of us have ever heard and end up in the remainder bins and charity shops waiting for yours truly to come along and discover them. I’m always finding records by artists who out-gun those appearing in the charts and on the radio stations by miles but never stood a chance because their socks were the wrong colour.
So, watch this space in the coming weeks and months and hopefully you’ll come across a review of something out of the ordinary and maybe even discover something surprising if not delightful.

2005-10-27T14:11:00.000-07:00

Hell Demonio – Greatest Hits

2005-10-27T14:00:00.000-07:00

Hell Demonio – Greatest Hits
Every now and then it’s necessary to do a bit of the old head-banging. In order to do so most effectively, one requires some absolutely incomprehensible thrash metal to stimulate the action. I have to tell you, this is the perfect record for such cranial damage and any other kind of self-abuse one might like to indulge in. Angry meaningless ranting conducted at 60mph is what you get here and no messing. Could be your greatest hits too!

Hollywood Squaretet – Tet Offensive

2005-10-27T13:31:00.000-07:00

Hollywood Squaretet – Tet Offensive
Gulcher Records GULCH603
www.hollywoodsquaretet.com www.gulcher.gemm.com
OK… this is one for real musos. Hollywood Squaretet is a freejazz trio – probably the best I’ve come across for many a long year. You’ll either love it or hate it. I love it. It’s generally very difficult to accurately describe any type of music other than by comparison – in this case it would be impossible. So here’s the best comparison I can make. ‘It’s Bush Music.’ And if you don’t know what this means, approach your nearest sad loser music freak and borrow Captain Beefheart’s ‘Troutmask Replica’ LP and listen to the sublime ‘Hair Pie Bake1.’ This has to be the model for Hollywood Squaretet’s madness. And they do a fucking good job of emulating the ravings of the sanest man on the planet. Nuff Said.

In Between Dreams

2005-10-27T12:52:00.000-07:00

I don’t think I’ve ever had a song I could call ‘Our Tune.’ In fact I guess I’ve always poo-pooed the idea. I’m not saying I haven’t shed a tear or two over the odd Simon Bates feature sporting that name. But I guess I might have come close to having got myself ‘Soundtrack for the Summer’ this year. It did happen once before I think when ‘Hey Jude’ was played by John Peel on his Saturday afternoon programme just a before I went on a trip to London in my teens and I proudly purchased a copy somewhere in Notting Hill on the first day it became available. It had no means of playing it for a week when I returned home and then it got played to death. Consequently I always meant a lot to me and often takes me back to that trip to the Metropolis. It also nearly happened with Avril Lavigne’s ‘Complicated’ a couple of years back.
Now you all know my attitude to the singer-songwriter culture – I think it’s largely a shop-front for self-indulgent pretentious pomposity. You’ll also be aware that I dislike the modern high-jacking of the word ‘jazz’ by smooth pianists and acoustic guitarists who don’t stand a hope of success in the rock market and have to resort to airing their wares on middle of the road stations (you know who I mean). I was disgusted for example to hear that Jamie Cullum had given an accolade suggesting he was jazz musician of the year, probably by listeners to the dreadful Jazz FM or possibly the Mercury Awards people, I can’t rightly remember. Whichever – it was a totally undeserved and nonsensical attribution of distinction. Now I have nothing personal against the lad, Jamie – I’ve heard him being interviewed on the radio and found him to be articulate and amusing, but let’s be honest – he’s got one of the worst singing voices ever and his musicianship is thoroughly average. "Where’s this all leading?," I hear you ask. Well – I’m about to pull this all together – nominating My Soundtrack of the Summer and dethroning Jamie in one fell swoop.
I took a week’s family holiday in Spain in July. The teenagers in the group bought a copy of Jack Johnson’s ‘In Between Dreams, CD on the outward journey and played it incessantly throughout the week. The tunes were infectious, the singer-songwriter type lyrics were almost tolerable and much improved by the musical settings which were mainly memorable jazzy grooves. It infected my brain and I grew to love it.
The song ‘Good People’ was released as a single and has been often played on the radio since my return and has always brought moments from the trip back into my mind. It’s a good song from an almost perfect album – only 1 dud track IMHO.
It is thus with great pleasure that I nominate Jack Johnson as the Alternative Jazz Musician of the Year and his brilliant album my official Soundtrack of the Summer of 2005.
See if you agree – go out and beg, steal or borrow a copy of ‘In Between Dreams.’

Pellumair – Summer Storm

2005-10-25T13:20:00.000-07:00

Pellumair – Summer Storm
Tugboat TUGCD035
You may remember me recently ruminating on the subject of buying unknown records by judging the cover artwork. I omitted to mention the topic of the importance of naming – both artist and album.
When I was sent this record and saw the name of the group, the name of the record and the cover art, my immediate reaction was to reach for a bucket. So it was with somewhat of a handicap that I sat down to review the disc.
I wasn’t helped in this ordeal when I discovered it to be a semi-acoustic album of the singer-songwriter type – perhaps a bit folky – maybe even folksy. But, intrepid to the end I endured to the end of the eleventh and final challenging track. And, d’you know what? It wasn’t half bad really.
I will say it’s not the type of thing I’d personally rush out to buy but the music was pleasant, relaxing – maybe a little dreamy, I’d say. Stronger than wallpaper – one was forced to listen quite often rather than allowed to drift off while the sounds wafted over one’s head. There was plenty of inventive variation in tempo and mood – sometimes a Latin flavour, sometimes quite poppy – to maintain the attention and wonder what was coming next. Now quite downbeat, then a bit whizzy. Here a bit haunting like the music from ‘Twin Peaks’, there more whistful like Simon & Garfunkel, setting off with Cathy to look for America.
So, grudgingly, I have to admit that despite all my prejudices and objections this is a rather splendid album and should bring the group into the popular consciousness – if only they’d change their dreadful name!

Laura Veirs - Galaxies

2005-10-25T12:43:00.000-07:00

Nonesuch PRO15592
Single taken from the Album ‘Year of Meteors’
‘The Singles Club’ is a new-ish venture from Nonesuch. Just when we thought the single was on its last legs – sales near zero, charts cheapened by sponsorship, and only really reflecting the tastes of teenyboppers or people not affluent enough to buy albums, they come out with the idea of starting selling them. Weird, eh? But maybe not so weird after all. The label is noted for high quality acts of all sorts including contemporary classical composers and jazzers as well as some of the more classy acts from the popular music field. Steve Reich and Philip Glass – 2 of my all time heroes both issue stuff on this label for instance. These artists are often not fully exposed to popular view on daytime radio.
I suppose the idea is to give people an idea what certain artists sound like whereas they’d otherwise never know. It’s a good idea but to make it work they need to explore how they can put the product into the public eye. Perhaps selling their singles at a discounted price would be one way to do it – after all we often see singles priced at 3 or 4 quid and say, ‘No thanks – they’re selling albums in the supermarket for £7 or £8." No - singles need to be about £1 maximum to revive the flagging market. Perhaps Nonesuch should set the ball rolling and start a trend. Let’s all write and tell ‘em!
Anyway (climbing down from soapbox), this record is a good one.- Laura has a haunting but lilting voice which grooves along, the backing is high quality sleazy jazz-rock and the remix featuring rapper Kotos the Rock Thrower [would you believe!] takes it into a quite different dimension. Such inventiveness needs to be rewarded with success. I hope it gets some airplay and people either buy it or go and seek out the album as I will be doing very soon now.

2005-10-12T13:28:00.000-07:00

Genesis Suite (1945) – A Musical Collaboration

2005-10-09T12:43:00.000-07:00

Genesis Suite (1945) – A Musical Collaboration
Naxos American Classics 8.559442Various Narrators, Ernst Sheffer Choir, Chorusmaster Sigurd Brauns, Rundfunk-Sinfonieorchester, cond. Gerard Schwarz

Coming from the Milken Archive of American Jewish Music, this Post-War composition by 7 different composers, such as Schoenberg, Milhaud and Stravinsky, each contributing 1 movement, depicts episodes from the earliest Biblical stories including The Garden, The Flood, the Tower of Babel and Cain & Abel narrated by famous actors. Previously only available on a privately issued set of 78 records, the work was performed just once before a fire destroyed a large proportion of the score. A recent discovery of the original manuscripts has allowed a reconstruction of the missing music and led to this first generally available disc, making this effectively a world premier recording.The music is rather good actually, being a brilliant mix of The Pastoral and Second Viennese School Modernism, tinged with that rather strange concoction of what that so many classical composers of the era thought Jazz was about. But it's the narration that calls the project into question for me. I admit that there’s not an awful lot one can do about the text when directly quoting the Old Testament, but the presentation is very much that of the Era – patronising New England voices imparting The Truth in the style of a 1950s Disney TV nature documentary. I’m sorry to say that this makes the whole thing seem rather ridiculous and dated in the worst possible way. I suppose a one-word description of this side of the production would be ‘Worthy’. I’d be interested to hear whether an American listener experiences the same difficulty with the style. I find it excruciating in the extreme! Which is the greatest shame as the music could stand alone and might even rank as a modern masterpiece.

Still - All We Need Is Love

2005-10-09T12:41:00.000-07:00

There’s really no doubt in my mind that The Beatles were instrumental in laying out the direction that pop/rock music was to take in the decades following the 1960s, and that their imaginative adoption of fashion and patronage of other art-forms set irreversible trends in those areas too. Their convenient arrival at the very time the world was beginning to move forward again after the stagnation and austerity that followed World War Two greatly contributed to wider social changes in the rise of Youth Culture, the growth of Mass Media, and the demise of the former Class Structures. Notably for those around at the time old-fashioned traditions of deference were killed stone dead. The breadth of their influence is absolutely unparalleled in history and I’m sure it will be a long, long time before such a phenomenon occurs again. They wrote an unequalled number of memorable tunes for themselves and other artists and the vast majority of these have stood up to the passage of time admirably. I can appreciate that The Beatles were not everyone’s favourite group, but I think if anyone truly denies their pivotal historical position among artists above all-comers including Elvis, they are simply either kidding themselves or need their head examined. Perhaps only world politicians and statesmen such as Hitler, Mao Zedong, Stalin, Churchill and Kennedy will have had greater or equal influence in the modern world.It is a truism that as a group, The Beatles was a Gestalt phenomenon. What they achieved together vastly outweighs their accomplishments as individuals. The only person to come near being as important alone was John Lennon with his ‘Working Class Hero’ and ‘Imagine’ albums, but I believe that his star had begun to wane well before his famous Long Lost Weekend. It was his murder that revived his fortune and reputation rather than any truly great quality in his work in latter days.Paul McCartney has had his moments what with ‘Band on the Run,’ ‘Mull of Kintyre’ and perhaps ‘The Frog Song’ [only joking!]. But Paul’s function has really been to become what he always was – Mum’s Favourite and a bit of an older statesman on the world pop stage. His recent work has been distinctly second division stuff and the whole ‘McCartney-Lennon’ thing has been a turn-off for former admirers if not a downright embarrassment.George Harrison was an easily recognisable guitarist of some note and the early solo accomplishment of ‘All Things Must Pass’ was great, his contribution to international relations & world arts advancement made through The Concert for Bangla Desh were exemplary, and his support of the British Film Industry is truly admirable. But analysis of his song-writing skills call into question any notion that he was in any way the equal of John & Paul – his lyrics are often trite and usually very repetitive – the great songs are few and far between. The Unravelling Wilberries, Jeff Lynn’s super group (pooperscoop?) of dying and decrepit has-beens , were a sorry postscript to his (and others’) former glory and numerous comebacks never really lifted of the ground. He will be remembered as the quieter, more diffident Beatle, who was into spirituality, and the sad ending to his life – injury and illness – will just make his image more poignant in retrospect.Ringo Starr was the fun character in the group – seemingly the happy-go-lucky clown – who would have been of little importance if the other three hadn’t been as good as they were. Many drummers claim that Ringo was their great influence, but frankly this is quite hard to give too much credence to. He’s done some nice stuff as a solo musician and actor , but one has to ask whether any of that would have held any significance without The Beatles – it certainly would not have happened and one wonders if Pete Best had remained the drummer of the group, whether history would have been much different.It’s forty years since The Beatles really began to show what they were really made of, and were slightly more than just another fly-by-night upstart pop phenomenon. The film ‘Help,’ ‘Ticket to Ride’ and ‘Beatles for Sale’ all appeared in 1965, proving that their true talents were only just beginning to show. We all probably think they had low points and failures – the ‘Get Back’/Spector/Klein debacle, Apple Corps, and so on. For me, their poorest showing was with the ‘Rubber Soul’ album (complete with dreadful cover artwork) which I still think to be their nadir – I know others disagree. ‘Revolver’ was arguably their greatest single contribution, but my high spot has to be ‘Hey Jude.’ But whatever our own personal favourites and otherwise, it is, I think, important to acknowledge the tremendous contribution these four guys [and people around them – George Martin, Derek Taylor, Brian Epstein etc] have made to the world as we know it today. I’m sure many of us wouldn’t be where we are, doing what we are doing now, had it not been for Sergeant Pepper’s Lonely Hearts’ Club Band.

Ellen Taaffe Zwilich – Violin Concerto, Rituals

2005-10-09T12:40:00.000-07:00

Ellen Taaffe Zwilich – Violin Concerto, Rituals

Naxos American Classics 8.559268Pamela Frank, Violin; Nexus, IRIS Chamber Orchestra, Saarbrucken Radio Orchestra; Michael Stern
I don’t generally pick which CDs to review by first reading the sleeve notes. Thank Goodness. Otherwise I should have thrown this album straight in the bin! I have to say that the programme notes written by George Sturm from Music Associates of America are utterly incomprehensible to this listener and I daresay would be to most others. They’re full of pretentious claptrap such as ‘Remembrances alludes to traditions of memorialising’ and ‘My goal was an existential kind of authenticity: searching… for universal ideals .. true to both myself and the performers while acknowledging the traditional uses of the instruments.’ These are mainly the words of the composer and one can see why she specialises in music rather than writing – she’s clearly better at it. But I’m afraid the rest of the text is not much more user friendly.So I have to say the presentation does little to encourage the casual listener/buyer to explore the music further. Which is a great shame because it turns out to be rather good. Again, despite the notes, which assert that Zwilich has an easily recognisable American sound, I have to say the ‘Concerto for Violin & Orchestra (1988)’ was not immediately recognisable as coming from any American tradition I can identify – Sousa, Copeland, Ives, Glass, Adams – it’s far more European mid-20th Century sounding to my ear. Nevertheless it is well put together, well played and makes for interesting listening if you are a fan of the concerto or the era I mention. Perhaps ‘Rituals for Five Percussionists & Orchestra (2002)’ is more identifiably American in style having some of the impressionistic jazzy urban bustle indicative of a Gershwin or Bernstein piece, but again the same European tradition is constantly evident. The first movement ‘with its dramatic introduction evokes a mystery to be unfolded. The combination of percussion and horns is particularly intriguing. We are then led on into ‘Ambulation’ which is one of those jerky trips through a colourful excitement filled landscape which are to me more typically American in style than anything that’s gone before. ‘Remembrances’ with nairy a hint of ‘memorialising’ in my view is darker, more sinister, perhaps rather Eastern [or even Japanese] in provenance, although riding in tandem with some more post-war Teutonic Gloom. The concluding movement ‘Contests’ is rather more upbeat and jollier, evoking as it does frantic activity and enjoyment. So even though I was totally unable to take on board the composers descriptions of her music, I did find it relatively simple to interpret on my own terms. Whether this be a good or bad thing, I can’t say but have to admit the music was really quite captivating despite the package designer’s best attempts to stop me listening to it!

Tracy Chapman – Where You Live

2005-10-09T12:36:00.000-07:00

Tracy Chapman – Where You Live
Elektra 7567-83803-2

By now, you probably be familiar with my attitude to singer/songwriters and acoustic guitars. So, it was with more than a little trepidation that I approached reviewing this album. Add to this the fact that I cannot read, let alone hear, the name Tracy Chapman without conjuring up a picture of the benign countenance and gruff whisper of Bob Harris. I don’t know why, but it’s guaranteed to put me off!Therefore, when the first couple of tracks of this album turned out to be fairly ordinary S-S/A-G material, I was ready to give it a good going over. My mood was not abated on hearing Track 3, ‘3,000 Miles,’ which is repetitive to the point of torture. The next couple of songs were no improvement either, I’m afraid, although Track 5, ‘Don’t Dwell,’ had a certain lilting melancholy which did begin to catch my attention. The next number, ‘America’ started off a bit like Neil Young’s ‘Heart of Gold’ – always a bit dubious and disappointing to my mind – I think it suggests understatement but there’s really nothing there to be said. This was the same. And so it went on until…. Track 9 entitled ‘Before Easter’ hauled its arse into earshot and the album suddenly came alive. Strangely, this too suffers from a degree of understatement but there’s a suggestion there that it’s got hidden depths to be fathomed – and this is attractive to little old me. The CD then returned to its previous unremarkable and unremitting meandering gentleness, but somehow felt somewhat more interesting. I suspect that, had the playing order had been changed so that Track 9 had come first or second, I would have heard it with a completely different ear. I’ve tried this but it didn’t work out for me – maybe because I’d been through the former process – but it does show that one song and where it appears on an album can do a lot to alter how it is perceived and, maybe, accepted, or not.So, although my general attitude to the genre remains unchanged, my opinion of this CD has been elevated from a thoroughly average collection of sludgy dirges to a moderately interesting album to be played in the background at a dinner party. I guess that’s OK.If, like Whispering Bob, you’re a fan of Tracy Chapman, I should think it’s right up your street!

Record Reviews - October 2005

2005-10-09T12:27:00.000-07:00

Sir Arthur Bliss – Checkmate, Melee Fantasque

Naxos 8.557641Royal Scottish National Orchestra, David Lloyd-Jones

Although Bliss considered Melee Fantasque to be his first attempt at a ballet score. It seems more like a tone poem to me. It is dedicated to the memory of Claude Lovat Fraser, artist and theatre designer with whom Bliss had collaborated on productions of Shakespeare and it is intended to convey the movement in some of Lovat Fraser’s colourful paintings. The music is recognisably in the English pastoral tradition of the early twentieth century and very interestingly arranged too.Checkmate, a ballet in One Scene with a Prologue is far more rambling and possibly does not fare so well as a piece of stand alone music in the same way as Mellee Fantasque. One can imagine it working well as a stage production – the sounds are very beautiful and flow well but for me the work does not excite the ears to any great degree.

Hush Collector – Flowby

Candy Cone CONE003CD

www.hushcollector.co.uk

A magnificently moody EP from yet another band sporting a wonderfully plaintiff female lead voice. The four songs field a varied faire of fascinating heartaches and mental pains. The general feel of the record is downbeat and understated – just the thing for the garret lifestyle of modern art-school youth. The band supports well throughout but it has to be said it doesn’t really show its true potential until the third track ‘It don’t matter’ when a sudden burst of enthusiasm points the way to a slightly heavier sound I’d like to hear them explore in depth as they move forward. I really hope they make a go of it and they won’t be quite so hushed in the future.

Rogers & Hammerstein - Carousel (1945), Allegro (1947) Original Broadway Casts

Naxos Musicals 8.120780

As forerunners of their later great works ‘South Pacific’ & ‘Oklahoma’ which I consider to be the benchmarks for all musicals to aspire to, Carousel puts Rogers and Hammerstein pretty well on the way to those dizzy heights. It always helps when the overture is a great tune in its own right and the ‘Carousel Walltz’ is just that. Unlike the later Blockbuster Hit Shows, not every song is a classic but with such numbers as ‘If I Loved You,’ ‘June is Bustin’ Out All Over,’ ‘When the Children are Asleep’ and ‘You’ll Never Walk Alone’ there’s a good percentage of bulls-eyes here. My only criticism is that in 1945 the singing style had not yet adopted the free and easy presentation that became commonplace in the next few years. So voices sound a bit forced in places, which is apt to grate – this is more noticeable with the leading singers, who seem to worry about correct diction, rather than the chorus, which is more relaxed. But, despite this, the high quality songs make Carousel a worthwhile addition to one’s collection of music from the shows.Sadly Allegro has not stood the test of time quite so well. The songs are generally much weaker and thus, probably deservedly, long forgotten. The only one I previously knew was ‘The Gentleman is a Dope’ – and this only slightly. So only half a hit here as far as I’m concerned, but still worth owning as Naxos value outweighs the downside when compared with the other sources of the better songs.

Sibelius – Song of the Earth BIS BIS-CD-1365Helena Juntunen (soprano), Juha Hostikka (baritone), Dominante Choir, Lahti Symphony Orchestra, cond. Osmo Vanska

This album consists of several assorted choral works by Jean Sibelius (1865-1957) set against the rich soaring orchestral landscape one usually associates with the composer. The texts are taken from Finnish and Swedish tradition and historical events. The stirring choruses are almost operatic in places and draw vivid pictures of struggles that one can only accurately imagine if one knows either the folklore or the language. But the gist of these struggles is pretty clear in any language – it’s epic! Never having heard any of these works before I cannot judge how they compare to other recordings of the same. I suspect they would score very highly. The sound is clear and crisp, the voices are strident and passionate, the orchestration is dramatic and well-balanced. In fact I should say this record paints an excellent & accurate picture of the Nationalist fervour which was rife in Scandinavia in particular and across Europe in the late-nineteenth/early twentieth century and reflected by composers of so many nations throughout this turbulent period.

Kronos Goes To Bolllywood

2005-08-25T14:00:00.000-07:00

Kronos Quartet And Asha Bhosle: You've Stolen My Heart: Songs From RD Burman's Bollywood Nonesuch PRO 301696
Anyone not familiar with the work of Kronos has a lot of catching up to do. Far from being just another chamber band scratching away at the usual repertoire they are by far and away the most innovative string outfit on the entire planet. They’ve explored areas of music as diverse as Jimi Hendrix and Thelonius Monk, all the major minimalists Philip Glass’s ‘Mishima’ film soundtrack and the superlative ‘Different Trains’ by Steve Reich, through settings of Allen Ginsberg to explorations of various ethnic sound landscapes and onto Wagner. Pretty wide-ranging stuff, eh?

The present offering is yet another unusual collaboration, this time with Bollywood singing star Asha Bhosle to provide a homage to her husband Rahul Dev Burman – composer of 300+ film scores. On a dozen tracks, with titles ranging from the intriguing ‘Take Another Toke’ to the obviously romantic ‘You’ve Stolen My Heart,’ our heroes capture the spirit of the sub-continent’s favourite medium, but widen its appeal even further with interpretations which take on board styles and traditions borrowed from here, there and everywhere. Now we have a spoonful of Glass-style piano arpeggios and a splash of mediaeval polyphony. Add a pinch of Middle Eastern percussion and a soupcon of heavy rock guitar and the resulting mishmash could be a cullinary disaster, but no - it’s a wonderful curry to be proud of and savoured for many exotic evenings to come.
This is a collection of brilliantly original fusions which deserve to be one of those crossover hit albums if picked up and played by radio stations such as Classic FM, Jazz FM, Radios 2 & 3. In fact the appeal is universal. In fact, I think the record company and artists could help themselves to a great deal of success and exposure if they turn out to have the nous to release a couple of tracks as a single.

Read reviews of latest Bridge Records

2005-08-15T12:56:00.000-07:00

Bridge Records, a classical music recording company, operates out of New Rochelle, NY, USA

I have had the pleasure of reviewing some of their product over a period of time and always found their releases to be be of great interest.

Their excellent website,
www.bridgerecords.com
has now been blessed by the addition of an equally excellent review page

find it at

http://www.bridgerecords.com/wordpress/

Brighton Stuff Shop

2005-08-08T15:11:00.000-07:00

I've just started a new blog

http://stuffshop.blogspot.com/

check it out please

Thank You

2005-08-04T14:14:00.000-07:00

Soeza: why do you do?
Gringo WAAT024
http://www.gringorecords.com/
Quite an artsy little number this. The sort of thing that Nick Drake or CMU fans might like. I can just see the subdued lighting in the garret lodgings, intellectual beatnik types sitting around discussing Hegel and Wittgenstein while sipping white wine and wondering whether the moussaka has any meat in it. This record is playing in the background
And the whitewashed walls suddenly start to shimmer when the theorists cause a mild breeze as they sit up, fall silent and look around noticing the beautiful sounds coming from the Dansette. For, although this music will do adequately as wallpaper, they realise there really is something here worth paying attention to. Something mysterious, something poetic, something just a little bit fey perhaps. It really belongs to an era which many of us have forgotten but would be glad to return to. And isn’t that a trombone playing in the background? There’s just not enough trombone to be heard in music nowadays, is there?!

Baxophone??????

2005-08-04T13:18:00.000-07:00

Jumbonics: super-baxophone Tru-Thoughts trucd081
www.tru-thoughts.co.uk
What an unusual record! It’s a mainly instrumental album - which is always a hit with me – but beyond that any accurate classification is impossible. There’ a wide variety of flavours to be found here – jazz-funk (maybe like St Germain), some Jimmy Smith, a little sampled electronica, robotic dancing, some Czech cartoon music, a little Temptations backing vocal, etc, etc, etc. I wonder if it was intended to be a dance record. If it was – you’d have to be multiple-jointed to get your body to get into this groove!
Be that as it may, I really think this is a CD that connoisseurs of the off-beat will be pleased to possess. I know I am.

Yes To everything

2005-08-04T10:58:00.000-07:00

54.40: Yes To Everything
True North TND 365
www.5440.com
info@truenorthrecords.com

Here’s a record with a great modern blues-rock sound. The singer has a vocal range which stretches from the tone and style of the Stranglers’ Hugh Cornwall through the deadbeat drone of Iggy Pop to that sweet sickliness of Morrissey and the pseudo-country twang of Michael Stipe. It comes out of that mysterious musical melting pot that calls itself Canada. And interestingly it seems the album was government funded – which seems like a brilliant example of encouraging artistic endeavour. The songs cover the spectrum of emotions from wallowing Neil Young grunge-misery to uptempo Spencer Davis power-pop. It may sound from what I’ve said that the album is totally derivative but it is in fact thoroughly refreshing and uplifting. I’d say Yes To This if not Everything!

Something else.

2005-08-04T03:11:00.000-07:00

Ridley Bent: ? Maplemusic blam0001
Variously describing itself in its publicity, this music is Chandler & Steinbeck in Song, Turntable Tarantino and Hick Hop, whichever you choose. I go for the latter, I think. The EP is a highly original and entertaining example of the wonderfully diverse choice of exciting musics available when one dares to stray from the straight and narrow track that most record companies and radio stations seem determined we adhere to. There’s a range of original infectious grooves parading under the intriguing titles of ‘Suicidewinder,’ ‘The Devil & Coltrane Henry,’ ‘Fruitpickers (In Dubious Battle),’ ‘Lethal Track’ and ‘Pastures of Heaven.’ If this is a cross section of the type of work Ridley Bent produces on a regular basis, then I can’t wait to get my hands on the forthcoming album ‘Blam!’

Louis Louis

2005-08-03T14:11:00.000-07:00

Angel Corpus Christie: Louis Louis
Gulcher GULCH 601
GulcherRecords@aol.com
http://www.gulcher.gemm.com/
The last time I reviewed a record by this accordionist, I did not exactly rave about the disc – in fact, as I recall, I was frankly quite disappointed as it turned out to be a lesser record than I’d expected.
Not so this disc. It’s a gem!
It announces itself on the back of the satisfying cardboard cover as being ‘12 songs for by and about Lou Reed.’ And it does exactly what it says on the tin. To be brief – they’re fab. Slightly creepy, slightly weepy and more than ever so slightly weird, the whole album is full of loving tribute to the Great Man. The performance is so leftfield and spot on that I would not have been surprised to see Lou’s soul-mate Laurie Anderson mentioned in the production credits – she was not. I won’t waste my breath – you’ll love this one – go and get it!

2005-08-03T07:18:00.000-07:00

Gays in the Military: "People is Beautiful"

2005-08-03T07:02:00.000-07:00

Gays in the Military: "People is Beautiful" Gulcher GULCH 429
GulcherRecords@aol.com
http://www.gulcher.gemm.com/
Remember those albums back in the 60s that you just had to be seen carrying under your arm – Cheap Thrills, Kick Out the Jams, Troutmask Replica, An Evening With Wild Man Fisher? You know, the ones that were so original or outrageous you needed to have a copy to prove your credentials. Every era has its equivalents – be it The Wailers, Sex Pistols, Beastie Boys, Guns’n’Roses, Eminem – whatever.
Well, this offering is probably the modern equivalent. With the band’s ‘challenging’ names, rude song titles, tuneless tunes and sore throat singing, it’ll really go down well with rebellious youths of all ages – especially in redneck territory where it can be flaunted as a passport into all sorts of debauched activities. It’s a magnificently wild and wacky piece of shit. It’s just a shame that under-arm style 12" vinyl isn’t such common currency nowadays beyond the dancehall scene. The only objection I can raise is that bassist/vocalist Sir Lord Brian Puberty (see what I mean, Mum?) has the audacity to sport the aka Captain Trips, but that’s probably intentional to aggravate any Deadheads and other assorted ageing hippies who might have recovered enough to be paying attention!

Lou Rone "Alone" - Record Review

2005-08-02T13:07:00.000-07:00

Lou Rone: Alone Gulcher GULCH 429
GulcherRecords@aol.com
http://www.gulcher.gemm.com/
Gulcher have a series called Gulcher DIY – I don’t know how they work it – email them to find out if you want to get released on a world class label – but I have to say the quality is just remarkable.
This one comes in probably the most uninteresting-looking packaging I’ve seen for many a long year, but the contents are absolutely exquisite!
Lou Rone is a guitarist par excellence. You know how Hendrix, and to some extent Prince, could make their instruments sound as if they were being made love to and sing out an ecstatic response? Well, that’s the impression I got from ‘Transistor,’ the opening track on this album. Throughout the record Lou’s guitar alternately sings, talks and wails according to the prevailing mood of each particular composition.
The main thing for me however is this is a real rarity nowadays in the rock guitar world – it’s a proper instrumental record, with every track sounding quite distinct while cohering into a well-crafted concept album. I’m not sure whether Lou plays all the instruments featured himself, because there’s no information on the subject in the sleeve-notes, but I suspect this to be the case. If true, then he’s pretty handy in all departments as the backing tracks are tight and startlingly well arranged.
If you can lay your mitts on a copy of this album, then do so pronto. You’ll be glad you did!

New Ry Cooder CD

2005-06-27T13:27:00.000-07:00

Ry Cooder Chavez Ravine Nonesuch 0 7559 79877-2 0
Any new release by Ry Cooder comes with an endemic problem. That is the creator’s track record, or perhaps I should say his Pedigree. Ry started out 40 (yes 40!) years ago alongside Taj Mahal in Rising Sons and Captain Beefheart in the Magic Band. For any normal artist this would probably have been accomplishment enough. But not for Ry. To be brief, he went on to revolutionise Country Rock (perhaps even inventing New Country along the way), add new dimensions to Jazz, create countless highly original film sound tracks, including the seminal ‘Paris Texas’, and single-handedly draw the world’s attention to the sublime sounds of Cuban music in all its voluptuous variety. It’s therefore totally out of order for a mere hack to question the great man’s musical integrity but I guess he becomes an easy target when one of his discs is somewhat less than perfect. Not that this one would not be highly acclaimed if released under the name of any other artist! The problem is that Ry is expected to be innovative and exploring new territory with each and every issue. And for me this just not meet those criteria. This is a man resting (albeit briefly, probably) on his laurels and cashing in on his popularity for providing soundtracks for films with a Tex-Mex flavour, which this would ostensibly seem to be.Surprisingly however I find it is not. Rather it’s one of these multi-media projects which seem to be flavour of the month following recent output from the likes of Neil Young and Bruce Springsteen. Apparently the story tracks the problems of an LA Hispanic community. The neighbourhood comes up against a variety of problematic events including a brush with The Unamerican Activities Committee, a UFO visitation, Boxing turf wars and being bull-dozed to make way for the new Dodgers Stadium.This all sounds highly intriguing but I have to say that the album certainly doesn’t stand up as a straightforward music album as the story isn’t self evident if you’re not proficiently bi-lingual and it totally lacks in any kind of musical edge. OK - a couple of tracks would sound quite good as single releases or for radio airplay as fillers, but the continuity on the album is jagged and needs to be seen in the context of the story. The man is entitled to follow his personal agenda of course and consolidate his catalogue in favoured areas. But I’d go as far as to say this is a thoroughly average release for Ry Cooder. It will only be of particular interest to aficionados of either the man or the genre. Possibly anyone who hasn’t got any records of this type might find it interesting enough to want to explore the area further. For the rest of it, I’m sorry to suggest we might as well ignore this one and look forward to something more exciting from Ry which I’m sure is lurking not very far just over the horizon!

Running Order of Rock's Kool bands For Blaker’s Park Community Picnic– Saturday 25 June

2005-06-17T15:10:00.000-07:00

and some advice for musicians

Spin Doctors Disco will fill the gaps with some nostalgic sounds
Feel free to email your requests to abi.rhodes@tiscali.co.uk

11.30 – 1.30 then 2.30 – 4.30. Everyone is Welcome.
Please remember to ensure that your guitars are labelled both on the case and on the inside with both your name and the name of your band
Please arrive at least 30 minutes before you are due on stage. This gives us a chance to tune your guitars and for you to get yourselves ready.
11.30 A Resounding Thumbs Up
11.40 Jaffa
11.50 Cloud Runner
12.00 Farmyard Boys
12.10 Spotlight
12.20 Big Wig
12.30 Band of Many Hats
12.40 Glasnost
12.50 Ideosynchrisy
1.00 New DT
1.10 Tangled Web
1.15 Taste of Tarmac
Spoilt
1.25 Minty and Alex
1.30 – 2.30 Break for Covers Band.
2.30 Last of the Silver Skins
2.40 Memphis Reigns
2.50 Taste of Tarmac
2.55 Rebel Yell
3.05 Pulse
3.15 Ravens
3.20 New Band 14
3.30 Trio (The Nigels)
3.40 Between The Acts
3.50 Mad Hatters
4.00 Middle Finger
4.10 Undone
4.20 Methadone Pretty

www.rockskool.co.uk

FRIENDS OF BLAKER’S PARK COMMUNITY PICNIC

2005-06-05T12:07:00.000-07:00

FRIENDS OF BLAKER’S PARK
______________________________________________________
COMMUNITY PICNIC
& SUMMER FAIR
(Jointly with Stanford Avenue Methodist Church)
__________________________
SATURDAY
25th JUNE 2005
__________________________
11.30a.m. to 4.30p.m.
__________________________
DISHY’S CAFÉ BARBECUE ROCKSKOOL STUDENTS
PARACHUTE GAMES CAKES& JAMS
PLATE SMASHING STALLS
BRING A PICNIC AND
MEET YOUR NEIGHBOURS

Spin Doctors Disco will be appearing at this event playing Nostalgic Music between acts of Rockskool's Student bands.
For further details of Rockskool please visit www.rockskool.co.uk

More recent reviews

2005-06-03T02:15:00.000-07:00

RECOMMENDED CD OF THE YEAR (SO FAR)
PETER SCULTHORPE Earth Cry, Piano Concerto, etc. Naxos 8.557382 www.naxos.com
William Barton – didgeridoo, Tamara Anna Cislowska – piano, New Zealand SO cond. James Judd
What an ear-opener this one is. Full of soaring emotion, it’s a record I’d recommend to anyone as a brilliant jumping off point in the exploration of Contemporary Classical Music.
The first piece Earth Cry is what I suppose would normally be called a tone poem the subject of which is contained in the title– and very moving it is too. The mood is dramatically enhanced by the use of didgeridoo which has the extraordinary feel of a heavy metal guitar with wah-wah & feedback overlaying the melodious romantic themes of the orchestra.
Memento Mori reflects the history of Easter Island with its mysterious stone heads and acts as a metaphor for what could happen to our entire species. The use of orchestration and plainchant in the form of a lament reminded me very much of Gorecki’s 3rd Symphony and induced the same state of hopeless melancholia.
Despite his claim that his Piano Concerto is a life affirming piece, it is based on some of the composer’s early brushes with mortality and one feels one’s heart rent by the emotions expressed herein. It is written very much in the mid-20thCentury European tradition (very bleak black-and-white landscapes full of strife) but there’s an unusual Far Eastern feel that gives it an edge over some of the more run-of-the-mill works of that ilk. In fact, luke-warm as I usually am about piano music, I would say stunning would not be too strong a description of this composition.
From Oceania is a short sonic landscape piece full of high drama, oriental drumming and loud crashing cymbals – wonderful.
Finally we have Kakadu, the Sculthorpe equivalent of A Short Ride in a Fast Machine. In fact it’s a slightly elongated trip in a time machine, journeying from the Coastal Plain of Northern Australia, through desert lands into the mountain ranges. We explore the world and the disappearing 50,000 year- old culture of the gagadju people of that region We experience the excitement, the sadness and the determined resilience of their shrinking universe in . It’s alternately exhilarating and frighteningly depressing in equal quantities, but leaves one sensing an epic story of a people’s struggle which has been a knife’s edge so many times yet survived through all those millennia.
Wow! What a CD! Quite the most exciting thing I’ve heard for some long time. It’s a stunning triumph of masterful production. I note that Naxos are clearly able to assemble this quality of composition and performance to put out a disc of such astounding distinction at the budget price they charge. I must wonder , then, how the established giants of the industry can be forever bleating about low profit margins and threats to the future of music while charging the extortionate prices they do for what is, compared to this, often second rate product. There’s just no excuse!
Support this label – they deserve to be the market leaders of the future. The very near future - if not now!

TURNING GREEN Firsty Pea
Another gem from this upcoming 4-piece gang of punky jazz-funk power popsters. This, their 1st EP (geddit?), contains 3 new tracks that I’ve had the pleasure of hearing performed live on a couple of occasions. It opens with ‘Flavour’ a jazzy bopper Billy Preston would be proud of in which all the instruments get the chance to strut their funky stuff. ‘Walking Away’ is an excursion into a jagged land previously inhabited by the likes of Phil Minton & Mike Westbrook in Solid Gold Cadillac days, or perhaps Jack Bruce or Joe Cocker at their most angular. The last track, ‘Alien’ is almost a psychedelic/nu-metal crossover anthem which is the type of thing that brings the house down at the close of a spectacular stage performance leaving the rabid audience yearning for more. Which is exactly how this EP record affects me – it leaves me longing to hear their next album.
SHAMELESS Outta My Face 1 track single
The character in this song inhabits the sort of laddish neighbourhood & culture that The Streets waxes so lyrical about. It’s a defiant unpleasant nihilistic anthem once espoused by a so-called blank generation of the 70s claiming the right to do exactly as it pleases regardless of the consequences and is not particularly encouraging about the prospects for times to come. On the other hand the quality of the performance is excellent, the song grooves along wonderfully and the depressing picture drawn is explicit. A great little record – hopefully it’s a taster for great things to come.

The Birth of Rock’n’Roll Original Recordings 1945-1954 Naxos Nostalgia 8.120801
The genesis of R’n’R is really well illustrated here with tracks from the post-war popular styles and crossovers and the first attempts at the new form itself – some well known, others less so. We have The Ravens with a rather strange Doo-Wop version of ‘Old Man River’. Then we get Jive King Louis Jordan’s marvellously screechy ‘Caldonia’ which illustrates the Swing era horn sections that remained in much of the early Rock and Roll stylings. Fats Domino’s ‘The Fat Man’ sits squarely on the cusp of a popular music revolution . And then along come Bill Haley and Elvis and all hell is let loose. The rest is history, as they say.
But this record is more than just a dry educational tour of the birth of a culture – it’s entertaining with it. It’s a great party record too. But I think possibly the most startling lesson it teaches is that right from the word go, the words ‘PLAY LOUD’ was written invisibly on every disc and perhaps this has been the defining phrase for anything falling into the category called Rock Music ever since.

JEM Finally Woken

From the very first note of the opening track and single release ‘They’ this album has hit written all over it - smacking you in the face with its imperative message, which is "Get up and dance!" I’ve said before the thing impressing me most of all in the current music scene is the rise and rise of the female voice. Jem’s is superb - soulful, sweet and sexy - to say the least. The sign of a great album is that every track is a goodie and this one is definitely a case of ‘All Killer, No Filler.’ How can I describe it – well it’s modern R’n’B with lots of twists. These include the Swingle Singers type backing in ‘They’ and other tracks, the use of flamenco, jazz and reggae rhythms, buzzy guitars, soaring romantic strings or heavy orchestration, applied effortlessly in the most appropriate places. One wants to rock out, get down, shimmy and smooch in equal proportions as one’s mood undergoes a roller-coaster of emotions as one song changes to another. I’m certain this album will spawn a non-stop string of top five singles rather like Michael Jackson’s ‘Thriller’ and ‘Bad’ did all those years ago. It’s the closest thing to faultless (to paraphrase Katie Melua) I’ve come across for many a long night. Buy it, put it on your player and experience the aural orgasm Jem offers you on a platter.

SKRIMSHANK Redemption www.skrimshank.com Smut Records

Here’s a very innovative modern sounding fusion record, which takes the interesting parts of several current and historical stylees. Basically a personal and political vocal rap album in the style of The Streets, I feel, but imaginatively set in musical landscapes defying simple categorisation – electro, reggae, house and Blaxploitation are just a few of the rhythms occurring during some of the songs but only in short bits and not necessarily descriptive of the song itself. A fascinating, marvellously creative and original album.

Gulcher Records:
We’ve received another bundle of vintage garage sounds from Gulcher, the label specialising in re-releases from the years surrounding 1980. As usual, they represent a wide range of styles, the common factor being their appeal to anyone seeking out-of-the-ordinary music that definitely would never be seen dead inhabiting the pop charts. www.gulcher.gemm.com
CHINABOISE: The Greatest Story Ever Told Gulcher 426
This is a one-off album from1975, the project being headed by Rich Sim, one of the guys responsible for the popular group MX-80 Sound who had moderate success later in the 80s. It’s a concept album of the sort favoured by The Mothers of Invention in their earlier days – I’m thinking of ‘We’re Only in it for the Money’ with it’s spoken interlinks. The music is slightly sleezy with saxophone and flute phrasing, dramatised by gong or cymbal crashes, enigmatised with jazzy Beefheart-like breaks & twiddles, and its Bonzo Dog style vocalisations. I haven’t really had enough time to work out what it’s all about. The Gulcher package arrived just a couple of days before the copy deadline – but I’m sure I will get to that, because it’s clearly a record to be listened to time and again – with new angles being revealed on each play. Probably, as far as I’m concerned, the pick of the crop.

FEARLESS LEADER God Bless the Devil Gulcher 428
This is a fuzzy-guitar based album by a bunch of rockers who look like inbred Kiss offspring and sound like The Flaming Groovies should’ve. This is what garage music ought to sound like - something recorded by competent musicians, but who’ve only got a battery powered cassette recorder and who haven’t yet been told about producers and engineers. I bet they were brilliant performing down in the high school gym on Halloween. Well noisy!

THE KORPS Hello World! (+Bonus Tracks) GULCH 427

Is this Bill & Ted for real? It certainly sounds like it by the way it opens. And looks like it too by the amateur photography employed in the cover design. Absolutely no pretensions at being rock stars. Just good ol’ fashioned get-down & get-with-it rock’n’roll. It was recorded in ’78 but sometimes sounds like it had jumped forward in time from the mid-60s. Simple words and rhythms but highly effective. Any song which declares ‘I hate vegetables, I really do….I’m sure you do too.’ Gets my vote! Often derivative but highly skilful and an awful lot of fun. I love it – I think you will too.

THE GIZMOS Rock & Roll Don’t Come From New York GULCH 425
If such a thing exists, I would say this is a typical Gulcher Record. The Gizmos are the sort of group the Ramones might have been before they ventured out into the light of day needing those shades and before they discovered the accelerator pedal existed. Fabulously illustrative of where punk came from even though it was recorded after

NOSTALGIA……..

2005-06-03T02:14:00.000-07:00

……it ain’t wot it used to be!

I’ve mentioned before that snobbery is rife in musical appreciation. The recent revival in interest in The Rat Pack crooners spurred on by the likes of Robbie Williams (himself an artist often unjustly poo-pooed by the snotty brigade) has led me to think more widely about what a generally raw deal has been given to popular music from the pre-Rock and Roll era.
It’s a shame this hostility has gone on for so long. It is probably originated with the superiority, scorn and fear exhibited by the followers of the more senior styles when Elvis, Jerry Lee and Little Richard arrived on the scene. The situation was compounded when The BBC Light Programme kept different trends in music apart for so long by it’s insistence on playing safe choices in the daytime and relegating more interesting stuff to specialised slots in the evening when the masses were watching TV. Unfortunately this practice continues until this day on Radio 2, where all the interesting music is ghettoised into specialist evening programmes. This cowardly approach is echoed on stations like Jazz FM where they have a policy of only playing gentle and funky jazz – they don’t seem to want anyone to have to think about the music they are listening to in case they offend. Listeners may be put off their tasks at work and in the home, or worse still find something so disturbing they change channel! The truth is that genuine music fans will channel hop to find something challenging and exciting rather than be bored by the same old crap. But then again perhaps music radio doesn’t exist for true music fans – perhaps it’s designed as an opiate for the people.
Climbing down from my high horse, I will return to the point.
Now is an ideal time to put your house in order. It seems the opportunity to explore some of the older styles of music has never been easier or cheaper. The obvious places to start finding gems from the nineteen-twenties, thirties, forties and early fifties are jumble sales and charity/junk shops. They always seem to have boxes of old vinyl records at very low prices, which never seem to shift. The most economical way to get stuff is to make an offer for the lot – say a fiver (or less!) for the boxful – many shops will be only too glad to get rid of them and create some space. You can then sort out what you don’t want and flog them off at a profit. Even the seemingly ubiquitous easy listening and middle-of-the-road detritus will contain material which will excite and entertain either you or someone else – if only for the sheer mawkishness or corn of it!
Once you’ve got some pointers as to what avenues you wish to follow up, you should get yourself a rare records price guide (several on the market – issued by such publishers as ‘The Record Collector’ magazine). This will give you an idea of how much you can expect to have to pay for certain discs from other collectors or at specialist shops and how much you can aim to get for ones you want to get rid of – with the proviso that condition can be all important.
The second area to find historic and nostalgic material is on specialist and budget priced CDs. There are also a growing number of dedicated nostalgia shops popping up – often with names like ‘The Good Old Days,’ ‘Bygones’ and so on. Not only will you be able to obtain the discs you didn’t know you’d been missing for so long but you can decorate your music room with replica (or genuine) memorabilia from the era – reproductions of Nipper, the His Master’s Voice dog, posters from pre-war musicals, busts of Laurel and Hardy and so on.
Anyway, what should you go in for? And what’s available? The choice of musical styles is far and wide. Personally, I like to try out something of everything but there’s plenty of scope for real specialisation and obsessive completism!
Jazz and wartime swing are well represented as one might expect. I’ve recently been listening to The Andrews Sisters ‘Hit the Road’ (Naxos Nostalgia 8.120550), ‘Swingin’ with Django’ by Django Reinhart & Quintette du Hot Club de France (Naxos Jazz Legends 8.120698), ‘In the Mood’ (20 original big band hits on Jazzterdays JTD 102401, and ‘This is Living Era’ (Living Era CD ASD10050), the latter two being excellent samplers of what’s available on those labels.
Country music is also well covered. Kenwest’s ‘The History of Country Music – The Forties Volume 1’ is a brilliant introduction to such artists as Roy Acuff, Sons of the Pioneers and Bob Wills (KNEWCD 715), while Delta Music’s Bluegrass Festival featuring Bill Monroe and Eric Darling (CD 6256) is a wonderful Bluegrass collection and K-Tel’s ‘American Roots’ (ECD 3866) gives an insight into the work of Flatt & Scruggs, Woodie Guthrie and The Carter Family. There are many budget CDs available by other pioneers such as Hank Williams, Jimmy Rodgers, Frankie Laine, Roy Rogers and Tennessee Ernie Ford to name but a few – all well worth the modest outlay.
Then there are music hall artists and theatrical humorists to try out. Stanley Holloway’s ‘Old Sam & Young Albert’ (Naxos Nostalgia 8.120715) and George Formby ‘The Ukelele Man’ (Prism PLATCD 176) provide plenty of laughs, while ‘London Nights’ on Music & Memories (MMD1032) give one an taster of the worlds of Noel Coward, Gracie Fields, Al Bowlly and Hutch among others.
Then we have the Crooners and Heartthrobs – plenty of CDs featuring Frank Sinatra, Bing Crosby and their cohorts exist – just watch out for the price of these – different labels at very differing prices often contain exactly the same material at no discernible difference in quality. I’ve got a particularly soft spot for ‘Paul Robeson’ on the Forever Gold label (FG109) and Dick Haymes’ ‘It Might as well be Spring’ (Hallmark 304612), but these are the tip of an ever-growing iceberg.
My final suggestion (at present) for a genre worth looking into is that of the immediate progenitors to rock and roll – names such as the Fats Domino, Platters, The Inkspots, Doo-Wop outfits and, my favourites, the Jump-Jive generation. I recently got hold of ‘Jump’n’Jive’ on the Aladdin label (7243 4 97870 2 5) featuring such stars as Louis Primo, Billie May and T-Bone Walker. It’s a gold mine for you to dig! And then everyone should have at least one disc by Louis Jordan ( I suggest ‘The Very best of Louis Jordan’ on Music Club MCCD 085) and one by Cab Calloway (‘The Magic Collection’ ARC Records MEC 949096) the undisputed co-kings of the style.
Billie Holiday, Rosemary Clooney, CharlesTrenet, Burl Ives – the list is seemingly endless, many and varied, but well worth the effort to explore. Enjoy your musical voyage into the past and spread the word among your muso friends so we end up with a healthy interest in a wider spectrum and give musical snobbery the elbow! Eclecticism should be our byword!
Love & Peace
Abi Rhodes

Reviews & Rediscoveries

2005-06-03T02:12:00.000-07:00

REVIEWS

English Choral Music of the Twentieth Century 10CD Box Set Naxos 8.501007
Choir of St John’s College, Cambridge – Christopher Robinson
Each of these disks concentrates on one composer’s work and the list comprises Britten, Finzi*, Stanford*, Howells, Elgar*, Tavener, Walton*, Berkeley*, Rubbra* and Leighton*. I have to admit the last 3 names were not previously known to me. The quality of the collection is born testament to by the fact that the 7 starred items in the list have all been picked as Editor’s Choice Albums in the prestigious Gramaphone magazine. It’s a brilliant set with many very moving moments. I guess the main issue is would you want to shell out the £40-£50 price-tag it bears? Well, my answer is, it’s worth every penny, but the good news the individual CDs are all available separately at the usual Naxos price (around £4.50). Now,as I believe I’ve said before, you don’t need to be religious to enjoy choral or sacred music. The sound of the human voice listened to purely as musical sound can be uplifting or otherwise emotionally stimulating for even the most died in the wool spiritual skeptic – take Yours Truly as a case in point! Of course, it all comes down to personal preference, but if you not previously experienced with this kind of music and would like to try some out, I would suggest you first try out the Tavener CD – the music is sublime. Then, I’d go for Finzi, Howells and Berkely, whose work has come as a revelation. Everything is the series is recorded in St John’s College Chapel and has that marvellous full cavernous sound one expects from such a venue. Really, I can’t fault the box. Collectively or individually, these CDs would make a wonderfully affordable present for a musical friend or family member. Thoroughly enjoyable and highly recommended.
Louis Armstrong: Introducing…Louis Armstrong 3CD box set Naxos 8.103007
Heebie Jeebies 1925-30, I’ve Got the World on a String 1930-33, Rhythm Saved the World 1934-36
Now, Louis Armstrong, is rightly widely considered the fount of almost all important 2oth Century Popular Music by many experts. I don’t quite know if I concur, but my interest in Louis has stemmed from the importance attached to him by my great Jazz hero, Miles Davis. Louis was, of course, born in the home of jazz, New Orleans, and these early recordings just ooze the ambience of that great musical city, as we understand it from historical film and period cinema . They may sound quite simple to sophisticated 21st Century ears but it’s not too difficult how ground breaking they must have been eighty years ago, and what excitement it must have caused in that post Great War era of ever accelerating social, political and industrial change. In fact the rhythms and melodies must accurately mirror the pace and atmosphere of the still young, but rapidly developing nation that was America. It’s easy to conjure images with this music- the emergence from slavery, the waves of immigration, the advancement of the industrial age through steam, internal combustion, mass production and on towards the great prosperity which exists today in the USA. Throughout the set, Satchmo blows some mean trumpet and exercises that famous Gravel Voice and one can trace his development in style and ability alongside the advances in recording technology – it’s so much more rewarding than listening to the Greatest Hits type of collection – much more picturesque and atmospheric. Once again these recordings are available as separate discs but at less than fifteen quid for the lot, there’s no real reason not to invest in this excellent box-set.
Howard Shore: The Lord of the Rings – The Motion Picture Trilogy Soundtrack
Repise/WMG 9362-48633-2
Any true music lover cannot have failed to be impressed by the wonderfully appropriate music accompanying the action to Peter Jackson’s spectacular movies. Here, in one box, we have the entire score together with a cool selection of information and inserts all for the amazing price of about fifteen pounds. Besides lots of atmospheric incidental music which may have been overlooked when watching the film, but which stands up pretty well on its own, there are a variety of songs by the likes of Enya, Annie Lennox and Sheila Chandra which will doubtless recall exactly where they were featured in the story. A brilliant package deserving a place in the collections of musos, film buffs and Middle Earthlings alike. In fact – it’s hobbit forming. I only wish it included the promised suite written for performance I’ve heard so much about but have yet to actually hear.
Enrico Caruso: The Complete Recordings 1902-1920 12CD Box Set Naxos 8.101201
Enrico Caruso: A Life in Words & Music 4CD Set Naxos 8.558131-34
I’m not going to claim that this collection is going to be everyone’s cup of tea, but it’ll prove to be a great challenge for the musical adventurer! Caruso, the operatic tenor and first true star of the recording world, is undeniably one of the great voices in musical history. Taken together the box set and the biographical set provide a fantastic introduction to the great man, even though a good deal of listening effort is required to get through it all. Start out with the biography to gain an insight into the life and times of Enrico Caruso, who was born Erico into a poor Napolese family in 1873. This is presented in episodic style with musical illustrations along the way. By the end of the 4th disc, one feels one knows a fair bit about the subject and probably ready to listen to the full boxed set of his complete recordings. Now, I'’ not sure that I’ve heard every single track but do know that most of it makes for very entertaining & instructive listening. One can place many of the songs in their historical contexts, as gleaned from the life-story. The recordings have been lovingly restored but the atmosphere of the ‘primitive’ studio conditions remain giving a marvellous period feel to the sound and one is able to draw pictures in one’s mind of the artist at work. It’s a great experience. Now, I’m not suggesting everyone rush out to but the whole lot, but there’s no reason why your local music library shouldn’t have them – in fact I’d go as far as to suggest their historic importance warranted the position of essential basic stock in any establishment worth its salt. So, try and get your hands on the sets from the library. Then if you find you’re as captivated as myself, you will be able to build up your collection of complete recordings disc by disc, although should you want it, you will need to shell out £15 for the biography set.
I can’t wait for similar collections covering Nellie Melba and Clara Butt!
Recent disc-overies
As you know, I’m constantly scouring the bargain bins and charity shops on your behalf in the hope of bringing you news of records you have probably never heard of and which you need to know about! The recent crop has been wide and varied and I have had to be rigorously selective in which ones I can pass onto you – limitations of space dictate this – also I’m aware that you have more important things to do other than sit there reading me drivelling on. Like getting out there rummaging for yourselves! By the way, you are welcome to send in anything you think worth reporting on (or even write your own reviews). Please also feel free to dump your old unwanted records, CDs etc in this direction – I have many uses for them! Abi Rhodes, c/o CCNewz, PO Box 2700, Lewes, BN8 5AQ.
Anyway, here’s my latest selection of rediscovered lost masterpieces. By far the most exciting record I’ve come across is a promo CD by John Hiatt entitled ‘Crossing Muddy Waters.’ This rugged fruity singer/songwriter has a great mastery of the language and a throaty lugubrious voice to die for. Located in the musical region surrounding Ry Cooder, he has a bluesy country sort of sound. I especially dig the 2 opening tracks Lincoln Town and Crossing Muddy Waters, but the whole album is great. Find this on the Vanguard label – can’t tell you a catalogue number but I do know it was released on September 26th (no idea which year!).
Speaking of Ry Cooder, I found one of his soundtrack albums ‘Last man Standing’ from 1996 – a Walter Hill gangster movie starring Bruce Willis, based on a Kurosawa film. The music is varied – jazzy, funky, moody, scenic etc - as you’d expect for this type of disc – plenty of powerful orchestrations on the one hand and steely National guitars on the other. It’s on Verve, cat no 533 415-2. I’m hopeful the film’ll pop up on one of the old movie channels on TV soon. Let me know if you hear it’s coming up.
Lastly, for the time being, I must let you into a highly guarded secret. It concerns an odd-ball outfit called Fez. I tend to grab any album going cheap if it has the word ‘Nashville’ somewhere in the credits. This one was ‘magnetically adhered to tape’ in the Country Capital of the World and goes by the intriguing title ‘World Domination on $3 a Day,’ and released in 1999. Looking at the cover, natural first reactions lead one to think spoof ‘New Country’ but with Fez one is … well … ‘surprised’ would be an understatement! The band, whose members parade under the names The Monkeyboy, Chaos and Mr White, delights us with an extraordinary crossover sound akin to psychobilly (I’m not totally floored by finding Brian Setzer as one being thanked for Monkeyboy’s guitar method), but drawing on countless other styles including lounge-lizard jazz, surf music, 60s teen B-movie, Bizet & Ellington. Crazy, Man, Crazy. Geddit? Then Get It!

Recent Record Reviews

2005-06-03T02:07:00.000-07:00

Sarah Vaughan Trouble Is a Man Naxos Jazz Legends 8.120763
Original 1946-1948 Recordings
20 tracks of superb smoochy sleaze from sexy Sarah make up this marvellous collection for late-night listening. Some will be familiar to anyone who’s ever heard any forties popular jazz, others less so. Standards including I Cover the Waterfront, Tenderly, The Man I Love, I Get a Kick Out of You, What a Difference a Day Made and Nature Boy are all carried off with great panache while the gospel number ‘Sometimes I Feel Like a Motherless Child’ is absolutely sublime. And I must say the arrangements and orchestrations, provided by half a dozen different bands, supply perfect settings for the great lady’s vocal stylings. Yes, this is yet another wonderfully compiled & packaged CD from Naxos that cannot be faulted especially at the price they ask. There’s no excuse not to get fully educated in twentieth century music while they’re in business!

John Stainer The Crucifixion Naxos 8.557624
James Gilchrist, Tenor; Simon Bailey, Bass; Choir of Clare College, Cambridge; Organist - Timothy Brown
This is apparently among the most popular of English choral works. It depicts the Passion of Christ and is modelled on Bach’s works based on the gospels. I have to say I find the flavour all a bit too ‘churchy’ for my palette. There’s just not enough of the musical interest I expect from good choral work to make me want to listen to it repeatedly. I would suggest this CD is one for the lover of organ & religious music rather than the general listener. Now I like a good dirge as much as the next depressive, but I’m afraid this is all a bit too dull even for me!
For anyone who feels they might like to purchase this record, there is the attraction of it being available in a special limited edition with a complimentary bonus disc celebrating Naxos’s 18th birthday. It’s a sampler of English Choral Music available on the label and features 17 tracks from Crimond to Tavener [although not Stainer I notice!] and to my mind, being far more ‘musical’, is an all-together more worthy CD than its companion. In fact I think it’s worth paying the price of the’ Cricifixion’ to obtain it! I daresay there will be further bonus samplers available with other new releases from Naxos over the next few months.

Gerald Finzi Naxos 8.567644
Said to Love/Let Us Garlands Bring/Before & After Summer
Roderick Williams, Baritone; Iain Burnside, Piano
I thought ‘Here’s one for the fans of Miserablism.’ Gerald Finzi (1901—56), justly famous for his ‘Intimations of Mortality’ sets poems of Thomas Hardy, renowned for his powerful proto-nihilistic writings to music.
Alas, I was so disappointed. The music was so sweet and syrupy I just couldn’t listen any longer.
Graeme Koehne Inflight Entertainment*/Powerhouse/Elevator Music
Diana Doherty, Oboe*; SydneySymphony, Takuo Yuasa Naxos 8.555847
The name of this Australian composer is new to me, so I come to th record with no prior knowledge. The titles suggest the ambient music of Brian Eno so I’m quite surprised to hear the brash sounds of Elevator Music, the opening piece. It fact it’s quite jazzy in an Aaron Copeland sort of way – Rodeo – that type of thing. Very well accomplished with it too.
Inflight Entertainment – an oboe concerto – is quite derivative too, but in the best sense – I’m reminded of Dvorak’s New World and Bernstein’s West Side Story and perhaps a little Gershwin and an Elmer Bernstein western theme, during the first movement, entitled Agent Provocateur. No – sadly, it’s nothing to do with sexy underwear, but hurries along suggesting a chase situation. Maybe this indicates that Inflight Entertainment probably refers to the films shown onboard during a long-haul air journey. {Surprise, surprise!] The second part, a slow movement – Horse Opera – is again very pastoral and filmic – it’s thoughtful and not too melancholy. Good chill-out music, some might say. The third movement – Beat Girls - returns to a dramatic situation. Busy-ness, maybe some turmoil, more urban, more modern – more exciting. In fact, it’s very exciting!
Unchained melody is another very exciting piece which moves along at a great pace – one can’t help comparison with Adams’s ‘Short Ride in a Fast Machine’ or Philip Glass’s ‘The Canyon’. The sleeve notes tell us Koehne was keen to bring the energy of pop music into symphonic composition. [He supposedly picked the title from a ‘relatively obscure 1950s pop song.’ I trust this reflects the ignorance of the sleeve note writer rather than the composer – although this turns out to be James Koehne – Graeme’s brother – perhaps Australia’s pop charts were even duller than one suspected – they never even got Jimmy Young!] Whether he succeeds in this stated task is dubious – the piece is again far more jazz based than pop. But it’s of little importance – the music’s energetic anyway.
Powerhouse – the final offering on the CD – is essentially another angle on the same themes as before – and is equally powerful stuff.
The album as a whole is to be thoroughly recommended even though I think the general style returns to relatively safe ground of pre-sixties modernism rather than presenting us with anything particularly new or startling. I also wish the titles had not been quite as misleading – I certainly can’t see the relevance of ‘Elevator Music’. Having said this I’d love to see music like this become part of the everyday repertoire, replacing some of the tired worn-out second-rate standards that concert planners still insist on subjecting us to. It’s great twentieth century music and deserves to be in everyone’s record collection.
Jorge Liderman: The Song of Songs Bridge 9172
Chamber Chorus of the University of California at Berkeley, dir. Marika Kuzma
San Francisco Contemporary Music Players, cond. David Milnes
Thea Musgrave: Choral Works Bridge 9161
The New York Virtuoso Singers, cond. Harold Rosenbaum, narrated by Michael York
www.bridgerecords.com
Two CDs of modern works for vocal ensembles, the quality of which would provide a good introduction to the genre for the uninitiated listener.
The Liderman disc sets the Hebrew Bible’s Song of Songs to music very effectively. It is a poem charting the sexual awaking of a young woman and her lover. This is quite extraordinary material for a ‘western’ religious text. But the words are largely irrelevant unless you have abnormally sensitive hearing faculties. The text becomes indecipherable for the average listener and the music is what’s of importance. There’s plenty of drama and pathos here and the commentary provided in the notes clarifies the exact meanings of the action. It’s moderately hard work to listen to but well worth the effort. Playing at relatively higher volume is essential to gain best results.
Thea Musgrave’s works are settings of poetry by Auden, Yates and others, and are altogether far clearer to listen to as songs than the Liderman disc. But again the music is atmospheric and full of moody drama, so can stand up as good music for those even harder of hearing than ‘yours truly’!
Both albums are beautiful and charming and will prove exciting avenues of discovery for the adventurous music lover in search of new musics.

Eurovision Song Contest 2005

2005-06-03T02:05:00.000-07:00

The evening of Saturday 21st May at marked the highlight of my TV year - The Eurovision Song Contest.It's always been a bone of contention as to whether it's possible to judge a song on it's lyrical content alone. Especially when, as was the case for many, many years, all the songs were written in one of the languages in common currency in the country of the specific entries. This problem has at last largely been solved as the vast majority of songs are now at least partially sung in English - the international language of pop music. But the situation has still managed to become more complicated as there are so many other new variables to factor into the equation of a winning formula. Above all, presentation is everything.The look of the singer - the dress, amount of flesh to be exposed, the make-up - all the more important if the vocalist is a woman! The orchestration - an eastern rhythm very popular at the moment. And the inclusion of a kettle drum is mandatory it seems this year! The dance routine - increasingly important - this year had to have an Irish Riverdance feel to it. How the song fits in with regional culture & is it wise to have a political angle? - especially relevant with the proliferating number of Eastern European and Balkan countries entering and performing very well indeed.This year because of the sheer number of countries entering we had the additional Thursday semi-final prior to the main event (broadcast on BBC3 here & without Terry Wogan's valuable input). The number of entries was 39 in total - it would have been 40 but Lebanon was, quite properly, disqualified because it programmed its commercial break when Israel would have been performing! And refused to change it.I was somewhat disappointed because the Slovenian entry was knocked out at this semi-final stage - it was a potential winner in my view. It had the lot - an upbeat Euro song sung in English (I think!), good looking lively performance and a memorable melody - just what the Doctor ordered. Sadly the rest of Europe disagreed with me! To the surprise of many they also voted out the rather second rate Irish entry- despite it's Riverdance middle-eight!Anyway, onto the big night of the main event. I must say this year's overall standard was the best ever. My favourites - songs from Ukraine (the host country) and Bosnia-Hertzagovina both faired poorly in the voting - which surprised me as I'd managed to pick the winners in the past 2 years. The Ukrainian entry stalled possibly for political reasons as it was a song that's come to be associated with the recent Orange Revolution in that country & maybe its neighbours found that a bit too threatening. Also it was a sort of rap/hip-hop effort which may have been a bit ultra modern for some of the voting countries. The Bosnian entry was a typical Euro-anthem which looked a plum for the top spot - 3 blond stunners doing a very professional job of an Abba/Motown sort of fusion. Again it didn't impress enough voters.The bookies did themselves a bit of good by making Greece's thoroughly safe second rate pop tune the favourite. It walked away with it in the end although the leader board was quite changeable for a long time. I was glad to see Malta's rather old fashioned but very good ballad do so well and that Denmark's very dull entry that had been much trumpeted throughout fall in the final straight. Latvia's deadly boy duo did dangerously well and I hope this augers nothing for the future of the competition! I did manage to spot the loser - Germany's very weak metal anthem - it seems they suffer the same difficulties as the UK in their choice of entry. This is they just do not take the idea of the competition seriously. For too many years they insisted picking third rate artists to sing the songs - this because their real pop & rock stars were too busy being successful. This led to Eurovision being the joke it still is in countries with serious music industries. Consequently we (& Germany, who have some truly awsome rock talent) enter rotten songs sung by half-wits - the people voting for these travesties of pop songs are hardly your real music fans - more your Saturday night goggle boxers. Do me a favour if you really like your music - next year get involved and put good British pop back on the Eurovision agenda. This year the moronic British voters by-passed 2 pretty good possible entries - one by Jordan of all people and one by one of those stuffed shirt pseudo-operatic groups of the Il Divo/G4 ilk in favour of the 10th rate song sung by a third division singer. It must not happen again.The Ukranian management of the event was very good - it has to be said that little acknowledge ment is ever made of the organisational nightmare the voting system must entail. They deserve copious praise.And their half-time entertainment was the best ever - especially the 'body artist' - a sort of gymnastic break-dancer who was absolutely stunning. His contortions were almost unbelievable yet not at all grotesque.Despite all my grumpy fault finding this event still occupies such an important spot in my heart that I wouldn't miss it for the world. Please believe me when I say it's so worth while staying in for. Next year make sure you do - get a few beers in, invite some buddies round, print off a bunch of score sheets from the BBC site and have a damn good time!

A Musical Sick Joke – Stop Horsing Around with Good Music

2005-06-03T02:03:00.000-07:00

One Sunday morning recently, I awoke and put the radio on. Now I usually start the day with the Today programme on BBC Radio 4. When I get fed up with repetitious news items and endless speculation as to what might be going to happen, I might switch to a story or comedy on BBC7 or, failing that, even opt for an amusing hour of banter from Terry Wogan on Radio 2. Being Sunday I found a surfeit of religious programming on Radios 2 & 4, and on BBC7 there was a serial which I wasn’t following, so I had to try one of the dreaded commercial stationsAnd opt for Classic FM – perhaps there’ll be some gentle sounds to lull me back to sleep…[For the benefit of John Humphris, switch to historic present!]First I’m bored a guitar piece by one of those Spanish composers played by Julian Bream – they all sound alike to me and excite me not one jot. Then comes a jolly piece by Mozart popularly called ‘A Musical Joke.’ It’s really very good, but totally hated by me on account of I can’t hear it without thinking of show jumping from Earl’s Court or Hickstead – not exactly my favourite type of entertainment.Now this got me thinking about the pros and cons of using music as signature tunes etc. Is it or ain’t it a bad idea? If a tune is written as a theme for a film or specifically to introduce a TV programme, then if it ends up being ever associated with that film, programme, character, etc the it’s done the job it was designed to do. It’s a success and deservedly so. But what about music that becomes attached to a particular image by the accident of a lazy or impecunious programme producer not wishing to pay for an original theme tune? In the case of the Mozart piece it’s definitely ruined the music for me for life. On the other hand, the association of Booker T’s ‘Soul Limbo’ with cricket and particularly the West Indies Team was, I think, a truly inspired move. It has kept a very good tune, which otherwise might have been long gone and well-forgotten by now, in the public consciousness for more than 30 years.I’m sure we all have pet loves and hates when it comes to this activity, but I would like to put out an appeal to film and programme makers. Please consider just what the long-term effect might be on a tune’s reputation before you decide to hijack it for short-term expediency.