Thought I would quickly mention what I did tonight. About 3 months ago I bought a ticket to see Billy Bragg/Mavis Staples at the Tarrytown Music Hall. I was very excited about this concert and was looking forward to that evening.
Unfortunately, due to an unfortunate family emergency, Billy was forced to cancel his last tour dates. Word is that his mother has pancreatic cancer and is not doing well. Very sad. So while I am disappointed that I missed out on his performance, I am very happy that he is where he needs to be right now. My best wishes, for what they are worth, go out to his family in this trying period. One of my all time favorite performers and individuals.
Hello, Wisconsin!!!
The great Chanteuse Neko Case volunteered to fill in as an opening act for Grammy Award winning singing legend Mavis Staples. The Music Hall gave ticket holders the option of a refund, but honestly turning down hearing Neko Case sing could get me institutionalized. As Mavis tacitly stated what every man woman and child in the theatre was thinking, "She has the voice of an angel". Her singing is pure narcotic bliss, the best legal medication you could purchase. So good she will probably get banned in one of our "Red States". I saw her perform at Tarrytown with Kelly Hogan's backing vocals and the combined double onslaught was too much for my ears. Luckily I was far enough from the stage--otherwise I might have come out a stupor a few hours later to find I had loaded all their gear on their truck for them like a zombified worker ant.
Tonight it was just Neko and extraordinary guitarist Jon Rauhouse. And that was plenty. It's not like you want to smother a prime cut of steak with ketchup, you know. But he was terrific accompaniement, in his rakish hat and jaunty vest, picking, plucking, and surrounding us with sonic soundscapes. He is pretty much Vudi to her Mark Eitzel. I say this because during the concert I was inexplicably fantasizing about her doing a crazy duet album with the American Music Club frontman ala Mark Lanegan and Isobel Campbell. How amazing and wild would that be! She, like Mark is an accomplished songwriter, many her songs resembling historic folk recordings, the only difference being that the subject matter actually reflects the thoughts an feelings of a real woman. So in summation, if I was weaving on my way North from Tarrytown this evening it was not from alcohol it was from sonic intoxication. Or simply music soothing the savage beast. I think tonight we were all a little bit Canadian.
And I also enjoyed the Mavis Staples set. She is a tiny powerhouse, with a strong stage prescence and commanding vocal abilities. She was accompanied by a crack three piece band and three backup singers.
She had a wonderful way of communing with audience making us all feel like we were part of the show, like we were all sharing something. Her act was a joyful mix of entertainment, religious gospel, social justice and fortitude. She seemed like genuinely great lively person, quick to ad-lib with the crowd, who showed the audience great love, which we gave back with no remorse. She told some great stories and anecdotes--by the end of the show I had become completely testificated by her enthusiastic sermons.
My only regret was that there was not very much interaction between Neko and Mavis. I had heard that Billy Bragg and Mavis did their own sets and then came out and performed together as a finale. Neko only came out and performed a verse of the Band's The Weight during her set. (I completely forgot that the Staples Singers were performers in The Last Waltz concert. Ms. Case came out and tried to sneak around Mavis, but that wasn't about to happen--she wound up giving Neko a humongous hug. I would have enjoyed seeing how Billy and Mavis would have interacted as it must have been a very special tour. Of course, Neko's coming in at the 11th hour would have precluded any elaborate collaborations. But despite the tragic circumstance, an entertaining time was had in Tarrytown tonight. And the sound quality was pristeen, as I have come to expect when I visit this historic theatre. Good night everybody. And do yourself a favor--get out and support the Arts. You will be rewarded for your good efforts.
Correction: Sadly,Billy Bragg's mother passed away on March 19. Condolences to Billy and his family and friends. For a temporary Bragg fix I noticed that on his web site he has for sale a Live at the Barbican double CD that kindly does not edit out the wonderful between-song-monologues that he is celebrated for. And reasonably priced at 9 pounds.
Sunday, March 27, 2011
Mëstar---Porcupine--Surreal Pop From New Zealand--
I've been listening to this album from Mëstar, an interesting three piece act from New Zealand, their second CD, which was released in 2002. I heard about them through The Big Takeover magazine, when they gave a rave revue to their most recent album, Shut The Squizwot Factories Down! which was released on the Arch Hill label. So I saw they had another album out for sale at the Smoke CD's website (a good source for Kiwiania) and picked it up. This past week I've finally been giving it a good listen.
Since my last post was on the Undertones, it seems that its quickly becoming Guys with High Voices Week here at Continuum Transfunctioner. But never fear--I have no current plans on doing a Steve Perry post anytime soon. (Or would I?) I like this unusual yet engaging little album. Musically it sounds great, sort of like the New Zealand equivalent of an Elephant 6 band. John White has a terrific voice, but he reminds me a little of the singer from Yes, Jon Anderson. Sometimes they rock out here, sometimes it's a freak folk sound. Often the lyrics seem dreamy, whimsical, even childlike, with a definite Sci-fi slant.
In my dotage, I guess I have made my piece with high voiced singers finally, because for most of my life I have maintained an overt hatred for them. As an aspiring teenage rock star playing music in basements in the 70's, I was forced to attempt singing the music of all those high voiced rock stars of the day. Led Zeppelin, Boston, Yes, Foreigner. How I hated those guys. My voice simply was in another octave--like trying to teach a chimp to talk. Part and parcel of the prevailing sentiment of the times--like you had to be a virtuoso musician or be trained at the Berklee School of Music to make a bloody song. In the Minutemen documentary, they make a similar argument about that era, that the stars of that day may as well have been on Mt Olympus compared to those three corn dogs from San Pedro. Put Punk Rock changed the game entirely.... a lesson I didn't appreciate until College. So consider this a final bit of therapy to help rid myself of this irrational and petty aversion forever.
Oh, yes Porcupine. No, not the Echo and the Bunnymen album. It would be funny if this was their little joke, like the Replacements Let It Be album. Mëstar consist of John White on lead vocals and guitar, Stefan Bray on bass and Ian Wilson on drums. They are also aided and abetted vocally by Jay Clarkson and Demarnia Lloyd on several of the tracks. For instance, Demarnia's backing vox on the dreamy languid ballad Fairytale. Seemingly someone's children, Sam and Zoë sing backup vocals on the sweet and understated Rock and Roll World. They certainly can write songs. I absolutely love the glorious fuzzed out Beach Boys chorus of Land of Dreams. In other cases their music can be reminscent stylistically of Love's Forever Changes or of a mellowed out Pixies.
Note: Song not from Porcupine. From Squizwot Factories, their 3rd.
Probably my favorite song here is Starry Eyes, which is a blissful extraterrestrial love ballad. It reminds me a little of Super Furry Animals Fire In My Heart. I'm not entirely certain why. In a complete 180 degree turn, you have the wonderful Start To Cry, which sounds like a sonic homage to Bailter Space as does the low end crunchy noise of Drift. The band moves in another direction with Bumblebee Tree, a strange dreamlike acoustic acid tune. If you read the lyrics sheet on the CD booklet you don't come away impressed--you might really wonder what they are rattling on about. But the songs sound wonderful in execution.
So if you are like me and are interested in hearing new bands that haven't got too much attention outside their own country, Mëstar might turn out to be a rewarding discovery. Certainly their Porcupine and Shut The Squizwot Factories are definitely worthy recordings. If you want to find about about Kiwi bands, maybe not the first place to start, but nonetheless a consistantly good listen throughout. If you like bands like The Flaming Lips or Neutral Milk Hotel you would most likely enjoy this. For those interested lead singer John White has released 3 solo album the most recent entitled The Incadies. The other albums, Balloon Adventure and Mogwash can be purchased on a single disc. I have not heard the albums or read any reviews.
 |
| We Can Be Happy In A Rock N Roll World...Gimme Back My Guitar! |
Since my last post was on the Undertones, it seems that its quickly becoming Guys with High Voices Week here at Continuum Transfunctioner. But never fear--I have no current plans on doing a Steve Perry post anytime soon. (Or would I?) I like this unusual yet engaging little album. Musically it sounds great, sort of like the New Zealand equivalent of an Elephant 6 band. John White has a terrific voice, but he reminds me a little of the singer from Yes, Jon Anderson. Sometimes they rock out here, sometimes it's a freak folk sound. Often the lyrics seem dreamy, whimsical, even childlike, with a definite Sci-fi slant.
In my dotage, I guess I have made my piece with high voiced singers finally, because for most of my life I have maintained an overt hatred for them. As an aspiring teenage rock star playing music in basements in the 70's, I was forced to attempt singing the music of all those high voiced rock stars of the day. Led Zeppelin, Boston, Yes, Foreigner. How I hated those guys. My voice simply was in another octave--like trying to teach a chimp to talk. Part and parcel of the prevailing sentiment of the times--like you had to be a virtuoso musician or be trained at the Berklee School of Music to make a bloody song. In the Minutemen documentary, they make a similar argument about that era, that the stars of that day may as well have been on Mt Olympus compared to those three corn dogs from San Pedro. Put Punk Rock changed the game entirely.... a lesson I didn't appreciate until College. So consider this a final bit of therapy to help rid myself of this irrational and petty aversion forever.
Oh, yes Porcupine. No, not the Echo and the Bunnymen album. It would be funny if this was their little joke, like the Replacements Let It Be album. Mëstar consist of John White on lead vocals and guitar, Stefan Bray on bass and Ian Wilson on drums. They are also aided and abetted vocally by Jay Clarkson and Demarnia Lloyd on several of the tracks. For instance, Demarnia's backing vox on the dreamy languid ballad Fairytale. Seemingly someone's children, Sam and Zoë sing backup vocals on the sweet and understated Rock and Roll World. They certainly can write songs. I absolutely love the glorious fuzzed out Beach Boys chorus of Land of Dreams. In other cases their music can be reminscent stylistically of Love's Forever Changes or of a mellowed out Pixies.
Note: Song not from Porcupine. From Squizwot Factories, their 3rd.
Probably my favorite song here is Starry Eyes, which is a blissful extraterrestrial love ballad. It reminds me a little of Super Furry Animals Fire In My Heart. I'm not entirely certain why. In a complete 180 degree turn, you have the wonderful Start To Cry, which sounds like a sonic homage to Bailter Space as does the low end crunchy noise of Drift. The band moves in another direction with Bumblebee Tree, a strange dreamlike acoustic acid tune. If you read the lyrics sheet on the CD booklet you don't come away impressed--you might really wonder what they are rattling on about. But the songs sound wonderful in execution.
So if you are like me and are interested in hearing new bands that haven't got too much attention outside their own country, Mëstar might turn out to be a rewarding discovery. Certainly their Porcupine and Shut The Squizwot Factories are definitely worthy recordings. If you want to find about about Kiwi bands, maybe not the first place to start, but nonetheless a consistantly good listen throughout. If you like bands like The Flaming Lips or Neutral Milk Hotel you would most likely enjoy this. For those interested lead singer John White has released 3 solo album the most recent entitled The Incadies. The other albums, Balloon Adventure and Mogwash can be purchased on a single disc. I have not heard the albums or read any reviews.
St Patty's Day Redux--DVD--Teenage Kicks--The Story Of The Undertones
Although Teenage Kicks--The Story Of The Undertones was released here on DVD in 2004, I just watched this documentary late last night for the first time. Very, very enjoyable. It is a very engaging happy film, one of the better band overviews I have seen. Though the latter part of their initial run is glossed over (i.e. Positive Touch, Sin of Pride), and the bands internal problems are mentioned but somewhat underplayed, an amazing story is recanted for posterity here. Kudos to Tom Collins for creating this excellent film.
Stock footage of the band throughout the career, and historical footage of Derry and Belfast are interspersed with laid-back contemporary interviews of the band members by the late great BBC DJ John Peel. Peel was a huge fan and a primary early proponent of the band, who made four appearances on his legendary program. Peel was one of those rare who would air songs that he liked, and he was someone whose tastes were far from being Catholic. He kept his ears open. His headstone at St Andrew's Church in Great Finborough, Suffolk fittingly has the immortal first line from Teenage Kicks inscribed upon it, and at his funeral at his bequest, Teenage Kicks was played as his coffin exited St Edmundsbury Cathedral.
Teenage dreams so hard to beat....
Peel was right. That song is so perfect it simply can't be improved on, like Wouldn't It Be Nice by the Beach Boys, or September Gurls by Big Star. The song is of a specific era and place, yet it has an eternal quality that the all time great songs share. And at their best, The Undertones were the equal of any of their peers.
Unfortunately, as you find out early in the movie there is a 4 to 1 schism in the band, between singer Feargal Sharkey, and the other band members, so their interviews are separate. The band really was lightning in a bottle, a mix of a charismatic singer with an amazing unique voice and a high energy talented band. With the brothers John & Damian O'Neill on guitar, Michael Bradley on bass and Billy Doherty on drums, it's scary how young these guys were at the outset, and yet so damned professional sounding for an early punk band. It makes me jealous. If you have seen The Clash documentary Westway To The World, you have heard Joe Strummer's lament on the end of the band, and lightning in a bottle was his description. With maturity and in retrospect he realized what a rare thing he had been a part of, and wondered aloud what else they could have achieved. Well, nobody really knows the answer to that million dollar question.
The Undertones don't seem to have those regrets, or at least don't choose to air those views publicly. When you hear their story unfold, how they became pop stars through sheer talent and sheer luck, overcoming monumental odds, they speak with a humble realism. Heading to Belfast, then to London, being on Top of the Pops,signing to the Ramones' label, Sire Records, finally reaching the States as an opening act for The Clash. All of this was more than they ever expected when they started out, it was a means of escape from boredom, lack of opportunity, and the grim violent Troubles that inflamed the country. Even as pop stars Feargal Sharkey was still holding down a job delivering TV sets. So when you see them interviewed they seem quite proud of all that they achieved, and rightfully so. Certainly the four current members of the band do speak with humility, but I can't help but seeing them nostalgically holding back smirks. Unlike many bands who play down their past, who say they don't listen to their old recordings, these guys know all too well how damned great they were. And they seem to be pretty secure and content with their legacy.
This is a very fun DVD. You discover what a great live band they were and also that they are all seemingly nice polite people. The most interesting and candid interviewee is Sharkey, who takes pains not to slag off his former bandmates and has a lot of interesting views on the band and life in Derry. Mostly the band members are interviewed, but of course there is Peel, Sire Records president Seymour Stein, journalist Eamonn McCann and Terri Hooley, who put out their first EP on Good Vibrations records.
There are lot of interesting comments on life in Ireland. I'm reminded of the Saints experience in Brisbane. Like the Saints, The Undertones had their fans and their friends, but a lot of people hated this new thing they were playing. They were not doing what was expected of them, they did not know their place in this society. And it was even worse once they received fame and accolades from London and New York. One of the most amazing quotes was by Terri Hooley who said he saw a boy in Belfast run across the street so he could spit on Feargal Sharkey. I mean it's music we are talking about here, he didn't just invade Poland.
So go check this out--the historic footage is amazing, the cinematography is excellent and lovingly done. And of course, first and foremost listen to the outstanding music. You will quickly understand what all the fuss is about. Their first two albums, eponymous and Hypnotised, are essential rock albums, Punk Rock 101. When I listen to those songs, it's like a musical version of the Fountain of Youth that Ponce De Leon searched for in vain down in South Beach Miami. After the years where the O'Neill brothers made some very nice records as That Petrol Emotion, The Undertones reformed with a new lead singer Paul McLoone , who is featured briefly in the film and seems to do a credible job singing. The band rightly decided not to get a clone to replace Feargal. It would have been pretty weird. But they have released two albums over the last 10 years Get What You Need (2003) and Dig Yourself Deep (2007). Shortly after departing the band, Feargal Sharkey had a #1 hit in the UK with A Good Heart, and inexplicably his recording career all but evaporated after that. But as I speak the Undertones are doing a UK Tour and a West Coast US Tour in commemoration of their amazing first album.
I do highly recommend this DVD, particularly for anyone who is a fan of the band. Of course, if you see this video you will be a fan soon enough anyway. This last video goes out to the Rockin' Reverend.
Stock footage of the band throughout the career, and historical footage of Derry and Belfast are interspersed with laid-back contemporary interviews of the band members by the late great BBC DJ John Peel. Peel was a huge fan and a primary early proponent of the band, who made four appearances on his legendary program. Peel was one of those rare who would air songs that he liked, and he was someone whose tastes were far from being Catholic. He kept his ears open. His headstone at St Andrew's Church in Great Finborough, Suffolk fittingly has the immortal first line from Teenage Kicks inscribed upon it, and at his funeral at his bequest, Teenage Kicks was played as his coffin exited St Edmundsbury Cathedral.
Teenage dreams so hard to beat....
Peel was right. That song is so perfect it simply can't be improved on, like Wouldn't It Be Nice by the Beach Boys, or September Gurls by Big Star. The song is of a specific era and place, yet it has an eternal quality that the all time great songs share. And at their best, The Undertones were the equal of any of their peers.
Unfortunately, as you find out early in the movie there is a 4 to 1 schism in the band, between singer Feargal Sharkey, and the other band members, so their interviews are separate. The band really was lightning in a bottle, a mix of a charismatic singer with an amazing unique voice and a high energy talented band. With the brothers John & Damian O'Neill on guitar, Michael Bradley on bass and Billy Doherty on drums, it's scary how young these guys were at the outset, and yet so damned professional sounding for an early punk band. It makes me jealous. If you have seen The Clash documentary Westway To The World, you have heard Joe Strummer's lament on the end of the band, and lightning in a bottle was his description. With maturity and in retrospect he realized what a rare thing he had been a part of, and wondered aloud what else they could have achieved. Well, nobody really knows the answer to that million dollar question.
The Undertones don't seem to have those regrets, or at least don't choose to air those views publicly. When you hear their story unfold, how they became pop stars through sheer talent and sheer luck, overcoming monumental odds, they speak with a humble realism. Heading to Belfast, then to London, being on Top of the Pops,signing to the Ramones' label, Sire Records, finally reaching the States as an opening act for The Clash. All of this was more than they ever expected when they started out, it was a means of escape from boredom, lack of opportunity, and the grim violent Troubles that inflamed the country. Even as pop stars Feargal Sharkey was still holding down a job delivering TV sets. So when you see them interviewed they seem quite proud of all that they achieved, and rightfully so. Certainly the four current members of the band do speak with humility, but I can't help but seeing them nostalgically holding back smirks. Unlike many bands who play down their past, who say they don't listen to their old recordings, these guys know all too well how damned great they were. And they seem to be pretty secure and content with their legacy.
This is a very fun DVD. You discover what a great live band they were and also that they are all seemingly nice polite people. The most interesting and candid interviewee is Sharkey, who takes pains not to slag off his former bandmates and has a lot of interesting views on the band and life in Derry. Mostly the band members are interviewed, but of course there is Peel, Sire Records president Seymour Stein, journalist Eamonn McCann and Terri Hooley, who put out their first EP on Good Vibrations records.
There are lot of interesting comments on life in Ireland. I'm reminded of the Saints experience in Brisbane. Like the Saints, The Undertones had their fans and their friends, but a lot of people hated this new thing they were playing. They were not doing what was expected of them, they did not know their place in this society. And it was even worse once they received fame and accolades from London and New York. One of the most amazing quotes was by Terri Hooley who said he saw a boy in Belfast run across the street so he could spit on Feargal Sharkey. I mean it's music we are talking about here, he didn't just invade Poland.
So go check this out--the historic footage is amazing, the cinematography is excellent and lovingly done. And of course, first and foremost listen to the outstanding music. You will quickly understand what all the fuss is about. Their first two albums, eponymous and Hypnotised, are essential rock albums, Punk Rock 101. When I listen to those songs, it's like a musical version of the Fountain of Youth that Ponce De Leon searched for in vain down in South Beach Miami. After the years where the O'Neill brothers made some very nice records as That Petrol Emotion, The Undertones reformed with a new lead singer Paul McLoone , who is featured briefly in the film and seems to do a credible job singing. The band rightly decided not to get a clone to replace Feargal. It would have been pretty weird. But they have released two albums over the last 10 years Get What You Need (2003) and Dig Yourself Deep (2007). Shortly after departing the band, Feargal Sharkey had a #1 hit in the UK with A Good Heart, and inexplicably his recording career all but evaporated after that. But as I speak the Undertones are doing a UK Tour and a West Coast US Tour in commemoration of their amazing first album.
I do highly recommend this DVD, particularly for anyone who is a fan of the band. Of course, if you see this video you will be a fan soon enough anyway. This last video goes out to the Rockin' Reverend.
Sunday, March 20, 2011
Today will be like Yesterday and Tomorrow---Shop Assistants, Your Once And Future Band
I must say I have a lot of warm feeling for Edinburgh. I've only visited once, but from the moment I hiked up the steps from the train station and gazed on the historic city in the twilight I had a feeling that this was going to be a momentous trip. Probably the most beautiful city I've ever visited, the people were pretty interesting, funny, sharp. And I had my first haggis there. What better place for an initiation. My friends thought I was insane, but to me it tasted like hash--maybe not my favorite meal ever (as I like spicy food), but not too bad. I was intrigued with haggis ever since the Monty Python poem about a man who ate himself and became a haggis. So I persevered despite my friends protestations and lived through the three scoops--haggis, tatties and neeps--a traditional Scottish sundae. You never forget your first time.
But I probably most enjoyed strolling the streets and closes of the Old Town, The Royal Mile walking where the progenitors of our intellectual heritage like Robbie Burns, Hume and Adam Smith once walked. I've since learned a little more about the City by reading the Inspector Rebus books by Ian Rankin and The Fanatic by James Robertson. Probably should break out my Alastair Gray and Irvine Welsh books again, sooner than later.
Oh, and Edinburgh's Shop Assistants were one corker of a band. Energetic, noisy, melodic, utterly charming. In some ways, they are a throwback to the girl groups of the 60's, and in other ways they fully embrace the Punk crunch of the Buzzcocks and the squalling sheets of noise popularized by The Jesus and Mary Chain. And equally wonderful is the fact that despite the discernible influences they definitely have created and defined themselves in a unique way. And they have proved influential in indie circles, among groups like The Vivian Girls, The Dum Dum Girls, and even the hugely popular Belle and Sebastian, not long ago voted Scotland's all time greatest rock group. This album is a true stunner--in many ways I think they were coming from a similar place as the great New Zealand all female group Look Blue Go Purple. Listen to their song Cactus Cat, and the Assistants Somewhere in China. If you love great 80's indie music this belongs in your collection.
Lead Vocalist for the Shop Assistants is Alex Taylor, who does a fantastic job throughout, her charismatic and nuanced singing style raising this album to another label entirely. The second most distinctive thing about this album is the wonderful noisy guitar work of David Keegan. The six string dissonance juxtaposed against the honey sweet vocals creates a special kind of magic here. Sarah Kneale plays bass and sings backing vocals and Laura MacPhail plays drums and percussion. What a band!
This album is a brief one, 16 songs in 38 minutes. But I can't say there is a bad moment here. You have high powered tunes like the sunny ode to dreary days and no prospects, Caledonia Rd. Prior that the band breaks into the sweet ballad Before I Wake. All Day Long is one of the top tunes another hyper energetic screed about unrequited love. The only odd moment is the song What A Way To Die, which is sort of a pre-British Invasion Cavern Club workout, which is fun, but seems a little out of place here. But hell, I still enjoy that song.
If I had to choose a favorite I would have to choose Fixed Grin. "You send shivers down my spine, A Million thoughts run through my mind." But with the overall high quality here it was a pretty tough call. The driving pop of Home Again and Seems To Be are superb cuts in their own right. And I have no aversion whatsoever to the more subdued jangle-pop of songs like After Dark or All Of The Time. The percussive and melodic Looking Back is another highlight, one that can hold its own with a band like The Primitives.
The reissue of this came out in 2008 on Cherry Red and I highly recommend this recording. It may sound a little familiar to the uninitiated now, but that is because a substantial number of acts have been inspired by their wonderful music. I know that with all the product that is put out these days, it is easy to be tempted by the next new thing. Be assured that this is a classic recording that needs to be heard. So, what are ye waitin' fer?
 |
| Thet's Wha Haggis Is |
But I probably most enjoyed strolling the streets and closes of the Old Town, The Royal Mile walking where the progenitors of our intellectual heritage like Robbie Burns, Hume and Adam Smith once walked. I've since learned a little more about the City by reading the Inspector Rebus books by Ian Rankin and The Fanatic by James Robertson. Probably should break out my Alastair Gray and Irvine Welsh books again, sooner than later.
Oh, and Edinburgh's Shop Assistants were one corker of a band. Energetic, noisy, melodic, utterly charming. In some ways, they are a throwback to the girl groups of the 60's, and in other ways they fully embrace the Punk crunch of the Buzzcocks and the squalling sheets of noise popularized by The Jesus and Mary Chain. And equally wonderful is the fact that despite the discernible influences they definitely have created and defined themselves in a unique way. And they have proved influential in indie circles, among groups like The Vivian Girls, The Dum Dum Girls, and even the hugely popular Belle and Sebastian, not long ago voted Scotland's all time greatest rock group. This album is a true stunner--in many ways I think they were coming from a similar place as the great New Zealand all female group Look Blue Go Purple. Listen to their song Cactus Cat, and the Assistants Somewhere in China. If you love great 80's indie music this belongs in your collection.
Lead Vocalist for the Shop Assistants is Alex Taylor, who does a fantastic job throughout, her charismatic and nuanced singing style raising this album to another label entirely. The second most distinctive thing about this album is the wonderful noisy guitar work of David Keegan. The six string dissonance juxtaposed against the honey sweet vocals creates a special kind of magic here. Sarah Kneale plays bass and sings backing vocals and Laura MacPhail plays drums and percussion. What a band!
This album is a brief one, 16 songs in 38 minutes. But I can't say there is a bad moment here. You have high powered tunes like the sunny ode to dreary days and no prospects, Caledonia Rd. Prior that the band breaks into the sweet ballad Before I Wake. All Day Long is one of the top tunes another hyper energetic screed about unrequited love. The only odd moment is the song What A Way To Die, which is sort of a pre-British Invasion Cavern Club workout, which is fun, but seems a little out of place here. But hell, I still enjoy that song.
If I had to choose a favorite I would have to choose Fixed Grin. "You send shivers down my spine, A Million thoughts run through my mind." But with the overall high quality here it was a pretty tough call. The driving pop of Home Again and Seems To Be are superb cuts in their own right. And I have no aversion whatsoever to the more subdued jangle-pop of songs like After Dark or All Of The Time. The percussive and melodic Looking Back is another highlight, one that can hold its own with a band like The Primitives.
The reissue of this came out in 2008 on Cherry Red and I highly recommend this recording. It may sound a little familiar to the uninitiated now, but that is because a substantial number of acts have been inspired by their wonderful music. I know that with all the product that is put out these days, it is easy to be tempted by the next new thing. Be assured that this is a classic recording that needs to be heard. So, what are ye waitin' fer?
Thursday, March 17, 2011
Good Vibrations--The Singles Collection--Crispy Punk Goodness From Northern Ireland
The Punk Single Collection is a nice introduction to Northern Irish Punk Rock, featuring the music released on the legendary Good Vibrations label, by Terri Hooley, who began releasing singles of local acts so they would gain the recognition they were deserving of. Maybe they are best known as the label that introduced those Derry Destroyers, The Undertones to the world. But judging by this anthology, it was clear that there was a lot more going on in Northern Ireland at the time. This year Hooley's autobiography came out, entitled Hooleygan: Music,Mayhem, Good Vibrations. Haven't read it yet, but I imagine it will be an enlightening book.
Overall Good Vibrations PSC is a good to great collection, with a few songs a little pedestrian and undistinguished. The Undertones are represented here with Smarter Than U, which is a b-side from their Teenage Kicks ep. The Undertones are simply a fantastic group, certainly no secret to fans of classic punk, so while I'm glad they are here, the other bands are more interesting to me. I certainly would like to here more of them. Some of these bands may have only had a handful of songs of quality, but there are a few groups here that are flat out exciting.
The collection begins with Rudi's awesomely energetic Big Time. They have 2 more fine songs here, I Spy and Overcome By Fumes. I know that a compilation came out about 15 years ago of these guys, but it seems to be impossible to get a copy now. Probably the best known band here are The Outcasts, who recorded a couple full length albums back in the day. They are well represented on this anthology, with four songs here. My favorite numbers are Love You For Never and the cheeky pop of Self Conscious Over You.
There are so many bands here I'd never heard before, and half of them I hadn't heard of. Bands like The Bankrobbers who play some engaging new wavey pop on On My Mind. How about The Lids, who play a bass driven Ruts-like brand of pop on I Don't Want You. And then you have Decisions by the Pistolly sounding Bears. I wonder if there are more recordings someplace by those guys? The punk-pop of the Tearjerkers song Love Affair is terrific in a more commercial radio-ready way. The same can be said of The Moondogs Ya Don't Do Ya, the guitar sounding a little like a revved up Clean.
Additionally you have a great raucous scorcher by Victim, A Strange Thing At Night. You also get two songs by Protex who are one of the more accomplished acts here, who play an engaging style of punky pop.
Additionally you get to hear the X Dreamysts' Dance Away Lover, a good song, but the singer seems to have a Phil Lynott thing going on here. Not really a bad thing. Ruefrex's Cross The Line is one of my favorites on this collection, with guitar reminiscent of Pink Flag era Wire. They actually do have an anthology out that is readily available.
All in all, a Punk Rock delight for all your St Patrick's Day needs and more. It beats listening to The Cranberries or some other nonsense on March 17th. It just leaves me wanting to here more. I hope that more collections highlighting this scene come out because it's clear that there was a lot of great music created that most fans today are simply unaware of. The album ends where it all began, with label founder Terri Hooley himself performing a charismatically sloppy version of Sonny Bono's old chestnut Laugh At Me. Happy St Pat's to all.
Happy St Pats!!!!! A Little Treat From Jonathan Richman!!
Hopefully I'll do a little before the night is out, but this will do for now. Surprisingly, there doesn't seem to be a lot of good Leprechaun songs.
Wednesday, March 16, 2011
Hugo Simberg--Remarkable Finnish Folk Fantastist
Hugo Simberg (1873-1917)was an artist I knew nothing of until I saw some of his art in a Helsinki Art Gallery when I was on vacation in Finland. It's always very satisfying for me to find out about a new interesting artist when I go to visit a museum. His art was a strange mix of folk art and surrealism, magic and everyday life. When I go to an art museum I usually have a reason to go, but when I am there I try to keep an open mind and look at what other artists have to offer. When I am in another country I try to get to an art museum because I know that there usually is something wonderful that is just off the beaten path. In general, I know what I like, but sometimes I don't realize it until I see it in front of me. According to Wikipedia this picture was voted Finland's National Painting in 2006.
It's kind of a strange painting, grim, traditional in style, but completely arresting and imaginative subject matter. And there is something about this painting that is evocatively Finnish. It seems to be almost on the cusp of different genres and eras.
Check this one out.
I don't know what the symbolism of this painting is, but it definitely caught my eye, reminiscent to me of Edvard Munch's The Scream and Ingmar Bergman's Seventh Seal. Yet in a way the dead seem pretty happy going about their gardening in the way senior citizens manicure their grassy lawns here. Definitely sends some mixed messages.
Hugo is definitely an artist to check out--he has quite a few other unusual painting involving devils, trolls and the like, the extraordinary intruding on everyday life. It seems like Simberg based his art on traditional themes and then took off in different directions. I think there is definitely bravery involved when you follow a unique path. It is not uncommon to see similarly styled paintings when you go to certain art museums so it was really refreshing to see a new perspective among schools and genres of art. So go check out a museum--and bring your kids along.
 |
| The Wounded Angel |
Check this one out.
 |
| Garden Of Death |
Hugo is definitely an artist to check out--he has quite a few other unusual painting involving devils, trolls and the like, the extraordinary intruding on everyday life. It seems like Simberg based his art on traditional themes and then took off in different directions. I think there is definitely bravery involved when you follow a unique path. It is not uncommon to see similarly styled paintings when you go to certain art museums so it was really refreshing to see a new perspective among schools and genres of art. So go check out a museum--and bring your kids along.
Tuesday, March 15, 2011
Marc Carroll--World On A Wire--St Patrick's Day approaches.....can't remember my own name...
Marc Carroll is a singer songwriter from Dublin whose third album World On A Wire is the focus of this pre-St Patrick's Day post. It is a fairly introspective outing, where Carroll basically goes it alone except for the strings. Though some of the songs are somewhat overly idealistic for my tastes, overall this is an album that is a cut above most. Upon listening to it now for the fourth time it has grown on me.
I was taking a dim view until I got to song four, Together We're Strong with breezy liquid jangle guitar and melodious vocals. I would not have minded if it had been edited down a bit, but overall an excellent song.
Up until then the album had a bit of a muted lethargic feeling to me. I've gone back and softened my opinion upon further listens to this disc.
The follow up to this song is the stripped down piano and cello ballad It Isn't Always Easy.
Isn't it a wonder to find goodwill and grace
You can walk a millions miles and not even see a face
And isn't it a wonder that we ever stayed true
When it isn't always easy to know what to do...
Very nice. Hugh Jones recorded this album so I would be quite surprised if the recording was not pristine. The Dylanesque And You Are? is another poignant tune, musings on the elusiveness of fame. Talk Again is
also a pretty good tune, a brief electric folk musing.
The final song is a very traditional sounding tune, Till These Bars Break, sounding like a tune right out of the Richard Thompson playbook. Carroll appears to be quite the accomplished guitarist in a addition to being a rapidly developing songwriter. When he plays guitar, it is more than merely play by the numbers background accompaniment. Another of my favorites is the consoling solo acoustic tune, Press On. Though too much harmonica tends to get on my nerves, it's inclusion here fits pretty organically.
So all in all, not a bad introspective emotive rainy day album. Maybe not the best suited for leprechaun hats, green beer, and kissing bulldogs--perhaps an album suitable for playing more than one day a year in March.
One of these days I'll have to pick up his latest, The Dust of Rumour which has garnered some positive accolades from the critics. I understand he has a 5th album due out soon. I think Marc Carroll is definitely someone to keep your eye on. Though there are some great tunes on here already, I believe that his best work is still forthcoming.
Note:This song is from the Dust of Rumour album.
I was taking a dim view until I got to song four, Together We're Strong with breezy liquid jangle guitar and melodious vocals. I would not have minded if it had been edited down a bit, but overall an excellent song.
Up until then the album had a bit of a muted lethargic feeling to me. I've gone back and softened my opinion upon further listens to this disc.
The follow up to this song is the stripped down piano and cello ballad It Isn't Always Easy.
Isn't it a wonder to find goodwill and grace
You can walk a millions miles and not even see a face
And isn't it a wonder that we ever stayed true
When it isn't always easy to know what to do...
Very nice. Hugh Jones recorded this album so I would be quite surprised if the recording was not pristine. The Dylanesque And You Are? is another poignant tune, musings on the elusiveness of fame. Talk Again is
also a pretty good tune, a brief electric folk musing.
The final song is a very traditional sounding tune, Till These Bars Break, sounding like a tune right out of the Richard Thompson playbook. Carroll appears to be quite the accomplished guitarist in a addition to being a rapidly developing songwriter. When he plays guitar, it is more than merely play by the numbers background accompaniment. Another of my favorites is the consoling solo acoustic tune, Press On. Though too much harmonica tends to get on my nerves, it's inclusion here fits pretty organically.
So all in all, not a bad introspective emotive rainy day album. Maybe not the best suited for leprechaun hats, green beer, and kissing bulldogs--perhaps an album suitable for playing more than one day a year in March.
One of these days I'll have to pick up his latest, The Dust of Rumour which has garnered some positive accolades from the critics. I understand he has a 5th album due out soon. I think Marc Carroll is definitely someone to keep your eye on. Though there are some great tunes on here already, I believe that his best work is still forthcoming.
Note:This song is from the Dust of Rumour album.
Sunday, March 13, 2011
Countdown to Saint Patrick's--and Jake Burns is Drinkin' again....
Only a few more days until St Patrick's festivities, so I thought I would highlight this nifty solo nugget from the front man of the legendary Belfast punk rockers Stiff Little Fingers, Jake Burns. Yes, Drinkin' again, his worthwhile attempt at a traditional Irish album which came out in 2006. As he confesses in the liner notes, he started out with the intent of creating an "Irish" punk album. But as he quickly realized, it had been done so many times that he felt it was becoming a little passe. Secondly, the album was a collaborative effort with musicians from varied backgrounds so ultimately the album is a bit of a hybrid of genres, traditional Irish, acoustic folk, country. And it was recorded in Chicago, not Ireland. All told, one thing is certain: it is a departure from a SLF recording. Anyone who picks this CD up believing they are getting some uplifting fiery punk, think again. But listeners who are interested in a fun record full of passion and heart, like a Celtic Mekons album would do well to give this a listen. A pretty nice little record that doesn't seem to have ever been released in the States.
The album begins with a nice little uptempo version of Van Morrison's Domino. Definitely a happy party starting beginning. But this is not merely a covers album. Of the eleven songs here, seven are originals. The title song Drinkin' Again is a fun jaunty Poguesy sounding Celtic-country hybrid undercut with melancholy lyrics;
Give me rum, give me vodka,
give me brandy, give me beer
Give me the chance of some amusement
The chance of some amusement
The chance of some good cheer
Newcastle Brown, I'll drink it down
To the dregs, I'm Hell on legs
I'm drinkin' again....
More traditionally Celtic sounding yet similarly themed is Half Past Dead, about a night out on a bender and the dreading anticipation of awaking next morning. Other songs are historically themed such as the cover of
The Green Fields of France by Eric Bogle, the anti-war anti-imperialistic themed Right To Fight and the bittersweet reminiscing of V.E. Day. He sings poignantly about the Irish Diaspora of the 19th Century in Land of Opportunity. Burns is in fine voice throughout. He does justice to the traditional ballad
Cliffs of Dooneen, as well as the updated version of The Well Below The Valley. Burns adds to the tradtional canon with his excellent love lament Lancashire Rose.
Probably my favorite song here is his reworking of Belfast 14, originally from his Jake Burns and the Big Wheel from the 80's. One of his more personal songs, it sounds like it was probably an outtake from the Now Then.... sessions, one of SLF's most underrated albums and their most pop sounding album. It's about being a kid having to grow up in a war zone, without prospects and hope, and all the terrible consequences that it entails. It's a gem of a song and unusually revelatory, as after their first album the band made a decision not to make overtly political music. ( And I can't blame them for not wanting have any responsibility for any more lives being destroyed).
Overall, Drinkin' Again is a pretty decent album that accomplishes what it set out to do, make an updated version of a traditional Irish album that is both a lot of fun and delivers on an emotional level as well. And Jake Burns' personality shines through as well. If you like traditional Irish music and want to hear something a little different this could be for you. Certainly I am a little biased, as in my view Stiff Little Fingers is my favorite Irish band ever and Jake Burns is a musical hero of mine. So take that into account when you read this view.
Word on the SLF website is they are currently working on a new album. They are also touring the U.K. as we speak, so if they are playing in your area, go check out one of the great punk bands. They are absolutely great live, particularly when they play the early songs--the crowd goes crazy, everyone is shouting along with the band, and you feel the adrenalin rushing and electricity crackling back and forth between the band and the audience. Believe me, get out there and see this legendary band if you get the opportunity!!
The album begins with a nice little uptempo version of Van Morrison's Domino. Definitely a happy party starting beginning. But this is not merely a covers album. Of the eleven songs here, seven are originals. The title song Drinkin' Again is a fun jaunty Poguesy sounding Celtic-country hybrid undercut with melancholy lyrics;
Give me rum, give me vodka,
give me brandy, give me beer
Give me the chance of some amusement
The chance of some amusement
The chance of some good cheer
Newcastle Brown, I'll drink it down
To the dregs, I'm Hell on legs
I'm drinkin' again....
More traditionally Celtic sounding yet similarly themed is Half Past Dead, about a night out on a bender and the dreading anticipation of awaking next morning. Other songs are historically themed such as the cover of
The Green Fields of France by Eric Bogle, the anti-war anti-imperialistic themed Right To Fight and the bittersweet reminiscing of V.E. Day. He sings poignantly about the Irish Diaspora of the 19th Century in Land of Opportunity. Burns is in fine voice throughout. He does justice to the traditional ballad
Cliffs of Dooneen, as well as the updated version of The Well Below The Valley. Burns adds to the tradtional canon with his excellent love lament Lancashire Rose.
Probably my favorite song here is his reworking of Belfast 14, originally from his Jake Burns and the Big Wheel from the 80's. One of his more personal songs, it sounds like it was probably an outtake from the Now Then.... sessions, one of SLF's most underrated albums and their most pop sounding album. It's about being a kid having to grow up in a war zone, without prospects and hope, and all the terrible consequences that it entails. It's a gem of a song and unusually revelatory, as after their first album the band made a decision not to make overtly political music. ( And I can't blame them for not wanting have any responsibility for any more lives being destroyed).
Overall, Drinkin' Again is a pretty decent album that accomplishes what it set out to do, make an updated version of a traditional Irish album that is both a lot of fun and delivers on an emotional level as well. And Jake Burns' personality shines through as well. If you like traditional Irish music and want to hear something a little different this could be for you. Certainly I am a little biased, as in my view Stiff Little Fingers is my favorite Irish band ever and Jake Burns is a musical hero of mine. So take that into account when you read this view.
Word on the SLF website is they are currently working on a new album. They are also touring the U.K. as we speak, so if they are playing in your area, go check out one of the great punk bands. They are absolutely great live, particularly when they play the early songs--the crowd goes crazy, everyone is shouting along with the band, and you feel the adrenalin rushing and electricity crackling back and forth between the band and the audience. Believe me, get out there and see this legendary band if you get the opportunity!!
Wednesday, March 2, 2011
Everybody Has A Song In Them!!--Damien Dempsey--The Rocky Road--A Classic For St Patrick's
The Rocky Road is the most recent album by Irish Folk Singer Damien Dempsey. It is a collection of mostly traditional Irish music, and it makes a perfect accompaniment for St Patrick's Day festivities. Dempsey's booming powerful voice is impressive and the songs he chose to perform range from historically themed to love songs. Though he is a huge star in Ireland, winning scads of Meteor awards over the past decade he is not so well known on our shores. I saw a review of this album in Uncut Magazine and decided to give it a try, and believe me, I was well rewarded. He is an artist with a lot of passion, socially conscious, with great empathy for the less fortunate. Just recently he made his acting debut in the film Between The Canals, playing a fictitious Dublin crime boss. The film is being released in Ireland this month.
On The Rocky Road, Dempsey is ably backed by veteran musicians, including John Sheahan and Barney McKenna from The Dubliners playing fiddle, and Banjo & Mandolin respectively. Eamonn DeBarra plays whistle/Flute/Bodhran/Harmonium/Piano. John McLoughlin is on bouzouki/mandolin/guitar and John Reynolds plays drums. Dempsey leads with The Rocky Road To Dublin, and he does justice to a great old classic. He reminisces about the song in his liner notes...
"At these house parties I've heard my mother and father, both brothers, uncles, aunties and grandparents sing their favourite songs unaccompanied. Sometimes we didn't always hold the tune or our voices cracked but you weren't left alone till you sang at least a verse of something and once you sang with passion it didn't matter how good or bad your voice was, the room would love you. Everybody has a song in them and the singsong is a vital and wonderful link to our past that I hope will carry on through the ages."
It really is a great quote and it just says so much about tradition in this country. When I listen to Irish music I can't help but feel the great level of profound sadness in the songs. But then I think of people, family, friends, being together, singing together, commiserating. People doing this today, as they did a century ago, maybe back before recorded history. And then I think of a culture where it is expected that people participate and perform and how finely honed these lyrical gifts have developed in a culture. And this is from a group who've had an extremely raw deal handed to them over the years as we all know. Music can form an indelible bond and can even help create a national identity.
I also appreciate that on this album he performs the Shane McGowan classic A Rainy Night in Soho. Because Shane is a great songwriter and he is part and continuation of the great Irish musical tradition. McGowans lyrics can contain such profound imagery and expressiveness that hold up with just about anyone out there. But I will say one thing. I saw him perform on Randall's Island one summer about ten years ago and he was so stinking bagged that he could barely stand much less perform and was rude to an adoring audience. It was pretty embarrassing and sad. There is nothing charming about somebody who is a complete wreck and no longer a young man. I hope that he has managed to straighten out a bit--it's a waste of profound talent, like lightning captured in a whiskey bottle.
Some of the other highlights include the ironic Schoolday's Older, where school end's and time to begin hard labor, toiling as a colliers in the mine pits. Very nice fiddle riffing on this number. Dempsey goes a capella on The Twang Man, a traditional number loaded with slang from 200 years ago. Quite moving is the song The Foggy Dew recounting the 1916 Irish uprising. But one of my favorite moments is the proud defiant tone of The Hot Asphalt. Also great is The Hackler From Grouse Hall/The Monaghan Jig and the lovely ballad Night Visiting Song.
So if you like traditional music or are simply looking for something new to listen to on St Pat's this could be just the thing for you. And if you like this album, Dempsey has plenty more nontraditional albums that are equally great like Shots and Seize the Day, or Live at the Olympia. Seriously, this guy has a fantastic voice, is supremely talented, tough yet tender hearted; one of the good guys. Check him out or lose out.
On The Rocky Road, Dempsey is ably backed by veteran musicians, including John Sheahan and Barney McKenna from The Dubliners playing fiddle, and Banjo & Mandolin respectively. Eamonn DeBarra plays whistle/Flute/Bodhran/Harmonium/Piano. John McLoughlin is on bouzouki/mandolin/guitar and John Reynolds plays drums. Dempsey leads with The Rocky Road To Dublin, and he does justice to a great old classic. He reminisces about the song in his liner notes...
"At these house parties I've heard my mother and father, both brothers, uncles, aunties and grandparents sing their favourite songs unaccompanied. Sometimes we didn't always hold the tune or our voices cracked but you weren't left alone till you sang at least a verse of something and once you sang with passion it didn't matter how good or bad your voice was, the room would love you. Everybody has a song in them and the singsong is a vital and wonderful link to our past that I hope will carry on through the ages."
It really is a great quote and it just says so much about tradition in this country. When I listen to Irish music I can't help but feel the great level of profound sadness in the songs. But then I think of people, family, friends, being together, singing together, commiserating. People doing this today, as they did a century ago, maybe back before recorded history. And then I think of a culture where it is expected that people participate and perform and how finely honed these lyrical gifts have developed in a culture. And this is from a group who've had an extremely raw deal handed to them over the years as we all know. Music can form an indelible bond and can even help create a national identity.
I also appreciate that on this album he performs the Shane McGowan classic A Rainy Night in Soho. Because Shane is a great songwriter and he is part and continuation of the great Irish musical tradition. McGowans lyrics can contain such profound imagery and expressiveness that hold up with just about anyone out there. But I will say one thing. I saw him perform on Randall's Island one summer about ten years ago and he was so stinking bagged that he could barely stand much less perform and was rude to an adoring audience. It was pretty embarrassing and sad. There is nothing charming about somebody who is a complete wreck and no longer a young man. I hope that he has managed to straighten out a bit--it's a waste of profound talent, like lightning captured in a whiskey bottle.
Some of the other highlights include the ironic Schoolday's Older, where school end's and time to begin hard labor, toiling as a colliers in the mine pits. Very nice fiddle riffing on this number. Dempsey goes a capella on The Twang Man, a traditional number loaded with slang from 200 years ago. Quite moving is the song The Foggy Dew recounting the 1916 Irish uprising. But one of my favorite moments is the proud defiant tone of The Hot Asphalt. Also great is The Hackler From Grouse Hall/The Monaghan Jig and the lovely ballad Night Visiting Song.
So if you like traditional music or are simply looking for something new to listen to on St Pat's this could be just the thing for you. And if you like this album, Dempsey has plenty more nontraditional albums that are equally great like Shots and Seize the Day, or Live at the Olympia. Seriously, this guy has a fantastic voice, is supremely talented, tough yet tender hearted; one of the good guys. Check him out or lose out.
Subscribe to:
Posts (Atom)