Steve JThis is one that’s always worth waiting for. Steve Jenner’s a Director/Presenter for Ashbourne Radio and High Peak Radio and his occasional pieces for MusicRiot are always entertaining and packed with insider insight. This is Steve’s brief summary of the highlights of 2015.

Blimey -- it’s nearly Christmas and everything and I ain’t done nuthin. And I promised Allan a High Fives. OK; here we go.

 

Georgie FameBest old guy doing a live set – Georgie Fame

I went to the O2 for BluesFest 2015 and Georgie Fame was playing in the afternoon in what amounted to the foyer. We only just missed him being inducted into his town’s Hall Of Fame when we headed North for our tour of same on our boat during the awful summer but the tickets had sold out so it was a rare treat to see him in London.

He is possibly the coolest 70 year old in the world. He plays this huge organ thing and plays the bass bits with the foot pedals as there is no bass player. He did some lovely Ray Charles bits and did his classic “Yeah Yeah” annexed to “Green Onions” which predictably had me blubbing but also did a gorgeous, and I mean gorgeous, version of ‘Funny How Time Slips Away’ with a couple of nods to “Sitting In The Park” which I would have crawled miles to hear. Yer Man Georgie, he understands.

Yes, he looked grumpy and shouted at some guy who filmed him for a bit too long in order to post some awful clip on the Tube but at the end of it a fine band, fronted by one of music’s originals, played a fine set in the capital to an audience balanced finely between the diffident and the knowing. I rate it as one of my finest half hours of the year. You can do what you like.

Soultime TitleBest Album – Southside Johnny and The Asbury Jukes – “Soultime!”

Oh, just listen to the bloody thing. It is gorgeous. The more you listen to it the more you realise it is a work of genius. In a soulless year, it drips soul, and hunger and desperation and love. Yes, I do use the four letter word in terms of the raw soul excavations of these musicians. So it isn’t sexy in conventional terms. I read Michael Herr’s ‘Dispatches’ while I Iistened to this with a Vietnam reflex but you can do what you like. But do listen to it.

Ian Siegal ScrollerBest Live Set – The Ian Siegal Band

He really was the best of a very good bunch at the Prudential Blues Fest 2015 at the O2. He also did the best line in put-downs for those who chose to carry on bowling in the adjacent alley. The Blues Band came a close second.

I first interviewed Ian Siegal on a pirate station in Nottingham in the very early nineties. When he arrived at our studio he was in a bit of a state but hey, was he special.

And many years later, he remains so. His band picked their way through James Brown to Cajun through to and perhaps more significantly chicano rock ‘n’ roll, and the blues kept rearing its exceedingly ugly head. He’s older now than when I saw him last (Bill Wyman’s Rhythm Kings in Buxton) but he’s also a sadder and wiser man. And that just feeds them blues. I loved it and was proud to see him take London by storm, which he did. You can do what you like but if you don’t catch this guy and his band in 2016, you is missing out and you deserve to.

Frank SkinnerBest broadcasting jolly – RadioCentre inviting me to the Radio Academy Hall Of Fame Dinner and Presentation in Birmingham

And why should I say so? Because I sat on the next table to Frank Skinner, who was inducted, and was introduced by Adrian Chiles, and both of them were hilarious. Also Pete Tong and Victoria Derbyshire and Nihal Arthanayake, but to be honest it was all about Frank Skinner who was cripplingly funny. It is indeed strange how some folks who ain’t really radio broadcasters, become so. Also I got to meet inductee Tony Butler, the guy who Invented and I mean invented, the football radio phone in. Radio phone-in question eg; ‘What is green?’ After 2 hours – Answer – ‘Grass, Tony’. ‘Correct’.

Wonderful. The guy is A Legend. Sony Lifetime Award 2007. Born 1935. You can do what you like but if you manage to do it as long as this guy did, well, power to you.

Ben E KingBye 5 2015

Ben E King.

Loads of contenders this year and you can do what you like -- but I have spoken.

“Stand by Me”. Statement of pride, solidarity, and faith in people. He was lead singer with The Drifters around the time of “Save the Last Dance for Me” and was one of the Atlantic soul stable who sang with dignity, class and quality. He also gave a significant proportion of his earnings to local charities.

I was on the guest list in Derby in 2013 when he toured with Gary US Bonds. Time stopped during “Stand by Me”, but during “Spanish Harlem” I almost burst. Timeless, timeless beauty, you see. And it is slipping away. And here comes 2016.

And there’s your High Five for this year.

 

Ronnie TitleThere’s a couple of interesting tours coming up in late November/early December that we really thought we should share with you. First up is a tour by the absolute legend Ronnie Spector with her “Ronnie Spector Sings the Fabulous Ronettes” tour, featuring the greatest Ronettes hits, including “Me My Baby”, “Baby I Love You”, “Do I Love You” and “Wallking in the Rain”, plus Jeff Barry/Ellie Greenwich/Phil Spector originals that became hits as covers, such as “I Can Hear Music” (Beach Boys) and “Chapel of Love” (Dixie Cups). The tour follows the release earlier this month of “The Very Best of Ronnie Spector” on Sony Music.

As if that wasn’t enough, Ronnie’s also working on her new album “English Heart”, a set of covers of songs by the sixties British invasion bands including The Beatles, The Stones, Gerry and the Pacemakers and The Animals which is scheduled for release in April 2016 on 429 Records. If you want to see the greatest hits tour, Ronnie’s doing the following dates:

November 28                    Philharmonic Hall            Liverpool

November 29                   Royal Concert Hall          Glasgow

November 30                   The Sage                             Gateshead

December 1                        Town Hall                           Birmingham

December 3                        The Barbican                      London

December 4                        Colston Hall                       Bristol

In early December, the European leg of the Light of Day tour comes to the UK. The Light of Day Foundation is a charity raising funds for research into Parkinson’s and related degenerative diseases, which originated in New Jersey in November 2000 and has been supported by many performers including Bruce Springsteen (whose song gave the Foundation its name), Michael J Fox, Southside Johnny, Darlene Love, Willie Nile, Jakob Dylan, Lucinda Williams, Badly Drawn Boy and Gary ‘US’ Bonds.

The headline band for the UK tour this year is Joe D’Urso, Vini ‘Mad Dog’ Lopez, Eric Bazilian, Ed Manion and Jake Clemons. If you want to see some incredible musicians and donate some cash to a very good cause, then you can catch the Light of Day tour on the following four UK dates:

December 4                                        Oran Mor                                            Glasgow

December 5                                        TAPE Arts Centre                               Colwyn Bay

December 6                                        The Musician                                      Leicester

December 8                                        The Half Moon, Putney                  London

You should catch both of these tours if you can, and maybe we’ll see you at The Half Moon for the Light of Day gig.

Wrecking Ball tourOn Tuesday Hampden Park was blessed with one of the most gorgeously sunny days seen all year and a fittingly spectacular concert. For three and a half hours, Bruce Springsteen used his usual magic to turn Scotland’s national stadium into the most intimate of gig venues through a mixture of well-known hits, lesser-known wild cards, sing-alongs and a masterful command of the art of audience participation.

This concert was particularly notable for being on the two-year anniversary of Springsteen’s long-running saxophonist, Clarence Clemons’, death. This occasion was marked by “My City of Ruins” returning to the setlist after being  in semi-retirement for some months. The singer told the crowd to dedicate it to anyone they might be missing in their life and once he began singing the line “when the change was made uptown…” over and over, a line lifted from “Tenth Avenue Freeze-Out”, a song which details the first meeting of Bruce and Clarence, it was clear where the sentiment was coming from.

As surprising as the return of “My City of Ruins” was, the fact that this was one of the lesser shocks of the evening illustrates just how unpredictable and consistently wild Springsteen shows have always been. After the opening “We Take Care of Our Own” and an unexpected “The Ties That Bind”, Bruce immediately dove into the audience fetching sign requests that have become so standard in the touring process. After collecting what seemed to be at least six (including this reviewer’s own!) he called upon the band to play the almost unknown “Jole Blon”, a cajun traditional which he had recorded with golden oldies singer Gary U.S. Bonds. He described it beforehand as a “band stumper” but given the level of performance the E Street Band gave it was hard to tell and any fans left unknowing of the track were singing the “sha-la-la” chorus by the time it was over. From here, two more requests took place in the form of the early-career “It’s Hard to Be a Saint in the City” and post-2000 “Radio Nowhere”. It was as if Bruce was trying to show how any request no matter how old or unexpected could be pulled off with a great deal of ease.

One might think that with a show as unpredictable and career-sprawling as this, it could end up feeling directionless and inconsistent but watching, it seemed that every step of the way seemed to be very carefully calculated. The request of “I’m on Fire” into “Tougher Than the Rest” flowed perfectly and when “Atlantic City” and “Murder Incorporated” followed, the thematic and musical fluency was so astounding it was as if this setlist had been planned and rehearsed for weeks.

Throughout the night, the New Jersey singer seemed to be in great spirits, copying the dance moves of anyone who seemed to have a particularly visible groove in the audience and sharing banter with anyone who seemed to have something to offer. At least four fans managed to get up onstage: two women were pulled up for a dance during “Dancing in the Dark” as well as a younger girl getting to play guitar and sing backing vocals on the same track (but not without taking a few pictures while up there). During “Waitin’ on a Sunny Day” Bruce performed the usual ritual of letting a small child sing the chorus through a few times before shouting “come on, E Street Band!” and kicking the song off again. A boogie-woogie version of “Open All Night” showed  Springsteen promising to have everyone in the stadium on their feet within thirty seconds, a promise which was very easily kept.

The night seemed to go on forever and in the least tedious way possible. And just when it seemed it was all over after the poignant tribute to Clarence Clemons in the form of “Tenth Avenue Freeze-Out”, Bruce let everyone know that this was far from true. “Oh, we ain’t done yet!” came the cry and so the house party was extended through the devices of covering both “Twist and Shout” and “Shout”, especially meaningful given Scottish singer Lulu’s successful version. No party, including the band, seemed to want the marathon gig to end. Even following this and the exit of the band from the stage there was one more surprise for the still eager Glasgow audience: a “rock and roll lullaby” as Bruce put it in the form of a solo acoustic “Thunder Road”, one final heartfelt sing-along before the stadium collapsed with exhaustion and satisfaction.

On a more personal note, walking out of the venue myself and those I had attended it with were literally speechless. Watching a Springsteen concert feels less like being at a gig sometimes and more like some sort of religious enlightenment. To think nights like this happen up to 100 times a year and have been occurring for around 40 years is extraordinary. I whole-heartedly pray more than anything else to do with the music industry that these sort of shows remain a constant for a good while longer.