It’s a bit of a momentous occasion; it’s the tenth birthday of High Fives and it’s also the first year of proper post-COVID gigs. That has to be worth celebrating, so we thought we would celebrate with a look back at some of the artists that Allan has photographed for the first time this year. Some of them are artists that he’s seen for the first time in 2022, but some of them have a story that stretches back a few years (OK, a lot of years). We’ll leave it to Allan to tell you about his photographic selections.
I’ve learnt over the years that you can never predict the way things will play out in the music business. Here’s a good example; the very first proper gig I saw was at Mansfield Civic Theatre in 1974 and the headliners were Brinsley Schwarz. I’ll never forget it because there was a stage invasion by a gang of Hell’s Angels which was beaten away by the road crew and the band (particularly Nick Lowe); it took a while to realise that gigs weren’t always like that. A few years later, I had photographed all of the Brinsleys in various incarnations with Graham Parker and Rockpile, except Brinsley himself. Fast forward four decades and a photo that I shot of Martin Belmont playing with Graham Parker and the Goldtops is used to publicise a Bob Collum gig that features a guest appearance by Brinsley Schwarz trying out new material and I get an invite to the gig and the opportunity to tell Brinsley why the stage invasion happened nearly fifty years ago and also get a chance to grab a backstage candid shot of Brinsley, Martin and Graham.
It’s another Seventies memory. One of the two football teams I grew up supporting was Mansfield Town, because I lived there from 1968 (the other’s East Fife, if you’re interested). In 1975, the DJ at Field Mill played Randy Edelman’s brilliant cover of Unit Four Plus Two’s ‘Concrete and Clay’ before every game; it was a pop classic and perfect football terrace material. It was followed up in 1976 with ‘Uptown, Uptempo Woman’ and I was completely sold. Randy then went on to write scores for incredibly successful movies. Fast forward again to 2022 and live music promoter Tony Moore tells me about a new club he’s booking artists for (The Camden Club) and that Randy Edelman is doing a free gig there. I’m already on it even before I find out that Isabella Coulstock is doing a support set. Anyway, I get to hear a great version of ‘Concrete and Clay’ and grab a few shots of Mr Edelman. Job done.
In June this year, I was shooting a gig at The Camden Chapel. The wonderful Say Anise was headlining and had invited Frankie Morrow along as support. The Chapel’s one of those gigs where I like to grab a few soundcheck shots as insurance because the lighting can be a bit challenging during gigs. During the soundcheck I had a chat with Frankie and, as fellow Scots, we got on pretty well. She turned in a storming solo set as support to Say Anise and I was hooked. Frankie told me about upcoming full-band gigs to promote her new EP and I was all fired up to photograph her with the full band before COVID got in the way and the gig was pushed back to November. It was no surprise that the band gig was stunning when it finally took place at The Sebright Arms a few days ago. Frankie’s definitely one to watch for 2023.
I’d heard lots of good things about Jenny Colquitt this year but, because of gig clashes, I didn’t manage to see her play until November when she played a headline set at Green Note supported by Simon James. Everything I’d heard about her was absolutely right; Jenny has great songs, her guitar and piano backing are both spot on and her voice has tremendous power even though she was recovering from a heavy cold and felt that her voice is only at about seventy per cent. I can’t wait to hear it at a hundred when she does the band tour next year.
Last, but definitely not least, in the list of this year’s discoveries is Amy Taylor. At the end of April, I went to a So Live Sessions showcase at Escape Bar in Dalston, mainly to catch up with Cloudy Galvez who was recovering from long COVID and gradually rebuilding her live career. If you do a lot of showcases, you see a lot of bands and it’s easy to get a bit blasé about supporting artists. Amy Taylor wasn’t about to let that happen and it was her original material that made an instant impact; she’s a gifted songwriter. She’s also a classically-trained pianist who also plays guitar and she’s only been singing publicly since the start of this year. Anyway, I was totally blown away by Amy’s soulful songs and powerful vocals and I’ve been telling people about her ever since that gig. I would love to say that I spotted the reflection of the earring on Amy’s cheekbone that completes the picture, but I didn’t spot that until it was on the 28” monitor. I’ve seen her several times since then in all sorts of venues and she’s nailed it every time. You should give her a listen; I suspect she’ll be doing a lot of gigs in 2023.
It’s become pretty much a tradition over the years that the first contribution to appear in our annual High Fives comes from Neil Sheasby, bass player and co-songwriter, along with Neil Jones, of British soul legends Stone Foundation. There’s a reason why Neil’s contribution usually opens the feature – he’s always the first one to reply when we ask for contributions. Simple. Congratulations are in order as well this year as Stone Foundation prepare for their 25th anniversary in 2023.
Music I think it’s been a really strong year for new releases, I’ve heard some great albums over the past 12 months, very complete pieces of work but if I have to select one to wear the crown then it will be Drugdealer – ‘Hiding in Plain Sight’. Golden grooves that embrace that warm LA / FM sound, dare I say it’s Yacht Rockin’ territory. Yes, it sounds like 1974 but surely that’s cool? Well, if you dig the Dan, Little Feat and even hints of Lowe & Lynott then it’s time to get your fix.
Vision I got hooked on a series called “This is Us” on Amazon prime, there’s about 9 seasons of it so it’s unusual for me to commit to something so lengthy but I got recommended it by my friend Mark who owns Loafers record shop in Halifax and I watched the first couple and was hooked. It’s all about the lifespan of an extended family and we watch their journey unfold from cradle to the grave. It’s emotional!
Reader
Jarvis Cocker’s book ‘Good Pop, Bad Pop’ really struck a chord with me.
It’s not a life story but a loft story where he delves up into his attic to find treasures such as tickets, clothes, photos and souvenirs that really map out his life. Anyone that follows me on social media will be aware that I have a fairly hefty archive of ‘stuff’ stashed away up in my own loft so I could really identify with Jarvis and his plight of what to keep and what to bin.
Personal
On a personal note I found our Stone Foundation gig at Koko in Camden in November to be a real highlight. I think it was maybe the accumulation of having played every pub and bar along Camden High Street over the last 25 years finally leading to the glitz and glory of the old Camden Palace.
I didn’t really take it in on the night but it hit me afterwards and I was able to process the vision and noise of that audience crammed over three floors of the venue. It was humbling and heartening in equal measures. A real moment for us.
Art
‘Grown up in Britain – 100 years of Teenage Kicks’ showing until Feb 2023 at the Herbert Gallery in Coventry. I’m a disciple of The Saturday’s Kids so this exhibition kind of knocked me out.
The Museum of youth culture is an emerging museum dedicated to the styles, sounds and social movements innovated by young people over the last 100 years. Championing the impact of youth on modern society. The Museum has been collecting photographs of youth and subculture movements for over 25 years. From the bomb-site Bicycle racers in post-war 1940s London, to the Acid House ravers of 1980s Northern England, the Museum of Youth Culture empowers the extraordinary everyday stories of growing up in Britain.
And yes…there was a photograph of an 18 year old me featured.
