My mate can drink 3 pints of lager through a straw in less time than it takes to boil a kettle.
According to some, this makes him a ‘legend’.
Brian Wilson is regarded by many as a ‘genius’.
I would argue these labels have caused problems for both men and have probably influenced their behaviour and probably not in a good way.
Fortunately, these days, Brian Wilson is old enough (73) and wise enough to realise that Einstein was a genius and yer man Brian Wilson is extremely good at what he does and what he did. It kind of takes some of the pressure off.
Crushed up against the barrier for one of a very small number of UK dates at the ‘Together The People’ Festival in Brighton on a soaking wet and windswept evening that screamed ‘Autumn!’ very loudly isn’t really the vibe you want upfront of the appearance of the guy most responsible for connecting music and summer in America in the sixties, but this is Britain after all, and all that a temperate climate implies. Or to put it another way I’m cold and wet and I really hope this is worth it.
The ensemble set-up is promising though, with a massive array of instruments you aren’t likely to see at many festivals this year. This is perhaps unsurprising as Wilson’s band intend to recreate “Pet Sounds”, the 1966 album which forced the Beatles to ‘up their game’; a fantastically complex concoction which even with today’s technologies must be a challenge to present. For it is 50 years since Brian Wilson recorded “Pet Sounds”, and this tour honours that landmark.
It is also a ‘good sign’ when the best part of a dozen musicians troop on, including The Man Himself and fellow founding Beach Boy Al Jardine, who is so fabulously wealthy he CAN’T be doing this for the money. This clearly isn’t going to be a bargain basement cabaret trip. These boys look like they mean this.
But what are we going to get? Fabulous though it is, the album is not two hours long. Intentions stated straight away, though and after the briefest of intros Wilson announces the band’s intention to start with the ‘finest record The Beach Boys ever made’ – a sentiment Al Jardine seemed to concur with – “California Girls”. Cue the mellotron-style opening and flatulent orchestration, which sounds like distilled essence of summer, and off we go. Rinky-dinky, rinky dinky, rinky dinky, rinky dinky, Game On, we’re off and running. “I Get Around”, ”Shut Down” and “Little Deuce Coupe” in short order, followed by Jardine taking the lead on “California Saga”.
So, twenty minutes in and we’ve already had songs about girls, cars, California surf culture. That’ll do me, lads, we can all go home happy now. Quit while you’re ahead.
On, then, troops Blondie Chaplin, a South African guitarist who was a Beach Boy for a year or so in the early 70’s. He’s a real old Les Paul-totin’ rocker and he’s been in with the Rolling Stones, Bonnie Raitt, and insert name here. Some observers have been a bit unkind about his contribution to the tour but I must say I really think it added a bit of mid-set ‘grit’ to proceedings and he made a fine job of “Wild Honey” and the massively under-rated “Sail On Sailor”.
After that Wilson introduces the “Pet Sounds” section of the show, slightly apologetically announcing that we’ll be back to some good old rock n roll later; but for now, the band will present us with the more personal and intimate delights of probably the most influential American album of the sixties (a claim I make despite the fact it took America about two decades to realise this).
And sure enough that’s exactly what they do, from the angel’s harp and six-ton drum strike which announces “Wouldn’t It Be Nice”, through the Folkeoke of “Sloop John B” and the song which Jardine blithely reminds us is Paul McCartney’s favourite song, the majestic, dignified and perfect “God Only Knows” through to the crystalline beauty of “Caroline, No”, complete with the audio train charging across the stage marking the end of the album with the barmy barking dog et al.
And did they pull it off?
Too right they did.
But how? It is no secret that the ageing process and the difficulty of the journey has robbed Brian Wilson of some of that fabulous range and vocal flexibility. He also seems to need a bit of help with the lyrics, using a sight screen linked to a tablet computer. No shame in that. That’s just using technology to support what you’re doing. No different to using a PA system or an FX pedal. And he has another formidable weapon in his armoury as well. He’s in fine voice trucking through the mid range sections of the likes of “California Girls” but when it all gets a bit much he chucks the ball across to Matt Jardine, who was pitch-perfect all night and reached the places which a 73-year voice could no longer be reasonably expected to scale (and in fairness, sometimes never did; many of the most striking voice parts on the original recordings weren’t Brian Wilson).
He’s also got Al Jardine. We were warned upfront of the tour that he might not be at all the dates, but I don’t see how. Quite apart from his audible contributions to proceedings he did seem to be a key part of Traffic Control on stage; a lot of what happened seemed to be going ‘through’ him and if that’s the case then you can call me Al, for this was a masterclass.
And Wilson’s penultimate secret weapon; the band. With a total age somewhere around 10,000 years or so they are probably the oldest collective I have ever seen at a rock gig; but what you get is the sum total of a great many misspent youths. If I were Brian Wilson, even if I reached the point where I couldn’t sing anymore or tinkle the ivories I’d probably still want to tour with them just for the sheer joy of hearing my compositions played before a live audience with such love and craft. They are very special musicians.
All great musicians attract the best musicians. That’s a given. But these are something else. At times the sound from percussion, through keyboard to the bass sax and back through the spectacular control of the often mind-boggling bass guitar parts, was breath-taking.
And the final clincher is the material. “Pet Sounds” played live is an earth-shattering experience. And to think this guy created this when he was only 23. It is a work of, errm…..
And just in case anybody thinks it is home time; how about “Good Vibrations”, “Help Me, Rhonda”, “Barbara Ann” – played more rocked-up than I recall and evoking the ‘garage’ feel of the original version by The Regents – “Fun Fun Fun” and a balls-out “Surfin’ USA”. Ensemble bow, no encore, PA system plays “Beach Baby” by British band First Class, and a slightly stunned and absolutely soaked clutch of folks make their way back through the Brighton mud.
Now hear ye. We’re in the 90th minute with this now. Catch this tour. I don’t care what you have to do. Go to Oslo if you have to. Yes, Brian Wilson will barely move throughout the evening. Yes, his voice isn’t capable of doing all the things it did a while ago. But…..the body of work, the range of songs played, the virtuosity of the band, the sheer richness of the sound. And the voices. The Voices, plural. Unfortunately due to the age-related limitations I’ve already referred to I can’t give this the 5-star review it probably deserves because as I’ve said before, you can only review what is in front of you. But it was pretty clear to me I had been in the presence of genius.
Damn. That G – word again. Sorry, Brian.
We’re big fans of Bob Malone here at MusicRiot so when I got the chance to meet up for a chat on the final night of his UK tour it was a bit of a no-brainer. Bob’s been in the UK for three weeks touring in support of his “Mojo Deluxe” album and the “Mojo Live” DVD and The 100 Club gig was the climax of a hectic tour schedule. So a very noisy 100 Club dressing room is where we got the chance to talk about old pianos, New Orleans and Southside Johnny, among other things:
Allan – So it’s approaching the end of the tour and we met on the first night in Southend. How has it been since then?
Bob – It’s been great; a few funky gigs, a few spectacular gigs and we’ve worked hard. We had a couple of nights where we didn’t have gigs but we still had a radio show or a long drive; we’re a hard-working group.
Allan –Have you had any particularly good gigs?
Bob – This one’s definitely gonna be a good one and Keighley Blues Club, that was a really great crowd and Scotland as well, and we also played on the Isle of Wight.
Allan – I remember when we met in Southend you were talking about Italian audiences.
Bob – They’re full on, right out of the box, from the first song.
Allan –Do you notice any differences in the audiences around the UK?
Bob – Well it sometimes takes three or four songs here. The north is different from the south, as you know. I didn’t until I did these long tours here; England was just England like people think America is just America but here it’s five different countries with completely different cultures.
Allan – Have you played The 100 Club before?
Bob – No, but its reputation precedes…
Allan – How does that feel?
Bob – It feels good. I was soundchecking with the grand piano earlier and the sound engineer had footage of Paul McCartney playing that same piano.
Allan – I think it’s great to see it with the lights up and look at all those great photos around the walls of the people that have played here in the past.
Bob – I love places with history like this; you feel like you’re part of a continuum.
Allan – You’re promoting the Mojo Deluxe album at the moment. What kind of a reception has the album had?
Bob – I think it’s the most press and radio I’ve had on anything I’ve done and it’s my twentieth year of making records, so I’m happy with that.
Allan – After doing what I think of as the day job with John Fogerty, how does this compare? It must be a huge culture change.
Bob – It’s different. I’ve been doing this for twenty-five years; this is what I do, and I’ve been playing with John for almost five years now. With this, so long as the sound man is competent I’m happy. Everyone thinks it must be weird to go from small crowds to big crowds, but it really isn’t. As long as it’s a good musical experience and you’re connecting with an audience; that’s why we play. You can’t really control the size of the crowd and also when I do this it’s a mission; when I play with John it’s his gig. I’m lucky to be there but it’s his gig. I get my solo but other than that, it’s all about him and I’m just in the background.
Allan – Trying to avoid the pyrotechnics…
Bob – Trying not to burst into flames during “Fortunate Son”, exactly.
Allan – So when you’re out doing your own stuff, here and in the States, what would be your ideal band line-up?
Bob – The ultimate, when I’m not touring; when I’m LA, and I don’t have to put people in hotel rooms would be a nine-piece band. I just did a DVD, which I did the way I would like to do it and I had three female background singers, percussionist, drums, bass and guitar. I do a lot of stuff with horns as well, for years I had a horn section, so it would be a nine to eleven piece band and a second keyboard player would be great, to play the organ parts. (If you’re really paying attention, you’ll notice that the total number of musicians is only eight, but there’s a slide guitar player on there as well. I hope your heart isn’t broken by that omission Marty Rifkin.)
Allan – On your own tours, particularly in the UK, you rely on the venue providing the piano. Have you had any horror stories with that in the past?
Bob – Well, usually I carry a digital piano for when there’s no real alternative, but most of the places I play now, if there is a real piano, it’s usually in good shape, but I’ve been to places that had a hundred year old upright and some of the keys didn’t work but I kind of like to play those anyway, just for the challenge. It’s like going in the ring with this old piano and fighting it to see who wins. I love real pianos because they all have personality; the digital ones are handy and they’re light and they don’t go out of tune, but they don’t have much of a personality. They get the job done.
The one in Southend, that’s got some issues. It’s got some broken strings; it’s one that I fight to the death but I like playing it because it’s an old Bösendorfer.
Allan – I did notice a few problems at the soundcheck that night…
Bob – It needs a rebuild, but still I’m glad to see it.
Allan – You’re classically and jazz trained; was there any one thing that turned you into a rock/blues pianist?
Bob – The rock thing came first. One of those things was hearing “Sergeant Pepper” for the first time, so it’s you guys, it’s your fault. Then I heard Billy Joel and Elton John and not very long after that the New Orleans thing, which blew me away, and then Ray Charles and I became a huge student of that stuff but the rock stuff was always there.
Allan – Were you singing right from the start?
Bob – I started singing when I was fifteen probably. I started singing because I wanted to impress a girl I had a crush on. I just played classical piano but “Your Song” by Elton John was the first thing I ever sang in public; I thought ‘She’ll love me if I sing this song’. I was a terrible singer, some people still say I am, but I learned to work with what I have.
You write songs and there are obviously lots of people with better voices than me but when you write songs you have a story to tell and people always respond to the story and sometimes you’re the only person that can tell it.
Allan – We’ve had “Mojo Deluxe” this year, so what’s next on the agenda.
Bob – Well, I’ve got this DVD coming out and the audio from that was so good, we’re thinking of putting that out as a live record next year and I’ll make another new record, so I’ll probably get the live one out next year and in 2017 I’ll have a new studio album. I’ve got to get realistic about this; I’ve got about half the songs I need for another record.
Allan – I interviewed Southside Johnny in July 2014 in London…
Bob – Southside Johnny was also one of the big things in my youth and I should mention this because growing up in New Jersey, we all knew Southside Johnny. This was the 80s and you couldn’t hear that kind of music on the radio at all and so my first real exposure to r’n’b, blues, horn section kinda music was Southside and I learned from that and went back and figured out all the other stuff. He was huge for me.
Allan – When I interviewed him at Shepherds Bush Empire last July, we spoke about his new album “Soultime!” and he said they were aiming to get it out for Christmas 2014 and that finally came out in August this year.
Bob – Yeah, that’s about right. I toured here last year and I had half of “Mojo Deluxe” out as “Mojo EP”. We had finished recording and it was half-mixed and there were some problems and we couldn’t get the other half mixed in time and the promoter said ‘The whole thing is you have a record out for this tour; we can’t get any press without a record’ so we had half a record out as an EP, just in the UK for the tour.
Allan – And that worked really well as a sampler for the album.
Bob – And by the end of last year the whole thing was done but then we needed a three month ramp for the release date to get it publicised and I was touring through the spring, so we just put the whole thing off and it came out almost a year later. That’s how it works. There are so many factors; if you have a lot of money involved, you can get things done a lot quicker. On a limited budget, you still need time to publicise, so you often end up delaying.
Allan – One final question; do you have one song that tears you up and gets you really emotional?
Bob – Yeah, “One for my Baby”, the Sinatra song; that one kills me every time. It depends on the day; it could be something else on another day.
Allan – Thanks very much, Bob.
And there you go; a private audience with the great Bob Malone, who was as entertaining offstage as on. Since we spoke, I’ve had a chance to watch the “Mojo Live” DVD and it’s superb, capturing the magic of a one-off performance absolutely perfectly. It has great performances from all of the musicians and it’s a whole load of fun; keep an eye out for it.
Every year there are hundreds of music-related books published, mainly biographies or autobiographies and they range from the very serious to the completely frivolous and from very well written to ‘see me after school’. These might not all have been published in 2014, but they were all on this year’s reading list. These books are all highly recommended if you’re interested at all in the background to the tunes you listen to or bands you go to watch, or even if you just want scurrilous anecdotes about sex and drugs. I’m making no attempt to rank these because they’re all so different, so, in no particular order:
“Isle of Noises” -- Daniel Rachel
This is the serious one. It’s a series of interviews with famous (mostly) British songwriters which explores the ways in which songwriters work. It’s incredibly well researched (even some of the artists point that out) and obviously a labour of love for Daniel Rachel; if you have any interest at all in how songs are written, this is a great read. Don’t expect to discover the perfect songwriting method because you discover very early on that everybody writes differently. The writers being interviewed cover a wide range of styles ranging from the Sixties to the present day, so the scope of the project is enormous. Every time I meet someone who’s read it, we compare notes about which songwriter comes over as the most pretentious.
The stories from the punk era alone would make this worth reading (guitarist in The Slits, friend of Sid Vicious and girlfriend of Mick Jones) and there are plenty of tales of bad behaviour, but the latter part of the book tells us much more about Viv Albertine and her struggles to have a baby, to beat cancer, to survive a failing marriage and to take up guitar again and re-invent herself as a solo artist (her album “The Vermilion Border” was released in 2012). If you need confirmation of the entrenched sexist attitudes of the music and publishing businesses, you’ll find it here.
It’s difficult to see this as anything other than attempt to address some of the claims made by Peter Hook in his two books, but Bernard obviously feels hurt by some of the things that have been said and wants to let the public hear his (and New Order’s) version. The terse prose style is a stark contrast with Hooky’s “man-down-the-pub” delivery; there’s no grandstanding and a lot of self-deprecation in this memoir. Bernard seems to have a genuine affection for his ex-bandmate (and friend) and the over-riding impression the book leaves is of puzzlement at Hooky’s recent actions. The only jarring note is the inclusion of a transcript of a hypnosis experiment with Ian Curtis; I’m not sure why it happened in the first place, and I’m not sure why it was published. Other than that, a good read.
Tom Doyle has correctly identified a gap in the market for a book dealing with Paul McCartney’s immediate post-Beatles life (Peter Doggett’s “You Never Give me Your Money” focusses on the financial shenanigans of the period and the breakup of the relationship with John Lennon) and, perhaps surprisingly, he got Macca’s full co-operation with the project. Although there are some anecdotes which are excruciatingly embarrassing for the subject, there’s still a nagging little doubt that he’s manipulating the project at times. What the book clearly shows is that during that period, Paul McCartney’s decision-making was inconsistent and sometimes bizarre (trying to take a huge amount of dope into Japan, for example) and that he has a need to control situations and these two things, singly or combined, are the cause of most of the incidents covered. It’s a fascinating read, although it’s still not clear whether he’s man running away from or towards something.
This is the second volume of Danny Baker’s memoirs and, unsurprisingly, the written Danny Baker sounds very much like the radio and TV Danny Baker. He uses the preface to explain why he won’t be writing a misery memoir and the introduction to explain the reason for the wonky chronology between the two books (after the first book was published, friends and family reminded him of stories he’d left out, including being shot up the arse in Bermondsey). It’s a romp through the crazy world of Danny Baker up to the point where he was sacked from “Pets Win Prizes” and is full of hilarious, mainly self-deprecatory anecdotes about his domestic and professional life. There are some genuine laugh-out-loud moments and it entertains throughout.