This 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.
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.
Best 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.
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.
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 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.
It’s time to move away from albums, gigs and photos for a while and take a look at some of the music-themed books that have kept me sane on buses, trains and planes during 2015. By sheer chance, I’ve managed to pick out quite a nice variety of styles and themes, so the selection staggers from light-hearted memoirs through serious autobiography to high technology and serious crime (no, I don’t mean the new Coldplay album). So, as ever, in no particular order, here we go.
There’s a myth that’s been perpetuated about the origins of the current situation where we have a generation that won’t pay for music and a generation that doesn’t even recognise the concept of paying for music. What Stephen Witt’s book achieves is a comprehensive demolition of the myth that file-sharing came about because of some sort of people’s revolution where millions of like-minded people decided to share their digital music collections. This well-researched work picks out the various converging paths ultimately leading to the digital devaluation of music. The book explores the bureaucracy that bedevilled the adoption of a standard compression algorithm, the greed of the major music labels as they rushed into the highly lucrative CD market, the failure of the majors to react to the phenomenon of file compression (and increasing online transfer speeds which made sharing a viable proposition) and the outright criminality involved in stealing and counterfeiting masters from CD pressing plants. It’s a fascinating but ultimately depressing book.
Stuart Cosgrove has picked out a pivotal year in the history of Motown and imposed a structure of a chapter per month (it works pretty well) which sets the upheavals at Motown against a backdrop of riots in Detriot, unrest in the police force and a general national malaise. Berry Gordy plays a central role in the well-known story of Diana Ross’s advancement at the expense of the other Supremes (and the expulsion of Florence Ballard), but Stuart Cosgrove delves deeper into the sickness at the heart of the company, dealing with the unease of major artists and the ultimate defection of the Holland/Dozier/Holland writing/production team. The book goes far beyond music biography by showing these events in the context of a city in meltdown with riots on either side of the racial divide and a brutal, corrupt police force fanning the flames. It’s a fascinating read, although there are far too many typos in the Kindle edition.
Confession time: the first song I performed in public was Creedence’s “Up Around the Bend” in a school band which included some good musicians and a future nuclear physicist, and me. I was a fan from an early age. “Fortunate Son” is John Fogerty’s attempt to put the record straight after accusations and counter-accusations, suits and counter-suits with his former band members Doug Clifford and Stu Cook. The book is unflinchingly honest throughout; John Fogerty isn’t trying a whitewash here. He owns up to his mistakes and errors of judgement and this gives him the right to expose others’ lies and hypocrisy. It’s difficult not to empathise with him in his battles with Saul Zaentz and the former Creedence members: he wrote the songs, after all. “Fortunate Son” pivots around John Fogerty’s meeting with his second wife, Julie, who brought order to his chaotic life and pushed him back towards popular and critical recognition. It’s good, it’s honest, it’s straightforward and it’s delivered in an authentic John Fogerty voice.
Declan McManus has an awful lot of stories to tell and, not surprisingly, he has a gift for writing and storytelling. “Unfaithful Music…” is a cracking read, giving an insight into the creation of some wonderful music, and life in the music business bubble. The book doesn’t follow a straightforward chronological structure; it’s much more like a conversation in the pub with each observation triggering another digression. There are some difficult events to deal with (the Stephen Stills/Ray Charles incident for example) and they’re all dealt with in a very matter of fact way. The book skips over some big chunks of Elvis Costello’s life, but the ones he does tackle are done with honesty and candour. The names that crop up as the story unfolds are a history of popular music, but this never feels like name-dropping, they’re just people who happen to have been around at certain times. This is a wonderful book.
Mark Ellen’s memoir is a breezy and self-deprecating run through a life as a pop journalist, radio presenter, TV presenter and publisher. He gives an inside view on life at the NME in the seventies, The Old Grey Whistle Test and the Live Aid broadcast, all delivered in a jaunty style that’s very easy to read. He’s met and worked with some amazing people (again, it’s all matter-of-fact rather than name-dropping), but being a member of Ugly Rumours with Tony Blair takes some beating. Most of the book is fairly gentle humour, smiles rather than guffaws, but Mark Ellen saved the best for last. His account of the mayhem aboard Rihanna’s ill-conceived and farcical round-the-world-in-seven-days tour made me laugh out loud. The entire book’s funny, but this piece was hilarious.
If you don’t see anything you fancy there, Chrissie Hynde’s “Reckless” and Bob Harris’s “Still Whispering After All These Years” are both well-written and interesting biographies.
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.
You would never guess that “Mojo Deluxe” is Bob Malone’s seventh album; granted it’s packed with the kind of accomplished playing, tipping over into virtuosity, that you would expect from seasoned players, but there’s a vitality and freshness here that wouldn’t be out of place on a debut album. There’s another magic ingredient as well; fun. There’s the odd studio comment left in on an intro or outro, but it’s more than that; this album sounds like people having a good time; the kind of fun you have when you’re doing what you do best, with a bunch of musicians who are tuned in to what you do.
Just like the “Mojo EP”, a sampler for the album released in the UK a year ago, “Mojo Deluxe” kicks open the doors with an electric piano riff and pounding bass on “A Certain Distance” that say ‘Go on, just try and ignore me’. Don’t even try; just surrender to the rhythm and enjoy the ride. You might be willing to forgive a jaw-droppingly good keyboard player with a classic gravelly blues voice if he just phoned in some lyrics to fit the great tunes but, guess what, Bob Malone has that covered as well. “A Certain Distance”, “I’m Not Fine” and “Rage and Cigarettes” all tap into the malaise that afflicts gifted musicians confined with others like themselves on tour; you’re locked into a dysfunctional world where you come to hate your travelling companions, but you hate outsiders even more. It’s not as snarky as Donald Fagen, but then what is?
But, there’s more to life than snark. “Paris” is a gentle love song, overturning the clichés with the message that Paris is all very well, but doesn’t mean anything if your lover’s somewhere else; there’s even the irony of an accordion solo. “Toxic Love” is a love song in its own brooding, menacing way with slide dobro and sinister hissing vocal; it’s an affair you wouldn’t expect to turn out too well. There’s a couple of blues covers as well, the Ray Charles classic “Hard Times”, which gets a very clean modern workout with a punchy guitar solo, and a lo-fi, piano-led version of Muddy Waters’ “She Moves Me”. The instrumental, “Chinese Algebra” is a demonstration of Bob’s piano technique which works equally well with the band arrangement or the solo version that you can find all over YouTube; it’s another one of those bits of fun that spice up the album.
“Looking for the Blues” and “Don’t Threaten Me (With a Good Time)” are both uptempo blues numbers with all the trimmings including horns and backing vocals (even a funky clavinet on “Don’t Threaten Me…”); great fun again. “Watching Over Me” and “Can’t Get There from Here” both have a world-weary gospel feel and bring the album to a satisfactory if slightly melancholy close. And that’s it for “Mojo Deluxe”; it’s an enticing stew of Muddy Waters, Ray Charles, Dr John and mainly Bob Malone. Once you’ve tried it, you’ll be coming back for more.
Bob will be touring the UK with his superb band later this year. Go and see him at any of these venues and see what all the fuss is all about:
Friday October 9 The Railway Hotel, Southend-on-Sea
Saturday October 10 Boogaloo Blues Weekend, Yarmouth, Isle of Wight
Sunday October 11 The Navy Club, Maryport
Wednesday October 14 Dusty’s Blues Club, High Wycombe
Thursday October 15 The Green Hotel, Kinross
Friday October 16 The Blue Lamp, Aberdeen
Sunday October 18 Hope Tavern, West Lindsey
Tuesday October 20 Blues Café, Harrogate
Wednesday October 21 Railway Venue, Bromley Cross, Bolton
Thursday October 22 The Jam House, Birmingham
Friday October 23 Keighley Blues Club
Saturday October 24 Catholic Club, Peterlee
Monday October 26 The Bullingdon (Haven Club), Oxford
Tuesday October 27 The 100 Club, London
Wednesday October 28 The Jazz Café, Cardiff
“Mojo Deluxe” is released on August 21.
We reviewed Bob Malone’s excellent “Mojo EP” earlier this year and a couple of months later we sent Allan out to the badlands of Southend-on-Sea to see the final show of Bob’s UK tour. We were so impressed that we asked Bob to contribute to this feature. Here’s Bob’s festive favourite five:
‘Tis the season, and all that sort of thing; I can’t lie -- I get radically sentimental about the holidays. For most of the year, I bash pianos, sing songs of alienation and heartbreak, and knock out one-nighters like the road warrior that I am, but come Christmakuh, don’t come around here looking for any of that action -- I’ll be busy baking cookies, bitchez! These five records mean a lot to me, and they are what I think of when I think of this time of year.
“A Charlie Brown Christmas” -- Vince Guaraldi Trio Vince was one of the great jazz pianists, with a magical, melodic, understated style all his own. This music is the perfect companion to what was probably most perfect Christmas TV special ever made. You’ll smile, you’ll reflect quietly, you get a little melancholy, and you will dig that swinging rhythm section every year for the rest of your life. Oh, and I have this record on green vinyl -- you know you want one. Timeless.
“The Spirit Of Christmas” -- Ray Charles This record is so good, you don’t even have to wait for the holidays to put it on. Crazy hip arrangements, and Ray singing his ass off and playing a sweet, sweet Fender Rhodes throughout. He even manages to make “Rudolph the Red Nosed Reindeer” sound badass. There will never be another Brother Ray, so bow down and dig. I should note, however, that this record has the widest bad-album-cover-to-great-music spread ratio ever. A book definitely not to be judged by its cover.
“A Very Special Christmas” -- Various Artists This mid 80s collection sold gazillions and is full of great tracks -- Bruce Springsteen & the E Street Band doing the great Charles Brown’s “Merry Christmas Baby” (way cool, but not as good as the 1977 bootleg of Bruce doing “Santa Claus Is Coming To Town,” which just can’t be touched -- I’m from New Jersey -- this shit is IMPORTANT!), Chrissie Hynde’s snow-meltingly sexy version of “Have Yourself A Merry Little Christmas,” and Madonna totally nailing “Santa Baby” -- and I frigging HATE Madonna -- but credit where credit is due. Most importantly, though, it’s got Run -- D.M.C. doing “Christmas In Hollis” -- which just might possibly be the greatest thing ever… “It’s Christmastime in Hollis, Queens, mom’s cookin’ chicken and collard greens…” Yes, Indeed. Oh and speaking of Charles Brown, everyone needs to own “A Very Special Christmas II” just for the recording of his duet with Bonnie Raitt on the aforementioned “Merry Christmas Baby.” It’s the kind of thing Top-5 lists were made for.
“Baroque Masterworks for The Festive Season” -- Württemberg Chamber Orchestra Betcha didn’t see this one coming! Before I discovered rock and roll and the blues, and Return to Forever, and the New Orleans piano professors, and “The Chronic” -- I was an 11-year-old classical piano prodigy and this was one of the first records I ever bought with my own money. It’s got the Pachelbel Canon, and the Torelli Christmas Concerto on it. Just get it. It’ll make you weep.
“Come Darkness, Come Light” -- 12 Songs Of Christmas” -- Mary Chapin Carpenter A dozen original Christmas tunes by one of our great songwriters -- not the normal celebratory, sentimental, or breezy types of things you hear this time of year, they are instead reflective and realistic. When you have that seasonal melancholy, and you need to dig deep -- this is the one you need to hear.
Bob Malone’s one of those musicians that you know you’ve heard about, but you’re not sure where or when; it didn’t take long to find out. Just have a look at his Wikipedia entry for a start. He played keyboards on five songs on one of my favourite albums of 2014, John Fogerty’s “Wrote a Song for Everyone”, and that’s a pretty good recommendation. He’s also a singer, songwriter and arranger who has already released six albums and “Mojo EP” is a UK-only sampler for his upcoming album “Mojo Deluxe”.
With a pedigree like that, you would expect the playing on the EP to be high quality and you won’t be disappointed. With support from Mike Baird (drums), Jeff Dean (bass) and Bob DeMarco (guitars) and a few guest appearances, the playing and arrangements are always on the money. Bob’s voice is perfectly suited to the styles and songs on the EP. He can power out the rock and blues in a raucous style, but also sounds totally convincing on the slower songs, particularly the gospel/blues cover of the Ray Charles song “Hard Times”.
The first track on the EP, the stomping “A Certain Distance”, pulls you in with an electric piano riff and pumping, mainly root-note bass to drive the song along, and it’s one of a couple of songs that explore the gap between musicians (and maybe creative artists generally) and the rest of the world. The brooding, menacing “Toxic Love” is a slow blues which builds slowly from a foundation of bass and drums by adding layers of slide, guitar and keyboards to create a swampy, bayou feel with a hint of early Creedence Clearwater Revival. “I’m Not Fine” is the second of the songs that deal lyrically with the role of the professional musician and the artificial bonhomie of the music business, and it’s boosted by some fine unison guitar and keyboard playing plus some powerful backing vocals from Lavone Seetal and Sarah Nolan.
The ballad “Paris” turns the old romantic cliché on its head as the beauties of the city are listed but can’t compare with being back home with the one you love; it’s a nice sentiment but, after rejecting one cliché, it reinforces another by introducing an accordion to create a Parisian ambience. The final track, “Rage and Cigarettes”, is a warning about the dangers of becoming embittered by allowing circumstances to take control of you, rather than the opposite, and it’s pulled along nicely by an overdriven five note slide guitar hook and a melodic bass line; this is one that you just know you want to hear live.
Bob Malone has brewed up a heady mixture of rock, blues and New Orleans soul over the years and “Mojo EP” is a perfect sampler for the upcoming “Mojo DeLuxe” album. If you want to see him live, you can find his UK tour dates for the next four weeks here. We’ll see you at the final show in Southend.
“Mojo EP” is out on 01 September 2014 on Delta Moon Records (DMR 007).
Here’s the first of our guest contribution for this year from someone whose album “Home” was a Riot Squad favourite this year. We were also lucky enough to see Aynsley support Joe Louis Walker at The Garage in Islington this year. You’ll probably notice that, in time-honoured “Spinal Tap” fashion, Aynsley takes the High Fives concept and goes one higher.
This is a great ‘feel good’ album; it’s got a kind of jazzy feel to it with Caro’s voice and certain instrumental nods but it’s got some very clever elements and twists that bring it bang up to date. The grooves are hypnotic and the songs have some great hooks and melodies, very well written and put together. I regularly have it on when I’m cooking!!
I first saw this concert when I was about fourteen and learnt all the songs and guitar parts note for note. Of course I moved onto other things and got into other guitarists and it wasn’t until recently that I watched it again for the first time in years. It made me feel the same as it did back then; it’s still probably the best live concert I’ve seen. Rory’s playing is just so melodic and tasteful and he never plays the same thing twice: plus his guitar tone is the best ever. It’s mainly a three piece band on this and they’re as tight as it gets….. but when Mark Feltham joins on harmonica for a few songs there are moments that are just killer: “Aint No Saint” and “Off the Handle”. Brilliant
Freddie King – live footage compilation (Rare DVD’s given to me by a friend)
I always listened to Freddie on my dad’s stereo but I’d never actually seen any live footage of him until recently. I was at a friend’s house and he put it on… It completely stopped me in my tracks! Watching the guy perform is a whole other thing to just hearing it on a stereo. He just had this amazing conviction and tremendous stage presence. He could hit one note and that’s all he needed, not to mention his singing which had an emotive intenseness that was easily up there with his guitar playing. Truly inspirational to watch; blues how it was meant to be performed!!
I got into this series a couple of years back but sometimes I’ll just put it on for the music they used during the episodes. It’s all the music I remember growing up hearing on my dad’s stereo; stuff like The Sweet, T-Rex, Free, Cream, Thin Lizzy, Audience etc. I just love that late 60’s / 70’s vibe… before people spent months in studios making albums perfect with all the technology that’s around these days. This stuff just sounds earthy and real.
This is such a moving film and Jamie Fox really was the only guy who could have pulled this off. Very cleverly put together, it tells his story very well indeed. I’d always liked many of his songs and love his voice but it wasn’t until I saw this that I learnt so much about the man behind the music. I always find it interesting to learn about the actual people and what I got from this was that unlike so many artists out there, Ray Charles was a man who knew his worth and could stand on his own two feet.
I love any band-themed film and have seen most including the obligatory Spinal Tap but for me, this goes one better. It’s so much more believable on every level – the idea of a band that were once ‘almost famous’ getting back together after two decades apart. There’s the inevitable friction between certain members, the various ailments that old age has brought about etc. The really cool thing about this film is that it focuses on the personal lives of all the band members and there really are some classic moments: the bass player who is constantly on the run from a woman believed to be from the Inland Revenue, the lead singer’s ridiculous but believable pre-stage ritual – brilliant! I’ve probably seen it five or six times now!