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I know it’s only rock ‘n’ roll but….
A couple of nights ago I enjoyed watching one old rocker in the company of another, an expert in the genre. It was a fun night out – and got me thinking about the PUE of a rock concert!
Imagine the scene: a data centre (the Hammersmith Appollo) with a main machine hall (the stalls + stage) and a half-size mezzanine (the circle). 3600 racks (or seats), quite well spaced, filled and with occasional hot-spots . (One or two of the older models must have been liquid-cooled given how frequently they had to visit the facilities:)). It was cooled to a comfortable temperature, not excessively cold. And it was very much a mixed vendor environment. On stage there was
- a compact, high energy server (Ronnie Wood on lead, perhaps the man who put the “64” into x64)
- an old mid-range, running very smoothly and efficiently on background processes (Bill Wyman on bass)
- some high-reliability Unix machines keeping core applications running, rock solid (Mick Taylor and Hamish Stuart on rhythm, Andy Newmark and Simon Kirke on drums)
- some virtual machines on standby to add extra processing during peak periods (the horn section)
- and some multimedia servers for streaming specialist content (singers Beverley Skeete and Sharleen Spiteri)
- not forgetting the amount of archive storage these machines need access to (looooonnnnng memories)!
Overall, it was a solid performance without too many risks being taken. Perhaps the data centre equivalent of a PUE of 2.
Of course, there is something else a concert review has in common with all too many data centres: it is purely subjective. You cannot rely on canvassing a few audience members after a performance to get a true impression of what it was really like. Similarly, many data centres rely on taking some manual readings at perhaps weekly or monthly intervals (or worse), transfer them to a spreadsheet and then calculate a one-off PUE value. This does not tell you anything very useful about how efficiently you are running your facility. To really understand data centre efficiency you need a DCIM solution centred around automated, detailed monitoring of the infrastructure combined with informative reporting. Perhaps something like InSite, for example.
Through the years Ronnie Wood has provided backup to a wide variety of frontmen including Jeff Beck, Rod Stewart and Mick Jagger. His attempts at taking centre stage have varied from the sublime (New Barbarians) to the ridiculous (Shepherds Bush, 2001). Tonight Ronnie was the centre of attention throughout and he carried it off well, although his onstage announcements were unintelligible.
The opening number was the most interesting. Just Ronnie, a Strat and his personal history of rock’n’roll – Little Red Rooster, Mona, Boogie Chillun’, Smokestack Lightnin’.Then on came the extensive house band to walk a packed Apollo through selected highspots from the Chess catalogue, though sadly not my personal favourite Rescue Me (Fontella Bass).
The dual drummer set-up of Simon Kirke and Andy Newmark worked a treat, and although bass player Bill Wyman sounded a little ploddy his vocal on You Never Can Tell was well received. Ronnie’s lead guitar was fine throughout especially on the Chuck Berry numbers but Mick Taylor was criminally under-used and spent most of the night strumming on a stool (he had apparently hurt his foot). The exception was The Sun Is Shining where he and Ronnie played dual slide and it sounded terrific as did Don’t Lie To Me, both rocking and rolling.
Guest vocalist Sharleen Spiteri wailed effectively on I’d Rather Go Blind, Ali McKenzie from Ronnie’s first band The Birds did well with Walking By Myself and Beverly Skeete followed in some illustrious footsteps with At Last. Why James McCartney was brought on to sing the closing uptempo numbers is a total mystery – maybe his dad was busy. The finale was an ensemble version of I Just Want To Make Love To You followed by an encore of It’s Only Rock’n’Roll, both a bit routine.
The evening did well to encompass the depth of the Chess catalogue and offer a wide variety of music. It would have benefited from Wood and Taylor having space to play off each other and if that meant we lost a guest vocalist or two it would have been a fair swap. Overall good in parts, but slightly underwhelming.
View: Stalls, Row N
Setlist
Introduction (RW solo)
Hi Heel Sneakers
My Babe
300 Pounds Of Joy
Just Your Fool
You Never Can Tell
The Sun Is Shining
Don’t Lie To Me
Walking By Myself
Tell Mama
Mojo Boogie
At Last
Spoonful
Big Town Playboy
Talk To Your Daughter
I’d Rather Go Blind
Johnny Be Goode
Carol
I Just Wanna Make Love To You
Encore:
It’s Only Rock’n’Roll
A rare acoustic gig for Brijitte and on this showing she should go unplugged more often. Although better known as a raunchy rock’n’roller – first with NY Loose and more recently with her own band the desparate hopefuls – tonight’s short set showcased her more thoughtful compositions which worked well in an acoustic format. Brijitte was ably supported by Keith Gibbs on guitar / vocals and Richie Hudson on bass / vocals. The harmonies were impressive but not too slick and worked in a Parsons / Harris way: fittingly the DJ played Do Right Woman, Do Right Man just before the trio took the stage. Brijitte’s professionalism was tested when her borrowed acoustic shed its strap and had to be gaffered back in place by the sound man but she never missed a note. An increasingly vociferous crowd enjoyed Mess Of Myself, Bleeding Heart and Bitter & Twisted. How To Be Good didn’t miss co-singer Jesse Malin and whilst Pretty Suicide and Hey Papito didn’t quite reach these heights a set closer of Broken ensured calls for an encore. With three bands on the bill this was not to be but I’d like to see a longer acoustic set from these guys. Headliners the Peckham Cowboys were everything I’d been expecting and less. The tiny stage could not accomodate the whole band, so bass and piano played on the floor. The Peckham Cowboys are ageing nevermadeits who wear great hats and bring their cat Victor to gigs. They have a Flying V and a song called Rock’n’Roll Star that is totally devoid of irony. They should be supporting someone like Slash at Wembley but instead they rocked the 12 Bar with total conviction. The best £6 I’ve spent in a long time.
Surely the only possible song to start a street party disco is Lazy Sunday and its plaintive opening line “Wouldn’t it be nice to get on with me neighbours?”
Thankfully we all did, and there was lots of bopping, which was lovely to see. There is always a tipping point at events like this, where one song turns tapping toes into outright dancing. For this playlist it was Back In The USSR. Once this point is reached all a DJ has to do is keep the women dancing , as the men will follow. So that’s what I did.
Lazy Sunday – Small Faces
Victoria – Kinks
Stop Your Sobbing – Pretenders
Come Together – Primal Scream
Hello Goodbye – Beatles
Let’s Spend The Night Together – Rolling Stones
Take Me Out – Franz Ferdinand
All The Young Dudes – Mott The Hoople
Handbags and Gladrags – Rod Stewart
(If Paradise Is) Half As Nice – Amen Corner
Go Now! – Moody Blues
Boys and Girls – Blur
London Calling – Clash
God Save The Queen – Sex Pistols
Back In The USSR – Beatles
Jumpin’ Jack Flash – Rolling Stones
Lola – Kinks
John I’m Only Dancing – David Bowie
Virginia Plain – Roxy Music
Get It On – T.Rex
Sex & Drugs & Rock & Roll – Ian Dury
Keep On Running – Spencer Davis Group
I Can’t Stand Up For Falling Down – Elvis Costello
Too Much Too Young – Specials
Hi Ho Silver Lining – Jeff Beck
All Right Now (Remix) – Free
Brown Sugar – Rolling Stones
Maggie May – Rod Stewart
I Saw Her Standing There – Beatles
Jilted John – Jilted John
Miss You – Rolling Stonees
“Heroes” – David Bowie
Loaded – Primal Scream
Drive-In Saturday – David Bowie
Water loo Sunset – Kinks
Albatross – Fleetwood Mac
Paint It, Black – Rolling Stones
Layla Part 2 – Derek and the Dominoes
Rebel Rebel – David Bowie
Love Is The Drug – Roxy Music
At one point in this performance veteran Big Star drummer Jody Stephens told a rapt audience “Alex is definitely here – his spirit and the music.” Maybe the music – Alex Chilton wrote it and the whole Big Star Third LP reeks of his twisted vision. The problem was that not enough of Alex’s anarchic spirit survived the transfer to the Barbican’s staid surroundings.
A sturdy band comprising long-term Big Star supporters Mike Mills, Chris Stamey, Ken Stringfellow and Mitch Easter underpinned a rotating cast of guest vocalists. Having a live orchestra to recreate original arranger Carl Marsh’s scores proved to be a mixed blessing. The extended coda to Kanga Roo worked well and a moving Jody vocal on Blue Moon was enhanced by its delicate orchestral backing. Of the uptempo numbers Stroke It Noel worked best, with Norman Blake’s vocal supported by a strong string section. On other numbers such as September Gurls the backing added only distraction. Indeed on Give Me Another Chance I found myself missing the original Mellotron – the replacement strings sounded too authentic.
The guest vocalists were respectful but largely lacked presence. Honourable exceptions were Sharon Van Etten who brought a raucous defiance to You Can’t Have Me and Jon Auer who delivered a peerless I Am The Cosmos. The less said about Sondre Lerches vocal on Femme Fatale the better: Lesa Aldridge would have been unimpressed.
Re-reading Robert Gordon’s book on Memphis reminded me of the extraordinary circumstances under which Third was recorded, with only John Fry and Jim Dickinson holding things together. Radio recordings made by Alex around this time reveal a confrontational artist determined to see how far he could push himself and those around him. The comfortable confines of the Barbican deadened that energy, save right at the end when Ray Davies appeared. Having befriended Alex whilst both were living in New Orleans, Ray was ideally placed to sing Til The End Of The Day, followed by a version of The Letter so convincing that you’d believe it was The Kinks and not the Box Tops who charted with it in ’67.
Overall the evening felt more like a museum exhibit than a vibrant gig, despite the youth of many of the performers and of a surprising number of the audience. I am glad I was there to witness these extraordinary songs finally getting a public performance. But for the real spirit of Alex Chilton you’d need music with more Southern grit (how else can the oyster produce a pearl?)
First published January 2008
Peter Perrett In The One
The recent re-release of The One’s only CD on Edsel provides a timely opportunity to consider What Peter Did in the twenty-six year hiatus between his twin spells at the helm of the Only Ones. Originally released by Demon in 1996 I remember reviewing the original eleven track collection as “OK but…” and then promptly filing and forgetting. I felt that the sound achieved by producer Marc Waterman failed to reflect the bands live excellence and offered little progress over the thin and unsympathetic mix of the preceding Cultured Palate EP.
I don’t know what’s happened in the last eleven years but I wish for my original judgement to be rescinded. Maybe the CD has been remastered, maybe my brain has been remastered but This Is A Very Good Record and I now think that Waterman has done a fine job in framing Peter Perrett’s sometimes wayward vocals and highlighting his songwriting strength. Certain tracks – Nothing Worth Doing, Falling, The Shame Of Being You and Shivers – are first rate, and there is merit in virtually everything here except possibly Land Of The Free and I’m Not Like Everybody Else. The latter is a great choice but thrown away as a thrash (it could stand as Peter Perrett’s theme tune). In general it is the uptempo tracks which fare better, promoting the bands strengths – a robust rhythm section, sympathetic and understated keyboards and effective lead guitar from Jay Price, most noticeable on the feedback solo in Shivers. Clearly Perrett is only happy working with lead guitarists whose initials are JP! Jay doesn’t match his predecessor John Perry here, but JP1 is a hard act to follow. A Perrett and Perry demo exists of Shame of Being You which permits a direct comparison – Price is tasteful but Perry is the more fluid.
Edsel have sensibly added the three extra tracks from the Woke Up Sticky EP, of which Transfixed and Dead Love Syndrome are worthy additions. Informative sleevenotes from Demon Press Officer Alan Robinson mean this is a worthy addition to the Perrett canon. I for one would be happy to see some of these songs playing a part in the Only Ones forthcoming live dates – we shall see…
First published December 2007
The Who
To celebrate the launch of the new Who fanclub those nice people at http://www.thewho.com have launched a beautifully judged retrospective of the band live from 1969 – 1976. Membership of their fan club costs $50 but you get this free of charge which makes this 2CD set a Bargain (The Best I Ever Had)
Lovely packaging – matt black slipcases with a leaping be-Union Jacked Pete Townshend and a full colour booklet with lots of rare pics from the gigs contained herein, even including Bob Pridden Who soundsman-deluxe and unlikely laser expert.
Straight out of the blocks is The Grande Ballroom, Detroit, October 1969 and a ferocious ‘Fortune Teller’ that eclipses the rather restrained ‘Live at Leeds’ version. Then three tracks from Hull, the night after Leeds. Who-lore had it that Hull was not used because the bass did not record, but Entwhistle is very noticeable here. ‘Magic Bus’ from Denver in June 1970 which at 13.50 rather overstays it’s welcome. However the final six tracks on CD1 come from the legendary San Francisco December 1971 dates and they smoke. ‘Bargain’ is terrific, ‘My Wife’ has a ponderous power and the harmonies on ‘Behind Blue Eyes’ are lovely. All tracks in luscious sound thanks to having access to the original masters and having Jon Astley do the mastering.
CD2 doesn’t quite hit the same heights but has its moments. Very welcome are a ‘Punk And The Godfather’ and a ‘5.15’ recorded for the King Biscuit Flour Hour at Maryland in December 1973 but never broadcast (and therefore omitted from the seminal ‘Tales From The Who’ bootleg). Great to have them as additions to that set, complete with lengthy Daltrey introductions. Next are extracts from Charlton 1974, the familiarity of ‘Tattoo’ being balanced by a growly ‘Boris The Spider’ that had evaded the bootleggers. The final eight tracks on CD2 are from Swansea in September 1976 and are familiar from the widely-available Capital Radio broadcast, subsequently released as the ‘Put The Better Boot In’ bootleg. ‘See Me Feel Me’ provides an excellent end to over 2 hours of live Who at its best.
Messrs Pridden and Astley are to be congratulated for their choices. Not too obscure, not too easily available and all in pristine sound. Truly New Who To Do You Through and highly recommended.
First published December 2008
A great performance by a great band at a great venue.
This was a fan-club only gig, which meant that there was a preponderance of balding, middle-aged men and very few women (one of the key differences between the Who and the Stones is that whilst both are still touring the Stones attract a more mixed audience). However it also meant that the Who felt confident in taking chances with their set-list. At the beginning of gig Pete Townshend quipped that there would be a few Christmas surprises in The Who’s setlist and performances of ‘Tattoo’ and a blistering ‘Naked Eye’ did not disappoint. Even better was a wonderfully ramshackle version of the rarely-performed ‘Slip Kid’ with fans having to feed Daltrey the words, whilst Pete and his brother Simon gamely struggled with the music.
The set list:
Can’t Explain
The Seeker
Anyway, Anyhow, Anywhere
Fragments
Who Are You
Behind Blue Eyes
Tattoo
Sister Disco
Baba O’Riley
Eminence Front
5:15
Love Reign O’er Me
Won’t Get Fooled Again
My Generation
Naked Eye
Slip Kid
Magic Bus
Pinball Wizard
Amazing Journey/Sparks
See Me, Feel Me
Listening to You
Tea & Theatre
From www.TheWho.com “The gig got off to an interesting start when a few bars into the first number, Pete stopped the show and said he was having problems with his ears. The band went offstage and there were a few anxious minutes before they returned. Pete said his ear had just got blocked because he was suffering from a cold. But after the show, keyboard player John ‘Rabbit’ Bundrick told the editor of thewho.com that something strange happened to the sound and all members of the band experienced a disorienting sound that went literally in one ear and out the other. Be that as it may and, despite various minor sound problems, the band gave an extraordinary performance of a setlist which has been given rave reviews on the forums of thewho.com.”
Indigo is a superb venue. Part of the 02 complex it has ample room for around 900 standing downstairs. A gently sloping floor means great sightlines throughout the club. A loud clear sound and lengthy, well-personned bars mean that the whole gig experience is a joy. Which is more than can be said for the Jubilee Line, closed for an hour when some idiot ran along the track. Notwithstanding, a high note on which to close the year.
First published November 2007
Just back from a screening of the new Who documentary ‘Amazing Journey’ followed by a Q&A chaired by Jeremy Clarkson (yes, really). Even if (like me) you think ‘The Kids Are Alright” is one of the top 3 pop movies you still need to see this film. Why ? It continues past Moons death up to the present day. It illuminates the relationships between Townshend, Daltrey, Entwhistle and Moon in a way that TKAA did not. And most importantly it has some great previously unseen footage. The absolute jewel is The High Numbers doing ‘I Gotta Dance To Keep From Crying’ at the Station Hotel, Harrow in 1964, followed by a brief snatch of ‘CC Rider’ both in superb quality. Daltrey is punk-hard in shades, Moon is all floppy and puppy-eyed, Entwhistle stoic and Townshend completely wired.
During the Q&A Daltrey claimed that the footage had been shot by Kit Lambert and Chris Stamp and recovered from a skip following an office move. The whole film is worth it for this three minutes alone. Dedicated Who fans will have seen some of the other footage – Monterey, Woodstock, Isle of Wight, Coliseum – but there’s lots that’s new here. My only reservation is that very few songs get played in full, which I find frustrating.
More info at http://www.thewhomovie.com
First published May 2009
Ramon Chao
Most people (me included) will pick up this book for the music content – the subtitle ‘Mano Negra in Colombia’ offers the intriguing prospect of the politicised and highly outspoken Manu Chao leading his band Manu Negra through Colombia in the 90’s, a volatile and dangerous undertaking. However there is surprisingly little music in the book, not least because Manu Negra break up half-way through. But that doesn’t matter because everything else about this book is fascinating. Ramon Chao (Manu’s father) offers a warts-and-all chronicle of a totally-bonkers enterprise where a reconstructed old passenger train painted in yellow butterflies travelled over a barely-used railway network bringing free shows containing music, circus, tattoos and a fire-breathing giant iron dragon to Colombian towns who have never seen anything like it.
The train starts with over one hundred musicians, acrobats and artists on board – by the end, six weeks later, over half have jumped ship. Those who are left are poorer, thinner and conscious of having played their part in a great romantic adventure. Ramon notes wryly that the show – a highly volatile combination of temperamental humans, dodgy electricity and large blocks of ice – seems to run more smoothly when the arts administrators jump the train and their jobs are taken over by the engineers responsible for keeping the train going.
The only parallel I can think of is Festival Express, when in 1970 the Grateful Dead, The Band and Janis Joplin toured Canada by train. The resulting film (now on DVD) is worth a look, with the on-train jams more interesting than the concert performances. However that was a very insular affair with the musicians seeming to have little interest in what was happening outside their closed environment. Ramon’s book is the reverse, where the train and the world through which it passes is inextricably linked.
The real stars of this book are the Colombian people who flock to the show and leave heartbreaking comments every night in “The Office of Human Desires”. What comes through is the desparate desire for peace, and an end to the drug-related conflicts that claims the lives of so many ordinary citizens. Watching from the train Ramon is good at chronicling the changing landscape and makes much of Colombia sound well worth a visit. Manu Chao comes over as refreshingly modest for someone who has been described as a latin Joe Strummer. To see Mano Negra in action check out King Of The Bongo or Mala Vida on YouTube and be impressed by their mix of The Clash, ska, jazz, reggae and Latin music.
Only Rock 'n' Roll 