First published July 2009
The Soft Machine (Polydor 532 050-5)
Soft Machine Volume 2 (Polydor 532 050-6)
According to the NME Prog is apparently fashionable again. However when it comes to multi-song suites, lengthy instrumentals, absurd lyrics and ever-changing time signatures there was only one band that ever mattered. Ladies and gentlemen I give you the Soft Machine 1968 – 1969, the period covered in this brace of releases. The Softs secret weapon was their sense of humour and an inability to take themselves too seriously which makes them free from the pretention that marred so many other Proggers (honorary exceptions: selected Van der Graaf Generator and the Fripp/Whetton/Bruford line-up of King Crimson)
The band who made The Soft Machine stand comparison with Syd’s Floyd as UK psychedelic pioneers. Bass player Kevin Ayers had a pop sensibility of sorts, heard here in the proto-trance ‘We Did It Again’ and ‘Lullabye Letter’. ‘Why Are We Sleeping?’ was based on the writings of then-fashionable sage Gurdjieff but thanks to Robert Wyatt’s irrepressible drumming it never sags . Also featured is an Ayers underwater bass solo called ‘Joy Of A Toy’ which must be the least commercial single ever issued by Probe Records.
Volume 2 is a CD of two halves. Side One (as was) is ten melodic fragments collectively referred to as Rivmic Melodies, unified by Wyatt’s warm vocals. The alphabet is sung, forwards and backwards, the Jimi Hendrix Experience are thanked in song for recent touring escapades and even a few bars of ‘My Favourite Things’ surface in the musical minestrone. Side Two starts well with a tribute to the departed Ayers ( ‘As Long As He Lies Perfectly Still’) followed by ‘Dedicated To You But You Weren’t Listening’, written by his replacement Hugh Hopper’s. Unfortunately the remainder of this side ‘Esther’s Nose Job’ is dominated by Mike Ratledge’s organ, an indication of how the power-balance within the Softs was shifting. Wyatt lasted until Soft Machine Third in 1971 (check his side-long ‘Moon In June’) then bailed out and with him went my interest in the Softs.
Towering over both records is the very first Soft Machine single ‘Love Makes Sweet Music’ / ‘Feelin’ Reelin’ Squeelin’ recorded by the earliest line up of Soft Machine, released by Polydor in 1967 and one of the all-time great psychedelic singles. Perhaps it was the presence of original guitarist Daevid Allen or legendary producer Kim Fowley – either way these tracks are rare as hen’s teeth so well done Polydor for adding them to the Softs debut.
Polydor are to be commended for producing two fine-sounding remastered CD’s. The booklets both contain a good selection of period Phil Smee pics and posters. Strangely Mark Powell’s sleeve notes for the two booklets are near- identical, which is a bit lazy. And proper credits for the musicians involved would have been only right and proper.
Buy these discs and astonish a longhaired teenager near you with your total now-ness.
30th Anniversary Gig: Band On The wall, December 12th 2009
First published December 2009
The gig got off to a good start with a near empty train from Euston and a proof copy of Nick Kent’s excellent forthcoming autobiography ‘Apathy For The Devil’ – note Ian Hunter reference (I preferred the rejected ‘Dead Fop Walking’). Made it to Vinyl Exchange on Oldham Street ten minutes before they shut, just in time to score a copy of Lew Lewis’ Stiff single ‘Boogie On The Street’ – result!
The Band On The Wall has benefited from a reputed £5m refit – gone are the carpets so sodden with beer they inhibited forward movement, replaced by a welcoming ambience, a cosmopolitan selection of drinks and an excellent inhouse sound-system mixed most effectively by a nice chap called Andy.
Soundcheck ended 10 minutes before open doors at 7pm, just allowing me time to say hello to the band and put on my stage gear for the night (silver Kickers, J Geils re-union T shirt). Then onto the serious business of playing some vinyl – I assumed (rightly) that the Cheaters audience would mostly be of a similar vintage to the band and that they would know their music. This translated to quite a few shiny heads, but at least they were nodding to the tunes I played.
As Cozy Powell faded away (how come he could he nick the riff from 3rd Stone From The Sun without giving credit?) I had the great privilege of introducing the band: “For the first time in 30 years….”.
Expectations were high and the band did not disappoint. Stuart at the back, hitting the drums so damn loud. Dave stage right pulling bass rock-god poses (there was a foot on the monitor at one point). Coss stage left, goatee twinkling, lead guitar and harmonies both fully functioning. And the irrepressible Mick in the middle – neat, buttoned down and meaning business, moving easily between Telecaster, harmonicas, lead vocals and onstage banter, some of it his own.
The band played a selection of their Greatest Hit(s). Particularly impressive was how they hit a relaxed groove from the opening ‘Baby What You Want Me To Do?” – no faffing about from these pros. Mick managed the tongue-twisting vocals at the end of ‘Diplomat’ with aplomb. ‘Drugs’ was Stewarts opportunity to take his drumsticks for a walk. ‘21st Century’ had an updated lyric that puts Micks age at 56, a slight exaggeration but it rhymes. Encores were demanded and delivered, notably a nifty medley of ‘Rescue Me / Shoorah Shoorah’.
And the sold-out crowd went wild. Punters turned up from as far away as Australia, Sweden, Norway and Romiley. There was frenzied dancing,, sing-alongs, stage invasions and onstage flashing from at least two sexes.. The band sensibly kept the set concise and the song lengths down, eschewing Mick’s lengthy crowd excursions. The result was a set that brought wide grins to all and sundry.
The bar afterwards hosted conversations of the “I haven’t seen you for 30 years” ilk and the introduction of teenage sons and daughters. So a big hello to Patsy, Bren, Gabrielle, Victoria, Carole, Lindsey, Marie, Col, John, Yvonne, Nick, Pam, Gary and Lucy – it was lovely to see you all again.
There is a multi-track of the gig and it was filmed so documentary evidence of the gig may follow. But we have our memories…
Age shall not wither them. Cheaters – You Are Rock!
Playlist – Before….
So It Goes – Nick Lowe
Back In The USA – MC5
Me And My Uncle – Fortunate Sons
Rosalie – Thin Lizzy
Get Out Of Denver – Strokes
Waterfall – Stone Roses
Hippy Hippy Shake – Swinging Blue Jeans
(I Know I’m) Losing You – Rod Stewart and the Faces
Understanding – Primal Scream with PP Arnold
Where Did Our Love Go? J. Geils Band
Little Queenie – Flamin Groovies
Stop Messin’ Round – Fleetwood Mac
Let It Rock – Rolling Stones
Rosalyn – Pretty Things
Round and Round – David Bowie
It’s The End Of The World As We Know It (And I Feel Fine) – REM
New York City Cops – Strokes
Hard Workin’ Man – Captain Beefheart and Jack Nitzsche
Let’s Work Together – Canned Heat
Roxette – Dr Feelgood
Train Kept A Rollin’ – Yardbirds
I Hear You Knockin’ – Dave Edmunds
Carol – Rolling Stones
(Ain’t Nothing But A House Party) – J Geils Band
Daddy Rolling Stone – The Who
Baby Please Don’t Go – Them
Scratch My Back – Fabulous Thunderbirds
Route 66 – Count Bishops
Dance With The Devil – Cozy Powell
Playlist – After
Layla (coda) – Derek and the Dominoes
First I Look At The Purse – J Geils Band
Roadhouse Blues – Doors
Run Rudolph Run – Keith Richards
I Fought The Law – Clash
They Called It Rock – Nick Lowe
Back In The USSR – Beatles
The End
First published July 2008
Compilation of the year already, no question. Lovingly compiled and lavishly documented by the killer team of Alec Palao and Kent Alexander this is a labour of love which delivers great music throughout its 48 tracks recorded from 1960 – 1977.
Now that most records appear to be recorded on mobile phones or games consoles it is wildly unfashionable to consider that the physical surroundings of a recording studio can influence the music made therein. However some studios (and the people who work in them) have the ability to confer a distinctive feel to the records that result. Examples here include Olympic (classic Britrock), Pathway (the early Stiffs), Rockfield (lovingly recreated retro) and even Basing Street (the Island records pink label extended family). And so it is with Ardent. Many of the best records released by Ardent have combined a rhythm section grounded in Memphis r & b with an Anglophile pop sensibility that informs melodies and harmonies. The best-known exponent of this approach is Big Star, who contribute some stunning outtakes and demos to this set, often preceded by studio chat and introductions edited from the more familiar versions released on the three Big Star studio LPs.
Pre-Big Star recordings from Alex Chilton and Chris Bell offer fascinating insights into how the first Big Star record could emerge so confident and fully formed. Particularly welcome are a batch of demos referred to as ‘the tightest, hottest music we’d ever done” by bass player Andy Hummell in Rob Janovic’s Big Star book. Certainly this version of ‘I Got Kinda Lost’ eclipses the solo version subsequently released by Chris Bell.
But there’s so much more here than Big Star. The Goatdancers feedback-drenched ‘Patches of Dust’ is very ‘Happenings…’ era Yardbirds whilst Icewater combine Badfinger with the Kinks to produce a heavy pop classic that no-one ever heard in ‘Think It’s Time To Say Goodbye’. Cargoe had a terrible name but a hook-saturated single in ‘Feel Alright’ which would have fitted right in with the Raspberies and Todd Rundgren had anyone heard it on release in 1972. The Scruffs pull a similar trick with their ‘My Mind’ from 1977, all stacked harmonies and massed accoustics.
Fittingly the final track on CD2 is Alex Chilton performing a solo version of ‘Don’t Worry Baby’ that is executed with typical offhand brilliance. So let us praise Ardent Records founders John Fry and John King and all who sail(ed) in her.
First published October 2009
Saturday Gigs was written to be the last song on a Mott The Hoople reunion gig. The entire Apollo joined in the final “goodbyes” and on the handclaps, both of which continued well after the band had left the stage – a genuinely affecting moment and not a dry eye in the house.
And of the preceding two hours? A perfect blend of Island-era fanpleasers and the CBS hits. Verdan Allens organ was prominent on the former, duetting beautifully with Ian Hunters piano on The Journey and illustrating mentor Guy Steven’s vision of a collision between Dylan and the Stones. Original guitarist Mick Ralphs delivered a stomping riff but hesitant vocals in Ready For Love. Pete Overend Watts rampaged around the stage sporting an ever grosser selection of bases but mainly sporting a pink Thunderbird. This culminated in his bringing out the vast chrome-plated Swallow which he propped against Allens organ for the encores, just so we could admire it. His Born Late 58, whilst a noble democratic gesture, was also the cue for a mass exodus to the bar. On drums and backing vocals tonight was fellow Hereford native Martin Chambers of the Pretenders who did a great job, stepping in for the now-frail Buffin.
And what of front-man Ian Hunter? In his element whether baiting the audience for requests (“We’re not going to play them, just wanted to hear what you were going to say”) or delivering peerless phrasing throughout Hymn For The Dudes and The Ballad of Mott. Accoustic versions of I Wish I Was Your Mother and Original Mixed Up Kid were dispatched in a slightly ramshackle way but with great gusto. The closing salvo of hits ended with Hunter at the piano, pounding through All The Way From Memphis and concluding the song and the set with a gruff “that’s your lot”. (Rock ‘n’ roll aside: tonight I discovered that my friend Kent Benjamin was actually present at the very Memphis gig that spawned the song).
And so to the encore when Buffin joined in on drums and the stately chorus of All The Young Dudes filled the Apollo. A slightly dodgy Roll Away The Stone with assorted Hoople offspring on sha la la push push duty and thence to Saturday Gigs, which was where we came in.
First published February 2010
I’ve Got My Own Album To Do (CD) Ron Wood
Live From Kilburn (DVD + CD) The First Barbarians
Both these releases were recorded in 1974 at a time when Ronnie Wood was noted for his music rather than his private life. IGMOATD is a cocktail comprising equal measures of the Faces and the Stones that tastes fresher than either parent band could manage at the time. A core group of Wood, Ian McLagan, Keith Richard, Andy Newmark and Willie Weeks is supplemented by guests including Mick Jagger and Rod Stewart. Crucially the arrangements are tight and the songwriting mostly excellent. The two Jagger/Richard co-writes ‘Sure The One You Need’ and ‘Act Together’ would have enlivened ‘It’s Only Rock’n’Roll’ whilst Woods’ ‘Cancel Everything’, ‘Take A Look At The Guy’ and (especially) opener ‘I Can Feel The Fire’ are of the same high standard. No remastering or out-takes and decked one star for not reproducng the original vinyl sleeve inner wherein Ronnie demonstrated his graphic skills.
The Original Barbarians release documents the July 14 gig at the Kilburn Gaumont where the IGMOTD crowd played most of the tracks from the album. The DVD lurches from black and white to colour and back again and is best regarded as a good quality bootleg. Although everyone is clearly well-refreshed the performances are sharp and to-the-point, with the highlight being the trio of numbers where Rod Stewart ponces on to add his vocals and undeniable stage-presence. The CD offers excellent sound and the additional track ‘I Can’t Stand The Rain’, subsequently recorded by Wood on his second, slightly dull solo album ‘Now Look’ (also re-released by Rhino).
Together this duo offers a masterclass in pre-punk Brit rock’n’roll. Slightly ramshackle but enormously likeable – you’ll wish were there.
First published February 2009
A select crowd witnessed a terrific performance from the Only Ones when they played at the Shepherds Bush Empire on February 6th. A freezing night with treacherous travelling conditions undoubtedly reduced the turnout but those who turned up were vociferous in their appreciation of the bands performance. Kicking off with a new-to-the-set ‘Immortal Story” it was clear this was to be no repeat performance of the June 2007 performance, subsequently released on DVD. Previous gigs on this short tour had featured an unplugged segment but there had always been technical problems so tonight the accoustic numbers were played electrically. Six new numbers featured in the set. Whilst ‘here’s one from our next album’ is usually exactly what you don’t want to hear the new Only Ones numbers are integrating well with the older material. ‘Transfixed’ highlighted the strength of Alan and John’s backing vocals and the train rhythm laid down by Kellie in the closing ‘Magic Tablet’ produced an almost rockabilly feel. On this showing the new LP when it emerges will be a worthy addition to the first 3 LPs.
Footnote: Something I have never ever seen at gig before. Front row stage left, hard up against the crash barriers was a guy with a large sketch pad drawing pictures of the band. If you’re reading this Mr Artist then please get in touch and share your art.
Support came from Strange Fruit, the new vehicle for Peter’s two sons. The addition of a female co-vocalist has made them a more agreeable proposition than their predecessors Love Minus Zero. The opening version of ‘Don’t Let Me Be Misunderstood’ was excellent and the remainder of their well-received set contained some good tunes.
First published December 2007
The first release from Rhythm And Blues Records gets this new label off to an auspicious start. Over four thematically-arranged CDs the 97 tracks provide a comprehensive overview of what compiler Nick Duckett describes in his excellent and extensive detailed sleeve notes as “the accidental synthesis of jazz, gospel blues, country and pop into a defineable form of black popular music”, first described as Rhythm and Blues by Jerry Wexler in 1949.
Disc One ‘From The Delta To The City’ features country blues and spirituals, kicking off with Austin Coleman’s extraordinary tribal stomp ‘My Soul Is A Witness” from 1934 and featuring the original versions of staples such as Diddie Wah Diddie, Roll and Tumble Blues (aka Rollin’ and Tumblin’), Millk Cow Blues and Outside Woman Blues as well as less well known items from the repertoire of Memphis Minnie and Skip James. Disc Two features piano boogie-woogie, ragtime and jazz again with well known performers such as Bessie Smith, Louis Armstrong and Cab Calloway complemented by the likes of the less well-known but equally fine Harlem Hamfats.
Disc Three is entitled ‘Up River To Chicago’ and features urban blues and gospel. Here the roots of the UK blues-boom are visible through Sonny Boy Williamsons ‘Good Morning Little Schoolgirl’ with its now-extraordinary lyric, ‘Don’t You Lie To Me’ (here by original author Tampa Red, not Chuck Berry as widely thought), ‘I Feel So Good’ (Big Bill Broonzy). The final disc is ‘After Hours Swing and Jive’, kicking off with Albert Ammons and His Rhythm Kings ‘Boogie Woogie Stomp’ from 1936 and featuring Count Basie and Cab Calloway before ending with a mighty double whammy of Lionel Hamptons ‘Flying Home’ and T-Bone Walkers ‘Mean Old World’ where electric guitar makes an early (1942) appearance.
Remastering has given the tracks best-quality sound at a uniform level – no need to keep making grabs for the volume control, the bane of lesser compilations. The four discs come packaged in a nifty box with a 32 page booklet which puts everything here in context. Altogether a package superior in every way to the ‘Your Greatest Blues Tracks Ever’ budget compilations found in garages and garden centres throughout the UK. With this release Rhythm And Blues Records has managed to provide an excellent beginners guide whilst also including some more obscure gems for afficionados. I look forward to Volume Two.
First published February 2009
The Who performing live at the Coliseum 1969 and at the Kilburn Gaumont 1977 has now been released on a 2DVD set (Image Entertainment 2008) officially titled as ‘At Kilburn 1977’. Whilst the Kilburn gig is exceptionally well filmed and recorded and contains some great moments, of equal interest to hardcore Who fans is fascinating footage from the London Coliseum, filmed almost exactly 8 years previously. Well filmed it is not, but the performance is phenomenal.
Kilburn first. The gig was the first time the Who had played live since October 1976 and was arranged specifically for Jeff Stein to get some contemporary footage of the band to include in his ‘The Kids Are Alright’ documentary. It was universally panned at the time – Dave Marsh dismisses the gig in ‘Before I Get Old’ and the definitive Who Concert File (McMichael and Lyons) describes the resultant footage as being deemed unworthy to appear in the film (a replacement gig was filmed in Shepperton during May 1978). Even Townshend condemns the gig onstage with ‘This wasn’t fucking worth filming’. They are all wrong. Granted Moon looks out of shape – the purple sequinned look not helping here – and the band are unrehearsed and at times unsure as to what to play next. What saves the day is a truly savage performance from Townshend – wired, bitter and (I suspect) out of his head on expensive cognac. An embryonic ‘Who Are You’ is fascinating and ‘Won’t Get Fooled Again’ really shines here – the penultimate quiet bit features the short-lived lasers (as used at Charlton football ground the preceding May to great effect) and is followed by Townshend skidding the length of the stage on his knees whilst playing the final chord. Six 35mm cameras and a 16-track soundboard ensure that the look and sound of the gig are marvellous, resulting in a worthy addition to the live Who canon.
Disc 2 – The Coliseum is the other way round. A fantastic performance throughout, and sound and vision that can best be described as challenging. If you select Extras you will get full performances of ‘Tommy’ and ‘A Quick One’ exactly as they were performed that night in December 1969. However the source is footage allegedly salvaged from a skip outside the Track offices, so editor Mark Step has put together the best of the footage to make a coherent gig that leaves out some songs where either visuals or sound are lacking. Despite the production limitations it is a fascinating show – probably the closest we will ever come to ‘Live At Leeds – The Movie’. The gig took place as part of the Who’s tour of European opera venues – Kit Lamberts great plan to convey respectability on his unruly protogees. The set was a marathon two and half-hours – both operas, lots of singles and the extended version of ‘My Generation’.
Ideally I would have liked the Coliseum performance with Kilburn sound and picture quality, or failing that the Kilburn performance with some of the vitality shown onstage at the Coliseum. Instead what we have are two snapshots which bookend the Who’s most commercially-successful period, both dominated by the Townshend / Moon interaction. In 1969 Moon is sparky and irreverent – interrupting Townshend’s onstage monologues and constantly attracting the eye by his extraordinarily whole-body drumming and facial expressions. By 1977 Moon is sweaty and trying hard to do the stuff that used to come effortlessly – at one point in mid-song Townshend locks eyes with Moon as if he is trying to hypnotise him to deliver a better performance. There are still flashes of the old brilliance, even if now he drops as many drumsticks as he catches. But if you are a Who fan you will overlook the imperfections and enjoy many moments of the band at their onstage best.
First published June 2011
Shakin’ With The Devil – The Pirates
The Skuzzies – Easy Action
A tale of two power trios. Subtitled ‘The Best Of The Pirates 1977-79’ two CDs contain 52 tracks, comprising all three of the bands LPs plus unreleased tracks, B-sides and radio ads. Also included is a well-illustrated full colour booklet with sleeve-notes by long-term supporter Roy Carr. The numerous live tracks attest to a band most at ease onstage where Mick Green appeared to play lead and rhythm guitar simultaneously. The lack of quality original material becomes increasingly apparent, but there are enough rocking covers to compensate with Skull Wars out-takes The Witch Queen of New Orleans and Lonesome Train particularly impressive.
Coming bang up-to-date The Skuzzies are tirelessly promoted by their mentor Nina Antonia who contributes sleeve notes here. So the sonic resemblance to vintage Heartbreakers is unsurprising with singer and guitarist Jerome Alexander even sporting a Thunders haircut. ‘The Unknown Principle’ offers a welcome change of pace and producer Darren Jackson achieves a more varied sound on this and subsequent track ‘Are You Sleeping?’ The trio format allows Laura Clarke to play some agile bass whilst drummer Nik L’e West (oh yes) respects the space he is given by not over-playing. The moody ‘Heartache Accelerates’ suggests the Skuzzies could profitably expand beyond pop-punk into something with more darkness and light.
First published March 2009
The Only Ones / Even Serpents Shine / Baby’s Got A Gun (All Sony)
Finally Sony have re-released remastered versions of the first three Only Ones LPs on CD and yes, it was worth the wait. So ditch all previous versions – these are the keepers. The re-mastering by Alan Mair and Ray Staff allows these glorious songs to emerge in their full glory (and exposes a couple of clinkers to the cold light of day). The first two records can be seem as a continuum – songs pre-written before going into the studio, tight arrangements, nominally produced by the band themselves (actually by Alan and Peter Perrett). The bonus tracks here scoop up the band-released first single Lovers of Today/Peter And The Pets and some high-quality B-sides such as As My Wife Says and This Ain’t All…. Much changed with LP Number 3, Baby’s Got A Gun. Accepting the need for an external producer the band pushed for Martin Hannett but ended up with Colin Thurston, Sony’s choice on the basis of his work with Duran Duran. A version of ‘The Big Sleep’ was recorded with Hannett and is appended to this CD so we can judge for ourselves and it’s no contest: Hannett would have made the better record with more attack and John Perry’s guitar more to the fore. However by this time both Hannett and at least half the band were in a state of disarray so Thurston was undoubtedly the safer choice. And any producer would have struggled with unconvincing material such as Re-Union and Castle Made Of Sand. Despite this the CD is still essential, if only for The Big Sleep and Why Don’t You Kill Yourself plus the lead-off single Trouble In the World, currently a highlight in the re-invigorated bands live set a mere 29 years on. Plus the CD actually features the title track, inexplicably left off the original release. Presentation on the three CDs is superb – great vintage photos and articles and sleeve notes by Rod Liddle (yes, that Rod Liddle) who brackets the band with Big Star as the ultimate should-have-beens. Recent live performances by the Only Ones have showcased some impressive new Peter Perrett songs which means these three CDs are work-in-progress rather an obituary. Buy buy buy.
Only Rock 'n' Roll 