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.
First published March 2008
Tricky gig, Koko. Euphoria, disbelief and media hype surrounded Shepherds Bush Empire last June but tonight was considerably more low-key, with virtually no advertising and early doors to accomodate a teenage disco later on.
Arriving at Koko (The Music Machine to all us ageing punkrockers) for a 5pm soundcheck proved to be a dispiriting experience. Whilst a lovely building, by daylight any tattiness in the decor is all too visible and the place reeks of loo cleaner (bring back smoking!). Spirits were not lifted by an in-house soundcrew who seemed not arsed and a monitor mix which gave Kellie real concerns.
No support band tonight so a marathon near-two hour DJ slot from me. The band were late (no!) so I tried to entice them from the dressing room with Beck’s Bolero which got a round of applause from the now-packed audience…but no band. They strolled on a couple of numbers later to a reassuringly raucous welcome.
First impressions were that Peter’s voice had strengthened although he seemed frail towards the end of the set, sitting on the riser at one point. The rhythm section were in vintage form – Kellie’s Bo Diddley shuffle throughout Me And My Shadow was worth the price of admission on its own. Being positioned stage left I had a great view of Alan’s bass technique and I realised he frequently strums rather than picks his nifty Les Paul Sunburst bass. John Perry played some phenomenal leads on his white Strat and Les Paul Junior, with the coda to She Dreamt She Could Fly outstanding.
A smattering of new material (Black Operations, Is This How Much) livened the set and showed great promise – look out for at least one new song on Jools Holland this week. Best song of the set for me was the encore, Transfixed. Originally released by The One as a B-side to Woke Up Sticky the Only Ones live version features three-part backing vocals and some emergent guitar lines which really nailed the melody. Transfixed was preceded by a pause whilst Chris and Manny swapped a defective Fender amp. The continuing applause which bridged this slight hiatus indicates the genuine affection in which Koko held the Only Ones.
Simon Wright
Playlist Before The Band
Mother’s Little Helper – Rolling Stones
Don’t Look Back – Remains
Police On My Back – Clash
Coast To Coast – Ducks Deluxe
Whole Wide World – Wreckless Eric
Children Of The Sun – Misunderstood
Rainbow Chaser – Nirvana
(If You Think You’re) Groovy – PP Arnold / Small Faces
Soda Pressing – Boys
Gobbing On Life _ Alberto Y Lost Trios Paranois
Open My Eyes – Nazz
You’re Gonna Miss Me – 13th Floor Elevators
Fall On You – Moby Grape
Bangkok – Alex Chilton
Do You Love Me? _ Heartbreakers
I Had Too Much To Dream Last Night – Electric Prunes
I Ain’t No Miracle Worker – Brogues
The Cops Are Coming – Criminals
Did You No Wrong – Sex Pistols
White Light White Heat – Velvet Underground
I Want You – Troggs
Why Are We Sleeping? – Soft Machine
This Perfect Day – Saints
Jail Guitar Doors – Clash
Desdemona – John’s Children
7 and 7 Is – Love
Final Solution – Pere Ubu
When I’m Bored – Snatch
Rosalyn – Pretty Things
Gloria – Patti Smith
See Emily Play – Pink Floyd
Looking At You – MC5
I Saw Her Standing There – Pink Fairies
(I’m Not Your) Stepping Stone – Monkees
Pushing Too Hard – Seeds
Sometimes Good Guys Don’t Wear White – Standells
Give Him A Great Big Kiss – Shangri Las
I Need You – Kinks
Manic Depression – Jimi Hendrix Experience
Beck’s Bolero – Jeff Beck Group
96 Tears – ? and the Mysterians
Playlist After The Band
My Way Of Giving – Small Faces
Memo From Turner – Mick Jagger
Playlist – Aftershow
Cherry Bomb – Runaways
Little Queenie – Flamin Groovies
Understanding – PP Arnold / Primal Scream
Paper Sun – Traffic
Transparent Day – West Coast Pop Art Experimental Band
Let’s Loot The Supermarket (Again) – Mick Farren and the Deviants
Seven Deadly Finns – Eno
32-20 – Charlatans
2000 Light Years From Home – Rolling Stones
Under My Thumb – Who
Little Girl – Syndicate Of Sound
White Rabbit – Jefferson Airplane
Child Of The Moon – Rolling Stones
I Got A Line On You – Spirit
Psychotic Reaction – Count Five
Tin Soldier – Small Faces
Do Ya – Move
Fire – Jimi Hendrix Experience
Don’t Bring Me Down – Pretty Things
We Love You – Rolling Stones
Roadhouse Blues – Doors
Baby Please Don’t Go – Them
Milk Cow Blues – Chocolate Watch Band
Woolly Bully – Sam The Sham And the Pharoahs
Billy’s Bag – Billy Preston
You Got Me Hummin – Sam and Dave
Call Me Lightning – Who
Route 66 – Count Bishops
Parchman Farm – John Mayall
C’mon C’mon – Von Bondies
First published January 2010
This film does something that is long overdue – it reinstates Dr. Feelgood to their rightful position as pioneers of all that is loud, fast and spiky. So it is good to hear from Glen Matlock, Joe Strummer, Clem Burke, Richard Hell and Andy Gill that far from starting from year zero, punk was inspired hugely by these “four guys who looked like they just done a bank-job”, roaring out of Canvey Island to terrorise London pubs and clubs before disappearing back into the “Thames Delta”.
What Julien Temple achieves here is to give a vivid sense of ‘terroir’ – that is he explains how the weirdly desolate geography and isolation of Canvey Island gave rise to a band who embodied insularity and a sense of being apart in both their music and in their attitude. He is aided by some evocative early footage of the band and fifth member Chris Fenwick at school and in the scouts which shows how the band turned into a tight-knit gang of five, via a couple of jug bands and some busking. Extensive recent interviews with Wilko Johnson, The Big Figure and Sparko are interspersed with older footage of Lee Brilleaux, supplemented by valuable insights from Lee’s widow and mother. Temple incorporates rather too much of his trademark ‘Brit-noir” footage, which if used more sparingly could have had a greater impact.
This is frustrating because the footage of the Feelgoods on stage is without exception stunning and there could have been more of it. Clips of Going Back Home, Back In the Night (Lee on slide), Roxette, I’m A Man and Riot In Cell Block Number Nine hint at their awesome live power. Central to this is the tension between Lee and Wilko – Lee in a very off-white suit, Willko in black. Lee immobile, seemingly oblivious to Wilko’s psychotic skittering. Much of this footage comes from mainland Europe, where by 1975 they were filling stadia. Riot… is a beautifully staged set-piece: spotlights raking the crowd as Wilko machine-guns them with his Tele (yup, just like Wayne Kramer used to). Elsewhere there is hilarious footage of a long-haired Wilko protesting about more oil refineries being built on Canvey, the band backing Heinz at the legendary Wembley Rock’n’Roll Festival in ’72 and the revelation that Lady Di was a frequent Feelgoods gig-goer when they played the Kensington.
The end is brutal. Holed up at Rockfield to record album number 4 tensions grew between chief songwriter and speed-freak Wilko and the rest of the band, by now solid boozers. Wilko introduced a song called Paradise, about his love for both his wife Irene and his mistress Maria. The other four freakedout at such outré behaviour and demanded that the song be replaced by Lew Lewis’ Lucky Seven. Wilko refused to back down and was sacked / leaves. Sadly both sides now regret the schism. Wilko admits candidly “I did have the misery a lot of the time…I was insufferable”. Whilst replacement guitarist Gypie Mayo was waiting in the wings the band never reached such artistic peaks again, although commercially they continued to do well for years. Temple wisely ends the tale here, restoring the Feelgoods to their rightful position as the missing link between the Yardbirds and the Clash, pioneers of manic energy at a time when all else lay fallow.
First published June 2009
Even the absence of tubes could not stop a select band of Dolls enthusiasts gathering in the nether reaches of the Barbican Centre to watch the film ‘New York Doll’, preceded by a chat between Dolls aficionado Nina Antonia and Max Decharne, writer and lead singer of The Flaming Stars.
The film is a fascinating depiction of the rise, fall and resurgence of Arthur ‘Killer’ Kane, whos bass playing did so much to anchor the Dolls effervescence. Following the demise of the Dolls Arthur went through hard times until finding a second career as a Mormon librarian in Los Angeles. As Max pointed out, what makes this film so special is that it was made by two Mormon film-makers and so lacks many of the clichés that inhabit most (if you will) rockumentaries. The climax of the film is when in 2004 the surviving Dolls regroup to play Morrissey’s Meltdown in London. Intimate footage of the rehearsals and preparations show the importance of the friendships within the band. Having lost his mother and left his father at an early age it is tempting to see the Dolls as Arthur’s first family and the Mormon church as their successors.
The Meltdown shows were a triumph, and Arthur’s enjoyment at being back with his band after 30 years is wonderful to witness. There is a sad coda to the film as a few weeks after Meltdown Arthur was diagnosed with Leukaemia and he died a couple of days later.
Still, remember him this way. The last music is the film is the immortal bass intro to ‘Private World’ over which David JoHansson introduces him as “The Miracle of God’s Creation…Arthur ‘Killer’ Kane.” The strength of ‘New York Doll’ is that it gives us glimpses into that Private World. Well done Nina, Max and Jay Clifton for setting up such an entertaining evening.
For more info on ‘New York Doll’ go to http://www.onepotatoproductions.com/NewYorkDoll/home.html
First published December 2007
After the acres of newsprint devoted to the return of Led Zeppelin what else is there to say ? Simply this – I am not a huge fan of the band and I was very impressed. The Zeppelin I grew up with was the late ‘70s version, endless sets and extended drum solos. The version I saw on Monday night was like something from the late ‘60s – pared down and purposeful. As an example Robert Plant no longer sings ‘Gonna Give You Every Inch Of My Love” in ‘Whole Lotta Love’ but now sings ‘You Need Love’, reverting back to the source Willie Dixon number and leaving the cock-rock imagery behind. Jason Bonham was a revelation, bringing more of a swing to the rhythm than did his father, this being especially noticeable on set-highlight ‘Kashmir’. Page looked sharper than I have seen him in years and the keyboard playing of John Paul Jones gave the likes of ‘Trampled Underfoot’ some welcome funk. Yes they will now tour and they will undoubtedly play more prestigious venues but I doubt that this version of the band will ever play with as much commitment and concentration as we saw on Monday.
Question of the night: how come Ronnie Wood got second billing on all official merchandise – programmes, T shirts, posters – when he appeared to play absolutely no part in proceedings?
Gobsmacking postscript. Our seats were in the very top tier, to one side of the stage. Next to us was a completely unused block of maybe 100 seats with a great view – judge for yourself from the pictures I took. Extraordinary that these seats were left vacant and we ended up with a row to ourselves!.
See Jeremy Paxman rock out to ‘Rock & Roll’ on BBC2 Newsnight www.youtube.com/watch?v=a8v_Rqi4B-E
First published August 2010
You could reasonably expect that Ronnie’s first solo recording since his high profile marriage break up and the resultant media attention would be rueful, angry, thoughtful, regretful, vicious, heartbroken or jubilant. Sadly it is none of these things but is instead Professional. Each of the 12 tracks is competently written, produced to give a contemporary rock sound and effectively played by an assortment of high-profile Famous Friends. What the record lacks is a raison d’etre. Lyrics have never been Ronnie’s forte (one of the reason why Stewart-Wood or Wood-Lane credits were always so welcome) and the words here are Dull.
Generally the soul-influenced slowies (Catch Me, Tell Me Something) come off better than the Modern Riff Rockers (Thing About You, I Don’t Think So). Willie Dixon’s Spoonful is taken a fraction too fast, keeping the rock but losing the roll. The Eastern guitar effects on the track 100% stands out – playing electric sitar on Paint It Black every night has clearly left its mark. The final track Forever will be of interest to the Ronnie Wood completist, if such a thing exists. Originally written and recorded for ‘I’ve Got My Own Album To Do’ in 1974 but not included, a live version was included on the First Barbarians Live At Kilburn DVD from the same year. Re-recording the song 36 years later suggests either that it has emotional significance to Ronnie, or that he has run out of songs.
What this record demonstrates in spades is that at least in the studio Ronnie Wood can come up with a thoroughly well-played and competently assembled record, which may just be the point As Mick Jagger plans the inevitable Stones 50th Anniversary world tour the news that Ronnie still feels like playing will come to many as a great relief.
Only Rock 'n' Roll 