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.
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.
Only Rock 'n' Roll 