Friday 26th May 2006, Liverpool Academy 2
Set list: The Sea is Wide, Small World, Black Lucia, Stray, Rock Gods, Western Skies, How Men Are, The Birth of the True, Down the Dip, Hymn to Grace, Reason for Living, Bigger Brighter Better, Somewhere in my Heart, Oblivious, The Boy Wonders, We Could send letters, The Bugle Sounds Again, Over You.
Roddy Frame is another of those musicians who has undeservingly dropped off the cultural radar but is an artiste that is producing work comparable to his halcyon days.
With a new album ‘Western Skies’ to promote Frame, was back in Liverpool one of his favourite stomping grounds just one of many dates on a fairly comprehensive UK tour.
It is probably the last time for a while that the audience could probably see Roddy in this intimate acoustic setting, recent interviews have indicted that he is looking to put together a new touring band.
‘Surf’ and the latest record are records that are suited to being played in this style given the stripped down nature of the recordings. There is a healthy dose of older material played tonight as well and it is interesting to hear the older Aztec Camera material given a new lease of life in this format.
Roddy Frame stepped out to a rapturous applause, which showed no sign of abating all night. His beaming smile and his opening chat with the crowd indicated that he was up for tonight’s performance. He was playing to a partisan crowd who were up for old and new tunes in equal measure.
They even cheered the opening chord – which prompted Frame to tease the audience with a couple of bars from a Bob Dylan tune. ‘You are cheering and you don’t even know what is yet,’ he joked.
He didn’t disappoint with the choice of songs played tonight. The second song tonight was ‘Small World’ a song non-partisans would be familiar with as it is the tune for BBC’s Early Doors.
The newer stuff from ‘Western Skies’ was well received, especially ‘Rock God’ which began with Frame talking about his own heroes and Edwyn Collins who had recently visited. Frame informed the audience that he was on the mend and in good form after his brain haemorrhage last year.
The crowd were in as equally good voice as the turn they had come to see. ‘Oblivious’ ‘The Boy Wonders’ and ‘How Men Are’ were all sung with as equal aplomb by the audience as they were by the guy who had crafted them.
He finished with a number of classics from ‘Hard Land, Hard Rain’ – with ‘Down the Dip’ mutating into Dylan’s ‘It’s Alright, Ma’ with an extended section that saw Frame’s silhouette projected onto the backdrop in true rock god pose.
Tonight was something else and if he can be this good in this acoustic setting, one can only imagine how good he would be with a band behind him.
Friday, May 26, 2006
Friday, April 21, 2006
Ian McNabb
Live at the Southport Arts Centre, Friday 21st April 2006
A Friday night sojourn up the Mersey coast for Ian McNabb as his brief spring acoustic tour calls into the Southport Arts Centre – a suitable night to visit the seaside town on the year’s first spring like day.
What the venue lacked in dynamics tonight’s two-part set more than made up for the lack of rock and roll credentials of the setting. The Arts Centre is a pleasant enough venue – but probably one more suited to academic lectures and the odd amateur dramatics event.
It was a good turn out tonight for Ian. The audience was made up of the usual partisan diehards out in force, all hollering for songs from all points in McNabb’s career. McNabb more than encouraged this participatory heckling.
He seemed a little subdued at the start of the proceedings, but the longer the gig went on he came into his own. Some inspired song selection and a smattering of witty anecdotes made the first part fly by. My favourite tale was the £500 Rickenbacker guitar which is now worth £4,000 – which his Mum implores him to sell because as s says:' Your always complaining your fucking skint.’
The first set had some sort of a set list – with the second half left open to the wishes of the crowd.
One of the many highlights of the night for me was certainly ‘Fire Inside My Soul’. The evenings closer ‘Love Is A Wonderful Colour’ sounded great with the accompaniment of the audience – a tune that more than whetted the appetite for The Icicle Works forthcoming anniversary gigs in October.
The second half saw Ian getting a little bit frustrated by the lack of atmosphere in the venue. He gently goaded a majority of the crowd from their seats to fill the vast space between the seats and the stage. The crowd in turn were treated to a rock-n-roll medley, with one of the crowd who had left his seats treating the crowd to a stunning display of dad dancing.
Another great McNabb gig. As you would come to expect no one gig is like the other, hence the anticipation for McNabb’s forthcoming gigs later on in the year.
A Friday night sojourn up the Mersey coast for Ian McNabb as his brief spring acoustic tour calls into the Southport Arts Centre – a suitable night to visit the seaside town on the year’s first spring like day.
What the venue lacked in dynamics tonight’s two-part set more than made up for the lack of rock and roll credentials of the setting. The Arts Centre is a pleasant enough venue – but probably one more suited to academic lectures and the odd amateur dramatics event.
It was a good turn out tonight for Ian. The audience was made up of the usual partisan diehards out in force, all hollering for songs from all points in McNabb’s career. McNabb more than encouraged this participatory heckling.
He seemed a little subdued at the start of the proceedings, but the longer the gig went on he came into his own. Some inspired song selection and a smattering of witty anecdotes made the first part fly by. My favourite tale was the £500 Rickenbacker guitar which is now worth £4,000 – which his Mum implores him to sell because as s says:' Your always complaining your fucking skint.’
The first set had some sort of a set list – with the second half left open to the wishes of the crowd.
One of the many highlights of the night for me was certainly ‘Fire Inside My Soul’. The evenings closer ‘Love Is A Wonderful Colour’ sounded great with the accompaniment of the audience – a tune that more than whetted the appetite for The Icicle Works forthcoming anniversary gigs in October.
The second half saw Ian getting a little bit frustrated by the lack of atmosphere in the venue. He gently goaded a majority of the crowd from their seats to fill the vast space between the seats and the stage. The crowd in turn were treated to a rock-n-roll medley, with one of the crowd who had left his seats treating the crowd to a stunning display of dad dancing.
Another great McNabb gig. As you would come to expect no one gig is like the other, hence the anticipation for McNabb’s forthcoming gigs later on in the year.
Wednesday, March 22, 2006
The Raconteurs
Liverpool Carling Academy, Monday 20th March 2006
Set List: Level, Intimate Secretary, Hands, Steady as She Goes, Together, This House Is Not A Motel, Store Bought Bones, Call It A Day, Yellow Sun, Broken Boy Soldier, 5 On The 5, Blue Veins, Headin’ For The Texas Border.
Tonight had the feeling of one those seminal gigs that everyone in attendance will talk about in years to come.
This is no newly fated NME hope. This is something different. Not many new bands receive the kind of rapturous applause that they did on their entrance to the Academy’s stage. No other band that have yet to release an album would see their new material applauded like old favourites. In fact most new bands would normally expect a passive crowd with arms folded in the come on entertain us stance.
Well no other band contains both Jack White and Brendan Benson – two old friends from Detroit all the way over in Liverpool for the debut for their new musical venture.
The word side-project is a word that often provokes dread. It’s a term that usually provokes fear of something woeful and self-indulgent. But that is certainly not the case with the Raconteurs.
Augmented by Patrick Keeler on drums and ‘little’ Jack Lawrence from The Greenhornes on bass - as well as Dean Fertita. It is these extra hands on deck that allows Jack White the luxury of being able to cut loose musically. In the White Stripes the onus is on White to carry the sound – tonight he can revel in fact that he has a band to help him out.
‘Level’ is a swirling psychedelic beast that opens the proceedings to the second biggest cheer of the night. The first biggest comes three songs in when White removes his leather jacket.
They aired the yet to be released new album ‘Broken Boy Soldier’ in full with the addition of new song ‘5 on the 5’ as well as a couple of covers the highlight of which was Love’s ‘A House Is Not A Motel’ – a song dedicated especially to Liverpool by Jack White - seemingly pleased that his band had chosen the city for his first live venture.
The limited release single ‘Steady as She Goes’ went down well with the capacity crowd at the Carling Academy as well as its b-side ‘Store Bought Bones’. Were again treated like old favourites.
They played for over an hour with a set of songs that are certainly in keeping with the influences of the illustrious front two. The sound has been described in some quarters as Cat Stevens meets Led Zeppelin. Benson’s pop sensibilities certainly compliment the bluesier guitar work of White.
They finish with the Flamin Groovies cover and they certainly know how to leave their crowd wanting for more.
Roll on the release of the album in May – which from tonight’s expectant audience is almost an eternity away.
Set List: Level, Intimate Secretary, Hands, Steady as She Goes, Together, This House Is Not A Motel, Store Bought Bones, Call It A Day, Yellow Sun, Broken Boy Soldier, 5 On The 5, Blue Veins, Headin’ For The Texas Border.
Tonight had the feeling of one those seminal gigs that everyone in attendance will talk about in years to come.
This is no newly fated NME hope. This is something different. Not many new bands receive the kind of rapturous applause that they did on their entrance to the Academy’s stage. No other band that have yet to release an album would see their new material applauded like old favourites. In fact most new bands would normally expect a passive crowd with arms folded in the come on entertain us stance.
Well no other band contains both Jack White and Brendan Benson – two old friends from Detroit all the way over in Liverpool for the debut for their new musical venture.
The word side-project is a word that often provokes dread. It’s a term that usually provokes fear of something woeful and self-indulgent. But that is certainly not the case with the Raconteurs.
Augmented by Patrick Keeler on drums and ‘little’ Jack Lawrence from The Greenhornes on bass - as well as Dean Fertita. It is these extra hands on deck that allows Jack White the luxury of being able to cut loose musically. In the White Stripes the onus is on White to carry the sound – tonight he can revel in fact that he has a band to help him out.
‘Level’ is a swirling psychedelic beast that opens the proceedings to the second biggest cheer of the night. The first biggest comes three songs in when White removes his leather jacket.
They aired the yet to be released new album ‘Broken Boy Soldier’ in full with the addition of new song ‘5 on the 5’ as well as a couple of covers the highlight of which was Love’s ‘A House Is Not A Motel’ – a song dedicated especially to Liverpool by Jack White - seemingly pleased that his band had chosen the city for his first live venture.
The limited release single ‘Steady as She Goes’ went down well with the capacity crowd at the Carling Academy as well as its b-side ‘Store Bought Bones’. Were again treated like old favourites.
They played for over an hour with a set of songs that are certainly in keeping with the influences of the illustrious front two. The sound has been described in some quarters as Cat Stevens meets Led Zeppelin. Benson’s pop sensibilities certainly compliment the bluesier guitar work of White.
They finish with the Flamin Groovies cover and they certainly know how to leave their crowd wanting for more.
Roll on the release of the album in May – which from tonight’s expectant audience is almost an eternity away.
Sunday, February 5, 2006
Echo and the Bunnymen - More Songs To Learn and Sing(Korova)
Track List CD: The Cutter, The Back Of Love, The Killing Moon, Seven Seas, Never Stop, Rescue, I Want To Be There (When You Come), Don't Let It Get You Down, Promise, Silver, People Are Strange, Do It Clean, The Game, Rust, Lips Like Sugar, Nothing Lasts Forever, Bring On The Dancing Horses, Hang On To A Dream, It's Alright, Stormy Weather
Track List DVD: The Cutter, The Killing Moon, Seven Seas, Bring On The Dancing Horses, Game, Lips Like Sugar, Nothing Lasts Forever, Rust
With the release of this record it gives a respected cult band another chance to gain the attention that a number of these songs deserve. Backed by a decent promotional campaign, this compilation is a timely reminder of the bands near legendary status.
The title of this record suggests that this collection picks up where the 80s compilation, Songs To Learn and Sing left off. This in fact is a more encompassing collection of their hits than that particular album. It is also more comprehensive than the 1997 retrospective Bedbugs and Ballyhoo, an album released to cash in on the Bunnymen comeback, after a near decade hiatus.
Released on the recently reactivated Korova label - More Songs, covers all points of the band’s Warner Brothers career and includes bonus tracks from their last three releases.
The band is still a going concern and these days and consists of guitarist Will Sergeant and the redoubtable singer Ian McCulloch. Sadly drummer Pete De Freitas is no longer with us, he died in a motorbike accident towards the first phase of the bands career. Original bassist Les Pattinson, has now retired and working in a boat yard in Lancashire.
The early classics make up the bulk of this compilation, with The Cutter opening up the proceedings for this twenty-track reflection of the great and the good of a long and winding career.
It is taken as read that the Mac-free Bunnymen (or the Bogusman as Mac branded them) songs are not included here, but it does include a couple of interesting selections alongside the obvious classics such as the Cutter, Seven Seas and the Killing Moon.
Included is the rare curio Hang On To A Dream, the Tim Hardin classic that popped up on the Internet-only release Avalanche and is given a full release here for the first time.
The comeback hit Nothing Lasts Forever still sounds as fresh as it did when it was released in 1997. It doesn’t stray far from the formula of the early classics such as the Killing Moon and Ocean Rain; a song surprisingly omitted from this collection.
The cigarette soaked croon of a mature Mac gives the song that classic status that would have seen Sinatra clamour to record such a finally crafted tune - if he was still around today.
One thing that is interesting to note is how the lyrics become less ambiguous as their career progresses. The lyrics become less Buffalo and Bison / Bison and Buffalo, and start to explore more personal themes as Stormy Weather from Siberia highlights - a song which chronicles a love gone wrong.
They may be something of a diehard’s choice these days, but the quality of the songs particularly on the last album show that it’s likely that the Bunnymen will be around for a few more years.
This album would be the perfect introduction for someone who has seen their name linked in reviews with the latest crop of bands that have been influenced by the Bunnymen’s sound.
This is a well thought out compilation and it is released, not just to cash in on the back of the inclusion of a song on a soundtrack or a reformation, but it pays tribute to the enduring qualities of the Bunnymen as a band.
If you catch it early this compilation includes a DVD of a number of the bands promos over time released on DVD for the first time.
Posted by Paul at 11:17 PM 0 comments Links to this post
Sunday, January 29, 2006
They wouldn't let it lie
In what is seemingly going beyond parody the new year sees yet another Diana related front page from The Di-ly Express. 46 times a Diana related story appeared on the front page of the Daily Express in the last year alone - almost 10 years after her death.
The Express is a comic at the best of times and it isn't helped the proprietor of the Express Richard Desmond is a close personal friend of Mohammed al Fayed.
The ranting of al Fayed and his 'fuggin' conspiracy theory that the Duke of Edinburgh and a missing Fiat Uno are all part of some sinister plot to bump off The People Princess are endlessly lampooned in Private Eye.
Classic Daily Express spoof front covers have included recently DUKE BLAMED FOR HAMMOND CRASH SHOCK and the LIVITNENKO MURDER: SHOCK NEW THEORY - which included the quality quote from top Kremlinologist Professor Fayed, "He was murdered by the fuggin' Duke of Edinburgh, who put a white Fiat Uno in his fuggin' sushi."
It is now really beyond parody, but no doubt Monday we will see another Diana front page exclusive in the Express.
Monday, December 19, 2005
Coldplay
Manchester Evening News Arena, Monday 19th December 2005
It has been something of a roller coaster year for Coldplay. The bands third album was finally released in the summer after numerous delays – mainly due to apparent artistic tensions attendant in the recording sessions. Fractious moments in the studio – that nearly resulted in X&Y not being released.
There was also the added pressure the news that their record company EMI had posted a loss in profits as a result of the delayed release. When the record was finally released in some quarters the album was received with muted criticism from a number of critics. The fact that the band had become so big – was seemingly the main reason they had become more of a target.
You can certainly see why in the live arena that the band seemingly thrives away from the minutiae and resultant pressures of being one of the World’s biggest bands.
For all the criticism of the new album, Coldplay do cut the mustard on the stage and tonight’s triumphal gig was no exception. Be it headlining a festival or on a tour in their own right. Three albums in Coldplay have become the band that people will go to see without having purchased the new material. Mainly in the hope they will play the old stuff and the single they have heard on the radio. You could say they have reached U2-like status
This was something of a homecoming night in the vast space that is the MEN. For Coldplay it was a return to the city which they were first discovered at the In The City event - for tonight’s support act, Richard Ashcroft it was a return to his spiritual home of the north west.
Back in the saddle after a layoff to recuperate from the critical mauling his previous album received. He played a smattering of new songs from the soon to be released ‘Keys to the World’. Which sound on first hearing is a step in the right direction – but still weighed down by platitudinous lyrics that to some ears seems mystical, but more often than not sounds trite. The day was saved though as the newer stuff began to plod on - with a selection of his greatest hits from his Verve days.
‘Square One’ started the proceedings again as it had at the summer gig at the Reebok Stadium – this was given a greater sense of occasion given the indoor setting with the clock backdrop showing a countdown to the bands introduction. In fact there were very few surprises and amendments to the set but what was apparent was the verve and vigour of the band despite being nearly the eightieth date of the tour.
The energy of front man Martin was there to see as he raced from the stage to the back row of the first tier of seating during ‘In my Place’. He managed to make it back in time for the next number and was even forgiven for fluffing the lines to ‘Fix You’ on his return.
Next year will see more touring and a number of festival dates. When a new album will surface is difficult to tell. But given the lofty status of the band and the material that they can now omit. The wait for new material could be a long one.
Manchester Evening News Arena, Monday 19th December 2005
It has been something of a roller coaster year for Coldplay. The bands third album was finally released in the summer after numerous delays – mainly due to apparent artistic tensions attendant in the recording sessions. Fractious moments in the studio – that nearly resulted in X&Y not being released.
There was also the added pressure the news that their record company EMI had posted a loss in profits as a result of the delayed release. When the record was finally released in some quarters the album was received with muted criticism from a number of critics. The fact that the band had become so big – was seemingly the main reason they had become more of a target.
You can certainly see why in the live arena that the band seemingly thrives away from the minutiae and resultant pressures of being one of the World’s biggest bands.
For all the criticism of the new album, Coldplay do cut the mustard on the stage and tonight’s triumphal gig was no exception. Be it headlining a festival or on a tour in their own right. Three albums in Coldplay have become the band that people will go to see without having purchased the new material. Mainly in the hope they will play the old stuff and the single they have heard on the radio. You could say they have reached U2-like status
This was something of a homecoming night in the vast space that is the MEN. For Coldplay it was a return to the city which they were first discovered at the In The City event - for tonight’s support act, Richard Ashcroft it was a return to his spiritual home of the north west.
Back in the saddle after a layoff to recuperate from the critical mauling his previous album received. He played a smattering of new songs from the soon to be released ‘Keys to the World’. Which sound on first hearing is a step in the right direction – but still weighed down by platitudinous lyrics that to some ears seems mystical, but more often than not sounds trite. The day was saved though as the newer stuff began to plod on - with a selection of his greatest hits from his Verve days.
‘Square One’ started the proceedings again as it had at the summer gig at the Reebok Stadium – this was given a greater sense of occasion given the indoor setting with the clock backdrop showing a countdown to the bands introduction. In fact there were very few surprises and amendments to the set but what was apparent was the verve and vigour of the band despite being nearly the eightieth date of the tour.
The energy of front man Martin was there to see as he raced from the stage to the back row of the first tier of seating during ‘In my Place’. He managed to make it back in time for the next number and was even forgiven for fluffing the lines to ‘Fix You’ on his return.
Next year will see more touring and a number of festival dates. When a new album will surface is difficult to tell. But given the lofty status of the band and the material that they can now omit. The wait for new material could be a long one.
Saturday, December 17, 2005
Echo and the Bunnymen
Liverpool Carling Academy, Saturday 17th December 2005
Set list: Going Up, Show of Strength, Stormy Weather, Bring on the Dancing Horses, Seven Seas, The Disease, Scissors in the Sand, All That Jazz, The Back of Love, The Killing Moon, In the Margins, Never Stop, Villiers Terrace, Of a Life, Rescue, The Cutter, Nothing Lasts Forever
Lips Like Sugar, Ocean Rain
It’s Christmas, time for the now traditional seasonal Bunnymen hometown gig. This year sees a second night added.
It has been a good year for Bunnymen fans – it was the year, which saw the release of ‘Siberia’ – an album that has been described as a return to form and one that certainly evokes memories of the past.
It may well have something to do with the fact that Hugh Jones who’d previously produced ‘Heaven Up Here’, back on production duties. The talk of a classic Bunnymen album is probably not that wide of the mark.
Numerous reviews have alluded to a return to form – though this is seemingly always the case with new Bunnymen releases. It certainly has its fair share of magical moments that will keep the diehards happy. It is an album that has been described by Ian McCulloch as coming in from the cold hence the title ‘Siberia’. It’s a position that normally fires the band to record their best work especially when they are written off. It’s an album that sees the main protagonists on top form.
The so-called return to form is also a good recipe for the live dates and tonight sees the Mac and Will certainly on top of their game. There is certainly no feeling of going through motions after last night’s home gig.
The set list has a familiar ring to it. Though it may be a tried a tested format it is invigorated by the inclusion of ‘Going Up’ to start the proceedings. There is also the inclusion of a number of new songs from ‘Siberia’ that are not out of place amongst the list of classic Bunnymen tunes.
The two singles ‘Stormy Weather’ and ‘In the Margins’ plus ‘Scissors in the Sand’ are given an airing tonight. They are well received by the fans and certainly compliment the rest of the bands twenty-five year plus material.
Now with a collection of records going back over a quarter of a century there is always going to be the odd song omitted from the set list that disappoint the diehard. One song I was glad to see omitted was ‘Over Wall’ – my recently sprained ankle certainly would not have lasted another 8 minutes longer tonight – normally I would feel short-changed by its omission.
It was another cracking live experience to keep the home crowds happy for another year. Though on tonight’s form I think it would be advisable for the band to book a third night next year.
Set list: Going Up, Show of Strength, Stormy Weather, Bring on the Dancing Horses, Seven Seas, The Disease, Scissors in the Sand, All That Jazz, The Back of Love, The Killing Moon, In the Margins, Never Stop, Villiers Terrace, Of a Life, Rescue, The Cutter, Nothing Lasts Forever
Lips Like Sugar, Ocean Rain
It’s Christmas, time for the now traditional seasonal Bunnymen hometown gig. This year sees a second night added.
It has been a good year for Bunnymen fans – it was the year, which saw the release of ‘Siberia’ – an album that has been described as a return to form and one that certainly evokes memories of the past.
It may well have something to do with the fact that Hugh Jones who’d previously produced ‘Heaven Up Here’, back on production duties. The talk of a classic Bunnymen album is probably not that wide of the mark.
Numerous reviews have alluded to a return to form – though this is seemingly always the case with new Bunnymen releases. It certainly has its fair share of magical moments that will keep the diehards happy. It is an album that has been described by Ian McCulloch as coming in from the cold hence the title ‘Siberia’. It’s a position that normally fires the band to record their best work especially when they are written off. It’s an album that sees the main protagonists on top form.
The so-called return to form is also a good recipe for the live dates and tonight sees the Mac and Will certainly on top of their game. There is certainly no feeling of going through motions after last night’s home gig.
The set list has a familiar ring to it. Though it may be a tried a tested format it is invigorated by the inclusion of ‘Going Up’ to start the proceedings. There is also the inclusion of a number of new songs from ‘Siberia’ that are not out of place amongst the list of classic Bunnymen tunes.
The two singles ‘Stormy Weather’ and ‘In the Margins’ plus ‘Scissors in the Sand’ are given an airing tonight. They are well received by the fans and certainly compliment the rest of the bands twenty-five year plus material.
Now with a collection of records going back over a quarter of a century there is always going to be the odd song omitted from the set list that disappoint the diehard. One song I was glad to see omitted was ‘Over Wall’ – my recently sprained ankle certainly would not have lasted another 8 minutes longer tonight – normally I would feel short-changed by its omission.
It was another cracking live experience to keep the home crowds happy for another year. Though on tonight’s form I think it would be advisable for the band to book a third night next year.
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