I can write in a variety of different styles which I gear to the particular magazine, paper or programme. Zillions of years ago Rush were starting a major UK tour at Newcastle City Hall and I was asked (individually) by Sounds, Pop Star Weekly and Radio 1 to review the show. So Ian Ravendale, Rick O'Shea and "Ian Penman from BBC Radio Newcastle's 'Bedrock' " all critiqued the gig. I-more-or-less-made the same critical points in each review but in three different ways.
Very recently a fellow member of the North East Music History Facebook site told me that he still remembered how I described Rush on Radio 1. Which was more than I did. "Quasi-mystical rhubarb," apparently. For what I said about them in Pop Star Weekly nip across to 'Archive'.
The following have appeared over the last few years in the current monthly and bi-monthly glossy music mags and cover a wide spectrum of musical genres from rock n'roll, punk, electro pop, MOR, rock and more besides. There may( or may not) be references to cosmic fruit and veg.
***
New Kids On The Block
Newcastle City Hall
Even though the venue is far from capacity there's a
tangible air of
pre-performance excitement tonight. What there isn't, apart
from me, the City
Hall stewards, the band and their crew are any blokes. The entire
audience is made up
of women in their 30's or 40's here to re-connect with the
heroes of their youth.
The lady next to me says she first saw the Kids as a
teenager and is now 42.
On the stage are a flight of stairs with five glistening
mike-stands at the bottom.
Lights down, a hall full of screams and down the stairs one
by one walk the five
members of New Kids On The Block. Brothers Jonathan and
Jordan Knight, Joey
McIntyre, Donnie Wahlberg and Danny Wood, the complete
original line-up who
got back together in 2008 after splitting in 1994. They look
good and cooler than
Take That who they pay homage to with their versions of Back For Good and
Robbie Williams' Rock
DJ. Quips Wahlberg, "We like boy bands! We started this
shit!"
The City Hall is awash with camera phones and lasses down
the front, singing
along, dancing, holding out their hands and screaming. Most are
probably mums and won't be doing anything too bananas.
Amongst the
synchronised dance moves Jordan Knight and Joey McIntyre
take most of the
lead vocals, with McIntyre being particularly strong. Showman
Wahlberg is rap-master
while Jonathan Knight and Danny Wood stay in the background.
Wood does a
pretty nifty head-spin before the other Kids pull up his
teeshirt to reveal
super-sculptured tattooed abs.
Summertime is a good song blunted a bit by the squealing
which in turn makes the
programmed track a bit bass and drums heavy. The Right Stuff has audience and
Kids ajumping and pointing in tandem while the Kids' crotch
thrusts get the
loudest screams of the night.
The lights dim and
then come up. Something's going on. Sure enough, the band members
(and security) are amongst the audience, each in a different section of the balcony. Cuddles, hi-fives, selfies and a "Where's all my Geordies then!?" enquiry from Wahlberg who's right in the middle of a gang of middle-aged women going bonkers..
(and security) are amongst the audience, each in a different section of the balcony. Cuddles, hi-fives, selfies and a "Where's all my Geordies then!?" enquiry from Wahlberg who's right in the middle of a gang of middle-aged women going bonkers..
Hangin' Tough turns into We Will Rock You with the quintet waving
goodbye, shaking hands
and Donnie throwing goodies into the crowd. Two hours of the right stuff? The Kids and their audience certainly thought so
Ian Ravendale
***
Level 42
Gatehead Sage
Gatehead Sage
Mark King completely dominates Level 42's sound. Propelled
by his pneumatic
right thumb King's slap bass thunders along, thudding,
twanging and choppa-
choppa-chopping making Level 42 instantly recognisable. It gets a
bit wearing after 90
minutes but the audience don't mind in the slightest with
the guy next to me
making his thumb go twenty to the dozen in homage to his
hero.
King also handles most of the lead vocals. Keyboard player
Mike Lindup takes
 |
| Choppa-choppa-chop! |
over for It's Not The
Same For Us but the band still sound unmistakably Level
42, primarily due to King's distinctive bass. Power-housing
through hits like
Lessons In Love
and The Chinese Way the rest of the
band need to be at the top
of their game to keep up and they are. Drummer Pete Ray
Biggin knows his
stuff while the three piece brass section lead by sax man Sean
Freeman add
flavour and Nathan King sprinkles a few short guitar solos
here and there.
The show has plenty high velocity slices of funk that
include Love Games
and, from Sirens,
the new EP, Where's Your Head At,
which is a groove rather
than a song. Mind On
You, also from Sirens, comes later
and this works better
with its’ hypnotically insistent little synth riff. On the
poppy Tracie, Nathan gives
us a creditable Grandmaster Flash style rap. Otherwise,
Level 42 show no
intention of changing their formula anytime soon which suits their audience fine.
Ian Ravendale
***
Howard Jones
Gateshead Sage 2
With its' three tier contemporary-Globe Theatre circular seating Gateshead's
Sage 2 is the ideal venue for Howard Jones' Songs, Stories and Piano show. The
capacity audience are literally within touching distance and
a couple of dozen
take the opportunity to shake hands with the affable Jones
at the end of the
performance.
Looking trim in a tailored light pink suit Jones kicks off
with 1984's Pearl In The Shell
Anyone expecting him to be up to his neck in
keyboards, sequencers,
drum machines and similar gizmos would be disappointed. This
is Jones stripped
bare with solo vocals, a piano and padded piano stool.
Despite his 80's rise to
fame as Mr Synthpop, Jones, as he tells us, practiced piano
four hours a day from
aged seven onward. He recalls with disdain the 1980's Rolling Stone review that
suggested he needn't turn up for his own gigs and could just
send his gear and
get someone to press 'start.' Thirty years later this
obviously still sticks in Jones'
craw and the current acoustic tour could be seen as a belated
response as he
delivers up a cocktail of best known numbers, hits, favourite
album tracks and some surprises.
The intimacy of the situation gives Jones the opportunity to
recount the stories
behind the songs including when his Japanese record label
rang him up in the
middle of the night to tell him that Like To Get To Know You Well would be
'career ending'. Jones was puzzled until he discovered
they'd translated the title
into I'd Like To Force
Myself Upon You. Prior to Hide And Seek
he tells us of
playing it at Live Aid and before he went on Phil Collins
warning him that the
on-stage piano had a few 'dodgy notes' at the bottom end.
Jones' remedy was to
'bang hard'.
Before playing Life In
One Day and with his tongue firmly in his cheek
Howard disses his own lyrics, saying that he wrote the song
after WEA had sat
through a playback of the Dream Into Action album with glum faces, saying that
there wasn't a hit. Life
In One Day was his response. A bit of light-hearted
audience participation follows as Jones gets us to sing a
few lines of iffy lyrics
back to him and add 'Howard' on to the end.
The freedom of not having live musicians or pre-programmed
tracks gives Jones
the opportunity throw in a few surprises, including a
tribute to the late Colin
Vearncombe with an extract from Black's Wonderful Life and a slowed~down
take of The Beach Boys’ God
Only Knows.
While an hour and a half of solo piano is maybe just that
little bit too
much the audience of Jones diehards didn't agree. The
acoustic format stripped
of electronic bells and whistles reveals what good songs
they are and it's
surprising Jones hasn't other artists covering his material..
The set-up might not work if Jones was part of a 80's
package tour sandwiched
between full bands with an audience some of whom weren't
there to see him. In
this setting, with a room crammed full of fans celebrating
Howard's career via
his music and stories, the enthusiastic crowd were
completely on-side.
Ian Ravendale
***Ian Ravendale
Paul Heaton & Jacqui Abbott
Mouth of the Tyne Festival
Tynemouth Priory
Paul Heaton has scored hits in four different decades with
The Housemartins
(1980's) Beautiful South (1990's and 00's) and more recently
as a double act with
Jacqui Abbott, the longest-standing of his three BS female
co-vocalists. The
Housemartins and Beautiful South were no-frills people's
bands and it comes as
no surprise that Heaton & Abbott are too. In his glasses
and (appropriately)
anorak, Heaton is the antithesis of a rock star. No fancy
moves, gyrating dancers,
grand entrances or much else in the way of stage craft with
Heaton (and to a
lesser extent, the similarly unflashy Abbott) frequently
seeming to be reading the
song words from music stands. If there was a GCSE in 'How To
Be A Popstar' the
pair would probably get an F.
 |
| Heaton and Abbott; music stands and anoraks R us. |
Heaton's songs combine wit and downbeat observation with
artful melody. DIY
from the most 2014 album What
Have We Become has more words per verse
than should fit but somehow they do. All Heaton's eras are
present and correct to the
delight of the audience who join in with gusto as hits like Rotterdam, One Last
Love Song, Don't Marry
Her and Me And The Farmer are
expertly performed
by Paul, Jacqui and their super-tight four piece band. Carry On Regardless gets a
field full of people jigging along, none of whom seem to
care that the song just
stops rather than actually finishes.
Hands in the air follow during The Beautiful South number Let Love Speak Up
Itself. During the
song's climax Heaton engages in the closest he comes to
showbiz: he purposefully takes off his glasses-seemingly to
help him reach the
high notes. No, I didn't understand it either.
With Beautiful South and Housemartins numbers being the
order of the day only one new song is tried out on the appreciative audience. Austerity Of Love from the duo’s
forthcoming (as yet untitled) album sees the band drive the song home with a nice
Harry J reggae rhythm while the lyrical kick against the buzzword of the moment
demonstrates that growing mellow in his 50’s is not an option for Paul Heaton.
Quite the raconteur, only Paul Heaton could get a cheer out
of 'Three Dairy Lea
Triangles!' as the
punch line of a story about a previous trip to the area with his
parents as a child when his mother upstaged the posh three
course-meal
chomping family parked next to them on Whitley
Bay beach by producing said
cheesie treats.
You Keep It All In
and Happy Hour make up the initial
encore with the outfit
coming back for one last hurrah with Perfect Ten and an impressive finale when
the band's guitarist, drummer and bass player join their
leaders at the front of
the stage for a fine a capapella version of the
Housemartin's 1986 no 1 Caravan
Of Love. Dairy
Lea Triangles all round, please!
Ian Ravendale
Ian Ravendale
***
Eddi Reader
The Sage, Gateshead
Of course tonight's audience want to hear Perfect, Eddi Reader's 1988 no.1 hit
with Fairground Attraction and Patience Of Angels, the signature track from her
1994 eponymous solo album. Both are great songs with killer
choruses but what's
obvious tonight is that what repeatedly pulls people to the
live shows is Reader's
unique personal magnetism.
She's a great singer, pitch perfect and clear as crystal who
could probably turn
her tonsils to any sort of song. Maybe even more
importantly, Reader is a
natural storyteller and entertainer who can totally hold an
audience. As when she
tells us about the
epic Glasgow New Year's Eve parties that their parents took Eddi
and her eight siblings along to and then role-plays Mrs
Reader coyly needing to be
coaxed into giving the gathering her rendition of Moon River before going into
it herself and breathing new life into the old chestnut.
With the exception of Eddi and double bass player Kevin
McGuire most of the
members of the fine five-piece Reader band including
guitarists John Douglas
(her husband) and Boo Hewerdine (her frequent songwriting
collaborator who
wrote Patience Of
Angels) spend the set sitting down. The coupling of Eddi's
flawless vocals with the unusual lead accordion playing of
Alan Kelly make the
band sound like no one else. On Married To The Sea Kelly produces an organic
backdrop to Declan O' Rouke's lugubrious contemporary sea
shanty that Eddi
adds manipulating menace to. Once ensnared all men's fate
are sealed!
Show opener I'll Never
Be The Same channels a 1920's dance band, Draonflies
waltzes and Fairgound Attraction's The Moon Is Mine swings with Douglas on
ukelele and former Attraction drummer Roy Dodds swapping his
sticks for
brushes.
Before playing Perfect Reader recounts how her father got the entire street out
to welcome her home after it hit no 1. And then took the
credit for the song's
success by saying it was due to him going to Mass for the
first time in 25 years.
Normally acts have to persuade audiences to clap along. Not so in Reader's
case. Charlie Is My
Darling has everyone clapping, stamping their feet and
singing along unprompted. Most will be back next time for
sure.
Ian Ravendale
***China Crisis
Newcastle Cluny
Playing this gig as a three-piece China Crisis-guitarist Eddie Lundon, vocalist Gary Daly and keyboard player Brian McNeil-deliver stripped-down versions of the outfit's best songs, new and old. The loose format gives Daly in particular the opportunity to crack on with the audience and he's an amusing, idiosyncratic host. After someone from the audience shouts out; “We love you guys!” Daly fires back. “I know you do. And we love you! But in a different way….It’s all gone a bit Spike Milligan up here!”
With Lundon mainly on acoustic guitar and McNeil studiously
coming up with everything else it's like China Crisis are in your living room,
playing to a bunch of mates.
Autumn In The
Neighbourhood is China Crisis’s first album in 21 years and several numbers
get an airing including the ska/reggae flavoured title track and the Lundon
written and sung Fool. The band had the album crowd-funded via
Pledge Music and subsequently, as Daly tells us, “We’ve had all kinds of idiots
wanting to put it out for us. I want it in Tesco’s or nowhere!”
 |
| Eddie and Gary playing in The Cluny's front room. Photo by Ian Ravendale. |
China Crisis’s sound is so distinctive that no matter what
type of music of music they play it’s always uniquely them, a point illustrated
when Daly tells us that they were recently asked to record a cover. “We never
do covers, ‘cos we’re such great songwriters ourselves! Then I found out what
the money would be!” Their version of Carole King’s It’s Too Late fits in like a China Crisis original and is one
of the
many songs of the evening that has the audience singing along.
Daly's vocals are instantly recognisable and hearing the
songs performed in such
an uncluttered way re-enforces that he and Lundon genuinely are great songwriters.
Best Kept Secret drips
poignancy, Black Man Ray still sounds
like no-one else and Diary Of A Hollow
Horse has words that are clever but never get in the way of the melody. Working With Fire And Steel is still an
up-tempo gem but misses the great bass line of the recorded version. Wishful Thinking, sung by Lundon, isn't much different to the record and
King In A Catholic Style still pops
like crazy. The band’s unique and quirky way with words means that what it and Seven Sports For All (“It’s only taken
us 32 years to play it!” advises Daly) are about remain a mystery. The artful lyrics of the atmospheric African And White are made even more
effective by the lack of instrumental pyrotechnics to get between song,
performers and audience.
With the new album doing well and the venue much fuller than
when China Crisis played it a couple of years ago it's time somebody got these
guys with their full band onto a major 80's tour. Now! And, if Tesco’s are
reading this…….
Ian Ravendale
***
Billy Ocean
Newcastle City Hall
If anyone needs convincing that 80's music is more popular
now than at any
point since that decade ended all they have to do is go to a
Billy Ocean
concert.
Ably supported by an eight piece band the super-personable,
always smiling
Ocean has the audience up dancing and singing right from the
start. His band
includes three female backing singers (including Billy's
daughter Cherie) but the
predominantly female audience are having such a good time
joining in that it's
sometimes difficult
to tell where the girls on stage stop and the girls in the
venue begin.
Ocean gives us some tracks from his new album Here You Are. These are his
versions of songs he heard on the possibly-purloined radio
his dad brought home
one day when Ocean was growing up in Trinidad
in the 1950's. The tastefully
emotive take of Julie London's Cry Me A River is a quality change of mood
before dipping into the Ocean locker-full of hits again.
Until you hear them back
to back like this it's easy to forgot how many he's had. Caribbean Queen,
Red Light Spells
Danger, Love Really Hurts Without You (with its' I Can't Help
Myself riff) Loverboy and more are faithfully
reproduced, 1970’s/80's production
style and all with amped up treble, pinging drums, squidgy
bass and rinky-dink
keyboards.
For No Woman No Cry
from the new album, Billy dons a Wailers-style tea cosy
hat and the band drop the 80's vibe to do credit to the
smooth chunka chunka
rocksteady of the Bob Marley original.
Ocean's signature song When
The Going Gets Tough, with some nice walking
synth bass, gets the best reaction of the night but
everything Ocean does goes
down well. Michael Douglas, Kathleen Turner and Danny DeVito
don't show up
to do backing vocals but the enthusiastic audience are too
busy singing
to notice even if they had.
"Thank you for inviting us to your party!" says
Billy as he leaves the stage.
Couldn't have put it better myself.
Ian Ravendale
***
Ian Ravendale
***
The Boomtown Rats
Newcastle 02 Academy
Back fronting the re-formed Boomtown Rats Sir Bob Geldof
still puts bucket-loads of energy into his performance. To his credit,
he’s probably never even been in the same room as a choreographer, let alone
taking instruction from one His moves are ungainly and awkward and he flings
himself around like a fan who's jumped on stage and rather than call security the
band have let him get on with it. Geldof is exactly as you’d imagine; scruffy,
sweary and unself-conscious with a vocal delivery that’s nasal but full of
spirit.
This version of The Rats have four out of the original six
with Geldof, guitarist Garry Roberts, drummer Simon Crowe and bass player Pete
Briquette being joined by new boys Alan Dunn on keyboards and guitarist
Darren Beale. The band do a fine job of the hits which motor along with a power that the years
haven't diminished. I Don't
Like Mondays has the near capacity crowd singing along from the start. Watching Roberts and Beale standing with
their arms folded for the entire number makes me realise for the first time
that there’s no guitar on the song.
Geldof's harmonica and some nice guitar from Beale add extra
flavour to Banana Republic's tasty
reggae slice.The punky She's So Modern is very much of its'
time but rockets along while Dunn's keyboard impersonation of the sax on Rat Trap works a treat as does the
shouty chorus of the recent biography-in-song The Boomtown Rats.
"You were fucking excellent!" says Geldof to the
audience at the end of the night.
Ian Ravendale
***
Mary Chapin Carpenter and The Royal Northern Sinfonia
Gateshead Sage
The Sage is the home of the Royal Northern Sinfonia and they
play the venue
often. But tonight is different: they have an extra
member-Mary Chapin
Carpenter, Americana
singer-songwriter supreme.
The concert is part of a tour she's doing to promote her
latest album Songs From
The Movie which
features ten of Carpenter's songs arranged for orchestra by
Vince Mendoza and recorded in London
in January. The concert opens with a
rendition of Elmer Bernstein's suite from the film score of To Kill A
Mockingbird. Then,
guest conductor Mendoza welcomes Carpenter to the stage,
her long black dress matching the attire of conductor and
orchestra.
The sound is crisp and clear. Chapin is not having to power
over an electric
band so her vocal is sensuous and intimate and sounds like
she's sitting next to
me. Occasionally Mary does look a little uncomfortable as she can't really jig around
to what the orchestra are playing and doesn't quite know what to do with her hands as she's not playing guitar. The RNS are
supplemented by a trio of Carpenter's own musicians with her pianist, double-bass
player and drummer (who for most of the show plays with brushes rather than sticks) fitting in seamlessly with the orchestra.
The Girl I Was is
a mournful ballad about unrequited love that uses the
orchestral strings to great effect before the brass come in
and unites with the
cellos and violins for a thunderous climax that drips atmosphere and pathos. Tonight's Come On Come
On, from the album of the same name is slowed down slightly, making a sad song even sadder. Only A Dream takes a sibling leaving home as its subject matter with Mendoza's
arrangement drawing every ounce of drama out of one of Chapin's most poignant numbers.
To hear the orchestral arrangement of Stones In The Road is to re-discover it as
Carpenter and the RNS artfully steer the song to a memorable
conclusion. Having
her songs performed in such a full and complete way must be
supremely
uplifting for Carpenter. The end-of-show standing ovation for the musicians,
conductor and vocalist is
clear proof that the audience recognise how special
tonight's performance has been.
Ian Ravendale
***
The Pierces
Gateshead Sage 2
Remember when bands had great vocals, memorable songs and
you could sit
through an entire gig and enjoy every second of it? No? Say
hello to The
Pierces! Comprising Los Angeles-based sisters Catherine
(blond) and Allison
(guitar playing brunette) Pierce and their cool young band
they play melodic
rock with edge, attitude and great harmonies.
Pierce songs are contemporary takes on the human condition
and usually tinged
with drama and melancholy. Come Alive proposes the idea that everyone has
a dark side deep within them This far from new premise is turned around and given
the Pierce twist when Catherine sings that it's what she
likes and the darkness
that the guy has revealed is what makes him 'come alive' and
they should go
'deep inside' each other's psyches. I Put Your Records On is about having a
musician for a boyfriend, breaking up and then buying his
next album to see
what he's written about you. Which can't be anything other
than a "been there,
done that" scenario. Any guy having a relationship with
a Pierce sister would
almost certainly be given a run for their money.
Songs taken from Catherine and Allison's two most recent
albums, 2011's You
And I (the record
which broke the duo after ten years of being largely ignored)
and Creation (the
new release) make up most of the set and show just how
strong their material is.
Glorious, Kings, Believe In Me
and You'll Be Mine are
catchy but thoughtful and passionate.
There's a touch of Abba goes indie in the vocals but Allison
and Catherine
harmonise together exquisitely in the way that close family
can, with the Everly
Brothers as the benchmark. Their totally accapella version
of Simon and
Garfunkel's Kathy's
Song has a packed Sage 2 totally silent so as not to miss
every single watertight vocal nuance.
Onstage the sisters have that apparent casual indifference
to each other that
siblings often do. But that doesn't stop them from sharing a
little sisterly hug at
the end of the show. Can there be any doubt that The Pierces
are destined for
even greater success?
Ian Ravendale
***
***
Del Amitri
Newcastle City
Hall
Always a good idea to kick off a Greatest Hits concert with a
couple of 'em and
that's just what Del Amitri do. Always The Last To Know and
Kiss This Thing
Goodbye set the tone for this A-Z of Us reunion show where
Justin Currie and
co storm their way through some of the most intelligent pop
of the last few
decades.
 |
| The Del boys. Photo taken at this actual gig, courtesy of The Shields Gazette. |
Hammering Heart, with Andy Alston's church organ keyboards,
sees the band lay
down a totally convincing blanket of moody atmospherics.
They tip over into
gloom-and-doom territory with Being Somebody Else but
generally Amitri gauge
the intensity just right as with the carefully-subtle hint of menace of Just Before You Leave
Principal songwriter Currie hits the spot time and time
again with the poignancy
of Spit In The Rain deftly re-enforced by the excellent
harmony vocals of
guitarists Iain Harvie and Kris Dollimore.
The show concludes with a great version of Move Away Jimmy
Blue, all slow
build, killer chorus and ace harmonies. The power of the
Amitri brand name
means that the gig gets a super-enthusiastic audience three
or four times bigger
than a solo Currie singing most of the same songs. We
haven't seen the last of
Del Amitri, methinks.
Ian
Ravendale
***
Ray Jackson's Lindisfarne Christmas Show
The original Lindisfarne played
Newcastle City Hall 120 times, their 17 year run
of Christmas shows in the 1970's and 80's firmly ingrained
in Geordie folklore.
The question as to whether lead vocalist Ray Jackson
assisted by six musicians,
some of whom had played with later versions of the band,
could re-light the
sell-out concerts.
 |
| Jacka's back ( his side, anyway) at Newcastle City Hall. Look closely at the balcony as I'm actually in this pic. Ta to my old pal Rik Walton for the photo which really captures the atmosphere of the night. Rik has lots of great photos on his site here; (www.rikwalton.com) |
performance. Alan Hull, the band's main-songwriter and
co-lead vocalist died in
1995. But anyone who thought that Lindisfarne
couldn't be Lindisfarne without
him reckoned without Dave Hull-Denholm, Alan's son-in-law
and musical
inheritor. As Ray Jackson tells us, Dave; "sounds more
like Alan than Alan" so
classics like Winter Song and the still atmospheric Lady
Eleanor are faithfully
re-created in celebration of Alan Hull's songwriting legacy. Fog
On The Tyne , the
true Geordie anthem, has the entire audience, waving,
dancing and singing
along.
Kingdom Come which spotlight his fine harmonica and mandolin
playing as
much as his great lead vocals. An extended version of We Can
Swing Together
pulls in bits of Jingle Bells, Blaydon Races, Keep Your Feet
Still Geordie Hinny
and more and is topped off by the High Spen Blue Diamonds
performing a traditional
Northumbrian sword dance. More Jackson Lindisfarne Christmas shows to come for sure.
Ian Ravendale
***
Thea Gilmore
With fourteen albums behind her Thea Gilmore has established
her own select,
loyal fanbase many of whom are here in the intimate Sage 2
to watch her
stripped down acoustic show where Thea and husband Nigel
Stonier are
accompanied only by violinist Suzanne Simmons and cellist
Liz Hunt.
She's from Oxford
but some of Gilmore's songs fit squarely into Americana .
The
upbeat You're The Radio could be covered by just about any
New Country
artists as could Love Came Looking For Me, another strong
song with a universal
message.
 |
| Thea Gilmore; Eclectic with an acoustic |
colour. The limitations of the format were occasionally
obvious. The poppy Start
As We Mean To Go On could definitely have done with the great
Searchers-esque guitar
riff that Stonier plays on the recorded version.
Thea's quirky English side comes out when she brings the
mood down for Pain In
My Heart, taken from the 2012 album Don't Stop Singing where
she wrote
melodies to some of the late Sandy Denny's unrecorded
lyrics. The bad place
Denny was in shortly before her death makes the song
difficult to sing, Thea tells
us. Her emotional performance has an eerie poignancy that
demonstrates what a
growing, individual talent Thea Gilmore is. Sandy Denny would probably have approved.
Ian
Ravendale
***
60's Gold (The Searchers, Fortunes, Gerry & The Pacemakers, PJ Proby, Poole & Hawkes)
***
60's Gold (The Searchers, Fortunes, Gerry & The Pacemakers, PJ Proby, Poole & Hawkes)
 |
| PJ Proby on stage. Watch out if you're a female sax player. |
 |
| A big hand for Brian and Chip |
show openers. Gerry Marsden (whose Pacemakers also back them
and Proby)
gets great audience response for Ferry Cross The Mersey ,
You'll Never Walk
Alone and the rest, although his cheeky-chappy social club stage persona is more
grumpy-old-man these days
You've Got Your Troubles and their other hits show off The Fortunes fine
harmonies but bassist Eddie Mooney doesn't quite have
the vocal chops of
his predecessor, long-time Fortunes lead singer Rod Allen,
who regrettably
passed away several years ago, leaving the outfit with no original members.
This year's 60's Gold Show is closed by The Searchers who
once again
demonstrate why they were number two Liverpool
band although I'd rather have seen
a couple more of the band's own hits rather than the sprinkling of
covers they drop in,
despite Spencer James’ excellent job on Roy Orbison's Running Scared.
With hit songs all the way if you're into this classic era
60's Gold is a must-see.
see.
Ian Ravendale
***
Barbara Dickson
Her pure, intimate voice as strong as ever and ably
supported by an
excellent four piece band Barbara Dickson delivers the
musical diversity that's characterised
her 40 year career.
her 40 year career.
Primarily an interpreter of outside material Dickson plays
songs from her most
recent project, To Each And Everyone-The Songs of Gerry
Rafferty including
Steamboat Row and Wise As A Serpent. Most intriguing is the
Dickson band's
stripped down version of Baker
Street (with multi-instrumentalist Troy
Donockley playing the iconic sax solo on a tin whistle) that
shouldn't work but
does.
 |
| Dickson and Donockley, a' strumming and a' whistling. |
The Beatles album is a little too smooth and lacks the
idiosyncratic charm of the
original. If I Needed Someone, with harmonies from
Donockley, keyboard player
Nick Holland and bassist Brad Lang motors along and captures that sparky
Beatles vibe better.
The essence of the Dickson band sound is Barbara's voice and
Donockley's tin
whistles, Celtic bouzouki, uillean pipes and treated
electric guitar, all of which
are used to effect when she returns to her traditional
music roots for The
Lowlands Of Holland and the Clannad-esque The Sky Above.
Barbara dips into her run of hits for Answer Me, Another
Suitcase In Another
Hall and Caravan Song. Easy Terms from Blood Brothers takes
us into musical
theatre. They all get very good audience reaction but I left feeling that Dickson herself
is still primarily a traditional music performer at heart.
Ian Ravendale.
Travis
Gateshead Sage
Travis are all about the songs with no flash and not much in the way of theatrics.
Lead vocalist Fran Healey chats amiably to the audience and guitarist Andy
Dunlop jumps around when the band rock out but otherwise a Travis show is
good tunes with thoughtful lyrics that most of us can relate to.
Driftwood, played surprisingly early in the set, is still probably Travis's best song.
But some of the new numbers could give it competition. Becoming a dad seven
years ago changed Healey's perspective on life and Reminder has him giving
his young son life instruction for him refer to after Fran has popped his clogs.
Including making sure he always pays for his round. Where You Stand, the title
track of the new album is a reflective ballads, this time directed at a life partner.
Who wouldn't want "I will be right by you where you stand" whispered in their
ear?
 |
| Travis. They're just driftwood |
and 'ahs' throughout to complement Healey's persuasive lead vocals, along with
a "Way Eh, Hey" on Warning Sign, another newie. Old favourite Love Will
Come Through has a lyric that's as effective as it is simple and the audience
took little persuading to wave their arms in the air for the entire number.
For Flowers In The Window Healey asks for the PA to be turned off. He,
Payne, Dunlop and drummer Neil Primrose come to stage front and sing with
only Healey's acoustic guitar for company, earning the biggest applause of the
night. A quick plug in for their signature song Why Does It Rain On Me and
Travis were off.
Grown up songs for grown ups.
Ian Ravendale
***
Crosby, Stills & Nash
Gateshead Sage
As tonight's show demonstrated, Crosby, Stills and Nash live in 2013 manage to successfully
bridge the gap between greatest hits machine and creative band.
They play most of the iconic CSN songs from the eponymous first album and
Deja Vu but there are also powerful new numbers. Graham Nash's Burning For
The Buddah about the Tibetan monks willing to set themselves on fire in
anti-China protests shows the trio's social conscience hasn't dimmed. Lay Me
Down previews a ballad from David Crosby's next solo album written by his son
(and band keyboard player) James Raymond which doesn't sound out of places
amongst CSN classics like Our House and Just A Song Before I Go.
 |
| Stills, Nash, Crosby. They sometimes get tired of having to always stand in the right order. |
keyboard player Todd Caldwell and London guitarist Shane Fontaine. They
powerhouse through Almost Cut My Hair, Crosby's 'freak flag' anthem with four
electric guitars ramping up the rock.
Raymond, Fontaine and Caldwell also add surreptitious harmony vocals into the
mix, making sure that the classic CSN vocal sound comes across as fully as on
any of the records. Helplessly Hoping, the Stills' song that was the first thing the
trio ever sang together has CSN vocals exclusively and is as captivating now as
it was in 1968
Crosby and Nash gig a lot without Stills and their supreme vocal harmony
interaction is particularly obvious on Guinivere, where, as Crosby says "We've
sung that number over a thousand times and we've never done it the same way
twice!" How ever the idiosyncratic ex-Byrd decides to sing it, he knows that Nash
will be right on point with him.
Stephen Stills' partial deafness means he misses the odd note here and there
which is more apparent when he's singing solo. His guitar playing is
undiminished as he rips out fiery solos on Treetop Flyer and a rocked up version
of Bluebird from the Buffalo Springfield days. Stills demonstrates on Suite: Judy
Blue Eyes what a fine acoustic player he is as mesmerising raga rhythms
gradually turn into George Harrison's Within You Without You.
With the entire audience clapping along and joining in on the extended chorus
playout this is a band who can still please an audience while staying true to themselves.
Ian Ravendale
***
Albert Lee &
Hogan's Heroes
Gateshead Sage Hall 2
More than twenty years playing in the Everly Brothers band
obviously rubbed off
on Albert Lee. He and drummer Peter Baron do a neat line in
Don and Phil
harmonies, particularly on the Hogan's Heroes' version of
the Ev's No One Can
Make my Sunshine Smile.
 |
| Albert the guitar man. The fastest fingers in Gateshead. |
being John Stewart's Runaway Train and a fine version of A
Better Place , Glen Campbell 's
super-poignant account of his battle with Alzheimer's Disease.
The musicianship is outstanding with Lee and pedal steel player Gerry Hogan
indulging in lick-swopping so tight it's sometimes
difficult to tell who's
doing what. Country Boy, which Lee originally recorded with
Heads Hands And
Feet, rattles along with lots of rapid-fire playing from
Albert as snippets of riffs
from Smoke On The Water, Peter Gunn and many others were
catapulted out.
Ian Ravendale
***
Caro Emerald
On this her first European tour Dutch vocalist Caro Emerald
and her eight-piece
band delivered a show crammed full of class, confidence and
a clutch of
catchy songs that draw from all sorts of influences.
I Belong To You is, as she tells us, her "James Bond song". Caro hasn't got the
gig yet but this piece of John Barry-esque movie melodrama,
along with The
Wonderful In You, convinced that Emerald already has
her licence to
thrill and is purpose-built for the 007 theme job.
 |
| "Goldfingerr...." Or a song that sounds a bit like it. |
only place where I don't have to explain what this song is
about!") is an
up-tempo jiggle that has Emerald expertly cramming in as
many words as
possible. Back It Up hits a groove, combining Latin, hip hop,
scratching, cabaret
and Cabaret. Dr Wanna Do references Roaring 20's style
flapper music before
the band kick into funk mode and the three piece horn
section step to the
front to jazz it up.
Caro Emerald is the musical equivalent of burlesque with no one taking their
Ian Ravendale
***
The Cribs
Back touring to promote their Payola compilation, The Cribs
(aka the three
Jarman brothers-twins bassist Gary and guitarist Ryan with
younger sibling Ross
behind the kit) is supplemented by touring guitarist David
Jones of Nine Black
from the odd Johnny Marr-esque riff as a nod to his
predecessor.
 |
| The Cribs. It wasn't quite as lively as this in Newcastle.... |
wall of mush that the band generate. As We Share The Same
Skies is saved
by the hook but the set in general is badly paced. Thrash follows thrash, not helped by the
monotone vocals of Gary and Ryan. Glitters Like Gold has shades of
Springsteen's Dancing In the Dark and like too many other
Cribs numbers is a
good song ruined by an unsympathetic arrangement.
Sonic Youth's Lee Ranaldo is projected on the screen behind
the band for an
effective spoken monologue during Be Safe while the Jarmans and
Jones pile on
the discord and unison vocals. City Of Bugs
starts off well before
metamorphosing into an instrumental freak out with ape-shit
flashing lights and
concludes with a barrage of feedback, the band leaving the
stage and the
audience in no doubt there'd be no encore.
Ian
Ravendale
***
Patty Griffin
Gateshead Sage Hall 2
Patty Griffin's intimate late night set, backed only by
guitarist David
Pulkingham, concludes the first day of The Sage's impressive
Americana
Festival in fine style.
 |
| Patty Griffin on stage; "What's the next song again?" |
acoustic and Pulkingham's selection of guitars with Patty's red sexy-boot
stomping making up for the lack of a drummer.
late father, including Please Don't Let Me Die In Florida,
about the US 's
retirement state, disarmingly admitting that, as dad didn't
talk much about
himself she'd had to "make up" some details.
downbeat for a show opener. Griffin
does a good line in heartfelt ballads, most
of which do work well in this stripped down
nothing-between-audience-and
-performer format. Particularly memorable were If I Had My
Way and set-closer
Coming Home To Me.
Ian Ravendale
***
Elvis Costello and The Imposters!
Kitted out in three piece suit, collar and tie and pork-pie hat with sweat
not surprisingly running down his face Elvis Costello led The Imposters ( aka The Attractions with a different bass player) through a 2 3/4 hour show.
Bassist Davey Faragher supplies a few backing vocals but otherwise it's just Elvis singing his head off, walking away from the mike and still filling the hall, radio-miking it from the stalls, then the balcony, shaking hands and meeting his audience. Costello has never been an easy listening crooner and his distinctive voice is still strong and passionate.
The Spectacular Spinning Songbook stage show is a giant fairground wheel of fortune containing songs or album names or themes that pre-selected audience members brought on stage by glamorous assistant 'Josephine' to spin and choose the next song. In Gateshead 'Frank' and 'Alan' aren't content to just sit on the stools provided, sip some brightly coloured cocktails and nod along to the songs as the other guests did. They jiggle with sexy go-go dancer 'Dixie De La Fontaine' in her cage, run across the stage. wave at the audience and whoop it up alongside the personable Costello.
 |
| Elvis and his Spectacular Spinner. Before Frank and Alan hit the stage. |
Favourites, like Watching The Detectives, I Don't Want To Go To Chelsea and Alison are all performed. Intriguingly, I Can Sing A Rainbow was also on the wheel. I (and the other Cilla Black fans in the audience) kept our fingers crossed but regrettably the fates weren't its' favour on this occasion.
Ian Ravendale
***Steve Earle & The Dukes
As a lyricist Steve Earle doesn't pussyfoot around. Burning It Down is a kick
between the legs for corporate America
financial institutions who know how to take but not to give back in times of need.
Calico County USA
An ungainly, uncompromising figure, like Neil Young-who his rockier material
is reminiscent of-Steve Earle is totally non-showbiz. The Dukes paint a colourful and
precise backdrop for their boss's gruff drawl and pithy songs with support act
The Mastersons (Eleanor Whitmore and Chris Masterson) on all sorts of
instruments and great backup vocals. Eleanor's take on the Lucinda Williams
part on You're Still Standin' There was particularly outstanding.
 |
| Steve Earle and The Mastersons. Duking it out |
His acting role in the post Hurricane Katrina Treme television series was
obviously more than just a job for Earle and After Mardi Gras and This City
acknowledged the spirit and determination of the people of New Orleans
Earle and the versatile Dukes deliver bluegrass as passionately as they do the
rock songs and established crowd pleasers like Guitar Town Copperhead Road
At the end of the show the one that's absolutely clear is that if Steve Earle says it, sings it or plays it
he means it.
At the end of the show the one that's absolutely clear is that if Steve Earle says it, sings it or plays it
he means it.
Ian Ravendale
***Emmylou Harris and Rodney Crowell
Rodney Crowell was an original member and prime songwriter of Emmylou
Harris's Hot Band in the 1970's. Back together for the Old Yellow Moon album
and tour, their vocal blend is flawless as they harmonise for each other or duet
with equal ease.
 |
| Emmylou Harris and Rodney Crowell. He takes the hat off when he goes outside. |
Crowell's Learning To Fly has the pair and their five piece band powered along
by Jed Hughes's versatile guitar playing. Harris's self-penned solo song Kate,
about the late Kate McGarrigle, is moving and obviously heart-felt. But it's as an
interpreter of other people's material that she's best known with the show
openers being Return Of The Grievous Angel and Wheels, both written by Gram
Parsons her original duet partner.
The truly spine-tingling moments came when Emmylou had as little as possible
between her and the audience. On Back When We Were Beautiful, backed only
by Hughes's guitar and Crowell's rich harmonising on the choruses, she pulled every
ounce of poignant emotion out of Matraca Berg's emotive nod to the
relentlessness of aging. With Crowell's Long Time Girl Harris's high, crystal
clear vocal soared over the sympathetic stripped down instrumentation. Hot
band indeed!
Ian Ravendale
***
Gateshead Sage,
Ian Ravendale
The Pigeon Detectives
Loudon Wainwright 111
Loudon Wainwright 111's wryly idiosyncratic songs are drenched with dark
humour. As he tells us, when he was younger Wainwright honed in on his "shitty
relationships" for source material. Now, in his mid-60's, "death and decay" is the
preoccupation. Older Than My Old Man Now is about Loudon's relationship with
his father, LW11, and the realisation he's now lived longer than him. Double
Lifetime is a plea for just that while Dead Man, a sardonic observation on how
the living are surrounded by things either created or formerly owned by the now
dead is reinforced by Loudon reciting extracts from some of the witty columns that Wainwright Senior
wrote for Life magazine.
Loudon holds the audience masterfully, takes requests and isn't afraid to drop
 |
| LW111. Genius is pain! Arghhh! |
the odd bum note or fluffed lyric here and there. He performs totally solo
apart from a couple of songs where support Lucy Wainwright Roche joins him on
harmony vocals and dad/daughter banter. A show highlight is I'll Be Killing
You For Christmas, a cutting dig at the nonsense spouted by the National Rifle
Association that few other singer-songwriters would be able to pull off. Go get' em Loudon!
Association that few other singer-songwriters would be able to pull off. Go get' em Loudon!
Ian Ravendale
***
South Shields Customs House
The Hollies
Gateshead Sage
Newcastle
Newcastle
Gretchen Peters
Gateshead Sage
Newcastle
Greg Lake
Lake 's own pretty faithful version of Heartbreak Hotel. Playing with Ringo Starr
Lake 's understated approach is like listening to a mate down the pub telling you
Ian Ravendale
Sensational 60's Experience
The Searchers
When The Searchers play Needles And Pins, Sweets For My Sweet, Goodbye
My Love and the rest of their hits the band's 50 years experience as a live act
shines through. Master of Ceremonies waspish bass player Frank Allen has no
problem getting the audience laughing, clapping, singing along and generally
joining in this golden jubilee celebration of The Searchers legend.
Allen, fellow 1960's veteran John McNally and Spencer James (a mere 27 years
in the band) are a solid frontline delivering those iconic Searchers' harmonies
and jangling guitars. James' subtle guitar synthesiser strings effect added extra
texture every now and again without detracting from the faithful renditions of
the classic hits the sold-out audience have come to hear.
 |
| The Searchers 2013. What are we bid for these jangly guitars? |
Selected album tracks from both the 60's and 1989's Hungry Hearts are
also in the mix, alongside lesser known hits like What Have They Done To The
Rain. Versions of other classics of the period including Runaway and,
appropriately given The Byrds acknowledged debt to The Searchers, Mr
Tambourine Man also slot in seamlessly to a gig that any fan of the golden age of British pop would have enjoyed
Ian Ravendale
***The Hollies
The current line-up of The Hollies have been together since 2004 when vocalist
Peter Howarth joined to replace the late Carl Wayne who himself had replaced
legendary original vocalist Allan Clarke.
Perhaps the most underrated of all the major 1960's singers Clarke's distinctive
lead vocals and the harmonies of Graham Nash and Tony Hicks defined the
Hollies sound.
Howarth has very big boots to fill and sometimes doesn't quite manage it. Songs
like Just One Look and Stay miss Clarke's high soaring vocals. Fellow 2004
joinee guitarist Steve Lauri does better at it than Howarth and versions of hits
like Listen To Me and Here I Go Again with Lauri, bassist Ray Stiles and
50-year Hollies veteran lead guitarist Hicks harmonising without Howarth
capture that classic sound more accurately.
 |
| The Hollies today. It took them ages to find a wall with the band name on. |
Howarth comes into his own on later songs that aren't as high with He Ain't
Heavy, The Air That I Breathe and a very good solo acoustic version of I Can't
Tell The Bottom From The Top going down well in a virtually sold out Sage.
All the hits, lesser known tracks and contemporary songs like Weakness and the
excellent Let Love Pass
made this an entertaining show with something for everyone.
Ian Ravendale
Ian Ravendale
***
Kaiser Chiefs
Kaiser Chiefs
It's a crucial time for the Kaiser Chiefs with the departure of drummer and main
songwriter Nick Hodgson leaving a big gap to fill. Tonight, new boy Vijay
Mistry from Leeds band Club Smith demonstrates he's got the drumming gig
sorted out and holds everything together like a human metronome.
Without doubt one of the naughties great festival bands the Chiefs show they
can do it indoors too. Their music can maybe sometimes feel too safe, as if the band are
on the verge of coming up with something really interesting but just can't find
the right button to let it out.
 |
| Nah, this jumping around stuff will never catch on, Chief. |
Born To Be A Dancer is slower and not as nursery rhyme ratatatat as crowd
pleasers like Ruby and I Predict A Riot. It builds to a less obvious and more
satisfying climax than the hits which have hook-drenched choruses to die for but
not much else.
Living Underground, written after Hodgson's departure shows the Kaisers
carrying on the tried and tested formula without their wing commander. As
tonight's bouncing, dancing, air-punching, chorus-yelling crowd prove, it works so
why not? The Kaiser Chiefs will probably still be playing Glastonbury
years time.
Ian Ravendale
Ian Ravendale
***
Train
A sign of the times? Much to the discomfort of security, Train vocalist Pat
Monahan gets 17 adoring young female fans up on the stage to sing backing
vocals on Mermaid and instructs them to "throw down some funky fresh dance
moves".
With that sort of prompting you'd think the girls would be giving their all, right?
Nope. Pretty much all of them are concentrating more on filming on their
mobiles than shaking their funky stuff in front of their heroes with just the odd
half-hearted jiggle every now and again.
 |
| Waiting for the...err...Train. The guy with the tattoos really wants to check your ticket. |
This is the start of Train's latest UK Newcastle
Monahan is having throat trouble and apologises for having to change the
melodies of some of the songs. Vocal problems aside the gig shows what a great
and varied song band Train are. There's more than a hint of Latin to 50 Ways
To Say Goodbye and If It's Love. Feels Good At First is a memorable ballad
which Monahan tells us is a country song. If so, it's the only one with flute and
Bruises is actually closer to country. Hey Soul Sister is super-catchy with most of
the band on percussion and guitarist Jimmy Stafford strumming a ukulele.
Set closers Drive By and Drops Of Jupiter have the whole audience singalong-a-Train. This is one train you shouldn't miss.
Ian Ravendale
***
***
Gretchen Peters
There's a real persuasive quality to Gretchen Peters' human condition-centric songs.
When she sings, "Your smile is all I need" during Woman On The Wheel the
"your" would have to be pretty hard hearted not to believe her.
Hall 2 of the Sage Gateshead is filled with melody and texture as Peters and her
two musicians-husband Barry Walsh (piano/accordion/vocals) and guitarist/pedal
steel player Christine Bougie-add carefully judged colour to her acoustic guitar
and crystal clear vocals as Gretchen spins her stories.
 |
| Gretchen, going great guitar guns. |
Gretchen Peters first achieved success as a songwriter in 1995 with
Independence Day, a hit for Martina McBride. Here, Walsh and Bougie leave the
stage as Gretchen takes to the piano to do a slowed-down version of the
song.
"I write a happy song once every ten years", she later tells us. It's true there's a
sombre tone to her writing, as on Idlewild when the trio crank up the atmosphere,
Bourgie's steel adds tone and mystery and Peters sing about the disintegration of
her parents' marriage which she then compares and contrasts to what she sees as
America
Jagger/Richards' Wild Horses, complete with Walsh encouraging us all to sing
the chorus, fits in with Peters's own observational material and is a strong closer to
a thought-provoking performance.
a thought-provoking performance.
Ian Ravendale
***
***
Paloma Faith
Paloma Faith is everywhere. Chat shows, panel games, acting in films and TV, her music used in commercials and soundtracks. The Newcastle 02 Academy is sold out tonight and absolutely choc-a-bloc with a wide cross section of people drawn in by Faith's dramatic pop/soul songs, eccentric glam-burlesque image and quirky humour.
With her eight-piece band, glittery blue set that looks like it's on loan from Star
Wars and Minnie Mouse headgear, Paloma doesn't disappoint. Despite, so her
soundman told me later, having a cold her distinctive voice is strong and clear and
enhanced by her theatrical stage presence.
 |
| Paloma Faith. Never one for flashy stage sets or eye-catching outfits. |
The live show re-enforces how many of Paloma Faith's songs have become part
of the national consciousness. Everyone sings along to Picking Up The Pieces
and Never Tear Us Apart, now better known for Faith's take on it than the INXS
original. She's said that her sound is contemporary with a nod to the past and
Paloma's version of I'd Rather Go Blind does real justice to the Etta James original,
delivering all the emotion and pathos the song demands.
Agony is an epic ballad dripping angst and regret as the band give it coco and
Paloma pleads for us to take her home and use her before collapsing onto the
floor in fake faint.
With black market tickets for tonight's gig allegedly changing hands for £150
Paloma Faith will be tugging at our heartstrings for some time yet.
Ian Ravendale
***
***
Newcastle Mill Volvo Tyne Theatre
The Songs Of A Lifetime tour has Greg Lake
tapes, chatting about his career and answering questions from an enthralled
audience of long-time fans.
In his still noticeable Dorset accent, Lake tells us that the idea for the show
came about when he was putting together his forthcoming Lucky Man
autobiography. With 40+ years in rock n' roll Greg has stories about some of the
genre's great icons. His anecdote about witnessing Elvis Presley cause total
mayhem in 90 seconds at a supper club in Lake Tahoe in 1970 is followed by
and Ringo's explanation about how The Beatles made so many fantastic records
("John and Paul had new songs every time you saw them") leads into Greg doing
You've Got To Hide Your Love Away.
 |
a bunch of great stories and then singing songs about them. He plays I Talk To
The Wind and Court Of The Crimson King from the first Crimson album and
talks about the different personalities within the band and the iconic sleeve.
After Emerson Lake
My Friends Lake
recorded because ELP had run out of songs and had some studio time to fill.
And yes, Greg did play (as he called it) "My bloody Christmas song". But, hey, it
was only five weeks away.....
Ian Ravendale
Newcastle Mill Volvo Tyne Theatre
Tremeloes drummer Dave Munden introduces Someone, Someone, their 1964
hit with Brian Poole, by saying; "Here's a very old song, sung by a very old singer.
Me". The Sensational 60's Experience show is peppered with these sorts of
good-natured gags. Bands and audience joining together to sing, wave, dance,
laugh and generally have a fun time recalling their youth.
Headliners The Trems still have two original members, Munden and the
soon-to-retire-Rick Westwood. Without doubt the guitarist of the night Westwood
effortlessly lays down tasty licks and fills with cool nonchalance as the band play
their impressive run of hits.
 |
| Three-quarters of The Trems. Obviously not being silent in a golden sort of way. |
None of show openers The Ivy League were in the original trio. Solid versions
of Tossing And Turning and the rest are delivered but comedic drummer Dave
Buckley anchors this League very firmly in cabaret.
Very un-American speaking voices and close inspection of the show poster
showing "UK
tribute band. Gary Puckett's counterpart Tom Harding's rich baritone is ably
supported by the Civil War-clad band who do Young Girl, Lady Willpower and
Woman Woman more than justice.
Peter Noone is long gone so during Herman's Hermit's set, it's the only original
member, drummer Barry Whitwam who engages in friendly banter with the audience,
including relating how gobsmacked the young Hermits were when summoned to
meet Elvis Presley.
A run through of Hermits hits finishes with I'm Henry The Eighth I Am getting
everyone up on their feet as does The Tremeloes' rock n'roll finale with all the
bands back on stage. A Whole Lotta Shakin' indeed!
Ian Ravendale
***
***
off the street. Vocalist Matt Bowman is the work-experience Mick Jagger minus
30 years but welded onto a mike-on-lead technique that's more 'Getoutofmy way!'
than Roger Daltrey. The other Detectives wisely give their swinging front man a
wide berth but still deserve danger money for just being on the same stage.
eccentric and to-the-point with songs like Done In Secret and Everybody Wants
Me that drip persuasively hooky riffs you're sure you've heard before but don't
recall where. Riff-meisters in charge are guitarists Oliver Main and Ryan
Wilson who pump out catchy phrases for all they're worth (including one that
sounded like a slowed down Born To Be Wild) and maybe sometimes get a little
in the way of Bowman's enthusiastic vocals.
 |
| Two-fifths of The Pigeon Detectives. Don't try this at home, kids. Even if it is catching. |
There's more than a little spirit of punk to The Pigeon Detectives with their
guileless delivery and punchy songs with machine gun choruses that wouldn't be
out of place in a Clash (I Found Out) or Toy Dolls record (Take Her Back) or a
football terrace (everything). Even a bit of Franz Ferdinand and Undertones
slide in. You just know that The Detectives have got huge record (not CD or
download!) collections.
sing-along-a-Pigeon, helping Bowman keep the choruses going, Hey-hey-ing! and
Ba-Ba-Ba-ing! to their hearts content.
***
The BellRays
Newcastle The Cluny
The BellRays are a group that defy musical convention. Lisa Kekaula is a great
soul vocalist fronting a punk/garage band, powerhousing through a set of songs
half of which sound like they're going to turn into The Clash's White Riot at any
minute.
Saying that The BellRays
are The Ramones fronted by Tina Turner comes close
but ignores the complexities of numbers like Anymore which sidelines the 120
mph dash and gives Kekaula the chance to show what she can do when she's not
having to cram in an almost impossible amount of words just to keep up with
bassist Justin Andres, guitarist Bob Vennum and drummer Stefan Litrownik.
but ignores the complexities of numbers like Anymore which sidelines the 120
mph dash and gives Kekaula the chance to show what she can do when she's not
having to cram in an almost impossible amount of words just to keep up with
bassist Justin Andres, guitarist Bob Vennum and drummer Stefan Litrownik.
The song accelerates a
bit as it goes along, but here the great gospel vocals are
enhanced and complemented by the fiery intensity of the musicians, rather than
being in competition with them.
enhanced and complemented by the fiery intensity of the musicians, rather than
being in competition with them.
Hell On Earth is Whole Lotta Love played
backwards at twice the speed.
Revolution Get Down nods to Route 66 and Nutbush City Limits but Ike Turner
would probably have let the song breathe a bit to show off the power and
passion of the vocals.
Revolution Get Down nods to Route 66 and Nutbush City Limits but Ike Turner
would probably have let the song breathe a bit to show off the power and
passion of the vocals.
Suns Come Down takes The BellRays into Shaft
territory, demonstrating the
variety that the band can be capable of.Vennum stretches out on Black Lightning,
his guitar firmly anchored by rock- solid bass and drums that never falter. Have A Little Faith In Me is another Tina type tune with nice backing vocals and Kekaula's lead vox drenched with emotion.
variety that the band can be capable of.Vennum stretches out on Black Lightning,
his guitar firmly anchored by rock- solid bass and drums that never falter. Have A Little Faith In Me is another Tina type tune with nice backing vocals and Kekaula's lead vox drenched with emotion.
Interesting band!
Ian Ravendale
***King's X
Newcastle O2 Academy2
There can't be many
bands with this level of connection between the musicians and their
audience. On the first date of a short UK tour, King's X begin playing
Summerland, from the Gretchen Goes To Nebraska album. But before
vocalist/bassist Doug Pinnick can start singing, the audience beat him to it and
won't let go. Pinnick, drummer Jerry Gaskill and guitarist Ty Tabor grin from
ear to ear in their role as backing band while the crowd sing the entire song,
earning a round of applause from the trio.
audience. On the first date of a short UK tour, King's X begin playing
Summerland, from the Gretchen Goes To Nebraska album. But before
vocalist/bassist Doug Pinnick can start singing, the audience beat him to it and
won't let go. Pinnick, drummer Jerry Gaskill and guitarist Ty Tabor grin from
ear to ear in their role as backing band while the crowd sing the entire song,
earning a round of applause from the trio.
Musically, King's X are tough and tight as rock threesomes have to be. Pinnick's bass is
full, fat, forceful and funky and in many ways the band's lead instrument.
Tabor only takes a handful of guitar solos, including an extended
applause-winning electric eclectic tour-de-force on Over My Head, the band's
signature number.
There's no flash or gimmicks with King's X. It's all about the music. The band
give their all and relish every second.. 31 years of doing it hasn't made them
cynical or complacent.
Black Flag is almost pop with its' catchy chorus
and Beatle-y harmonies from
Gaskill and Tabor. Dipping into the most recent album, 2008's XV, the
harmonies and hooks are there again for Alright, this time firmly anchored in
rock via Tabor's jagged guitar. Go Tell Somebody from the same album is
anthemic and stirring. Is it a message song? Likely not, as the band
prefer to play down their earlier spiritual lyrical leanings these days.
Gaskill and Tabor. Dipping into the most recent album, 2008's XV, the
harmonies and hooks are there again for Alright, this time firmly anchored in
rock via Tabor's jagged guitar. Go Tell Somebody from the same album is
anthemic and stirring. Is it a message song? Likely not, as the band
prefer to play down their earlier spiritual lyrical leanings these days.
After more massed
participation on Dogman, Pinnick tells the audience; "You
guys are the best part of the show!" I'd call it a draw myself.
guys are the best part of the show!" I'd call it a draw myself.
Ian Ravendale
***
Mrs Loud/Bonnie Tyler
Newcastle City Hall
Famously duetting with Meat Loaf on I Would Do Anything For Love (But I
Won't DoThat) and then signed to MCA but dropped before a Bernard
Edwards/Jim Steinman produced album could be completed, Mrs Loud's
Lorraine Crosby is on home turf.
For most of the year Mrs
Loud serve up covers as The Lorraine Crosby Band,
one of the UK's top show groups. But tonight their rock set is being given an
outing to an enthusiastic local crowd.
one of the UK's top show groups. But tonight their rock set is being given an
outing to an enthusiastic local crowd.
It's a big production,
big personality show, with a couple of guest spots. Spike
from The Quireboys joins Lorraine to croak his best Axl Rose through a couple
of numbers. Then it's Bonnie Tyler's turn.
Unlike most of her
countrymen, Tyler sings just like she talks, in a lilting, lyrical
Welsh accent. Tonight's rendition of Steinman's Total Eclipse Of The Heart easily
justifies its' position as one of the prime 1980's power ballads.
from The Quireboys joins Lorraine to croak his best Axl Rose through a couple
of numbers. Then it's Bonnie Tyler's turn.
Welsh accent. Tonight's rendition of Steinman's Total Eclipse Of The Heart easily
justifies its' position as one of the prime 1980's power ballads.
Of the obligatory 'Loud
does Loaf ' numbers (including I Would Do etc) the
highlight is a stunning acoustic version of Two Out Of Three Ain't Bad with
great vocals from Crosby.
highlight is a stunning acoustic version of Two Out Of Three Ain't Bad with
great vocals from Crosby.
Far more than Marvin Lee Aday, though, a
much closer reference point for Mrs Loud is a different 1980's rock icon. Lorraine and long-term partner/guitarist/songwriter Stuart Emerson can stake their claim as the UK's Pat Benatar and Neil Giraldo .Like Benatar the Loud band can rock and
Crosby is a supremely confident front woman and expressive vocalist. Underpinning the flash and show and ten feet high flaming pillars
are some great songs. Wind In My Hair could be a big Americana hit for somebody. I Want You So Bad and Still In Love With You are memorable
heartstring- tuggers in the Benatar vein with Follow Your Heart a classic grandiose show-stopper.
A quality night by any
standards.
Ian Ravendale
***
***
The Union
Newcastle 02 Academy
"I've a confession to make", confides guitarist Luke Morley. "This
is our first-ever
sell out Union gig!"
sell out Union gig!"
"And in
Newcastle!" adds local lad vocalist/guitarist Pete Shoulder. "It's great
to
be back home!"
be back home!"
It's a quick return to Tyneside for the Union boys following on from a well
received support to Whitesnake at Newcastle City Hall in June.
The Union deliver a confident, accessible performance that solidly connects
with their audience, many of whom are singing along to the songs.
All the components are right; Shoulder is a classic rock vocalist in the
Plant/Rodgers/Coverdale vein without the theatrics, Morley and bassist Chris
Childs add flavour with their backing and harmony vocals. Morley and
occasionally Shoulder give us economical guitar solos that know where to stop.
And, most importantly, The Union have the songs. And what an eclectic bunch
they are. There's a Led Zeppelin vibe on Burning Daylight and particularly Step
Up To The Plate, with its' nod to Rock n' Roll. Come Rain
Come Shine is a great, almost New County, ballad driven by tight harmonies and
Shoulder and Morley's twin acoustics. Cut The Line kicks off with a bluesy guitar
intro from Morley and then morphs into a power ballad with a rocking climax.
Obsession glams it up with a Glitter Band drum intro to a number that sounds
so like The Sweet it could have been the follow-up to Blockbuster. Siren's Song,
the title track of the new album, serenades us with ethereal New Age type "oohs"
before Morley's power chords smash in to remind us that The Union are a most
definitely a rock band.
Lilies, from the first album is another crowd-pleasing ballad that maybe stayed
on the same spot for too long. But no doubt about it, The Union are a band who
could potentially grab themselves a huge audience. Catch them while you still
can!
Ian Ravendale
***
Uriah Heep
Newcastle 02 Academy
Newcastle 02 Academy
With songs of swords and
sorcery that name-checked demons and wizards crammed full of chop and change tempos, rock-opera vocals, massed backing harmonies and church organs all
topped off by the snarling but controlled guitar playing of Mick Box; Uriah
Heep were very definitely a band of the early 1970's. There was proof tonight
that styles in music really do go round in circles.
topped off by the snarling but controlled guitar playing of Mick Box; Uriah
Heep were very definitely a band of the early 1970's. There was proof tonight
that styles in music really do go round in circles.
Despite many line-up changes through the years, with Box the only remaining
original member, Heep still sound very much the same. They do what they've
always done and have kept a lot of their core audience, making tonight's show a
joint celebration between band and fans.
 |
| Riah Heep. The roadie bringing the 'U' missed his bus. |
Interestingly, Gypsy from 1970's Very 'eavy....Very 'umble sounds
almost
contemporary with Phil Lanzon's Hammond organ leading Heep into a
powerhouse exercise in style manipulation. July Morning from 1971's Look At
Yourself is met with cheers and is a complex, contrast-dripping epic with enough
of a muscular instrumental work-out to allow vocalist Bernie Shaw enough time
for an off-stage breather or six.
contemporary with Phil Lanzon's Hammond organ leading Heep into a
powerhouse exercise in style manipulation. July Morning from 1971's Look At
Yourself is met with cheers and is a complex, contrast-dripping epic with enough
of a muscular instrumental work-out to allow vocalist Bernie Shaw enough time
for an off-stage breather or six.
Sprinkled amongst the classics are four songs from Into The Wild, the latest
album, including the title track and Nail On The Head. These have a fiery
modern rock feel to them and could easily come from a much younger band.
Finishing off, Easy Livin' is an instantly recognisable iconic slice of galloping
golden age Brit pomp rock. Nobody will have gone home disappointed tonight.
Ian Ravendale
***
Laura Wilde
Newcastle 02
Academy
Energy? Laura Wilde has it by the bucket-load. The 23 year
old Australian
bounces, points, gees up the audience, runs backwards and
forwards across the stage, shakes her
long blonde hair and bends just about in two. All while singing and playing the
guitar as she and her tattooed trio of musicians rip-roar through Wilde's first
UK tour supporting Finnish glamsters Reckless Love.
She's been playing live since she was 16 and Wilde's
experience is obvious. Most
of the audience haven't come to see her but Laura reaches
out and her fiery
no-nonsense approach gets them on-side instantly.
Just about everything rockets along at top speed, including
Wilde's guitar solos
 |
| Wilde about Laura Photo by Ian Ravendale |
and RJ Shankle's 15 second drum solo. Even her 'adios'
guitar workout at the
end of set-closer Tragedy
is short, sharp and very fast. Laura Wilde's songs have
a 1970's feel to them with echoes of T Rex, Chinn and
Chapman and The
Undertones grafted onto a contemporary stripped-down rock
and raunch attack
under-pinned by Jeff Subauste's insistent bass. A cover of
AC/DC's Jailbreak is
given the Wilde treatment while the Bolan-esque Sold My Soul borrows the riff
from 20th Century Boy.
For You, the best song of the set,
slows the pace and
full-on riffing down a bit to tell a tale of hate and
revenge.
Lots more to come from Laura Wilde for sure. Bouncing all
the way.
Ian Ravendale
***
***
Lawson
Newcastle 02 Academy
Posses of girls singing along tunelessly, even more jumping
up and down,
camera phones in hand.This is the world of Lawson, the
rock/indie/ boy band
that cover all bases. Don't be fooled by Lawson's big female following or their
looks. This isn't a
bunch of posing, prancing puppets. This is a real band.
Lawson have got it all-image, credibility and catchy songs,
mainly written or
co-written by lead singer Andy Brown. His soulful, plaintive
vocals and handy
falsetto is backed up by useful harmonies from bassist Ryan
Fletcher and
guitarist Joel Peat. They all play pretty well too.
Peat drops in tasty guitar parts on songs like Make It Happen and Lawson's
cover of the Swedish House Mafia song Don't You Worry Child. On When
She
Was Mine he gets a
nice groove going. This is a band with balls.
The songs-mainly taken from their Chapman Square
album-are chorus driven
with layered harmonies. Lawson have their own sound and
numbers like Stolen
are instantly memorable. Maybe they stick a little too rigidly to their formula with
most of the songs
having a "Oooh" or "Whoa" chorus in
somewhere.
When it comes to recording album two Lawson could look at stepping out a bit. But, as things stand, can there be any doubt that Lawson will be the next UK band to crack America?
When it comes to recording album two Lawson could look at stepping out a bit. But, as things stand, can there be any doubt that Lawson will be the next UK band to crack America?
Ian Ravendale
***
Nils Lofgren
Nils Lofgren
Gateshead
The Sage
What's
not to like about Nils Lofgren?
With, as
he told us, 42 years on the road he can salute his more famous bosses
Mr Young
and Mr Springsteen by playing a song from each ("Long May You
Run"
and "Because The Night") without any suggestion of looking for
reflected glory.
Having a
couple of dozen original albums to his name, Nils is up there with the
greats
himself. His fluid guitar playing,
catchy songs and easy on the ear, full,
rich vocals,
are as powerful as ever. This "18
cities in 20 days" tour is the
stripped
down, mainly acoustic Lofgren. With Greg Verlotta on keyboards,
second
guitar, trumpet and backing vocal, the show is all about atmospherics,
intimacy,
melody and filling a concert hall with some great guitar
.
Lofgren
classics including "No Mercy", "Shine Silently" and Keith
Don't Go" all
get the
acoustic reworking and fit in seamlessly with more recent material like
"Why
Me?" Additional recorded guitars allows Nils to duet with himself, with
the
odd bass
and drums track thrown in for good measure.
His 2008
hip replacement means that the back-flips are on hold, but Nils still whirls
around on
one leg, firing out blistering guitar solos, or playing behind his head
or with
his teeth. Then, to cap it all, he joins Verlotta in a clog dancing duet
on-what
else-"I Came To Dance" earning the biggest cheer of the night from a very
receptive
audience.
Long may
you clog, Nils! It'd be great to see you fronting a full band again too.
Ian
Ravendale
***
***
