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PLAYING OUT LOUD!
REVIEWS
Gig Reviews -
CD Reviews
Book Review
The Road To Harry’s Bar - Forty Years on the Potholed Path to
Stardom by Gordon Haskell.
 Published by Mainstream Publishing - 219 pages plus
small photo section-£10.99.
With a foreword by Reggie Perrn creator David Nobbs, who also helped with the
editing, this autobiography is everything you could hope for. Beautifully
written, full of humour, detail and philosophical insight, it brims over with
the personality of its gifted and charismatic subject. From Gordon’s schooldays
with Robert Fripp to his early career with bands like League of Gentlemen,
Les Fleur De Lys, and later the infamous King Crimson, it’s a compulsive read
all the way.
It’s also a fascinating insight into the vagaries of the music business,
and Gordon has every reason to be bitter at the way he has been treated by
record companies, managers and radio stations. But he adopts a philosophical
approach and relates his experiences in unsentimental style, with many amusing
tales of life on the road on the Continent and entertaining on cruise ships.
He also covers his romantic life, from losing his virginity in his early
teens to the problems of maintaining successful relationships while living the
itinerant life of a troubador. Again, all related in honest style without
self-pity or animosity. What shines through its Gordon’s love of people and his
observational wit. Whether milkmen or movie stars, policemen or prostitutes,
or the people who enjoyed seeing him play live, Gordon treats everyone with
respect, and many of these characters find their way into his songs.
The last third of the book covers his solo career over the last ten years
or so playing in pubs across Dorset and Hampshire and further afield before
“cutting a hole in the perimeter fence” and achieving a No 2 hit with “How
Wonderful You Are” and the “Harry’s Bar” album. I first met Gordon in The
Platform Tavern in Southampton about 8 years ago, which, like The Bent Brief and
The Talking Heads have a special place in his heart. All the time Gordon was
playing venues like these for around £100 a night, he never let his standards
drop, always playing a committed and soulful set with a great deal of humour.
Giving his best and sharing his intimate experiences with strangers has been
central to Gordon’s career. Which is why this book is so good, I suppose -
Gordon is a natural writer. He has been writing great songs with great lyrics
for 40 years, which is pretty useful practice for writing a book.
I’ve read plenty of autobiographies by entertainers, musicians and singers
over the years - this is by far the best. Funny, compelling and telling, it’s
a real page turner, and I can only advise anyone reading this to rush out and
buy it!
Gig Reviews
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Nazareth. The Brook. Southampton -
8/2/06.
 A
packed Brook welcomed back one of the most underrated bands in the history of
rock - Nazareth, fronted by the iron-throated Dan McCafferty. Following a
well-received support slot from another bunch of rockers, Juicy Lucy, and a
lengthy changeover with Nazareth’s army of roadies checking the guitars and mics,
Dan and co hit the stage. “Razamanaz,” the second song in their set, really got
the big crowd warmed up. The Scottish rockers followed up with the insistent
“Babylon,” with Dan’s screeching vocals sending shivers down the spine, just
like it did back in the 70s. Make no mistake about it, Nazareth are not a band
who just go through the motions. Old-timers Dan, and bass guitarist Pete Agnew,
in particular, play every gig full-on and if the drummer and lead guitarist are
not quite up to the standard of their forebears, they are pretty close.
The self-effacing Dan, hair grey now and shorter, was as usual a great frontman,
interspersing the songs with anecdotes from Nazareth’s past. And how that voice
stands up to the punishment Dan puts it through, I don’t know. The screaming
“Bad Bad Boy” would damage most people’s larynx, but the hits kept flowing.
“Play The Game,” the relatively quiet ”May The Sunshine,” “My White Bicycle” and
many more Nazareth hits were lapped up by a roaring crowd. This was only the
second time that Dan and friends had played The Brook and there were many
unfamiliar faces in the audience, so obviously those people who had seen their
debut at the venue last year had told their friends. Refreshing too that
Nazareth played a considerably different set list to their previous visit. A
great night, and hopefully Nazareth will make the pilgrimate to The Brook time
and time again with their classic sound which has influenced so many less
talented bands. Photo copyright Keith Curtis
CD Reviews
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Dilated Peoples. 20/20.
 The
fourth album from LA rappers with a slightly dodgy name.
Fusing elements of reggae, psychedelia and hip-hop, Dilated
Peoples provide a refreshing alternative to the plethora of run-of-the-mill MCs
currently swamping the US music scene.
Tracks like the hypnotic “Firepower” and the ingenuous “You Can Hide But You
Can’t Run” show Evidence and Co. in their the best light - as a bunch of guys
looking to push the boundaries of rap forward rather than to keep recycling the
same old musical clichés.
But existing DP fans need worry not; the trippy ”Alarm Clock Music” is classic
Dilated Peoples. As they themselves say in “Rapid Transit,” ‘these boys are
‘going on a long trip’ and, like all the best trips, it might just be that the
getting there is the best part. Review by Martin Sirl.
Morning Runner. Wilderness Is Paradise
Now.
 Impressive
debut from Berkshire four-piece, Morning Runner who are beginning to attract the
interest of national radio and who play the Joiners in Southampton later this
month.
With a sound that's predominantly piano-led, Morning Runner will
inevitably attract comparisons with bands such as Keane. But, thanks in no small
part to the gritty vocals of singer/guitarist Matthew Greener, the former
possess an edge which makes “Wilderness Is Paradise Now” simultaneously edgy and
uplifting.
Highlights include the excellent single, “Burning Benches,” with its intro
reminiscent of Antony and the Johnsons, but listen out for the catchy opener
“It’s Not Like Everyone’s My Friend” and the anthemic “Oceans.” And the haunting
“Hold Your Breath,” with its saxophone lead-out shows that the band are not
averse to tinkering with their sound when the occasion demands. At this rate
Morning Runner may not be in the wilderness for too much longer.
Review by Martin Sirl.
Brakes. Give Blood.
 16
tracks in half an hour tells its own story.
This is a quirky set of one, two and three minute songs from a
band who boast ex-members of British Sea Power and Electric Soft Parade among
their line-up. There's a charming sense of the amateur running through this
album that brings to mind the US garage bands of the sixties.
Pitching somewhere between White Stripes and Kings Of Leon, Brakes offer a
much-needed antidote to the ‘oh so serious’ musings of bands like Coldplay and
Athlete.
Hell, when listening to “What’s In It For Me?” you can almost start believing
it’s 1977 again. “I Can’t Stand To Stand Beside You” meanwhile is, at three and
a half minutes the longest track on the album by some way and brings to mind the
Velvet Underground in their less intense moments. And Brakes even find time for
an affectionate tribute to the man in black with an anarchic cover of the Johnny
Cash / June Carter standard, “Jackson.” Give Blood…it’s short, it’s sweet and
it’ll hardly take up any space on your shelf, so buy it! Brakes play Southampton
Guildhall on February 25. Review by Martin Sirl.
Breaks Co-Op. The Sound Inside.
 Parlophone. Running time: 46:36
Breaks Co-Op are an Anglo-New Zealand collective who draw on influences as
diverse as Marvin Gaye, Crosby Stills and Nash and Tortoise.
The album opens
with the title track, simultaneously setting both the mood and the standard for
an excellent album. Combining strong melodies with breaks, beats and soulful
vocals and harmonies, the album is an appealing combination of folk-rock and electronica with atmospheric chunky percussion throughout.
I particularly liked
the catchy “Settle Down,” and there are also a couple of exotic
instrumentals to chill out to. Wistful ballads, evocative soundscapes and a good
balance between slower and more upbeat tracks make for good listening over the
13 tracks. Sounds to me like a band who would go down particularly well on the
festival circuit. Recommended.
Michael Messer. Lucky Charms.
 Cooking Vinyl CD353. Running time:
50:01
Bluesman Michael Messer has come up with a very pleasing album which gets off
to a rollicking start with the title track. If Michael hasn’t got the most
distinctive voice he more than makes up for it with some superb slide playing.
Two upbeat tracks follow, “Take Me Back” and “Sad Side of the Note” follow,
two strong songs, before the pace slows down with the moody “Sunflower
River.”
Although the style is basically old-time Delta blues, many tracks like
“Knife Song” are augmented by samples to give it a contemporary touch.
Thankfully
the album is not over-produced, with a down-home rough and ready feel. If
you like your blues raw and organic and you’re a lover of slide guitar, then
this album is for you.
SINGLE REVIEWS BY MARTIN
SIRL:
No Tomorrow by Orson
Exquisitely crafted pop from California-based band power-pop outfit. This was
the most downloaded iTunes single of the week in Apple history (although in
fairness that’s not very long) and it is easy to see why Orson are rapidly
gaining the
label of ‘the next big thing’. At their best Orson evoke memories of the great
Bebop Deluxe and frankly there are few kinder compliments one could offer than
that. Named after the late writer and film director, Orson really do have a very
bright future. We look forward to hearing much more from them.
Long Time Coming by Humanzi
Fresh from supporting Hard Fi on their recent UK tour Dubliners Humanzi give us
Long Time Coming: a sub-punk 5-song collection with enough new ideas to deserve
a second listen. Shaun Mulrooney’s eerie keyboards give Humanzi’s songs a
certain indefinable edge that makes them slightly more Roxy Music than Ramones.
Throw in equal measures of The Jesus And Mary Chain and Barrett-era Pink Floyd
and the result is a very strange brew indeed. Intriguing and enjoyable.
Burning Benches by Morning Runner
Atmospheric piano-led pop by Reading 4-piece. It’s not hard to see why Morning
Runner were able to secure supports slots on Coldplay’s recent stadium tour, as
they can clearly knock up a good tune while avoiding some of that pretentious
blandness into which Chris Martin and Co sometimes slip. Matthew Greener’s
emotional vocals bring to mind Mike Scott of the Waterboys and provide Morning
Runner with a val uable added dimension. Tickets for the band’s Joiners gig on
21st February might prove a good investment for those in search of a good night
out.
Lights And Sounds by Yellowcard
Like policemen, bands seem to get younger all the time, but sadly Yellowcard’s
sound is nowhere near as fresh as their faces on the CD sleeve. While you can’t
help but envy their spirit, Lights And Sounds comes across too much as
another bunch of surfer dudes who have spent a little too much time in their
bedrooms listening to Blink 182 albums. Final warning, boys. Next time it’s a
red one.
Amore by Dirago
Listening to Dirago is like eating golden syrup straight from the tin. It’s
pointless, time-consuming and leaves you feeling quite sick afterwards. Only
those who think that Peter Andre is the future of rock ‘n’ roll should do
anything other than steer well clear of this.
Wondering by Claire Sproule
It’s refreshing to hear a female singer-songwriter who doesn’t seem intent on
modelling herself on Beverly Knight or Joss Stone. Like a Bonnie Raitt for the
new millennium Claire Sproule’s voice is both emotive and soothing. If she
can avoid the likely comparisons with KT Tunstall and concentrate on carving out
her own musical niche, a big future must surely be in wait for this young singer
from Northern Ireland.
More To Me by Alex McEwan
If Jackson Browne had been born in Scotland he would surely have sounded
something like this. By adding a Celtic touch to the sound of The Eagles, McEwan
conjures up a lilting slice of country pop that, while not to everyone’s taste,
is enjoyable enough to suggest that the ‘new David Gray’ label may not be that
wide of the mark. For what it’s worth McEwan’s music has a good deal more warmth
and variety than Gray’s recent work, but whether the world is ready for
the Scottish Gram Parsons remains to be seen.
Standing On My Own Again by Graham Coxon
The opening track from the Love Travels At Illegal Speeds album is an obvious
choice for single release, but as Graham Coxon’s solo work too often sounds like
Blur minus a good singer, one invariably asks the question ‘Why?’.
Notwithstanding that, Standing On My Own Again is an enjoyable foot-tapper
which, while doing nothing to push back the boundaries of modern music, will at
least keep Coxon in spectacles and beer for the foreseeable future.
Industry by The Modern
Horribly catchy ditty by London’s The Modern. Frankly it’s hard not to like a
group who are so obviously sincere in their love of all things eighties from big
hair to lleather ties and who clearly cherish the work of the Human League,
Depeche
Mode and Visage. Add in the fact that singer Emma Cooke once played the young
Pat Butcher on TV and it just gets better and better. All the right pieces of
the jigsaw are here; from the pouting vocals to the Casio-style keyboard sound.
Did out your baggy trousers and floppy belts, and lock up your lip gloss and
hairspray.
The New Romantics are back in town.
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Featured artists:
see POL Articles
African Soul rebels Poole Lighthouse, Poole
February 18,
The Dome, Brighton
February 21 & Basingstoke Anvil, Basingstoke February 22
Morning Runner
The Joiners, Southampton Tuesday February 21
Nazareth
The Brook, Southampton Wednes February 8
Neal Casal
The Railway Inn, Winchester
Tuesday February 14
Battle
The Wedgewood Rooms, Southsea Tuesday February 28
Michael Messer Raven Hotel, Hook Friday February 3 & Tivoli Theatre, Wimborne
Sat
February 11 |
Southampton's No 1 recording studio
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