GIG REVIEW
The Troggs
Mr Kyps, Poole
May 23
The crop circle connoisseur came along with his band including one Eric Idle
look-alike on bass to Poole bringing the true meaning of 60’s music to the 21st
century.
Long before the Troggs were due on stage, people crowded to the front to ensure
the best viewpoint. Out they came, with Reg looking basically the same as he did
40 years ago. A score of hits were performed and even some lesser known ones
which were hits in other countries such as Africa. Classics such as: ‘Lost
Girl’, ‘With A Girl Like You’, and ‘Strange Movies’ were played to a more than
eager fan base. The whole fan club seemed to have turned up from as far away as
Cambridge teaming up with The Searchers fan base packing the place out. Strong
vocals were heard as Reg belted them out with great feeling to match his lovable
onstage persona. It’s a good job he doesn’t play guitar as all his dance moves
would have been lost! Cheeky chatter introduced the songs but the audience were
getting impatient being made to wait for “Wild Thing’.
As soon as it was played,
the title gave an excellent description of the audience’s behaviour! This ended
a brilliant show perfectly apart from the usual meet and greeting of fans (while
sneaking in a CD sale!)
Mr. Kyps is the kind of venue these bands should play, as big theatres only lose
the personal atmosphere and the opportunity to take part. It’s worth a look at
this venue if bands like the Troggs are seen there. Look out for The Animals and
Chas ‘n’ Dave at Mr. Kyps.
(Review by Ellen Holbrook)
GIG REVIEW
Bob Pearce & The Jazz Assassins.
Jazz Club, The Hartley Suite, Southampton University.
Tuesday May 20
The Jazz Assassins featuring veteran guitar virtuoso Bill Pritchard played an
entertaining first half of highly accessible jazz. Instrumentals including
“Moonlight in Vermont,” “Days of Wine & Roses” and “It’s Impossible” gave the
quartet ample opportunity to demonstrate their musical talents and create a
relaxed atmosphere.
The band joined Southampton’s veteran blues singer and guitarist Bob Pearce for
the second half, an impromptu, only slightly rehearsed session. As far as I’m
concerned Bob can do no wrong anyway, but this gig showcased him at his best.
The sound balance was excellent, the volume was just right and his fellow
musicians to quote Bob “slotted in just right.”
Bob’s talent lies in direct, sincere vocals, an unfussy but skilfull guitar
technique, and the ability to cover material from old-style folk-blues to
Chicago blues and all points in between, including soul and country. Before an
appreciative audience Bob demonstrated his range on songs like “Messin’ With The
Kid,” and “Bright Lights, Big City” with the Jazz Assassins picking up the lead
from Bob. Excellent stuff from the modest Bob, with his
own self-written songs like “Old Friends” getting equal applause.
No
dancing on tables or bars or Chuck Berry duckwalks for Bob these days - he
remained seated during this performance - but an engaging hour or so with a very
talented man and some great musicians.
(©Peter Ashton 2003)
GIG REVIEW
The Barrelhouse Blues Orchestra.
The Lighthouse, Poole.
Sunday May 18
If organic blues is going to evolve it should be in rural Dorset. At the
Lighthouse, blues vocalist/harpist Johnny Mars and local blues hero guitarist
Paul Hart evolved from small band to become the leaders of a colossal, powerful
blues movement. The Barrelhouse Blues Orchestra is touted as “the Biggest Blues
Band in the world.”
A special country blues acoustic duo created a fertile pasture for 22 blues
musicians led by Johnny Mars. The performance was soon embracing soloists like
trumpeter Andy Urquhart in the 7-piece brass section, a string section from the
BSO enhanced the sound, underpinned by drummers Alan Edwards and Pete Brown. The
bass and keyboards gave it that earthy blues feeling, plus the visual
fulfillment of three ladies backing Johnny Mars. The vocals becmae a prominent
part of the programme, as was the harmonica playing and Paul Hart’s
authoritative guitar which gave the lead into some exceptional guests.
One was Mick Taylor on guitar. Many had come to see this
ex-Blues-Breaker/Rolling Stone legend. When the orchestra broke into “Jumpin’
Jack Flash,” he took a firm grasp and laid on a stunning solo.
Likewise for “Little Red Rooster.” It was close to roasting; a surprise
addition was the tenor and soprano saxophones of Andy Sheppard, a local jazz
hero, now a world league player who used the full dynamics of this Blues
Orchestra.
Now we hope this growth goes on. Paul and Johnny must be acclaimed for a superb
all-round blues package. May this movement spread and be well cultivated through
Britain and the blues world.
(Review by Andy Iles)
CD
REVIEW
EQUATION.
Return to me.
RTRADECD083.
Running time: 48:57.
The great “lost” Equation album which was recorded in the winter of 1995/96
but not released at the time, presumably because new vocalist Cara Dillon
soon left the band. It’s twelve tracks of perky folk mostly with a beat,
coming very close to straight pop on several songs. The charming twin lead
vocals of Kathryn Roberts and Cara are much to the fore with the Lakeman
brothers adding their special talents on vocals, piano and guitar. “Sad The
Girl” and “Can’t Cry Hard Enough” were my personal favourites, but there
are no dud tracks here. Sounds just as fresh and original as it must have
done back in 1996. A must for all Equation fans and deserves a much wider
audience.
(©Peter Ashton 2003)
CD
REVIEW
JESSE SYKES & THE SWEET HEREAFTER.
Reckless Burning.
FARGO FA20299.
Running Time: 42:34.
Relaxed, atmospheric alt country music from an American band who can be seen
at the Larmer Tree Festival in July. And very good it is too, with the
exquisite voice of Jesse Sykes backed up by some excellent musicians
including Anne Marie Ruljancich on violin and cello who adds a moody ambience
to the brew. There is a high standard of songwriting and performance here
with no particular standouts, although the title track, “Drinking With
Strangers” and “Lullaby” stick in the memory. All the songs have a laid
back languid quality and sound natural and spontaneous, with the only
criticism being that the album as a whole is slightly one-paced. But that
is a very minor point - this is a brilliant album, and highly recommended.
(©Peter Ashton 2003)
FESTIVAL
REVIEW
Gosport & Fareham Easter Folk Festival, Ferneham Hall & Ashcroft Arts Centre,
Fareham.
THOUSANDS of
folk fans made the annual pilgrimage to Fareham where the standard of music was
of the highest standard throughout the five-day festival. The opening night
presented an early dilemma with the dream pairing of Eddi Reader and Jackie
Leven at Ferneham Hall and Lindisfarne over the road at Ashcroft Arts Centre.
I opted for the Ferneham concert and was rewarded by an enthralling set from the
mood-inducing Jackie Leven and an equally enjoyable performance by the gifted
Eddi Reader whose soaring voice embellished her own songs and several songs by
Robbie Burns from her forthcoming album. Friday night’s audience with Jethro
Tull’s Ian Anderson in the same venue proved a novel event with songs and
flute-playing from the charismatic Ian, a humorous conversation between Ian and
BBC man Freddy Rostand, and collaborations with local songwriters including
Southampton’s Richard Hunt.
Afternoon sessions in Ferneham Hall on Friday, Saturday and Monday
produced a host of intriguing acts including Wood, Wilson & Carthy, Fianna,
Legacy and Cross O’The Hands, while over at the Ashcroft guests on Friday and
Saturday included the impressive North Cregg and The Mick West Band. Saturday
night headliners The Saw Doctors saw Ferneham Hall rocking to some typically
driving contemporary Irish music. Sunday night at the venue provided a complete
contrast with a committed performance by the intense Martyn Joseph, a man who
wears his conscience on his sleeve, inspiring a rapturous response from a full
house. Steve Knightley and Phil Beer, better known as Show Of Hands, followed up
with their usual masterly multi-instrumentalism seamlessly combining
contemporary and traditional styles.
This twelfth Easter festival was as good as any I have seen in recent years - a
big hand to festival organiser Peter Chegwyn!
(©Peter Ashton 2003)
CD REVIEW
JACKIE LEVEN.
Shining Brother, Shining Sister.
COOKCD250.
Running time: 66:50.
THE most amazing thing about Jackie Leven, apart from his quirky and highly
individual talent, is his ability to maintain such a high standard of songwriting on each album. Releasing an album a year over the last four years,
the standard has been astonishing and each album has had its’ own special
flavour. This latest Cooking Vinyl release is no exception as Jackie’s noble,
world-weary voice wraps itself round the opening song “Classic Northern
Diversions.” Typical Leven laments here with some beautiful poetic lines: “I’m
in Huddersfield drinking in the Slubber’s Arms, And I walked through slush by
broken farms, where huddling sheep are turning grey in the cold light of a
nothing day.”
The album is full of unusual touches including spoken-word contributions
from American singer David Thomas, Canadian singer-songwriter Ron Sexsmith and
American poet Robert Bly. There is also a specially commissioned trumpet solo
from Geoffrey Burgon preceding the track “Savannah Waltz.” Plenty of stand-out
tracks on an engrossing CD - just buy it!
(©Peter Ashton 2003)
CD
REVIEW
ARNIE COTTRELL.
Crazy Train.
Running time: 73:27
IF Arnie Cottrell’s first release, “Sorry About That” had a largely R&B Feel,
“Crazy Train” is a rootsier affair. Accompanied by the cream of local Hampshire
talent including Tim Payne, Rick Foot and Luke Daniels, the
multi-instrumentalist tackles material as diverse as Bap Kennedy, Bob Dylan,
Curtis Mayfield, and “Walk Away Renee” by the Four Tops performed solo on slide
guitar. An exotic touch is two songs in French, and the original material is
strong and memorable. Fans will be pleased to know there is an abundance of
slide guitar and mandolin wizardry, and the CD is a valuable reflection of
Arnie’s current set. As a homegrown product, so to speak, it comes highly recommended.
(Review by Hamish Rattray)
