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PLAYING OUT LOUD!
REVIEWS
Gig Reviews -
CD Reviews
IF I WAS... THE AUTOBIOGRAPHY OF MIDGE URE.
 VIRGIN BOOKS £18.99
280
pages plus 8 pages of photos from a man who has achieved a lot since starting
out in boy band Slik nearly 30 years ago. Now 50, Midge tells it like it is from
his tough Scottish upbringing, the early days with Slik and The Rich Kids, on
the road in America with Phil Lynott as a member of Thin Lizzy, to the heady
heights with UItravox, organising Band Aid and writing Do They Know It’s
Christmas, and co-organising Live Aid and everything that followed.
His writing style is typical of the man - honest, candid and direct, and
consequently very readable. He doesn’t shirk from the dirty side of the music
business - and that includes both dodgy contracts and the parasites that feed on
genuine talent - and drugs and groupies. Though it must be stressed that Midge
had only one minor drug experience that he regrets to this day, and is very
clearly anti-drugs. But alcohol is another matter and he is as honest about his
alcohol addiction which eventually led to treatment at Cluds as he is about
everything else.
I’m not a particular fan of Midge Ure, although I have seen him live both as a
solo performer and as a guest with The SAS Band. But I’ve always admired him as
a person, and think that Vienna is probably the best song that never made it to
No 1, which rankles with Midge to this day - but I enjoyed this book.
He gives a real insight into music history, in particular the New Romantic
movement which he virtually started, and the introduction of electronic music
via synthesizers. He’s not afraid to name names and express his opinions either.
A modest and thoughtful fellow comes across in this fascinating book which is
well worth reading whether your a fan or not. Recommended.
Gig Reviews
(top)
MOTORHEAD, SOUTHAMPTON GUILDHALL -
19/11/04
 Southampton
came alive with black leather as Motorhead were greeted to the Guildhall by a
sell-out crowd. There was no stopping Lemmy, Phil Campbell and Mikey Dee as they
came on stage to give their audience just what they had been waiting for. With
the mikes turned up high and the guitars and drums poised for action, the band
kicked off with “Dr Rock,” with the crowd soon warming up to the heavy beat
thumping out of the speakers. It didn’t take long for the fans to get seriously
into some head banging as Motorhead continued with
“Stay Clean” which came screaming into the hall. The band really meant business
giving a clear indication of what the rest of the evening held in store for us.
Every song that followed was performed with considerable force, and greeted with
more enthusiasm than the last. You could fee the walls vibrating and the floors
shivering as the crowd got rowdier with each song. Motorhead did not disappoint
with a barrage of favourites like “Love Me Like a Reptile,” “No Class,” “Killed
By Death” and “Iron Fist.”
All were belted out with passion, demonstrating that the guys can still produce
a live show to rank with the best in the rock business with no effort at all.
The encores just had to include the mighty “Ace of Spades” followed by
“Overkill” to round off just about a perfect show.
Guest review by Claire Edwards - photo copyright Claire
Edwards
BAFAANA, THOMAS TRIPP, CHRISTCHURCH
30/10/04
 Saturday
night at the Tripp was a total revelation. Standing in as a late replacement for
Scott Mckeon (who is the guitarist in the band DividedByThree), Bournemouth
based Bafaana jazzed and funked the joint ‘til closing. Coming on as sub is a
tough gig, especially when the crowd are expecting ‘nu-blues’ and they get,
‘Afro Grooves with a pulsating Latin Jazz feel’ (the band’s own description of
their sound).
I’d never heard of any of them before last night and originally just went in for
a pint. As a jazzhead, I’m not exactly of an open mind but this was hot! Perhaps
a little bit acid jazz but there’s not much wrong with that.
The band was without a vocalist on the night but each song was tight and
bursting with energy that worked your feet. The band is Darren Edwards (Drums),
Eric Duglas (Bass), Cass Richards (percussion), Ped Grealey (guitar) and
saxophonist Tony Gordon. The set included the stand out number called ‘Peace In
Our Time‘ (which is also available to download at
www.peoplesound.com ).
It’s no tribute to Neville Chamberlain but a slow groover with Tony’s elegant
horn doing its thing.
It’s of such high quality that you expect at any moment Leon Thomas is going to
arrive and join in with some scat or Bobbi Humphrey to join Tony with a
sax/flute solo exchange. I can’t wait to hear this live on a hot summer’s day at
some Festival next year. ‘Ace’s High’ and ‘Bynoe Beat’ are also downloadable
from the website and are
worth the effort of registering (if not a somewhat frustrating advert dominated
site). ‘Bynoe Beat’ is more carib-reggae influenced showing the band’s
versatility.
‘Ace’s High’ contains some excellent playing by all whilst Cass lets you into
bongo heaven (again). They also did a Curtis Mayfield cover in the show, a tune
called ‘Solar’ and ‘Alley Cat’ is a more of a bass driven bluesy number.
Apparently they’ve already made 2 albums and influences are said to include
Charlie Mingus, Miles Davis, Gil Scott Heron, Thelonious Monk, Roots Reggae, Lee
"Scratch" Perry and Collective African drum assembles. Last seen packing the
hire van with their equipment, let’s hope they’re coming to a town near you
soon. Get to see them live for a real treat.
Next gig: Bar So, Exeter Road, Bournemouth on November 28, 2004
Guest review by Gerry Hectic.
The Manfreds, The Brook, Southampton -
6/11/04
 A
great night at The Brook when Paul Jones, Mike D’Abo, Tom McGuinness & Mike Hugg
of the original Manfred Mann outfit were joined by three more excellent
musicians to belt out around 20 songs in a two and a half hour show. This bunch
of dedicated professionals put their all into the gig and obviously enjoyed it
as much as the crowd did. The remarkable Paul Jones, who could pass for 40, did
most of the introductions, mainly sharing vocal duties with Mike D’Abo.
The Manfreds first hit “5-4-3-2-1” opened the show, albeit at a different tempo
from the original. “Ha Ha Said The Clown” and a host of hits followed.
A genial crowd were in singalong mode for “Semi-Detached Suburban Mr James” and
first-half closer “Pretty Flamingo.”
Beginning the second half with the ancient “One In The Middle,” Paul Jones
displayed great charm and self-deprecating humour, as he did all evening.
His voice is as good as ever and his mellow harmonica style is as good as any
harp player I’ve ever heard, and that includes Sonny Boy Williamson! Mike D’Abo
reprised “Fox On The Run” recorded with Manfred Mann after Paul had left to
start a solo career, with his more raspy vocal style a good contrast to Paul’s
smoother style. Two highlights of the second half followed quickly, the humorous
“My Name Is Jack” from 1968 got a rollicking treatment before the dramatic
chain-gang song “Driver Man” built up the tension. Tom reminded the crowd of his
McGuinness Flint days with the jangling “When I’ m Dead & Gone” before the two
percussionists declared war on the drums to give the other performers a rest for
a while. From then, it was back into singalong mode for the perennial “Mighty
Quinn,” “Do Wah Diddy Diddy,” Mike D’Abo’s tour de force “Handbags & Gladrags,”
and a storming encore, “If You Gotta Go.” Good to hear the “Brook roar”
recognising the talents of a terrific band. One of the best gigs I’ve been to
this year.
Photo Copyright of Claire Edwards.
The Hamsters, The Brook, Southampton -
21/10/2004.
 At last! The Brook is
open again, bigger and better than ever, and The Hamsters did the venue proud on
a great reopening night. Slim soon went into overdrive on the opening
“Chevrolet” weilding his Burnin’ Vermin guitar, liberally sprayed with WD40 as
usual. The powerhouse bass/drums/guitar unit were really up for this one, and
the sound was just right with some of The Hamsters’ self-written material like
“Burning The Church Down,” “I Wouldn’t Lay My Guitar Down” and “I Want To Make
Love To You” all eagerly received by a sell-out crowd.
The good-humoured Slim weaved his usual guitar magic and his voice sounded
better than ever. Of course there was a strong Hendrix input, including the
haunting “Stone Free” and “Little Wing.” Thankfully the atmosphere at The Brook
has not changed despite the fact that the capacity has doubled.
Everyone I spoke to was delighted that the much-missed venue was open again and
it was good to see a lot of new faces in the audience. With some great acts
coming up over the next few months like Tony Hadley, Go West, Beverley Craven,
Eric Bibb, The SAS Band, The Manfreds, Roy Wood’s Army and Spaceritual.net, The
Brook is going to be the place to be. Have a look at their website
www.the-brook.com
for the full programme.
CD Reviews
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AYNSLEY LISTER LIVE!
 RUF RECORDS 1100. Running time: 80:17
Recorded live at the Rockpalast Crossroads Festival in Germany earlier this
year, this 13-track album shows Aynsley Lister at his typical best. The young
blues singer and guitarist from Leicester has become one of the top acts on the
blues circuit, as regulars at The Brook in Southampton will testify. The album
kicks off with Aynsley playing solo on Aeroplane Blues, with some blistering
Lister slide guitar and continues with one of only two covers, a solo version of
Tony Joe White’s As The Crow Flies. The band join Aynsley on Say Goodbye and
from then on the atmosphere builds and builds. Balls of Steel and Snake are two
heavy blues-rockers, while Everything I Need is a neat guitar boogie shuffle.
The best thing about the album is the balance between different tempos and
guitar styles - Aynsley is not the greatest singer in the world, but his guitar
playing is something else. Highlights on the remaining tracks include a great
cover of Al Green’s Take Me To The River and Aynsleys’s own Sometimes It Gets To
Me, while the last two tracks are very atmospheric Hendrixs-style upbeat
thrashes. An enthusiastic crowd make it an evocative experience and it’s a good
recording of a typical Aynsley Lister set.
BERNARD ALLISON. HIGHER POWER.
 RUF RECORDS 1101. Running time:
59:05
Kicking off with the staccato-style I’ve Learned My Lesson this is a studio
album by the American bluesman, son of Luther Allison. Both the next two
tracks Raggedy & Dirty and Standing On The Edge Of Love are very soulful
mid-paced
songs and a bit samey, but things pick up with the raunchy It’s A Man Down
There. Bernard’s singing is smooth throughout and his guitar as fluent as ever,
but there’s really nothing new here, pleasant as it is. I preferred the more
uptempo songs like Time Flies By and Next To You. Having said that the
closing Ami, a simple, touching song with acoustic guitar
accompaniment is probably my favourite track on the album. A very polished,
well produced album full of good musicianship from Bernard and his band, but
nothing really original and groundbreaking. File under “average.”
LEONARD COHEN. DEAR HEATHER.
 COLUMBIA 5147682.
Running Time: 49:27
A totally fascinating album, probably his best since “I’m Your Man,” but
gentler and more introspective. Now past 70, Leonard doesn’t so much sing as
whisper or intone, leaving his backing singers to carry the melody. That is not
a criticism - the man is a poet, and the songs just vehicles for his words.
In fact it’s the words of Lord Byron which are contained on the first track
“Go No More A-Roving,” with music by Leonard. A great introductory track is
followed by “Because Of” and “The Letters,” both homages to women the singer
has known. The arrangements are sparse and simple throughout and each track is
interesting in its own right. Leonard takes his own singular view on the
9/11 song “On That Day” which is followed by one of the stand-out tracks
”Villanelle For Our Time,” virtually a reading of a poem by the poet Frank
Scott, but
immensely powerful with the refrain “From bitter searching of the heart, we
rise to play a greater part” repeated hypnotically at the end of each verse.
“There For You” is a touching love song, title track “Dear Heather” is a
charming oddity - “Dear Heather, Please walk by me again with a drink in your
hand
and your legs all white from the winter” - with trumpet and organ
accompaniment. The final track is a live version of the old country favourite
“Tennessee
Waltz” with an added verse by Cohen who actually sings wholeheartedly on this
track. A great album with tracks that will grow on you with each listen.
STAN WEBB’S CHICKEN SHACK. STILL LIVE AFTER ALL THESE YEARS.
 MYSTIC
RECORDS. MYS CD 189. Running Time: 75:27
Recorded live at the Capitol Theatre, Paderborn in Germanyover two nights
last year, this is classic Chicken Shack with the The “Shadow Horns” adding a
new dimension to Stan’s guitar led performances. The generous running time
has presumably been edited down from about three hours material and the result
is excellent. I’ve seen Stan two or three times over the last seven years and
his performances have varied quite a lot, but this album catches him at his
best. It opens with “So Tell Me Now” which sets the standard for the rest of
the set, and continues with the familiar “The Thrill Has Gone” and Lowell
Fulson’s “Reconsider Baby” in slow shuffle style. “The Sweetest Little Thing”
follows, voted his most popular song on his website. This one builds and builds
with the horns coming in at the climax of the track. Of the remaining tracks
the two standouts are “The Chicken Shack Opera (aka “Take The Water/”Who
Cares” a 12-minute epic ,with some sensational slide work by Stan in the middle,
and, of course the perennial “I’d Rather Go Blind,” which closes the album.
Fine vocals by Stan, and some synergetic accompaniment from his band: Gary
Davies on guitar, Jim Rudge on bass and the great Mick Jones on drums.
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