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PLAYING OUT LOUD!
REVIEWS
Gig Reviews -
CD Reviews
Gig Reviews
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T-Rextasy, The Point, Eastleigh -
29/10/05
 It
is not very often that The Point put on a night of live music, but for this gig
we went back in time to the days of 70s Glam Rock. Walking through the doors we
were greeted by a mass array of brightly coloured boas and glitter - the usual
scene for a T-Rextasy performance.
The evening was in support of the Mayor of Eastleigh’ Appeal; Councillor Bernie
Wright is helping three charities this year, Home Start, Hamble Lifeboats and
Hamble Sea Scouts, all charities in need of funds. To get the crowd in the mood,
support band Sticklebach, voted “The Band People Enjoyed Most” by listeners of
WIN FM at Eastleigh Summer Festival, gave up their evening to entertain.
Starting with “Jump” by Van Halen, the band continued with Thin Lizzy favourite
“The Boys Are Back In Town,” “Lick” by Kiss and “Is This Love?” by Whitesnake.
Their set certainly put everyone in the right mood for a well entertaining
evening.
Then the lights went up and on came T-Rextasy. With frontman Danielz wearing a
yellow boa and glitter, you could have believed that Marc Bolan had been
reincarnated. Wasting no time, Danielz invited the audience to get up and dance
before the chords of “20th Century Boy” started. Then we heard all our favourite
T-Rex hits including “Ride A White Swan,” “Jeepster,” “Telegram Sam” and “New
York City.” But by far the best received songs were “The Groove,” “Metal Guru”
and “I Love To Boogie,” songs that had the audience dancing and singing.
If you have never had the pleasure of seeing this band, then you are in for such
a surprise. Voted the UK’s No 1tribute band on BBC, you can see why T-Rextasy
have earned this title. The Kings of Glam Rock Rule!
Review by Claire Edwards - photo copyright Claire Edwards
An Evening With The Hollies, Mayflower
Theatre, Southampton - 30/10/05
 Playing to a nearly full venue, the how came to life as The Hollies
walked
onto the stage looking very smart. Tony Hicks, Steve Lauri and vocalist Peter
Howarth all wearing black suits, looking very much like a mature version of El
Divo. “We were told to wear these by Derek the lighting guy,” Peter
explained and the crowd applauded in approval.
The evening opened with five of The Hollies’ most famous hits, “I’m
Alive,” “Here I Go Again,” “Jennifer Eccles,” “Just One Look” and “Carousel.”
If you needed reminding of how good The Hollies are, this was certainly the way
to introduce them. Then the tempo changed to introduce a new song “Hope”
from their new album due out next February. Finishing the first half with Bob
Dylan’s “Blowing In The Wind,” but with a slight twist - The Hollies jazzed up
Dylan’s famous song in a style that had the audience singing along.
The second half opened with the band looking much more relaxed and ready to
have a good time. Again we were reminded of the truly great hits that make
The Hollies such an unforgettable act - “I Can’t Let Go,” “Bus Stop,” “Stop,
Stop, Stop,” and “Carrie Anne” were amongs the barrage of hits. But “The
Air That I Breathe” got the biggest ovation before Peter introduced us to Ray
Stiles who used to play with the band Mud. Ray opened up the chords to “Tiger
Feet,” which yet again got the crowd singing. Finishing off the evening with
“He Ain’t Heavy, He’s My Brother” and “Let Love Pass,” this was certainly a
night to remember.
Review by Claire Edwards - photo copyright Claire Edwards
John Cooper Clarke / The Fall, The
Brook, Southampton - 29/10/05
 Well,
its 25 years since I last saw John Cooper Clarke, but its reassuring to know
some things never change. Clarke jaunted on stage sporting his trademark bird’s
nest hairdo, dark sunglasses and drainpipe trousers hiding stick-thin legs -
think the footballer, Peter Crouch, then think of legs half the size again - how
does he stay upright on them ! Only the face revealed the ageing process -
cheeks more folded than I recall. And he comes on carrying a luggage bag, which
he duly plonks next to the microphone. Is this so he can do a runner if he dies
on stage? Never mind the hotel bills, thinks John - if I die a death at The
Brook I've got my holdall ready and can always get out of town before the
punters can shout "You Never See A Nipple in the Daily Express" !
Whatever, the act had changed. Instead of spitfire-paced poetry, Clarke warmed
to the audience just like a stand-up comedian, with a few poems interspersed for
good measure. Jokes flew and poems passed, the highlight of which was a
hilarious "Hire Car" - a paean to careless possession of a company hire car -
delivered in Clarke's characteristic, rasping Northern dialect. That and the
limerick that didn't rhyme capped the night and Clarke disappeared backstage,
holdall in hand, to the crowd's cheers - no doubt pondering where he might stay
for the evening, his luggage bag now redundant!
After
the warm-up came the hors d'oeuvres. Mark E. Smith and the rest of the Fall
line-up emerged on stage to a buzz of anticipation among their devoted
following. And what a change in the testosterone level ! From a jocular, relaxed
crowd enjoying Clarke's routine to an electric-charged bunch just like Pavlov's
dogs waiting for the bell to ring!
 They weren't disappointed - the opening "Youwanner" confirmed the current
line-up to be a full-on, lean, mean, fighting Fall-machine. A key track on the
new Fall LP - "Fall Heads Roll" - it blistered the ears, though standing next to
the speakers may have had something to do with it ! As an aside, "Fall Heads
Roll", sounds like a part tongue-in-cheek / part raspberry to the press and all
those who've condemned Smith's dictatorial ways and propensity for changing the
band's line-up at his whim. Part of Smith's pre-cog one suspects and a signal
stating he's still ahead of the pack.
Of the man himself - Smith stiffly and restlessly roamed the stage displaying a
jowel movement that would have left the Chancellor, Gordon Brown, open-jawed.
There was no attempt at rapport with the audience but, much to my relief at
least, also none of the usual drunken antics - the tedious, desperate and
predictable Smith attempt to feign dangerous, edgy spontaneity by messing with
other band member's equipment. "Mountain Energie" sparkled in the set, followed
by a quieter and more subtle tune in the shape of "Midnight Aspen". The crowd
were pretty much spellbound, some indulging in a bit of mosh-pit revelry, and
vocally unleashed themselves through the sing-a-long chorus of the
drug-influenced cover of The Move's "I Can Hear The Grass Grow", joining in like
a karaoke session. "Wrong Place, Right Time" shone well with its muscular,
angular guitar play. and the old favourite "White Lightning" was a brief encore.
A performance and set that surprised, both with its intensity and professional
polish, The Fall seemed like a group re-born. Still, one wonders what Smith
makes of all the adulation when on stage, but if he was moved by it at all, he
kept it to himself as he and the band disappeared ghost-like through the door
behind the stage. Guest review by Colin Read - photo
copyright Colin Read
Athlete, Portsmouth Guildhall - 6/11/05
 Sunday
night at the Guildhall in Portsmouth saw a sell-out gig by Athlete, supported by
Iain Archer and Gemma Hayes. Promoting their new single “Twenty Four Hours,”
Athlete opened with an instrumental then built the crowd up with some of their
better-known hits including “Rockstar.” In true Athlete style, it really was
“all about the music.”
There was a mixed crowd soaking up the melodic, moody beats and exciting light
show, seeming almost trancelike, captivated by Athlete’s signature style and
emotional delivery. The bass player who had been on stage all night with a
dislocated shoulder stood up to loud whistles and screams of appreciation, and
the crowd went wild as Athlete played out a very emotional gig with a song we
all know and love, “Wires.”
Guest review by Anna Kenworthy - photo
copyright Claire Edwards
CD Reviews
(top)
Kate Rusby. The Girl Who Couldn’t Fly.
 Pure Records - PRCD017.
Running time: 49:53
Kate seems to have found a winning formula of combining
original songs with
traditional material, and this album is the mixture as before. Blessed with a
beautiful voice and a host of talented musicians at her service she has
produced an album well up to her usual standards. It gets off to a pleasing
start
with “The Game of All Fours” which sets a standard that is maintained
throughout the album. A highlight is a delightful version of the classic song
“You
Belong To Me” (“see the pyramids along the Nile” etc). The overall tone of the
album is gentle and wistful, and nobody does that better than Kate in the
folk genre. Varied instrumentation including flute and whistle contributions
from Michael McGoldrick, trumpet and horn from Neil Yates, plus euphonium and
tuba on several tracks ensure a rich tapestry of sounds. It doesn’t stray far
from the basic folk formula, but Kate’s fans would probably not expect anything
else.
Kate Bush. Aerial (double album).
 EMI Records.
Disc 1 - A Sea of Honey - Running time: 38:02
Disc 2 - A Sky of Honey - Running time: 42:02
Kate Bush is the kind of artist you either love or loathe, and I find myself
strangely ambivalent on this one. I like her voice and I respect the fact
that she is not content to stand still and is constantly experimenting with her
music. Having said that, I found several of the tracks, namely “Bertie” and
“Pi” on Disc 1 twee and contrived. Similarly Rolf Harris’s contribution on
“The Painter’s Link” on Disc 2 didn’t work for me. But over the two albums
there is much to enjoy and admire too, notably the title track and single, “King
of the Mountain,” “Mrs Bartolozzi” and “How To Be Invisible” on Disc 1 and
“Sunset,” “Somewhere In Between” and “Aerial” on Disc 2. Superbly recorded
with complex arrangements and contributions from some stellar musicians and
vocalists, it’s never less than interesting. But it’s not for me - it’s for
Kate Bush fans, who will no doubt claim it’s a masterpiece.
Scott Walker. Classics & Collectibles.
 Mercury 982 847-3 - Double
CD. CD 1 Running time: 76:24 CD2 Running time: 75:55
Two and a half hours of
music from a fine vocalist - as far as I am concerned
you can forget Frank, Tony Bennett and the lot of them. Scott is probably the
finest interpreter of songs that the 60s produced and he went on to become a
relevant composer too. The first album concentrates on “classic” Scott
tracks which have all been released on CD before. It includes Brel classics like
“If You Go Away” and “Jackie” and songs from Scott’s first four solo albums.
A good balance of songs but most people will have them all in one form or
another. Disc 2 though contains a number of tracks previously only available on
vinyl. Most are in Scott’s “crooner” vein but one or two like ”Cowboy” are
in country style. But all are worth listening to again and again. My own
particular favourites include “I Still See You” and “Who Will Take My Place.”
An essential album for Scott Walker fans and extremely good value.
Hazel O’Connor. Hidden Heart.
 Invisible Hands Music - IH CD 37. Running time:
52:11
Like Marianne Faithfull, Hazel’s voice just gets more expressive with
time.
This album is a fine demonstration of Hazel’s talents, featuring that
signature heartbreaking catch in her voice. It starts off in Irish folk style
with
“Acoustically Yours” featuring vocals by Cormac De Barra, the violin of Maire
Brennan and a host of different instruments including Cumbrian pipes and
didgerid oo. Tracks 2 & 3 continue along in gentle, folky vein, before the pace
picks
up with “Perfect Days,” more typical of Hazel’s old style. “Who Will Care”
is a great track, sensitive and plaintive, followed by another great song,
the soulful “Strong.” In fact each of the 12 songs on this album are of a high
standard - a particular highlight is a reworking of Hazel’s old hit “If
Only” where she shares the vocals with Tony Dangerfield from her band, The
Subterraneans. A fine album.
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