Musical
talent contest
Southampton YMCA Open Day
September 24
This musical
talent contest at Southampton YMCA's Open Day
revealed an amazing bounty of youthful creativity and energy. The contest, part
of
a series of events to celebrate
the organisation’s 125-year link with the
city, took place in a marquee behind the YMCA building. Four judges gave their
verdicts after each act, but the final selection of first, second and third
was really immaterial, as each act was good in its’ own way.
Hit songwriter and musician Stephen Keith, singer and record producer Barry
Upton, film director Chris Barfoot and Miss Southampton, Kylie Perry, were
the judges with MC Terry Eckersley introducing the acts
and seeking the opinions
of the panel following each performance.
First up was a young man named Spartacus who gave us some “Ghetto Gospel,”
a riffy rap using backing tapes, as did most of the performers. Not being
much of a rap fan myself, I was surprised how compelling this music was, due in
no small degree to the way Spartacus interacted with the audience. Next up
was Neil Maddock who accompanied himself on acoustic
guitar to sing his own
song, “Mustard Seed.” He didn’t really get the credit he deserved from the
panel, though slightly nervous at the beginning, he soon got well into it and
produced a fine performance of a thoughtful song.
Next, a very confident guy going under the name of
Vision A rapped his way
through a very clever song delivered with humour and tricky phrasing. Very
original and totally mesmerising. Boy-girl rappers Black Prez and Kat-Reena were
on next, singing a toned-down version of a song which seemed to be about sex
or the lack of it. Performed with humour and verve to an atmospheric backing
track, it was another act with great promise, particularly from Kat-Reena,
whose dancing and facial expressions were quite hypnotic. I can’t remember what
young Maxine sang now, but it was very soulful, well delivered, and she looked
good, though she did get some advice from the panel to make more eye contact
with the audience.
The next two acts were by young ladies who both entered at the last minute,
Amy singing her own song lyrics to another artist’s backing track, and Gemma
Snow singing an R&B hit song acapella. Both were excellent, Amy with a
strong, soulful voice, but slightly distracted by having to refer to her
handwritten song lyrics, while Gemma, only sixteen, though nervous, had
a voice
like an
angel. The show was closed by lively Bhangra band Pukaar led by Romail
Gulzar a very professional outfit who were not really supposed to be competing,
but
got assessed by the panel anyway.
Full marks to the panel, incidentally: Stephen, knowledgeable, perceptive
and encouraging, Barry authoritative, with helpful constructive criticism which
was listened to intently by each act, Kylie, honest and direct and Chris,
laid back and lugubrious who added some dry humour to the event. MC Terry kept
things going in a relaxed but
organised manner to complete an hour or two’s
involving entertainment.
Just for the record, Vision A was the winner, with Gemma Snow second, and
Maxine third, but as stated earlier the result did not really matter, well
maybe to Vision A who carried off a trophy, but to me it was not about 1st, 2nd
or 3rd. Any one of the participants in this show could go on to a career in
music given the right breaks and perseverance. Very encouraging and further
proof that Southampton really is Music City UK. (© Peter Ashton
2003)
Bluehorses
Talking Heads
Southampton.
No apologies for reviewing this band again so soon after their appearance at
Folk at The Fort event in July. I just find it amazing that this band are not
huge, and this long overdue appearance at the Heads was one of their best
ever. Fronted by Liz Prendergast who works her black stockings off singing,
playing violin, electric mandolin and electric harp, Bluehorses have honed their
Celtic psychedelia sound tightly and professionally without losing the energy
and dynamism that has given them such a cult following.
The pogoing down by the stage began as soon as Liz and co began playing,
increasing in fervour with crowd favourite “Witch in Wedlock.” Nic Waulker is
one of the best drummers around, solid and unshowy, but driving things along
with aggression. Nic’s nephew Nathan on bass has slotted in well,
unobtrusively but skillfully contributing to the mix. Fast Jake Easyrider,
likewise a
comparatively new member of the band contributes some showy electric guitar,
adding a more rocking dimension to the overall sound.
I still miss the twin fiddle line-up, but the Bluehorses sound is tighter
than ever, and if it means that Lizzie has to work harder than ever, she
obviously loves it and has the stage presence to carry the whole band. A great
gig. (© Peter Ashton
2003)
The
Chucky Monroes.
The Platform Tavern.
Southampton.
A telephone call from David Downing of Derrin & Dave summoned me down to the
Town Quay pub to hear an Australian blues-roots trio who sounded pretty good
to him on the sound check. I rushed down to catch the first half of their set,
before dashing off to The Brook to see The Davey Brothers. Glad I did, too,
as The Chucky Monroes are something special. Muzza on vocals and guitar sang
in a raspy, grizzled growl, while Al provided a melancholy commentary on
slide guitar, with drummer Simon the unobtrusive heartbeat of the band.
A mix of alt country and blues-roots, The Chucky’s music is all original,
with songs from their debut CD like “Fallen Angel,” “He’s A Fool” amd “Going
Down Fighting” getting a good reception from a smallish crowd. Dark, sombre
and atmospheric, their style is very much in the Nick Cave/Tom Waits
territory, but their sound is their own. If you get a chance to see them on
their
travels in the UK, do - they are well worth catching up with. (© Peter Ashton
2003)
The
Davey Brothers.
The Brook.
Southampton.
Former ex-Hoax members Jesse and Robin Davey returned to The Brook for the first
time in four years, with a new band set-up which was basically them plus a
drummer, whose name I did not catch! They played a lot of new stuff from their
new album “Monkey No. 9” which was much rockier than The Hoax. With Jesse on
lead guitar, and Robin on bass and vocals they belted through a rocking cover of
“Stagger Lee” before a selection of songs from their debut album “Monkey Time
No. 9.” Much ironic rock star posturing from both men, particular the
spectacularly slim Robin, who utilised a megaphone for one song. Great stuff
though, with standouts including “Third Stone From The Sun,” “She’s So Fine” and
“Heart Go Faster” which was used on the sound track of “Lara Croft Tomb Raider:
The Cradle of Life.” Very loud, very visual and entertaining and full of good
songs, The Davey Brothers are set to be very big indeed. (© Peter Ashton
2003)
GEORGIE
FAME
THE CONCORDE CLUB EASTLEIGH - October 1, 2003.
Georgie Fame has been a regular visitor to the Concorde Club since 1964 soon
after he moved towards jazz in the early 60s after being sacked as pianist
with Billy Fury’s band. As usual his latest visit produced a repertoire both
thoughtful and dynamic. The full house may be the norm, but the programme will
always change.
There were the jazz standards of fifty years ago, “Lush Life” by Billy
Strayhorn, songs by Ray Charles, Cannonball Adderley and Hoagy Carmichael. Then
there were modern classics like “Moondance” by Van Morrison, and Georgie’s
own “Yeh-Yeh” and “Cool Cat Blues.” He also moved right up to the minute with
the title track of his new album “Anthem of a Band” and the highly-rated
“Rhythm Kings” which he wrote for Bill Wyman’s outfit.
Great music and great musicians go hand in hand in Georgie’s seven-piece
band: the featured soloists are Guy Barker on trumpet, Alan Skidmore on tenor
sax, and Anthony Kerr on vibraphone. These musicans kept the Concorde jazz
regulars in high spirits, always shouting for more. Quite right, it was a unique
gig.
However, it was the Hammond B3 organ, Leslie speakers, and the legendary
Georgie Fame dominating the stage as he has done year after year, playing to a
packed club, that this review is all about. The band and the audience were as
one, for which we must thank Georgie and Concorde Club director Cole
Mathieson. Make a date for October 2004 for the next visit of the original “Fame
Academy,” a British institution! (Guest review by Andy Iles)
WALTER
TROUT & THE RADICALS
THE BROOK. SOUTHAMPTON OCTOBER 8, 2003.
Opening with an extended version of “Dust My Broom,” the pony-tailed guitar
wizard from California didn’t take long to warm up. The atmosphere was electric
as Walter gave his battered Fender Strat a good seeing-to to the delight of a
sell-out crowd. Following up with what Walter described as some “low-down dirty
back-in-the-alley in your face blues,” Walter coaxed some fantastic sounds out
of his guitar, interspersing his solos with some inspired classical riffs. The
voice meanwhile was as gutsy and soulful as ever, particularly on “Cry If You
Want To,” a new song dedicated to his ten-year old son, one of several tracks
from his new live album, “Relentless.”
After a humorous, but vitriolic attack on the new Governor of his home
state - “that woman-groping asshole,” or words to that effect, Walter bounded on
with more rocking blues. The “work ethic,” as Walter describes it, is a big part
of the Trout philosophy - he puts everything into every performance, and the
enthusiasm of the audience was palpable. Ninety minutes or so of amazing guitar
virtuosity with splendid support from the bass/drums/keyboards of The Radicals
with whom Walter has been rocking around the world for so long. An outstanding
gig, ehanced by the magic of Big Ed on sound who as usual did a tremendous job.
Just one thing puzzled me as I looked around a packed Brook - how
come Walter Trout fans are so tall? Half the audience seemed to be well
over six foot tall! (© Peter Ashton
2003)
CD Reviews
WALTER
TROUT.
RELENTLESS.
RUF 1083.
Running time: 73.01
Recorded live at a club in Amsterdam, Walter and The Radicals really get down
to business here. Curiously virtually all the applause and crowd reaction
has been edited out, making it sound like a very spontaneous studio session.
The sound quality is excellent and there is plenty of variation from the driving
opening track “I’m Tired” to the closing “Mercy” a very generous 74 minutes
later. Many of the tracks here were on Walter’s set list for his recent
storming gig at The Brook where he just amazed with his virtuosity on his ‘73
Fender Strat. The voice is better than ever too, particularly on “Work No More”
and the soulful “Cry If You Want To.” Other stand-out tracks include
“Collingswood” and “The Best You Got.” A must for Trout fans and anyone who
likes
their rock with a heavy injection of blues; all fourteen tracks are brand new
compositions, by the way. (© Peter Ashton
2003)
The king and queen of alt country, Brett and Rennie Sparks, have come up with
another excellent album. Recorded in their den at their New Mexico home,
it’s the usual recipe: Brett’s rich baritone, Rennie’s ethereal backing vocals
and spooky lyrics, guitar, bass and drums and the occasional violin, musical
saw, banjo, pedal steel and other instruments producing some mysterious sounds.
The tone is set by “The Forgotten Lake” where “girls in white nightgowns
wander barefoot in their sleep and the vapors of dreams wind in circles round
their feet.” I particularly like the gothic “Bottomless Hole,” Fallen Peaches”
and “The Song of a Hundred Toads,” but every track has its own particular
charm. Moody, atmospheric and totally listenable each song tells a story. An
enthralling album, well up to Brett and Rennie’s usual standard. (© Peter Ashton
2003)
THE
HANDSOME FAMILY.
MICHAEL
WESTON KING.
