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PLAYING OUT LOUD!
REVIEWS
Gig Reviews -
CD Reviews
Gig Reviews
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ERIC BIBB, THE BROOK, SOUTHAMPTON -
8/10/06
 About
twelve years ago bluesman Eric Bibb made his debut at The Brook, playing to an
audience of around 50 people.
This time, about ten times that number enjoyed an evening with a
man who has retained his integrity and humility while forging a close rapport
with his audiences, who come back to see him again and again. Surrounded by an
array of guitars, Eric started off solo for the first three songs in his set,
“Stagger Lee,” “The Cape” and “No More Cane On The Brazos,” creating a warm
atmosphere before welcoming drummer Larry Crockett and bass player Danny
Thompson on stage for the rest of his set.
Eric , Larry and Danny upped the pace with “Got To Do Better,”
before Eric dedicated “Tell Riley” to BB King and created an emotional mood with
“The Light Was Worth The Candle.” Throughout, Eric’s easy manner and humorous
engagement with his audience were a feature of an engaging gig. Eric’s set
included several new songs from his latest album “Diamond Days,” including the
evocative title track. But it was the older material that the fans had come to
hear, songs like the rousing “In My Father’s House,” and “Don’t Ever Let Nobody
Drag Your Spirit Down,” which really got the crowd clapping. The moving “Mandela
Is Free,” also got a good response, but then so did every song. The sheer
quality of Eric’s songs, his husky voiced, obvious sincerity and the synergy he
built up with his musicians produced a memorable evening. Amongst the encores
was a reprise of “Don’t Ever Let Nobody Drag Your Spirit Down,” which sent the
crowd home happy. One of the most popular visitors to The Brook, Eric has the
rare ability to raise the spirits and send people home uplifted. A great gig.
CD Reviews
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BLUES ROCK - 2CD COMPILATION.
 GUT RECORDS GACD07.
Running time CD 1: 76:43
Running time CD 2: 76:33
A total of 37 tracks spanning mainly the 1960s and 1970s, and you’ll need a
whole evening to listen to the two and a half hour plus treat. CD1 kicks off
with “Strange Brew” by Cream, which sets the standard. Some of the tracks are
maybe a bit over-familiar -
personally I could live without ever hearing “Black Magic Woman” by Santana
again - but that’s subjective. I can always listen to tracks like “On The
Road Again” by Canned Heat. There are also some not so obvious choices like
“I’m A Mover” by Free and “Jail Bait” by Wishbone Ash.
CD2 is comprised of similarly high standard of songs - again “Out Of Time”
by Chris Farlowe, I have heard just too many times, but I can listen to “Milk
And Alcohol’ by Dr Feelgood and “I’d Rather Go Blind” by Chicken Shack time
and time again. I’m not sure that all the tracks could be classed as ‘Blues
Rock’ - “Once Bitten, Twice Shy” by Ian Hunter, for instance, but I’m just
quibbling here as virtually every track is eminently listenable on both CDs.
ZZ Top, Humble Pie, Mountain, Thin Lizzy and Ten Years After are among a host
of other acts represented on an excellent 2-CD package. Comprehensive sleeve
notes too.
Razorlight. Razorlight.
 Vertigo Records. Running time: 35:05
Razorlight seemed to have found their own style on this, their second album.
I haven’t heard their debut album so I can’t join the debate as to whether
it is better, but to me, it’s a very listenable ten tracks, from a band who
seem to have everything going for them.
Great vocals from Johnny Burrell, good,
catchy melodies, clever use of stereo, brilliant drumming, excellent
producition and overall a very tight sound. Both the recent chart singles are
here,
“In The Morning,” and “America,” but the rest of the songs are very much up to
standard and any one could be a chart single.
Highly recommended.
Tom Petty. Highway Companion.
 American 9362-44285-2. Running
time: 43:53
Nothing particularly new here, but a dozen varied tracks which get off to a
good start with the shuffling "Saving Grace.” Immaculate production and
flowing arrangements throughout as you would expect with the involvement of Jeff
Lynne. Petty’s slightly nasal voice is accompanied by excellent guitar work,
and the mood is generally upbeat, bluesy here and there, verging towards country
and pop on some tracks.
If there aren’t any real standouts it’s a very
listenable album with “Turn This Car Around,” the rolling “Big Weekend,” and the
closing “Golden Rose,” amongst the more memorable offerings. “Golden Rose”
is probably my personal favourite, a very Beatle-ish number which I would
love to have heard John Lennon sing. If you like Tom Petty, you won’t be
disappointed.
Kama Linden. Uninhibited.
 Ascap. Running time: 53:51
Some straight ahead pop from a young lady with a very clear, distinctive and
sexy voice. All the lyrics and melodies were written by Kama, who sounds like
a very feisty lady who may have had some romantic disappointments, as
demonstrated on the opening track, “Waiting.”
Unfussy arrangements and
interesting
lyrics adorn an album which is very much in Madonna territory. I particularly
liked the pithy “Bitter Lemon,” the title track “Uninhibited” and “Dare To
Be Different,” and there’s a good variety of pace and styles in her well
written songs. The album closes with remixes of two of the tracks, “Don’t Shut
Me Out.” and “Crossed Over.”
I bet Kama is great live, but whether her style
is currently commercial, I’m not sure.
SINGLES REVIEWS BY MARTIN SIRL
Fittest Of The Fittest/Good Fight by
Bluesky Research
They might have a name that sounds like a computer software manufacturer but
Bluesky Research are actually a 5-piece band from Portsmouth with a sound that
reminds you of many things without ever quite sounding like anything in
particular. While listening to this I found myself recalling such diverse acts
as Crosby, Stills and Nash, Love and the Stone Roses so if nothing else Bluesky
Research are an intriguing prospect. For now file this under 'one to watch',
but if your fancy has been tickled and you don't manage to catch Bluesky
Research on their current UK mini-tour,
then why not check them out on their return to The Phoenix in Southsea on 10th
December.
No Regrets by The Sohodolls
There's a lot of this kind of thing about at the moment but it's still nice to
hear it done well. Infectious electro-pop from four glam-influenced Londoners
who have a hotly tipped debut album due out shortly on the Filthy Pretty labe l.
This is a kind of missing link between Goldfrapp and Kylie which is so darn
radio-friendly your iPod will be sitting up and begging for it. I just have a
sneaky feeling that anyone who makes it to their gig at Southampton University
on 26th October could just be in at the start of something quite big.
Couldn't Be Done by Tim Finn
Yet another jaunty George Harrison-esque number from the former Crowded
House man who often promises much but who rarely manages to strike the
commercial nail squarely on the head. The New Zealander's work is never less
than squeaky clean, but like so many of Finn's songs this is another with its
feet firmly planted in late-80s/early-90s territory and hence, in truth, is
unlikely to inspire anyone but the staunchest Crowded House follower to reach
for their wallet.
Janie Jones by Babyshambles
It seems faintly ironic that a bunch of well-intentioned people attempting to
fund a Foundation for New Music should choose to do so by way of another
pointless rehash of an old song. I doubt even Joe Strummer would have rated this
as one of his best but The Clash did at least come armed with enough energy to
make an ordinary song sound good and a good song sound great. But despite the
host of friends along for the ride energy is one thing sadly lacking from
this Babyshambles version, which reduces a clever satire on the world of the
'young professional' to little more than a cockney sing-along. Buy this only
because it's for a good cause, or better still dig out your copy of the original
and just donate at
www.strummerville.com .
Dead Meat by Sean Lennon
Difficult know what to make of all this. A sweet song, immaculately produced and
eased along by a luscious string arrangement that Sean's father would
have..er..died for. In fact just about the only thing wrong with this is Sean
Lennon himself. His transatlantic drawl is at best forgettable and soon starts
to become vaguely annoying. And I wouldn't hold out too much hope that this is a
vocal style one grows into, which is a real shame as this could have been
so good but in the end does little more than remind us once again of just what
the world lost on that black day in 1980.
Started Looking by The Cubes
Wrexham's The Cubes are the latest link in a long chain that began with The
Beatles and along its length includes The Las and Oasis. 20-year old vocalist
and leading songwriter Marc Donovan clearly has the ear for a good tune and
this CD is packed full of them, ranging from the upbeat Started Looking to the
ethereal On A Moon which, with its dreamy vocals and subtle woodwind arrangement
hints at how Syd Barrett might havesounded today. I look forward to hearing much
more from this bunch if they are capable of creating such genuinely interesting
music.
Out On A Wire by Humanzi
Eighties-influenced pop from Dublin-based foursome. Humanzi cite influences that
range from the Velvets to Depeche Mode and this certainly swings more toward the
latter than the former. Not that that necessary labels it as bad or
unworthy; Out On A Wire is one of those horribly infectious foot-tapper that
sneaks into your subconscious through the back door and, once in there, starts
claiming squatters' rights. Addictive in a really good way, though probably not
to the degree that it'll make much impression on the charts.
Magick By Klaxons
Dance music and Aleister Crowley might seem like an unlikely combination but
this is a lively, joyous offering from a bunch of New Cross lads with a taste
for the occult. Fast, frantic and in your face it's easy to understand why
Klaxons are being heralded as prime movers in the 'new rave' movement. And the
dance remix, with more than a slight nod in the direction of Kraftwerk offers
still more hope that Klaxons will shortly be taking up long term residency on
the turntables of the UK.
London Out There by Dorp
Originating from Cape Town and relocating to London presumably means that Dorp
have absorbed a range of musical influences along the way. And there is
certainly a lot going on this well-crafted indictment of the fast pace of life
in
the capital. Piet Bez's vocals sound a lot like Placebo's Brian Malko and
new-glam is obviously a major factor in Dorp's musical approach. Add a few
touches of punk and a thudding industrial backing track and the result is an
intense
slice of techno that will sound equally at home on the radio or on the dance
floor.
Science Is Golden by The Grates
Like many Australian bands The Grates have a freshness about them that almost
makes you want to forgive an obvious weakness in their material. A kind of
Altered Images meets B52s number that won't win many awards, but which is not
short on fun. Who cares if you can't quite work out what this song is all about?
Just let your feet start tapping and you'll soon lose interest in the hows and
whys. If this kind of quirky Antipodean pop is what pulls your strings then
the Brisbane trio can beseen supporting The Young Knives on their forthcoming UK
tour.
Lycanthrope by +44
I imagine you wouldn't have to be Hercule Poirot to deduce that this is a band
formed by ex-members of Blink 182. All the familiar ingredients are there:
buzzsaw guitars, a pounding rhythm section and a bucketful of youthful energy
to boot. Yes, it's been done before, and probably better than this. But plenty
of school kids were inspired to get a band together after first hearing All The
Small Things and a few more might consider it upon hearing this pure,
unadulterated thrash.
Motion Sickness by Stolen Peace
Unmemorable soft rock from a young Manchester band with an equally unmemorable
name. Just about the best thing about Stolen Peace is the impressive falsetto
vocals of lead singer Liam Walsh, which gives the band a sound reminiscent of
Family and early Led Zeppelin. But until they find a decent tune it's hard to
see how Stolen Peace will appeal to any but those who like their music loud,
simple and uninteresting, and who still believe a song lives or dies on the
strength of the guitar solo.
Lonely At The Top by The Ordinary Boys
The early signs were that The Ordinary Boys could have produced some pretty
significant music. But it seems Preston and the boys have had all the wrong kind
of success too soon and, after the cringeworthy “Boys Will Be Boys” this again
has the sound of a band that are slipstreaming rather than taking a lead.
More plod than mod, more Duran Duran than Jam, this is about as exciting and
unpredictable as Preston and Chantelle's wedding. If it really is lonely a the
top then let's face it, sometimes you might only have yourself to blame?
I'm All right by Madeleine Peyroux
Miss Peyroux is a California-based 22-year-old about whom I know very little
other than the fact that she is obviously one for keeping up with the Jones, in
this case the vocal styles of both Norah and Ricki Lee. A soft, late night
country ballad powered driven by a delicious Hammond organ, but with frankly
little else going for it. Further research reveals that the lady has released
four albums but periodically ducks out of sight which might suggest why, a full
ten years after her debut release she has yet to develop a style which doesn't
sound like a hundred other Grand Ole Opry wannabees.
Wonderful World by James Morrison
Morrison's most soulful, and arguably best release to date. Take the best bits
from Michael McDonald and David Gray, mix in a luscious
everything-but-the-kitchen-sink orchestral backing and season with a production
that would warm the heart of Smokey Robinson himself and the results would
surely come out sounding something like this. A Terence Trent D'Arby for the
noughties, one senses that many a future relationship will begin with a dance
floor smooch to Mr Morrison's gravelly tones.
Lovelight by Robbie Williams
It all seems a very long time ago now, but the fact that Robbie Williams chose
to cover George Michael's Freedom for his first single release demonstrates that
the ex-Wham man is clearly a big influence. And Mister Fastlove is certainly
present, at least in spirit, on this Lewis Taylor cover, an early offering from
the forthcoming Rudebox album. Classy, superbly played and immaculately produced
by New York-based studio whiz kid Mark Ronson, this kind of smooth R'n'B might
not be to everyone's liking but it's to the man's credit that, given his safe
perch in the echelons of pop, Williams continues to produce music that's a great
deal better than any of us really have the right to expect.
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