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PLAYING OUT LOUD!
REVIEWS
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WICKHAM FESTIVAL REVIEWS:
Martin Sirl reports on a preliminary concert at Ferneham Hall: Sparks, Ferneham
Hall, Fareham, 4/8/06.
 An impressive turn-out, including a generous mix of age groups welcomed back
Sparks to the South for the first time in many years. And those who did choose
to bring the whole family along were rewarded with a show that was both visually
and musically impressive.
Over the last 35 years the Mael brothers have wandered a varied path, constantly
re-inventing themselves yet never quite encountering fully-fledged stardom along
the way. But perhaps this is what keeps them still sounding fresh after all this
time.
There was certainly something for everyone tonight in a set that split the old
and the new into two distinct packages. Bands that employ a film show are
sometimes trying to compensate for a lack of stage presence, but from the moment
the ever-youthful Russell and big brother Ron (now resembling a cross between
Albert Steptoe and Kraftwerk’s lost fifth member) took to the Ferneham Hall
stage and launched into “Dick Around” it was clear that Sparks have put together
an act that cunningly works with, rather than competes against the backdrop
projections.
Ingenious graphics meant that Russell was backed by US soldiers on the topical
“(Baby, Baby) Can I Invade Your Country,” while Ron was able conduct a fistfight
with himself on “The Very Next Fight” (he won, by the way), and play the
unlikely guitar hero on “Rock, Rock, Rock.”
For Part 2 the screen was jettisoned in favour of a more traditional stage set
and Russell and Ron (in striped jersey and black tie respectively) brought the
memories flooding back as they dipped liberally into their back catalogue for
energetic renditions of “Hospitality On Parade,” “This Town Ain’t Big Enough For
The Both Of Us” and the sublime “Never Turn Your Back On Mother Earth” - a song
which is more relevant today than ever. Even the laser show was rolled out for
“Number One Song In Heaven” and the marvellously camp “When Do I Get To Sing My
Way?” before the finale, “Amateur Hour,” which predictably received the biggest
ovation of the night.
The brothers seemed genuinely moved by the warmth of their reception, which
demonstrates that their following in the UK remains as loyal as ever, and with
promises of more dates later in the year they returned with “Something For The
Girl With Everything” and a rousing, singalong version of “Lil Beethoven’s
Suburban Homeboy,” which neatly combines today’s Sparks with the Sparks sound of
old, and which proves that the Maels’ creative juices are still as fluid as
ever.
Wickham Festival, 5/8/06
Peter Ashton popped in to cover the afternoon session:
 Centred around Wickham Community Centre, the festival proper began with some
really laid-back music, perfect for a sunny afternoon. What the festival site
lacked in atmoshere was more than made up for by the quality of the music,
beginning with female folk guitar/violin duo Amalthea. The pair, one of whom I
recognised from her Blue Horses days, Debbie Peake, played some gentle songs,
none of which were particularly memorable, but sweet to listen to at the time.
I was more impressed with the quirky Jo Mango, a Glaswegian singer-songwriter
who accompanied herself on guitar and squeezebox. I particularly liked her song
“Fluffy Little Head” (I think that was the title) a charming song about a toy.
Some of her delicate songs were from her new album “Paperclips And Sand,” which
on this showing could be a big hit. Touted as the next KT Tunstall in her home
country, Jo held the audience spellbound during her set, and the sheer quality
of her songs was amazing.
 Next up were Chris and Thomas, two Americans, whose outstanding musicianship on
mandolin and guitar, were matched by the quality of their vocal harmonies on a
pleasing eclectic set. Reminiscent of Simon and Garfunkel at their best, Chris
and Thomas soon had the crowd in the palm of their hand with some soulful alt
country music. Some great songs, well-delivered, another act which hopefully
will become fixtures on the festival scene.
Martin Sirl took over reviewing duties for the evening’s
entertainment:
Amid a slightly eclectic bill at the Wickham Festival, Shetland’s
Fiddlers
Bid showed
that traditional folk music is alive and well with a set of beautifully
executed highland reels. The initial lack of a rhythm section, delayed somewhere
on the M27, actually proved a blessing in disguise as the remaining members
entertained the Saturday evening audience with a predominantly acoustic set that
proved that there are few things better than traditional Scottish music played
well, and Fiddlers Bid do play very very well as the rush for standing room
at their late indoor set was to show.
There is something about Seth Lakeman’s music that rather passes me by.
However, I am obviously in the minority as the Wickham audience simply lapped up
a set of powerful and haunting songs, a highlight of which was the single,
“The Lady Of The Sea,” which is catchy enough to prove that folk actually can be
commercial. While much of Sethman’s can sound a little samey there is no
doubt that he has established a style
all his own, taking large chunks of traditional English folk and adding just
a hint of the music of the American dustbowl.
Seth’s delivery has become a little more aggressive since he established
himself
as a major solo artist, which is something of a pity because it’s when he
pauses for
breath, as on the lilting King And Country, that Sethman is at his very best.
Thankfully the rain, which had been threatening during much of Seth Lakeman’s
set
stayed off for Saturday’s final act, the always entertaining Oysterband.
 Beginning with the now regulation opener “Native Son,” John Jones and company
soon hit their stride, with seasoned fans and those new to their music
dancing side by side. This was very much the festival set as most of the new
songs
that the band previewed at last years gig at The Brook were ignored in
favour of old standards like “Salmon Tails,” “ 20th of April” and “One Green
Hill.” Even 1992’s “Deserter” received a welcome outing as the band pulled out
old favourite after old favourite out of the folkie hat, the very best being
“John Barleycorn” which again shows the band are always at their best when they
go back to their roots. But although pleasing your fans while simultaneously
developing new live material obviously requires a major balancing act, there
was almost a feeling that the occasional new number might just have provided
an occasional breath of fresh air and that perhaps the time has come to
gracefully retire songs like “Everywhere I Go,” normally a showstopper but which
tonight actually received less of an ovation than the only new song in the set,
the R’n’B influenced” Here Comes the Flood” which seems set to herald yet
another change in the Oysterband’s sound.
But these are minor criticisms. By the time we reached the classic “Granite
Years” and
he encores, “Blood Wedding” and the aptly titled “We Could Leave Right Now”
the by now well oiled audience were well and truly in a fervour. What a
shame it was then that
outdoor event regulations robbed us of a second encore, which would have
ended the
evening in perfect style rather than leaving us all with the slightest
feeling of anti-climax.
Art Asia staged another successful Mela Festival on August 12.
Here are some photographs that we hope give a flavour of this popular
multicultural event.
 
CD Reviews
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Gig Reviews Coming Soon! Watch this space!
SINGLES REVIEWS BY MARTIN SIRL
U Better Believe It by Shawn Emanuel
Intriguing release from EMI’s Shawn Emanuel, a young man who has already claimed
prestigious live support slots for, amongst others, Usher and Beyonce and on
this evidence it’s not hard to see the attraction. Strings, bass, keyboards and
breathy backing vocals are fused together to produce a song that offers a
more-than-interesting slant on the traditional R ‘n’ B love song. There are so
many different things going on here that you almost need two pairs of ears to
really get to grips with it all. Add to that the fact that the CD release offers
five different versions of the song and there is bound to be something for
everyone in here somewhere. Shawn Emanuel: a name to watch out for? Yep, U
better
believe it.
Wondering by Dirty Pretty Things
Sometimes you can have too much of a good thing. I do like Dirty Pretty Things
but I’d hardly got my head around Deadwood when this comes along. That said,
this is a much better effort and sure to improve on the Number 20 chart position
achieved by its predecessor. Wondering captures that mood most of us have at
some time experienced when, walking home after a night on the town we begin to
ponder on the state of our lives. In Carl Barat’s case his sentimental
side clearly kicks in as he concludes ‘It’s good to be in love with someone,
when you’ve always had to be with no one.’ Wise words indeed. Musically, this
has much more of the sub-punk charm of Bang Bang, You’re Dead and, as with
all the best pop songs, is short, sweet and leaves one wanting more.
Tell Me Baby by Red Hot Chili Peppers
It’s to their great credit that Red Hot Chili Peppers have made a career out of
bringing together out-of-fashion musical styles like funk, white rap and heavy
metal to produce a sound that is unmistakably their own. But I do wonder if that
strength is now becoming a weakness. Tell Me Baby is another track lifted from
the Arcadium album, and is classy, listenable and eminently radio-friendly yet
somehow has you thinking that you’ve heard it all somewhere before. Using a
formula that has yet to fail, it’s a safe bet that this will be another big hit
for LA’s finest, but maybe the time for something a little different from them
is now drawing near.
What You Could’ve Won by Milburn
The title alone is a sign that humour is
large part of what Milburn are trying to do, which I guess is not surprising for
a Sheffield-based outfit who apparently learnt their trade listening to the
Arctic Monkeys. Jim Bowen might be nowhere to be seen here, but lyrically this
is a sharply told tale of a drunken and misguided attempt to steal a kiss from
that girl on the dance floor you’ve had your eye on all evening. Musically
though, this isn’t much more than second rate. There is plenty to suggest that
Milburn might yet have a great pop song in them, but sadly this isn’t it.
America by Razorlight
Having been less than impressed with Razorlight’s last release, the ‘nice
but slightly dull’ In The Morning, America provides a timely and very welcome
surprise. A
sweet, laid back pop song which grabs you straight away and yet still sounds
better
the more you hear it. For once the production here is minimal, allowing
Johnny Borrell’s vocals to really shine on the verses, before waves of warm
jangly
guitars, memorable of The Las at their best, arrive to sweep through the
choruses and create a thing of rare beauty. I’m not sure what existing
Razorlight
fans will make of all this, but it’ll sure as hell make the band a lot of
new ones.
Jimmy by Daniel Powter
Canada's brightest young talent returns with another of those sickeningly catchy
songs that makes you think 'Why on earth couldn't I have written that?'
Since taking the charts by storm with Bad Day, Daniel Powter has always looked
'most likely to succeed' from the current crop of singer-songwriters and this
clearly shows why. Quirky and with a hook to die for, Jimmy also showcases
Powter's impressive vocal range, a weapon which has been kept largely under
wraps until now. It's easy to overlook the occasional lyrical cliché as there is
simply so much else to enjoy here.
Chelsea Dagger by The Fratellis
Don't ask me what this song is all about but Chelsea Dagger is a thoroughly
enjoyable glam-influenced stomp from Glasgow boys recently heralded by NME as
The Best New Band In Britain. This has that kind of glorious 'back bedroom'
sound about it that puts one in mind of the Arctic Monkeys. Unlikely to makeThe
Fratellis into millionaires but who cares. For now it's just great to see young
people enjoying themselves.
Do It To It by Cherish
A taster for the forthcoming album, Unappreciated, Do It To It features a host
of special guests: names like Chingy, Jody Breeze and Jazze Pha that apparently
carry significant weight in the R'n'B/Hip Hop world. Hailing from Atlanta,
Georgia Cherish are four combat-clad sisters who are beginning to cause a stir
on both sides of the water. Do It To It might be aimed firmly at the dance floor
brigade, but is already a massive stateside hit and only a brave man
would bet against that feat being repeated here in the UK. Oh, and the acappella
version shows they can actually sing a bit too.
Cheshire Cat Smile by Milburn
Milburn are a bunch of Sheffield boys who hail from the same housing estate as
the Arctic Monkeys, but sadly on this showing they are nowhere near as
fresh-sounding as their fellow Yorkshiremen. Part indie, part ska, witty lyrics
sung in a regional accent. I'm afraid it's all been done before and often to a
much higher standard than this. Full marks for effort but must do better next
time if Milburn are to avoid a slow drop into obscurity.
Sweet Thursday by Matt Costa
Matt Costa is a skateboarding fanatic from California who turned to music after
a serious accident three years ago, and if Sweet Thursday is anything to by
skateboarding's loss is music's gain. Imagine Jack Johnson backed by Blur
and you'll get a rough idea of what this is all about. Britpop done west coast
style and a rare breath of fresh air from The Golden State. If this is typical
of Costa's work I have a feeling big things await him.
To Die A Virgin by The Divine Comedy
Not one of Neil Hannon's best efforts, but fans of The Divine Comedy will no
doubt lap this up. I doubt Hannon himself would claim to be a musical genius but
lyrically he is rarely anything other than spot on and To Die A Virgin is
another shrewd commentary on unrequited love as Hannon sings "Every time that I
see you, your uniform becomes see-through" and pleads to be saved from that most
dreaded of fates, that of dying with one's viginity intact. More evidence
that Hannon is rapidly becoming one of the UK's national treasures.
Civil Sin by Boy Kill Boy
Possibly the best single to date from Boy Kill Boy. Those trademark
guitars, which can sometimes be a little on the abrasive side, are for once
eased into the background in favour of a synthesiser-led backing that somehow
allows the
song more room to breath and allows Chris Peck's vocals to shine through as a
result. Not to everyone's taste, but with a better than average chance of chart
success.
Right Where You Are by Amp Fiddler
More seventies style crooning from the Detroit-based funkster. At his best, Amp
Fiddler evokes memories of soul legends like Lou Rawls and Teddy Prendergast.
And while those kind of heights might be slightly beyond his reach, Mr Fiddler
is rapidlygaining a very loyal following, which will only be swelled by this
slick little number. Brass and keyboard are left low in the mix, leaving maximum
room for the most luscious instrument of all: Fiddler’s warm and wonderful
voice.
What If I’m Right by Sandi Thom
A bluesy opening promises much but What If I’m Right then quickly dissolves into
a very run of the mill pop song of the type Sheryl Crowe churns out in her
sleep.
Lacking the novelty value of I Wish I Was A Punk Rocker this is very ordinary
folk-oriented rock that has little chance of selling in the same quantities as
its predecessor. She might be touted as Scotland’s brightest new starlet, but
for me KT Tunstall got their first, and probably on merit. One suspects the next
single will be the make-or-break one for Miss Thom.
Happiness by Orson
Though sadly not a cover of the Ken Dodd classic this, the third single from the
Bright Idea album shows, if we ever doubted it, that Orson possess real staying
power. Happiness is a touch more soulful than either of the previous two hits
and owes more than a little to Lenny Kravitz in its delivery. But once again the
power lies is in the chorus, which is as catchy as chicken pox and lingers in
the brain for long after the last chords have faded. “Do I really need a reason?
Is it really such a big deal?” sings Jason Pebworth in the opening verse. Well
the reason is happiness. And yes, Orson are a very big deal.
Something About You by Jamelia
There’s a place for Madonna wannabes and it’s beginning to get mighty crowded in
there. Something About You is smooth, glossy and immaculately produced but
contains about as much spark as your average park bench. Jamelia may have the
voice of an angel, but these days competition is fierce and she will need a far
better song than this to propel her to the lofty heights of her idols.
Recover by The Automatic
After early comparisons with stable mates The Kaiser Chiefs, The Automatic are
beginning to show signs that they might actually be the better of the two bands.
Pennie’s vocals are becoming instantly recognisable and, despite some rather
iffy lyrical content, Recover is the kind of punchy pop song that sounds equally
as good on the dance floor or, via MP3 player, on the Number 6 bus home.
Whoever said the best thing to come out of Wales was the M4 might reconsider
after a few listens to this, which has a better than evens chance of matching
Monster’s surprise success.
Cheap Tricks by Thea Gilmore
Thea Gilmore’s new album, Harpo’s Ghost is already attracting rave reviews from
such luminaries as the music critics of The Telegraph and The Guardian. And this
offering certainly has enough about it to suggest that such lavish praise may
indeed be justified. Firmly planted in Kate Bush and Tori Amos territory,
Gilmore has the voice of Chrissie Hynde, but without the rough edges, and on
this evidence can pen a mean tune as well. CheapTricks is the kind of song for
which the term ‘grower’ could have been invented, taking a few hearings to plant
roots, but having done so quickly blooming into something really quite special.
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