Tag Archives: music

Along Came…… Alice

Posted on by
1

 

Alice Cooper

The Theatre of Death Tour 2009

Hammersmith Apollo

6th December 2009

A couple of years ago I did an interview with Alice Cooper when he was touring the UK promoting an autobiographical volume “Golf Monster” which taught me more about that game with the stick, the little ball and the hole than I’ll ever need to know. As a consequence, I was invited to write a little promotional material for his SPV release “Along Came A Spider” which is for my money the best album he has made for several years and one of the best of his career. After that there was talk of touring the album which came to nothing and in its place, Alice has been touring a show called “Theatre of Death” which finally reached London this weekend.

“Theatre of Death” is essentially a Greatest Hits show with the added visual attraction that Alice dies five times during the course of the show. Support for the tour is Manraze. Manraze feature Phil Collen from Def Leppard and Paul Cook from the Sex Pistols and certainly have the fire and panache to carry off a great visual show but on this evidence, they just don’t have the songs. If you were going to return home after the show with memories of any of the choruses, they were certainly going to come from Alice’s portion of the night and not from Manraze.

Alice’s set was being filmed for a prospective future DVD release and he showed that, like him or hate him, he is still the consummate showman. Tonight he was given a lethal injection from a huge comedy syringe, he was hung by the neck until dead, he was executed by guillotine and died in a magician’s sword trick or two but still came back to thrill the audience with a full-blooded encore of “Schools Out”.

The songs ran the whole gamut of his career from his first group of albums through his commercial rebirth with “Poison” to “Vengeance is Mine” from the recent “Along Came A Spider” record I mentioned.

However, that song aside the set was light on songs from his most recent albums and this is the downside of playing the hits. The commercial market for singles from someone like Alice is dead and so while the albums continue to sell well you’re unlikely to see him locking horns with Lady GaGa in the UK Top 40 singles chart anytime soon. If I was selecting Alice’s set I would choose more material from the new album, from “Last Temptation”, from “Brutal Planet” but it is a small complaint when we have just a rich smorgasbord in front of us.

And it is the visuals with Alice that will keep you coming back for more. He goes through more costume changes than anyone in the rock world this side of Stevie Nicks. He waves a sabre at the crowd, unloads “Alice” dollars in their direction and throws out necklaces of “Dirty Diamonds”. That he manages to do all this without hardly missing a beat is truly a feat of energy and stagecraft. Alice is not going to see 50 again but he is lean and has enough momentum to carry him for the beginning of the show to the end and then some.

Vincent Furnier with his golf club and his Bible has, thankfully, cleaned up his act, but Alice is still the reprobate villain of the stage we know and love and long may he run.

Past or Present…… Tense

Posted on by
Reply

 

Gary Numan

The Pleasure Principle Tour 2009

The Junction, Cambridge

1st December 2009

Numan has decided to perform “The Pleasure Principle” album as it was, back in the day, in 1979. Out comes the skinny tie and digital synthesizers with patches to emulate the sounds produced by the analog models that were used on an album that has become highly esteemed in recent years. In 1979, Gary Numan was disparaged by the critics. Now they love him.

When Numan toured two previous classic albums – Telekon and Replicas – he updated the sound of those albums to fit his current style. This time there is no such tampering but there will be a second set featuring songs which are not from The Pleasure Principle and those songs will be presented in Gary’s current modus operandi. It will be interesting to see which wins – the new against the old – not only artistically but in the view of the crowd.

The Junction is a fairly bog standard rock venue. Standing only. Cramped. Dark. Your shoes keep sticking to the floor where drink has been spilled on a previous night and little effort has been made to clear up. The sound reproduction is good but the stage is small. This, in itself,is a problem. Numan is jammed behind a keyboard for most of this first set and reproducing the old keyboard sounds on the modern synths takes little effort on the part of the band. All very static. This used to work in the old days on huge stages with vast light shows. It is a testimony to the ability of this band that they still manage to hold your attention.

The songs are well performed but the performance is rather sedentary and there is a great sound but not much to watch. The set list has its brave moments, not too many acts would open their show with two instrumentals. The second of these is “Airlane” which heralds an in-order run through of the album. High points? “M.E.” and the seldom performed “Conversation”. On “Tracks”, Numan blows the lyric completely. During “Asylum” the stage is rearranged for the second half. Once the table that Numan’s keyboard is stood upon is taken away and Chris McCormack straps on his electric guitar the whole feel of the show changes.

Whether because he is now able to perform in his preferred style or whether because being out from behind the keyboard frees him, Numan is now much more energetic and moves around the stage with poise, mystery and momentum.

The first song in this section of this set is the yet unreleased “The Fall” which bodes well for forthcoming releases. “Halo”, “Jagged” and “Haunted” from recent albums are all performed well but it is ironic that the high points of the second half are a storming “Down in the Park” and a version of “Are ‘Friends’ Electric” which alternates between a gentle piano-like sound and thunderous keyboards and guitars. There is clear evidence that whatever the quality and energy of his performance, Numan’s songwriting is no longer what it once was. Too often his recent lyrics address his dislike of religion and playing on this one lyrical note can soon become tired whatever your own views. In this regard using a burning cross on his video screen – an image with racial and Ku Klux Klan overtones as well as religious ones – was not exactly his most sensitive decision.

Aside from this the visual elements of the show work well and the show builds towards a dynamic conclusion with “We Are So Fragile” (old) and “A Prayer From the Unborn” (fairly new). Ironically, the restricted movements of the first half giving way to the torrent of activity of the second gives the illusion of a build in energy which works well. In reality, both halves of the show work well in their own way and the performance is a huge success.

This is likely to be the last of these album-revisited tours that Numan will do. It is hard to see him performing the excellent “Dance” album with the current configuration of his band. The last model of combining the old and the new has worked well and will hopefully bring some of his old audience to a greater appreciation of the newer material and performance style. Hopefully, they won’t notice the falling away of the songwriting content as much as this reviewer does. But that is something only Gary can address and the increasing gap between his studio albums suggests he is not close to finding an answer..…….

Judie Tzuke – 30 years – A Celebration

Posted on by
2

Thirty years of any career deserves a celebration. Surviving thirty years in the MUSIC industry is a particular accomplishment. And so friends, fans and family were called together to honour Judie Tzuke.

Arriving early at The Bedford in Balham, we were able to take seats at the front of the stage.

Compere for the night, Vin Goodwin opened the evening’s events with a satirical take on Judie’s best known song “Stay with Me Till Dawn”. Vin was a charming and affable presence to host the events and as he left the stage he was replaced by the heavily pregnant, Mia Silvas. Mia took lead vocals on the next song, “Bully” and was supported by Bailey and Tallula Tzuke. Vin’s opening satire had reminded us that Judie is best known for her ballads and an aggressive and fiery rocker like “Bully” is a necessary balance. In some ways, it is surprising then that not more of songs of this kind were used and the evening did rather concentrate on those self-same ballads.

Between the ballads and the occasional rocker, more than 20 musicians took the stage. Speaking poignantly of Judie’s role in encouraging their musical and personal development, there were those who had written with Judie and those who had performed with her and recorded with her. The few for whom great distance meant they could not be present had sent their video greetings. Judie’s former keyboard player and co-writer, Bob Noble sent his greetings from the United States. Lucie Silvas who is also now living in the U.S. and whose solo career Judie helped to launch not only sent a message but her version of Judie’s wonderful song “Joan of Arc” was recorded and played – and accompanied by video images that Vin had developed for the occasion.
Tony Moore contributed his version of Judie’s mid-paced, mid-life crisis number, “the Cup of Tea Song” which he stretched out to meet the needs of his voice, whilst Tom Baxter performed three songs with his band that Judie had helped him write for his own albums: “Icarus Wings”, “Skybound”, and “Love is Not Enough”.

Mia Silvas

Highlights included Lorna Blackwood delivering her own version of one of Judie’s strongest recent songs, “Dark Days”, and Vashti’s take on “All at Sea” which originated on the same album.

Many of these very capable singers commented how difficult it was to sing songs which Judie had written for her own range and for her own sense of melody. Bailey recalled how she had forced her Mum to sing “Choices You’ve Made” on a recent tour before finding how difficult that rocker is to sing and promising never to obligate her in that way again.

Ms Tzuke’s ear for young and up and coming talent was shown by the performances by Laura and the Tears (“See You Later”) and Tim Deal (“Parallel Lives”) both of whom have emerged under Judie’s tutelage.

One of Jude’s first compositions was “Ladies’ Night” and there was something particularly poignant about hearing it performed by her eldest daughter as Bailey returned to the stage following on from a gentle performance of the beautiful ballad “One Minute” by Mia.

Bailey Tzuke

Only one thing remained to round out the evening – the chant of “Jud-ie” went up and the lady in whose honour the whole evening was put together was encouraged to come to stage. Visibly moved by the whole occasion, Ms Tzuke, the elder, complied. Joined by Richard Cardwell, she first performed a beautiful version of “Man and A Gun” from her “Wonderland” album. This was followed by the predictable but essential “Stay With Me Till Dawn. Friends old and new – Mike Paxman, Ben Mark et al – joined her on stage. Pax took his signature solo on the hit and rousing applause and standing ovation aside before we knew we were spilling out into the night.

Quite wonderful

.

Judie Tzuke

Judie Tzuke – 30 years – A Chronology

Posted on by
Reply

 

Sunday night was a good night to celebrate an anniversary with a lady who has been a consistent presence in the UK music industry for 30 years and who has simply one of the greatest voices in rock. More of that in a little while but first let me give you a bit of chronology and a bit of background for those who came in late.

Judie Tzuke first rose to public view (after a couple of false starts) with her album, “Welcome to the Cruise”, in 1979. The single taken from the album, “Stay With Me Till Dawn”, remains her only success on the UK singles chart. After that she was known mainly as an albums’ artist – but because of “….Dawn” she was principally recognised for her ability to compose and sing ballads.

“Welcome to the Cruise” had some great songs but lacked a little in cogent direction in the production department. Her second and third albums, “Sportscar” and “I Am the Phoenix”, took her in a rockier direction. These albums closed out her contract with Rocket (a label owned by Elton John).

Her first album for her new label, Chrysalis, was “Shoot the Moon” in 1982. It was followed by a live set “Road Noise” which showed that her and her band could certainly rock out. Her audience had expanded to include the fringes of the “New Wave of British Heavy Metal” brigade and whilst each of these albums charted, she had become cast as another “rock chick” appreciated by those who liked their Stevie Nicks and Heart albums. Trouble was that too narrowly defined Judie’s talents and it was a mould that she was to seek to break out of, even if she lost her audience in the process.

1983s “Ritmo” was an effort to take her music in a more keyboard dominated but funkier and rhythmic direction. It didn’t sell as well as its predecessors and Chrysalis withdrew their backing.

Another label move followed as she switched to Legacy for an album “The Cat is Out” which sought to combine the synthesizers of “Ritmo” with the rock and ballads of her commercial successes. Crucially, Judie was to leave most of the composing to her band on this one giving a suggestion that she was not convinced by what might be perceived by some as a backward step. Bad distribution and a lower profile label led to a further decline in sales despite a successful tour. This 1985 album was to be her one and only for Legacy and heralded the beginning of the splintering of her touring band:bassist John “Rhino” Edwards left and joined Status Quo.

The cat may have been out but Ms Tzuke seemed to be heading for cover. It was four years before she resurfaced with a new long term deal with Polydor, a new album and a promised new tour. The album “Turning Stones” gave her the most disappointing chart placing to date and was more esoteric than “Ritmo” and a much more determined effort than its predecessor. Whether because of disappointing sales or some other reason the tour was swiftly cancelled, the album disappeared from the shelves after one pressing and the much talked of long association with Polydor was brief indeed.

CBS was the next label to take a chance on Judie and in 1991 they released the patchy affair “Left Hand Talking”. This had a re-working of “Stay With Me Till Dawn”, covers of the Beach Boys’ “God Only Knows” and Judee Sill’s “Jesus was a Cross Maker” and seven new compositions that were good in their own right but didn’t necessarily feel like they belonged together. It was the first album in Tzuke’s career that hadn’t charted and the record company promoted the preceding single (the Beach Boys song) with much more vigour than they did the album.

Another year, another label. Castle Communications were the parent company behind Legacy who had released the 1985 album and it was back to them and their “Essential” imprint that Judie headed in 1992. “Wonderland” was a much more thought out affair than its predecessor and was accompanied by some live concerts, TV promotion and a couple of singles. Still sales were unremarkable despite guest appearances on the album by Queen’s Brian May and the current classical darling of the moment, Nigel Kennedy. This was Tzuke at her most mature and thoughtful and still the public wasn’t biting. It was becoming clear that Judie’s days of charting albums and big sales were behind her. If she was to carry on in the music industry then the emphasis would need to be on artistic integrity and a refusal to bend to the whims of the major labels – whilst retaining the support of a dedicated fanbase. It would take a couple of years to figure this out but when it happened Judie Tzuke’s internet-only, artist-owned label, Big Moon, would be a pioneer of its kind.

The second part of Judie Tzuke’s career saw her produce a series of thoughtful studio albums and several live recordings each accompanied by a tour of small-to-medium sized venues around the UK. By this time Judie had settled into domestic life with two children, Bailey and Tallula, by her bandmate, Paul Muggleton. The rest of her original touring band had gone their separate ways with last man standing Mike Paxman soon to be heading in new directions too.

Four years had again elapsed before the appearance of 1996’s Under the Angels. The album couldn’t be found in the stores but healthy promotion was achieved at live concerts where the fact that Judie had a new album, and her own label was notified to everyone who attended. This was alongside “Wonderland” the most accomplished set of Ms Tzuke’s career and her new artistic freedom fitted her well.

Tours in February and June 1997 were recorded for the live album “Over the Moon” which covered the whole of her career to date and when the touring was finished and with sales of the live album healthy, Judie set to work on the next studio album “Secret Agent” which was released in 1998.

This formula of studio album – tour – live album was obviously the way to go and so the last leg of the “Secret Agent” tour was recorded for “Six Days Before the Flood” which was released immediately before the next studio set “Queen Secret Keeper” in 2001.

Another outside label, East Central One came sniffing around this album and promised to make a single out of “Drive” from the record. Its failure to materialise can only have further battered Tzuke’s opinion of record labels.

Undeterred, “Drive Live” was 2002’s live document of the 2001 tour of the album. By now, Judie’s recording studio, label and home had become the nurturing ground for another generation of musicians who were learning their trade, co-writing and being mentored by Judie. Their presence was seen increasingly on her tours and also began to reflect itself in the music charts as first Lucie Silvas and then Judie’s daughter, Bailey Tzuke began to make their presence known.

But everything has its time and this cycle of activity was about to slow down and give way to another chapter. But first there were some loose ends to tie up. First an album of covers “The Beauty of Hindsight – Volume 1”, again accompanied by a tour – this time with a tour programme partially written by yours truly.

2004’s album “The End of the Beginning” had a title which said everything. This was probably one of the three best albums of her career but it was also the last of its kind to date. If Big Moon was to continue it was going to need to move in a new direction which would allow Judie to break out of the constant cycle of touring and recording and allow her to concentrate on her work developing others’ talents, songwriting with her circle of friends but also with the increasingly large number of acts that the majors were pushing in her direction. The beginning of Big Moon had been one thing and that time was at an end and now there was a new thing but first time for one last regular tour (again accompanied by a tour booklet in which my writings were featured).

It would be three years before there would be another Judie Tzuke album on Big Moon and with “Songs 1” and its follow up “Songs 2”, the emphasis was away from a thematic album and back with a much looser collection of songs which just reflected the songwriting prior to its release. When a tour came, it was much less Judie and made room for performances from the stable of talent she was developing with Ms Tzuke like a proud mother hen pushing her associates out into the limelight.

Now in 2009, I hear whispers of a new development with talk of an album partially made up of old songs and to be released into the stores by a label other than Big Moon……. Haven’t we heard and seen this before….. and it didn’t work then.

Only time will tell whether this latest chapter in the career of the unsinkable Judie Tzuke will be a high point or a low point.

In the meantime, there was a gathering of friends and fans to help her celebrate her thirty years in the business and I’ll tell you about that in a subsequent post……….

Up-to-date

Posted on by
Reply

After my piece arguing that Mariano Rivera is the best relief pitcher in baseball, he blew his very next save opportunity. C’est la vie

So what’s happening with me?

I’m heading to New York to catch the end of the regular season in the Bronx.

Negotiations for two albums of new Sad Cafe material are on-going and dragging……… Waiting to see if it all works out.

October will see a visit to Elland Road and two John Foxx performances.

Considering writing an essay on the first books authored by Malcolm Muggeridge. These have been out of print since before the Second World War so I’m guessing this might be difficult to place but, hey…., when did that ever stop me.

Recommended Listening?

Son Volt – American Central Dust
Radio Silence – Whose Skin are You under Now
Sad Cafe – Ole (particularly like the remastering job on this one, you should use that guy on your back catalogue)
John Foxx – The Quiet Man (Spoken Word)
A Camp – Colonia


A Quiet Man?

Posted on by
Reply

Even by his own standards, John Foxx is having a prolific year. This month, he released his fourth album of new material of 2009.

First, there was "My Lost City". A set of instrumentals which those who have followed his recent career might subtitle "Cathedral Oceans Vol. 4". Very minimalist.
Then there were two collaborations. Next came an album with Steve Jansen (ex-Japan) and Steve D’Agostino who joined Foxx and Gordon on stage for the tour in which John revisited Metamatic last year. This one was entitled "A Secret Life".
It was followed by "Mirrorball", a set composed and recorded with ex-Cocteau Twin Robin Guthrie.

This month’s release is "The Quiet Man". Foxx has been working on this since his days with Ultravox! – their song "The Quiet Men" was the beginning of the evolution of non-linear short stories about a man in a grey suit who passes through cities unnoticed. Read by Justin Barton over Foxx’s ambient soundtrack, these are beautiful and evocative. A good argument could be made for Foxx having read these on the audio himself in his Mancunian drawl but otherwise it is difficult to fault this. After a while you get used to Barton’s received pronunciation and the themes of the "stories" wrap you in their mystery.

Foxx hasn’t been quiet on other fronts either. The Horse Hospital in London was home for his recent art exhibition, "DNA", and some remastered albums and performance are due in October.

I Hear You Are Singing A Song of the Past……. I See No Tears

Posted on by
1

Steely Dan stopped touring in 1974. Halfway through a UK tour, vocalist Donald Fagen was taken ill and the tour was going to be reorganised but it never was. For the next six years, Dan became the consummate studio band …… but they never returned to the stage. After 1980s “Gaucho”, they called it a day and Donald Fagen’s solo career was launched with the very successful “The Nightfly”.

Fast forward to 2009. Steely Dan playing live in Hammersmith, London. These days they spend far more time on the road than they do in the studio. Since Walter Becker and Donald Fagen decided to do it again, they’ve made only 3 albums – 2 studio, 1 live. And tonight, they will feature only 1 song written since the aforementioned Gaucho album. The difference is that now that Becker finds long periods spent in the studio finding the right note a little tedious and both principals are now very comfortable on the stage. And so you go back, Jack,……..

The band minus Becker and Fagen open the show with a mellow reading of Oliver Nelson’s “Teenie’s Blues”. The crowd react as Walter and Donald enter. They’re an ungainly presence. Walter now quite portly. You wouldn’t notice him if you passed him in the street. Donald with that “skeevy look” in his eye. They lead the band into a blues which turns out to be a massively overhauled version of “Reelin’ in the years”. Memories of the recent Dylan tour where the words were the same but the melodies were a distant memory. This one works quite well but it is a very different sound than the original.

Much more faithful to the album is “Time Out of Mind” from the 1980 set. Becker and Fagen have managed to coax their audience into responses which match a jazz performance than a rock show. Solos are politely applauded and professionalism is very much the order of the day.

The live Steely Dan experience depends on a full band to make these songs come alive. Lead guitar duties are shared by Jon Herington and Becker with Herington taking the lion’s share. Keith Carlock has been handling drumming duties with the band for 10 years and he is a crowd favourite. Bass is Freddie Washington. Hidden away from sight on a second keyboard is Jim Beard. In addition, we have a four piece horn section and three backing vocalists. Fagen describes them as the “Left Bank Orchestra” (Left Bank being the chosen name of the tour) and he is not far wrong.

Another reshaped early hit follows with “Showbiz Kids”, driven by a slinky bassline by Washington and a remodelled chorus which is led by the vocals of Tawatha Agee, Janice Pendarvis and Catherine Russell.

1973 is the flavour of the day and we move on to “My Old School” with the horns making a powerful presence. Jim Pugh is on trombone, Roger Rosenberg is on baritone sax with Walt Weiskopf on alto and tenor. Marvin Stamm completes the quartet of wind instruments with his trumpet.

“Bad Sneakers” originally appeared on 1975’s Katy Lied and its jaundiced worldview suit Fagen’s voice well. He looks and sounds world weary. He resembles that Uncle who knows better than we do but is too polite to mention that our optimism and enthusiasm will soon be crushed by the weight of the world we live in.

Carlock’s rhythmic sense is called upon in a vigorous reading of “Two Against Nature” which reminds us that there has been life since “Gaucho”. The album that this was the title track of was lauded by their peers back at the turn of the millennium but the boys mean to pay little regard to it or to its less successful follow-up “Everything Must Go”, this evening. Tonight, we’re stood squarely in the past.

After that momentary wander for perhaps the best performance of the night, it’s back to ’75 for “Black Friday” for a very bluesy version of that track. After that we push forward just a little for 1977’s “Aja”. This is a song with lots of space for the soloists to excel and spread out. Fagen’s Yamaha Melodica leads the melody for the first section before Weiskopf on tenor is spot-lit with accompaniment from the full drums of Keith Carlock. The doubting lilt on Mr Fagen’s voice on “they think I’m okay, or so they s-a-y” is just wonderful before a Carlock solo takes over. All of this adds up to a wonderful moment in time.

 

“Hey Nineteen” is one of the a large number of songs in the Dan repertoire which features the story of an older man hitting on a younger girl. Becker’s guitar work is always clearly thought-out and never uses one note where nine will do. His rap about the wonders of the “Cuervo Gold” in the midst of this song, however, is one he has been perhaps doing for just a few too many years and its perhaps time to give it a rest. Great trombone solo here from Jim Pugh.

The lady vocalists take over the lead in a reading of “Parker’s Band” from Pretzel Logic before the song becomes a work out for the horns. They are more than equal to the task.

A pair from “Gaucho” is next. Prior to the show I’d said to a companion that tonight I would settle for the inclusion of “Glamour Profession” and the exclusion of “Bodhisattva” (perhaps one of the more over-worked Dan live choices). After a perfunctory “Babylon Sisters”, the opening chords of “Glamour Profession” are struck and I’m a happy man. This tale of how extra curricular activities threatens to derail a  West Coast basketball team is well-handled with great keyboards from Fagen and Beard.

Every Steely Dan show features at least one lead vocal from Mr Becker. On his latest solo effort, Circus Money, his voice sounds more confident but singing live still doesn’t seem a comfortable fit. He gives us a passable run through of “Daddy Don’t Live in That New York City No More” before stepping back to his comfort zone.

Then its back to the Aja album for three tracks: “Deacon Blues”, “Josie” and “Peg” which provide the fullest audience reaction of the night so far. These are divided by the old Supremes hit “Love is like an itching in my heart” which provides the backdrop to the introduction of the various members of the band.

After “Peg” the band leave the stage to tumultuous applause only to return moments later with an extra member. Elliot Randall played the original lead on “Reelin’ in the Years” and because they are in the guy’s hometown and even though it means it’s the second performance of the number tonight, it’s time to revisit that song like it used to sound in 1972. The performance brings the house down.

During the encore, it all became too much for one old gent who leapt to the stage and led Security a merry dance as he sprinted ‘round the band. And the band played on…..

Final encore was “Kid Charlemagne”. Elliot remained on stage but left the major work to Jon Herington who rounded a sterling night for him.

This performance at the Hammersmith Apollo (nee Odeon) recalled some great days gone by. It remains to be seen whether the Dan can grasp the difficult nettle and produce a new album which they can embrace with the same enthusiasm that their audience brings to their old material.

Walter Becker

Freddie Washington and Donald Fagen

Jon Herington

Donald Fagen

Tap into Tap!

Posted on by
6

For a band with such a long tenure in music history, the public profile of Spinal Tap is a strange one. They straddle the major eras of rock music like a huge Viking warrior straddling a ….er……. Viking wench, I suppose….. and a huge Viking wench at that……… but they go mostly unacknowledged. When the discussion turns to the greatest bands of the last forty years, the Beatles and the Rolling Stones are always mentioned whilst the Tap are overlooked. Cruel.

You’ll remember how they started out in the Sixties in the now almost forgotten London borough of Squatney as the Originals. A name dispute led to them being renamed The New Originals. As they tried to tap in to the Merseybeat boom and overcome coming from the wrong town, they became “The Thamesmen”. Eventually as flower power spread to the British shores, they changed their name to Spinal Tap, once again just a little behind the wave of history. After this they became one of the bands at the forefront of the Original Wave of British Heavy Metal, as it is almost never referred to.

Despite all this activity, it is almost impossible to find in the stores, on ebay or on various collectors websites any of their albums prior to 1984. 1984 is a year that will live in every Tap fan’s mind as a date of infamy. This is not because it is the date that George Orwell chose for his apocalyptic vision of Britain’s future – not many Tap fans are that well read. But rather because it is the date that Marty DiBergi chose to film his infamous Rockumentary, This is Spinal Tap, a film which since its release has haunted the band and which they have found hard to live down.

It is ironic then that because of the curious and continuing unavailability of any of their albums prior to their period with Polymer records, they are left not to celebrate the 45th anniversary of the collapse of the New Originals or some imaginative early highpoint in the musical synthesis of two of the band’s principals, Nigel Tufnel and David St Hubbins, but rather the twenty-fifth anniversary of the movie. An ill run of fate indeed.

Even their great album of that year “Smell the Glove” seems to have been renamed “This is Spinal Tap” and re-released on Polydor records as the film’s soundtrack. Oh, the irony.

Spinal Tap hate the film with a venom, of course. Try not to mention to them the name of their former manager, Ian Faith, who led them into the debacle and allowed cameras on tour. Avoid reference to Jeanine Pettibone (later Jeanine Pettibone-St. Hubbins according to some sources)-  the New Age wanderings of  that lady is something that David still finds hard to live down. The trappings of the film that led to their ridicule have been cast aside. There will be no “pods” on stage in future performances of “Rock ‘n’ Roll Creation”. Foam models of Stonehenge’s  triptychs have been eschewed in favour of more reliable inflatable versions.

Unfortunately, Spinal Tap’s bad luck is not able to be isolated to the period of the film. Nor is it entirely in the past – their long history of past bad luck (if that is the word) is perhaps best located in the long list of drummers who have lost their lives in service of the band. Who can forget John "Stumpy" Pepys (bizarre gardening accident), Eric “Stumpy Joe” Childs (choked on someone else’s vomit), Peter “James” Bond (spontaneously combusted), Mick Shrimpton (exploded on stage) or  Joe “Mama” Besser (disappeared in mysterious circumstances)? Many have. No, the run of ill luck has followed them to this date. The enthusiasm for their “Unstoppable” World Tour was sapped when three U.S. actors, Michael McKean, Christopher Guest and Harry Shearer (sometimes Simpsons voiceover artist) who have apparently a long association with the band, headed out on a tour which featured many of Tap’s songs. As a result the Unstoppable tour was, um, stopped. The band instead played their world tour on one night in one city. Returning to their beloved London, they took over Wembley Arena (only a stones throw from Squatney if you have a good arm and a bad eye) to celebrate the release of the new album “Back From The Dead” even whilst promoters insisted on linking the gig to THAT film. What else could possibly go wrong?

Last time the band made a new album, 1992’s “Break Like The Wind”, Ric Shrimpton (ill-fated brother of ill-fated Mick Shrimpton) (see above on drummers) sat on the stool. Caucasian Jeffrey Vanston was on keyboards. Shrimpton (the younger) has had to pass his stool (not surprisingly) to Gregg Bissonette (for the album) and Skippy Scuffleton (for live performances). Vanston has survived (he is a keyboard player, after all) but prefers to go by simply CJ in these economically-reduced days. More importantly the band’s heart and mainstays, David St Hubbins, Nigel Tufnel and Derek Smalls are all present although curiously their names have been omitted from the booklet that accompanies their new album – although their signatures are present. Lack of creativity has been a big problem in the band’s current work – most of the tracks on the new album are outtakes from earlier recording sessions or reworkings of their classic hits. How would they fare in the live arena?

Well, things did not begin well. After a laidback if prematurely concluded set from The Folksmen (themselves victims of a music documentary – “A Mighty Wind” – which made light of bassist Shubb’s sexual reorientation, he prefers to be called Martha these days),  – a band who despite their very different musical style seem to spend an awful lot of time with the Tap – if they’re not careful they’ll begin to resemble each other, Spinal Tap were late to the stage. To add to the difficulty a badly placed green room camera was clearly showing that the band were playing video games back stage rather than heading for the stage. Fortunately, the technical team were able to show a video of “Majesty of Rock” to fill the absence. It reminded us that the Majesty of Rock promo clip, was perhaps the cleverest and subtle video ever to be seen on the MTV channel.

When eventually our errant metallers make it to the stage, the entire audience rises to their feet as a man (or as a woman if you prefer, there will be no sexism tonight). The crowd-pleasing “Tonight, I’m gonna rock you tonight” is the opener followed by that hymn to Dog Handling , “Bitch School”. The band are tight and on great form. David St Hubbins in great voice, “Bitch School” brought an excellent solo from Nigel Tufnel. It may seem that Derek Smalls strikes his one fist in the air pose a little too often but to those schooled in Tap, the subtle nuances and meaning of each salute are obvious.

Tufnel changes guitar for the thoughtful “Back From the Dead” which is the title track of the new disc:

“We’re back from the dead

Climbing from the coffin,

We don’t come here often

Or so it is said”

 

(Guest, Shearer, McKean, Vanston, 2009)

Tap have a way of breathing stale old life into even the most timeworn clichés.  It is on this track that Vanston really begins to make his presence felt.

Spinal Tap are a band with a great musical heritage and it would be a waste of an evening to dwell only on the new album (which is after all mainly reworked old songs – there is continuity here). So next they turn to a song from their late sixties debut (which is coincidentally also on the new record in a reggae version) – “(Listen to the) Flower People”. Marvellous harmonies and the spirit of an era captured perfectly.

On the album “Break Like the Wind” the vocal work of Timothy B. Schmit (of the Eagles) and Tommy Funderburk (of Zoe) were featured on the track "Cash on Delivery". No such luminaries are available tonight for the performance of that song but Skippy Scuffleton’s drum intro and a fiery guitar solo from Tufnel raise this above the average.

The age old question of balancing friends and wealth is addressed in the social commentary that is “Hell Hole”. The technical glitch of the early evening doesn’t make the band any more reluctant to revisit “Majesty of Rock” which we have already seen on the video screen, It is only now that we really begin to understand the profundity of this band:

“When we die, do we haunt the sky?

Do we lurk in the murk of the seas?

What then? Are we born again?

Just to sit asking questions like these?

I know, for I told me so,

And I’m sure each of you quite agrees:

The more it stays the same, the less it changes!"

 

(Smalls, St Hubbins, Tufnel © 1992)

 

The barber takes a pole, indeed! In half an hour, we have visited the late Sixties, the Eighties,  the Nineties, and the new album. But what were Tap before they were Tap? They were The Thamesmen. And it is time for “Gimme Some Money” that band’s first single. Is it not clear where the Beatles found their early sound?

During downtime in Tap’s recording history they have often thought of composing a musical about the life of Jack the Ripper. Finally after 28 years the first song of this important concept is complete. This song will be the title track of the whole musical, if it is ever finished! “Saucy Jack” transports us back to a golden age of variety, music hall and late night murder.

New track, “Rock ‘n’ Roll Nightmare" is so vivid an experience that you begin to feel that you’re caught up in a whole evening of such trauma. Surely, they cannot continue at this pace…….?

“Cups And Cakes” is a welcome relaxed moment amongst the lyrical and musical activity, as we take a leisurely walk through an English country teatime, led by Vanston’s keyboards. But the aural assault is only momentary. “Sex Farm” has been transformed, on their new album, into a funk number with a little rap thrown in for good measure. If I hadn’t already mentioned the subtle lyrical imagery in this review now would be a good time to do so.

“Clam Caravan” began life as a Tufnel solo track but again the original recording is difficult (if not impossible) to find. The casual listener can hear the band’s version on “Break like the Wind”. The song was going to be called “Calm Caravan” until a spelling mistake saved it from this trite fate. Tufnel’s didgeridoo solo is a high point which would make Rolf Harris blush.

“All the Way Home” is the first song that Tufnel and St Hubbins ever wrote together and this skiffle-blues deserves to be performed again for that reason only. A young talent which has not yet fully developed can be heard.

The Live Earth concerts a few years ago are well remembered for saving the world and transforming our culture completely. Where would we be without Al Gore? Perhaps more significantly they are to be remembered for the live debut of “Hotter Than Hell” which brought the nightmare of rising temperatures home for the first time to so many. Tonight, in sweat-soaked, summertime, London, it all seems so pertinent.

“Diva Fever” is another tribute to the female on a night which is short on that kind of thing. But the band are not only interested in carnal matters but like to dwell on the spiritual too. Cue Stonehenge, suitably accompanied by an inflatable model of part of the historic site and the obligatory small people that are so associated with the Drudic culture. Unfortunately, the inflatable deflates on top of the tiny people – but no concert can be expected to go ahead without the occasional technical hitch.

Festival culture is commemorated in “Stinkin’ Up the Great Outdoors” before we are reminded what the world was like before we screwed it up with “Rock And Roll Creation” and indeed, it was good.

To the delight of the guy at the front of the stage in the ELP t-shirt, Keith Emerson joined the band for “Short and Sweet”. Never try to upstage these guys again, Mr Emerson, it doesn’t work.

More guests for “Big Bottom” but they knew their place. Justin Hawkins, Andy Scott (from Sweet), Freddie Washington (from the current Steely Dan touring band). Oh and about 30 girls hired to wave their posteriors at the audience. They wind up the set with “Heavy Duty” which aptly summarises the content of tonight’s show.

But there is no stopping a good thing and back they come for an encore of “Break Like the Wind”, rich in atmosphere.

So, Spinal Tap. What can you say? Will anybody ever top them? Will anybody’s legacy so accurately sum up the behemoth that is rock music? Only time will tell, but I doubt it!

Nigel Tufnel – Lead Guitar

David St. Hubbins – lead vocals

Derek Smalls – bass

Andy Scott of the Sweet with Spinal Tap

 

Sweet Dreams

Posted on by
1

On Friday I was at a birthday party for Andy Scott, who is the guitarist for English glam rock band, Sweet. Andy has reached that milestone of his 60th birthday. There was a time when it would have seemed impossible that you’d still be treading the boards and recording as a rock musician at that age but Andy made it and 60 of us were invited to help him celebrate. The actual birth day isn’t for a couple of weeks but this was a good date for everyone to get together and a great time was had by all.

It got me thinking…….. Sweet are another one of those bands that I’ve been listening to all my life. It takes me back to when I was a kid growing up in a coal mining town in the north of England. Hard times…. didn’t fit in ….. and music became my escape. Now when did I first hear the music of Sweet?

It would have been about 1972, or even 1971. I would have been at infant school then! My dad took me to visit with my Uncle Colin and Auntie Brenda who lived in a place called Kingstone, near Barnsley. I had a cousin (guess I still have) who seemed to find Barnsley an even harder place than I did. He’d heard a song on the radio called "Co Co" which he went round the house singing. It was by a band called The Sweet. I was 6, he was 5. Long time ago.

Then there was "Top of the Pops". Sweet in Indian get-up for "Wig Wam Bam". Sweet in make-up for "Blockbuster". Sweet sounding vaguely rude on "Little Willy" but I wasn’t sure why. I was 7. I was 8.

My Dad had an old reel-to-reel tape recorder that he used to record the songs from the Top 20. 6 o’clock Sunday night. Number 1 at 7. The Sweet’s songs were always my favourites. Ballroom Blitz. For some reason, he didn’t record "Hell Raiser". I didn’t really understand why. Maybe he didn’t like that one. I was 8.

Holidays in Blackpool. Got my parents to buy me a album on cassette each time we went. 1974. The Sweet’s Biggest Hits. Had all the hits up to and including "Wig Wam Bam". I preferred their newer stuff. I was 9.

By the time I started to follow the charts myself, Sweet had moved on. First there was Teenage Rampage. Then there was The Sixteens which didn’t go as high on the "hit parade", as my Mum insisted on calling it, but I thought it was the best single I’d heard them do. I remember seeing an album in the shops and not buying it because there wasn’t any of the singles on it. It was called "Sweet Fanny Adams". Then I remember them being on a Jimmy Saville-hosted edition of TOTP. He stood in front of the staging and said "Sweet are back with a difference…. And what a difference!". The guys, all dressed in denim, no make-up, glitter all gone, launched into "Fox on the Run". Now that was cool. I was 10.

Sometime around then there was a technician’s strike which stopped Top of the Pops being broadcast. The very visual bands like Sweet began to fade. My new favourite band was the Eagles. It was getting difficult at school to be a fan of Alvin Stardust and Sweet. And nobody else of my age had ever heard of the Eagles. I was beyond criticism. Sweet carried on and there were two more hits…… Action and The Lies in Your Eyes. Great, great stuff. The Lies in Your Eyes only got to number 30 but I saw it on Supersonic on TV and it sounded wonderful to me. Supersonic was to be the glam bands’ last stand. Cue Marc Bolan…… riding on a white swan. I was 11.

Kind of lost sight of the Sweet for a little while after that. I’d checked into the "Hotel California" and everything was so grown up. I was the kid at school who was disparaging of the whole punk thing which seemed to lack seriousness …… and song lyrics needed to be serious. Hey, I was 12.

1978. The local record shop had an album called "Sweet’s Golden Greats" which picked up where "Biggest Hits" had left off. Everything from Blockbuster through to…. through to….. some songs I’d never heard before. It included songs like "Lost Angels", "Fever of Love" and "Stairway to the Stars" which sounded like they’d been great singles but no-one had bought them. I couldn’t understand why no-one had bought them. They should have been hits. Maybe if they’d been hits then the Sweet would still be going I thought……. One morning, it was a Saturday, I was laid in bed, late and my Mum had the radio on. There was a song that caught my attention. Great melody and sad lyrics. Something about Oxygen. The DJ said that’s the new one form Sweet. It was a great song……. but no band should be allowed to hijack another band’s name just because they hadn’t had a hit for a couple of years. I was quite put out. Next time I heard it, close up, and I realised that the voice was the same. Brian Connolly. I went down the record store. A place on the corner of Peel Street in Barnsley. Can’t remember it’s name. They had the album. It was called "Level Headed". Andy Scott had a beard. They looked very mature. Just grown up enough for me. Kind of like the Eagles but from England. "Love is Like Oxygen", indeed. I was 13.

Nothing else from the Sweet the rest of the year and when you’re young six months is an awful long time. I’d moved on. Tubeway Army, David Bowie. If punk was a little too raw for me, then this was articulate, alienated and thoughtful. Just like me. The Eagles also brought out an album called "The Long Run". My English teacher seeing the badges on my jacket told me that you couldn’t like both Gary Numan and the Eagles. I thought he was wrong. I was 14.

I was shopping in Casa Disco in Barnsley. Local record shop. Sometimes I still have dreams about Casa Disco where I fret that it is closing down. When I wake up, it has been closed for years. When I go back to Barnsley, which I seldom do, its not there anymore. This day, they had an album by the Sweet that I hadn’t seen before. Just called "The Sweet", it had a live photo on the cover on which they looked like they did on that Level Headed record. Took it home, the songs were recorded prior to "Wig Wam Bam" and were really not me. Strike one on the Sweet. Another day, shopping in Neales Music in the Arcade. They had a section where you could buy singles that had failed to chart for 60p. The new ones were £1-10. I looked through. Found something called "Call Me" by Sweet. Took it home. Sounded okay. It was like being 11 again. Guilty secret. Found out the "Level Headed" album and tried to persuade myself that the last track sounded like Kraftwerk. In reality it probably sounds more like Pink Floyd. I was 15.

Now life was an endless trawl around the record stores. There was one place on Barnsley Market which had loads of singles and a few albums. It was called "Mary’s". Run by a little woman who always looked dirty which matched the condition of the singles she tried to sell. The albums were always in pretty good condition. Found one called "Cut Above The Rest" by Sweet. The inner sleeve had only three guys on the photo. I’d heard the singles off the album – "Call Me", Big Apple Waltz" – and hadn’t noticed the difference but the album confirmed that Brian, the lead vocalist, was no longer in the band. At least, the other guys had always sung on the other records. Found the next album when I went on holiday (Blackpool, again!). Water’s Edge. A little poppy for my tastes. I was 16.

Sometime around then the three-piece Sweet recorded another album, "Identity Crisis". Good record. I got it on a German import from a shop in Manchester. Sweet went out on tour. I was used to being embarrassed about my musical tastes when my mates who liked the latest hits chided me about them. Even for me, defending something as outmoded as Sweet was a bit of a stretch. Music was moving on, the new Genesis and David Bowie albums sounded poor, Steely Dan and the Eagles had called it a day and I needed to find something that was a little less mainstream. I was 17.

By this time, I’d begun to freelance for NME, Sounds and Melody Maker and was combining that with anything I could write about to keep a decent level of income. I don’t know how you can write a whole magazine about double-glazing but I did it – and on a regular basis. Maybe writing about music wasn’t going to be the only thing I would do. Time to think again and a long time since I’d thought about Sweet. I was 20.

Married man (at least for a while). An article in Sounds. "Sweet getting ready to Blockbuster again". Three guys on the photo. Andy Scott, Mick Tucker and a guy called Paul Mario Day. The article said that Stevie Priest would join them in time for the shows. Got a bootleg from a record fair. Turned out that Steve Priest never made that journey. Sweet were a five-piece and the lead vocalist shouted when he couldn’t make the top notes. Seemed like nostalgia. I was 21.

Something must have kept me checking the "S" rack in the cd stores. 1992. Found an album and a video. Didn’t really recognise anybody on the cover but the sleeve said it was by "Andy Scott’s Sweet". Turned out Mick Tucker had gone the way of Connolly and Priest. But the cd made a good sound and I decided to go to some shows. Sweet still made for a good night out. I was somewhere in my late 20s.

Discovered a messageboard on this new thing called the world wide web. A place called "Home Sweet Home". My name is Darren and I am a Sweet fan. Twelve steps group for those who wished rock music was still a little more glam.

Gig in Shepherd’s Bush. Two venues. Not sure which one the Sweet is playing at. Not the coolest question to ask just anyone. Spotted a guy with long hair and a blue denim jacket. Decided to ask him. He turned around and he happened to be Andy Scott.

Some guy from Peterborough organises a Sweet concert and I get to write a couple of articles for the programme. Hey after all it is one of the things I do.

Invited to attend the filming of the band’s new DVD at a studio in London. Interviews and things. Somewhere along the line it all goes pear-shaped and the band and the studio end up fighting each other in court. I end up on the cutting room floor. I’m not surprised.

After all you learn a lot before you get into your late 30s.

Invited to go to Andy’s birthday party and the band will play live too. All in one weekend.

Not a bad time for a Sweet fan who’ll never see 40 again.

                 Darren Hirst and Andy Scott