Tag Archives: rock

Moderately Autumn………

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Friday night found me in Manchester, considering another writing gig and checking out the possible subjects – Mostly Autumn. I understood Saturday night’s show in London was to be recorded for a live album and I wanted to catch this band when they weren’t just so – and it proved to be a good decision.
Mostly Autumn. They are the band who really define what it means to be "indie" and internet-driven. "Indie" not in the sense of any contrived musical style – I’m never sure what that label means in that sense. It seems its possible to be "indie" and the slaves of one of the corporate giants although the equally unpleasant term "britpop" seems to be back to the forefront at the moment. And internet driven not in the sense of Lily Allen who had a large budget to ensure she was discovered on "MySpace" and not in the sense of Sandi Thom whose discovery seems to have lasted for approximately one song but in the sense of a band who have independently launched a succession of reasonably successful albums via that medium and who have created a niche audience for themselves who are clearly with them for the longhaul.

Mostly Autumn. Darlings of the prog rock scene who, thankfully, aren’t really prog rock. Mostly Autumn who gather fans who’d rather watch Pink Floyd but have found the Floyd are Mostly not around anymore. Mostly Autumn – who seem to have passed their peak without ever charting an album – can they ever be more than a second division band?

Friday night at the Manchester University Academy. Eight musicians on the smallest stage of three. All busy tonight. Mostly Autumn are (having gone through a number of personnel changes which perhaps hints at their problems) :

Bryan Josh. band leader. lead and rhythm guitar. vocals. old-style rocker and the one they audience feel is their friend.
Heather Findlay. vocals. guitar. whistle. tambourine. Dresses like Stevie Nicks, looks like Christine McVie.
Anne-Marie Helder. Keyboards. flute. harmony vocals. Her sound is too low in the mix.
Olivia Sparnenn. Vocals. Youngest member who finds herself with extra duties tonight.
Iain Jennings. Keyboards. Didn’t play on the most recent album but is back in the touring band.
Andy Smith. Bassist. Looks like and dresses like Bill Nighy when he was a strange fruit.
Liam Davidson. Acoustic guitar, 2nd lead and rhythm guitar. Another returnee to the fold.
Henry Bourne. Drummer. Solid.

The show, on Friday, got off to a solid enough start with "Fading Colours" but it soon becomes evident that all is not well. There is a sharp exchange of words between Heather Findlay and Bryan Josh and then an announcement that Olivia Sparnenn will stand in for Findlay for the bulk of the rest of the show. Now, Olivia is a strong vocalist (some would say stronger than Heather – check out her own band, Breathing Space) but it is Heather that the audience have come to see and this should have been sorted prior to the show with the show perhaps cancelled until all were well. But this show has been rearranged once already and there is a consideration about that live album show tomorrow night (and the income that will generate) and it seems that Heather has unilaterally decided that her voice must be rested. Certainly there is no eye contact between her and Josh for the rest of the night and it seems that there is a tension amongst the camp.

Internal issues aside, this is a tight show and the fill-in vocalist is more than up for it. Highlights? "Unoriginal Sin", "Evergreen", "Broken Glass", "Carpe Diem", the vocal version of "Spirits of Autumn Past", and a number of others. There are one or two moments when the band get bogged down in their own boogie and you’re caused to think that this is what it might have been like if Saxon had hired Stevie Nicks as their vocalist but they transcend that most of the time.

Josh is not quite the vocalist he is in the studio (where his sound reminds me of the late-Genesis and sometime-Stiltskin vocalist Ray Wilson) but is guitar work is interchangeably forceful and dynamic then thoughtful and provocative. Smith, Davidson and Bourne are a solid backline and rhythm section. Helder is a real talent and Sparnenn handles the change-overs like a pro and excels herself.

All-in-all, a difficult night but a good night. It remains to be seen whether the band can overcome those tensions and these setbacks.

Bryan Josh

Heather Findlay

Olivia Sparnenn

Ballad of the Sad Cafe

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No, not the Carson McCullers book, but an English band of the 70s and 80s, who for my money were probably the best live band on the circuit for a period of about five years around that time. I met up with their bassist, Des Tong, again, a few nights ago. I’ll tell you their story.

Sad Cafe rose from the ashes of some long forgotten Manchester-based bands like Gyro and some of their members had served time with progressive rockers Mandalaband. They began to tour in late ’76 and were quickly signed to RCA. Their debut album, Fanx Tara came out on the 1st of September 1977. Their line-up at the time consisted of:

Paul Young (Vocalist and percussion) (most decidedly not the "Wherever I lay My Hat" guy but the one who went on to front Mike & the Mechanics)
Ian Wilson (guitars and backing vocals)
Ashley Mulford (lead guitar)
Vic Emerson (keyboards)
John Stimpson (bass)
Tony Cresswell (drums)

Young had been with the Toggery Five in the Sixties and led a band called "Young & Renshaw" as well as cutting some solo singles in the first part of the Seventies. He had swagger and panache that was natural but was coupled with moves he had swiped from Jagger, and an incredible set of pipes gave him some of the best vocals I’ve ever heard. Mulford was developing into a very under-rated but accomplished lead guitar whilst Wilson had a sweet voice and played six and twelve string acoustic as well rhythm electric with ease and style.

The first album included Black Rose, Hungry Eyes and I Believe (Love Will Survive) which were to be staples of their live show for the rest of their time together. However sales were modest although the album made it to no. 56 in the UK chart.

Second album, Misplaced Ideals, trod a similar path in musical style and sales (peaking at no. 50 on the charts) but the big breakthrough seemed far away. Their reputation as a great live band had begun to spread and one of their performances was filmed for a broadcast entitled "An Evening with Sad Cafe" which mooched around the late night TV schedules for the next few years and was eventually commercially released after Gary Numan and Blondie had made that a viable option.

The album, released in April ’78, contained Restless and On with The Show which also became live favourites. In early ’79, a lesser cut "Run Home Girl" suddenly became a success in the U.S. Billboard charts rising to 71 on the Hot 100 – dragging its mother album on to the top 100 U.S. albums too. The band were surprised to have broken in the States but more significantly it raised their profile in the UK where they were given a prominent slot on the Old Grey Whistle Test and all was set for a big year in ’79. A saxophonist simply known as Lenni became a regular fixture in the live band and by 1980 was a fully-fledged member.

Drummer Cresswell called it a day just as they were about to begin work on their third album and was replaced by the (in my opinion) more accomplished Dave Irving. Eric Stewart of 10cc was drafted into produce and the third album "Facades" was the one to break them big, albeit for a short time. The big hit from the album, Everyday Hurts (which reached number three in the UK charts in September 1979) was both a blessing and a curse. It meant that when ever the band’s sales dipped (which was often) the record company would request another piano ballad. The band became more associated with that song than the swaggering rockers which were their forte.

The album peaked at number 8 in the UK staying on the chart for nearly half a year. The songs were less fusion-orientated and had more catchy riffs of the kind that Eric Stewart’s band had made their mark with. 3 more hits came from the record. Strange Little Girl reached 32; My Oh My peaked at 14; and Nothing Left Toulouse stuttered as far as 62. None of these troubled the singles charts in the U.S. and the album stalled at 146 on the Billboard list.

For their self-titled fourth album, Stewart again filled the producer’s chair but either the band accorded him less space or he was more complacent in his approach. This album was a little more workmanlike. It gave them two UK hits La-di-da (no.41) and I’m in Love Again (no.40) but they were already beginning to fade from the memories of the pop scene whilst the rock crowd continued to lap up their tours. La-Di-Da became their second minor U.S. hit reaching no. 78. The album peaked at 40 and 160 respectively, in the UK and US charts. Attempts to break the band in the Netherlands and West Germany didn’t bear much fruit and the record company began to lose patience.

To add to the problems, this incarnation of the band began the process of breaking apart. Ashley Mulford was spending increasing amounts of time outside the country as a romantic liasion began to deepen. John Stimpson simply didn’t want to be in the band anymore and set out for a career in music management. Des Tong became the new resident bassist and the band began to fret about the situation with its lead guitarist.

The band owed RCA one more album and a live set "Sad Cafe Live in Concert" was released in the Spring of 1981. This was coupled with an appearance on the ITV series Rockstage which emphasised what a potent force they were. Recorded whilst Stimpson was still on bass, the album was a virtual greatest hits allowing the Johnny-Come-Latelys to hear the great songs form the first two albums in their natural environment. It outsold the last studio record in the UK and reached 36 on the album charts. A single led by the live recording of Black Rose failed to make an impact.

In a decision which was to impact the rest of their career, the band ended into a complicated arrangement which saw Polydor become responsible for their future UK releases even though they had already signed a deal with Swansong in the U.S. (who had handled the release of the self-titled album Stateside). Complicated contracts are often a bad idea and this one was to surround the band with litigation for the next 4 years as the labels squabbled about who owned albums by them.

In the Autumn of 81, they released Ole, which was only a minor success in the UK (no. 72) and was ignored in the rest of the world. The singles were Misunderstanding and Follow You Anywhere. The latter got more airplay than the former but nothing sold. Mulford was missing from most of the recording with a number of guest guitarists filling the holes. One of these, Mike Hehir, would become a full member by the time of another hugely successful tour. Great live band who couldn’t sell records was shortly to become great live band who couldn’t release records. The courts decided the band should release no more albums until the ownership of their work was clarified.

Earning their living by touring, they were on the road almost all of 1982. 1983 eventually saw a single release (albums were a no-no) as Charisma released "Keep Us Together" which reached no. 76 in the bubbling under section of the Record Mirror. A young journalist by the name of Darren Hirst was commissioned by Sounds to go and talk to the band for a feature but nothing helped restore the missing sales. By the following year, the baton for single releases passed to Virgin who released "Why Do You Love Me Like You Do". More touring and spots at Reading and Glastonbury Festivals had enhanced their live reputation even further but their sales increased not a jot. The band played some farewell gigs, persuaded RCA to release a "Best of" package and called it a day.

Paul Young, by now, had another problem to deal with. A singer had risen to prominence using the same name – something that couldn’t happen in the acting world because of Equity was entirely permissible in the music world even though Sad Cafe’s Young had recorded solo singles using that name more than a decade before. He recorded a single with Ian Devaney and christened himself Devaney Young. He made another disc as YPY (which he said stood for young Paul Young). Neither sold and he needed the income when he was invited to cut some lead vocals for Mike Rutherford of Genesis’ new side-project. They eventually released an album called Mike & the Mechanics which sold well – particularly in the States – and Young and Paul Carrack were invited to share vocals in the band for the long haul but that’s another story.

Ironically, at the same time, the legal wrangle regarding Sad Cafe’s ability to release albums was settled and Young decided that he should reform the band. Of the four remaining long standing members two declined. Vic Emerson and Dave Irving had had enough for now. Young and Ian Wilson decided to press on regardless and invited Tong and Lenni to record too. Augmented by some sidemen and a new drummer, Jeff Seopardi, the band recorded "Politics of Existing" which gathered in the singles from 83 and 84 and an album’s worth of new material. It was released in late 1985 but made little impact. Two singles – Refugees (written by new man, Seopardi) amd Only Love, were equally unsuccessful. In the States, "Why Do You Love Me Like You Do" was retitled "Heart" and gained some notice as a single.

Working hard was deemed to be a solution to the lack of sales and Ashley Mulford rejoined the lineup for a 1986 tour of the UK. Ex-Grand Prix keyboardist, Phil Lanzon who was currently a member of the Sweet, moonlighted on keyboards. However, the tour wasn’t as commercially successful as their previous outings and the renewed energy was short-lived.

The band was to have one last stab with 1989’s album "Whatever it Takes" and its single "Take Me (Heart and Soul). Whilst once again an album which displayed excellent songwriting and musicianship, it was if anything even more overlooked than its predecessor. For this set, Young, Wilson, Tong and Lenni were augmented by sidemen Steve Pigott (keyboards) and Paul Burgess (drums). Ashley Mulford disappeared as quickly as he’d returned and was once more replaced by Mike Hehir. Vocalist Alistair Gordon who would be helped by Young in his band "Radio Silence" became the band’s first full-time backing vocalist. This band played a couple of home town gigs to promote the record before drifting apart.

That really is the end of the band’s story. Where are they now? After continued success with Mike and the Mechanics, Paul Young died suddenly of a heart attack in July 2000. Ian Wilson and Mike Hehir are now part of Les Holroyd’s latest version of Barclay James Harvest. Des Tong is part of Alvin Stardust’s touring band and was my inspiration for this article. Ashley Mulford plays the blues in Germany. Vic Emerson did some work with 10cc but I lost track of him after that. Dave Irving runs the band’s official website at www.sadcafe.co.uk to which I have contributed as I can. Alistair Gordon produces a number of bands and singers now that his own band, the rather excellent "Radio Silence" seems to have folded. The bands two most commercially successful albums "Facades" and "Misplaced Ideals" have been re-released in the States by Renaissance Records (who I am currently badgering about the rest of the band’s back catalogue). It won’t be as good as seeing them live but as that is no longer possible, you should do yourself a favour and buy them.

A tale of one city

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So last week produced two concerts in two days. One reasonably new band deserving success, one old band reinvigorated from a new album with 20 new songs to perform if they wish. Both gigs involved leaving my home (of course!), making the short walk to the tube station (I’ve lived here 6 months and I still can’t believe how short that walk is!) and hopping on the district line. Both gigs involved leaving said train at Westminster and changing for the Jubilee line.
Are you with me so far? This is where the contrasts begin.
Friday night, I get off at Canning Town. Saturday night, I leave one stop earlier at North Greenwich.
Friday, I leave the tube station and a guy in an orange jacket asks me if I like live music. I joke with him and say “yes, but tonight I’m already going somewhere”. I know from the sign on his back he’s pushing the Swarf gig and eventually we laugh.
Saturday, I just follow the crowds heading from the tube station to that odd shaped collection of buildings we used to call the “Millennium Dome” but now call the o2 arena. It looks the same but people want to go there now.
Friday, its into a deserted industrial estate, past the local car pound and tramping onward following the red and white signs for “BH2”. Thankfully there are plenty of them.
Saturday, it’s up an escalator in order to go down an escalator. Who designed this place?
Friday, the only lights in sight are the local MOT centre which is curiously still lit up at this time of night. You’ve guessed it, the club is in the other half of the building and apparently run by the same people.
Saturday, a nice steward clears my credentials and guides me to my seat, past the endless supply of merchandise I don’t need (okay, I bought a t-shirt).
Friday, I order a Corona. They don’t have a Corona. So I end up with a beer I normally only drink in Indian take-aways.
Saturday, I really don’t want one of their nasty lukewarm drinks so I wait in my seat and wait for the lights to go down. When the lights on stage go up, it’s evident that they’ve spent a fortune on the stage-lighting but at these ticket prices (hey, I got in free!) they can afford it.
Friday, when the lights go down, they never seem to light the stage and there are moments when it is difficult to see clearly. 
And on Friday, there were thirty people in that place, all gathered together, loving the music.
And on Saturday, there were twenty thousand people in that place, all gathered together, loving the music.

Friday, I stumble out into the cold night having seen a show I will remember a long time, full of great songs and energy. Back on to the train for my journey home.

Saturday, I stumble out into the cold night having seen a show I will remember a long time, full of great songs and energy. Back on to the train for my journey home. 

I really love this city!!

Bob Dylan – The Curse of Celebrity and the Cross of Christ

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(This was the original title. When it was published elsewhere, my editor chose to retitle the piece “Bob Dylan: The Spiritual Journey of a 20th Century Icon” which was not what I wanted AND rather seemed to miss my point)

When Leon Patillo was converted in the late seventies, the Christian music industry and its press was full of the news of the conversion of “Santana’s lead singer”. Those who are familiar with the music of Santana will know that the band revolves around and is named for its guitarist and has used a mammoth amount of vocalists over the last 30 years. But the facts don’t always get in the way of Christian reporting and a good story when it sees one.

Patillo may now only merit a footnote in the history of Contemporary Christian music but his launch into the Christian marketplace and its subculture was indicative of something that was going to happen time and time again in the late 70s and early 80s. The church had come to believe that celebrity converts in some ways added to the validity of the gospel. Perhaps if it waved the flag hard enough and high enough and showed that someone famous believed then those who didn’t would be persuaded by celebrity testimony.

Perhaps it was symptomatic of the times. It was the opening of an era in church life which was heavily influenced by the Vineyard fellowship, John Wimber and his teachings. The argument went something like this – if people see marvellous works of God then they would be persuaded of the validity of the gospel and accept Christ. Leaving aside troubling comments of Christ that suggested it was an adulterous generation that looked for a sign and that people would not be persuaded even if someone was raised from the dead, whatever the weaknesses of the theology and the theory of the church, the Vineyard movement would make a lasting impression on the church for the next two decades, until the passing of Wimber, its most persuasive advocate.

Which brings us to Bob Dylan. Not only was Dylan the height of the cult of the celebrity convert, his conversion occurred whilst he was under the auspices of the Vineyard movement. After his conversion, Dylan immediately began to record exclusively gospel songs and began to perform in concert in a way that was out of keeping with the first twenty years of his career. Someone who previously had needed to be encouraged to say “Thank You” between songs and who evaded questions presented by the press, now began to preach sermons about Armageddon and give interviews about his new found faith. Sometimes he was booed and heckled whilst on stage whilst others talked about it all being “a phase”. In 1982, he reverted to type refusing to talk about much of anything once more. He left Vineyard, began to study Scripture, occasionally with the Jewish Lubavitch sect, and declined to host a gospel music awards show. The church that had a use for Dylan’s celebrity now had no use for him. His 1983 album “Infidels” was searched by the Christian press for the expected disowning of the Christian faith and when none came the religious press paid less and less attention to each subsequent Dylan album. The Dylan Christian era was over, it seemed.

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