On this day in Rock ‘n’ Roll history Metal is born thanks Ozzy, Tony, Gezzer and Bill

On this day in Rock ‘n’ Roll history Metal is born thanks Ozzy, Tony, Gezzer and Bill

on this day way back in 1970,  Black Sabbath released their debut self-titled studio album on Vertigo records in the UK.  The album happened to come out on a Friday which is a spooky fact. Peaking at No.8 on the charts which is something of a commercial success to be fair to the four lads from working-class backgrounds in Birmingham.

Recognised as the first heavy metal record. It seems like so long ago and be thankful that it was this album and these people. I’m not sure we should blame the four for giving us the likes of Danger Danger, Steel Panther and Manowar but if they were the first then they should take some collective responsibility because had this record never have been made would we have had judas priest? Who knows.  If only they’d added a keytar instead of Iommi’s Les Paul things might have ended so differently. Oh well. To think that back in 1970 the band released not one but two albums because later that year ‘Paranoid’ hit the streets and was responsible for that riff. Amazing work ethic and turn over that my friends wouldn’t happen today.

 

On February 13th1980, Police raided the home of former Sex Pistols John Lydon who greeted them waving a ceremonial sword, the only illegal item they found was a canister of tear gas, claimed to be for defence against intruders. Imagine that, musical outsider having their homes invaded by the fuzz for what under what crime prevention?  Makes you wonder why the bugger off to live in other countries. Of the incident, Lydon said, “I used to have these wooden slat blinds. They break, so up went an Italian flag. “But somebody thought that meant it was an IRA house, so… police raid!”  Lydon had long since left the Pistols and PIL were a going concern the incident was between ‘Metal Box’ and ‘Flowers Of Romance’ Lydon was basking in the afterglow of ‘Metal Box’ which had come out only four months earlier.

Amazingly The title of the album refers to its original packaging, which consisted of a metal 16mm film canister embossed with the band’s logo and containing three records. It was designed by Dennis Morris and was innovative and inexpensive, costing little more to the label than the cost of standard printed sleeves for equivalent 12″ releases (although Virgin did ask for a refund of 1/3 of the band’s advance due to the cost). Before the metal tin was finalised, there was discussion of the album being released in a sandpaper package that would effectively ruin the sleeve art of any records shelved next to it. That idea would later be realised by the Durutti Column

The album’s lack of accessibility extended to the discs themselves. Packed tightly inside the canister and separated by paper sheets, they were difficult to remove and were prone to be scratched and dropped in the process. Due to the short run on each side of the records, the listener had to change sides to hear the complete album rather more often than normal (not like Lydon to be awkward).

Deleted in November 1979 after an initial release of 60,000 sales, the album was re-issued on in February 1980  (funnily enough just after his house was raided) as a standard double LP in a more conventional gatefold. The sleeve art of ‘Second Edition’ consists of a distorted Keith Levene.

Also today in the mists of time (1982 to be precise) The Jam were at number 1 in the charts with double A-side single ‘A Town Called Malice’ and ‘Precious’ incidently the song is played at the local football ground before every second half gets underway (have that one fact fans).  Sadly the three members of the Jam have never reformed and the only chance of them ever being in the same place together would be when they’ve been to court – shame that but not many bands get to perform on TOTP  twice in the same night playing both sides of their single

 

Finally, in 2007 Rod Steward did a hard days graft and only got paid $1 million.  A wealthy billionaire Steve Schwarzman paid the singer to perform an hour-long set for his 60th Birthday celebrations in New York, (nice work if you can get it). Other performers are available for a lot cheaper. but I guess well done Rod We’d all like a piece of that. It’s not the only time Stewart has performed for wealthy people for large sums of money. A long way from his busking days in Paris and Spain or on train platforms in West London Stewart hung up his rock n roll wildman boots long before ’07 to be fair.  but still quite an achievement.  I hope Mr Schwarzman got his moneys worth and told Rod what to play.

 

The Godfathers – ‘This Is War! The Godfathers, Live!’(Godfathers Recordings)

The Godfathers – ‘This Is War! The Godfathers, Live!’(Godfathers Recordings)

Live albums are often a mixed bag. There’s the ‘allegedly’ heavily overdubbed ‘Live And Dangerous’, which still remains the best Thin Lizzy album regardless. There’s those that are part of the nostalgia circuit, bereft of new songs. If you’ve seen The Godfathers live in the last few years, you’ll know that, with ‘A Big, Bad, Beautiful Noise’, their most recent album is quite possibly their strongest, and their live sound is tight but fierce.

 

The engine room that holds it all down is thanks to drummer Tim James and bassist Darren ‘Birchy’ Birch. Just listening at home, you’d never imagine that Tim could look so laid back, sat at his kit; it is a mighty sound. From the opening ‘This Is War’ onwards, there is no messing around. 15 songs of premium rock n roll, guitarists Alex McBain and Steve Crittall respectively keeping it tight and baring their teeth. Crittall’s solos are perfectly savage when required.

 

Four tracks from the new album sit nicely alongside the classics that we all expect to hear; ‘Cause I Said So’, ‘WTJCB’, ‘She Gives Me Love’ and a splendidly trippy ‘When Am I Coming Down?’. Peter Coyne’s bark is particularly savage, making ‘Defibrillator’ one of the highlights, and Crittall’s production makes every song shine. He certainly knows how The Godfathers should sound, which makes this live album stand apart from most others. Loud, sharp and beautiful.

 

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Therapy? – The Rock Café Prague 01.02.19

Therapy? – The Rock Café Prague 01.02.19

With it being 25 years since Therapy? unleashed the ferociously on-point Troublegum, the rock trio are on the lips of many: of those who follow them continuously, and those who fondly remember how much that seminal record spoke to them in 1994. The thing about Troublegum, and indeed Therapy? in general, is that it is as relevant today as it was then. Above and beyond that record, Therapy? have a wealth of material spanning their glorious career which is delivered with such intense energy live on stage.

With Prague being the only Czech date on their European tour I quickly snapped up the tickets and jumped on the train for the country’s capital. Having seen them in the UK various times over the last number of years I was confident enough to expect a lively and hardworking performance – Therapy? are a band who always give their all.

Frustratingly, due to a late arrival in Prague and an out of town hotel, I missed local support band Hell Paso. The heavy and grungy sound of the Prague-based noisemakers would be a perfect starter for the main act and judging by the positive response given to Andy Cairns’ shout-out, that seems to be the case. I urge anyone who enjoys Therapy? to give them a listen, and I’ll try to catch them next time I’m there.

I also managed to miss the beginning of the headliner and walked into the Rock Café at the same time Therapy? were crushing through their opener, Wreck it Like Beckett, although finding a place where I could see the stage proved a tiring prospect. The Rock Café was absolutely teeming with people, and the best view I could find managed to provide a view of Cairns’ hair, which he’d conveniently spiked up so I could at least see where he was. Although claustrophobic, the atmosphere was also electric, with the Prague crowd in full embrace of the headliner.

Therapy? offered up an extensive set list that included a wealth of fan favourites, some sideswipes at Trump, the British Government and the fiasco of Brexit. It’s good to see that Therapy? have lost none of their bite. Songs such as ‘Trigger Inside’, ‘Teethgrinder’ and ‘Screamager’ were obvious delights, while long-standing covers of the Joy Division’s ‘Isolation’ and, particularly, Husker Du’s ‘Diane’ had the venue shaking.

Paying homage to heroes past and present, the band offered enjoyable moments of the Priest’s ‘Breaking the Law’ and The Buzzcocks’ ‘Ever Fallen in Love’ in amongst their own vast array of hits. With an encore lasting around eight songs, they tore into the roundly loved ‘Going Nowhere’, ‘Knives’, and the ‘Church of Noise’, before ending on Success? Success is Survival.

The Rock Café was packed to breaking point, but the sound was loud and relentless. Even though I could barely see them, I can honestly say this is the best time I’ve ever seen them. Therapy? truly at their best.

Author: Craggy Collyde

Shea Roberts – Good Times Dont Last Forever (Rock Box Records)

Shea Roberts – Good Times Dont Last Forever (Rock Box Records)

This is the first solo record by Shea Roberts. He’s played in numerous bands in San Francisco, probably most known for fronting a garage rock band “The Richmond Sluts”. This record takes you in a whole different direction, it has an Americana country vibe ranging from Lee Hazelwood to Neil Young. With this record, you hear Shea come out of the shadows with a whole new style of songs and heartfelt stories.

Mellow, chilled out, laid back, Americana, Country Honk.  You can take any of these and put it in front of Shea Roberts when describing what his solo record sounds like.  It hasn’t got the Rock n ROll attack or attitude of The Richmond Sluts but then this is a solo record and if he wanted to play that I guess he’d use the Sluts as that vehicle.  This is a whole new side and he takes full advantage of his address book to lay down the tracks here as he invites about a dozen players to help record these tunes. Granted Shea himself takes most of the instruments as well. Tunes like ‘Old John’ have chiming lap steel and some thigh slapping cotton picking country coursing through its veins front and centre.

He’s certainly exploring his Neil YOung side and does a pretty good job too.  his voice sounds warm and welcoming and he carries that heartbreak tone really well on songs like ‘Don’t Know Anymore’  there is a Nick Cave quality as the stories unfold and the arrangments are quite exquisite.

There’s quite a chunk that reminds me of prime Green On Red as well on songs like ‘Bottled Up’. but he saves his best writing for the simple ‘Keep You Alright’ with the acoustic strum he keeps it simple and the songs strong.  The mood is very engaging and the home straight of this record is where the real gold nuggets hide even if it doesn’t take too much diggin’ to pull em out. there is a Neil Young quality to ‘Where My Heart Is’ and to close it off there is the John Prine cover of ‘Look Out Floor’ yee-haw! you go cowboy.

Bandcamp

Danny Garcia Interview

Danny Garcia Interview
The documentary filmmaker Danny Garcia has just completed his latest film. It took him a lot longer than expected to release it mainly due to the reasons he explained in our interview this didn’t help because when it first was mooted that Danny was shooting a doc about Stiv I along with many others got really excited but had to temper that excitement knowing these things take time. 
Well that time is here that time is right now folks ‘Stiv’ his the streets next month and RPM had an exclusive viewing of the film and we’re delighted to say it ticked every box with some amazing footage and clearly what is a  labour of love and a lot of heart and a lot of soul has been put into the making of this film. Danny has a rich history in Documentary film making with a few of his previous movies well worth investigating if you don’t already own them. ‘The Rise and Fall of The Clash’, ‘Looking for Johnny’ and Sad Vacation’ all previously released by Chip Baker films and all wonderfully detailed docs about punk rock icons to which you can now add ‘Stiv’. Sit back turn off your phone (unless your reading this on it) and get the popcorn Ladies and Gentlemen with such discernable taste (well you must have if you’re reading our interview about Stiv) let me introduce Danny Garcia a very talented Filmmaker and also a man of exquisite taste in music subject matter…
Firstly what made you decide to tell Stiv’s story?
I always liked Stiv and I actually met him briefly in 88 and I felt he was the nicest and most humble music-related person I have ever met until then. I loved his solo album and the first Dead Boys album and I was into the Lords as well. So I knew his career pretty well.
How long was it in planning? How do you approach making a documentary?
I just go for it. Sometimes I have no idea how I am going to be able to make it and pay for all the stuff I need so, for instance, this time we ended up raffling a Dead Boys tee shirt that used to belong to Stiv just so we could pay some bills.
Is it an enjoyable process doing all the research and digging into the detail of a subject like Stiv?
The research part has always interested me, ever since I started listening to records, reading the credits and the liner notes and so on. That’s what we many of us used to do. I know people who can tell you who the engineer was on some record. I’m not that mad I guess.
How helpful were the people who knew Stiv best?
The ones who ended up contributing to the film were really helpful. Especially Frank Secich, Jimmy Zero, Eddy Best, Dave Parsons, Theresa Kereakes, Devorah Ostrov, Cynthia Ross, Dave Treat, the Kierer brothers, Kurt Sunderman from Stiv’s first band Mother Goose, David Arnoff, John Lagdon, Vicki Sheppard, Suzy Shaw, etc. It’s impossible to name them all. So many of Stiv’s true friends came out of the woodwork to help us out with the film. Giving us their time and access to their footage, photography and music. Without them this wouldn’t have happened, I can tell you that much.
Did you uncover much you didn’t already know?
Yes! You always do when you talk to the people who were close to the subject. You just need to talk to Jimmy Zero for half an hour and the number of insane stories he’ll tell you about Stiv that you never heard of is just pure gold.
Is it a real time-consuming process flying all over to speak to the people you interviewed? Is it a question of patience?
That’s the best part of it for me. Travelling, meeting interesting people. I could do that every day. And yes, patience is the name of the game.
I guess I have to ask – a few key characters in Stiv’s life aren’t interviewed like Cheetah, Brian, Michael Monroe did you approach them or didn’t have the time or had the stories from people like Dave Tregunna?
Yes! They decided not to be in the film. I called that the natural selection. It always happens. You contact 50 people and only 30 ends up in the film. They’ll find a reason or other to write themselves out. And I’m fine with that because the story will always be told regardless. There are always other people who were there and witnessed what went down and will be willing to spill the beans.
I guess the dead boys have had their story told when cheetah wrote his book but it was great to see and hear from people like Dave Parsons and Tregunna about the wanderers period of his career as well as his solo stuff. Those guys really light up the movie.
Glad to hear that. The Daves were great and yes the Wanderers part is a very obscure episode of Stiv’s life so it was great to shed some light on that year.
I always felt the lords were an amazing story that needed to be told and I think the film covered this period really well saying what needed to be said without labouring in detail. Is time a big factor when telling a story like Stiv’s? He was a busy boy that’s for sure.
The original cut had way more info on the Lords but since Brian James didn’t cooperate and I didn’t have access to everything I wanted, I had to concentrate just on Stiv and what was going in his life rather than the band and the making of their albums and so on. I also wanted the film to be shorter than 90 minutes so I guess it was a blessing in disguise cause it made the film more dynamic with less gloom and doom.
Do you have a favourite period of his career? Dead boys? Lords? Wanderers? Solo?
To me, both his solo albums are superior to the rest of his work.
It was great to see people like Grant, Neil x and Nick Turner speak is there much on the cutting room floor? I’m sure a film like this could be twice as long.
Yes, I could do two more docs on Stiv with what I have.
Was there footage you couldn’t use?
Yes. We did an interview with Cheetah and he didn’t want to send us the release form. Basically, he stopped responding at some point. Also stuff we couldn’t afford. Archive footage, stuff like that.
It’s great to see all the early footage pre dead boys that’s real gold dust?
That stuff is unreal. Bob and Kevin Kierer who were friends of the Dead Boys filmed all of that Super 8 stuff and they’ve been sitting on it for 40 years plus. That’s just unbeievable stuff. Also, the Mother Goose footage provided by Kurt Sunderman is equally amazing.
When will fans be able to buy the DVD?
April.
Will there be any bonus footage?
Yes. There’s some great deleted scenes with more insane anecdotes and a Behind the scenes featurette with Jimmy Zero with is pretty hilarious actually.
What about a soundtrack cd and vinyl?
That’s coming out too on Record Store Day. And its got a great selection of material by the way.
Where does this movie rank along side your other work?
It’s the best film I’ve done to date. Period.
Was it easier to complete than the Sid film or looking for johnny?
No. Some of the soundtrack took us over 9 months to get the rights for. The film’s been sitting for a year waiting for all this legal stuff to get done. Really frustrating.
What next? How about a film on the cramps? Or Hanoi rocks?
Next one’s Brian Jones, I’ve been working at it for this last year while I waited for Stiv to be released.  I love The Cramps but Ivy is not into it and I already spoke to Nasty and Sami before I did Looking for Johnny about doing a docu on them and once the idea reached Andy and Michael… it died off. I’ve known Nasty and Sami since the 90’s. I interviewed Nasty a couple of times back then when he was doing Cheap & Nasty. Great guy.
I’m sure I speak for lots of fans when I say thanks for doing such a great job on some iconic legends that deserve the screen time and i/we’re so grateful for the love and passion put into your work its really appreciated.
Thank you. It is my pleasure to be able to cover the lives of these icons.
Finally, will there be posters of the film advert available to buy because the surf poster is so cool.
Yes! To me, it’s the best poster ever. Photo by the great John Lagdon by the way. Roadie and personal friend of Stiv. Bless him.
buy Danny Garcia DVD’s: Here
buy tickets for the London premiere: Here

Rainy Days & Mondays…

Rainy Days & Mondays…

One from three at Five if you like. This Monday its the turn of a few artists that have been reviewed recently or coming up and not wanting to give too much away but these are three bands you really should investigate.

Firstly this week sees Frank Carter hit UK stages as part of a sold-out club tour before his new record drops.

The second video sees a classic slab of Husker Du with Mr Grohl sitting in on drums as the band blast through ‘New Day Rising’. Still a super song regardless of the personnel playing it Mould is a legend, Fact!

whilst talking an old album came up in topic and two of us had played this record unbeknown to the other within 24 hours of each other so it seems only fair that one of the videos from that record is shown here to round off this Rainy days video selections.

The Gathering / The Alarm -Friday – Venue Cymru -Llandudno 1-2-3.02.19

The Gathering / The Alarm -Friday – Venue Cymru -Llandudno 1-2-3.02.19

 

Another year another venture North for my annual trip for the Gathering as we head for Gathering Twenty Seven and this year’s festivities seem to coincide with the cold snap as the UK is besieged by snow as we struggle to trek North under the half an inch of snow that seems to have landed on high ground but we struggle on regardless as we maintain a=our fine record of attending every single one outside Rhyl town hall So that’ll be Twenty Five without fail.  We’ve seen some amazing performances over the years culminating in last years mammoth Saturday Night and a set that had an hour-long encore! beat that Springsteen.

We enter the arena for Friday nights performances and as if by magic Dave Sharp is taking the stage for his solo performance. Now I’ll admit that Dave is a little like marmite and there are those who love him and his folky noodlings and those that aren’t fussed and as much as I love the guy and ‘Hard Travellin’ was and still is a fantastic piece of work and one of the best albums the Alarm or associated members ever made since then his work has left me cold and his performances of which I’ve seen many have been tepid.  Its a tough gig even for Dave doing the Gathering as a lot of people just want to hear old Alarm songs and drink and as many people catch up on the Friday its not until Dave is Joined by Mike Peters that things get really interesting.  There is a respect and a love that is evident considering what these brothers from different mothers went through but there is also a tension in the air and they seem to accept both and it helps create some magic when the guitars are turned up and the mics are switched on.

Tonight sees the pair begin with a fine rendition of ‘Bells Of Rhymney’ quickly followed by a fantastic ‘Gasoline Alley’ some great stories are told about their pre-recordings and the songs they used to play together when they started this journey and ending on ‘Get By With A Little Help From My Friends’ seemed to cement that respect for each other and what they have achieved.

We get a great ‘Shout At The Devil’ followed by ‘For Freedom’ and ‘Marching On’ and for me such a magical time in music comes flooding back with such classics getting played by James Stevenson, Smiley and Peters even if James seems to be having some technical difficulties the flow of the set isn’t broken and playing in the round is working a treat . As the Bass synth starts for ‘Howling wind’ my mind takes me back to some of those early shows and the feeling I had as a young man and that steady bass vibrated through the floor as sharpie played the riff on ‘Howling Wind’ I’m caught with my thoughts where have all those years gone its well over half my life ago and I’m brought back to more recent times after ’68 Guns’ because James and Smiley leave the stage for peters to wander down a wormhole of early solo songs as the excellent and underplayed ‘Poetic Justice’ gets a rare outing the same can be said for ‘It Just Don’t get any Better Than This’ and latter ‘Feel Free’ as far as Fridays go this one is shaping up rather nicely thanks.

James and Smiley return to the round for a blast through ‘Drunk And Disorderly’ and ‘We Are The Light’ and its a delight to hear ‘Superchannel’  and ‘Rocking In The Free World’ for the first time in a long time.  With the clock ticking and beauty sleep needed for a long Saturday it only left Mr Sharp to return to the stage for a memorable slog through ‘Knocking On Heavens Door’. Friday was in the bag, done and dusted and as far as Fridays go that was easily the best for many a year possibly since Coloursound made their debut. Bring on Saturday.

Last Great Dreamers extensive tour schedule news

Last Great Dreamers extensive tour schedule news

pic by Louise Swift

 

LAST GREAT DREAMERS hit the ground running with a period of solid touring over the next couple of months. The dates follow on from a very busy year last year, touring around the release of their acclaimed fourth album 13th Floor Renegades. Next week they head out as special guests of Illinois glamsters Enuff Znuff, which will take them around the UK and then of to Italy, Norway and Sweden. After a couple of weeks’ laundry break, they then join rejuvenated Swedes Electric Boys for another quick run of UK dates. Somewhere in there, they’ll be stopping off at HRH AOR in Prestatyn on 16 March. Then on 18 April, they play a special one-off headline show at London’s legendary Hope & Anchor, where they’ll be joined by fast-rising Brummies, Black Bombers. After that, they’ll be returning to Spain to capitalise on the success of last year’s dates. The band have also just been added to the bill for this year’s Camden Rocks Festival on 1-2 June.

Catch Last Great Dreamers at…

Wed 13th February     EDINBURGH Bannermans (w/Enuff Znuff)

Thu 14th February      LONDON Underworld (w/Enuff Znuff)

Fri 15th February        NUNEATON Queens Hall (w/Enuff Znuff)

Sat 16th February       BRADFORD Trash (w/Enuff Znuff)

Sun 17th February      BUCKLEY Tivoli (w/Enuff Znuff)

Mon 18th February     STOKE ON TRENT Eleven (w/Enuff Znuff)

Thu 21st February      VELDEN Bluesiana (AUSTRIA) (w/Enuff Znuff)

Fri 22nd February       VERCELLI Sonore (ITALY) (w/Enuff Znuff)

Sat 23rd February      SAN DONA DI PIAVE Revolver (ITALY) (w/Enuff Znuff)

Sun 24th February     BERGAMO UFO (ITALY) (w/Enuff Znuff)

Wed 27th February    VARBURG Backstage (SWEDEN) (w/Enuff Znuff)

Thu 28th February     GOTHENBURG Tregaarden (SWEDEN) (w/Enuff Znuff)

Fri 1st March              OSLO Olsen (NORWAY) (w/Enuff Znuff)

Fri 15th March            BRADFORD The Underground (w/Electric Boys)

Sat 16th March           HRH AOR Festival (Prestatyn, Wales)

Sun 17th March          BLACKPOOL Waterloo (w/Electric Boys)

Mon 18th March         EDINBURGH Bannermans (w/Electric Boys)

Tue 19th March          NEWCASTLE Think Tank (w/Electric Boys)

Wed 20th March         LONDON Underworld (w/Electric Boys)

Thu 21st March          MILTON KEYNES Crauford Arms (w/Electric Boys)

Fri 22nd March           BUCKLEY Tivoli (w/Electric Boys)

Thu 18th April.            LONDON – Hope & Anchor (Rockaway Beach Club)

See Tickets

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Gone But Not Forgotten RPM Remembers plus some good news

Gone But Not Forgotten RPM Remembers plus some good news

Dave Alexander original Stooges Bass Player (June 3, 1947 – February 10, 1975) in Ann Arbor where he met brothers Ron and Scott Asheton. “Zander” (as Alexander was known) dropped out after 45 minutes on the first day of his senior year in 1965 to win a bet. Later in 1965, Ron sold his motorbike and they left for England to see The Who and to “try and find The Beatles”.

Alexander and the Asheton brothers soon met Iggy Pop and formed The Stooges in 1967. Although Alexander was a total novice on his instrument, he was a quick learner and subsequently had a hand in arranging, composing and performing all of the songs that appeared on the band’s first two albums, ‘The Stooges’ and ‘Fun House’. He is often credited by Pop and was credited by the late Ron Asheton in interviews with being the primary composer of the music for the Stooges songs “We Will Fall”, “Little Doll” (both on The Stooges), “Dirt” and “1970” (Fun House).

Alexander died of pulmonary edema in 1975, at the age of 27 in Ann Arbor after being admitted to a hospital for pancreatitis, which was linked to his drinking. Sadly it was drinking that ultimatly got him sacked from the Stooges as its believed to have been the reason he was fired in August of 1970 after turning up drunk to a show and not being able to perform. Rest In Peace and thank you for those awesome tunes. ‘Funhouse’ has one of the greatest basslines ever in Rock n Roll music, full stop not even up for debate.   Gone but not forgotten. 

Buy The Stooges Here

On a happier note on this day in 1979, Rod Stewart started hit No.1 on the US singles chart with ‘Da Ya Think I’m Sexy’,  Also today Rod started a three-week run at No.1 on the US album chart with ‘Blondes Have More Fun.’ An absolute killer record in my humble opinion.  right up there with his earlier work.  It might not have been of the same quality as his work with The Faces but has stood the test of time as he demonstrates in this video for the title track.

Buy Blondes Have More Fun Here

Finally how about this for some news. On this very day in 1977, The Clash started recording their debut album at CBS studios in London,  The album was recorded over three weekends at CBS Studio 3 in the month of  February 1977. By the third of these sessions, the album was completed, CBS then sent it for production in the March.and then released in the April, It cost just £4000 to produce! Imagine that? Such an iconic album recorded so quickly and for 4K you’d be lucky to replicate that today it would take you three months in the queue at the pressing plant.

 

The Spangles/PIPS/Damp – Harrogate, The Empress – 2nd February 2019

The Spangles/PIPS/Damp – Harrogate, The Empress – 2nd February 2019

It’s been a long, hard January, right? Traditionally a gig free month, it feels like forever since my last soiree of 2018 with Tyla’s Dogs D’amour at The Fulford Arms back in December. It may be snowy and cold outside, but The Spangles are here to warm the cockles with their hometown album release show.

It’s not all gone to plan though. Caught up in the recent PledgeMusic debacle, The Spangles (as with many other artists) have had to shell out from their own pockets to fulfil pledges and get CDs made. Then the original venue for this gig fell through and just days before, main support Rich Ragany & the Digressions pulled out.

But all’s now good, a new venue was found, support also arranged and fans have the products they pledged for.

Located on the outskirts of Harrogate, The Empress might seem an unlikely venue for a rock ‘n’ roll album release show. But to be honest, it’s perfect. The upstairs function room is homely, there are carpets, pictures on the wall and I wouldn’t be surprised to see a dog sleeping by the fire if there weren’t so many punters in the way. You see, this room is about twice the size of my living room and it’s already packed as Damp take to the stage.

Damp are a local four-piece band residing in the heavier end of the rock ‘n’ roll spectrum. To my ears, a heady mix of Kyuss and Mudhoney. Grungy, stoner rock goodness flows from the speakers as aptly named frontman Wolfgang wrings unworldly noted from his guitar and growls his way through 30 minutes of lo-fi stoner rock goodness. Ably backed by Modern Day Dukes man Rory on bass, George on guitars and Rob on drums, they sure have the tunes ladies and gentlemen. Great gang vocal choruses and face-melting riffage, what’s not to like here? “No one wants a damp t-shirt, but we have dry ones for sale!” announces the singer, prior to introducing the last number. Well said, that man.

 

Another new name is local funky monks PIPS. A late addition to the bill, replacing Rich Ragany & the Digressions. As guitarist Tom tells us after the opening song, PIPS have drunk 7 pints already; things might get interesting from here on in.

With funky, slap bass and metallic riffage, the trio proceeds to bounce through a magnificent high energy set of songs that come on like Infectious Grooves jamming out with Primus. My brother would’ve loved this band, he would’ve wanted to join this band… hell, I want the drummer to join my band and I don’t even have one!

The likes of ‘Soul Katt’ and ’20 Years’ are delivered with the energy and precision of a seasoned live act. They handle the intricate passages with ease and you would never have guessed they were full of lager, they’ve done this before methinks! The combination of Tom’s Vernon Reid style guitar chops, the funky slap bass work of singer Chris and the imaginative and relentless pounding beats of Josh make PIPS a mesmerising band to watch, and certainly a band I will go out of my way to see again. I love it when bands excite and ignite on the night!

No disrespect to the opening bands, but The Spangles are in a different league entirely. As far as I’m concerned they have released the album of the year with ‘#Sweet FA’, and although there are imminent releases from The Wildhearts and Michael Monroe to come soon, The Spangles sure are contenders.

Was there ever any doubt that they could pull it off live? Nah, of course not. If you’ve ever seen The Main Grains or The Idol Dead do their thing, then you know what these guys are capable of, and with an arsenal of great songs under their leather belts, it’s a given that it will be an entertaining set at least.

From the opening chords of ‘Growing Up’, it’s raw, tight and exciting. Ever smiling guitarist Ben Marsden takes lead vocals for the majority of the set and does a mighty fine job. The Idol Dead singer Polly Phluid looks comfortable with a bass strapped on, the pair even has matching black Hagstrom guitars and a shirt & waistcoat combo going on. Behind them, drummer Ginna keeps the beat and delivers great backing vocals as always.

‘Get Over Yourself’ follows, the first of many infectious shout-along choruses that make this Spangles show seem like a greatest hits set. Honestly, there is not one average song tonight, let alone a bad one.

As the energy levels rise, so do the heat levels, as the drunken packed room get rowdy, so do the band. I didn’t pay attention to the song order they played, as I was having too much fun watching and singing along. Suffice to say they pretty much played the whole album, plus a few choice covers including The Sonics ‘Have Love Will Travel’, which was up there with Crazyhead’s version.

Singer Eloise Kerry joins them for a few tracks including awesome bubblegum -infused renditions of ‘One Good Reason’ and ‘Hold My Hand’. All their songs sound ace live, and the crowd already know the words. From the bubblegum pop of ‘The Only One’ to the heavier chanting choruses of ‘Back On The Meds’ and killer Ramones tribute ‘Ramone’, these are songs designed to make you smile and make you sing, job done.

Comedy banter between band and audience flows nicely; all three have always had a good rapport with their fans. The chants of “Rory! Rory!” are swiftly put to bed by a smiling Ben, as he jokes about going home tonight with the Damp bass player, who also happens to be his former bandmate. Ginna and Ben even manage to slag each other off mid-song, during Green Day’s ‘FOD’, in the middle of singing and playing.

As we reach the climax of the show, a visibly emotional Ben can barely sing the chorus of the magnificent single-to-be ‘I Don’t Wanna Go’, a concerned Ginna watches his every move and has his back, covering the chorus when he can.

 

Hot and sweaty, exciting and euphoric, The Spangles delivered maximum rock ‘n’ roll tonight, in a pub in Harrogate, and I’ll wager no music venue has been that packed in Harrogate for a long time. This time last year they weren’t even a band, this time next year, who knows where they will be. Three eclectic local bands for 6 quid, who said rock ‘n’ roll is dead?

 

Author: Ben Hughes

Photographs: Neil Vary