The Stone Roses - live at Warrington Parr Hall

OK I wasn't there, but the tingles of excitement I got yesterday from the announcement that the Stone Roses were playing a 'secret' gig at Warrington Parr Hall turned into rushes as I watched John Robb's twitter feed from the gig last night.

Rushes from a Twitter feed!!! What will it be like when I see them in Amsterdam in a couple of weeks time?!

This was the setlist; kicking off with 'Adored', followed by the pure pop of 'Mersey Paradice' and 'Sally Cinnamon' before the glorious 'Made of Stone' with that incredible chorus 'Sometimes I fantasise when the streets are cold and lonely'.
 

 They didn't let up, blasting through an hour of some of the most glorious guitar pop recorded, 'Where Angels Play', 'Shoot You Down' and 'Tightrope' (reinvented apparaently as a band rather than acoustic performance) were followed by an exceptional closing trilogy of 'Waterfall', 'She Bangs The Drums' and 'Love Spreads'.

So they didn't let up, but they held plenty in reserve; 'Fools Gold', 'This Is The One', 'I Am The Resurrection', 'Ten Storey Love Song' and 'One Love' to name a few.

I expect the Roses to tinker with their set through June until it is honed to perfection for the Heaton Park shows at the end of the month.

I haven't felt this excited about a band in a long time, reading the reviews this morning has left me glowing - Squire on fire, Mani and Reni locked in a groove (Reni with a double bass drum) and Ian Brown's singing on form and his commanding presence being felt throughout the crowd.

With Amsterdam, Heaton Park and T in the Park to look forward to, I cannot wait!

The Roses are a special band, one that unites people, sets styles, makes people talk in awe; the four of them gel in a way that others can only dream of.

The Roses are back...long live the Roses.

So I had started the year quite well in terms of regular blog posts but a rather hectic 6 weeks or so through March and into April and then a lovely holiday in the South of France has meant that I have really not posted or blogged about a number of things that I have wanted to. So count on this as a round up of my albums of 2012 so far...I had originally intended to do reviews for all of them!

Expect my next installment to include; Admiral Fallow, Grimes, Miaoux Miaoux and Dexys.

2 Bears - Be Strong

Joe Goddard from Hot Chip and friends have produced an album that is practically a love letter to dance music and clubbing. Opener 'The Birds & The Bees' is perfect for a sunny day, 'Time In My Mind' sounds like something Mike Skinner may have mis-placed, 'Work'is heavier and progressive while 'Church' is suitably moving. A great album.

New Build - Yesterday was Lived and Lost

Felix and Simon from Hot Chip/LCD Soundsystem formed their own label and band to show that it isn't just Joe and Alexis from Hot Chip that have all the songwriting talent. Live they combine guitar pop with funk, soul and house...they are just as good on record.'Medication' is brilliant soulful guitar pop, 'Do You Not Feel Loved?' would fit effortlessly on to any Hot Chip record and 'Finding Reasons' is laid back bliss.

Lightships - Electric Cables

Lightships is Gerry Love from Teenage Fanclubs 'solo' project. A number of years in the making it has all the trademarks that Love has practically licensed during his years with Teenage Fanclub. Gorgeous vocals, stunning harmonies, blissful guitar, plenty of references to the sun, sunshine and city living....

Alabama Shakes - Boys and Girls

Opening with the tremendous 'Hold On', Alabama Shakes set their stall from the word go - raw and soulful. An old school garage band. The guitars, production and vocals are all served raw and pure. Turn it up and blast it out. Brittany Howard has an astonishing voice, look out for producers and songwriters seeking her out for guest vocals.

Django Django - Django Django

Gaining increasing exposure from the best kind of advertising; word-of-mouth (not to mention some very clever strategic press), Django Django's debut album is gathering a great fanbase in time for festival season and future tours.

Some great tunes

William de Vaughn - Be Thankful For What You Got
Much sampled by the Bristol scene in the 90's

I am currently digesting The Clash's triple album 'Sandista'. This is a belter!

So we've lost Donna Summer and Robin Gibb during the last week. Incredible talent, both have soundtracked many a post club party.

Fancy the 16-minute Patrick Cowley mix of 'I Feel Love'?

Or how about some classic Bee Gees?

Goodbye and thanks to BBC Introducing in Scotland

When an announcement was made by the BBC that they were making significant changes to their Radio 1 Introducing shows, there was predictable outcry and dismay from musicians and fans of independent and DIY music in Scotland. A pro-active and constructive challenge to this decision was led by the excellent Scottish blogger The Popcop and Paul Downie from DIY promoter/label Pelmet Nights.

Hopes were raised thanks to a valiant effort from music fans; over 7,000 signatures on an online petition, there was a motion in Scottish Parliament and the delivery of the petition to the House of Commons by Jason Popcop and Paul.

Sadly, the stamp of change has been sanctioned by the BBC. There will now be one single Introducing show for the UK rather than the 4 current platforms for bands/musicians and artists in England, Scotland, Northern Ireland and Wales.

All of the acts I work/have worked with (Futuristic Retro Champions, Miaoux Miaoux, Nevada Base, Sonny Marvello and Vigo Thieves) have received support and airplay from BBC Introducing, it definitely helps in a number of ways.

1. Status/Recognition/Kudos – Getting a quote from Ally McCrae or his predecessor Vic Galloway and then sticking BBC Radio 1 Introducing afterwards definitely helps your website or press release to look good. It will also likely attract more fans to the band.
2. Confidence - Every single time one of the acts mentioned above received confirmation they were getting played on Radio 1 caused a great deal of excitement. It is Radio 1, even if it is the middle of the night. The exceitement, exposure and words of ecnouragement from Ally or Vic resulted in an increase in confidence. Every band/artists needs that to move forward,
3. Promotion/Contacts – The right people do listen to these shows – promoters, press, record companies (big, small and teeny tiny)- you are likely to get gig offers or something after airplay.
4. PRS money – Getting airplay on BBC Radio 1, even in the middle of the night/early morning, means PRS money. A nice reward for the hours writing, practising and recording. Even better if you get a live session.

Every band/artist has dreams. Hell, for some of the acts that have been played on BBC Introducing that is them ‘making it’….at least until after airplay, that magical 3 or 4 minutes on the nations largest radio channel can give them the confidence to see where they could get to next.

There are two sides to the tale though and the BBC’s argument (posted below) for continuing with their plans is a strong one.

I guess what annoys me the most about this decision to axe the Scottish Introducing show is the simple fact that Scottish independent and DIY music and the whole unsigned scene is so important to such a large number of people. That may or may not reflect in the listening figures mentioned below, however the on air time of midnight onwards isn’t exactly ideal for people who have work in the morning. I would hazard a guess that the majority of these listens/stats came from the online version, available for 7-days after the show has been aired.

The future - post BBC Radio 1 Introducing in Scotland

BBC Radio 1 Introducing was probably the definitive platform for new music in Scotland. It was recognition, kudos, a confidence builder….it is going.

We will have Vic Galloway’s BBC Scotland Show. Jim Gellatly has his In:Demand show that goes out across Scotland on a number of stations including Clyde 1 (to considerably more listeners than BBC introducing and at a more convenient time).

We have T-Break, GoNorth, King Tuts Summer Nights and New Years Revolution, Glasgow PodCART, Detour, MILK, Tenement TV, Radio Magnetic…..Concepts, venues, promoters, internet radio, internet TV…..

Could any of these go on to replace BBC Radio 1 Introducing in Scotland? They probably could if funded correctly so that they could do it full-time.

Collectively – getting some of these people/groups together could easily create something quite special. They are already doing that in their own way.

Just a couple of months ago the Scottish Album of the Year (SAY) award started, offering the winner the fantastic sum of £20,000 and excellent exposure. Each artist that made the list also received £1,000. Young entrepreneur Richy Muirhead has also worked wonders to generate some excitement and recognition for acts with his own Scottish Alternative Music Awards (the SAMA’s).

However these excellent additions to the Scottish Music Scene are annual events. What is the for music fans who crave a weekly fix that can replace Introducing?

  

What can be done? - A pooling of resources?

There are some incredibly talented, energetic, passionate and obsessive music lovers out there doing all they can to promote new/unsigned/independent and DIY music in Scotland. I have met many of them through my management of bands and enjoyment of music and live gigs. I am constantly bowled over by their energy and passion. OK I know I have already mentioned energy and passion in this paragraph but they are two things that are incredibly important in making something work. I don’t want to name names (although I kind of did in the section above), but there are enough people who could come together to create their own Introducing show – fire it out weekly as a podcast; have sessions, maybe once a month record an online video/TV show.

My suggestion is to get these people together in a room, crack open some beers and …..talk, come up with ideas, debate, what do we want as a platform for new music in Scotland, what do we need, what do they 7,000+ people who bothered to sign the petition want and need?

A lot of these people work individually, or as a couple. I often wonder what could be done if they worked collectively. Even at times.

Of course perhaps their strength is that they get to do their own thing, highlight their own tastes, have fun doing it their way.

To end

Well it is sad news for the Scottish music scene. To get that Radio 1 airplay will become even harder. On the flipside, the new national show should be excellent and result in bands gaining even more confidence, exposure, opportunities and recognition I do hope that the people involved with Introducing in Scotland will get an opportunity to play a part in that.

This is what the BBC have had to say today in their final conclusions:

In addition we are approving the proposed replacement of the current late night opt-out
programmes on Radio 1 with a single programme that offers a UK-wide platform for
undiscovered, unsigned music and emerging talent from England, Scotland, Wales and
Northern Ireland.

In response to this particular change, we were presented with three separate petitions
protesting against the proposals. These campaigns, which were supported by established
musicians, noted that the current programmes provide the only opportunity on Radio 1 to
showcase up-and-coming bands and solo artists to both a nations and UK-wide audience.

They expressed concern that a single UK wide programme would lead to fewer live
sessions and outside broadcasts from musicians in the nations. In Scotland, the petition
had 7,105 signatories; with 6,359 in Northern Ireland and 556 in Wales.

We recognise the high level of response to these petitions and the level of feeling these
particular proposals have generated.

Although the restructure would mean losing the equivalent of four hours of airtime each
week, it is likely that each new music track will be broadcast to a much larger audience
than currently (across the whole UK), and we take some assurance from the Executive‟s
commitment that the new programme is likely to have a higher proportion of first-play
new music each week (that is, relying less on music repeated from previous weeks), and
will seek to include artists from across the UK.

We are also taking into account that the current opt-out programmes reach relatively few
listeners each week: 57,000 in England, 9,000 in Scotland, 12,000 in Wales and 4,000 in
Northern Ireland. We accept that this is in part due to its late timeslot, but nevertheless
the low audience, together with the relatively high costs of producing three separate
programmes, means that the current offering represents poor value for money.

In agreeing to the proposed change we also believe that both Radio 1 and the BBC more
generally will continue to support new music and unsigned and emerging artists very
strongly, in particular through:

Radio 1‟s specialist music programming every weeknight from 7pm to 4am and for
twelve consecutive hours on Friday and Saturday nights

The BBC‟s wider platform for supporting new music, BBC Introducing, a
collaboration between Radio 1, 1Xtra, 6 Music, Asian Network, Radio 3, Local May 2012 17
Radio and Nations radio stations intended to showcase unsigned, self-signed and
other emerging musical talent from the UK. This platform will remain unchanged.

The Son(s) - Leviathan EP

To keep your identity hidden in the current age is pretty impressive and I personally find it quite refreshing. That is exactly what The Son(s) have done following the release of their self-titled debut album last year and Leviathan, the excellent 6-track follow up EP. The album is available to buy NOW and the EP is released on 7th May. Both are released via Olive Grove Records, the DIY label that may well make the jump to a respected indie within the next 2 or 3 years if it continues its current approach.

I was going to write this review on first listen, a write-while-I-listen approach, that can either work well or hopelessly mis-fire as songs grow on me.


That approach went out the window very quickly and I am now on my fourth listen of the opening track 'Roaring Around The Houses'. There are some beautiful harmonies, gentle acoustic strums, a stunning melody played on an instrument I don't know, (maybe a flute sampler or something?). The vocals are exquisite, as is the recording and production. I would highly recommend listening to this on headphones.


Only two-and-a-half minutes long, be warned, you may be like me and go back and listen to this again and again.


'If I Hear You Talk Apostrophes Again' takes me by surprise as it comes in on a Bowie type riff, there is another nice melody plonked out from a piano, the vocals are completely different - hushed yet with a menace about them, the harmonies are close and brilliant again but in a different way. As it is The Son(s) I have no idea if it is a different singer or the same person who sang the opener. I did read somewhere it was one person, if it is then the guy is incredibly talented.

'When I'm King you're first against the wall'

'Cocksure Boys' slows things down again. I don't know if The Son(s) listen to The Beach Boys or not, but I am kind of guessing they do. The intricate melodies and variety of instruments are so special that you could play this to a stranger and pass it off as a long lost gem from the 'Smile' sessions or something. Seriously, this is special music. The production is sublime again as it is throughout this gem of an EP.

'You, you're just the kind of fellow, who likes taking things apart, 

but can't put 'em back together'

Again, I had to go back and listen to this a few times. It truly is a gem.


The quality and variety of music on this EP is truly remarkable. One of those few occasions where the music hits you instantly yet you know it also has so much depth that you will keep going back to it. 


I do hope The Son(s) eventually play live. I do also like and appreciate the fact they remain a mystery. Apparently promoters and festivals wanted them to play last year...they turned them down. 


'Half Lived' changes pace again. It has a dream like feeling to it and has the hook that turns into a mantra;

'Please cover the kids in kisses from me'

'Shot Out A Cannon' has an Elbow like feel and quality to it. The lovely instrumental to close the song ends too soon, you could get hypnotised by it. 


'There Is No-one To Thank' is just over 2-minutes long, yet that is more than enough time for The Son(s) to work their magic. The guitar playing is exceptional and the melody picked out on a xylophone is just beautiful.

'There is no-one to thank. There is no-one to turn and say thank you too

You don't know where they've gone, and it's no consequence of where you come from'

This is the best thing I have heard in ages. I don't really know what else to say, hopefully the references to The Beach Boys, Elbow, melodies, hypnotic instrumentals, hooks, etc etc will lead you to check it out.


For now, you can stream the EP from the Olive Grove Records Soundcloud page....but you will want this on your ipod. Or you can buy a cassette! 

Ryan Adams @ Glasgow Royal Concert Hall, 26th April 2012

It isn't often you get to witness a genius at work. On Thursday night I got to do just that when I caught Ryan Adams performing at the Glasgow Royal Concert Hall.

Armed with two acoustic guitars and a piano, Adams took us on a 2-hour journey through his entire career. It was spell-binding. The audience lapped it up, sitting in awed silence before responding in rapturous fashion, with several songs receiving standing ovations.

The whole set was one long extended highlight. Adams moved from sitting centre stage playing one of his guitars, to stage right to stand and play his other, moving to piano for some stunning songs including 'New York, New York.' His between song humour ranged from the mickey taking 'here's another miserable song' to complete off-the-wall banter. There was also an 'Ode To A Cat' song sung at the piano that was hilarious.

Starting with 'Oh My Sweet Carolina' from his 'Heartbreaker' album just set the tone as he jumped about his albums, moving swiftly on to 'Ashes and Fire', the title track from his latest album. The range in Adams voice is evident on record, in a live setting it becomes even more apparent how talented he is. It seemed so easy and effortless.

'Winding Wheel' is one of my favourite Adams songs and tonight my love for it seemed to grow stronger with every second. 'Firecracker' was a dream, 'New York, New York' was turned into a piano heartbreaker.

There were some Adams nuts in the audience who applauded his every move, something that Adams took the piss out of at times after some guys applauded him for walking across the stage.

 The swift double hit of 'Lucky Now' and the gorgeous 'Come Pick Me Up' prompted huge applause as Adams left the stage to a standing ovation.

The crowd wouldn't let him go and he sauntered back on to leaf through a huge black folder contaning who-knows-what. I imagine there are some works-in-progress and some long lost gems.

Getting annoyed that he couldn't find what he was looking for he played a song called 'Round and Round', a cover by a band called RATT.

Oh My Sweet Carolina

Ashes and Fire

If I am a Stranger

Dirty Rain

Winding Wheel

The Rescue Blues

Please Do Not Let Me Go

Do I Wait?

Firecracker

Everybody Knows

Sweet Lil' Gal (23rd/1st)

Why Do They Leave?

English Girls Approximately

Chains of Love

16 Days

Mr.Cat >

NY NY

The End

Lucky Now

Come Pick Me Up

-------------------

Round & Round

The day I bought Mani a pint at lunchtime

The reformed Roses 

OK, OK, excuse me for going into Stone Roses overdrive. I have somehow managed to persuade my wife to fly out to Amsterdam at the start of June to catch my favourite band...that I have never seen live.

Our friend Lynn lives out in Amsterdam and she messaged me earlier in the week to say she had two spare tickets. Now I am already travelling down to Manchester at the end of July to catch the Roses at one of their Heaton Park gigs, but the Amsterdam show is at the 5,500 capacity Heineken Music Hall. At Heaton Park I could be a mile from the stage.

The romantic notion of flying out to Amsterdam with my wife 10-years after our first (and last visit) to the beautiful city to catch the Roses on their third comeback gig got me excited. Easyjet flights were duly booked and I cannot wait.


The excitement caused me to indulge in the memory of meeting one of my favourite band's members back in March 1999. I remember it like it was yesterday.


Back then I had just turned 23. I was working for Abbey National's Customer Service Desk on St Vincent Street. It was a Friday, a dress down day, thankfully as I wouldn't have wanted to meet Mani in my square work gear. I still remember what I was wearing; Penfield anorak, baggy (if


I was walking up Pitt Street to go to Greggs or something. I was nearing Sauchiehall Street when walking across in front of me was Mani, or someone who looked like Mani, with a mate.


I turned on to Sauchiehall Street. It was Mani. Some kind of reaction (excitement) caused me to to just shout out, 'MANI'!


Mani stopped in his tracks and turned round. I caught up.


Mani - 'Alright?'


Me - 'F**king great to meet you, what you up to?' (I don't normally swear but I was young and excited)


Mani shook my hand, pumping it with a huge grin on his face, happy to be recognised - I think. Mani has always made time for fans.


Mani - 'Just mooching about the shops man.' (He said this in a particularly Mancunian accent)


Mani's mate Phil Smith (Oasis tour dj) - 'We're looking for a bar called Ocho.'


Me - 'I know where that is if you want me to show you?'


Mani - 'Sound as a pound.'


My passion for the Stone Roses was well known at work, so here I was walking down Sauchiehall Street with a legend. Over 2,000 people worked in that building at the time, a number of whom saw me, including fellow Roses fans. I felt 10 feet tall, especially when I saw a girl who I knew was a massive Roses fan. Her eyes were popping out of her head.

Mani at the Rooftops in Glasgow, their first Glasgow show

I chatted about the recent United v Inter Champions League Quarter Final and mentioned that a couple of my Mancunian mates had met Mani out in Milan.

Mani - 'Fucking top Euro away man, this is our year.'

We got to Ocho...


Me - 'This is us.'


Mani - 'Do you want to come in for a pint?'


Me - 'Yeah alright then.' (Inside I was screaming YEEEEAAAAHHHH)


We walked up the stairs and into the bar...


Mani - 'What you drinking?'


Me - 'No I'll get them, I'd really like to buy you a pint. The Roses were my favourite group and I love Primal Scream.'


Mani - 'Mine's a Kroneburg, Phil?'


Phil wanted one too, so it was 3 Kronenburg's all round. I still think of this day whenever I drink one!


We sat down, the only people in the pub. Now I don't normally get starstruck but I have to admit to being on cloud nine at this point.

Conversation flowed easily, as anyone with even the slightest knowledge about Mani's larger than life personality would expect. 

Mani in full flight - lost in music

Mani didn't disappoint, answering my questions about current Scream recordings (to be released the following year as XTRMNTR - with Mani bigging up how central his bass was to the sound), talking about United and the possible treble, his memories of the Roses.


I must have come across as 'alright' as they said they were going to Greenock that night and asked if I wanted to come. I declined as I had to go back to work! How very conscientious of me!


If I had the chance again I would have stayed out at least for another few pints. But an hour in Mani's company was enough, it left me buzzing.


I got back to work to loads of emails titled Mani and a girl in my team asking 'Who were you out to lunch with?'


Me - 'Mani!'


What a day. When a hero lives up to expectations (and more) it is a great feeling. Mani is just full of energy, enthusiasm and lust for life. It is infectious. He was a joy to have a beer with.


Mine's a pint Mani. ;-)