Category Archives: Rock music

Blues rock: single review – Big River ‘Blackened Rain’

Album reviews, Rock music, , , ,

A consistent presence on the live music scene and and around the south-east these past couple of years, Kent-based blues rockers Big River release their latest single ‘Blackened Rain’. We keep being promised an album but, for now, we’ll have to be tantalised with another single. Following on from ‘Hometown Hustler’ and ‘Blues Blood Baby’ it contains that same blend of meaty guitar, soulful vocals and catchy hooks but this latest offering takes the band into heavier terrain and is an out and out blast of unadulterated hard rock. Think Bad Company with a good dollop of Led Zep blasting out from behind and you’re probably along the right lines.

Vocalist, Adam Bartholomew had decided to take some time out from the band and late 2018 saw the announcement of a new lead singer. However, Bartholomew is back once more, providing both vocals and lyrics here, and the new single has already been picking up considerable airplay.

It seems like these guys have had some ups and downs to contend with of late but ‘Blackened Rain’ is a great slice of hard rock and I look forward to that forthcoming album.

Big River are Adam Bartholomew (vocals), Damo Fawsett (guitar), Ant Wellman (bass) and Joe Martin (drums).

Released: 28th January as download on the Groovy Uncle label

https://www.facebook.com/bigriverblues/

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Related reviews:

Big River – Hometown Hustler

Big River – Blues Blood Baby

Live review: Giants of Rock, Minehead 25-28 January 2019

Glam rock, Live reviews, new wave of British heavy metal, New Wave of Classic Rock, Rock music, , , , , , , , , , ,

This was the sixth annual Giants of Rock weekend hosted by Butlins in Minehead – and my fifth. Here’s a small selection of bands that stood out for me this time, as well as one that I’m afraid just didn’t do it for me at all.

Worth seeing

Sometimes you want to see an artist, at least just the once, for the small part they played in rock ‘n’ roll history. For me, original Thin Lizzy guitarist, Eric Bell, was one of those names who fitted into that category. It meant missing the much-praised ‘New Wave Of Classic Rock’ band Ethyrfield on the other main stage, sadly, (but I made up for this by buying Ethyrfield’s CD from the merch stand later). Eric Bell gave us a run-through of rock ‘n’ roll and blues standards. It’s a little ragged in places but we’re soon into a rendition of ‘Whiskey In The Jar’ – a slightly different arrangement of the old folk song compared to Lizzy’s version that many of are used to but Bell’s unique guitar sound is unmistakable and this is basically what I came in to hear. Ironically, the drum-kit of Bell’s former band-mate, Brian Downey, sits unused behind Bell’s band because Downey’s own take on Thin Lizzy’s heritage, in the form of his Live & Dangerous tribute, was the next act. Anyone hoping for some form of cross-fertilisation between these two performances, however, would have been disappointed. There are no guest jam spots or even any acknowledgement that the two bands are in the same building on the same stage on the same evening. Compared to the revived Thin Lizzy of a few years ago (which ended up morphing into Black Star Riders) this is more faithful copy of classic-era Lizzy in conventional tribute act format. But Brian Downey has more than earned the right to perform and celebrate these songs as many times as he likes and the band get a good reception.

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Eric Bell http://www.eric-bell.com/

Ones to watch

Now performing under their new identity (but still down in the programme as VOiD due to them still using their old name when they were originally booked last year) Scarlet Rebels emerged as one of the stars of the introducing stage this year. “Unfortunately, there are about a million bands called Void and no-one could ever find us,” lead singer, Wayne Doyle, tells the crowd. I had caught these guys doing a support slot a year ago and what has not changed is their brand of classy, melodic hard rock which immediately impressed me first time around. Lead guitarist, Chris Jones, is an absolute live-wire on stage, injecting wave after wave of energy into the crowd with his soloing, while front-man, Doyle, has a great voice that’s just perfect for modern-day classic rock. Let’s hope any identity issues that the band suffered under their previous moniker are now firmly behind them and that Scarlet Rebels get the recognition they deserve. As one of the triumvirate of introducing stage winners over the three days they’ll be back at Butlins on one of the main stages next year. Thoroughly well deserved.

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Scarlet Rebels http://www.scarletrebels.com/

Surprise of the weekend

Playing only their second gig in 35 years (the first being at Skegness Butlins the week before) the newly-revived Geordie are one of the biggest surprises of the weekend. The band had a handful of hits in the mid 70s but are now best-known as the band that launched Brian Johnson’s career prior to him being tracked down by AC/DC in 1980. Original members Tom Hill (bass) and Brian Gibson (drums) are joined by Steve Dawson (guitar) and Mark Wright (vocals). Powerful, foghorn very Johnson-esque vocals from Wright with a very well-rehearsed band behind him served to breathe new life into some long-neglected songs. It was great to hear the likes of ‘Can You Do It’, ‘Don’t Do That’ and ‘All Because of You’ getting a live airing after all these years. I’ve seen numerous band revivals at weekends like this, sometimes on some really rather tenuous ground. I therefore approached this with a mixture of curiosity and cynicism but they massively, massively exceeded expectations. A real surprise. I was half-hoping that Geordie would encore with a cover of Back In Black or Rock n Roll Ain’t Noise Pollution as a cheeky little nod to the part they unwittingly played in rock ‘n’ roll history – but it wasn’t to be (Geordie – if you are reading this you should absolutely do it!). The job of delving into AC/DC’s back catalogue was instead left to the next act, Chris Slade’s Timeline when the current (and former) AC/DC drummer ran through a selection of classic songs from his various bands. For sheer impact and confounding expectations, however, the afternoon very much belonged to Geordie.

https://www.facebook.com/GeordieFanpage/

Old favourites

Sweet delivered a blistering set and hopefully gained a few more “oh, I just thought they were just a pop band I didn’t realise they were such a great rock band” converts in the process. However, I’ve written about this band many, many times before and readers of Darren’s music blog will be left in no doubt at all of my affection for all things Sweet. Instead, I’m going to give a mention to Oliver/Dawson Saxon. After they had both walked away from Biff Byford’s Saxon, guitarist, Graham Oliver, and bass player, Steve Dawson, got together and formed their own version of the band. Now I’m not saying Oliver Dawson Saxon are better than the actual continuing Saxon – but they are certainly more fun. With his on-stage patter, lead singer Brian Shaughnessy is more Wheeltappers and Shunters Social Club than Hallo Wembleyyyy  and cuts a hilarious and quite bonkers stage presence but he is an absolute dynamo of a vocalist. When it comes to belting out all those old Saxon classics there is always so much energy from this band and Minehead 2019 was no exception. There are no pretensions to be anything else with this performance. It’s just good old-fashioned New Wave Of British Heavy Metal played exactly the way it should be. The perfect party band to end the night with on a weekend like this. Oliver/Dawson Saxon we salute you.

http://www.odsrock.co.uk/

And one that just wasn’t for me

Paul Manzi had quite a busy weekend. He did an excellent job filling in as a temporary member of Sweet on the Saturday night due to Pete Lincoln’s absence and then he was back on the Sunday night fronting Cats In Space. There’s another Sweet connection, too, because former Sweet bass player, Jeff Brown, now carries out that very same role for Cats In Space. Like Sweet, harmony vocals and hook-laden melodies are in integral part of the band’s sound. Rather than the British glam rock era of the early 70s, however, this band very much take their cues from the American AOR/ power pop era of the early 80s, when albums were as shiny, polished and lavishly-produced as an episode of Dynasty. Unfortunately, as with that TV series it’s a genre of rock that simply leaves me cold. It’s clear that Cats In Space love what they are doing and they execute it with total professionalism. I really wanted to like them but three songs in I realise it’s never going to be. If the previous night was Sweet this, for me, was saccharine. I up and leave for the other stage. Raw, raunchy down to earth blues rock from guitar maestro, Rob Tognoni was the perfect antidote to what I’d just walked away from – and someone I look forward to seeing more of.

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Rob Tognoni https://www.robtognoni.com/

Related reviews:

Giants of Rock 2018

Giants of Rock 2017

Rock & Blues weekend, Skegness 2018

Hard rock: album review – John Diva & The Rockets of Love ‘Mama Said Rock Is Dead’

Album reviews, Rock music, , , , ,

This review was originally published by Get Ready To Rock here

Bouncy anthemic keyboards, smooth melodic riffs and catchy sing-along choruses John Diva & The Rockets of Love celebrate and take their cues from that mid-80s era of rock when the likes of Van Halen, Whitesnake (the rebooted American version) and Bon Jovi ruled.

Neither the band nor the album wear their influences lightly so when you listen to these guys there is absolutely nothing, and I mean nothing, to suggest the past thirty-five years have actually happened. The sound, the songs, the riffs, the lyrics, even the names of the band members (I give you guitarists Snake Rocket and J.J. Love) all suggest we are somewhere midway through 1984. This is good in many ways. After all, it was a much-celebrated period for hard rock where a number of bands became absolutely huge. However, some acknowledgement that life had moved on just a bit would not have have gone amiss either. In this post-Jimmy Savile, post-#MeToo era does the world really need a new song called ‘Lolita’ (the band’s single from the album)?

What they do, they do well though and there’s lots to like in tracks like ‘Whiplash’, ‘Wild Life’ and ‘Rocket of Love’ (even if the lyrics of the latter deploy every rock ‘n’ roll cliché known to man). We should also mention the obligatory power ballad ‘Just A Night Away’ – it is the 80s after all!

Frontman, John Diva, describes the album as follows: “It’s a trip for those who have lived and loved Rock ‘N’ Roll, for all those who still do so and for all the millions of people who up to now didn’t even know what they’ve been missing. We’re having a party as big as the eighties and you’re invited to let your imagination take flight by my wild and wonderful life.”

Personally, I think if I was going to travel back in time and permanently inhabit a past era of music, I’d be opting for the mid-60s British R&B scene or the late 70s NWOBHM scene – but if you love that mid-80s American rock scene you will no doubt absolutely love this album.

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Released: SPV/Steamhammer 8th February 2019

https://johndiva.com/

Live Review: Steve Harley & Cockney Rebel at De La Warr Pavilion, Bexhill 19/12/18

Hastings music scene, Live reviews, Rock music, , , , , ,

This review was originally published by The Stinger here

Steve Harley and his band-mates take the stage and launch straight into George Harrison’s Here Comes The Sun, a top ten hit for Harley and co, in 1976. It’s well received by the audience and I’m instantly transported back to the previous (and only) time I saw Steve Harley and Cockney Rebel, one blazing August afternoon at the Reading Festival back in 1983 when that song worked its magic on the crowd. It’s a great start. The trademark combination of electric violin, electric and acoustic guitars and keyboards all in place, the band have the audience on side straight away.

After a couple of energetically performed hits, however, he takes us into some of the more reflective songwriting of his later solo career. Harley is a hugely talented and award-winning songwriter, but my view has always been that with an instantly recognisable but fairly limited vocal range, Harley’s voice is better suited to the more upbeat pop-rock material. That was confirmed for me tonight. There’s some beautifully heartfelt songs and some absolutely superb musicianship. Original Cockney Rebel drummer, Stuart Elliot is still with the band and Paul Cuddeford is an absolute whizz on guitar. Between songs Harley is a witty, sincere and, at times, a surprisingly emotional host. However, much as I admire his evident songwriting skills on the slower, more sensitive material, the delivery didn’t always quite work for me.

After a short interval though we’re back on to some of the rockier material where the band excel, particularly the aforementioned Cuddeford, and where Harley’s vocals are perfectly suited. And as we come to the end we start to get another blast of the hits. Over the course of the evening we are treated to Mr Soft, Love’s A Prima Donna, Best Years Of Our Lives, Sebastian and many more. Struggling to move around following a recent hip operation Harley tells the audience he’s not going to hobble off stage, wait in the wings and hobble back on for an encore as he introduces his best-known and one of the most memorable pop songs of the past fifty years. Now in use by Pfizer as the soundtrack for a Viagra ad, he jokes that he offered them Mr Soft but they insisted on this one.
The normally genteel, all-seated De La Warr audience start to get up and make their way up to the front to dance along to a wonderful, life-affirming rendition of Make Me Smile (Come Up And See Me).

I learnt a lot more about what makes Steve Harley tick tonight. For someone who did not always endear himself to the media circus back in the day, he comes across as genuinely likeable and engaging. I’m still always going to love him more in glam rock god mode than in sensitive singer songwriter mode, much as I have a deep love for both genres, but this is a gig I am certainly glad I did not miss.

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Photo credit: Sarah-Louise Bowry

https://www.steveharley.com/

Five classic albums whose musical legacy outlived all the people playing on them

Album reviews, Music culture & history, Rock music, , , ,

With so many rock n roll icons leaving us in recent years I find myself playing a hell of a lot of albums that feature musicians who are no longer with us these days. Many historic albums from the 60s and 70s  now only have one or two of the personnel who played on them still alive. On Small Faces albums like Ogden’s Nut Gone Flake only drummer Kenney Jones remains with us, of the classic Electric Warrior-era T. Rex line-up we have only drummer Bill Legend still around and the same can be said for Ziggy Stardust and the Spiders from Mars – with only drummer Woody Woodmansey still around to celebrate the band’s legacy.

But here are five classic albums where none of the musicians playing on them are still with us.

1. Elvis Presley – Elvis Presley

Elvis’s 1956 debut album featured his regular backing band of Scotty Moore, DJ Fontana and Bill Black. Bassist, Black, died in 1965, the king himself passed away in 1977, of course, and Moore died in 2016. The final member of Presley’s original backing trio, DJ Fontana, sadly died this year. The album (with its iconic cover later inspiring the artwork for the Clash’s London Calling two decades later) contains classics like Blue Suede Shoes and Money Honey recorded for Elvis’s new label, RCA, as well as some previously released songs from his original label, Sun Records.

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2. Chuck Berry – After School Session

Although Chuck Berry stuck around until 2017 most of the musicians on his 1957 debut album (which features many classics like Brown Eyed Handsome Man, Too Much Monkey Business and School Days) passed away some decades earlier. Many would argue Johnnie Johnson’s piano was as much an integral part of that early rock n roll sound as Berry’s guitar. However, by the 1980s Johnson was working as a bus driver until support from the likes of Keith Richards put him back in the public eye. Johnson was finally inducted into the Rock and Roll Hall of Fame a few years before his death in 2005.

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3. Jimi Hendrix Experience – Are You Experienced

Hendrix’s 1967 debut was praised by Melody Maker for its artistic integrity and by the NME’s Keith Altham for being brave, original and exciting. However, just three years later Hendrix would be dead, followed by bass player Noel Redding in 2003 and drummer Mitch Mitchell in 2008. They leave behind an album that has been held up as one of the greatest and most influential debuts of all time.

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4. Ramones – Ramones

Critically acclaimed upon its release in 1976 and containing evergreen classics like Blitzkrieg Bop, the album “posed a direct threat to any vaguely sensitive woofer and/or tweeter lodged in your hi-fi” claimed the NME’s Nick Kent. The Ramones would be around for another two decades but at the turn of the millennium Joey (d. 2001), Dee Dee (d. 2002) and Johnny Ramone (d. 2004) would all go in rapid succession of one another, followed by original drummer Tommy Ramone in 2014.

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5. Motörhead – No Sleep ’til Hammersmith

A tearful rock world said goodbye to the seemingly indestructible Lemmy in 2015, only one month after the death of Phil “Philthy Animal” Taylor. Just over two years later the last member of Motorhead’s most famous and most memorable lineup, Fast Eddie Clarke, was gone, too. The trio recorded six albums together including this iconic live album. When Lemmy formed the band back in 1975 with a promise that “it will be so loud that if we move in next door to you, your lawn will die” he probably wasn’t expecting to be regularly appearing on Top Of The Pops and releasing a live album that went to number one but that is exactly what happened.

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Folk-rock: album review – Merry Hell ‘Anthems To The Wind’

Album reviews, Folk music, Rock music, , , ,

Merry Hell and their rousing brand of folk rock have been around since 2010 now, rising from the ashes of 90s folk punk band The Tansads. Rather than another album of electrified folk the Wigan-based band take a more pastoral approach this time, with the all-acoustic Anthems To The Wind offering reworkings of established favourites alongside some newer songs.

“… although the band has grown in many ways, we have wanted to continue performing in the more intimate venues where the full electric 8-piece would neither fit nor be suitable. The atmospheric hush of the folk clubs inspired a stripping back of many of our arrangements to get to the very heart of our music’s message,” the sleeve-notes tell us.

Much of the album is recorded live: at Bunbury Village Hall in Cheshire and the Lion Salt Works in Northwich, alongside the Music Projects in Wigan.

It opens with a reworking of Drunken Serenade from the band’s first album. Indeed, a memorable line from these lyrics gives this new album its title. It’s clear that songs like this and The War Between Ourselves lose none of their power through the acoustic treatment and, if anything, become yet more anthemic.

The album also proves an excellent showcase for some of the more poignantly reflective songwriting of the band’s Virginia Kettle, and her lovely vocals, on tracks like No Place Like Tomorrow.

Anthems To The Wind shows Merry Hell continuing to innovate and inspire. A fine album that lives up to its name.

Released: 26th November 2018

http://www.merryhell.co.uk/

anthems-cover

Related reviews:

Merry Hell – Bury Me Naked EP

Merry Hell – Come On England EP

 

Singer songwriter: album review – Marianne Faithfull ‘Negative Capability’

Album reviews, Rock music, , , ,

This review was originally published  by Get Ready To Rock here

With a recording career spanning over fifty years ‘Negative Capability’ is Marianne Faithfull’s twenty-first album. Battling arthritis, contemplating bereavement and dealing with loneliness, it’s a highly autobiographical and emotive offering from Faithfull. “It’s the most honest album I’ve ever made,” she says. “I’ve always tried not to reveal myself. There’s nothing like real hardship to give you some depth. I’ve had terrible accidents and I’m really damaged. It’s changed my life forever. I’m in a lot of pain and worked really hard to get strong so I can do my work. The great miracle is I was able to make this beautiful record. I really had no idea how it would turn out.”

Alongside a house band composed of Rob McVey, Warren Ellis and Rob Ellis and Ed Harcourt (who also collaborates with Faithfull on the writing on several of the tracks), Nick Cave also puts in a guest appearance on one track, the magnificent ‘The Gypsy Faerie Queen’ which Cave has co-written with Faithful.

Faithfull’s voice today is a world away from the soft, gentle, wistful lead vocal the world fell in love with when ‘As Tears Go By’ was released back in 1964. Her vocals, aged, deepened and absolutely full of life, love, loss, tragedy and reflectiveness, these songs are delivered with 100% sincerity and conviction. For those wanting to make comparisons, Faithfull even returns to her iconic 1964 Jagger & Richards interpretation, one of two covers on the album, alongside Bob Dylan’s ‘It’s All Over Now Baby Blue.’ Of the new material, the aforementioned collaboration with Cave, alongside the majestic ‘In My Own Particular Way’, the haunting ‘Witches’ Song’ and ‘They Come At Night’ (co-written with Mark Lanegan) are all absolute stand-outs.

With beautiful songs and stunning musicianship in ‘Negative Capability’ Marianne Faithfull has delivered a late-career classic.

Released: 2nd November 2018 on BMG

http://www.mariannefaithfull.org.uk/

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First, Last & Always with Darren Johnson

Music culture & history, Rock music

I answered some questions here for Jason Ritchie​’s Rocking Chair blog about albums that mean something to me.

The Rock 'N' Roll Oatcake's avatarThe Rockin' Chair - A good song never lets you down

Darren writes on rock and folk and as well as being a regular contributor to Get Ready To Rock and various other publications he runs his own music blog. He has also handled PR for a number of artists in recent years, including Bernie Torme, Thunderstick and prog-folk outfit Dandelion Charm. Visit Darren’s music blog here: https://darrensmusicblog.com/

The first album I ever bought…

Excluding the albums that I taped off my dad as a kid (Status Quo, Monty Python and so on) and excluding the copy of Highway To Hell that my older step-sister passed on to me when she decided she was punk and would no longer be listening to AC/DC, the first new album I bought (well it was actually a present for my 15th birthday but it was exactly what I asked for) was We’ll Bring The House Down by Slade. I have…

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Live review: Toledo Steel at The Carlisle, Hastings 3/11/18

Hastings music scene, Live reviews, New Wave of Classic Rock, Rock music, , , , , ,

A third live blast of this band for me in recent months, Toledo Steel are rapidly becoming one of my absolute favourite modern-era heavy metal bands.

Although they released their debut album ‘No Quarter’ earlier this year, the band are not quite new kids on the block, having been around since 2011 and with two prior EPs and a relentless round of gigging under their belts. Unlike a number of similar bands, however, their line-up has been relatively stable during that time and on-stage they are a formidable unit together.

Rich Rutter’s powerfully melodic vocals, combined with the twin guitar assault of Tom Potter and Josh Haysom and some truly, truly memorable songs make Toledo Steel a really great classic heavy metal outfit.

Storming through a set-list including ‘Heavy Metal Headache’ and ‘No Quarter’ from their recent album and ‘City Lights’ and ‘Speed Killer’ from their last EP the impact on the crowd is instant. These are not just great songs. They are fully-formed heavy metal anthems.

And with a nod to the classic era of heavy metal that has done so much to help shape and influence this band we also get a brilliant cover of Judas Priest’s ‘Heading Out to the Highway’.

Following in the footsteps of Black Sabbath and Motorhead in having an eponymously-named killer track they leave us with a momentous blast of ‘Toledo Steel’ for an encore and for everyone to roar along to. Superb!

While the Carlisle is not packed tonight the band absolutely storm the place and it’s clear Toledo Steel have some committed fans in the audience, myself included. Hopefully, it won’t be too long before they are playing on far bigger stages to far bigger crowds. They 100% deserve it.

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http://www.toledosteel.co.uk/

Related reviews:

Toledo Steel – album launch gig in London

Toledo Steel at Mearfest 2017

 

Live review: Ashley Hutchings ‘The Beginnings of Fairport Convention’ at Cecil Sharp House 1/11/18

Folk music, Live reviews, Music culture & history, Rock music, , , , , ,

As well as being a hugely influential musician Ashley Hutchings is a natural raconteur and an elegant wordsmith and here he’s built on his previous touring show (captured on the album ‘From Psychedelia To Sonnets’ in 2016) to put something together specifically about the early days of the band he founded: Fairport Convention.

Part book reading, part anecdotal reflection, part theatrical performance, part quiz show (!) and part full-on folk-rock concert, The Beginnings Of Fairport Convention is a two-hour show celebrating Hutchings’ period with the band 1967-69 and the four iconic albums they released.

For these performances Hutchings has put a full five-piece band together. Initially influenced by the folk rock that was springing up on America’s west coast and the burgeoning singer-songwriter genre Hutchings and his band-mates perform material that the original Fairport performed in their early days: songs like Eric Anderson’s ‘Close The Door Lightly When You Go’ and Leonard Cohen’s ‘Bird On A Wire’. It’s far removed from the English folk rock that Fairport Convention would move on to in just a year or two’s time and Cecil Sharp might be turning in his grave if he were to hear what was being performed in the hallowed venue he gave his name to but Hutchings and co. do a superb job of capturing the sound, and some of the energy, of those early Fairport gigs. (Well I was only a toddler at time so what do I know but to my ears it was like having some of the BBC sessions from Fairport’s Heyday album being brought to life some fifty years later.)

There’s anecdotes, too, of course: the band’s first gig, Jimi Hendrix asking if he could jam with them one night and, for their second album, Sandy Denny joining.

After a short break the band return and Hutchings talks us through the band’s evolution from ‘Britain’s Jefferson Airplane’ to the pioneers of English folk rock, following the band’s tragic crash on the M1. Hutchings recalls the weeks spent poring over manuscripts in the library next door and the revolutionary sounds they began to create together rehearsing in the Hampshire countryside ahead of the recording and release of the iconic ‘Liege and Lief’ album. The unforgettable instrumental from that album (‘The Lark In The Morning’ Medley) is recreated together with a beautiful version of Richard Thompson’s and Dave Swarbrick’s ‘Crazy Man Michael’. Becky Mills, who performs on the aforementioned ‘From Psychedelia To Sonnets’ album, does a beautiful job throughout the evening performing songs once sung by Sandy Denny, Judy Dyble and Iain Matthews.

Ashley Hutchings “the single most important figure in English folk rock” as Bob Dylan puts it, has more than earned his right to celebrate the legacy of the band he helped create in this way and, with the help of some talented musicians, gives us a very entertaining two-hour show.

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http://ashleyhutchings.co.uk/

Related reviews:

Album review – Ashley Hutchings ‘Twangin’ ‘n’ a-Traddin’ Revisited’

Album review – Ashley Hutchings ‘From Psychedelia to Sonnets’

Album review – Fairport Convention ‘What We Did On Our Saturday’

Fairport’s Cropredy Convention August 2017

Albion Christmas Band at Kings Place 16/12/14