It’s
a couple of months since I last discussed my musical preferences on here (http://payaso-del-mierda.blogspot.co.uk/2012_03_01_archive.html), so I
thought it was about time for me to revisit the subject, by means of a rundown
of the newly released albums I’ve bought this year. To be candid, I’ve also
been buying stuff by Cornelius Cardew, Pecker Dunn and Godspeed You! Black
Emperor, but those arcane pleasures are for another blog, dedicated to the
bizarre and the obscure. However, back to the present; instead of setting
myself the invidious task of rating my purchases in terms of artistic merit,
I’ve decided to go with the system of addressing them in alphabetical order.
Fairport Convention
– By Popular Request
I
picked this little beauty up at their gig at The Sage at the end of February
(see March music blog for review). It is a collection of their most popular
songs, as voted for by members of the Fairport Convention internet mailing
list, intended as a celebration of the band’s 45 years in the business.
However, rather than just a greatest hits collection, this is a series of new
recordings of established classics, though fairly predictably it doesn’t stray
too far from the original spirit and style of the songs themselves. Then again,
why on earth would Fairport want to do that? The running order isn’t a
chronological one, but more akin to the current live set. Obviously the album
ends, as every Fairport gig is contractually obliged to do, with “Meet on the
Ledge” and “Matty Groves” is on there too, as well as other early gems such as
“Fotheringay,” “Sir Patrick Spens” and
“Walk Awhile.” However, the ones that really do it for me are “Red and Gold”
and “The Hiring Fair,” two songs that I missed out on first time round and
hadn’t owned until this purchase. That said; the absolute classic on here is
Chris Leslie’s version of “The Hexhamshire Lass,” which brought the house down
at The Sage and is even better here. By Popular Request doesn’t break any
new ground, but this tilling of well loved land is a joy to behold. One year, I
will get to Cropredy!!
Lightships – Electric Cables
This
release, allowing as it does the genius behind it to cloak himself in his own
unassuming modesty by pretending it is a group effort rather than his own work,
is the debut solo album by Gerry Love, the bassist of Teenage Fanclub. It is as
beautiful as it was long awaited. Rumours of a Gerry solo album had been doing
the rounds for upwards of 3 years, and with typical Fanclubesque prevarication,
the release date for this was pushed back with monotonous regularity. However,
early 2012 saw Domino Records finally announce its arrival and for that we must
rejoice.
Rather
than the more upbeat TFC numbers Gerry was responsible for (“Sparky’s Dream”
and “Don’t Look Back” to name 2 of the top 5 Fanny songs of all time), Electric
Cables is a more, fragile delicate album, including three bona fide
classics in Two Lines, Silver & Gold and Sunlight to the Dawn,
though every song is a glorious, life-affirming slice of wholesome pop beauty.
If the summer holds, then get this album on, as I can’t think of a better way
to celebrate warmth, sunshine and the sheer joy of being alive on a glorious
June Sunday afternoon than by playing this album. Sadly, I was unable to get a
ticket for their May gig in Glasgow, but everyone who made it said it was
brilliant. Still, at least Percy Main won away to Murton that day. Not much
consolation really is it?
Snowgoose – Harmony Springs
From
the side project of one member of Teenage Fanclub, to the collaborative efforts
of two others; Raymond McGinley and Dave McGowan may not be the beating heart
of Snowgoose, but they are essential musical muscle to support the superb song
writing of Jim McCulloch and amazing voice of Anna Sheard. In any other era,
Anna would be seen as the finest female vocalist around; sadly for her, the
existence of Lavinia Blackwall means poor Anna isn’t even the finest chanteuse in Glasgow. It is instructive
to mention Lavinia, for if her combo Trembling Bells are the nearest thing we
have to the rebirth of Sandy Denny era Fairport Convention, then Snowgoose must
be Pentangle. Unlike the swirling majesty of Trembling Bells, or the luxurious
effervescence of Lightships, who they supported at the aforementioned Glasgow
show in May, Snowgoose are more autumnal in their wistful, melancholic tone. It
isn’t depressing; it is just slightly more introspective. The album is
excellent and a worthy trove of articulate early 70s post folk; I bought it on
vinyl on Record Store Day, when they played a short set at Reflex in Newcastle
(see http://payaso-del-mierda.blogspot.co.uk/2012_04_01_archive.html for a
review). I would appreciate seeing a full show by them, especially to hear such
great numbers as Crawl Out Your Window and Sycamore with the full band, though
acoustic Anna’s striking voice was thrust centre stage in such an intimate
setting.
Trembling
Bells with Bonnie ‘Prince’ Billy – The
Marble Downs
To
be perfectly honest, I was terrified at the thought of hearing this album. From
the first time I heard Trembling Bells, just after the release of “Abandoned
Love,” I’ve adored them. It isn’t just Lavinia’s voice, though it has to be
said she is the finest female vocalist in the entire world, it is also Alex’s
brilliant, cynical, cathartic lyrics and Mike’s stunning guitar work, that allows
them to effortlessly switch between Medieval Plainsong, wholesome Folk and
sprawling, enthralling Prog Rock. Three albums and three live shows, with every
single one leaving me utterly beguiled and inspired. I can’t hear “Willows of
Carbeth” or “Just as the Rainbow” without forcing myself to gulp down hard at
the lump in my throat. Music rarely gets this good.
Will
Oldham, aka Bonnie “Prince” Billy is a fascinating, productive talent. What did
worry me was that his hillbilly weirdo persona, which is often akin to the
musical embodiment of a Cormac McCarthy novel, would not sit well with
Lavinia’s classically trained English rose operatic tones. Amazingly that is
not the case at all; Oldham has reined in his garbled eccentricities and the
two acts fit cheek by jowl to produce an album of superbly crafted tales of
lost love, alongside a decent amount of self indulgent playfulness that takes
“Otley Rock Oracle” as a starting point,
then just gets weirder by the second. From the opening, hurried account of love
gone wrong, “I Made a Date with an Open Vein” to the closing cover of Robin
Gibb’s hysterical, anthemic “Lord Bless All” this album captivates and inspires;
nowhere more so than the brutal, apocalyptic take on Oldham’s sinister
“Riding.” I know I’m avoiding giving merit marks, but this is album of the year
so far.
The Wedding
Present – Valentina
Unlike
the Trembling Bells & Bonnie “Prince” Billy release, here was an album I
knew all about. Since their late 2010 Bizarro tour, The Weddoes have been
previewing tracks from this album, to the extent that it didn’t so much feel
like a new release, as another comfortable slice of Gedge philosophy with
guitars. And bloody great it is too, with the exception of the banal “Girl from
the DDR,” which must be the worst thing the band have ever done. Moving swiftly
on, it’s fair to say that the opening pairing of “You’re Dead” and “You Jane”
must be two of the finest post reformation WP tracks, especially the latter
featuring Gedge on drums. “Meet Cute,” “524 Fidelio” and the blistering “End
Credits” keep the pace and quality turned up to 11 on a thrilling, enjoyable
ride through the familiar territory of break ups and bitterness that has been
The Wedding Present’s stock in trade for almost 30 years now. Record Store Day
saw them release the accompanying “4 Chansons” EP, which includes
French language versions of “Deer Caught in the Headlights,” “End Credits” and
“Mystery Date” from Valentina and a special bonus track “Metal Men.” A very fine,
10” clear vinyl accompaniment it is too. Obviously, later this year The Wedding
Present are touring with Seamonsters, with me hoping to see
them in Dublin, Carlisle and Newcastle, though it must not be forgotten in the
midst of all this nostalgia, that this album is an excellent slice of their
work.
So,
apart from recorded music, what else have I been up to? Well, it’s been fairly
quiet on the gig front; not only did I fail to get to see Lightships in Glasgow,
but the appearance of Paul Brady at The Sage on Saturday May 5th
clean passed me by; consequently another opportunity to hear “The Lakes of Ponchartrain”
has gone. Luckily, the two gigs I have been to were both fabulous occasions.
Christy
Moore at the City Hall on Easter Sunday was exactly as you’d expect a Christy
Moore gig to be. However, it didn’t start so promisingly, when I was moved from
Row A to Row F, basically as there was no way you could see the fella from Row
A, because of the lip of the stage; no matter, it was a wonderful night, and
this was the set he played -:
1. Little Musgrave
2. Butterfly
3. Matty
4. Morecambe Bay
5. North & South
6. Burning Times
7. Barrowlands
8. Companeros
9. Veronica
10. D. T.s
11. Mc Illhatton
12. Tyrone Boys
13. Nancy Spain
14. Listen
15. Ordinary Man
16. Sun Shine In
17. Missing You
18. Quiet Desperation
19. Smoke & Strong Whiskey
20. Voyage
21. Ride On
22. Lisdoonvarna
23. John O ‘ Dreams ( in memory of Barney Mc Kenna)
Encore
24. Shovel
I hour 48 mins
2. Butterfly
3. Matty
4. Morecambe Bay
5. North & South
6. Burning Times
7. Barrowlands
8. Companeros
9. Veronica
10. D. T.s
11. Mc Illhatton
12. Tyrone Boys
13. Nancy Spain
14. Listen
15. Ordinary Man
16. Sun Shine In
17. Missing You
18. Quiet Desperation
19. Smoke & Strong Whiskey
20. Voyage
21. Ride On
22. Lisdoonvarna
23. John O ‘ Dreams ( in memory of Barney Mc Kenna)
Encore
24. Shovel
I hour 48 mins
The opener of “Little Musgrave” was a total surprise; the Irish
version of “Matty Groves,” for those who don’t know and it fair took your
breath away. Of the rest, “Morecambe Bay,” “Tyrone Boys,” “Ordinary Man” and
“Smoke & Strong Whiskey” really hit the spot. However, without wishing to
quibble, Liverpool the night before had 6 more songs and 20 more minutes,
including “Cliffs of Doneen” and “Farmer Michael Hayes.” Still, as part of this weekend’s jaunt to
Ireland, I’ve not, as yet, ruled out the possibility of a dodge up to Derry to
see him on Saturday night.
Finally, I must mention The Lady; an Homage to Sandy Denny
at The Sage on Sunday. What a wonderful, ensemble show this was; a dozen and a
half musicians combining together to celebrate the life and works of the finest
female singer, other than Lavinia Blackwall, that English folk music has
produced. Arriving fashionably late, we missed “A Sailor’s Life,” which was the
introduction, or overture I suppose, including Dave Swarbrick and Jerry
Donaghue, who’d last been on Tyneside with Ray Jackson’s Acoustic Gathering at
the Cluny in March; both of those were the only musicians who’d actually played
with Sandy back in the day. However, next up was Lavinia producing a stunning,
authentic take on “North Star and the Grassmen,” which was so perfect as to
equal the original.
Obviously, Sandy’s songs were not all that Fairport did, so there
were moments when the quality dipped; possibly because of the material, but
possibly because of the performer. I had no prior knowledge of Joan Wasser, but
I will make no attempt to seek out her band Joan As Police Woman; it was
dangerously close to power balladry when she took the stage. Maddy Prior has
been around the block and it’s fair to say I doubt she’d do Steeleye Span’s
back catalogue justice these days, though her version of “Fotheringay” was
almost sublime, even if her attempt at dancing looked like an out take from Edna
The Inebriate Woman; The Musical.
Thea Gilmore is a decent singer and has added music to Sandy’s
lost lyrics; all pleasant enough, but not brilliant. PP Arnold was brilliant;
her soulful, gospel voice shouldn’t have worked in a folk setting, but it did.
Her healthy demeanour certainly acted as a decent counterpoint to Dave
Swarbrick, famously announced as dead by The Telegraph in 1999, though his
fiddle playing is still awesome at the least. Green Gartside has travelled a
long way from Skank Bloc Bologna to Next Time Around, but he didn’t do a
bad job. The best laugh was double bass player Ben Nicholls strapping on a 5
string banjo and doing a rockabilly version of Matty Groves; Fairport
absolutists would have been aghast!!
Unsurprisingly, Lavinia was the star of the show; her take on Late
November was almost as much of a highlight as the whole cast on stage
doing a closing Who Knows Where The Time Goes? It was joyful, it was brilliant
and it made up for the uneven quality of material and performers. In short, it
was a brave night and a brilliant idea that served as a fitting tribute to the
late Sandy Denny.
So , there we go; other than Euros Childs in September, the
Weddoes in November and possibly Christy Moore on Saturday, this is where the
music stops… until I tell you about Cornelius Cardew, Pecker Dunn or Godspeed
You! Black Emperor.