MUSIC:
Regarding my recent musical consumption, I’ve seen a couple of absolutely outstanding gigs. The one that stands out above all others was Edwyn Collins, on his farewell tour, at a packed Boiler Shop. Still hampered by the effects of a devastating stroke 20 years ago, Collins is approaching 70 and, perhaps understandably, thinks it is time to slow down. Backed by an incredible set of musicians, he arrived on stage slightly late, to a backing of The Mekons’ Where Were You? An apt choice as perhaps only Orange Juice’s Blue Boy can come close to it in terms of being the finest UK post 1977 7” single. Of course, the evening ended with Blue Boy, and it brought a hugely supportive house down, but before then there were many other highlights from his whole career. Strangely no Poor Old Soul or Losing Sleep but made up for by the best version of Don’t Shilly Shally I’ve ever heard. As for Falling and Laughing; ah man, it’s so heart-wrenching to see such a stellar figure in Scottish Pop Music calling it a day. I do desperately hope he continues to make music as, for 45 years, he has been a massive influence on me.
The next night, Ben and I were back at The Boiler Shop for The Wedding Present’s 40th anniversary tour. They’ve got a new mini album scheduled for December, Maxi, which is a revisiting of the driving theme of 1996’s Mini. I’m looking forward to it immensely. There’s a taster single of one of the tracks, Hot Wheels, out now and it is certainly rockier and dirtier than the band has been for years, partly due to the influence of new guitarist Rachel Ward, who seems to have reignited the riffing beast within Gedge’s soul, particularly on the second number of the evening in front of an impressive turnout, I’m Not Going to Fall in Love with You. Ever arcane, Gedge had designed a set list that covered all 40 years of the band’s existence in reverse chronology. Unfortunately, the choice of numbers for the early part of the set, bar the aforementioned I’m Not Going to Fall in Love with You didn’t really inspire, partly on account of the songs chosen, until 1995’s Kansas, which was the seventh song of the 20 they played. However, from that moment on, they absolutely caught fire, and it was an electric evening, hearing all the old favourites. As ever Corduroy, Dalliance, Kennedy and My Favourite Dress were received rapturously, but for me Click Click and Flying Saucer were probably the two best numbers. Another great night, but gigs on successive days had my lower back in bits.
The other live performance I attended was the month before and very different in both venue and scope. The latest Shunyata Improvisation Group public outing was in Earthlings Vegan Café, next door to the Gurdwara, just off the West Road and in sight of SJP. This is a part of the city I’ve probably not visited in 35 years, despite travelling parallel up either Westgate Hill or Barrack Road on countless occasions. I found it with ease, enjoyed a delicious bowl of spicy rice and beans, then settled down in the stifling downstairs back room, to enjoy the performance. Perhaps it was because of the heat that approximately 25% of the audience of 12 nodded off briefly, though I remained fully attentive. This time, the Shunyata core trio were augmented by electronic manipulator Maria Sappho. It resulted in probably the most abrasive sounds I’ve ever heard from SIG. I enjoyed the confrontational Buddhism, despite being forced to listen to part of the event from outside the door, as I was stricken by a bout of severe stomach cramps. Nothing to do with food, I hasten to add.
Once John Garner lay down his violin and took up the shakuhachi, we found ourselves on more familiar, introspective ground. A compelling meditative section involved John on bells, Katie using the frame of her zither for percussive effects and Martin doing the same with his guitar, was the key part of the performance. Strangely, Maria seemed to opt out of the collaboration from this moment onwards. The event was definitely a success for SIG, though I’m not sure Maria got much out of it. Also, following on from Interventions and Detours, John Garner and Martin Donkin have just released another splendid EP of guitar and shakuhachi improvised instrumentals, The Moon in the Stream. Like its predecessor, this shortish set concentrates on powerful yet meditative pieces, showing the almost telepathic interplay between the two performers and their instruments. SIG and their related projects, continue to inspire and beguile me in a way few other artists are able to.
Staying with the No Audience Underground, I got myself a couple of CDs from Wormhole World recently. The one I like best is the dazzlingly eclectic Carnival of the Sea by the ever-wonderful Emma Reed, under the name of Pettaluck. Having seen Emma at a TQ gig at The Globe last year, I immediately took to her quirky experimental music, that combines an array of styles from synth pop to free jazz to ambient soundscapes. This release is her finest yet, of those I know about that is, and I’d strongly advise you to search her work out on Bandcamp. The other release I obtained was Jude Montague and Dave Clarkson’s worthy project to celebrate their ancestors, Grandads. Unfortunately, it did absolutely nothing for me and I would be happy to give this away to anyone who would like it. Sorry, but it just isn’t my thing. For fans of acoustic singer songwriting in a decidedly English, nostalgic way.
TSPTR is a clothing brand, who seem to specialise in 1960s Peanuts sweats and tees. They’ve also just branched out into music, releasing bespoke, limited-edition compilation cassettes. When I saw Sound Library Volume 1 included a track by Alex Rex, I immediately bought a copy. The Drummer does The Problem with Suicide, which I’ve heard live before and probably was recorded during sessions for The National Trust album. It’s a great, mournful ballad and sits well on a thoroughly enjoyable tape which also features contributions by Bonnie “Prince” Billy, Alexis Taylor and Bobby Lee, whose contribution Slouchin’ Towards Rotherham is the best thing on here. A nice little purchase I must say.
Like Edwyn Collins, I’ve followed Davy Henderson’s career since about 1981. This is sometimes difficult as the notoriously obtuse frontman of the Fire Engine, Win, Nectarine Number 9 and latterly the Sexual Objects, has a somewhat unconventional two-fingers to The Man approach to his career and the music biz in general. That is why I’m delighted the best numbers of the Sexual Objects have been captured on the retrospective Orangutang CD. Including their finest moments, such as the sublime Here Come the Rubber Cops and the brutally sardonic Merrie England, it is one of my favourite releases of the year, combining the artful T-Rex stylings of guitar crunch and a kind of laid-back Loaded vibe that is enormously satisfying. This is truly an essential purchase.
Another band from a long time ago who had an unconventional approach to the music business were Principal Edward’s Magic Theatre, a 14-piece hippy aggregation of Exeter University potheads, who were the first act signed to John Peel’s infamous Dandelion label. Described by John Walters as “the most pretentious act I’ve ever come across,” they released a couple of acid-drenched prog folk albums then grew up and got jobs. I’m delighted to have found their first album Soundtrack on Discogs for a song. Ideal stuff if you’re a fan of the Incredible String Band or, even more obscure and counter cultural, Dr Strangely Strange. Far out man.
Most recently, I took a punt on one of those CDs that are advertised on Facebook as free if you pay the postage. This one was The DIY Years by Young Knives. I know they’ve been going for the thick end of 20 years, but all I’d ever heard was She’s Attracted to, which reminded me of Bogshed, which is no bad thing. That came out in 2005 I think, but the CD I ordered covered the period 2010-2025 and I have to say I enjoyed it quite a lot. Some of the later stuff reminds me of Robert Wyatt era Soft Machine, but I presume live they’ll be more angular pop funk thud. I mention them live as they’re coming to The Cluny on Friday 21 November. I might go, even if it is my least favourite venue in the town.
Of the books I’ve read recently, perhaps the two that stand out the most are the autobiographies of the brothers from 16 Lily Crescent in Jesmond: Rude Kids by Chris Donald and Him Off the Viz by Simon Donald. Like everyone of my age from up here, I adored Viz from when I first came across it, probably in about 1980 or thereabouts. I didn’t know the brothers, even if Simon was my school year and we had a load of friends in common, who get mentioned in the book (Gordon Poad, Stephen Bennett and the tragic Sandy Chadwin). Chris was a few years older and out of my social orbit. That said, we drank in the same pubs and saw the same bands. At these events, I often bought Viz and loved it. I’ve no idea when I stopped buying, though probably more than 35 years ago and only vaguely knew the Donalds had nothing to do with it any longer. Frankly, I’m not sure if it is still published.
Over the years, I got to know Simon to say hello to but wouldn’t even call him an acquaintance to be honest. I’d heard of his book when it came out in 2010, then updated in 2015, but only just read it when I found a copy in the local free library. It isn’t funny and it isn’t particularly well written, unlike Chris’s effort, but it is painfully honest about loss and relations in a pretty dysfunctional family. They had an older autistic brother who died quite young, a wheelchair-bound mother and an oddball penny-pinching dad, but what really got me, especially from Simon’s book, is how the two cartoonist brothers never really got on. Simon seems to have harboured a great deal of resentment about this, while Chris, who makes it clear that Viz was his idea, his project and his property, seems utterly unconcerned with the dynamics of running a business with his sibling as an employee. I’m very glad I read these books, which have an acute sense of Newcastle in the 70s, 80s and 90s running through them, but I’ll just take the cartoons on their own merit again. Very intriguing and a bit sad.
Also from the free library, I picked up Simon Pollock’s I Love Suburbia; a lavishly illustrated photobook dedicated to the ornate houses, art deco picture palaces and crenelated pubs in satellite towns that fringe the M25. It isn’t a sociological or architectural guide, just a celebration of eccentric buildings from the 1920s to 1950s, before brutalism became the go to architectural style for the capital city. A nice coffee table tome to flick through.
The Jesmond Vale free library provided me with two copies of the sober Stalinist periodical North East Labour History. As with all academic writing, it’s a tough read for pleasure, but I did enjoy articles about the Sunderland Rent Strike of 1930 in the first volume (2007) and an interesting take on the gender politics of the events before and after the 1991 Meadowell riots in the second edition (2011). Other interesting topics are hampered for me, a general reader, by the aridity of the prose. The same cannot be said of David Lodge’s implausible yet endearing novel about the futility of National Service, Ginger You’re Barmy which, despite a wholly unbelievable ending, provides an accurate and compelling depiction of the ennui and inertia engendered by two wasted years in a young man’s life.
The final book I’ve read is Tangled Lines editor Mike Head’s 21 Again. It is an affectionate and nostalgic trip back to the late 80s and early 90s, focussing on bands he followed at the time. The focus is mainly on Mega City 4 and Senseless Things, who I don’t think I ever saw and never really heard, but there is lovely bit about Snuff; a band I saw quite often and thoroughly enjoyed, especially their whacky cover version of the Shake n Vac advert, Blankety Blank theme and In Sickness and in Health. A great read and a book I strongly advise seeking out on Amazon.