Great British R&B Festival Colne August 26th 2013. Chris Farlowe, Climax Blues Band, The Pretty Things, and Wilko Johnson
Marie and I spent the bank holiday Monday afternoon at the Great British R&B Festival, which is held each year in Colne, Lancashire. Yesterday afternoon’s line-up was particularly strong, featuring Chris Farlowe, Climax Blues Band, The Pretty Things, and Wilko Johnson on the International Stage which is in the Municipal Hall on the main street.
The Norman Beaker Band opened the proceedings at 2pm. Or rather the proceedings were actually opened by the crazy compare, wearing a fluorescent suit and hat. The guy did a great job on introducing the bands, changing his suit and hat throughout the day, getting more and emore outrageous as the day went on. Norman and the guys played a couple of songs before they were joined by Chris Farlowe. It’s a few years since I saw Chris. His voice was as soulful as ever, and the years haven’t diminished his energy or style. They played a set of favourites including Stormy Monday Blues; Tough on you, Tough on me; The Small Faces’ hit All or Nothing, and Handbags and Gladrags. They closed with (of course) his big hit Out of Time. The guy remains a master of R&B. Pure class and a great way to start the day.
Next up was The Climax Blues Band. Now if its a few years since I saw Chris, it’s even longer since I saw these guys in concert. In fact I think the last time I saw them was probably I the mid 70s. The line-up has changed many times over the years, with no-one remaining from the early days of the band. The current band continues the Climax traditional of recreating an authentic Chicago blues sound. We slipped out for something to eat,but got back in time to catch the end of their set, including their hit single Couldn’t Get It Right. 
The Pretty Things are a big favourite of mine, and they never let me down. The current line-up of the band features originals Phil May on vocals, tambourine and maracas, and Dick Taylor on guitar, along with long standing Pretty Frank Holland on guitar and mouth organ. They started the set with a couple of old R&B tunes, and the classic Cries From the Midnight Circus. Phil then explained that, although it was a blues festival, they had to play something from their classic album S F Sorrow. So next up was S F Sorrow is Born and She Says Good Morning. The three front men then switched to acoustic mode to sing a couple of old blues: Come on in my Kitchen, and Little Red Rooster, featuring some excellent slide guitar from Dick, growling vocals from Phil and great blues harp courtesy of Frank. These guy know how to sing the blues, and they just held the place spellbound. Then it was back to their old rock roots for Mona, and Midnight to Six Man. Great stuff. The Pretty Things were swiftly followed by the great Wilko Johnson. Wilko’s situation has been well documented, and his recent appearances have apparently all been joyous celebrations of his music and legend. Thankfully Wilko is still able to play and, in his own words: ‘It seems that I am still being spared the final onslaught of my terminal cancer. As the memory of the Farewell Tour recedes I am feeling again the desire to get up on stage and do my thing while health allows – so it is that I have decided to make some festival appearances during during the summer’. 
He had asked specially to play at the festival, having done so several times in the past, and everyone present yesterday was delighted to see him. First Wilko was presented with an award for British Blues legend, he then started his set with the Feelgood’s song All Through the City, and also included the Feelgood classics Going Back Home, Roxette, Back in the Night and She Does It Right. The crowd clearly love the guy, and it was a very emotional show, with Wilko strutting his stuff back and forth across the stage, chopping away at his telecaster with those familiar riffs. Its many years since I’ve seen Wilko in concert and I felt privileged to have the opportunity to do so once more. I must also mention Norman Watt-Roy whose bass playing was simply stunning. Again, its many years since I’ve seen Norman perform, probably since I he was with Ian Drury and the Blockheads. The encore was a very emotional Bye Bye Johnny, with everyone waving Bye Bye to Wilko. The crowd were on their feet for a full 5 or 10 minutes after he finished, giving him a real standing ovation. Strong stuff.
We left after Wilko’s set, and drove back up north to pick Laura up and then return home.
Posts Tagged ‘concert’
27 Aug
Great British R&B Festival Colne August 26th 2013. Chris Farlowe, Climax Blues Band, The Pretty Things, and Wilko Johnson
26 Aug
Nik Kershaw Newcastle City Hall 1984
Nik Kershaw Newcastle City Hall 1984
Nik Kershaw was very busy in 1984. He released two albums, Human Racing and The Riddle and had five hit singles: I Won’t Let the Sun Go Down on Me, Human Racing, Wouldn’t It Be Good, Dancing Girls, and The Riddle. I saw him at the massive Elton John show at Wembley stadium that summer, and on his winter tour, when he called at Newcastle City Hall. His backing band (who even had their own billing on the ticket!) were known as The Krew, and consisted of local lad, and old friend, Keith Airey on guitar, along with Tim Moore, Mark Price, and Dennis Smith. The tour was to promote The Riddle which is quite a strangely structured, but also very catchy song, which was a great favourite of mine at the time, and remains so to this day. 
I remember the place being packed and big singalongs for Wouldn’t it be Good and The Riddle :). Support act for the tour was Scary Thieves. I’m afraid I have no recollection at all of them! Wiki reports: Scary Thieves were a short-lived English 1980s New Wave band, best known for their 1984 hit “Tell Me Girl” and their 1985 hit “The Waiting Game”.
“Near a tree by a river, There’s a hole in the ground, Where an old man of Aran, Goes around and around, And his mind is a beacon, In the veil of the night, For a strange kind of fashion, There’s a wrong and a right, But he’ll never, never fight over you” (The Riddle, Nik Kershaw, 1984).
25 Aug
Kylie The Fever tour Newcastle Arena 2002
Kylie The Fever tour Newcastle Arena 2002
Laura quite fancied seeing Kylie Minogue in concert, and I had “Can’t Get You Out of My Head” running around and around in my head. So off we went to Newcastle Arena for the first of two nights that the Fever tour played there. The Fever tour was Kylie’s biggest production to date, using multiple stage sets and costume changes. The tour programme was a rather plush affair with a glossy cover and it came in its own silver bag (see below), quite similar to the Madonna programme from a year or two earlier. The show was very disco and dance oriented, and was split into seven acts: ‘Silvanemesis’, ‘Droogie Nights’, ‘The Crying Game’, ‘Streetstyle’, ‘Sex In Venice’, ‘Cybertronica’ and ‘Voodoo Inferno’, and an encore, and is recorded for posterity on a DVD, which was filmed at Manchester Arena.
Act 1: Silvanemsis started the show with an excerpt of The Sound of Music. Kyle appeared out of the floor wearing a metallic suit. She then sang Come Into My World, with dancers coming down from the ceiling. Surrounded by the dancers, she sand Shocked, and then Love At First Sight, with the title track Fever ending the first act. Act 2: Droogie Nights was clearly influenced by A Clockwork Orange, starting with Ode to Joy from the film, and Kylie dressed in an outfit clearly inspired by the 1971 film A Clockwork Orange, singing Spinning Around. 
Act 3: The Crying Game used the great Dave Berry hit The Crying Game to sandwich a number of Kylie songs: Where Is The Feeling?, Put Yourself in My Place, Finer Feelings, Dangerous Game and back to The Crying Game. Kylie was wearing a black gown with a long trail. Act 4: Streetstyle started with a dance interlude. Kylie then appeared as a police women to sing Confide In Me, Cowboy Style (including excerpts from The Real Slim Shady, Double Dutch, Double Dutch Bus and Buffalo Gals), and Kids. Act 5: Sex in Venice saw Kylie wearing a frilly mini-skirt to sing On A Night Like This, a swing version of Locomotion, with male dancers in fish-nets and stilettos. The act ended with a medley of In Your Eyes, Please Stay, Rhythm Of The Night in Latin style. Act 6: Cybertronica started with dancers performing a tap dance and batting with light sabres. Kylie then appeared dressed in a tank top and white shorts, and sang Limbo, Light Years, and I Should Be So Lucky. The final act, Act 7: Voodoo Inferno featured lots of fire, dancers with red mohican haircuts and Kylie singing Burning Up, and Better the Devil You Know. The encore was (of course) Can’t Get You Out Of My Head.
A very spectacular show, which Laura and I both enjoyed.
24 Aug
Kris Kristofferson Edinburgh Playhouse 2007
Kris Kristofferson Edinburgh Playhouse 2007
Kris Kristofferson is a truly great singer songwriter. Marie and I went to see him in solo acoustic concert at Edinburgh Playhouse around 6 years ago. The guy just stood, a solitary figure, alone on the stage with his acostic guitar and sang those great, simply, country songs. You forget how many classics he has written, and I was surprised how many I recognised. Me and Bobby McGee is of course my favourite. I could listen to him sing it all night. But then there was Help Me Make It Through the Night, and For the Good Times. And you know when he sings Sunday Mornin’ Comin’ Down, he is singing of his own hard times and his experiences with the demon alcohol. The guy is a legend and sings straight to you, straight from the heart. I can’t help compare him with his contemporaries Dylan and Willie Nelson. Those guys have bands and a big show. Kris is at the other end of the spectrum. Stripped down, just an old guy with his guitar, singing his songs with a level of authenticity and honesty which can captivate an entire concert hall. I once saw Pete Seeger do a similar thing in front of 2000 people with just his songs and a banjo. A different context I know, but there’s something about a man with a bunch of good songs. Untouchable.
Typical setlist: Shipwrecked in the Eighties; Darby’s Castle; Me and Bobby McGee; Here Comes That Rainbow Again; The Best of All Possible Worlds; Help Me Make It Through the Night; Casey’s Last Ride; Nobody Wins;Stranger; Enough for You; Billy Dee; From Here to Forever; Loving Her Was Easier (Than Anything I’ll Ever Do Again); Jesus Was a Capricorn; Come Sundown; The Heart; Just the Other Side of Nowhere; Jody and the Kid;The Pilgrim, Chapter 33; To Beat the Devil; The Promise; Sunday Mornin’ Comin’ Down; The Silver Tongued Devil and I; For the Good Times. Encore: Thank You for a Life; Moment of Forever; Please Don’t Tell Me How the Story Ends; Why Me
23 Aug
Brian Eno Movements Edinburgh International Festival 23 Aug 2013
Brian Eno Movements Edinburgh International Festival 23 Aug
National Museum of Scotland, Chambers Street, Friday, 2.30pm
As part of the Edinburgh International Festival Movements is a series of talks and events, presented in association with National Museums Scotland, exploring how artists have kept pace with technology over the centuries and how technology in turn influences artists. “An afternoon in conversation with influential, ex-Roxy Music synth player Brian Eno, as he shares his thoughts on the future of music and music production.Music since recording is a new art form, which bears only as much resemblance to traditional, performed music as cinema does to theatre. What are the special characteristics of this new art? How did it evolve? Where might it be going? Brian Eno shares his thoughts.”
Laura and I had a pleasant train journey up to Edinburgh, arriving at Waverley station shortly after noon. The weather was fine for this, our third visit to Scotland in last couple of weeks, and our second to the Edinburgh festival. We were both looking forward to hearing Brian Eno speak. He is a hugely influential figure in popular music, and we figured that it would be interesting to hear his views. I haven’t seen him in any live context since the 70s and his days with Roxy Music, and a performance with Phil Manzanera and the 801 band at the Reading festival.
The venue for Eno’s lecture was the National Museum of Scotland, which is a grand building just off the Royal Mile and a short walk from the station. We had a sandwich lunch at a cafe on Bristol Square before taking our seats in the lecture theatre. The chance of hearing Brian Eno speak does not come vey often, and the event had been sold out or some weeks. At 2.30pm prompt Eno entered the hall to a round of applause. He stood at a desk strewn with visuals, which he displayed on an overhead projector.
He explained that his talk was to centre around the two concepts of “the composer” and “the audience”, how these have developed over time and continue to develop, and how music sits between the two and “sometimes brings them together”. 
He then took us the through the history of the composer, starting back when music was there simply to enable dance, or as a way of creating noise which would frighten away big cats who had come to prey on ancient man. This progressed to a discussion of early recording media, and how the advent of multitrack enabled music to become an entity in its own right, a piece of aural painting or sculpture, separate from the performance, and existing not in a score, but in the record itself. He used the recording techniques of Les Paul and Mary Ford, Phil Sector and George Martin as illustrations of this, showing visuals to support his point.
Eno then turned to the subject of the audience, making a distinction between the formal, regimented, and structured way in which an audience of a classical recital behaves, and that of a rock concert, where the audience and the performer come together, sometimes literally, showing a picture of Iggy Pop standing on top of his crowd. He explained how he wanted to use technology to create aural soundscapes, as he has done in his pioneering work on ambient music.
The lecture finished with a short discussion of where music lies now, being created and layered from the recordings of our past, drawing an analogy with the techniques of the animator in film. Time was short, and the lecture was strictly constrained to one hour, which soon passed, with our speaker finishing with a couple of questions from the audience, and a few visuals left unused. One guy asked “what do you think of jazz?” and Brian answered that Frank Zappa said that “jazz was the definition of how to be unemployed”.
It was a very interesting and engaging lecture, which passed all too quickly. it was fascinating to hear Eno’s thoughts on music. Well done to the Edinburgh International Festival for including this in their programme.
Laura and I caught the 4.30pm train back to Newcastle; we were home around 7pm.
22 Aug
Kid Creole and the Coconuts Newcastle City Hall 1983 and 1985
Kid Creole and the Coconuts Newcastle City Hall 1983 and 1985
I saw Kid Creole and the Coconuts twice more, on their 1983 and 1985 UK tours. Looking back on this guy and his crazy band, makes me wonder why they weren’t a bigger success. You can see lots of influences in Kid Creole’s show, and it turn, he must have influenced lots of people. There are shades of James Brown, Sly Stone, Prince, and crooners like Frank Sinatra.
From the Kid’s official site: “Kid Creole and the Coconuts were born out of the burning embers of the brilliant and legendary Dr. Buzzard’s Original Savannah Band. August Darnell (Kid Creole) claims to have had a vision of the band in a nightmare while walking down Fifth Avenue in New York City. Born in the Bronx, Darnell is a man of multiple cultures, legends and personalities.” 
“For over 27 years Kid Creole and the Coconuts have been entertaining sellout crowds around the world. Inspired by Cab Calloway and the Hollywood films of the 30’s and 40’s, the Kid fills out his colorful zoot suits with style and grace, dancing onstage with his inimitable, relentless and self-proclaimed cool. The Kid is suave, smooth, self-centered and secure. A legend in his own mind. His talent for self-adoration, though, is equally matched by his brilliance as a songwriter, social commentator, and lyricist.” And the guy was an early example of world music, with a multi-racial band, and a fusion of jazz, big band, and south american rhythms. 
Setlist from a show of the period (probably from 1983): Turkey Trot; Going Places; I’m A Wonderful Thing, Baby; Mr. Softee; Loving You Made A Fool Out Of Me; Say Hey! Ain’t You Heard The News; Don’t Take My Coconuts; Annie I’m Not Your Daddy; No Fish Today; Que Pasa; Table Manners; Dear Addy; Stool Pigeon; Gina Gina; Imitation; Maladie D’amour. 
The song I remember most from the 1985 show is Endicott, which was a minor hit in the UK. Like most of the Kid’s songs, this told a story. Endicott was the perfect husband: “Endicott’s up by 5 o’clock, Endicott’s givin’ it all he got, Endicott’s job is six to nine but, Endicott’s home by nine o five, Endicott helps to cook the steak, Endicott helps to wash the plates, Endicott puts the kids to bed, Endicott reads a book to them. And the Kid’s girl would ask “Why cant you be like Endicott?” The Kid’s answer was: “Cause I’m free, Free of any made-to-order liabilities, Thank God I’m free, Cos it’s hard enough for me, to take care of me, oh-oh”. All of this would be played out as part of the show, with one of the Coconuts taking the part of the Kid’s girl. Great, fun stuff.
21 Aug
Eminem Bellahouston Park Glasgow August 20th 2013
Eminem Bellahouston Park Glasgow August 20th 2013
Laura and I are going to see Eminem at Bellahouston Park in Glasgow. Laura is really excited, and I am sort of looking forward to it, but I’m a little nervous about it. Will I be the oldest there?
DF Concerts boss Geoff Ellis said, “We’re delighted to announce Eminem as the first major act for Glasgow Summer Sessions. His performance at T in the Park and his previous stadium show at Hampden were spectacular, so this gig will be one of the events of the year”
I’ll report back as soon as I am able (ie after I have woken up, as I’ll be back late; its a long drive from Glasgow!).
Update: Just got up; we got home just before 2am. Well it was a strange night and yes I think I was definitely the oldest there. Laura declared it “amazing”. Eminem took to the stage around 9pm appearing from behind a white curtain, to a massive roar from the crowd. He then proceeded to play loads of songs from his back catalogue, doing shortened versions, usually one verse and the chorus, of many of his songs. Fraid I am not familiar with much of his stuff, but I did really enjoy the show. The park was absolutely packed, and many of the crowd were a little worse for wear to say the least. I’ve never seen so many mobile phones raised, so many arms waving and so many people up on the shoulders of others. The rain was pouring down, but that didn’t dampen anyone’s enthusiasm. I recognised the well known songs: Slim Shady, Stan and encore Lose Yourself. Eminem was flanked by his MC who did a lot of talking to the crowd, and fat to the back of the stage, up on platform, hid the backing band, the guitarists making their way down a couple of ramps to the front of the stage to take solos. The light show was amazing. It was just a great show, and I finally understood what this guy is all about, and why he remains so massive.
But there was also a heavy and menacing atmosphere about some parts of the crowd. Although the vast majority of the fans were just having a good time, a small number were clearly on the edge and looking for trouble. We saw a pretty nasty fight on the way out. And as we drove out of the car park a very drunk girl jumped into our car. Laura and I managed to persuade her to get out, but then a drunken guy opened the door and tried to jump in. I talked to him and managed to push him out and tried to close the door, but then he pushed his foot into the car and started to kick me, hitting me on the shoulder. A few people pulled him out. It was over in a minute or so and there was no damage done, but I’m afraid it soured the evening for us. We drove off and got home safely. I’m sure that it was just a one off and we were unlucky. In fact the majority of the fans we saw seemed in good spirits and just having a good time, but the incident shook us up, and it’ll take me a few days to get over it.
Setlist: Survival; Won’t Back Down; 3 a.m.; Square Dance; Business; Kill You; White America; Mosh; No Love; Just Don’t Give a Fuck; Criminal; Cleanin’ Out My Closet; The Way I Am; Fast Lane; Lighters; Airplanes, Part II; Stan; Sing for the Moment; Like Toy Soldiers; Forever; ‘Till I Collapse; Cinderella Man; Love the Way You Lie; My Name Is; The Real Slim Shady; Without Me; Not Afraid. Encore: Lose Yourself
20 Aug
Kid Creole and the Coconuts Newcastle City Hall 1982
Kid Creole and the Coconuts Newcastle City Hall 1982
I don’t recall how I first became aware of Kid Creole and the Coconuts. I guess I heard one of the early hits like “I’m a Wonderful Thing, Baby or Stool Pigeon on the radio, and I must have seen them on Top of the Pops. What I do remember is going along to see them in concert at Newcastle City Hall, not knowing what to expect, and being totally blown away by their show. And show was the right word for it. The music was difficult to categorise; blending a variety of styles and influences, including Latin American, South American, and Caribbean music alongside remnants of the big band era. And a crazy, super stylish and funny front man in the form of our hero August Darnell, aka Kid Creole, his foil, side-kick and the brunt of his jokes Coati Mundi, The Coconuts who were a glamorous trio of female backing vocalists, and a full band. The persona of Kid Creole was “inspired by … the Hollywood films of the 30s and 40s, the Kid fills out his colourful zoot suits with style and grace, dancing onstage with his inimitable, relentless and self-proclaimed cool.” (KidCreole.com). 
Kid Creole was to be “the larger-than-life central figure in a multi-racial, multi-cultural musical carnival.” (Sire Records, 1992). If you think of the Mardi Gras combined with 40s zoot suits, rock n roll, theatre and great humour, you might start to imagine what these guys were like live. The NME reported at the time that their live shows “were among the most propulsive and enchanting of the period”. I went home with the Latin beats ringing in my ears, and a new hero in the form of the Kid! I saw this band twice more, and each time was an equally crazy and fun occasion. Although they seem to have been largely forgotten, back “in the day” there was no one touch them for out and out, over the top, theatrical rock n roll fun. Actually, maybe there was; Mari Wilson and the Wilsations come to mind; but that’s a story for another day’s blog.
18 Aug
The Kinks Newcastle City Hall 1979 and 1981
The Kinks Newcastle City Hall 1979 and 1981
The Kinks returned to a more familiar rock and pop format with the album Sleepwalker in 1977, ending their string of concept albums and accompanying tours. This album was followed Misfits (1978), Low Budget (1979) and Give the People What They Want (1981). One further Kinks hit single was yet to come in the form of Come Dancing, which reached No 12 in the charts in 1982. The line-up of the band also changed, with John Gosling and John Dalton leaving. The core of Ray and Dave Davies, and Mick Avory on drums continued; Jim Romford (from Argent) joined on bass, and he was to stay with the band for the remainder of their career. I saw The Kinks twice during that period, at gigs at Newcastle City Hall in 1979 and 1981. Both concerts were glorious affairs, with Ray, Dave and the guys returning to playing the hits. 
By the late 70s The Kinks were starting to get the respect they deserve, with new wave bands like The Jam covering David Watts, The Pretenders singing Stop Your Sobbing, and rock band Van Halen including You Really Got Me in their live set. But nothing beats seeing The Kinks themselves play You Really Got Me, Lola or Waterloo Sunset. The latter song has always been my favourite, but didn’t always figure in their live set, although I did see them play it a couple of times. 
The Kinks continued to play until 1996. Their last years were spent largely in the USA, where they continued to have success. The 1981 gig was that last time I saw them, which is of some regret for me. I remember they played a concert at Middlesbrough Town Hall in the mid-80s, which I sadly missed. I would love Ray and Dave to make things up sufficiently to play together again. Seeing The Kinks just one more time would be wonderful. I’ve seen Ray solo many times in recent years, and I see Dave has been touring in the USA (how about some UK dates please Dave?), but nothing is like seeing the two brothers together, playing those classic tunes. Come on guys, one more time please.
17 Aug
The Kinks Newcastle City Hall 1976 Schoolboys in Disgrace
The Kinks Newcastle City Hall 1976 Schoolboys in Disgrace
In 1976 The Kinks toured to present another concept album “Schoolboys in Disgrace”. This was another in a series of concept albums which started with Village Green Preservation Society in the late 60s and continued through the mid 70s. The line-up of the Kinks at the time was the same as I had seen in 1975, and they were again augmented by a brass section, and backing vocalists. The story of “Schoolboys in Disgrace” is as follows: “Once upon a time there was a naughty little schoolboy. He and his gang were always playing tricks on the teachers and bullying other children in the school. One day he got himself into very serious trouble with a naughty schoolgirl and he was sent to the Headmaster who decided to disgrace the naughty boy and his gang in front of the whole school. After this punishment the boy turned into a hard and bitter character. Perhaps it was not the punishment that changed him but the fact that he realised people in authority would always be there to kick him down and the Establishment would always put him in his place. He knew that he could not change the past but he vowed that in the future he would always get what he wanted. The naughty little boy grew up… into Mr Flash.” (Ray Davies, 1975). 
Mr Flash had appeared before in the Kinks stories, as the villain from The Kinks’ rock opera Preservation. The front cover of the album, and hence of my copy of the programme shown here, was illustrated by Colin ‘Mickey’ Finn, a London illustrator, who also created the two delivery men characters used in the dire Straits video ‘ Money for Nothing’. The tour presented the album in its entirety, with use of visuals and props, and was great fun. The song that sticks out for me is “Jack the Idiot Dunce”, which I thought was great fun at the time. I’m not sure who portrayed the idiot dunce on the tour; possibly Dave. In 1978 the Finnish band Kontra had a number one hit in Finland with the a cover of the song. As with the 1975 tour, I don’t recall them playing any old favourites. I managed to find one setlist which suggests that they played the whole album, with “Money Talks” from Preservation 2 (which also features Flash) as an encore. Setlist: Schooldays Overture; Jack the Idiot Dunce; Education; The First Time We Fall in Love; I’m in Disgrace; Headmaster; Hard Way; The Last Assembly; No More Looking Back; Schoolboys Finale. Encore: Money Talks.
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