Posts Tagged ‘R&B’

Led Zeppelin Sunderland Locarno 12th November 1971

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My ticket from the gig. Pretty cool graphics.

Led Zeppelin Sunderland Locarno 12th November 1971
So having recovered from my Zeppelin experience at Newcastle City Hall the previous night, I was ready to see the band again at our local ballroom Sunderland Locarno (or The Mecca, as we knew it). Local ace promoter Geoff Docherty had been promising us a Zeppelin gig in Sunderland for some time. By 1971 the band were massive, and it seemed unbelievable that they would come and play at our local Mecca ballroom. But Geoff was true to his word, and delivered the rock gods to us on a Friday night in November. The account of how his persistence landed the Zeppelin gig is well documented in Geoff’s excellent book “A Promoter’s Tale” (Docherty, 2012). Tickets had been on sale at Bergs record shop in Sunderland, for all of 75p. I still have mine, and pretty cool it looks too. Like many others, I rushed home from school, and got over to the Mecca early, to join the queue and get a good spot down the front near our idols. By the time the doors opened there was a massive queue right down the ramp which used to lead into the venue, along the street and over the road to the Wheatsheaf pub, which stood on the corner. Everyone I knew was going; there were lots of friends in the queue with us. I was full of stories of the previous night’s gig and how great Zeppelin were.

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Rear of the ticket. I wonder how many people took up the offer of 25p off the lp?

As soon as we got in, we took our places on the dance floor. Those were the days when you would sit cross-legged on the floor watching the band. The Mecca was a medium size ballroom, I would guess it must have held around 1,500 or so people. The dance floor had wonderful plastic palm trees at either side, and there was a revolving stage, although for bigger bands like Zeppelin a wooden platform was built above that. I remember that Zeppelin came on stage quite late, and the crowd immediately rose to their feet and surged to the front, forming a terrible crush. There was some concern about taking photographs, I think they searched us at the door on the way in, and were confiscating cameras. I remember a guy trying to take a photo of Robert Plant just as they came on stage, and the bouncers waded into the crowd to get his camera. Robert intervened, and told the bouncers to leave off the guy to a great cheer from the crowd. The set list was similar to the previous night, but the atmosphere was so much better. I was right down the front close to the band; I could almost touch them and the atmosphere was electric. plant They played an extended version of Whole Lotta Love, incorporating a medley of rock’n’roll standards, such as Hello Mary Lou. I managed to stay down the front for about half of the set, but I was too hot, sweaty and crushed and in the end I gave up and made my way to the back of the hall, and spent the latter part of the concert up in the balcony.
My friend, John, was also at the gig and sent me his memories of the night: “Obviously this was a really big deal for them to play in Sunderland, probably everyone we knew tried to go. They had just returned form Japan and played a 16 date UK tour to close out the year, which included two London Empire Pool concerts, known as the Electric Magic shows; which lasted for five hours and included Stone the Crows and some mixed vaudevillian and circus acts. I can remember queuing up to get in and standing on the ramp that leads up to the entrance with friends. It was the only time I can recall queuing up to get in. I can vividly remember being at the very front at the beginning of the show, I could almost touch the band, at the right hand side of the stage in front of a speaker stack when they played the Immigrant Song. It was so loud and with Plants voice so high, I am embarrassed to say that it was a bit hard to take and I had to move back a few spots. I remember them sitting down for the acoustic set on stools, which was quite unusual for the time and Robert saying something like “we are going to have a cup of tea”. Although I was not a big acoustic fan I thought that section was just great.The fourth album had been released just before the show (it was out on November 8th 1971) and I do not recall Stairway seeming a big deal at the time, but rather Whole Lotta Love was the highlight for most people.”
pageSetlist: Immigrant Song, Heartbreaker, Black Dog, Since I’ve Been Loving You, Rock and Roll, Stairway to Heaven, That’s the Way, Going to California, Tangerine, Dazed and Confused, What Is and What Should Never Be, Celebration Day, Whole Lotta Love (medley including Hello Mary Lou, Let the Boy Boogie, and other rock’n’roll standards), Communication Breakdown.
Sadly the Mecca was demolished a year or so ago, and in the spot now stands a massive supermarket. I drove past this morning, and thought of that magical night. The next time I saw Zeppelin was back at Newcastle City Hall, a year later. I’ll write about that show tomorrow.
Thanks to John for the photographs of his classic Page and Plant posters.
Reference: Docherty, Geoff (2012) A Promoter’s Tale: Rock at the Sharp End, CreateSpace Independent Publishing.

Led Zeppelin Newcastle City Hall 11th November 1971

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My ticket stub; a bit battered and with rusty pinholes from when I had it proudly displayed on my bedroom wall.

Led Zeppelin Newcastle City Hall 11th November 1971
For an old guy like me, who grew up listening to rock music in the late 60s and early 70s, Led Zeppelin were THE band. Their early albums are absolute classics of blues rock, and their live shows were simply the thing of legend. Everyone I knew had a copy of Led Zeppelin II, and would bring it to school to play at the record club, proudly displaying it to as a badge of honour. I’d so wanted to see Zeppelin live since I’d heard my friend’s older brothers talk about how great they were. They were lucky enough to see them at Newcastle City Hall and the Mayfair in the late 60s, and they came back from those gigs so excited, full of tales of Plant’s screaming vocals, of Page’s amazing guitar and how he “played his guitar with a violin bow”. In those days such tricks seemed almost unbelievable to a teenager like me. So when Zeppelin toured in late 1971 it was my turn to see them for the first time. I was determined to make the most of the opportunity, and was lucky enough to end up seeing them twice in two days, on the first two nights of their UK tour, when they played in Newcastle and Sunderland. The concerts took place in the week that the classic Led Zeppelin IV album was released. Zeppelin were at the peak of their powers at this time, and were simply an awesome, electric live act.
I had a ticket for the Led Zeppelin concert at Sunderland on the Friday night, and just couldn’t wait! So I decided to try and see them at Newcastle the night before. The City Hall gig has been sold out for weeks, with people queuing all night for tickets; but I wasn’t going to let that stop me. I got home quickly after school on the Thursday night, had something to eat, and then set off on the train to Newcastle to try and blag a ticket outside of the venue. I managed to buy a ticket for a pretty ropey seat up in the circle, paying £1; which was twice the 50p face value. This may sound cheap now, but it seemed quite expensive at the time. But hey I was in, and although my view wasn’t great; I was going to see Led Zeppelin for the first time! I took my seat and waited for Zeppelin to take the stage. zepposter There was no support act; soon the lights went down and the guys stormed out, Robert Plant greeting us with a simple “Good evening! Here we are again”; and then it was straight into Immigrant Song, with Plant’s screaming wails roaring above Jimmy Page’s guitar. Page was wearing his guitar low, down around his knees, prowling around the stage while Prant posed, and played the rock god at the front. John Paul Jones stood quiet, and calm, providing the bass rhythms while John Bonham pounded and bashed away at his massive drum kit. For the next couple of hours I sat completely mesmerised by this band. I couldn’t take my eyes off Page and Plant. The set unfolded; featuring old favourites and tracks from the new lp. There were so many highlights: the opening “Hey hey mama said the way you move, Gonna make you sweat, gonna make you groove” lines of Black Dog; the mystical beauty of Stairway to Heaven; the back to their roots rhythms of Rock and Roll; the exquisite blues guitar and blood-tingling vocals of Dazed and Confused; the acoustic guitar interlude for Thats the Way, Going to California and Tangerine. And Jimmy Page did play his guitar with a violin bow, and he has this strange aerial which he waved his hands at and, as if by magic, made weird spacey, spooky sounds (I later learned that this was called a theremin).
A crowd recording exists, on which you can apparently hear Robert Plant talking about the release of the new album: “Now then, today’s the day of the Teddy Bear’s picnic, and to go with it, the new album came out. I know what they say about the lenght of time between the two, and I’m sure you can read all sorts of reports and toss a coin!” The concert was quite long, over two hours, and LOUD (which was good; for me the louder the better), even up in the circle where I was sitting. Just perfection; the greatest rock’n’roll band in the world. I caught the late train, the music still ringing in my ears, still buzzing and knowing that I’d experienced something very special. I couldn’t wait to see them again the next night, and bored everyone at school with how great they were.
There seems to be a little debate as to the setlist that night. Most sites show the set as: Immigrant Song; Heartbreaker; Black Dog; Since I’ve Been Loving You; Rock and Roll; Stairway to Heaven; That’s the Way; Going to California; Tangerine; Dazed and Confused; What Is and What Should Never Be; Celebration Day; Whole Lotta Love. Encore: Communication Breakdown. However, I’ve also read that they played Moby Dick, but I am assured that this was not the case. They did however also play Bron-y-aur Stomp.

The next night I saw Led Zeppelin again, when they played at Sunderland Locarno ballroom. I’ll write about that, my second, and equally as exciting, Zeppelin experience tomorrow.
Thanks to John for the snap of the poster, and for helping jog my memory.

Little Feat Newcastle City Hall 1977

Little Feat Newcastle City Hall 1977
feattixLittle Feat played two nights at Newcastle City in 1977, as part of a UK tour. I attended the first concert. There was no support act. The line-up of the band at the time was the late great Lowell George on vocals and guitar, Paul Barrere on guitar, Richie Hayward on drums, Bill Payne on keyboards, Sam Clayton on percussion and Kenny Gradney on bass. Feat were also accompanied for the tour by the Tower of Power horn section. The tour was to promote their sixth studio album Time Loves A Hero. I’d seen Little Feat previously when they supported The Who at their 1976 Charlton concert, but can’t pretend that I was a massive fan; although they were undoubtedly a fine band. To my shame I never took the trouble to listen to much of their stuff. This was still the case when I went to see them with my friend Ian in 1977, so most of the set was new to me. I did of course recognise Dixie Chicken, and enjoyed the concert. This was the band at the peak of their powers, and the show certainly showed off their excellent musicianship. featprog I saw similarities to the Grateful Dead show that I attended at the same venue a few years earlier; lots of jamming, top class playing, and quite laid back southern rock. I really should have invested the time to get to know their material before I went to see them. From the tour programme: “Little Feat. Six albums strong, turning the fine edge of their music into a resiliency that has been able to withstand countless setbacks. Little Feat, finally at the juncture of in their colourful history where they’re able to have their cake and eat it too. Little Feat on the heels of Time Loves a Hero. It’s been six years of hard rock’n’roll labour but its obviously been worth it, from the beginning”. Lowell George sadly died of a heart attack in 1979. I saw the latest version of Little Feat at the Sage a year or so ago. Setlist: Walkin’ All Night; Fat Man in the Bathtub; Red Streamliner; Oh Atlanta; Day at the Dog Races; All That You Dream; Mercenary Territory; On Your Way Down; Skin It Back; Old Folks Boogie; Rock and Roll Doctor; Cold Cold Cold; Dixie Chicken; Tripe Face Boogie.

Jerry Lee Lewis Newcastle Mayfair 1980 and Newcastle City Hall 2004

The Jerry Lee Lewis Show Newcastle Mayfair 1980
jerryleeprog1980 Jerry Lee came to town, and the Newcastle Mayfair ballroom, normally a heavy rock stronghold, transformed into a cabaret venue especially for the occasion. The tickets for this concert were relatively expensive, probably around a fiver a pop, or a little more if you elected for the chicken in a basket option. Marie and I opted to pass on the supper, but couldn’t resist the opportunity to see The Killer in action. The Mayfair was pretty full, with a very different crowd to the normal Friday night rock crew. The set was quite short, probably around an hour or less, which is I guess was the norm for a Jerry Lee concert at the time. Jerry was backed by a full band dressed in their very best concert suits. He sat at a grand piano, wearing a pair of shades and cool country and western gear. His set was a mix of country, gospel and the classic early rock’n’roll hits, including Whole Lotta Shakin’ Goin’ On, Great Balls of Fire and Chantilly Lace. The guy knew how to perform and hold a crowd, and his boogie woogie piano was pretty fine, very fluid. Ever the showman, Jerry Lee played the piano with his foot, kicked aside the stool and played standing up, and then climbed on top to sing to us. I sat in awe, feeling privileged to witness a true rock legend close up.  Support for the 1980 Jerry Lee Lewis tour was J D Sumner and the Stamps, a US gospel singing group who had been backing singers for Elvis.
Jerry Lee Lewis The Generations Tour Newcastle City Hall 2004
jerryleetix Roll forward 24 years and Jerry Lee was back in Newcastle, this time at the City Hall. We’d had heavy snow, and it was on a cold winter night that I turned out for my second experience of The Killer live. This City Hall was packed, with several members of the audience proudly wearing their best teddy boy drapes. By 2004, Jerry Lee was in his late 60s, but he was in fine form, singing and playing a set of classic rock’n’roll. The set was short, probably around 30 minutes, but that was fine by me. What I got was another glimpse of a legend, with the same twinkle in his eye, and the same power in his voice. And his piano playing was as rocking and rolling as ever. jerryleeprog2004 The setlist for the London show of the tour is (from the setlist.fm site) as: My Babe; Lonely Weekends; Sick and Tired; Matchbox; Proud Mary; Drinkin’ Wine Spo-Dee-O-Dee; She Even Woke Me Up to Say Goodbye; Lucille; Don’t Put No Headstone on My Grave; Chantilly Lace; High School Confidential; Rockin’ My Life Away; Mean Woman Blues; Kansas City; What’d I Say; Whole Lotta Shakin’ Goin’ On; Great Balls of Fire. I would guess that the Newcastle show featured a similar set. I certainly remember that he played Whole Lotta Shakin’ Goin’ On; Great Balls of Fire, and the song Drinkin’ Wine Spo-Dee-O-Dee (great title :)) sticks in my mind. Support came from Blondell, an Elvis tribute act, and Jerry was accompanied by The Memphis Horns and the “All Star Killer Band”.
Jerry Lee continues to tour and play to this day, and reviews suggest that the fire remains. Long Live The Killer!

Lone Star Newcastle City Hall 1977

Lone Star Newcastle City Hall 1977
lonestar Lone Star (not to be confused with the more recent band Lonestar) were a mid to late 70s Welsh rock band formed in Cardiff. Their line-up featured ace guitarist Paul “Tonka” Chapman, who had impressed me when I saw him in the early 70s playing in Skid Row (he replaced Gary Moore), and UFO, where he played alongside Michael Schenker. I saw Lone Star a few times; as support act on the Mahogany Rush and Mott (post Hoople) tours, at the 1977 Reading Festival, and on this (I think it was their only) major headline tour. They were a pretty classy heavy rock band. Their music was much more than straight heavy metal; they were quite melodic with shades of UFO and Zeppelin, and hints of jazz, blues and prog. This UK tour was in support of their second, and final, studio album “Firing on All Six”. It was a pretty epic rock gig, Lone Star displaying a level of confidence and a stage show that you would normally associate with a much more established band. However, the City Hall was by no means full; the band were still not that well known. Lone Star performed an awesome extended rock version of the Beatles’ “She Said She Said’, which features on the album. “Bells of Berlin’ was another live favourite. I must dig out my copy of “Firing on All Six”. Young new-comer John Sloman had just joined on vocals, replacing original singer Kenny Driscoll. This was Lone Star at their peak, and 20 year old John was (quite rightly) being compared with Robert Plant. The word on the street at the time was that Lone Star were going to be the next massive rock band. Sadly this was not to be. The band split shortly after this tour, John Sloman went on to join Uriah Heep, and Tonka Chapman rejoined UFO. Support came from Stranger (thanks to Mitch).

Linda Lewis Sunderland Empire 1975

Linda Lewis Sunderland Empire 1975
Support from Labi Siffre
lindatix Linda Lewis worked incredibly hard in the first half of the 70s. It seemed that everywhere I went, I would saw her perform. One of the first occasions I became aware of her was when this chirpy, cheeky but obviously nervous young lady took to the stage to sing and strum her songs early one day at the 1972 Reading Festival. She then popped up as the opening act on a number of concert tours of major artists of the time. I recall seeing her open for Cat Stevens, and Elton John, and there were certainly others. And she also took to the stage of the 1975 Knebworth Festival, sharing the bill with Pink Floyd, Captain Beefheart, Roy Harper and Steve Miller (and of course DJ John Peel).
Linda always came over as a genuine person. She would chat with the audience, and had an engaging, chirpy and bubbly personality. Her songs were a mix of folk, pop and R&B; as a result she was quite difficult to categorise. As the 1975 tour programme explains: “Tonight, ladies and gentlemen you have the pleasure of viewing one of the great contradictions of our time; Linda Lewis. Sounds like a bit of a cheek? When Linda greets you on stage or in person there is an immediate air of warmth, good will and earthy sensitivity. Between those occaional high pitched giggles, there is an outspoken artist who is very much her own woman.The contradiction lies with us her audience. Look around you tonight and you’ll see the kind of melting pot that Linda attracts as her fans. lindaprog There are those who welcome sweet singing Linda, wrapped in delicate shawls, long skins and singing the misty lyrics of her early days. To the younger ones, Linda is the chirpy voice on the Spangles ad and the crooner of ‘Rock A Doodle Doo’. Late nighters have been swayed by her sensuous jazz influenced sets down at Ronnie Scott’s Club twice this year. And across the ocean, her old tim€e soul singing on ‘It’s In His Kiss’ probably has them envisioning her as the British Gloria Gaynor. Giving credit where it is due for diversity, it’s not everyone who has shared the stage with Elton John and The Staple Singers, Ritchie Havens, Jim Webb, Family plus tackled the Knebworth festival.”
By 1975, Linda was out on her own headline tour. My friends and I caught the tour when it called at Sunderland Empire in October 1975. She was promoting her fourth album “Not a Little Girl Anymore” which featured quite a racy photo of Linda on the cover. She had already hit the UK singles chart in 1973 with “Rock-a-Doodle-Doo” which reached No 15; produced by her husband Jim Cregan, of Family and Cockney Rebel. Linda hit the chart again in 1975 with her cover of “It’s in His Kiss”, which reached No 6 and was later covered by Cher. Her set consisted of some of her own songs, and a few covers, including a great version of John Martyn’s “May You Never”. Support act Labi Siffre had seen chart success himself with “It Must Be Love” (No. 14, 1971, and later covered by Madness) and “Crying Laughing Loving Lying” (No. 11, 1972). This was a pleasant evening with two great, and often under-rated, British singer-songwriters.
I lost touch with Linda Lewis as the 70s came to close. I remember seeing Labi one more time, at a Friday night gig at Newcastle Poly Students Union. Its time for me to look for copies of Linda Lewis’ early lps and catch up with her work again.

Great British R&B Festival Colne August 26th 2013. Chris Farlowe, Climax Blues Band, The Pretty Things, and Wilko Johnson

Great British R&B Festival Colne August 26th 2013. Chris Farlowe, Climax Blues Band, The Pretty Things, and Wilko Johnson
band 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. colneprog 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’. wilko 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.

The Kinks Newcastle City Hall 1979 and 1981

The Kinks Newcastle City Hall 1979 and 1981
kinkstix79 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. kinksprog1979 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. kinkstix81 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.

The Kinks Newcastle City Hall 1976 Schoolboys in Disgrace

The Kinks Newcastle City Hall 1976 Schoolboys in Disgrace
kinkstix76 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). kinksprogschoolboys 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.

The Kinks Newcastle City Hall 1975 The Soap Opera

The Kinks Newcastle City Hall 1975 The Soap Opera
kinkstix75soap In 1975 The Kinks toured their concept album “The Soap Opera”. This was one 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 Ray and Dave Davies on vocals and guitars; John Dalton on bass; John Gosling on keyboards; and Mick Avory on drums. They were also augmented by a brass section, and backing vocalists. This was very much a Ray project, and met with mixed critical reviews. The Soap Opera explores the relationships between stardom and “ordinary life” It (from Wiki) “tells the story of a musician named Starmaker who changes places with an “ordinary man” named Norman in order to better understand life. Starmaker goes to live with Norman’s wife Andrea and then goes to work the next day, getting caught in the rush hour. kinksprogsoap He works 9 to 5, then goes down to the bar for a few drinks before making his way home. He then is greeted by Andrea whom he tells is “making it all worthwhile”. By this point Starmaker has lost his grip on reality, and he doesn’t know who he is anymore. In the end he settles down with Andrea, accepting that he is now just “a face in the crowd”. The album finishes by saying that although rock stars may fade, their music lives on.” It has been suggested that the story of Starmaker and Norman is the story of Ray himself, trying to understand what it means to be “a star”. The tour presented the album in its entirety. I don’t recall whether they played any other Kinks tracks at all. The setlists that I have managed to find suggest not. I went with a group of mates and I do remember that we all enjoyed it and found it quite fun, but also pretty heavy going, quite silly in parts and somewhat confusing. Setlist: Everybody’s a Star (Starmaker); Ordinary People; Rush Hour Blues; Nine to Five; When Work Is Over; Have a Drink; Underneath the Neon Sign; You Make It All Worthwhile; Ducks on the Wall; (A) Face in the Crowd; You Can’t Stop the Music. I’m not sure who the support act was; I saw an advert for another date of the tour which suggested that it may have been Care Society, who were Tom Robinson’s early band, and were on Ray’s Konk label.