Although it was only a couple of weekends ago I’m already confused about what I saw when! I’ll do my best though.
We were underwhelmed by the music offering on Sunday, in that there actually wasn’t very much to go and see. I caught a little of ‘She Drew The Gun’ who were on the main stage as we walked past in search of coffee. I was going to go and see what was happening on the Roots stage but I never actually found it. We accidentily caught the spoken word ‘Punk in Drublic’ just becasue it was happening where we decided to eat something. it was poetry of the sort that is shouty and seems to centre around ‘My Life is shit but it’s not my fault’, so we wandered away to a bookshop. I think we did go to a lecture/talk, but that may have been the day before, we didn’t really do much until 18:50 when Anna Calvi was on the Main Stage.
I knew of her and had probabaly heard a few tracks but that’s all. I liked her, I liked some of the songs, what I wasn’t quite so impressed by was all the guitar noodling. You can hear it in the video below and make your own judgement, but for me, there is too much and as a guitar player she isn’t skilled enough to get away with it.
I’m not completely negative about it though, her drive and energy were great and overall I enjoyed it.
Next up was John Grant, same deal, knew of him and knew a few songs, loved every minute of his performance. He has real charecter and is funny with it. For my own purposes, so I can re-visit the songs he played the set list is below:
Preppy Boy Pale Green Ghosts Grey Tickles, Black Pressure GMF Sensitive New Age Guy Queen of Denmark Black Belt Metamorphosis
And for you dear reader, here is somebody else’s video to enjoy of some of the performance:
Next up was me getting completely crushed by the crowd, a piece of performance art I’d put together, unfortunately a lot of others had the same idea and it’s uniqueness was lost. Then came New Order.
I should have enjoyed this much more than I did, I am not entirely clear on what my problem was but my working hypothesis is that my feet were cold, wet and painful, I was unable to move my arms and I had already decided to drive back after this performance and had that ahead of me. There was alos a lot of film on the big screen behind them and they were pretty much silhouettes to me for most of what I saw, the songs were good though.
Singularity Restless She’s Lost Control Transmission Your Silent Face Tutti Frutti Subculture Bizarre Love Triangle Plastic The Perfect Kiss True Faith Blue Monday Temptation Encore: Atmosphere Love Will Tear Us Apart
It was during Temptation that we headed to the car and I had no idea there was an encore. I’m now sorry I missed those last two tracks, but truthfully, I was pretty miserable by now, not Bluedot’s fault, things would have been so much better if I’d brought different boots.
Overall I did have a great weekend and I think if that, upon leaving, you start thinking about coming again next year then that’s a good sign. I would probably attend more talks if I go next time as the ones I did see were really very good, and delivered to an audience who are keen to hear it, which helps.
Day 2 and I can’t remember anything much right now so I will refer to my phone and try to figure out who and what I saw when. My initial memeory was that the bed was uncomfortable and that it was freezing cold in the tent, my second initial memory, if there can be such a thing, is that there was a bloody baby crying in the next tent, which set of another one in another tent.
So it looks like we went to see Tony Njoku first, in one of the tents. This is he:
It wa sa little odd as we both liked him, as a person if you like, but found the music a little disjointed and the vocals often in to high a range for his voice, live at least, where he dropped the key down and sang a little deeper it seemed to us to sound much better. There were a couple of tracks where it felt they were building to something and then didn’t, which only ever really leaves the listener with a sense of dissapointment. Don’t let this put you off though, we listened to the song below and a couple of others before deciding to pop in and watch, it’s good:
I saw a little bit of EASY STAR ALL-STARS: DUB SIDE OF THE MOON, of which I approve having listened to it years ago, however, I was never very keen on the Radiohead stuff they did and seeing people waving their hands back and forth to Karma Police just seemed a little strange to me.
The next thing I remember seeing was KoKoKo!, who I spoke about HERE. I enjoyed their set.
Then came a bit of a dissapointment to me, which was Omar Sullyman. I have his last album and really rather like it, it’s loud and busy and vibrant, unlike the perfomance on the main stage. 1 Guy with Keyboard, 1 Guy singing, not much movement, not much fun. At least I didn’t think so. I left before the end to go and get a coffee, or charge my phone, or something equally banal. As you can see from the video below, that’s as animated as it got, I was genuinely bored, which is a shame as I had high expectations, perhaps that was the problem.
Next up was JARVIS COCKER [INTRODUCING JARV IS]. He is a great frontman, wonderful personality and knows how to manage a crowd, however, in my opinion, playing almost all new material or songs nobody knows is almost always a mistake. I gave this a good go, lasting almost half an hour before getting bored with it all and wandering off. Just one song I knew and I probabaly would have lasted until the end. Actually, it may have been that we received a message to say that the Kraftwerk 3D glasses were now available to collect, so that may have been when we went to get them. As we approached the tent at the back of the soundbooth we could see the guy handing them out, as we arrived we heard him tell somebody there were none left. We’d missed our chance by a matter of seconds.
This was a major dissapointment and, when I discovered they only had 3000 to give out to a crowd that was 3 times that, I was also quite annoyed. Your basic 3D glasses cost almost nothing, I have a pair in a drawer at home somewhere which I wish I’d brought, and to watch a 3D show without them would diminish its impact so much. We hung around for a while but there weren’t any more forthcoming and we headed back to the tent for a bloody good sulk about it.
As we passed the main stage my lad noticed a guy leaning over the barrier handing a few more out, he legged it over and got a couple, sorted! Although I did feel sorry for those that didn’t have any, particulalry as there were a few people rubbing it in, shouting “Glsses for Sale 100 quid” and laughing uproriously at their brilliant joke. One guy was really mean, literaly holding his glasses up in peoples faces and saying “Got Mine”.
The above is the only picture I took of Kraftwerk, who aren’t there yet. I was so enthralled by the whole thing that I didn’t take and try another picture while they were playing, that and the fact that I could barely move my arms. I had forgotten that if people want to get past you make them go behind you, otherwise they will make out they are passing through and just stop in the space you’ve created and stay there, then call their mates in. I was actually much closer myself when the gig started, but I moved forward nicely and politely.
It was a fabulous show and despite my previous moaning about Omar Souleyman not being very animated, Kraftwerk were even less so, but that was exactly as expected. Once the £D got going it was extremely cool, with arms and musical notes and satellites all coming right towards you as though they were going to take your head off.
Numbers / Computer World It’s More Fun to Compute / Home Computer Computer Love The Man-Machine Spacelab The Model Autobahn Geiger Counter / Radioactivity Tour de France / Prologue / Étape 1 / Chrono / Étape 2 Trans-Europe Express / Abzug / Metal on Metal The Robots Boing Boom Tschak / Techno Pop / Musique Non Stop
While I was deliberatly trying to look like a goofy idiot in the following picture, I have no idea why my eye looks so bloody massive.
All in all it was a decent day, topped by finally getting to see Kraftwerk for the first time.
I arrived back from a week in Hong Kong late on the 18th and early on the 19th I was driving to Macclesfield, specifically Jodrell Bank, for the Blue Dot Festival 2019, there was no time for jet lag despite having travelled for 26 hours to get home.
For the first time ever, and because I’m old now, I booked a tent in the boutique camping area for myself and my son. On the face of it, it was not good value, but it was close to the festival area, had clean toilets and showers, a charging area for phones and suchlike as well as its own little cafe/Bar. This was essentially it:
So I think the tent worked out at about £500 for 3 nights, which is more than a quite nice hotel, the ticket price was over and above this. It was useful to have nearby parking as well and it was almost worth it, for the convenience rather than comfort as it wasn’t particularly. To be honest it’s been 35 years since I’ve been to a festival and by comparisson this was bloody luxury.
We went for a little walk as soon as we had arrived and dropped our bags in the tent, which is when I discovered my brilliant idea of bringing wellington boots was a flawed one, they were incredibly uncomfortable due to the lining having come out and, worse of all perhaps, they had a hole in them which I discovered 2 minutes after leaving the tent walking through this:
By the time we returned a few hours later all signs of grass had disappeared to be replaced by 2 or 3 inches of mud.
Below is the line-up for the weekend, and to be honest, Friday nights headliners weren’t of that much interest to me so I decided to wander around the other stages to see if there was anything interesting.
Before that though we grabbed something to eat, using our wristbands as this was a cashless festival. The first thing we saw was Werkha, in a tent, who was really very good and I promised myself that I’d look up some of his stuff when I got home:
After his critically acclaimed Cube & Puzzle EP landed in 2012, Werkha has been on a playful exploration in the development of his style. Following high praise early on from Gilles Peterson, Werkha signed to iconic Brighton- based label Tru Thoughts, releasing the Beacons EP, followed by his widely lauded debut album Colours of a Red Brick Raft in 2015.
Described by Urban Essence, as “ooz[ing] with creative flair, vibrancy and musical craftsmanship. It has soul, it has funk, it has feeling”. For All Hands and We Communicate were the next offerings on Tru Thoughts in 2017, with both records further incorporating the jazz influenced playfulness we’ve come to expect from the Mancunian producer. This mode of play translates effortlessly into Werkha’s vivaciously curated live shows, which blend some of the UK’s most exciting jazz musicians into the mix his own instrumental, DJ & sampling informed abilities.
With his friendly (and slightly wonky) face from up North dancing amongst the UK’s burgeoning electronic and jazz music scenes, Werkha finds himself and his art at a truly exciting intersection of UK music culture.
We then wandered over to the main stage to see a bit of Ibibio Sound Machine, who were really upbeat and positive, they were great actually and I loved the guitarists sound. This is somebody else’s video:
“Music is a universal language, but spoken language can help you think about what makes you emotional, what makes you feel certain feelings, what you want to see in the world,” says Eno Williams, frontwoman of Ibibio Sound Machine. When Williams uses both English and the Nigerian language from which her band’s name is derived for their dazzling new album Doko Mien, the group somehow produces a world of both entrancing specificity and comforting universality. A language of their own.
Long lauded for their jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy and communication on Doko Mien, the follow-up to their Merge debut Uyai. In a glowing piece in the New York Times, those songs were praised for following “in the tradition of much African music, [making] themselves the conscience of a community.” By pulsing the mystic shapes of Williams’ lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future.
In another tent we caught the end of a set by Kinkajous, who I’d never heard of, but they were great and I wish I’d managed to catch more than a couple of tracks.
Travelling through places where borders disappear, Kinkajous give birth to an innova ve path to nu-jazz. The London based quintet (led by saxophonist/ clarine st Adrien Cau and drummer/producer Benoît Parmen er, joined by pianist Maria Chiara Argirò, bassist Andres Castellanos and Jack Doherty on keys) conjure a passionate, introspec ve and powerful music, that draws from their shared love for jazz and electronica. In their quest for new sonic highways, their unique setup and and vision brought them to uncharted territories.
Having previously released two EPs, they have gained support from Gilles Peterson (Worldwide.fm), Jamie Cullum (BBC2), Don Lets (BBC 6Music), Nick Luscombe (BBC3), Chris Philips (Jazz Fm) and have been acclaimed by Stamp The Wax, London Jazz and CLASH Magazine.
The next thing I saw was Kate Tempest on the main stage. I have to say, I’m not a fan but some of it was good
Extinction Rebellion took over the stage for 5 minutes, which was fine, they left, mostly peacefully and, without intending to belittle their cause, nobody seemed to care all that much. It sort of felt like, “well done, good job, now get off”
After this the boy wanted to go and find out what ‘Squid” where about and I wanted to catch Kelley Lee Owens so we split up until we met up at the tent at the end of the night. So I bought Kelley Lee Owens debut release when it first came out and really like it so for me this was one not to miss and I did enjoy it a lot, although performing entirely solo gave a different feel and sound to the tracks and I did feel the vocal mic was a little on the low side, but it was good, loved the projections as well, they fitted exceptionally well.
At some point I caught the one song I remembered by Hot Chip, enjoyed it, then left. I saw a couple of tracks by Blanket and about 2/3 of a set by Otim Alpha. At some point I also watched the last 45 minutes of Ex Machina, which is a brilliant film with a brilliant soundtrack.
For some reason, John Hopkins, who was second on the bill, didn’t perform until 12:50. I went to the tent to see him, it was heaving, I was very tired by now and I dissapontedly gave up and went back to the tent to give my feet some relief from the pain and cold they were suffering and to have a nice lie down. The air mattress did not actually allow a nice lie down so I just had a horrible lie down instead.
It was a realy nice atmosphere all day, people were very friendly and I didn’t see a single incident of concern, so that was nice. I should also point out that the Radio Telescope is bloody impressive and makes for a great backdrop to a gig.
Gillian Welch is a person, but also a duo, they are Gillian and husband Dave Rawlings, although they aren’t actually married, who occasionally record as Dave as well. Clear? Good, then I’ll continue. This is their 5th album as Gillian Welch and the first to be release on vinyl, and what a release. There are many people who say vinyl is best others who disagree and sometimes either can be right, but in this case the vinyl is perfect. There are a number of reason for this, firstly the music lends itself to the format as it is limited in instrumentation and there is no requirement for many overdubs. Secondly, it was recorded using old analogue equipment, which again lends itself to the format. When I say old analogue this is from the microphone to the amps to the desk to the tape, proper old school, and it shows. My ears are not as good as they used to be but I can still hear the difference.
I’ve mentioned before about a Billy Holiday album I have that was recorded in the 50’s, it sounds amazing, as though we are in the same room, The Harrow and the Harvest has the same feel about it. Another nice touch, for the CD version at least, was that the covers where letter pressed, which is something I’ve tried my hand at (it’s difficult) and individually coffee stained to give them an aged look. It’s small touches like this that makes this album special throughout. That and they released it on their own Acony record label.
I saw them at Warwick Arts Centre on the tour promoting this album and it was captivating, so engrossed was I that it came as a complete surprise to me when it ended as I had lost track of time. Just two people with guitars, no light show, no pyrotechnics and it was amazing. That’s the set list from the night above.
Now I fully understand that a lot of people are turned off at the mere suggestion of Country music, and while you could throw this album into that category I find it sits better in Americana. These are pretty dark songs, not about pick up trucks and other country tropes, they are often delicate and have a seam of sadness running through them, they are beautifully constructed and performed.
I have to share this about Dave Rawlings guitar playing,
Rawlings achieves his signature guitar sound flatpicking a small archtop guitar. The 1935 Epiphone Olympic that has been his primary instrument was a mid-priced guitar for its time, with a carved arched solid sprucewood top, carved arched solid mahogany back and mahogany sides. It sold for about $35 in 1935. The guitar’s lower bout measures 13 5/8 inches wide, and it has three piece f-holes.[
Rawlings “scavenged” the guitar from a friend’s attic and is now hardly seen playing anything else. As he states, “I just picked it up. It was filthy, and it didn’t have strings. You could just see the shape of it under the sawdust.” Rawlings tuned it and brought it to a recording session for the Welch’s first record. “As soon as I heard it through the microphone and through the speakers I was like, ‘I love this guitar.'” he says.
The New Yorker‘s Wilkinson described Rawlings as a “strikingly inventive guitarist” who plays solos that are “daring melodic leaps”. A review in No Depression by Andy Moore observed that Rawlings “squeezes, strokes, chokes and does just about everything but blow into” his guitar. He’s not flashy, but he is an extraordinarily emotive guitar player.
Dark Turn Of Mind
The Way It Will Be
The Way It Goes
Down Along The Dixie Line
Six White Horses
The Way The Whole Thing Ends
When Welch’s first two albums came out, critics questioned the authenticity of her music, having grown up in Southern California but performing Appalachian themed songs. This is, of course, complete crap and The Wall Street Journal’s Taylor Holliday said it best: “Stingy critics give Ms. Welch a hard time because she’s a California city girl, not an Appalachian coal miner’s daughter. But as Lucinda or Emmylou might attest, love of the music is not a birthright, but an earned right. Listen to Ms. Welch yodel, in a tune about that no-good “gal” Morphine, and you know she’s as mountain as they come.“
It’s been 8 years since this was released and it is high time that a new album was released, which could include a new track for which they received an Oscar nomination. They lost out to a song from ‘A Star Is Born’ which, in my opinion is rather formulaic, but even being nominated is pretty damn good. The song is the theme to the Coen Brothers’ Western anthology The Ballad of Busters Scruggs, the song soundtracks a pivotal gun battle between Tim Blake Nelson’s titular gunfighter and the upstart “The Kid,” played by former Old Crow Medicine Show member Willie Watson. Nelson’s character tragically loses, and he and “The Kid” duet on the song as Scruggs is lifted into heaven. Welch and Rawlings recently released their own version of “When a Cowboy Trades His Spurs for Wings” earlier this month. The video is their understated but wonderful performance at the Oscars ceremony.
I think it pretty obvious by now that I highly recommend this and all their albums. There’s something very endearing about them and they connect brilliantly with their audience, like below on a Neil Young cover:
I’ve included below an hour long concert for the BBC performed at St Lukes in London, because it is quite brilliant.
Finally, a Radiohead cover, that’s right, Radiohead. Heaven.
As Bob Dylan is probably the most bootlegged artist in the history of anything ever, I decided to try and find a recording of the concert I went to. It took a while as I had the year wrong, but I found it, it’s sitting on my desk in front of me and I just apologised to it, I’ll tell you why, even if you don’t want to know.
The concert took place at Birmingham NEC on 12th of October 1987 (I thought it was ’86) and Tom Petty and the Heartbreakers did a long set before Bob turned up. My lady partner for the evening (who brought binoculars as our seats were so far away from the stage that they weren’t actually in Birmingham) charmed her way through several miles of bouncers and by the time his Bobness took the stage we were quite near the front.
Dylan with the Tom Petty and the Heartbreakers – 1987
Bob shambled onto the stage and kicked off with an unintelligible version of Like A Rolling Stone, which went very much like this:
(rather than ‘Once upon a time you dressed so fine/You threw the bums a dime in your prime, didn’t you?’)
It was awful and that set the tone for me and was my enduring memory of it, Bob mumbling his way through a load of songs as though he didn’t really want to be there. But listening to it now, some 17 years later, I realise that my memory is coloured by that opening song and isn’t to be fully trusted. One of the problems I had with it becomes quite clear to me, I didn’t know a lot of the songs and I don’t think I was alone in that. The evangelical albums that began with Slow Train Coming (which I’d not heard) and continued with Saved (1980), Shot of Love (1981) and Infidels (1983) sold poorly, were poorly promoted and I hadn’t heard a single song from any of them. As about half the show was made up of these songs and others I’d not heard I was disappointed, I remember, for some reason, wanting him to do Hurricane even though there was absolutely no chance he would, and others as well that I knew and wanted to see played live, these didn’t come either.
It was the expectation unfulfilled that made me think that this was a terrible concert, but it wasn’t. There were rambling musical introductions that bore little or no resemblance to the songs they turned out to be, such as the harp (harmonica, I know all the terms me) solo that eventually became Shelter from the Storm, it wasn’t until our Bob actually began singing that anybody knew which song it was and I kept hoping that it was one I wanted to hear from my own personal list of what a Dylan concert should contain.. Another part of my problem was that I was still wrapped up in music elitism (that I shrugged off in later life) and wasn’t absolutely sure that I really should be seen at a Dylan concert, despite the chances that anybody actually seeing me there were pretty much nil. Ridiculous really.
Thinking back on it now, and hearing it again, it was not the greatest Dylan concert ever, but it was nowhere nearly as bad as I have always described it as being. He put on a good show, a little on the short side perhaps but whereas I had always thought he played for sixty minutes, it was actually eighty. Memory, it’s a slippery thing and becomes all twisted up when avoiding capture. Also, I bought a Tour T-Shirt, which I almost never do and that must mean something.
I know I’m jumping about a bit here as I recall things but that’s the way things from that long ago return. Gotta Serve Somebody from Slow Train Coming was wonderful, I really liked it and thought it one of the best songs he did on the night, even though it was one of the ones I’d not heard before. That’s contradictory, I know, but that’s just the way it is.
At this time I knew quite a lot of Dylan’s songs, the more well known ones, and owned only two albums, At Budokan and Desire. Thinking about the former, I remember wanting him to do All Along The Watchtower as well. Nowadays I’d have a completely different set list in my head and probably stand as little chance of having it played out.
There was no encore, but as he finished with Rainy Day Women #12 & 35 there wasn’t really any need for one. I’m really glad I got to hear that live, everybody must get stoned!
So what’s the upshot of all this? A little bit of regret that I didn’t have the good sense to just enjoy myself at the time and some joy at discovering and listening to it all over again and being able to admit to myself that, for the most part, I was wrong, except for Like A Rolling Stone, I was right about that, it was rubbish.
Dylan in ‘87
at Wembley 5 days after the NEC Gig (added 27/06/2018)
Birmingham NEC 12th October 1987 – Set List
1: Like A Rolling Stone
2: Maggie’s Farm
3: Forever Young
4: When The Night Comes Falling From The Sky
5: Shelter From The Storm
6: Clean Cut Kid
8: Emotionally Yours
9: Seeing The Real You At Last
10: License To Kill
11: Dead Man, Dead Man
12: The Lonesome Death Of Hattie Carroll
13: Tomorrow Is A Long Time
14: Gotta Serve Somebody
15: I Shall Be Released
16: Positively Fourth Street
17: Rainy Day Women # 12 & 35
My good lady wife wanted to go to a gig, this is a rarity, so I endeavoured to get some tickets, unfortunately they were sold out, however, there were tickets available from secondary sellers.
The tickets were £14 more than the face value price, which was £36, so instead of £72 for two tickets it was £100. Not ideal but I was OK with it. I wanted to get the tickets and understood that there will be a mark up from secondary sellers.
If it had ended there then all would have been fine, except it didn’t. They put a countdown clock on your order of 6 minutes and the pressure builds as you move through each form on the site and try and book your tickets. When you get to the end and have about 80 seconds left you are presented with the final total, which should be £100 right? Nope. There is a £5 charge for posting each ticket, even though they are in the same envelope and then, just to slap you around the face with a wet fish, there is a booking fee of £17, per ticket. PER TICKET! So that £72 face value ramps up to £144. So, essentially, it is 2 tickets for the price of 4, what a bargain.
I shouldn’t have, I hated doing it, but I bought them. She who must be obeyed would have been displeased with me had I not, but damn I begrudge submitting to Viagogo’s daylight robbery. I don’t even want to see the band I bought tickets for very much.
I knew very little abut Steven Wilson, and still don’t know all that much to be honest. I did know a couple of Porcupine Tree tracks but had no idea that he was in the band. So why the hell did I go and see him play live on Thursday? Well that was mostly to keep Dave company, so I had no expectations of the gig, actually, I had low expectations having listened to the latest album once and finding that it didn’t really do much for me.
The gig was at Warwick Arts Centre, which is on the Warwick University campus, which, in turn, is actually in Coventry. The Arts Centre was having some sort of renovation done so the bar I was planning to sit at and have a beer was closed. As a couple of young studs on the loose for the evening, Dave and I went to the cafe and had a baked potato instead, with a bottle of beer. We know how to live.
The Butterworth Hall, where the gig took place, was strangely set up as it was all seater. I didn’t think it strange at first, but as the gig progressed it didn’t really seem appropriate for the sort of music we were listening to with it being pretty loud and pretty damn heavy at times.
I did like quite a few of the songs, after I started getting into it a bit and understood a bit better what he was all about. I was going to say that I couldn’t tell you what most of the songs were called, then I found a complete list, which is useful:
Intro (“Truth” short film)
The Creator Has a Mastertape
(Porcupine Tree song)
People Who Eat Darkness
Arriving Somewhere but Not Here
(Porcupine Tree song)
Song of I
(Porcupine Tree song)
The Same Asylum as Before
Heartattack in a Layby
(Porcupine Tree song)
(Porcupine Tree song)
(Porcupine Tree song) (SW solo)
The Raven That Refused to Sing
I rather enjoyed it in the end and will do some light investigation of what is a rather extensive back catalogue. I’ve streamed a few of the tracks already and they are growers. There was a transparent curtain pulled across the front of the stage for certain songs and projected on, that worked really well each time it was used.
I took a few vids on my phone, they are watchable, bits of some songs and one whole song, problem is, I can’t get them to upload. No matter, there’s similar in the playlist above.
The second time I saw Peter Gabriel live was on the Secret World tour back in 1993, which was 24 years ago and yet it feels like no more than 5 or 6. “Time is an illusion. Lunchtime doubly so …” I was 16.
At the Earls Court gig Sinead O’Connor turned up and sang the two songs from ‘US’ that she appeared on but also took the place of Kate Bush for ‘Don’t Give Up’, or so I thought but I can’t find any record of that ever happening. Perhaps I imagined it, though she did join in on ‘In Your Eyes’ and ‘Biko’ during the encore according to the set list I found online. I’m dubious, I’m sure I remember ‘Don’t Give Up’ and it isn’t even in the set list, although maybe I just thought that would be a cool thing to do and was disapointed when they didn’t but my memory has morphed it into something else, ah well, it was quite a while ago.
They were an item for a while around this time but it still came as a very pleasant surprise to see them perform together.
This is the set list from the night:
Come Talk to Me
(with Sinéad O’Connor)
Games Without Frontiers
Across the River
Shakin’ the Tree
Blood of Eden
(with Sinéad O’Connor)
Shock the Monkey
Washing of the Water
Digging in the Dirt
In Your Eyes
(with Sinéad O’Connor)
(with Sinéad O’Connor)
Dave and I went to the gig, it was a Monday evening, May 31st 1993. I can’t remember how we got there, it was probability by train and tube. We were on the balcony to the side but had a great view of everything going on, and it was both a musical and visual extravaganza.
I happen to have been quite the fan of O’Connor, her debut ‘The Lion and the Cobra’ is, in my opinion, a wonderful album, I had it on cassette and played it to death. I like bits and pieces after that but, for me, it remains the best thing she ever did.
Rather than go into a long explanation of what the concert consisted of, you can watch it yourself, not Earls Court but from the same tour, same set list but, sadly, no Sinead.
I have absolutely no idea quite why I agreed to go and see Slade all the way down in London, but I did. I can’t even remember who I went with at the moment and I’m having a bit of a guess at the date because there were three gigs there in ’81 but I’m very sure that I remember how weird it was that they played Merry Xmas Everybody so far from Christmas, so it wasn’t the January or December gig, must have been the March gig. Noddy Holder came on in a Santa suit, which was actually a lowlight of the gig for me.
There were a number of things that were highlights, such as Dave Hill’s guitar playing, he was really bloody good, although I never have and never will understand the haircuts, and the fiddle playing of Jim Lea was also really good and unexpected, by me at least.
As usual, after all these years have past, memories are hazy, so I found a set list from the gig before the one I was at as I couldn’t find the actual one, but it was pretty much the same as far as I remember.
Rock and Roll Preacher
When I’m Dancin’ I Ain’t Fightin’
Take Me Bak ‘Ome
Till Deaf Do Us Part
A Night to Remember
Lock Up Your Daughters
We’ll Bring the House Down
Get Down and Get With It
Mama Weer All Crazee Now
Merry Xmas Everybody
I’m a Rocker
Born to Be Wild
Slade were having a resurgence in 1981, having actual hits, in the actual charts with ‘We’ll Bring the House Down’ and ‘Lock up your daughters’
My mate Dave and I had our own lyrics for this, “Let’s have a party, woh oh oh oh oh, jelly and blancmange, sausages on sticks etc’ at 14 it was bloody hilarious.
I found this review, which may have been the gig I was at, or may not, but it was of the same period at least:
If you need to remind yourself or have no idea who the hell Slade were then here is a big chunk of songs to help you out.
I read a post here by 80smetalman and it reminded me of seeing Blackfoot at the Hammersmith Odeon in 1982. It was one of only three visits I ever made to the venue, but I would read Melody Maker or Sounds every week and see ads for bands playing there and desperately want to go, but I was a kid with no source of income, hence only those three visits.
Blackfoot were quite the thing at the time at school, there was a lot of people into them but only two of us went, myself and guy called Andy who I haven’t seen or spoken to for 35 years, so I have to go on my own recollections. We had seats in the balcony but still had an excellent view and everybody stood up when the band came on, which seemed weird as I thought that would be the sort of thing the people downstairs would do as we actually had a better view sitting down, but it was a rock concert of course so everybody should stand up, I was young and inexperienced, I didn’t know these things.
The gig that night was amazing, the band were tight and seemingly had boundless energy. I believe the Live album they released, ‘Highway Song Live’ contained some of the tracks form this gig, it was recorded on a 1982 UK tour so it is very likely. As far as I know the track list on the night was:
01 Gimme gimme gimme
02 On the run
03 Wishin well
04 Dry county
05 Lady turn on a red light
06 Rollin’ and tumblin’
07 Fly away
08 Good mornin’
09 Too hard to handle
10 Road fever
11 Train train
12 Highway song
This sounds about right but I can’t be sure.
There are videos on youtube labelled as Hammersmith 82 but I think, from the comments, that they may actually be from 1980 as I don’t remember seeing any cameras at the gig. They do, however look very familiar, especially the knee length denim coat worn by Rickey Medlocke. The ticket below isn’t mine but I do have this very vague recollection that the gig was postponed for some reason, hence the date being re-written in pen, but it was a long time ago so the memory is hazy.
I bought a sweatshirt at the gig and I think I wore it home on the train afterewards, unfortunately, about a year later, it went ‘Missing’ off the washing line and I never saw it again. This was the image on the front of it, I think it had tour dates on the back:
I think we should have a look at those videos (which aren’t great image quality) that purport to be Hammersmith ’82, and some others from the same year.
From 1979 to 1982 Blackfoot released a trilogy of almost perfect Southern Rock albums, and finished up with a live album that incorporated the best of their output and their live performances.
Highway Song Live (1982)
I still have my copies of the middle two albums, but I’d probably say that Marauder was my favourite of all their albums, though there are plenty of great tracks on the others. It was all killer and no filler:
Good Morning 3:34
Payin’ For It 3:35
Diary Of A Workingman 5:33
Too Hard To Handle 4:00
Fly Away 2:56
Dry County 3:42
Fire Of The Dragon 4:03
Rattlesnake Rock ‘N’ Roller 4:00
In 1982 I had to choose which albums I bought very carefully as I had no money at all, being 15 years old, and choosing to buy Marauder was a big thing. I bought Tomcattin later, even though it was released earlier and never bought Strikes. I’m pretty sure I had a copy of the live album at some point but I’ve no idea what happened to it. So the cost of going to the gig and buying a swetshirt as well as a programme (I think so anyway, I recognise it) had to be quite a considered thing.
As a result of eveything above I’ve been listening to Marauder again today and it brings back all sorts of memory snippets, nothing worth writing down, just general fragments of nostalgia. Above all though it reminds me what a bloody good band they were.
Lamb will make their hometown return to Manchester Cathedral on 16th October 2017.
The whole concert is being recorded by the Live Here Now team for release as Lamb, Live At Manchester Cathedral across 2 x CD, 3 x LP, and bundle formats.
Expected CD Release Date October 19th Due to the unavoidable production time necessary, the 3 x LP will follow the CD and Download and be released in early 2018.
So I ordered the triple vinyl via Pledge Music a couple of weeks ago because I really rather like Lamb and have most of their albums on CD, and just one on vinyl, 2001’s ‘What Sound’, but I’ll pick up more as I find them.
Tonight I was listening to a live version of the track ‘Goreki’ (below) and thought I’d write up this post to just quickly mention the album. Then I had a thought, and this thought was, “I wonder if there are any tickets for the Manchester Cathedral gig left,” so I had a look and, much to my delight, there were some left and I got two. To have a triple vinyl of a gig I am attending is just marvellous, I’m delighted.
As far as I can tell the Cathedral holds about 1100 people and it will look rather like the image below:
Gary Numan at the Assembly in Leamington tonight with my friend Dave. It’s the second time I’ve seen him there but I really had to twists Dave’s arm to get him to come, I think it was the threat of nipple clamps that finally made him give in and agree to come. He’s never been to the venue, and it’s a great venue, so even if that’s all he gets out of it then that’s enough, but Numan puts on a great`at show and might surprise him.
There’ll be no seats tonight and it’s not actually as clean as it looks, those carpets on either side are so sticky with beer you can hardly lift your feet at times.
Anyway, here’s the video of the single from the new album, which I backed on Pledge music or whatever it’s called so I should have a copy as soon as it’s available.
I made 8 attempts to buy tickets for Kraftwerk at the New Theater Oxford just now. This took 52 seconds, and then every ticket was sold.
There has to be a better way, 52 seconds, it’s ridiculous. The site allowed me to select the tickets I wanted, press ‘buy tickets’ and then it came back with a message that those tickets were not available, so I went for increasingly worse tickets and the same message each time.
So disappointing, but not unexpected.
I could go to a re-seller of course, but as the ID of the main ticket holder has to be shown I don’t know how this would actually work, and I’m not prepared to pay these sorts of prices:
This is, perhaps, why people miss out. There are people buying the maximum amount of tickets and then selling them on at a profit (if that is possible with these ones, I’m not so sure). Regardless, it’s annoying.
You may recall a post a made about going to Reading Festival in 1983, I actually also went the year before, but only for the Friday, not the whole weekend.
I was 15 at the time and didn’t have a ticket, but a friend did, although he couldn’t go on the Friday so I took his ticket and the plan was that I would leave the site on Friday evening, remove the wristband and give it to him so that he could put it back on, which is exactly what happened. No drama really, not at that point anyway, the drama all happened earlier.
I was supposed to travel down with a group of lads who were in a sort of secondary circle of friends, so not people I hung out with all the time but did now and again or one or the other of us would be in a group, not close but part of a wider group I suppose. I headed up to meet them early on Friday morning and they’s already left, which doesn’t surprise me at all, they were dicks. I caught the train from Didcot to Reading on my own, sitting opposite a long haired guy with a hard shell guitar case, I didn’t recognise him though so I mostly ignored him. I had long hair myself back then, which I was going to post a photo of, but after a decent search I can’t find any, I’ll ask around and see if I can come up with something.
Anyway, I arrived at Reading station alone and as I left the platform I was collared by the police. They took me into a side room at one end of a long corridor that led out of the station and proceeded to strip search me. Pretty much everybody that was leaving the station could see me getting undressed as one wall of the room was essentially a wire fence. I told the police I was only 15 but they either didn’t believe me or didn’t give a crap, they found nothing of course and sent me on my way.
I made my way to the site and the first band of the day was ‘Against The Grain’, never heard of them then or since, but the bass player there in the picture below, he was the guy sat opposite me on the train.
I was sat on the grass a little way back from the stage, there really weren’t many people there at this point and the band sounded decent. The drummer threw one of his sticks into the tiny crowd and one of us caught it, can’t remember who though. I bumped into the group who left without me almost as soon as I arrived, I could tell that they’d done it deliberately, it was pretty obvious, but I wasn’t going to let it ruin my day and just ignored it.
This is where things get a little hazy as I can’t remember the next three bands at all. The Angels, Stampede and Overkill, no idea whatsoever. I do remember Tank though as I had their album and, despite quite a number of people ridiculing me for it, even to this day (yes Dave, I’m looking at you). This is them back in 1982:
And this is them on stage at Reading in 82:
The album was called ‘Filth Hounds Of Hades’, which is nice, and it looked exactly like this:
I have a vague memory of ‘Praying Mantis’ and no memory of ‘Trust’ but I do remember ‘Randy California’, probably because I was wandering around the campsite and not really paying attention as I really didn’t like or know most of the bands on that Friday. The ones I really wanted to see were on Saturday and Sunday and I wasn’t going to get to see them. Here’s ‘Randy California’ recorded Live at Reading in 1982, somewhere, I’m in the crowd watching:
I’m also in the crowd watching ‘Budgie’ and listening to a pretty good quality recording of it right now, almost 35 years later. You can listen to if you like:
My Dad met me outside after the gig and drove me home, I didn’t want to leave, and if I was a bit selfish I didn’t have to, I could have stayed there, after all, I had the wristband, but I wasn’t. I did go to the whole thing the next year though of course.
I saw P.I.L in June this year at the O2 in Oxford, I was underwhelmed, partly my fault as I was a bit under the weather, but it also felt like a lackluster performance to me. Despite this, I bought tickets for local venue, The Assembly, and went last night. It was an entirely different experience. From the first note to the last everything was on point.
One thing I have come to realise is that an Iphone is possibly the worst camera you can use at a gig as it seems to spend most of the time focusing, and you have to take the picture in the split second it is focused before it goes on another focusing cycle of blurry, blurrier, blurry, a nanosecond of sharp (ish) and then off again on the blurry cycle. There were people in from of me with Android phones and their images loo
I managed to stand at the front, off to one side but I had a brilliant view and plenty of space among the 600 or so people who were there, capacity being 1000. The band took to the stage and launched into a blistering version of Albatross, with Lydon seeming so much more energised than at the Oxford gig, and the sound quality was better as well (and the temperature, the O2 is bloody hot). This is the link to my previous update The Beat/P.I.L – O2 Academy, Oxford
I took a little video, not much as my battery was running very low but it gives a taster at least:
The Set List was something like this:
This Is Not a Love Song
I’m Not Satisfied
Open Up / Shoom
Don’t hold me to it though as I wasn’t writing it down at the time.
All in all it was a really good gig, although audience participation was a bit lacking, the fault of the audience rather than the band as we were all a bit old to be honest as clapping along for more than 30 seconds made our arthritis flare up. I did something that could be loosely identified as dancing, some might called it swaying and head nodding, I call it dancing, and I sang along quite a bit.
Oh, I also bought some overly expensive merchandise, a mug, for a £10 note. I would have bought a T-Shirt that said ‘T-Shirt’ on it, but I was £5 short, so a mug had to do. In case you weren’t aware, this whole concept comes from a P.I.L album called ‘Album’, which in CD form was called ‘Compact Disc’ and in cassette form was called ‘Cassette’, all in the same font and colour scheme. It’s the album from which the single ‘Rise’ was taken, which was quite a hit back in 1986
This merchandise doesn’t seem to be on the official web site so maybe it’s tour only, which would be nice, although I’d still quite like that T-Shirt.
For information purposes, I have no idea how to reply to a comment on this blog, really, no clue at all. I’d like to reply, but all I’m offered is an edit button, which isn’t the same thing at all. I’ve tried different themes to see if that’s why there is no reply button, but that didn’t help, so I ‘Like’ comments, not because I’m being rude, but because it seems to be the best I am able to do, which is a bit embarrassing. Sorry. I will continue to try and figure out what the problem is. Just realised I can do it on my phone.
Public Image Limited announced they would be playing at The Assembly in Leamington Spa, which is 7 miles from my house, so I’m going to that. I saw them at the beginning of June this year at the O2 in Oxford but didn’t enjoy it all that much, which I think was mostly because I was a little under the weather, so I’m hoping this will be better. It’s in November which will, I hope, allow me to have calmed down a bit regarding the recent re-release announcements.
Why am I annoyed about these announcements? It’s all about the money. I’d love to have a copy of ‘Metal Box’, in the original metal tin, but the re-release (Deluxe Edition) is so overpriced I won’t be able to afford it. Here’s the announcement that I saw:
The box contains the following:
‘Metal Box’ 4 LP
LP 1: Metal Box
LP 2: Metal Box (continued)
LP 3: Live at Manchester, Russell’s Club (The Factory) 18/6/79
LP 4: Rare Mixes & BBC Session
I’d love these, I really would, but the price is £162.99 (or $216.19 if that’s your currency), for 4 records, two of which I happen to already have, as would most people who are in the market to buy this. So I’d be paying £162.99 for 2 LP’s and a box to put them in. Too much, way too much. I’d rather have the original to be honest, which was three 12″ singles in the metal box (picture below). The price really annoys me as it just seems to be about twice what it should cost.
This month I will be going to see Bjork at the Royal Albert all, which I’m very excited about, even though the tickets haven’t actually arrived yet.
I also picked up a couple of tickets for another gig at The Assembly, though it isn’t until next year, to see The Handsome Family.
If you have ever watched the TV series ‘True Detective’ then you will know The Handsome Family as the opening music was taken from their 2003 album Singing Bones, which I had on CD when it came out, I still have it somewhere I should think. It came as quite a surprise to me when I watched the first episode of True Detective, but a nice one.
Here is that very song, which is called ‘Far From Any Road’:
Other gigs that I’ve been considering are Beth Orton in Oxford, although I’ve already seen her twice so may not go for that one. The Kills, Gary Numan, both also in Oxford. Mø is playing in Birmingham in October, as are Polica.
I need to find a gig buddy, a friend with benefits, the benefit being that they go to gigs with me. I go to a lot on my own as most people I know don’t share the same taste in music as me, although, admittedly, my tastes are eclectic, but sometimes it’s worth going for the experience, whether you know much about the band or not.
Some time ago I signed up to the Bjork email list so that I could receive updates about new releases and suchlike, but also to know when she would be performing in the UK again. I was desperate to go to the Wilderness Festival last year but couldn’t find anybody to go with. I don’t have a problem going to gigs on my own but a festival alone seems a really rather sad thing, so I didn’t do that, maybe it’s the opposite though, it could be wonderful. Yesterday the mailing list email popped into my inbox to tell me that Bjork would be playing at the Royal Albert Hall in September and provided me with a pre-sale link for tickets. Well that made me feel special, for a while, until I actually tried to buy them.
They went on sale this morning at 09:00 and I was there, logged in and ready to go. 09:04 and the site was claiming to be down. I’m already frustrated at this point. 09:05 and I’m in and there are drop downs where I can select the number of tickets I would like. I select, I
press buy tickets, the same screen comes up again, so I select the number of tickets I would like, I press buy tickets, the same screen comes up again. I was in this loop for 20 minutes, becoming increasingly annoyed and frustrated at the web site seemingly mocking me, repeatedly raising my hopes and then smashing them into tiny little pieces. So I gave up.
I went and made a coffee and, having had this little break, I thought I’d have one last try. I select the number of tickets I would like, I press buy tickets and I’m in! I didn’t believe it of course and was fully expecting to crash out at any moment but actually made it all the way through and I have tickets. I’m so very pleased.
They aren’t the best tickets but I care not, as this is the only UK 2016 gig I’m just happy to have been there at all, also, I believe that at the Royal Albert Hall you are never that far away from the stage. To confirm this I went to their web site and found the following picture which is taken from very close to where I will be. Happy with that.
There is also ‘Bjork Digital’ at Somerset house, details of which can be found here:
When I saw Ennio Morricone at Blenheim Palace a couple of weeks ago he played some of the music from his score for the film ‘The Red Tent’. I’d never really heard of it, the film or the music, and I enjoyed it so much I decided I would get myself a copy of the soundtrack, or at least listen to it again. Neither of these things proved to be easy. The full soundtrack doesn’t appear to be available on any streaming service, well, I checked Apple Music, Spotify and Amazon Prime and it wasn’t there. The main theme is, but there’s more to it than that and I wanted to hear it all. In particular, there is a track called “Others, Who Will Follow (Altri, Dopo Di Noi)” which is over 22 minutes long and takes up the whole of Side B of the soundtrack album.
Please bask in the glory of this album cover for a moment:
Label: Paramount Records – SPFL 275 Format: Vinyl, LP, Album Country: UK Released: 1971 Genre: Electronic, Stage & Screen Style: Soundtrack, Experimental
A1 Love Theme From “The Red Tent” (Tema D’Amore) 3:31
A2 Do Dreams Go On 2:30
A3 Death At The Pole (Morte Al Polo) 4:11
A4 A Love Like The Snow (Un Amore Come La Neve) 2:12
A5 Message From Rome (Messaggio Da Roma) 1:40
A6 They’re Alive (Sono Vivi) 1:39
A7 Farewell (Addio) 2:51
B Others, Who Will Follow (Altri, Dopo Di Noi) 22:20
So I ended up buying it from Ebay, it arrived yesterday, and have since discovered it cheaper on discogs, ah well, my own fault.
Here is the main theme from the film, with a lovely vocal, it’s one of the few tracks available to listen to:
The 1969 film was a joint Soviet/Italian film directed by Mikhail Kalatozov. It’s based on the story of the mission to rescue Umberto Nobile and the other survivors of the crash of the Airship Italia. Sean Connery plays Roald Amundsen, though I haven’t seen the film and can’t find any clips of it I think it safe to assume that Connery’s Norwegian accent is distinctly Scottish. Peter Finch plays Nobile, he probably sounds very English.
S0, June 23rd 2016 , Ennio Morricone at Blenheim Palace. The weather was good, a few spots of rain but barely noticeable. I didn’t take many pictures really as I only had my mobile with me but this gives an idea of the setting and whatnot, and not all the pictures are mine:
The internet is strangely quite on the subject of this concert. I can’t seem to find a review or post concert news anywhere. I do know that the M40 motorway was closed so a lot of people didn’t turn up until after the interval, which meant we had loads of room during the first half, which was nice.
Here is somebody’s phone video they posted on youtube from the actual concert, which is quite good quality. I was in the second row, and paid handsomely to sit there, but it was actually better to sit about 20 rows back I think as the stage was so high you couldn’t see everything and, as I was off to the left, I don’t think we got the full effect of the orchestra, although the view was much better than in this video.
I don’t have the set list from Blenheim but a couple of days later there was a concert in Ghent, and as the program was probably pre-printed for the tour, I’m going to go with the one below, until I can compare with my program and see if it’s the same, it won’t be far off:
Volti e fantasmi (from “The Best Offer”)
The Legend of the Pianist (from “The Legend of 1900”)
Ribellione (from “Baaria”)
Chi mai (From “Maddalena”)
H2S (from “H2S”)
Metti, Una Sera a Cena (from “Metti, Una Sera a Cena”)
Croce d’amore (from “Metti, Una Sera a Cena”)
The Good, the Bad and the Ugly
C’era una volta il west (Jill’s Theme) (from “Once Upon a Time in the West”)
Giù la testa: (Sean, Sean) (from “A Fistful Of Dynamite”)
The Ecstasy of Gold
It was at this point that I went off and purchased a Gin & Tonic from one of the concessions that was set up in the grounds. It was a lovely G & T, but it was £10, which is ridiculous, but I could have just not bought it I suppose.
L’ultima diligenza di Red Rock(from “The Hateful Eight”)
Bestiality(from “The Hateful Eight” and “The Thing”)
Deborah’s Theme (“from “Once Upon a Time in America”)
Thème de Vatel (from “Vatel”)
Per le antiche scale (Preludio)(from “Per le Antiche Scale”)
Irene-Dominique (from “L’eredita Ferramonti”)
Do Dreams Go On (from “The Red Tent”)
They’re Alive (SOS) (from “The Red Tent”)
Other Who Will Follow Us (from “The Red Tent”)
Gabriel’s Oboe (from The Mission)
Falls (from “The Mission”)
On Earth as It Is in Heaven (from “The Mission”)
Abolisson (From ”Queimada”)
The Ecstasy of Gold
On Earth as It Is in Heaven (from “The Mission”)
My mission at present is to get myself copies of the Soundtracks from which each of the tracks was taken. Some of them really aren’t cheap as they are out of print, but I’ll be patient and wait for bargains. I have ‘The Red Tent’ of course and I also have recently picked up a copy of ‘The Hateful Eight’, which is just brilliant. I also have Music From The Original Sound Tracks Of “A Fistful Of Dollars” & “For A Few Dollars More” but that still leaves me with 10 or 11 to get.
I have yet to see the film ‘The Hateful Eight’, but I will at some point and I am currently in the position of knowing the soundtrack really well (I’m about 30 plays in by now) but not the visuals. It’s a double and comes with a poster (which is nice but I never use them, they just sit inside the cover forever). Here it is:
I stole this image from the internet but this is the cover I have, although there appear to be a few different versions.
Label: Decca – 4769494
Format: 2 × Vinyl, LP, Album
Country: UK & Europe
Genre: Stage & Screen
Style: Soundtrack, Score
L’ultima Diligenza Di Red Rock – Versione Integrale
–Kurt Russell, Samuel L. Jackson, Jennifer Jason Leigh
“Major Warren Meet Daisy Domergue”
–The White Stripes
Written-By – Jack White
–Tim Roth, Kurt Russell
L’ultima Diligenza Di Red Rock – #2
Neve – Versione Integrale
–Kurt Russell, Michael Madsen
“This Here Is Daisy Domergue”
Raggi Di Sole Sulla Montagna
–Walton Goggins, Bruce Dern, Samuel L. Jackson
“Son Of The Bloody Ni**er Killer Of Baton Rouge”
–Jennifer Jason Leigh Featuring Kurt Russell
Jim Jones At Botany Bay
Neve – #2
–Samuel L. Jackson, Demián Bichir, Walton Goggins
“Uncle Charlie’s Stew”
I Quattro Passeggeri
La Musica Prima Del Massacro
L’inferno Bianco – Synth
–Tim Roth, Walton Goggins, Kurt Russell
The Suggestive Oswaldo Mobray
Now You’re All Alone
Written-By – David Hess
Sangue E Neve
L’inferno Bianco – Ottoni
Neve – #3
–Walton Goggins, Jennifer Jason Leigh, Michael Madsen
La Lettera Di Lincoln – Strumentale
–Ennio Morricone, Walton Goggins
La Lettera Di Lincoln – Con Dialogo
Written-By [Letter] – Samuel L. Jackson
There Won’t Be Many Coming Home
Written-By – Roy Orbison, William Dees
La Puntura Della Morte
Morricone provided 7 or 8 pieces to Tarantino who had a sound engineer rebuild these into what appears on the Soundtrack, which, apparently, is quite normal. The ‘Overture’ for example, was one of these Cut & Paste pieces. The soundtrack won the 2015 Oscar beating these composers to the prize:
Bridge of Spies – Thomas Newman
Carol – Carter Burwell
Sicario – Jóhann Jóhannsson
Star Wars: The Force Awakens – John Williams
So, yes, if the Oscars are to be believed (and it’s debatable sometimes whether they are) then this is the best Soundtrack released in 2015 (on this occasion I agree).
There’s a very nice video for Neve below (Disk 2, Side 1, Track 2)
Tonight i get to see a living legend perform in the grounds of Blenheim Palace. It’s going to rain. It’s worth it though. Morricone is now 87 years old and had to cancel some concerts earlier this year due to a back problem, but the signs for tonight are good.
Just in case you are not aware of who he is, he is a composer, this is one of his, you may well know it:
Or perhaps this one will ring a bell:
Here is a quick factual table for you: Morricone has been involved with at least 19 different movies grossing over US$20 million at the box office
For a Few Dollars More
The Good, the Bad and the Ugly
Exorcist II: The Heretic
La Cage aux Folles
Once Upon a Time in America
Brian De Palma
In the Line of Fire
Mission to Mars
Brian De Palma
The Best Offer
The Hateful Eight
As long as it isn’t a torrential downpour it should be fine tonight. This is what the setting will pretty much look like:
I am not really in great physical shape at the moment so attending a gig was very much not something that I would have chosen to do last night, but I bought a ticket months ago and I did not want to not go and then regret it later, so I went. Public Image Ltd were headlining with support from The Beat.
The O2 is about 25 minutes from where I work and there is a nearby car park so it wasn’t difficult to get to, I just needed to work late so that when I set off for the gig I wasn’t stuck in rush hour traffic. I arrived just before 7PM, which is when the doors opened, but decided to avoid the building queue and sit in Subway across the road with a Ham & Turkey sub on wheat bread, it’s the lowest fat one they do. I took a photo of it, don’t judge me.
I wandered over at about 7:30 and found the place to be pretty empty so I walked to the front and hung about 5 people back from the stage, which would turn out to be fortuitous as the heat in the place when it filled up was massive and I’d accidentally chosen to stand right under the air conditioning, which they put on at 8:45, by then it was a little late but it was better than not being on at all.
The beat were really very good, full of energy, getting the audience to join in and happily playing the songs the audience wanted to hear. I did take a couple of minutes to get my phone out and record a song, which shows my proximity to the stage as well.
Frontman Rankin Roger introduced his co-vocalist as Rankin Roger Jnr, which is nice. They did about an hour and it was really enjoyable, despite the heat.
At 8:50 P.I.L took to the stage and, being entirely truthful, it was a little bit of a disappointment. Perhaps this is my own fault as I love P.I.L and maybe I was expecting more than I should have, but the sound was a bit muddy, the levels on the vocal often made it unintelligible (which sometimes it’s supposed to be, but when it’s not, it shouldn’t be). I stood in the same spot for 4 songs but then had to move further back as space was getting tighter and, as previously mentioned, I’m not in the best of shape to deal with that at the moment.
I did do a quick snippet of ‘This is not a love song’, which is below, and listening to it back this morning, it sounds better on the video than it did being there. John Lydon, as he does nowadays, read the majority of his lyrics and still forgot some of them, or more likely lost his place. It was song after song with almost nothing in-between and I felt at times like I was present at a practice session and felt that they weren’t really up for it and were going through the motions somewhat. I could be entirely wrong about this and it may have been me projecting how I was feeling on to the band. Oh, the video is the wrong way up, bloody phone (because it can’t possibly be my fault! It’s been corrected in youtube, so that’s better)
I was still enjoying the gig but I had to leave early as it was all getting a bit too much for me to deal with and I had over an hour still to drive home.
I did try and take a few pictures of P.I.L but they were bloody awful so I quickly gave up.
I was glad I had the opportunity to see P.I.L. live and do wish I had been in finer fettle and could have stayed until the end.