My So good friend Alex offered the tick for my birthday and first, I thought having a good moment with my mate, one or two beers and a dozen for him (just kiddin, Alex, you drank ten actually). Well... It was a GOOD gig in that style, the guy played really the game and the very small venue hasn't been a problem, he did the show, his job and was very very nice with the audience he really warmed up to the maximum. Very cool after the gig we had a nice chat about his influences (Prince, The Time, Funkadelic, Sly and the Family Stone, could be worst...). I did thank him for showing some respect for the audience. I saw another english band last year and they were so surprised by the venue's size, they played a little bit safe... He didn't. Thanx for that and for the cool at the end of the gig! :) When I went out of the venue, I started to think: Tomorrow, I'll be in brussels...
The Council of blog Style had a meeting...
Will post still many infos and things to read as a daily magazine, gigs review AND not too much things to DL... Flavio and Dave are right, you don't even time enough to enjoy the dl... We also have a normal life! :) I think it will be ok this way. Keep on suggestin! :)
All the best, Enjoy.
Peace and SOUL,
eh... never a comment, never an opinion, nothing is the c box, even for band like the Badge or the new Marriott. What do you want me to do in that blog, just a download fountain or are you just visiting anf forget to write anything. The badge Worth a comment, don't you think? Honest, tell me, the equation is: no Weller, no interest?
Friends are writing (Liz, Patricia, Ian S, Flav, Vanou, Dave, Martin) but I really wonder if the blog takes the wrong direction. Then tell me, ok? I'm trying, with friends you know, to make a kind of constantly renewed magazine... Maybe I post too much things?
All the best... Wondering Yann! :)
Received my copy of the new Steve Marriott 2-cd set "All Or Nuffin"
and from start to finish the tracks are brilliant. Small Faces fans
also will not be disappointed with the inclusion of 3 Small Faces
classics "Whatcha Gonna Do About It", "All Or Nothing" & "Itchycoo
Park". The cd's are a live set from Steve's last performances in Germany
along with fellow musicians Jim Leverton on bass, and Alan "Sticky"
Wickett on drums helped along cool audience participation!
I was talking to Dave Summerfield tonight and he said "One point of
interest from the concert CD - its a bloody good version of Itchycoo
Park"! and I totally agree! It's not just the excellent musicianship
but what struck me most was Steve's voice. Around the 80s because of
lung bursting abuse to his vocal cords Steve's vox sounded a little
strained at times [although still excellent might I add] but coming
up to his later years his voice seemed to have smoothed out again and
for me on this cd set Steve sounds as good as his latter day Humble
Pie days - awesome!!.
Steve sure has a great ear for a fine tune as well and also included
in this set is songs from Chuck Berry, and Ray Charles to name but a
few. Top tunes on here for me is Chuck's 'Memphis Tennessee", and the
driving beatin' rhythm of "Some Kind Of Wonderful" [which the Faces
plagiarised for their song "Three Button Hand Me Down"]. Mr Pitiful
as well, played here from Steve with blinding blues riffs.
CD2 "Be My Guest" is an absolutely superb bonus cd of songs Steve
guessed on either on backing vocals, guitar & producing. My favourite
I think is Traffic's "Berkshire Poppies" were Steve is heard laughing
and joking and ad-libbing - wonderful memories.
The sleeve notes need a good mention as well because of the inclusion
of a "Steve Marriott Groupography" - Dates & Trivia from 1964 - 1991
[and prior to 1964] are included of ALL Steve Marriott's bands from
The Moonlighters, The Frantics, The Momments, Small Faces, Humble
Pie, The Blackberries, The All-stars, The Firm, Packet Of Three,
Official Recievers, The DT's, The Next Band, I Should Co-Co - lots to
read on the bands - not to be missed!!
All in all this cd set is a wonderful mixture of Soul, pop & R&B and
probably the best live set you will find from Steve Marriott - treat
Track listing is:
Disc1 : 1. Memphis Tennessee 2. Watch Your Step 3. Some Kind Of Wonderful 4. Big Train Stops At Memphis 5. Watcha Gonna Do About It 6. Talkin' 'Bout You 7. Silly Song 8. Itchycoo Park
9. Mr Pitiful 10. Hallelujah I Love Her So 11. Five Long Years 12. All Or Nothing 13. This Ol' Fool 14. Natural Born Bugie 15. Before You Accuse Me
Disc 2: 1. Why I Sing The Blues - Steve with Cochise 2. Man In Black - with Skip Bifferty 3. Havin' A Good Time - with Herman [Ze German] 4. Rainy Changes - with Pam Stephens
5. Berkshire Poppies - with Traffic 6. Route 66/Be Bop A Lula - [Previously unreleased Humble Pie track] 7. Steve Marriott Interview 1986
American Mod rockers The Badge are blessed with not one but two great songwriters. Jeff Slate and Marc Teamaker have been making inspiring music since meeting at a Paul Weller gig in New York a few years ago. 2008 is shaping up to be a big year for the band as they reconvene to promote their new single despite holding down solo projects aswell. This is a real working musicians band! We had a chat with Jeff Slate when he had a few minutes to spare in his hectic schedule. to be continued here: redtrackmusic, interview
They have really bad influences: The Who, The Kinks, The Smal Faces, The Beatles, Paul Weller, Sly Stone, Marvin Gaye...
Click the links below for MP3s of tracks from The Badge's three full-length CDs.
From "The EP Collection (2004-2005)":
Spacey ("Wall Of Sound" mix)
Count On Me Now
From "Calling Generation Mojo" (2003):
Calling Generation Mojo
Dawning Of A New Day
Join The World
From "...digital retro..." (1998):
If you grab any MP3, help the band:
Go and listen them on myspace
King Without A Country and Where You Are are the new single and aren't even out yet. Courtesy of the band for Cornershop's exclusive. ;)
Listen "King without a country"
Listen "Where you are"
The Badge CD Catalogue
Cds available at Andy's reflex Store
About their 2003's LP: Calling generation Mojo: "A Call Merits A Respons"
The Badge are a group who often get influences thrown at them in comparison. What it is neccessary to bear in mind is that at all times these guys aren't tribute artists, they are a band in their own stead, and a damn good one. A liver disc than the complex Digital Retro, this record sets the clear and easy ground for the work that will come flooding soon from this NYC foursome. The Badge are blessed in two very gifted songwriters, Jeff Slate, and Marc Teamaker.
Jeff is the most straightforward of the two, straight in for the kill, Dawning of A New Day is an anthem that calls for immediate respect, while the funky Where Luv Will Take You will have you grooving around the room non-stop! Tick Tock and It Girl employ the great songwriting trick of scathing lyrics over an upbeat tune. All For Luv is a nod to the late 'Quiet One' George Harrison, both musically, and lyrically, while Together is a love song that keeps the right side of sentimentality. Never pointless, never indulgent. Marc is a more subtle animal, working by stealth. Join The World gets under your skin before you have time to stop it, while Hole In My Head and I'm Not Your Man are achingly beautiful both winning and breaking your heart at the same time and standing as two of the finest song in his canon. Shoot Me Down sees him going into white funk territoy which he's never visited before, but works very well. The co-written Slate/Teamaker title track opens the disc and smacks you between the eyes before you have chance to take your finder awy from the play button. Add to this two interesting cover versions; a beefed up version of The Four Tops Reach Out I'll Be There, with Marc putting in a performance reminiscent of his idol, Steve Marriot and a psychadlic accoustic lead version of ELO's Telephone Line, and you have a cracking little album. Why only four stars? I've heard their new stuff, and trust me, there's better yet to come, but you don't want half a story!
Check the T.Shirt, click on it and the Kharma's secret will be revealed!
By the way, Steve Marriott's last live performances still available. To Celebrate it, Wapping Wharf offers to anybody that purchases through www.wappingwharf.com gets a free Steve Marriott's Moments EP from 1964, featuring unreleased pre-Small Faces Steve Marriott.
The guitars story: "The two guitars were presented to me by Fender of Glasgow at the Ronnie Lane show. The Fender Strat behind my head has Pete Townshend and Paul Wellers autographs on it (Plus Midge Ure). The Bass also has many signatures from my Royal Albert Hall show including Ronnie Wood, Chris Farlowe, Ocean Colour Scene, Glen Matlock, Sam Brown and others. Yeah, they're cool and never been played."
The iconic "Magic Bus", generously donated by Volkswagen Commercial Vehicles, has been signed by Roger Daltrey CBE, Patron of TCT, and Pete Townshend. The branding has been lovingly designed by thewho.com's Art Director, Richard Evans, and features the band's target logo plus iconic images of the original four band members (Pete, Roger, John Entwistle and Keith Moon).
Please dig deep and fork out a fiver (£5 Sterling, which is about $10 US) per ticket, each of which gives you a chance to win this Magic Bus and helps the TCT to build more cancer units dedicated to the needs of teenage sufferers.
GET MORE INFO ON HOW TO SIGN UP AND WIN
[TELL ME] HAVE YOU EVER SEEN ME ...
Way back in 1966 the Small Faces had begun work on their second Decca album to follow up the "Small Faces" album. New material had been written which included the first version of " [Tell Me] Have You Ever Seen Me which had a previous working title of "Mystery". But before the band had chance to release a second Decca album the band shelved it and up and left for the Immediate label. SO, with more studio time to themselves the Small Faces once again began work on new material including material first started at Decca. This included different take on a new polished version of " [Tell Me] Have You Ever Seen Me" as their first single for Immediate but then had to change their mind's because of Decca's disapproval and legal problems and released "Here Come The Nice/Talk To You" instead. Not to be outdone by Decca, Marriott stuck two fingers up to the Decca label and in a smart and crafty move gave " [Tell Me] Have You Ever Seen Me" away to Jerry Shirley's old band 'Apostolic Intervention' for their first single release [also on Immediate Records].
Although Decca had got there album "From The Beginning" out first on 2nd June with their version of 'Tell Me' on, Immediate pulled out all the stops and threw a lot of promotion in to the band's first album "Small Faces which included a give-away promo only 7" single album sampler [AS-1] featuring DJ Tommy Vance announcing "There are but four Small Faces, BUT only one Immediate LP" and also featured excerpts from the Immediate album tracks "Talk To You", "Get Yourself Together", "Green Circles", "All Of Our Yesterdays" and "Up The Wooden Hills". It's interesting to note as well that the excerpts sounds like a different mix plus is timed at 2.53 mins - worth a listen! .... As a bonus to this story - if you send me your email address I'll send you the promo sampler :0) - other than that you can get the sampler which was later reissued on vinyl [NEMLP 7415] with the re-release of the 1st Immediate album [also vinyl] by Sequel Records [Castle Music] [NEMLP 415] in 1999, plus you can hear the sampler on the cd reissue on the 35th Anniversary edition. The new Immediate album was a great mix of Psychedelia, soul, rock, acoustic and even folk. I remember buying the first album from the shops when I was a kid and "Tell Me" was one of my favourite tracks on the album right from the beginning of Kenney's beating drum being faded in followed by Marriott's lung bursting vocals off "I'veeeeeeeeeeeeeeeeeeeeeeeeeeeeve - a feeling that I know you" and certainly had me throwing my arms up in the air and shouting "Hey Hey, Hey Hey Hey Hey Hey" excellent! All in all as far as I am aware and what i have heard there is now 5 versions of the song, although like I have said before in other write-ups there are versions that have been re-mixed and remastered but these are the blatant different versions best to collect in my opinion ...
1/ The Decca version known as the '1st version' is a rawer vocal version with slightly different lyrics and found on the 1967 vinyl LP "from The Beggining". This version is timed at 2.17 mins.
Once again I must mention the accent in the song. Like us Northerners Steve uses the word "A" instead of "I" in the line "I seen flowers a-breaking through the concrete" [pronounced like "Ah"]. Steve sings "A seen flowers a-breaking through the concrete". Also after each line the band are using a cross between "hey" and "yeah" so I've compromised and put "Heah".
A few people have asked me in the past as well is it right Steve sings "Acid flowers breaking through the concrete", but no it's not.
After listening to all the versions of the Small Faces [and various cover versions] you can quite clearly hear Steve sing "I seen" on version 3.
Produced by Paul Epworth, the track features driving guitars from The Enemy, a Beach Boys bassline from Andy Rourke (The Smiths), vocals from Weller and Ditto, thumping beats from Supergrass drummer Danny Goffey, and smooth rhythm guitar from Graham Coxon.
For more information about the campaign, which is sponsored by Drinkaware, check out CrisisConsequences.com
The Crisis track Consequences is out now in MP3, click here to download
To order "Consequences" by SMS text CRISIS to 78789.Please Note - SMS purchase costs £1.50 plus standard network rate and is only available in the UK.
Infos soon for non uk resident (Andy Ferguson).
|Label(s)||Fiction Records |
|Jeff Shadbolt |
Purple Hearts were often considered one of the best English mod revival groups. The story of mod revivalists the Purple Hearts begins in 1977 when teenagers Jeff Shadbolt, Simon Stebbing, Bob Manton, and Nicky Lake formed in Romford, Essex as The Sockets in 1978 before they even knew how to play their instruments (taking a cue from the then-prevailing DIY aesthetics of the punk rock movement). They formed for the sole purpose of getting a support slot at a Buzzcocks gig at the East London Polytechic, to debut their tongue-in-cheek Rock Opera Reg. The amused audience took the amateurish teenage punks to their hearts and the group decided to soldier on, even after they had accomplished their original goal. Several gigs followed, including an appearance on a float in the Romford Carnival.
In 1978, their drummer Nick Lake broke his leg and was replaced by Gary Sparks, the band switched their name to Purple Hearts, after an amphetamine-barbiturate mixture popular with the mods of 1960s. Accordingly, they changed their sound from the rough-edged punk rock which was already beginning to fall out of favour to a more mod-influenced sound, which, thanks largely to The Jam, was beginning to capture public attention.
Their biggest hit was their first single, in 1979 "Millions Like Us", which only managed to peak at #57 in the UK singles chart, mainly due to lack lustre marketing from their label, Fiction Records. They following year they issued their debut album, Beat That!. But the mod revival craze of 1979 was rapidly dissipating and soon they were dropped from their label. This precipitated an extended hiatus, with bassist "Just" Jeff Shadbolt joining The Rage with Buddy Ascott from The Chords. Purple Hearts resurfaced to release more material in the mid-1980s to mass market indifference before breaking up permanently.
Reflex cd store
Paul Weller has denounced the Glastonbury festival, pointing towards the bad weather the festival has experienced of late.
Weller also pointed to the kind of people who went to the festival, claiming that recently festivalgoers hadn't been as big music fans as previously.
Comparing his performance at last year's festival to that in 1994, Weller told BBC 6Music: "The difference between doing it in '94 and doing it last year was that most of the audience knew the greatest hits, whereas in '94 they were music fans. You didn’t just have to do the greatest hits, that was very noticeable to me." "The conditions are disgusting aren't they?," he continued. "I don't know how people can... I mean, you'd have to be off your box to stay there for three days wouldn't you?" "I'm not a big lover of festivals at the best of times, I like proper gigs… and it's just really corporate now isn't it?"
Bottom Line: The rock icon delivers a terrific show that well balances the Kinks classics and his recent solo work by Frank Scheck. Apr 10, 2008 Ray Davies delivered a show that surely pleased casual and obsessive fans alike. Beacon Theater, New York Tuesday, April 8
Considering the storms he's weathered, the sheer joviality expressed by Ray Davies onstage is positively rejuvenating. In the midst of a short tour to promote his excellent second solo disc "Working Man's Cafe," the former Kinks frontman performed with the energy and enthusiasm of a man half his age.
He led the show off, appropriately enough, with the relatively obscure "I'm Not Like Everybody Else," and during the next two-plus hours the venerable rocker proceeded to demonstrate just that. Freely alternating between selections from his two solo albums and plenty of choice nuggets from one of the most fruitful catalogs in rock history, he delivered a show that surely pleased casual and obsessive fans alike.
Davies performed with a tight four-piece backing band that managed to rock in all the right places, and he reminisced about his former group. "I'm not allowed to mention the 'K' word," he joked, adding that he's agreed to pay a $10 fine for every time he does so. During the course of the evening, he managed to rack up quite a bill.
The recent songs, though lacking the instantly memorable hooks of the old, are nonetheless marvelously well-observed, sophisticated compositions that showcase his melodic and lyrical gifts. While lumping a bunch of them together during an acoustic set in the show's second half sapped the evening of some of it's momentum, such songs as "In a Moment," "One More Time" and "Vietnam Cowboys" merit serious attention. But it was, of course, the Kinks classics that the crowd was screaming for, and they weren't disappointed by the rousing renditions of such numbers as "A Well Respected Man," "Sunny Afternoon" (a song for which he professed initial shame at having written), "Come Dancing," "Tired of Waiting for You," "All Day and All of the Night," "Low Budget" and encores that included "Lola," "Days" and "Victoria." He also paid warm tribute to his estranged brother Dave before effectively replicating his classic guitar riff in "You Really Got Me."
Davies clearly was in a playful mood, frequently encouraging audience sing-alongs and clap-alongs and showing his disappointment when they didn't meet his standards. For his song "The Tourist," he proudly sported a Union Jack blazer, only to take it off to reveal American stars and stripes on the inner lining. It was a perfect symbol for the dichotomies that have made him one of the most compelling figures in rock history.
Best to leave Weller alone?
A brilliant live force, but 'Modfather Paul Weller proves the old adage -- don't meet your heroes, writes Barry Egan... actually, I'm just a blogger and I've met the man in Brussels. I've got no connection with him, never met him before or after. Honest, he was really cool and nice, listened me five minutes saying things he heard a million times before...(Just tried to summarize 25 years of admiration...) He let me come to the soundcheck and he played a very long moment with the son of the LOCAL crew member... We made photos he signed me many stuff, etc... BUT Didn't rushed on him like a screaming fanatic... or he was in a good day? ;) Barry Egan is fair and I'm a little bit like him, I've discovered so many things by the Weller's channel, it's impossible to quantify...Impossible. Beatles, Soul, Kinks, Who, Small faces, Mod's world, etc.etc. I think Barry doesn't know the first line of Weller's book: he NEVER DOES what he DOESN'T WANT to do! :)
A few years ago, Oasis curmudgeon Noel Gallagher was asked who would be the three people he'd invite to his dream birthday party. "I'd invite Paul Weller, 'cause he makes me laugh; Johnny Depp, 'cause he's me mate. And one of the Spice Girls, to give her a good kicking."
Singularly irritating members of girl bands and Mr Depp apart, I would have had Weller at my dream birthday, too. That was, however, until I met the truculent, thorny, moodmeister in the flesh.
There is certain wisdom in the theory that you should never meet your heroes. Just as Paul Weller met his -- The Who's Pete Townsend in 1980 -- and was disenchanted, to say nothing of disappointed, so was I when I met Weller last summer in Maida Vale in London. Graham Greene said that every successful writer needs a sliver of ice in their heart. And Weller seem to have more than a sliver in his heart. He was monosyllable-friendly and non-communicative as if I was there to ask him for a loan of money.
When I told him that it was Jam albums like Setting Sons and All Mod Cons that made me want to get into writing about music, the former lead singer with The Jam, once the biggest band in Britain, couldn't have been less interested (possibly because I used to write for New Musical Express, his least favourite publication on Planet Earth. More on NME later.)
Weller was still the boy about town, the king of the mods at 49 years of age, but meeting him in the flesh was a letdown. Here was the man whose lyrics had me looking up Shelley, Keats, William Blake and George Orwell in the library in Dundrum after school. That hot afternoon in London, Weller was like an Eastenders' parody of a great rock poet, sipping from his mug of tea, fag in his mouth and not an interesting thought in his head. He seemed cynical about almost everything -- an attitude that was at odds with his music.
Then maybe Weller had good reason to be distrusting of his industry. The Guardian once noted that Weller -- like Van Morrison in my opinion -- "often appears to be holding a large abstract grudge against something that hasn't quite happened yet". In 1995, he was saying that four years ago he couldn't get arrested. As he sang on Has My Fire Really Gone Out?:
"Something real is what I'm seeking
"One clear voice in the wilderness..."
"Now," Weller remembered, "it's people saying, 'Great, always liked your stuff.' That's the nature of the business, and once you understand it, you get on with it. It's quite simple -- you can't trust it."
In hindsight, perhaps that attitude seemed to underline his feelings on what might have been an off day. Or, more possibly, it was me.
But there were occasional moments of inspiration when he talked about how the existential truth of Above The Clouds ("When you're scared of living -- but afraid to die; I get scared of giving") was influenced by Nick Drake and how Liza Radley and English Rose actually existed, the English countryside that inspired the pastoral genius of Wild Wood; and the hymn-like Wings Of Speed being stirred by seeing the painting The Lady Of Shallott at the Tate gallery:
"In dreams, she floats on a stream
"With Jesus at the helm, the water reeds that beg
"Her boat along the way
"As she comes to me . . ."
Like Elvis Costello and Ray Davies, Weller's songwriting is as English as treason. It is entrenched in English culture. Oasis were inspired as much by Weller as they were by The Beatles. Town Called Malice nailed the zeitgeist of Thatcher's Britain as much as Ghost Town by The Specials did. Going Underground, Start! and Beat Surrender were nuggets that emerged out of British working class culture via Stax, Motown and The Beatles.
The John Lennon of the Grange Hill generation has been guilty of romanticising the British working class (Man In The Corner Shop, Eton Rifles, Town Called Malice, Saturday's Kids). And it could be argued that he based his whole career up until the age of 40 on The Small Faces and George Orwell.
But he has written some of the best pop songs about British culture (English Rose, Wild Wood, A Man Of Great Promise, Amongst Butterflies, Broken Stones) since The Beatles. According to The Guinness Book Of British Singles, Weller has had more self-penned hits (55) than anyone bar Paul McCartney (69) and Elton John (62).
He told Vox magazine in 1996 that he can never rest: "I'm always trying to prove myself." That restless quest to do just that has marked his best music from The Jam to The Style Council to his solo work. He might sing like Steve Marriott of The Small Faces channelling Otis Redding on occasions, but in truth the moody magnificence of Paul Weller is a joy to behold. Live on stage with a guitar plugged in and the three-minute mod-pop songs screaming out of him, there are few better performers. Just don't say his rootsy blues puts you in mind of Mr Slowhand.
In 1995, Weller was fired up saying that his music has still got that edge -- 1996 classic Stanley Road proved that beyond dispute -- "and hopefully always will have. And if my music got as laid back as Eric Clapton's, I'd pack it in . . . or shoot myself."
Predictably when good old NME dubbed Weller's 1998 album Heavy Soul "Claptonesque", Weller's response was thunderous. (I would say it's more rhythm 'n' blues-inflected rock of The Who, Neil Young's Harvest Moon with Bobby Womack's Poet 1 thrown in with a bit of the two Steves, Winwood and Marriott.) Weller rang the journalist in question -- Northern Ireland-based Stuart Bailie -- and went through him for a short cut.
CD1 All Or Nuffin:
The Final Performances.
Features a live set from February 1991.
Because of the tragic circumstances of a few months later, this was to be Steve's last ever tour.
The set includes a great live version of "Itchycoo Park", a track that Steve always said he would never play live
CD2 Be my guest:Steve guesting on other artists' records.
Whether it be in the role of vocalist, musician or producer,
he always left his stamp!
This is the One! In September Ian Brown returns to the fray with his best solo album yet. Its his first release since 2004’s ‘Solarized’ and 2005’s ‘The Greatest’ compilation which brought phase one of the Ian Brown’s highly successful maverick solo career to an end. Whilst the first four albums were smart and original with an eclectic flavour, ‘The World Is Yours’ is a very different work. A lush, orchestral workout that recalls Marvin Gaye’s classic ‘What’s Going On’ and Ennio Morricone’s classic spaghetti western soundtracks it comes armed with politicised lyrics and some special guests.
The album oozes a certain maturity and wisdom with Brown at his lyrical best. He’s always had an edge to what he sings about, always been searching, sometimes spiritual, mystical and always been political- that’s the inner punk speaking out. Brown comes from a maverick generation who fought back. You don’t love the Sex Pistols and Bob Marley for nothing, There is a righteousness and a focus about the album that comes from nine months of laying off the weed, Brown himself claims he was determined to get straight and worked his hardest on the record, getting it right, honing down his message. In these crazy times we need clear minds, we need people to speak out. ‘The World Is Yours’ is velvet music packing an iron fist. It punches harder than Ian Brown’s boyhood idols Mohammed Ali and Bruce Lee but this righteousness is bedded in with the lush orchestration that is swooping and powerful- sitting on top of clear-cut grooves.
This is Ian Brown’s breakout record, the one that will define his whole career and finally dispel the myths of his glorious past. Ian Brown comes with a history and its one that has cemented his iconic status for a whole generation. The music has always been great and now it moves up a level. Can it really be 20 years ago since the Stone Roses were Manchester’s best-kept secret.Those underground gigs, those packed Mancunian nights as the Roses created the legend that was about to take the nation. It was a beautiful moment, the eighties had been crap and suddenly here was a band that was going to take the world, their songs were anthems and the frontman was the coolest fucker in town.
Oasis may have stolen the Roses thunder in sales terms but they would always pay respect to the real simian king. Liam acknowledges the Brownman's swagger and the city is still seething with mini versions of the real Manchester icon. Manchester is a city of mavericks and hooligan poets, individuals making their own mad mash up music, Ian Brown is the king monkey of this clan. He got the charisma and he got the talent to pull these unlikely combinations off. The Roses had the world in the palm of their hand, their debut album is still in all those top fives that matter, America was calling, they culd have been the biggest band in the world.
But they let it go, the bond was broken and cynics thought that this was the last we had heard of the errant frontman. However, Ian bounced back with a solo career that confounded the doubters. He kept his edge and his king monkey cool- not even a spell inside Strangeways affected that swagger. Brown gets respect because he cuts great tunes, never sold out and brokes no bullshit whether its in the recording studio or on live TV. He seems to know no fear. Whilst every British band went off and copied the Roses he set of in the opposite direction and invented his own multi cultural polyglot mix of music that has a cutting edge cool to it.
Instead of coasting it with a sub Roses guitar workout Ian went out on his own path. Not so much white indie music this was a multiracial, multi styled modern music. There were distinct flavours of everything in there, from post techno meltdown to hip hop to touches of the Roses melodic guitar with an edge to, well, Ian Brown music. ‘Unfinished Monkey Business ‘ was a gem; funny, dark and charismatic it set Ian up as a solo star with an agenda of his own, answering to no one. The next three albums continued this theme, experimental, ground breaking but always pop armed with a rough edge so often lacking in modern British music- Brown did what the fuck he felt like, born a punk, die a punk- this was the sprit of adventure that punk had promised. The albums showed a restless spirit listening to all the music out there and making his own version of it.
Second album ‘Golden Greats’ was smoother, ‘Music Of The Spheres’ more atmospheric and ‘Solarized’ was the best yet with its super funky urban guerrilla tunes and even touches of mariachi in its make up. Now more than a decade since the Roses bailed out Brown is back with his best solo album.
He’s honed this to perfection now, ‘The World Is Yours’, is the sound of someone at the top of their game. Like a boxer at the pinnacle of his career limbering up at the ringside Brown’s nonchalant swagger and diamond hard attitude are all over the album. Lyrically tough and mature there is a wisdom dripping out of the songs and some great guests calling in to give the album a flavour. Sinéad O’Connor sounds as beautiful and militantly fragile as ever on ‘Illegal Attacks’ which deals with the Iraq. Whilst a couple of ex Pistols lurk around on ‘Sister Rose’. Getting Cook and Jones to play on the album is a dream for Ian Brown. Growing up in the Manchester suburbs his life was changed by the power and attitude of the Sex Pistols, a band whose rebel mantle the Roses readily took on in their brief tenure as the UK’s hottest band. The Pistols pair don’t disappoint, they sound as thuggish and fantastic as they did 30 years ago. When Ian Brown gets guests on his records they give him their best shot. Lets not forget Paul Ryder, the erstwhile brother of Happy Monday Sean, whose loping bass line gives the same two tracks a dirty northern funk. Ian always said that Paul was the greatest bass player in town and Mani would always agree.
When you got one great Manc bass player on your album, why not get another? ex Smiths Andy Rourke plays on ‘Goodbye To The Broken’ and ‘On Track’ in a neat nod to the classic Manchester band lineage. ‘The World Is Yours’ is lush and respectful to the louche sexuality of the groove. Its got attitude with Brown’s husky vocals that combine a very northern in your face attitude with the wisdom of the soul singer, course and affecting they are also Brown’s best vocals yet. A masterpiece, the album is Ian Brown burying all his ghosts and setting the world to rights, making a stand and recording a masterful album. When Geno Washington met the young Brown in 1984 and told the skinny kid that he was a star he could never dream that nearly a quarter of a century later he would cut an album that oozed pure soul class.
PLEASE NOTE (from the original site Ian found it) : While this is sourced from a pre-FM reel, it may not sound as crisp as one would hope. This is indeed a good sounding recording with an exceptional stereo image, but please don't expect a "commercially produced" quality from this tape. There are a few "age spots" as one would expect in a tape of this age. That being said, it still kicks ass and it's better to have it than not. Please enjoy LOUD & pass it on...
Part One (Rapidshare)
Part Two (Divshare)
Ray Davies - guitar, vocals
Dave Davies - lead guitar, vocals
Andy Pyle - bass
John Gosling - piano, keyboards
Mick Avory - drums
Nick Newell - sax
Debbie Doss - background vocals
Shirley Roden - background vocals
Songwriter, bandleader, social critic, poet and humorist all apply to the Kinks frontman Ray Davies. Unlike other British Invasion-era bandleaders, he didn't seem comfortable as a frontman. He wasn't cute like the Beatles or cocky like the Stones. The band's sound was also different. Less rooted in American music, the Kinks had a more overtly English sound. Davies often sang in a shy, insecure voice over some of the wildest and rawest music anybody had ever heard.
Davies' songwriting rapidly developed and soon enough his anthems of unrequited love transformed into beautiful pop songs teaming with vivid imagery. Unfortunately, during those key years of 1965 through 1969, the Kinks were not permitted to enter the United States. Do to a union dispute that caused this sad state of affairs, the Kinks were not getting the American exposure so critical at that time, and this unquestionably prevented the group from the attention they so richly deserved. The Kinks were creating some of the most beautiful rock songs ever recorded during these years, many featuring melodies that were as impressive as anything being recorded at the time.
Just as the American banishment was lifted, the band hit big with the sexually ambiguous "Lola," followed by an album that attacked the music industry and record company accounting at a time when the Punk generation was still in diapers. The band trailed on with moderate success in the early 1970s, with Davies composing albums that were more like theatrical presentations. Changing labels in 1976, Davies and the band developed some new hard rocking material and with record company support, began staging their comeback.
The album, Sleepwalker, went Top 40 and the group hit the road to promote it. Armed with strong new material and renewed radio interest in their catalogue, the 1977 tour would attract large numbers of fans and be remembered as one of their greatest.
There is no better example of that tour, than their now legendary stop at Winterland in San Francisco. This performance covers all the bases, from the raw simplicity of "You Really Got Me" and "All Day And All Of The Night" to the deep introspective beauty of Waterloo Sunset." Healthy doses of the recent material from "Schoolboys In Disgrace" and "Sleepwalker" are met with approval and the band rocks harder than ever. Davies voice displays some wear and tear, but for the most part sounds confident and comfortable.
Those who love the band's comeback era will find no better live example of that material than this performance. It is also surprising just how brightly some of the bands early 1970s material actually shines. "Celluloid Heroes" is a perfect example of this. Older fans will be delighted to find "A Well Respected Man," sing-a-long renditions of "Sunny Afternoon" and "Lola" and a full tilt "Victoria" to end the night.
'It was like being transported back in time, like being there the first time' - Val Weedon - Small Faces Fan Club
'As far as tribute bands go, they're better than anything I've seen before... Awesome' - John Hellier - Author of Steve Marriott biography 'All Too Beautiful'
'For those of you that never saw the Small Faces live, this is as close as you're gonna get' - Stan Lane - Brother of Ronnie LanePLAYBOX THEATRE COMPLETE MUSIC FOCUS TRILOGY WITH CLASSIC 1960S ALBUM FOR 2008 OXJAM EVENT OGDENS' NUT GONE FLAKE BY THE SMALL FACES STAGED AS NEW MUSIC-THEATRE PRODUCTION, Warwick, 21st April 2008
Playbox Theatre in 2006 staged a new production of Michael Pinchbeck's surreal play The White Album based on events in, around and inspired by The Beatles album 1968 (known as The White). It was a huge success in both the UK and USA where it played the famous Santa Monica Playhouse.
Playbox Theatre is determined to effect young people's lives and aspirations. Each year the company partner Oxfam's Oxjam Music Festival to raise funds for the children worldwide in distress, poverty and dire conditions. An unusual live-stage event based on classic and inspirational albums has been the plan 2006-2008 with The White Album, being followed by Pink Floyd's The Wall with live band Breathe and over 40 young people recreating the epoch's most revered concept album in a two-hour stage show.
To complete this trilogy of works in 2008 and to take a different direction, Playbox Theatre will stage Ogden's Nut Gone Flake – The Small Faces 1968 concept album – as a show for all the family telling of Happiness Stan and his quest to discover the missing half of the moon. With live music from The Small Fakers – the UK's only facsimile Small Faces band, actors, dancers, movement animations and puppeteers from Playbox and a guest narrator (t.b.a.) – the event promises to be unique and it is hoped to raise a substantial amount for Oxjam from the show. Ogden's Nut Gone Flake will premiere on Thursday 20th November with subsequent performances Friday 21st and Saturday 22nd November at The Dream Factory, Warwick.
Director will be Stewart McGill, director of The White Album and The Wall. Production consultants are John Hellier editor of The Small Faces Darlings of Whapping Wharf and Mark Cunningham editor of Total Production International who will provide essential production
and biographical support to the creative team.The Small Fakers will play Ogden's album live each night with an extra set featuring hits of The Small Faces including Itchycoo Park, Tin Soldier, All For Nothing etc.