Category Archives: Live Review

Stacey Cronin and Asylum Affair at Staines Riverside Club

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The amazing quality and superlative musicianship brought to The Staines Riverside Club by ‘Stacey Cronin and Asylum Affair‘ this week made me realize that really good ‘covers’ bands should make you think.  We all know that these bands are here to entertain us.   But – from time to time – it’s nice to be challenged. And ‘Asylum Affair’ put so much effort into bringing you their passionately performed ‘forgotten classics’  that you tend to feel delightfully exhausted when it’s time to go home. They are a power-house of talent and energy.

It’s also refreshing to have some 80’s power ballads for a change. Sometimes ‘covers bands’ do not offer enough fresh ideas to an audience. Party bands should try to entertain and delight – of course – but they should also surprise their audience – perhaps revealing long hidden memories or replaying some cherished old favourites.

So we had “Alone” – the ‘Heart’ hit song -  written by Billy Steinberg and Tom Kelly. (They also wrote the Madonna hit “Like a Virgin” and The Bangles “Eternal Flame”.) This  piece showed off the remarkable talent of Stacey.  She is a gutsy, powerful and passionate lady. And we also had the incredible “Love Is a Battlefield” (Pat Benatar) which was released in 1983 in the United States. This song was written by Holly Knight with Mike Chapman (half of the brand “Chinnichap.”) Stacey says that this is her favourite number to perform and we could see why. She brought drama, remorse and extraordinary strength to each word of the song.  And the tune has being going around in my head every since!

But although the focus was on ‘The Eighties’ it does not mean that the band did not play some enjoyable hits from other decades. “Handbags and Gladrags” is normally associated with the Stereophonics or with the theme tune of  ‘The Office’. But it was actually written in 1967 by Mike d’Abo (vocalist with Manfred Mann) before being offered to Chris Farlowe as a single. Dave Greenslade played the piano riff on that original version. Asylum Affair’s interpretation had everything that we expected from this much loved song. Pathos, the sense of loss and  the overpowering nostalgia. It was all there.  Ahh! Those bittersweet memories. It was an excellent cover.

“The Boss” was also covered. “Born to Run” (1975) was sung with the same vigorous hard-working energy that you would expect from  Bruce Springsteen himself. The ‘Clarence Clemons’ sax piece was expertly executed by Mark ‘Wilko’ Wilkinson, who swapped keyboards for the saxophone. Later we also had “Because the Night” – one of my favourite songs of all time -  it was written by Bruce Springsteen for his ‘Darkness on the Edge of Town’ album in 1978.  And it is still Patti  Smith’s most popular  number.

Stacey Cronin’s voice is often compared favourably with Bonnie Tyler. But I think that her voice has more in common with Steve Nicks than with Tyler. It has that high quality husk – for sure – but it is not so acidic or sand papery.  The voice  is light, fluorescent and powdery.

So, when the band played their songs from Fleetwood Mac’s ‘Rumours’ album, we enjoyed the full range of delicate expressionism – easily spliced with powerful zest and gusto. For these songs,  the boys also came to the microphones to provide some beautiful harmonic backing vocals. And the Fleetwood Mac numbers provided an opportunity for John Lawrence (lead guitar) to produce an abundance of perfectly pitched and lavishly adorned solo work.

During one number – the ‘Prince’ odyssey  that is “Purple Rain” (1984) -  the excellent ‘Giant of the Bass’ Colin Payne moved so far from the stage  – (using his wireless kit) – that he more-or-less left the building. John then focussed on the blooms and contortions of that famously extended guitar solo. It was moving stuff!

The Staines Riverside Club has brought some incredible music to Staines over the years. And they can be justifiably proud of hunting down Stacey Cronin and Asylum Affair. This is every bit a high quality music act.

So please don’t miss them next time they come around. And support live music locally.

- © Neil Mach May 2013 -

Link:

https://www.facebook.com/asylumaffair

Check http://www.ents24.com/staines-events/staines-riverside-club for the next gig at the Riverside Club

Stacey Cronin and Asylum Affair

Missing Andy Live at the Boiler Room

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Missing-Andy-at-Boiler-RoomPopular Essex mod-band Missing Andy came over the water, to the capital of Surrey – Guidford – last Sunday – to play the superb venue The Boiler Room.

They performed a bunch of invigorating and fascinating popular songs for the breathless audience to swing along to and enjoy.

Several songs were played ‘acoustically’ and taken from the band’s recently released acoustic EP – and other new numbers were taken from the two ‘Guerrilla Invasion’ discs.

Songs included the nostalgic ‘Mr. Policeman’ which is a traditional English 2 Tone number, created, perhaps,  in memory of  The Specials.   It feels like a  hopping and punky Basildon street party. With those raspberry guitar sounds, walking bass lines and fluctuating, fluttering percussion – it is a full bunting flapper of a song.

The gently murmuring guitars and the swooping woo-woos from the keyboards added texture to the carefree fun of it all.  In the brightly coloured Chigwell/Chigley world portrayed here, all the cops are like PC Corky Turnbull and all the villains are like Grange Hill’s “Tucker.”   With lines like  “Mr Policeman please let me go…” running around in our heads hours later, we realised that this song was a real House Of Fun.

Britpop flavored ‘Young Disciple’ was very reminiscent of Parklife era ‘Blur’ especially with that ingenious spoken verse (reminding us of Phil Daniels)  “You should take a vow of silence mate….so he did.”  The ‘Dedicated Follower’ vocal was patently a knowing nod to the “Dedicated Follower of Fashion” single by The Kinks (progenitors of Brit-pop.) The vocal on this chorus was sweetly high, saccharine luscious and it really showcased the astonishing talent of lead man  “Alex” Greaves.  And the backing vocals were also clean and reliable.  Crikey! The tune on this number was irresistibly attractive  – with those ska sounds predominating.  What a treat.

MA guerilla invasion‘Glorious’ sounded like something that Adele would probably produce. A bighearted, big bosomed anthem. One that would make your Nan and Grandpa sit and listen. Or get your little niece to dance along to in her mother’s “Big shoes”.  It  had that crisp rat-a-tat military rhythm that steadily marched along.

And there was also that kind of big, pouting melody that wins Brit Awards: With a prizewinning line that went something like “All we need is a little more time …. to be glorious.”  It was a song all about shining a golden light upon our lives.  So, with winsome synths (courtesy of birthday boy “Jon” Sharpe) creating some silky brocaded backdrops,  and shiny guitars from “DAVE” Rolls -  the overall lustre was guaranteed.  Largely,  this was a song that celebrated life and the voice.  And if it doesn’t win a Grammy award for MA  then there ain’t no justice in this mad world.

We also had some of the best songs from the back-catalogue, the favourite of these being ‘Dave’  with those quick witty texts, and plinky-plonk boogie “Joanna” – it had the animated crowd at the Boiler Room up and dancing like Redbridge hoodlums!

It was a great show, and we cannot wait to see Missing Andy again. We really hope that they get the recognition they deserve for their amazing new releases. They are the salt of the earth. And. God,  we love ‘em.

- © Neil_Mach April 2013 -

Link:

http://www.facebook.com/missingandyofficial

Brother and Bones Live at Boiler Room Guildford

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At the cramped Fishbowl Brighton © Neil_Mach

Every now and then a band comes along that really chippers us up. Brother And Bones really bounce. They put passion in your heart. This is one of the best live bands on the circuit today. They play like rabid beasts. They look like mythological heroes. And they write music that even the gods would bless. This is a band you dare not miss.

We first saw them playing live at this year’s Great Escape.  They were playing in a tiny pub -  ‘The Fishbowl’  in Brighton.  Most of the audience had to stand outside the public house and peer in through the windows to see their show.   Brother And Bones are the kind of band that need a lot of room. And I mean a lot … there are five of them, and they even have two drum kits.   Yet, here they were crashing and smashing around a cramped room.  And they played that gig after they had played a tiny launderette!  Give them their due.  These lads work hard.

During the summer, we caught them again at the fabulous RedFest music festival, set in the beautiful rural surroundings of Robins Cook Farm , Redhill, Surrey. This time the band had a huge stage to move around in.  And they utilised every inch of the space they were given. They are so energetic, it makes you feel tired just watching.

We had another opportunity to see the band this week at Guildford’s favourite venue – The Boiler Room.  The place was packed. The atmosphere was electric.

Their debut single,  ‘Back to the Shore’ has a dark heart, and streams of strumming black passion.  Angry vocals are spat out against storms from the guitar. And as the anger and the fire builds up, you realize that you will reach an outstanding and tumultuous chorus. And when it comes, it is literally stamped and thumped out.  They rage around the stage as if they are trying to put out a sudden blaze. It is about as expressive as you can get. And as exciting as having a tiger claw the pants from your body.

‘Good For You’ has a growling guitar that curls his lip at you and snarls out his intent. The vocals from Rich are manfully wrenched from his gut, and the pounding drums rabidly fluster. Every now and then a pure note is squeaked out from James on lead guitar. Then he builds up the pace, whining, moaning and throttling the life out of the strings.  After a good pounding of drums, the song opens up into a swaggering, swaying chorus. What a song. What a band.

James Willard at RedFest 2012 © Neil_Mach

‘Skin and Bone’ is bleating and haunting. An extraordinary verse dribbles before it crawls. Then it burns and blisters your heart with its disturbing relevance.  You don’t get much more masculine than front man  Rich Thomas. And his voice, on this song, is a mixture of bitter rum, black tobacco and barely held back, tense manhood.

‘Hold Me Like The Sun’ is the most folk-rock sounding of their output on the night. But Brother and Bones surpass all other peers in their genre. They sound genuinely ferocious on this song. It is as animalistic as it is raw. It must be the combination of razor-sharp percussion, sepulchral vocals and rushing guitars. This song places them in a breed apart from other contemporary folk-rockers.

At the Boiler Room, Guildford, Brother And Bones worked the stage like crazy animals. Wringing every gram of sweat from their pores. And almost destroying their instruments with a fury rarely seen.

Strewth! We look forward to seeing again.

- © Neil_Mach November 2012 -

Link: www.facebook.com/brotherandbones

Slade Live at The Anvil Basingstoke

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Slade Live – Anvil Basingstoke – © Neil_Mach November 2012

When I was in school there was only one band that you were proud to say that you had seen play live. It was Slade. This was before they became a joke. It was before you dared not admit you liked Slade. Before their records were remaindered in Woolies. It was before Noddy left to go to be an actor in The Grimleys.  It was even before Slade became a household name, part of our national heritage and glam-rock heroes. It was before they gave us their Christmas number one. It was when they were known for just one thing – for being the best hard rock act around.

In those days, at school, things were divided into two musical camps: One lot liked hippy stuff. They liked Yes, Pink Floyd and Tyrannosaurus Rex (not T. Rex.)  This lot went around in hippy clothes such as loon pants, cheese-cloth shirts and old trench coats. They said “Peace” a lot. The other camp – the ones that adults called “Skinheads” (point of order – we just called them “Skins”) had short hair, wore boots, and liked Slade. This was before punk. It was before 2-tone. It was long  before ‘Madness.’ The only thing that the skins could call their own kind of music was Dave and Ansell Collins. And Slade.

Slade came out of the Black Country in 1971 with “Get Down and Get With It”. And with it came boot stomping rock ‘n’ roll heaven. That song was originally recorded by Little Richard for the “Okeh Sessions” . And it gave everyone a chance to get their boots on and stamp their feet.

The Slade boys – drummer Don Powell, guitarist Dave Hill, singer Noddy Holder and bassist Jim Lea were raised on fine music – such as John Lee Hooker and Howlin’ Wolf. They had played support slots for bands such as The Yardbirds (fore runners of Led Zeppelin.) In 1971 it was their chance to take centre stage.

Slade made the wearing of Crombie coats, cherry red Doc Martens, and Sta-Prest Levi’s with braces, seem cool and trendy. And even if that conjured up images of skinheads who were more like Dick Emery’s idiot creation  ‘Bovver boy’  (and his even more idiotic his father – played by Roy Kinnear) -  Slade become a cult act, and skinhead rock was real.

Little Richard Get Down and Get With It

But, when Chas Chandler (former manager of Jimi Hendrix), came into possession of the brand, and began to drive the musicians towards success, things began to get out of hand. After the successful – and much-loved single “Coz I Luv You” (written by Lea and Holder) we then got a flurry of misspelled pop songs like “Take Me Bak ‘Ome” and “Look Wot You Dun”. And Slade gradually became a ‘Glam Band’  I always thought that they seemed reluctant to go down the glam-rock path.  Well, except for Dave, that is.  His glitter wig and super-yob guitar can never be forgotten. The story goes that, after an altercation in the dressing room on Top of the Pops – when Jim once again criticised Dave for wearing a tin foil jumpsuit – Dave allegedly responded to the criticism  by saying “You write ‘em Jim,  and I’ll sell em !”

Looking back at the early 1970’s (and in light of the Jimmy Savile allegations) I sometimes get a feeling of nausea – rather than nostalgia about the times. This was the era that brought us Gary Glitter and “Do You Wanna Touch Me? (Oh Yeah)” with the “Do you wanna touch me there, where?” lyric. It was addressed to little girls.  And little boys. And I also remember Sweet’s ‘Little Willy’ (You can’t push Willy round, Willy won’t go.) And just knew that Mary Whitehouse would write in about it.

So when Slade played live at the Anvil Basingstoke this week, it was probably reasonable to exclude “Skweeze Me, Pleeze Me” from the set list. And thinking about this reminds me that my favourite song by Slade was “Gudbuy T ‘Jane” and it was kept from the No 1 slot by the  innuendo laden Chuck Berry hit “My Ding-a-Ling.” (Which Mary did complain about.)

Today, the Slade line-up is:  Vocals and guitar Mal McNulty (previously with Paddy Goes To Holyhead and Sweet) John Berry on bass / backing vocals and violin (he has worked with Mud), and the original band members Don Powell on drums and super-yob Dave Hill on lead guitar.

At the Anvil, the band worked their way through a series of ‘Crazee’  rock numbers – and they had the audience up and dancing almost immediately. Just like the old days.  Everyone was standing. Everyone was stomping . Best songs in the show were, for my money, the excellent “Everyday” (I forgot how good that number was) and the Celtic sounding  song “Run Runaway”.

I missed “Far Far Away” and I really liked “Nobody’s Fool”  back in 1976. But that was forgotten too. But we still got “Mama Weer All Crazee Now”. Thank goodness.

Dave Hill still haunts the stage with that silly smile of his. Trying to boot things. Still being the class clown. And Don still looks as menacing as he ever has been. Mal actually sounds like Noddy. And that must be a hard act to follow. And John played a passable violin solo on “Coz I Luv You” – but it was not as good as Jim Lea. Their performance was exhilarating. Strong, heavy and full of fun. Just like a Slade show should be.

Some of these old bands become shadows of themselves. They sometimes become affectionate cover bands. Of their own music. But Slade have not crumbled. They are still full of energy.  It’s encouraging.  They really know how to perform. And they are loud.   That’s why they brought the house down at the Reading Festival in 1980

And before the curtain call at The Anvil, Dave came out on stage to thank the audience. “It was not a bad year that?” He chirped. “It’s been good hasn’t it?” Everyone agreed and clapped some more. Party hats were rushed on by roadies. And the group got back on stage. And they played “Merry Xmas Everybody”.

Before the concert, I was thinking about that song. And I was hoping that they would not play it. But they did. And do you know what? It brought a tear to my eye.

- © Neil_Mach November 2012 -

Link:

http://www.slade40years.com/

Cornelia Live at The Boiler Room Guildford

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Cornelia Live at Boiler Room Guildford
Image © Neil Mach 2012

On Monday 15th Oct we were lucky enough to see the Swedish singer / songwriter and electronic pop temptress, Cornelia Dahlgren at the fabulous Boiler Room venue, in Guildford, Surrey. Cornelia participated in the first season of Swedish Idol 2004, but dropped out of the show in the final stages because she did not consider the manufactured approach to the music to be what she was all about. She instead chose to start her own label ‘Camp Mozart’, and debuted with an EP release entitled. ‘Capsule’ .

Recent widely acclaimed collaborations with artists such as Portico Quartet and Scratcha DVA have brought her to the forefront of the music scene in the UK. We saw this strange musician supporting the amazing and sumptuous sounds of the Submotion Orchestra – the 7-piece project from Leeds.

Entering into the world envisioned by Cornelia is like being trapped inside a snow dome, with a swarm of moths. It is not a particularly pleasant experience, but it is not truly distressing either. Uncomfortable enough to give you nightmares, but you could endure the sensation for an eternity. The relentless wing-beatings are somehow comforting. Pellets of sound strike you … creating uneasy memories that will never go away.

Her voice is Kate Bush, Katie Melua and Lene Lovich – all rolled into one. And then smothered in popping candy. If you listen to this at the same time as drinking cola, it will cause your stomach to explode. And that is a fact.

Shadows of sounds come and go, tempting the listener briefly before wisping to heaven. Into this simulated reality of synthetic sounds and mixed, disjointed bass notes, comes the voice of Cornelia, at once disturbing, tragic … renegade. It has a fleeting, spectral quality that does not materialize properly. It will always border on the ethereal world.

Take her song “Stormy Weather” – the bumpy, potted traffic-jam of noises encrust the baby-voiced bleats of the singer. The song touches you in places you wish were not touched. It feathers you, and slides down your backbone… stroking and teasing its way into your nervous system. It is creamy and delicious.

Or listen to the older song “Aquarius Dreams“, which rises and falls like a sinus beat. A grumble of lightly percussive sounds creates a rustle, while the gloopy electronic soups bubble and broth. But rising from this boiling mix is the steamy voice of Cornelia. It shimmers and glides across the surface.

Cornelia is a dangerous kalidah and she cannot be trusted. If you feel safe within her glittering folds, beware. She will attack you, and she will stab you. With prongs of power. You had better give her the attention she demands. You will hear much more from Cornelia in the future.

- © Neil_Mach October 2012 -

Link:

http://www.facebook.com/iamcornelia

Loose Lips Live in Staines

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Brighton based trio Loose Lips have only been doing their punky pop-rock thing on the circuit since June 2011 – yet they already sound like the tightest band you’ve ever heard.   Take the guitar based dexterity and the song-writing skills of a band like ‘Biffy Clyro’ and combine that with the freshness and style of a band like  ‘Kids In Glass Houses.’ But take a pinch of summer sea breeze and surf up style …  and you start to approach the spirited perfection of this band’s output.

We were lucky enough to see them play at the best music venue around – The Hob Staines – on Saturday.

Live, their songs flow well together, each with a distinctive style and a vigorous attitude.  And there is ample evidence  of their technical ability, found in their exuberant performances.  Engagement is at the social level – their songs are for parties and celebrations.

Jason Barker (lead vocals and guitar) Matt Don (bass guitar and vocals) and Sam Perkins (drums and vocals) have an almost flawless amiability. They cheer up a room -  just by being in it. They don’t even need to pick up their instruments to create some fun!

And their numbers are always so generous – invariably full of brazen joy and cheeky cheerfulness. Take their song ‘Blue Rubber Blanket’. This has a highly nourishing melody together with a distinctive sound. Creative guitar-work is light enough to illuminate a room.  And the song speaks to the listeners on an emotional – yet impertinent – level.

‘Drive Away’ has a throbbing rhythm and vast swathes of chords that will brush across your brow, knocking you off your feet.  Lyrics speak boldly to the audience.  The words are incisive and stimulating. “You better drive away…  before I change your mind…”  And all-the-while, this plucky band are the exemplars of efficiency in music.  There is never a roll of drums, plucked bass note or a chord strummed that is ever wasted.  Every note, every word, is perfectly placed.

‘Blindfold’ has that same acidic sweetness that we expect from Loose Lips. That step-down riff is extraordinary. And the melody will remain deeply rooted within your skull for weeks. With drumming as fierce as a famished floozie after a night out on the bubble.  And a voice so wild, and so insanely high-spirited,  that you are likely to get wet … just by watching.   Well, it’s no surprise that everyone dances and prances like crazy coyotes at a Loose Lips gig.

What a band!  Go grab a slice for yourself.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/looselipsuk

Subsource – live at Boileroom, Guildford

. Guildford, Live Music Review, live music surrey, Live Review . , , ,

A doomed and condemned cyberpunk generation of damp Surrey urbanites turned out in force during this weekend’s wet & windy conditions to party with their favourite cross-over band. Subsource are not punk, neither are they drum’n’bass. They’re not modern indie rock. They are not dubstep nor metal – they are an amalgam of all of these styles. A truly holistic sound. Theirs is the sound of justice and conscientious inclusiveness. But, more importantly, they drive their audiences wild with their hysterically energetic live sets and their blistering hot musicianship. We were at the superb Boileroom venue in Guildford to witness this sensational act.

Promising some bombastic pieces such as the recent single ‘On My Video’ (created as a result of the riots in London and railing against the lack of values / worth in a consumer society) this song goes giddy with those spraying & wallowing splash-bass beats, strained to-the-max vocals and gigantic proportions.

Subsource are also famous for their re-smashed covers, clocking up thousands of internet hits by re-treading old songs by the likes of RATM and SOAD. One of these, ‘Breed’ (Nirvana), is a pelting sand-storm blast of sounds that will make your eyes water. It is an effervescent vortex of energy that pulls you down into its depths, whilst you are left crazily fighting for breath.

We especially liked the band’s latest work such as ‘The Feeding’ (from the brand-spanking-new ‘Generation Doom’ E.P. ) with it’s pendulum of rhythms swaying one-way, then the next.The spots of sound are ripped away like sticking-plasters, only to be re-locked and wedged into gaps elsewhere. But the piece centres around a well-spring of golden sentiment and a giddy ‘Feeding’ chorus. This vessel may be cracked and stained, but it still holds the juice in. Take some!

Our favourite new song is ‘Molotov’ with beeps and sparks of electronic energy and squeals of pain, as those lacerating guitars take hold. This is razor-sharp and full of throated grunge. With ‘Kurt Cobain’ style vocals and a series of hugely successful riffs … any metal fan would be proud to have this in his collection.

Or ‘Kill The Thief’ which introduces the audience to an ambient side, of low oscillations, which spit along amiably before the full majesty of the show really takes hold. This then becomes regal. It is power – but wielded for the good of all.

Moving towards a memorable climax and looking forward to a storming version of the Queens of the Stone Age standard “Feel Good Hit of the Summer ” we suddenly lost all sound – suffering ‘technical difficulties’ that nearly put paid to the show. Apparently a brand new amplifier performed an act of ritual suicide. And so Boileroom was left silent. After some helpful advice from the audience, like “Turn it off and turn it back on again” and “Try giving it some red bull, it normally works for me” the band reluctantly withdrew back stage for at least 30 mins, whilst a replacement amplifier was found.

Back on stage to a rapturous reception, Subsource seemed a little subdued, and the mob certainly seemed calmer – “We can’t see any sweat on the crowd in the front” screamed out front-man Stuart – and the party got going again.

And what used to be filthy, dirty dub is now becoming so heavily tinged with metallic ideas that one delighted onlooker exclaimed “It’s like watching Gary Newman crossed with Pantera – it’s like dub-u-metal – I love it.”

© Neil_Mach April 2012

For more information about the Surgery Productions ‘Dubumentary’ Susbsource film visit:

http://www.thesurgeryproductions.com

Grab the ‘World of Tanks’ ‘Molotov’ track by visiting

http://www.subsource.co.uk

See Subsource at Redfest- 20th July at Robins Cook Farm, Redhill, Surrey

http://redfest.co.uk/