Friday 5th June: Unless I've actually been to a gig, so far this year I haven't been able to find the time (or, perhaps, had the inclination) to blog as much as I did last year. Although I've read plenty of books and probably bought more CDs than I should have, I've yet to rediscover my "muse" for reviewing and I doubt that many people would be interested in lists of what has moved off my to read list or made their way into my music collection.
Today, however, I bought the CD version of an album that I considered to be one of my favourites, despite not hearing it for probably the best part of two decades. If not more. Would it stand the test of time?
First, a bit of background. My interest in music can probably be said to have started mid-way through secondary school. At that time, as the 70's were being replaced by the 80's, the friends I knocked around with started getting into the newly resurgent heavy metal and rock. Albums by AC/DC, Motorhead, Led Zeppelin, Rush, Meat Loaf and many more were being snapped up and (my thoughts on piracy from a couple of postings back notwithstanding) being copied to tape and passed around. It took me a little while but, eventually, I decided that I liked some of this stuff (or, at least, that I was ready to hop on that particular bandwagon) and started some of the albums myself. I started off with Rush: Archives, a combined release of their first three albums and that was about as heavy as I got. I could never get the hang of the likes of AC/DC or Motorhead and, since then, haven't really got into slash metal or its ilk.
As an aside, it wasn't long after that my friends moved onto the likes of Supertramp, Fleetwood Mac and Jethro Tull and it was at that point that I decided I was going to like whatever I wanted to, rather than following any trends. And that, gentle reader, is why my CD collection contains a relatively wide range of music and why my last trip to HMV saw me walking out with albums by Deep Purple, Gabriella Cilmi, Fleet Foxes and the soundtracks to High School Musical 1 and 2.
(Oh, wait, those last two weren't for me but for my daughter. Honest...!)
Anyway, although I said that Rush were about as heavy as I got, the actual heaviest was probably Iron Maiden. To the best of my recollection, I never actually bought any of their albums but I did own a few singles and had taped copies of both Killers and The Number of the Beast. While the latter is good, I remember the former blew me away. I don't, however, remember why or, far that matter, what actually happened to the tape. For years I've thought that I should buy a copy, but never got round to it. Until today, when I saw it in ones of HMV's 2 for £10 offers.
It's said that your school years are the best time of your life. It's probably true. I have to admit, though, that there have been a few things from that time that I have revisited only to be disappointed. I loved E.E. "Doc" Smith's Lensman books when I read them (aged about 15) but couldn't even get through them when I tried to re-read them as an adult. Tom Baker's reign as Doctor Who was essential viewing when I was younger, then UK Gold repeated them and I was almost embarrassed to admit that I once liked them. I fairly recently watched Close Encounters of the Third Kind on DVD and was surprised how naff it looks now. I guess that's part of the joy of growing older and getting more cynical.
As another aside, there are two hours of TV that stand out for me as the most gripping episodes of anything I have ever watched - the second episode (I think) of Midnight Caller (a relatively obscure American show broadcast in the UK on a Saturday night) and an episode of the original Survivors in which a character with learning difficulties is put on trial. I almost daren't watch either of these again in case they, too, disappoint.
Anyway, as soon as I got home tonight, I put Killers in the CD player, pressed play and cranked up the volume, not without a little trepidation. I needn't have worried. Apart from remembering most of it as though I'd only heard it yesterday, I'm happy to say that it has stood the test of time really well.
Killers was Iron Maiden's second album and last to feature Paul Di'anno on vocals. I don't know whether it is ever described as a "classic" but it certainly deserves to be. Tracks such as Murders in the Rue Morgue, Wrathchild and Killers set the tone for the album, while the instrumental Ides of March is a superb opening track. Even the slower and more melodic (I hesitate to use the word "ballad") Prodigal Son doesn't feel out of place. In my opinion Di'anno's voice is better than that of his replacement Bruce Dickinson and definitely suited to the songs on this album. Instrumentally, the music is top class, with memorable guitar solos and drum beats.
The version I bought today is the remastered 1998 release, which contains an extra track. To be honest, I didn't notice - the extra track fits in perfectly with the original material.
In short, this is an album that should be in any self-respecting metal-fan's collection.
Friday, 5 June 2009
Saturday, 23 May 2009
White Men Can Play The Blues
Friday 22nd May: ...and in attempt to counter the disappointment of not being at Wembley on Sunday I'm taking a punt with two artistes who are unknown to me, although one does come highly recommended (by both Roj and my highly-knowledgeable colleague Phil). We're also not at any of our usual venues - tonight it's York's Grand Opera House. In the Dress Circle. Seated. It's really warm and, to my embarrassment, I find myself nodding off a couple of times.
Tonight's support act is Ian Siegal, a British blues guitarist, with Andy Graham on bass and Nikolaj Bjerre on drums. If there's such a thing as traditional blues, Ian comes close to playing it, to the point that I originally thought he was American. The band's short set was a joy to listen to with some very original guitar-playing styles and an easy-going vocal style. I found it difficult to distinguish the lyrics but I think that was more down to the acoustics of the venue and unfamiliarity with the songs, rather than any deficiency on the part of the band. Bjerre's drumming was simple yet very effective - he's another proponent of the small drum-kit, a la Jan Akkermann's drummer from a few weeks ago - while Graham's style verged on humorous, with a touch of funk underlying some of the bass-lines.
The short support set was over all too quickly, but it was an almost perfect set-up for the main act.
That main act was one Johnny Winter, 65 year-old, Grammy nominated Texan Blues guitarist, and personal guitar-hero of fellow blogger, Roj. As I said, Mr Winter comes highly recommended and the more I hear of the blues, the more I like it, so tonight should be a winner.
The set starts with Johnny's band (Paul Nelson on guitar, Scott Spray on bass and Tony Beard on drums) on stage without the main man. After a short instrumental, Johnny shuffles onto stage, looking as frail as you are ever going to see a live act. He spends the entire set sitting on a chair, playing some kind of small, cut-down version of a guitar. (I'm no expert, but I'm assuming it's the dew-dropped shaped, headless Steinbeger, mentioned in this review which, being professional, is much better written than mine.) Apparently, it's not just his age, but the fact that he damaged a hip while escaping a house fire a decade ago.
Anyway, while he may not be the most dynamic act I've ever seen, his voice is superb (like dark chocolate running over velvet when he speaks, which isn't that often). Again, I struggled a bit with the lyrics and, not being familiar with Winter's history or (being honest) a lot of his musical roots, I failed to spot some of the more famous tracks. Winter plays a combination of blues, rock and rock-and-roll (it's safe to say that I'm not a huge fan of the latter) and plays then well. I have to admit, I found the small guitar to sound a bit strident and preferred it when Winter swapped to a more traditional instrument (a Firebird, I think) for the encore - it had a much cleaner sound. His was a no-nonsense performance - he introduced each song, counted it in and performed it, letting his fingers doing the talking.
From some of the shouts coming from the audience, there appeared to be some long-time fans at the gig. I suspect, but can't be sure, that at least some of them would think that Winter was now past his best. From my point of view, as a "newbie", he was an excellent performer, although possibly not up the standard of the recommendations I was given. Maybe it's the case that legends have to grow, rather than being discovered. I think overall, I preferred Ian Siegal, although I wouldn't think twice if given the opportunity to see either act again.
At the end of the gig, warm, slightly drowsy and in need of liquid sustenance, we headed off to the Roman Bath where the lasers, muscle-shirts and rocks covers of Storm, were in evidence. We've seen these before and they, more or less, perform the same sort of covers as most bands we see at the Bath, but they are pretty good and, although in a different class to the main gig, were a good enough way to finish off the evening.
Tonight's support act is Ian Siegal, a British blues guitarist, with Andy Graham on bass and Nikolaj Bjerre on drums. If there's such a thing as traditional blues, Ian comes close to playing it, to the point that I originally thought he was American. The band's short set was a joy to listen to with some very original guitar-playing styles and an easy-going vocal style. I found it difficult to distinguish the lyrics but I think that was more down to the acoustics of the venue and unfamiliarity with the songs, rather than any deficiency on the part of the band. Bjerre's drumming was simple yet very effective - he's another proponent of the small drum-kit, a la Jan Akkermann's drummer from a few weeks ago - while Graham's style verged on humorous, with a touch of funk underlying some of the bass-lines.
The short support set was over all too quickly, but it was an almost perfect set-up for the main act.
That main act was one Johnny Winter, 65 year-old, Grammy nominated Texan Blues guitarist, and personal guitar-hero of fellow blogger, Roj. As I said, Mr Winter comes highly recommended and the more I hear of the blues, the more I like it, so tonight should be a winner.
The set starts with Johnny's band (Paul Nelson on guitar, Scott Spray on bass and Tony Beard on drums) on stage without the main man. After a short instrumental, Johnny shuffles onto stage, looking as frail as you are ever going to see a live act. He spends the entire set sitting on a chair, playing some kind of small, cut-down version of a guitar. (I'm no expert, but I'm assuming it's the dew-dropped shaped, headless Steinbeger, mentioned in this review which, being professional, is much better written than mine.) Apparently, it's not just his age, but the fact that he damaged a hip while escaping a house fire a decade ago.
Anyway, while he may not be the most dynamic act I've ever seen, his voice is superb (like dark chocolate running over velvet when he speaks, which isn't that often). Again, I struggled a bit with the lyrics and, not being familiar with Winter's history or (being honest) a lot of his musical roots, I failed to spot some of the more famous tracks. Winter plays a combination of blues, rock and rock-and-roll (it's safe to say that I'm not a huge fan of the latter) and plays then well. I have to admit, I found the small guitar to sound a bit strident and preferred it when Winter swapped to a more traditional instrument (a Firebird, I think) for the encore - it had a much cleaner sound. His was a no-nonsense performance - he introduced each song, counted it in and performed it, letting his fingers doing the talking.
From some of the shouts coming from the audience, there appeared to be some long-time fans at the gig. I suspect, but can't be sure, that at least some of them would think that Winter was now past his best. From my point of view, as a "newbie", he was an excellent performer, although possibly not up the standard of the recommendations I was given. Maybe it's the case that legends have to grow, rather than being discovered. I think overall, I preferred Ian Siegal, although I wouldn't think twice if given the opportunity to see either act again.
At the end of the gig, warm, slightly drowsy and in need of liquid sustenance, we headed off to the Roman Bath where the lasers, muscle-shirts and rocks covers of Storm, were in evidence. We've seen these before and they, more or less, perform the same sort of covers as most bands we see at the Bath, but they are pretty good and, although in a different class to the main gig, were a good enough way to finish off the evening.
Thursday, 7 May 2009
A Night For Heroes
Sunday 3rd May: I didn't know Howard Sparnenn. I never met him although I had seen him a number of times at gigs around York, both in the audience and as a drummer. The closest I ever got to speaking to him was when he and his wife were taking tickets and/or money for the launch gig for Breathing Space's album. I might have said "thank you" to him as I entered the room.
Despite that, when I heard the news that Howard had been diagnosed with a brain tumour I felt empty inside. A few month's later, when I heard that he had passed away, I was sad for both his family and for the loss of such an excellent drummer. What I didn't realise was how much Howard had been involved in the local music scene over the years.
Tonight, a year on almost to the day, we were at the Duchess for A Night For Heroes - a celebration of Howard's life with a concert including some of the bands that he had been involved in over the years. All proceeds were to be donated to the charity Andrea's Gift and, therefore, it was a chance to do something good, while having a good time and listening to some cracking music.
I'm not going to try to properly review every band - on occasions like this it almost doesn't matter whether a performance is good or bad (that's not to say that any of the bands tonight were bad), it's the event and the cause that matter. I would, however, like to put down a few comments, if only for my own posterity.
First up were Smart Move, a new band being out together by Howard when he fell ill. We had seen a good few of the line-up before, as part of the Mojos and their very short set included the same sort of songs that the latter band play. Of note was an excellent rendition of Dire Straits' Sultans of Swing with guitarist Andrew Bone taking lead vocals and producing some guitar playing that I think Mr Knopfler would approve of.
Freeway are the band that I had seen Howard drum for and they were up next, performing their usual mix of Thin Lizzy, Deep Purple, Whitesnake, et al. Given that we had only seen Freeway at the Roman Bath before now, it was apparent that they were relishing performing on a big stage. By which I mean both the number of people in the audience and the size of the stage itself, much bigger than the small area given over to bands in the Bath and, therefore, allowing for much more movement.
Third up were Free Spirit, a covers band specialising in music by Bad Company and Free (Howard's favourite band, apparently), although they also performed other stuff. Howard was a founder member. This appeared to be a much more professional outfit, with vocalist Garry Barrett wielding the microphone stand as if he were playing an arena (something was caused me to wince a couple of times as he came dangerously close to both the Duchess's low ceiling and the lights dangling from it...)
Moving away from covers and onto original material and Flight took to the stage. Howard drummed for them thirty years ago and they had reformed for tonight's celebration, with one member flying in from Spain. It seems that they hadn't played together for some time and vocalist Mick Adamson (suntanned, grinning and obviously enjoying himself) had to keep referring to printouts of the lyrics as he couldn't remember them all. Other sources have described them as blues/rock. To me they sounded like a mixture of rock guitars and almost Merseybeat lyrics - quite a bit different from the other bands so far, but still enjoyable.
Penultimately, Breathing Space took to the stage. Well, mostly Breathing Space, anyway. Other commitments by some of the regular band members meant that Mostly Autumn's Bryan Josh and Andy Smith and Thunder's "Harry" James joined Ian and Ben Jennings and Olivia Sparnenn (Howard's daughter) on stage. Anne-Marie Helder was also present to play flute on their final track, The Gap Is Too Wide - previously dedicated to the Jennings brothers' mother, who also died of cancer (showing just how much tragedy revolves around this musical "family"). This line-up resulted in a slightly heavier sound to the usual songs but they were still more than recognisable. If I had one criticism, it would be that Livvy's vocals were almost drowned out by the music.
And finally, described as "York's finest", Mostly Autumn crowded onto the stage for a shortened version of their current tour set. Despite a couple of technical issues (including a hastily taped-up microphone lead) and somewhat cramped stage, the Mostlies performed to their usual high standards and the set contained some of their most emotional songs, including Tearing At The Faerytale (dedicated to Howard on the Glass Shadows album and written after his illness was diagnosed) and Heroes Never Die (written in memory of Bryan Josh's own father). Once again, Bryan showed, during his links between songs, that he has the heart of a poet and, it has to be said, Heather looked absolutely stunning in powder-blue dress and glittery makeup.
As a finale we were treated to a film of one of Howard's excellent drum solos at the end of which the audience cheered their appreciation. Emotions were, by this time, running high and Howard's widow and his other daughter were to be seen comforting each other before greeting friends in the audience.
A really good gig, both for the music played and the appreciation shown. I can't find any note of how much money was raised but I'm sure that a goodly sum will be winging its way to the charity, especially as one member of the audience had pledged to match whatever was raised, thereby doubling the total. For me, however, five hours of standing had taken its toll and I woke up in the early hours of Monday morning in agony with cramp in my left calf. Still, it was worth it.
Howard's presence around the York music scene was hammered home to me on Tuesday when I was chatting to a work colleague who was telling me that his band had played their first gig since the birth of his child just a few nights earlier. I mentioned that I'd attended A Night For Heroes and that it was about Howard Sparnenn. "Howard? The guy with the moustache? Looks a bit like the Pringles bloke? He used to go to our gigs and I've chatted to him loads of times," was pretty much his reply as he walked away shaking his head sadly.
Despite that, when I heard the news that Howard had been diagnosed with a brain tumour I felt empty inside. A few month's later, when I heard that he had passed away, I was sad for both his family and for the loss of such an excellent drummer. What I didn't realise was how much Howard had been involved in the local music scene over the years.
Tonight, a year on almost to the day, we were at the Duchess for A Night For Heroes - a celebration of Howard's life with a concert including some of the bands that he had been involved in over the years. All proceeds were to be donated to the charity Andrea's Gift and, therefore, it was a chance to do something good, while having a good time and listening to some cracking music.
I'm not going to try to properly review every band - on occasions like this it almost doesn't matter whether a performance is good or bad (that's not to say that any of the bands tonight were bad), it's the event and the cause that matter. I would, however, like to put down a few comments, if only for my own posterity.
First up were Smart Move, a new band being out together by Howard when he fell ill. We had seen a good few of the line-up before, as part of the Mojos and their very short set included the same sort of songs that the latter band play. Of note was an excellent rendition of Dire Straits' Sultans of Swing with guitarist Andrew Bone taking lead vocals and producing some guitar playing that I think Mr Knopfler would approve of.
Freeway are the band that I had seen Howard drum for and they were up next, performing their usual mix of Thin Lizzy, Deep Purple, Whitesnake, et al. Given that we had only seen Freeway at the Roman Bath before now, it was apparent that they were relishing performing on a big stage. By which I mean both the number of people in the audience and the size of the stage itself, much bigger than the small area given over to bands in the Bath and, therefore, allowing for much more movement.
Third up were Free Spirit, a covers band specialising in music by Bad Company and Free (Howard's favourite band, apparently), although they also performed other stuff. Howard was a founder member. This appeared to be a much more professional outfit, with vocalist Garry Barrett wielding the microphone stand as if he were playing an arena (something was caused me to wince a couple of times as he came dangerously close to both the Duchess's low ceiling and the lights dangling from it...)
Moving away from covers and onto original material and Flight took to the stage. Howard drummed for them thirty years ago and they had reformed for tonight's celebration, with one member flying in from Spain. It seems that they hadn't played together for some time and vocalist Mick Adamson (suntanned, grinning and obviously enjoying himself) had to keep referring to printouts of the lyrics as he couldn't remember them all. Other sources have described them as blues/rock. To me they sounded like a mixture of rock guitars and almost Merseybeat lyrics - quite a bit different from the other bands so far, but still enjoyable.
Penultimately, Breathing Space took to the stage. Well, mostly Breathing Space, anyway. Other commitments by some of the regular band members meant that Mostly Autumn's Bryan Josh and Andy Smith and Thunder's "Harry" James joined Ian and Ben Jennings and Olivia Sparnenn (Howard's daughter) on stage. Anne-Marie Helder was also present to play flute on their final track, The Gap Is Too Wide - previously dedicated to the Jennings brothers' mother, who also died of cancer (showing just how much tragedy revolves around this musical "family"). This line-up resulted in a slightly heavier sound to the usual songs but they were still more than recognisable. If I had one criticism, it would be that Livvy's vocals were almost drowned out by the music.
And finally, described as "York's finest", Mostly Autumn crowded onto the stage for a shortened version of their current tour set. Despite a couple of technical issues (including a hastily taped-up microphone lead) and somewhat cramped stage, the Mostlies performed to their usual high standards and the set contained some of their most emotional songs, including Tearing At The Faerytale (dedicated to Howard on the Glass Shadows album and written after his illness was diagnosed) and Heroes Never Die (written in memory of Bryan Josh's own father). Once again, Bryan showed, during his links between songs, that he has the heart of a poet and, it has to be said, Heather looked absolutely stunning in powder-blue dress and glittery makeup.
As a finale we were treated to a film of one of Howard's excellent drum solos at the end of which the audience cheered their appreciation. Emotions were, by this time, running high and Howard's widow and his other daughter were to be seen comforting each other before greeting friends in the audience.
A really good gig, both for the music played and the appreciation shown. I can't find any note of how much money was raised but I'm sure that a goodly sum will be winging its way to the charity, especially as one member of the audience had pledged to match whatever was raised, thereby doubling the total. For me, however, five hours of standing had taken its toll and I woke up in the early hours of Monday morning in agony with cramp in my left calf. Still, it was worth it.
Howard's presence around the York music scene was hammered home to me on Tuesday when I was chatting to a work colleague who was telling me that his band had played their first gig since the birth of his child just a few nights earlier. I mentioned that I'd attended A Night For Heroes and that it was about Howard Sparnenn. "Howard? The guy with the moustache? Looks a bit like the Pringles bloke? He used to go to our gigs and I've chatted to him loads of times," was pretty much his reply as he walked away shaking his head sadly.
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