A Marathon Music Session

Friday 12th March: I was expecting very little to be original about tonight, as the four of us met up at the Basement Bar. I thought we had already seen the acts on show and one of them was solely a covers band. However, it was another charity night, a rare chance to see an old favourite and, for me at least, a fast-becoming favourite. But there was to be a couple of surprises, the first of which was the opening act, which I hadn't seen advertised anywhere let alone come across before.

Steve Kendra is another in the long line of local guys with guitars (and, in this case, a nifty hat). There was way too much talking going on as Steve took to the stage and I'm ashamed to say that some of it was from our little group, so it was a little difficult to hear his songs properly. But with songs about an older Elvis meeting a younger version of himself and about Kendra's own Dad working at Terry's chocolate factory, at least there was a touch of originality lyric-wise. the overriding impression, for some reason, was of a musical version of Ian McMillan (the Bard of Barnsley) and while, on past evidence, it may be unlikely that our paths cross again very soon, I wouldn't be averse to seeing him play again, if only to get the opportunity to listen more closely and give a more informed review.

It's only been a handful of weeks since I last saw Boss Caine, so I thought I knew what to expect, especially as an album is due imminently and songs from it had already been posted on his Facebook page. Tonight's second surprise was that Mr Lucas wasn't performing solo - not the firstime, just the first time that I had encountered it. Joined, at various times, by Andy Gaines, Paddy Berry, Dave Keegan and Chris Johnson, Boss Caine performed familiar songs in a slightly unfamiliar way. "Slightly" only because the album tracks posted to his page are the "full band" versions and so I had heard at least a version of them before, just not live.

The extra instruments give a fuller sound to the songs, without detracting from the Boss's rich, deep voice. (A voice which, in all honesty, is better at singing the songs than introducing them - we struggled to hear what he was saying between songs although, again, that could have been partly due to the ambient noise level.) I don't know whether all the songs performed were from the album, but I'm fairly sure that all of the four mentioned above were played, including Leaving Victoria, one of my favourites. My appetite for the album was whetted even more than before.

We used to see Hazzard County regularly at the White Swan. Then the landlord changed, the pub was done up and the Hazzards seemed to go their separate ways, getting together for much less infrequent gigs. Tonight was one of those events as Dave, Paddy, Simon, Chris and John headlined the gig which was set up to raise money for Shelter, the charity being supported by John's wife as she runs the London Marathon. The music on offer as well as such a worthwhile charity (and the fact that I have very little chance of ever completing a marathon) made this £5 very well spent.

The Hazzards spent the evening playing the usual mix of songs by the likes of The Band, Dylan, Johnny Cash and more, including a fair few that I didn't recognise from previous times we had seen them. Throughout the evening, every swapped and changed instruments numerous times, with four of the band changing between various guitars, drums and tambourine, while Paddy swapped between bass and double-bass and Chris sometimes adding keyboards (I don't remember ever seeing keyboards at a Hazzards gig before) and everybody except Paddy taking at turn at lead and backing vocals.

The songs were lively, as was the audience, many of whom were at least semi-regulars at the Swan (and at least two regulars failed to get in to what was a very crowded and very warm Basement). The music was up to the band's usual high standards and they all appeared to enjoy playing together again. Sadly, from one posting I have seen, this is likely to be their only gig of the year and, shortly after the house lights were flickered (presumably to indicate time to stop playing) and ignored, I had to leave. I understand that the music continued until after midnight and I would expect it finished with something special and, probably, even more lively. Part of me wishes that tonight's gig took place later in the year, when I wouldn't be relying on public transport to get me home.

I don't know whether a final total was announced but I understand that, through entry money and bucket collections, over £600 had been raised by 9pm. Well done to all and good luck to Jayne for the marathon.

CD Review: Karnataka - The Gathering Light

Tuesday 9th March: It's still early in the year, but I think I've come across an early contender for my album of 2010.

There is, possibly, an argument that Karnataka should not exist as a band. After all, the only remaining member of the original line-up is bassist Ian Jones (admittedly a founder member) while most of the rest of the originals now reside in Panic Room and The Reasoning. It may be more than five years since the band originally dissolved but Jones' new line-up finally released their first album, The Gathering Light, in February.

The album opens with a short but atmospheric piece, The Calling, in which the seemingly ubiquitous Troy Donockley plays Uillean pipes over the sounds of a rainstorm, before launching into the nearly nine minute instrumental. Building slowly though an opening vaguely reminiscent of Pink Floyd's Keep Talking, State Of Grace soon bursts into joyous life and maintains that tone throughout the track, eventually bringing to mind the extended instrumentals of the live releases from Genesis.

Over ten minutes into the album, we are finally treated to Lisa Fury's superb (and somewhat Judie Tzuke-like) vocals during Your World. Behind Fury's lyrics, guitars and keyboards weave around each other while a simple but effective drum line and, for me, the most noticeable bass on the album, provide a strong backbone to the eight minute track.

Moment In Time starts off as a much quieter, ballad-like track, supplemented by a string quartet. However, about three minutes in it becomes a more traditional prog rock song, replete with screaming guitar leading into more pipes, which give the track a very Celtic feel, before ending subtly with keyboards and strings. In another arrangement, I could easily see this being a song for the likes of Westlife. (I can even pinpoint the exact time that the boys would rise off their stools.) That's not to denigrate what is a very nice song.

Next up is a ten-minute-plus epic. The Serpent And The Sea starts with an almost dark sound against a background of chimes, before reverting to another lively tone. It includes a lovely vocal mix and Fury's lyrics somehow brought to mind fantasy epics. Towards the end, an instrumental section takes the form of darker guitars counterpointed with light keyboards, before high noted guitar takes over and builds the song to a memorable climax.

During the first part of three-part Forsaken the guitars and keyboards take are placed backstage behind strings and a much deeper and mellower style of vocals and strings in a much slower song than any of the others on the album. The instrumental part two includes some soaring harmonies and the best of the drumming, while part three reverts back to strings and piano.

Another change of style is seen in Tide To Fall, in which Eastern influences. a catchy tune and bright lyrics are mixed together to form an almost-pop song which somehow doesn't feel as out of place as it maybe should.

The album ends with it's title track, a fifteen minute epic once again opened by the pipes which eventually explodes with passion and builds to a stunning crescendo before fading into a beautiful ending.

Granted the album is not without its faults - some of the lyrics are a but repetitive and there are some places where the programmed music is, for me, just too obviously that - but this is a superb album. The use of strings and distinct musical movements within the songs mark it as symphonic rock, while the Uillean pipes give it more than a slight air of Celtic rock. The overall style of music, however, is definitely melodic progressive rock, while the overall tone makes it one of the brightest and most uplifting prog albums I have heard in a very long time.

Track Listing:

1: The Calling

2: State of Grace

3: Your World

4: Moment In Time

5: The Serpent and The Sea

6: Forsaken

7: Tide To Fall

8: The Gathering Light

Musicians:

Ian Jones - bass, keyboards, piano, bass pedals, percussion, bodhran, programming

Lisa Fury - vocals, percussion

Gonzalo Carrera - keyboards, piano

Enrico Pinna - lead, rhythm and acoustic guitars

Ian Harris - drums

Guests:

Troy Donockley - uillean pipes, whistles

Hugh McDowell - cello

Philippe Honore - violin

Bridget Davey - violin

Jane Fenton - cello

Clive Howard - viola

Rising Stars In The Dark

Saturday 6th March: It was a bit of a stretch finding room to do everything I needed to do today but, in the end, it was no panic. (I'm sorry, I just couldn't resist...)

First up at the Duchess tonight was Chris Johnson, ex-many bands and current guiding force behind Parade. Tonight he was strictly a solo and acoustic act, although with lots of reverb on the vocals. Chris treated us to solo versions of Start Again and Ending, from Parade's album The Fabric, as well as songs from his solo repertoire and one from his time with The Evernauts (the band that eventually became Hazzard County) which was the story of Lucifer being kicked out of heaven disguised as a syrupy country love song. Chris always seems to me to be a little uncomfortable between songs, rarely looking the audience in the "eye". This doesn't really matter, though, as it's the music we are here for and, tonight, Chris provided us with a very entertaining set. This is one artist that I like more every time I get to see him.

Completely different in tone and style, Blaze Camero are a four piece rock band from Knaresborough. Their music is not quite heavy metal but certainly loud, powerful and fast. Vocalist James Plummer has a very strong voice, and a cheeky sort of charisma that makes him a near-perfect front man. For a young (and new - as far as I can tell, their first gig was only in November last year) band, they played incredibly well and seemed to have the crowd, large numbers of which it seemed were there just to see them, fully entertained. Unfortunately, there is currently no music uploaded to the link above, but the band have a 3 track demo CD out next month and it should be well worth a listen. Definitely a band to look out for and I hope they play York again soon. The only thing bugging me about the band is that I'm sure I've seen bass player George Tyreman somewhere before but can't for the life of me think where.

Finally, Panic Room took to the stage. Their first album was my favourite release of 2008 and last year's follow up was a close second behind Transatlantic's The Whirlwind, so it's fairly safe to say that this was the first essential gig of 2010 for me. There were a few familiar faces in the audience but, thankfully in a way, there was also a lot of new, younger ones, proving that prog might have a future beyond its cliched audience of middle-aged men. (Yes, I know that I'm a cliche...)

Tonight's set, if not identical to last year's gig at the same venue, was a near as damn it and featured songs from both Visionary Position (sadly, still no Firefly) and Satellite, as well as a full band makeover of Blood Red Sky, from Anne-Marie's solo EP, The Contact. Anne-Marie herself, stunning as usual, seemed to be struggling a little bit with the vocals to start with - the sound during opener Freedom To Breathe was a little muddy - but, as the set went on she grew in strength and, it has to be said, gave it her all during a hundred minute set in which she, vocally at least, carried the whole show. Whether it's the playful I Am The Cat or the powerful Dark Star, her voice is nothing short of amazing. Paul Davies does now contribute a few backing vocals - I can't remember whether he did last time around but Anne-Marie did make a fairly big deal out of the fact that he was helping her out. However, it's his guitar-playing that he's really there for and tonight he was superb, his facial contortions showing just how much effort he puts into the playing. Once upon a time, I was impressed when I saw a five-string bass. Alun Vaughn, however, blew that out of the water by playing not one, but two six-string basses, providing (along with Gavin on drums) some superb rhythm sections. In some ways Jonathan Edwards is the quiet man of the band but his keyboards are the mainstays of many of the best of the band's songs.

When I last saw Panic Room, Satellite had yet to be released. Now that I've had the chance to familiarise myself with the album the live set is even more stunning than it was then. (Even if favourite songs are missing from it. Have I mentioned that before?) Panic Room remain one of my favourite bands, both recorded and live.