Author Archives: Tim Hall

On Songwriting and Production

A question for you all.

When it comes to making a great record, how much is down to the production, and how much depends on the songs themselves?

There is a school of thought that insists that the song is everything, and the best records have stripped-down, simple arrangements shorn of unnecessary ornamentation or instrumentation. But I feel that approach only really works if you’ve got truly great songs to start with. If you’re not Bob Dylan, the right sort of production and some imaginative arrangements are what makes great records out of good songs.

I won’t deny that it’s possible to spoil a good song by overcomplicating things (I own too many later-period Dream Theater releases to be able to say otherwise), and likewise you’ll never have a good record unless you’ve got something worthwhile to start with. As the saying goes, there is no point trying to polish a turd.

There’s a more fundamental question of where you draw the dividing line between songwriting and arrangement anyway. Is the song just the vocal melody and the basic chord progression?

Over to you…

Posted in Music, Music Opinion | Tagged | 5 Comments

Yes – Fly From Here

Yes are just about the last of the major-league 70s prog-rock bands still standing. While ELP still play the occasional festival headliner, and Roger Waters has recently been touring the Pink Floyd classic The Wall, Yes are just about the only one of the really big bands still putting out new material.

It’s probably best not to dwell on the politics behind some of the recent lineup changes. First we saw Jon Anderson replaced by Benoît David, recruited from a Yes tribute band. The, with Trevor Horn as producer, we saw Oliver Wakeman sacked in favour of Asia and Buggles keyboard player Geoff Downes, a member of Yes for 1980′s underrated “Drama” album. It’s better to judge them on the quaility of the actual music.

As might be expected with Trevor Horn in the producer’s chair, this album is closer to the streamlined, commercial Yes of the 1980s than than an attempt to recapture the sound of their 70s heyday, more “90125″ than “Fragile”. Benoît David acquits himself splendidly on vocals. Yes, he’s a soundalike, recruited for his ability to reproduce Anderson’s distinctive style live on the band’s extensive back catalogue. But those choirboy-on-acid lead vocals are an important part of what makes Yes sound like Yes, and he nails it perfectly. Steve Howe is also on great form on guitar, his style in it’s way just as distinctive. Despite his age he’s very much still got it.

The 25-minute title track, largely written by Horn and Downes, forms the heart of the album. Full of big soaring melodies, rich harmonies and repeated motifs it’s a prog epic with pop sensibilities, although Steve Howe’s spiralling Zappa-like “Bumpy Ride” section should keep diehard prog-heads happy. There’s definitely something of “Drama” about the whole piece, which given the writers shouldn’t really surprise anyone.

The rest of the album is a bit of a mix. High points are “Life on a Film Set”, another Horn/Downes number in a similar vein to the title track, and the anthemic full band composition “Into The Storm”, which closes the album. “The Man You Always Wanted to Be” comes over rather pedestrian to start with but picks up in the second half. But the weakest numbers, “Hour of Need”, and Howe’s pleasant but unremarkable instrumental “Solitaire” do come over as little more than filler. Which is perhaps the album’s weakness – an album with running time of an LP-length 48 minutes shouldn’t need padding out with substandard material.

So no, this album doesn’t reach the heights of their classic 70 and 80s albums. Neither does it quite match have the creativity and energy of the best of the current generation of progressive rock bands. But despite it’s flaws it’s still a strong album, far superior to the last couple of very forgettable albums they did with Jon Anderson. Time will tell if they have the courage to feature the album as heavily in the live set in their next tour as they really should, but this album is evidence that Yes are far from a spent force.

Posted in Music, Record Reviews | Tagged | 18 Comments

Summer Stabcon 2011

I’ve been going to Stabcon for the best part of the decade now. Advertised by little more than word-of-mouth (it doesn’t even have a website), it’s a friendly board, card and roleplaying game convention, currently held twice a year at the Britannia Hotel in Stockport. With many of the same faces year after year, it had effectively become the nearest thing to my local gaming group. Except now I’ve moved down south, it’s a three-and-a-half hour train journey away.

Still, it’s great to meet up with old friends, play some great games, and of course drink beer. Beer has always been an important part of Stabcon – back in the days when it was held at Woolton Hall we always used to drink the bar dry by the end of the con. Nowadays the hotel stocks up on real ales for the occasion. I usually prefer to spend the Friday night playing boardgames, this year it was a Eurogame whose name I forget, and for which I never really got my head round the rules, and Runebound, which I cruelly and probably unfairly described as “Munchkin without the jokes”.

I really go to Stabcon for the roleplaying games, but some years I’ve spent a good part of Saturday playing board games because there weren’t enough RPGs I fancied playing that both had free slots and didn’t clash with other games. This time it worked well, with all the good the GMs sensibly choosing non-clashing slots, so I managed to get signed up for three games over the course of the day.

We started with a Battlestar Galactica run by Dr. Bob. The player characters were captains of a fleet of abandoned ships without functioning faster-than-light drives, but with a large number of refugees. We started to cobble together some working drives by cannibalising others, so at least some ships would be spaceworthy. After lengthy discussions about which ships to take, we jumped to the next system and found ourselves answering a distress call, where we found the last survivor of a research station where everyone else had been horribly murdered…

The afternoon session was the latest of Phil Masters’ GURPS Diskworld adventures. The PCs were special agents of Sto Lat, sent on a mission “To prevent a Story happening”. To say too much about the nature of the story would be a spoiler for anyone playing the same scenario at another convention, but let’s say that, in the true style of this sort of Diskworld scenario, no cliché was left unturned, and we dispatched the bad guy in the correct manner for the story in question.

The evening session was Kev Dearn’s Call of Cthulhu game, set during World War 2 at an archaeological dig in Alsace-Lorraine. It was the sequel to a game set in Roman times, with the dig being the site of the original game. As was to be expected, we encountered sanity-blasting Things Man Was Not Meant To Know so horrifying that they made the SS (the player characters!) look like the good guys.

Unusually for a Stabcon, there were two games on the Sunday. The first was a Terminator game using the Twilight 2000 2013 system, again run by Dr. Bob. The scenario was not dissimilar to the original Terminator film, except it was an entire team sent back into the past, and our mission was to save the physics professor who had discovered the secret of time travel. Once we heard news reports of “a naked gunman on the rampage” it was clear what the opposition was. We did survive a run-in with Arnie and lived to tell the tale.

The final game of the weekend, run by John Parr just after lunch, was very silly indeed, but extremely entertaining. Trumpton, the RPG is a (presumably) unauthorised fan-written system. What actually happened in the game is best summed-up by this quote: “All the scythe-bots are dealt with. We blew up two of the things in Trumpton town square, Captain Snort’s men dealt with one, one fell in the Chigley canal, and Windy Miller’s smoking a joint with the last one”. The game ended with us discovering which character from a completely different programme was responsible for mining the canal, and my character shooting down his Royal Mail helicopter with a rocket-propelled grenade.

And so ended another Stabcon, and hats off to organisers Michelle and Hammy for another great weekend. This time, instead of being home by tea-time, it would be three and a half hours on board an Arriva Cross-Country Voyager before I’d arrive home. At least I had time to read the whole of “Cthulhu Invictus” that I’d bought from Fan Boy Three.

Posted in Games, SF and Gaming | Tagged , , , , | 8 Comments

Loadhaul Hoovers and Suchlike.

In between two Panic Room gigs I spent a very enjoyable time on the Severn Valley railway.

50035 "Ark Royal" in Loadhaul livery at Highley

50035 “Ark Royal” leaving Highley on the Severn Valley Railway. I’m not totally convinced that the orange and back Loadhaul livery really suits the class 50, especially when pulling a rake of GWR coaches. Best to invoke the “It’s my train set” rule, I think.

7812 "Earlstoke Manor" approaches Highley

I suppose much the same goes for a GWR “Manor” with a full rake of LNER varnished teak coaches. One thing I like about the Severn Valley Railway is the way they take coach restoration seriously.

Beer by the Severn

And the other great thing about the SVR is that there’s a good real ale pub by every station! No better way of chilling out than sitting by the river Severn with beer.

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The Five Songs Meme – Mid-summer edition.

Time, I think for the Five Songs meme to be cast into the Blogofacetwitsphere again, for what it’s worth. And the five songs from me are:

Heather Findlay – Red Dust
Panic Room – Song for Tomorrow
Stolen Earth – Tuscany Sun
Morpheus Rising – Those Who Watch
Blood Ceremony – Daughter of the Sun

So, four songs with a Mostly Autumn connection, either containing ex-members, or sharing members with the current lineup. And the last one, which has no MA connection that I’m aware of, does have flute all over it.

Red Dust is the opening number from Heather Findlay’s “The Phoenix Suite”, a record I find I’m liking a lot more now I’ve had the chance to hear the songs performed live. This hard rocker came over very powerfully, even in stripped-down acoustic form.

Song for Tomorrow is yet to be released, but has got stuck in my head simply from hearing it performed live at the recent Panic Room gigs, which is surely a sign of a memorable song. It’s a big epic guitar-driven song with a great riff and a strong vocal melody. A classic in the making, I think.

Tuscany Sun is the first new song we’ve heard from Stolen Earth since the formation of the band earlier this year. As with the Panic Room song above, if there’s more where that came from, then we’ve got some good music to look forward too in the coming year.

Those Who Watch comes from the five song EP “The Original 2008 Demos” which I picked up when I saw Morpheus Rising supporting The Reasoning last year, but never really gave a serious listen until now. There’s some great songwriting here despite decidedly rough-and-ready production, and this brooding number is my favourite from the EP.

Daughter of the Sun is the ten-minute closing number from Blood Ceremony’s second album “Living with the Ancients”. With it’s doom-laden guitar riff, bewitching flute and sinister swirling organ, it sums up everything I like about this band.

OK, so you all (both of you) know the drill by now. List five songs you’re grooving on right now and post them on your Blog/Livejournal/Facebook wall or wherever.

Posted in Memes, Music | Tagged , , , , | 1 Comment

Stolen Earth – Tuscany Sun

A taster from Stolen Earth, whose new website goes live any day now. This is the first new song we’ve heard from them, and I like it a lot. Very strong echoes of Breathing Space, with a hint of recent Marillion for good measure.

Can’t wait to see them live at the Cambridge Rock Festival in August now – they’re playing on Saturday along with Panic Room, Chantel McGregor, Larry Miller and headliners The Quireboys.

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Panic Room, Bilston Robin 2, 19th June 2011

I love Bilston Robin 2 as a venue. With excellent sound and lighting, a decent-sized stage, and a hotel right next door it doesn’t have the reputation as one of the nation’s best rock clubs for nothing. And they always draw a sizeable crowd; just about every band I’ve seen there plays to more people that at equivalent venues elsewhere, even on a Sunday night. And tonight was a very good crowd indeed.

Support was David R Black, the alternative rock power-trio I’d seen supporting in Manchester earlier in the year. I enjoyed their set a lot more than the first time round, helped by the vastly superior sound of a proper rock venue rather than a toilet of a nightclub. While I still find their mix of metal and indie is a bit generic, they were both tight and energetic, and made a good warm-up for the headliners.

I’ve seen some great gigs by Panic Room, especially in the past twelve months, but this performance took things to another level, even for them. They played with an incredible power and intensity, but without sacrificing subtlety or finesse. If this is prog-rock, then it’s with the emphasis very much on the word rock. The whole band gave strong performances; Paul Davies was on particularly good form on lead guitar with some shredding solos and melodic fills, Jon Edwards’ keys added swathes of colour, and Yatim Halimi and Gavin Griffiths are possibly the best rhythm section in any band at this level. Not that there was any hint of self-indulgence; despite all being virtuoso musicians they never spoil the songs by unnecessary overplaying.

Finally Anne-Marie Helder gave the performance of her life, and showed just why she was voted best female vocalist by readers of Classic Rock Presents Prog. This was one of those gigs with feedback between the energy and enthusiasm on stage and in the audience; this is what live music is all about, an experience you can’t repeat by sitting at home and listening to a CD.

Setwise the band took aim at the future by opening with the powerful twin-guitar “Song for Tomorrow”, an as-yet unrecorded song premiered back in February. After that, the bulk of their 100-minute set came from their second album “Satellite”, including a very entertaining rendition of the slightly bonkers “I Am A Cat”. A second new song, “Promises” came over very powerfully indeed, and one unexpected surprise was a great full band version of “Exodus”, a song from Anne-Marie’s solo EP “The Contact”. Very little from their debut “Visionary Position”, though I hope some of those songs are merely being rested rather than retired altogether. With the band going into the studio to record a new album in November this may be the last outing for the set they’ve been playing for the last couple of years.  The strength of the new material certainly augers well for the future.

Since the first time I saw Panic Room in Lydney back in 2008 I’ve watched this band get better and better as a live act. I’ve always thought their energetic mix of prog, hard rock, folk, jazz and pop has the potential to cross over to wider audiences beyond the prog ghetto, and on the basis of performance like this one, they deserve to be playing on far bigger stages.

Posted in Live Reviews, Music | Tagged , | 4 Comments

Blood Ceremony – Living with the Ancients

Canadian four-piece Blood Ceremony have been making a bit of a stir recently, as much for the theatrical nature of their shows as for their records. But as this disk shows, the actual music more than stands up on it’s own.

It’s all quite heady stuff. It’s got doom-laden guitar riffs, bewitching female vocals, folk-inflenced flute, and swirling Hammond organ. The result is a sound like a cross between Black Sabbath fronted by Angela Gordon, and a dark twisted version of Uriah Heep.

There’s a very strong 1971 feel of the whole thing, albeit with slightly cleaner production. Guitarist Sean Kennedy is clearly a disciple of Tony Iommi, and one or two of his solos could have come straight off “Black Sabbath Vol 4″. The rhythm section also has the same slightly jazzy groove of early Sabbath. But vocalist, flautist and organist Alia O’Brien turns them into far, far more than a Black Sabbath tribute act. If her haunting lead vocals aren’t enough, her flute and especially her sinister-sounding organ end up defining the band’s sound. Her keyboard work reminds me a lot of Ken Hensley.

With Song titles like “The Great God Pan” (not a cover of The Waterboys’ song) “The Coven Tree”, “The Witches Dance” and “Daughter of the Sun” as a paean to the 1970s horror movies from which they take their name,  the end result comes over as the soundtrack for the best film that the Hammer House of Horror never made.

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New Look

As you have probably noticed, I’ve given this blog a bit of a revamp, based on a far newer WordPress template. The header image reflects the music-centric focus of the site – if you don’t know who any of the performers are, I can tell you’re not a regular reader.

Navigation links are a bit of a work in progress at present – I’ve given record and concert reviews a higher profile by putting navigation links for them on the main menu.

The layout may yet see a few more tweaks.

Posted in Miscellaneous | 1 Comment

Halo Blind/Heather Findlay, Kennedy’s Basement York, 8th June 2011

A round trip of well over four hundred miles seems a long way go for a midweek gig that’s a fiver on the door, but when it’s Halo Blind supported by Heather Findlay, it’s worth making the journey. The headliners were playing a low-key warm-up for their appearance two days later at the prestigious Isle of Wight Festival, and the late addition of Heather to the bill gave fans an added incentive to turn out.

Halo Blind, put together by Chris Johnson, were originally called Parade. They had to change their name to avoid confusion with the reportedly awful but much-hyped girl band who stole their name. As Parade they’ve always been a great live band. And as for Heather, after more than a year since that emotional night in Leamington, it’s been far too long since I last saw her perform. It’s not the first time she’s played live since leaving Mostly Autumn, but it was the first of her low-key acoustic gigs I’ve been able to get to.

The basement bar at Kennedy’s was tiny; the capacity can’t have been much more than a hundred or so. It was one of those gigs where I recognised probably three-quarters of the audience by sight, if not by name. I’ve always loved this sort of gig.

It was great to see Heather back on stage again. Even though this was “only” an acoustic gig, she’s lost none of that magic, and was on fine form vocally. Without the backing of a full band there’s nowhere to hide, and the whole thing depends on the strength of the vocalist and the quality of the songs. Not that there were really any doubts in this case.

Her set was a mix of new material from her debut EP “The Phoenix Suite” and a few older Mostly Autumn and Odin Dragonfly songs. The songs from The Phoenix Suite came over very well live, and didn’t seem to lose anything when pared down to acoustic duo format. If anything, they came over more strongly, and  I was more aware of the absence of the flute in the Odin Dragonfly songs than the lack of an electric rhythm section in the new songs. Some of this was down to Chris Johnson’s talent as a rhythm guitarist; even on a battered acoustic his playing has a lot of power, particularly evident on songs like “Red Dust”.

Interestingly both Mostly Autumn songs were Chris Johnson compositions from “Heart Full of Sky” rather than Heather’s own. “Gaze”, a song I’d never heard performed live before, was beautiful, and I loved the way Heather sang the clarinet line on “Blue Light”.

Headliners Halo Blind are difficult to categorise musically; Chris Johnson has played in indie, prog and even country & western bands over the years, and elements of all of these have found their way to the band’s music. Tonight was their first gig under the new name, as well as marking the debut of their new bassist, ex-Seahorse Stuart Fletcher.

Their set was a run-through of the setlist for the festival, drawn entirely from “The Fabric“. Short but sweet, and they simply rocked. The technical problems when the keyboard went wibbly couldn’t take the edge off things. Stuart Fletcher and the powerhouse drumming of Gavin Griffiths make for an impressive rhythm section, Chris Farrell plays some ferocious lead guitar, and Chris Johnson and Anne-Marie Helder’s voices combine to produce some sublime harmonies. At the time of writing this I haven’t heard how well they went down at the Isle of Wight Festival, but on the strength of a performance like this, they deserved to go down a storm.

Only complaint about the whole evening that it was all over too quickly – I’d have loved both bands to have played all night.

Posted in Live Reviews, Music | Tagged , , , | 4 Comments