Author Archives: Tim Hall

Stadium Rock

Next weekend I’m off to Edinburgh to see Mostly Autumn supporting Bryan Adams at Murrayfield Stadium.

I know it’s a long way to go just to see the support band, but they are playing a 75 minute ‘special guest’ spot. It’s by far the biggest gig they’ve ever done. And as DT said, “How can you not go?”.

This will be my first big open-air gig since The Garden Party at Milton Keynes. That was back in 1986, 21 years ago! Yikes!

I’m completely neutral on Bryan Adams himself; all I know is a few of his biggest hits. I’m sure he can put on an entertaining show. But I have to hand it to him for giving my favourite band the opportunity to perform on a big stage and hopefully make a significant number of new fans. Let’s hope they rise to the occasion and play the sort of absolute blinder I’ve seen them play when they’re on top form.

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Son of the Seven Songs Meme Rides Again

Psycho Chicken has sent the seven songs meme shambling forth once again. Here’s my seven.

  1. Carpe Diem – Mostly Autumn
  2. Fallen Angels – The Reasoning
  3. A Smart Kid – Porcupine Tree
  4. Easter – Marillion
  5. Given Time – Odin Dragonfly
  6. Armor and Sword – Rush
  7. Escape – Iain Jennings

All but one are by artists I’ve seen live in the past six months, and I’ve got a ticket to see the one remaining band (Rush) in October. The list even includes one song which isn’t released yet, but has managed to implant itself in my head after hearing it live twice. Interesting to compare with my answers for the same meme six months ago

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Bye, Bye, Virgin Voyagers

The government have taken some of Richard Branson’s toys away.  Virgin Trains have, as most people expected, lost the Cross-Country franchise.  The franchise winner is Arriva Trains, who will take over the existing Penzance/Bournmouth – Manchester/Aberdeen routes, along with a couple of other long-distance east-west routes currently operated by Central Trains.

Not sure about their proposed livery, which looks rather dull compared with the striking Virgin Trains red and silver.  The Voyagers are allegedly going to be refurbished with more luggage space (about bloody time) and more seats (where?), and a few superannuated HST sets will be resurrected to augment the fleet.

Bad news for passengers is the likelyhood of substantial above-inflation fare rises over the life of the franchise.  No change from Virgin there, then…

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Critics: What are They Good For? II

In a previous post, I questioned the value of mainstream critics, whose overwhelming groupthink renders them worse than useless. But I’m not sure that the ‘specialist’ press is really that much better. A recent incident on an internet mailing list (which I won’t name), featuring the editor of a well-known rock magazine (which I also won’t name) made this abundantly clear.

A few days ago, said editor printed a throwaway one-liner in his magazine dismissing a band I’ve actually seen a couple of times in fairly damning terms. On the bands independant fan email group, some fans (myself included) understandably took exception to this. The words ‘hack scribbler’ were used.

Next thing we know, this ‘professional critic’ comes bargeing into the forum, agressively flaming everybody concerned, with his basic message being “how dare we peons disagree with him because he’s paid to do this for a living, and we’re just rank amateurs hiding behind the anonymity of computer keyboards”.

Of course, the reason we’re anonymous people to him is that he’s never met us at gigs, and the reason for that is that he’s a London based music journo who never ventures beyond the M25 (or should that the North Circular?). We go to gigs in places like Crewe or Swansea, the sort of places no London-based hack scribbler could even find on a map. The band in question know who I am, for starters.

That’s the whole ‘blogs versus dead tree media’ argument in a nutshell. It again raises the question whether professional critics still serve any useful purpose in the days of the Internet.

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No Gigs This Weekend!

For once, I’m not going to a gig this weekend. Yes I know Genesis are playing Old Trafford, but not only does “Gurning Disney Phil Collins” not really appeal to me, but I’ve got something else on. Summer 2007 Stabcon, at the Brittania Hotel in Stockport, for a weekend of RPGs and incredibly complicated board game. Beer and lack of sleep will probably also be involved.

There’s still a date clash with another event though. The East Lancashire Railway’s diesel gala is the same weekend :(

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Mostly Autumn, Bury Met, 30 June 2007

Bryan Josh, Guitar Hero
Bryan Josh, Guitar Hero

Mostly Autumn’s Heart Full of Sky tour came to a triumphal end at the Met Theatre in Bury. Bury Met isn’t my favourite MA venue. If I’d had to choose between this and Crewe Limelight three weeks ago, I would have chosen the former. But Bury turned out to be the best gig of the tour.

Heather Findlay Heather Findlay

This really was Mostly Autumn at their very best, with a 110% performance from the whole band. The setlist was identical to the set played at Crewe three weeks ago, starting with the apocalyptic “Fading Colours” (The Bells! The Bells!) and ending with the magnificent “Carpe Diem”. The only change was the addition of extended jam at the beginning of “Nowhere to Hide”, a song I don’t think I’ve ever heard played in quite the same way twice.

Andy Smith rocks out
Andy Smith rocks out

 

Yet again I was right down the front with the hardcore fans; next to Maria, DT, Roger Newport, Paul Quinton and Aneil Jangra, all of whom have clocked up far more MA gigs than I have. So I have no idea what the sound was like further back, because I was getting monitors and stage amps rather than the PA. But it all sounded fantastic where I was, not too loud, with just the right balance between Bryan’s guitar and those multi-layered vocal harmonies..

Angela Gordon
Angie Gordon

This was one of those gigs where I really can’t single out any one band member as the star of the show; everyone was on top form; Bryan Josh proved yet again that the guitar hero is not extinct, Heather’s vocals were sublime and Gavin’s precise drumming has really tightened up the band’s sound. This lineup has really gelled, and people who wrote the band off following the departures of Iain Jennings and Liam Davidson clearly haven’t seen this incarnation of the band on stage.

Chris Johnson
Chris Johnson

The gig was tinged with sadness, in that there’s a real possibility that we may never see all seven this particular lineup together on stage again. Chris Johnson and Gavin Griffiths will be spending most of the rest of the year on tour with Fish, and the Murrayfield gig in July will feature a one-off reunion of the 2005 lineup with Iain and Andy Jennings and Liam Davidson. And by the time the Christmas gigs roll around, Angie will be on maternity leave.

Olivia Sparnenn
Livvy Sparnenn

This is the first time I’ve taken my camera to a Mostly Autumn gig in a venue with decent stage lighting. All the above pictures are mine; I’ve uploaded a lot more to my fotopic site, which can be found here

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Critics: What are They Good For?

Two articles in The Guardian last week discussed whether or not critics serve any useful purpose. The original articles were about classical critics, which I don’t know enough about to comment meaningfully on. A lot of the resulting comments shifted the discussion towards rock critics.

In my opinion, rock criticism is completely and fundamentally broken, to the point where I’m much more likely to trust the opinion of an amateur blogger or web message board poster than most so-called professionals. Partly it’s because I know my own tastes in music are 180 degrees in opposition to the collective groupthink of mainstream rock critics, which seems to date from the punk era of the late 70s.

They pretty much all seem to toe the following party line:

  • Music and artists are supposed to be ‘of the moment’ and aren’t supposed to last.
  • Image and attitude are more important than substance
  • Raw passion is infinitely more important than craftsmanship
  • Any diplay of instrumental ability beyond the most rudimentary is self-indulgence of no interest to anyone other than musicians.

All of those are highly subjective premises, but they’re presented as inerrant gospel truths. That might be valid if it was just one of many schools of music criticism, but unfortunately it has come to represent the mainstream consensus. So you end up with ridiculous amounts of praise directed at anyone that conforms to the above template (Can you say ‘Pete Doherty’? Yes, I though you could), and marginalisation for anyone that doesn’t. Entire genres of music get dismissed with a sneer.

Then there’s the fact that when the critic do pay attention to content rather than image they only seem to be interested in the lyrics rather than the music. And it often appears that they’re reluctant to listen to any record more than once, so anything that takes several spins to appreciate will have trouble getting a fair review.

Another big problem with the British music critic establishment is that they’re so obsessed with finding ‘the next big thing’ (so that they can bask in reflected glory, perhaps?) that they tend to overlook the sort of artists that don’t start producing their best work until several years into the careers. Then we have the dreadful “build ‘em up and knock ‘em down” attitude. The result is all too often massive hype directed at some fresh-faced hopefuls who have yet to do anything much. The moment they fail to live up to the unrealistic expectations thrust upon their shoulders the inevitable backlash begins. Then you get the archetypal ‘difficult second album’ followed by a quick exit to the ‘where are they now’ file.

As I said, mainstream rock criticism is broken.

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Breathing Space, Newton-le-Willows, 22 Jun 2007

Olivia Sparnenn
Olivia Sparnenn

This was the first time Breathing Space have ventured west of the Pennines, and the third time I’ve seen them live. The Gravy Train is a new venue on me, definitely a club rather than a pub, with a proper stage, and a capacity of perhaps a couple of hundred. There were nothing like that many there, but a decent few had braved the monsoons that had flooded roads and railway lines to turn out.

This was one of those gigs where I saw a lot of familiar faces; I think I’d seen just about everyone in the audience at gigs before, and could put names to something like half of them. It’s been said the Mostly Autumn/Odin Dragonfly/Breathing Space fanbase is like an big extended family, and tonight certainly felt like that. The evening began with my being welcomed with an enthusiastic “Hi Tim” from Livvy. That’s not the sort of thing you get at the MEN Arena…

Olivia Sparnenn
Livvy again

The already ridiculously-late start was delayed even longer by the support act getting lost en-route, so when Breathing Space finally took the stage it was almost eleven pm. They then delivered a flawless set, certainly the best I’ve seen them, without the techical problems that had marred their York show, and without meeding a stand-in for guitarist Mark Rowan as they did at Ringwood.

Having seen them a couple of times before I’m getting to know their set by now; naturally the bulk of the set came from album “Breathing Space”, with the live takes of the songs rather more rocky, with Mark Rowan’s guitar a little more prominent than on the studio versions. The Mostly Autumn oldie “Hollow” was fantastic; I’ve got so used to hearing Livvy sing it by now that I’m starting to think of it as a Breathing Space song. I wonder whether Mark Rowan feels imtimidated by having Bryan Josh in the audience. One high spot for me was “Rain Song”, a much reworked version of a number Livvy wrote a couple of years ago, and originally performed in the acoustic set with Chris Johnson supporting Mostly Autumn two years ago.

Mark Rowan and Paul Teasdale
Mark Rowan and Paul Teasdale

The set was all over far to soon, which is my only real criticism of the evening. Breathing Space have more than enough material for a 90 minute set, so the shorter set the venue required meant several of my favourites got left out; there was no room for “Distant Train”, or the fantastic “Shades of Grey”.

So everyone spent another hour socialising in the bar afterwards, while the ‘special guest DJ’ was largely ignored.

Livvy
Livvy again

This time I remembered to take my camera, so the pictures are mine. Just about all the stage lighting was on Livvy, so that’s the main reason almost all the pictures are of her. Iain’s side of the stage was so dark I couldn’t get any decent ones of him at all.

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Marillion – The Forum, London, 16-Jun-2007

It’s not far short of 25 years since the very first time I saw Marillion live, at the 1982 Reading Festival. I’ve seen bands this year with members that weren’t even born back then. The Marillion of today are a very different band, of course; unlike many of their generation they’ve steadfastly refused to become a nostalgia act, keep moving with the times, and continue to put out challenging and relevant music.

This was the second of two nights at the Forum in Kentish town; last time I was there was for Uriah Heep something like eight years ago. It’s a converted cinema, with a capacity of about 2000, standing downstairs with seating upstairs, a rather grander venue that most of the places I’ve been to in the past couple of years, certainly far better than the grungy and run-down Astoria. The gig was a sell-out.

I’ve read a lot about ‘jaded London audiences’ by people claiming provincial gigs have a far better atmosphere. Well, this year I’ve done gigs in London, Manchester, Crewe, Preston, Cardiff, Swansea and York, in venues ranging from pubs to enormodomes. This was by far the most enthusiastic audience I’ve seen all year in any city and any size of venue. Perhaps this wasn’t a typical London gig; Marillion aren’t hip and trendy, so instead of poseurs and liggers it was filled with hardcore Marillion fans who had descended from all over the country and probably beyond. I myself had come down from Manchester, my brother from Swansea, and I bumped into Psychochicken who’d come all the way down from Glasgow.

Although it was being filmed for a DVD, the cameras didn’t get in the way of the enjoyment; they were well positioned so they weren’t blocking people’s views. There was once camera on a massive boom that kept swinging alarmingly low and fast over the audience; I kept wondering if it was going to take someone’s head off. Fortunately it didn’t. And the sound was superb; just about the right volume, not too loud, but clear with good separation.

And Marillion’s performance just blew us away. I’ve seen them at Manchester on the past three tours, those gigs were good, but this one was in a different league altogether. They opened with a dark and intense “Splintering Heart”, which began with Steve Hogarth alone on the stage back by the drum loop, before being joined by the rest of the band mid-song. From then on until the anthemic final encore of “Neverland” two-and-a-quarter hours later there was no let up in the intensity. Even the material from the somewhat patchy new album “Somewhere Else” came over strongly live.

The setlist was a great mix of old and new; Marillion have a great depth of back catalogue with very few ‘standards’, so you never quite know what to expect. Tonight we got a superb “Ocean Cloud”, a very atmospheric “Estonia”, and an absolutely barnstorming “Between You and Me”. One big surprise was “Sugar Mice”, an oldie from the ‘Scottish heavy metal band’ days, for which H sang the first line, and left the audience to sing the rest. We also sang “Happy Birthday to You” to Ian Mostly, to celebrate his fifty-splodgth.

Certainly in my top three gigs of the year so far, and the best Marillion gig I’ve been to in the past 20 years.

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Breathing Space News

Breathing Space will be recording a new album in the coming months.

As announced by guitarist Mark Rowan on the Mostly Autumn Forum

Mark here from Breathing Space, we’d just like to officially announce that the new Breathing Space CD will be entitled ‘Coming Up For Air’ and we start recording at Fairview Studios in Hull for a couple of weeks starting on July 23rd.

We don’t as yet have a release date but we would hazard a guess that it will be around Aug/Sept.

This news is probably one of the worst-kept secrets of the “York/Swansea nu-prog scene” – I’ve known (from Livvy) that they were planning an album for a late summer release since February.

No word yet on whether or not they’ll be doing a pre-order.

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