Music Blog

All the music-related posts gathered together in one place.

Salvation Jayne – I’ll Be Damned

Salvation Jayne - Ill Be DamnedBack in July I booked in a hotel in Ashford for the Ramblin Man fair, and checked in on Friday night to avoid a stupid O’clock start on Saturday morning. It was raining stair-rods that night, so there was little incentive to venture out into the town. But there was a band setting up in the hotel bar, so I thought I’d give them a listen.

They turned out to be Salvation Jayne, a rather impressive guitar-shredding blues-rock quartet. Much of their set was covers ranging from 60s Otis Redding numbers to several Joe Bonamassa songs, but they did include several originals that stood up well amongst the standards and suggested they have their sights on being far more than a local covers band.

The EP “I’ll Be Damned” contains three of those songs, and the raw live-sounding production captures the energy of their gigs.It kicks off with the hard rock boogie of “Black Eyes”. The title track is perhaps the weakest of the three; the awkward time changes don’t quite work, although Holly Kinnear’s solo at the end is impressive. But the undoubted highlight is the final number, “Secret Sin”, a powerful slow blues number that sees lead singer Amy Benham pulls out all the stops with a gutsy and impassioned performance.

The EP can be bought from the Salvation Jayne bandcamp page.

Posted in Record Reviews | Tagged | 2 Comments

Ritchie Blackmore’s new Rainbow

Rainbow Poster

Classic Rock are reporting Ritchie Blackmore’s touring lineup for the recently announced live dates in Germany and Birmingham next June.

Aside from Blackmore himself, the band will include, Lords Of Black singer Ronnie Romero, Stratovarius keyboardist Jens Johansson, Blackmore’s Night drummer David Keith and bassist Bob Nouveau.

I have seen some disappointment voiced on Twtter that former singer Joe Lynn Turner will not be part of the band. While there’s got to be a question mark over how a relatively unknown singer might handle being thrust into arena-level gigs, we may still have dodged a bullet. The singer might have been Doogie White (have you heard Black Masquerade?), or Dio forbid, Graham Bonnet.

The Birmingham show is sold out, and tickets are already appearing on tout sites at vastly inflated prices. One does wonder exactly what proportion of the better seats actually went to genuine fans.

Posted in Music News | Tagged | 4 Comments

Noel Gallagher, The Gift That Keeps On Giving

So Noel Gallagher has a new interview out. His interviews are always far more entertaining than his records nowadays, and this one sees him try and pick a fight with One Direction fandom, amongst others.

But this quote takes the biscuit (I’ve left the swears in)

I was being asked about a reunion five weeks after I left the band. It’s a modern phenomenon. It’s a modern disease. All the bands that get back together, all those ones you’ve mentioned [Fleetwood Mac, Led Zeppelin] they didn’t have anybody in the line-up as fucking brilliant as me. What’s the guitarist out of Fleetwood Mac called? Lindsay Buckingham. I can’t remember him setting the world on fire. Jimmy Page? That’s debatable. He’s a good guitarist but I’m not sure how many solo albums he’s fucking made.

Oh dear, oh dear.

The software development industry, or rather the software development recruitment industry, often talks about “Rock star developers”. I have always found the concept utterly ridiculous, and the above quote goes a long way towards demonstratng why. In today’s world, the concept of “Rock Star” is far more about swaggering ego than it is about actual skill.

As a guitar player, Noel Gallagher is at best a mediocre talent who is not fit to tie the shoelaces of Jimmy Page or Lindsay Buckingham. If you read some listicle of supposedly great guitarists and see his name there, it’s as much proof that the list is a load of cobblers as the absence of Tony Iommi or Nile Rogers. And as a songwriter his work is so derivative and backward-looking that if he was a programmer he’s be writing in COBOL.

There was a day when “Rock Stars” represented the top talent of their profession. The larger-than-life personality was part of the package, but the talent had to be there. But the days of Freddy Mercury and Jimi Hendrix had long gone by the time Oasis arrived on the scene, and the worlds of creative artists and media celebrities have gone their seperate ways.

Anyone who talks about “Rock star programmers” is living in the 1970s.

Posted in Music Opinion, Testing & Software | Tagged , | 3 Comments

Silver Fragments In The Mind of the Departed

A rather splendid live improvisation from Chantel McGregor’s recent gig in Brighton. Reminds me of some of King Crimson’s work from the Starless and Bible Black era, which starts sounding like tuning up, then a theme develops and builds.

Thanks to occasional commenter Steve Hughes for sending me the link, and Chantel herself for letting me post it here.

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Panic Room Weekend!

Panic Room Weekend

Panic Room have announced the Panic Room Weekend, a two-day event at Bilston Robin 2 on the weekend of 21st and 22nd May 2016.

Full details will be announced in due course, but the weekend promises two full-length headline sets from Panic Room themselves with completely different songs each night. There will also be performances from the acoustic side-project Luna Rossa and a host of yet-to-be announced guests with connections to the band. I would be very surprised if we didn’t see a solo acoustic set from Anne-Marie at some point. It all promises to be a great gathering of the band’s fandom.

Tickets cost £40 for the full weekend, with day tickets for £25, and doors open at 3pm each day, so there will be a lot of music. Tickets are now on sale from The Robin 2 website.

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Routine

Jess Cope’s heartbreaking animation for Steven Wilson’s “Routine”, a song covering themes of loss and denial, that was projected onto a screen behind the band during this year’s live shows.

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Neo-Prog Three Decades On

Joe Banks writing in The Quietus has a grear piece in Neo-Prog Three Decades On, covering the likes of IQ, Pendragon and Pallas.

He’s spot on when it comes to Twelfth Night. His description of “Fact and Fiction” as the Unnown Pleasures of prog reminds me of how some aspects of their sound reminded me of Joy Division at the time. Perhaps what JD might have sounded with Dave Gilmour style guitar solos?  As for their eventual disolution when they “couldn’t make up their mind whether they wanted to be Pink Floyd or Duran Duran“, is Joe Banks certain he didn’t steal that line from me?

He’s good on Mairllion too, pointing out how they started out wearing the influence of Gabriel-era Genesis on their sleeves, but soon evolved towards evoking Pink Floyd at their most song-orientated. Not quite so sure about present-day Mairllion as “credible-if-a-bit-bland nu-prog, somewhere between Talk Talk and Muse“, though. At least he didn’t compare them to Coldplay….

It’s also good to see the late Tommy Vance mentioned. John Peel’s hagiographers tend to dismiss him for playing the music too uncool for The Peel Show, but the two were actually highly complementary. Certainly Tommy Vance was as much loved by his listeners as Peel was to his.

The whole piece is well worth a read.

Posted in Music Opinion | Tagged , , | 4 Comments

Support Bands: What exactly are they for?

Fahran, Supporting Morpheus Rising at Bilston Robin 2Fahran, suppotying Morpheus Rising at Bilston Robin 2

This is another of those blog posts inspired by some discussion on Twitter, in this case about support bands.

We’ve all been to gigs where the support band has been thoroughly forgettable; sometimes tuneless acoustic singer-songwriters, sometimes third rate generic metal or alternative rock bands. You do sometimes wonder what the point of these support slots are, especially if there’s not one but two supports which either means a disappointingly short headline set or a very late finish.

On the other hand, I’m sure most of us have seen a few occasions where an unknown support act has blown us away. I can think of The Computers supporting The Damned and giving them a serious run for their money, and Labyrinth kicking Sonata Arctica’s arse, both at my local venue in Reading. The very first time I saw the mighty Touchstone was when they supported The Reasoning at the now-closed Limelight Club in Crewe. And I’ll never forget Anne-Marie Helder supporting Mostly Autumn at the late lamented Astoria.

My rule when reviewing is to judge the support act on how you feel at the exact moment the frontperson says “And this is our last song”. That emotion never lies.

So what, exactly, is the purpose of the support band?

If, as was suggested, the sole purpose of the support is to make the headliner look good, I would respond by questioning whether the headliner is good enough to be topping the bill. The days of support bands being thrown off tours for being too good are long gone.

I see the role of the support act as enhancing the overall experience and giving the paying audience better value for money. If they’re a bit rubbish it rather undermines that. The 70s and 80s practice of the headliner actively sabotaging the support for reasons of ego by making sure they had terrible sound only shortchanges the punters.

Nowadays quite a few bands book a strong and complimentary support act and give them prominent billing in the gig’s promotion to boost ticket sales. Just how often have you gone to a gig purely to see the support, or at least had the support influence your decision to attend a gig? I could list a great many of those over the years; sometimes I’ve experience a wonderful headline set I would not otherwise have seen, and once or twice I’ve seen the band I’d actually come to see blow the headliners off stage.

So, what’s your experience of support acts? Who was memorably good, or memorably bad? What great bands did you first see as an opening act?

Posted in Music Opinion | Tagged | 17 Comments

Vanden Plas – Chronicles Of The Immortals: Netherworld II

Vanden Plas You do wonder if their name might have held Germany’s Vanden Plas back. Back in the 1970s and 80s it was British Leyland’s badge for the top-end models of their memorably terrible cars from the worst days of the British motor industry. It’s like calling a band “Skoda” or “Edsel”.

Their eighth studio album “Chronicles Of The Immortals: Netherworld II”, is as the title suggests, the second part of a saga, the first half of which came out in 2014. It’s an epic involving dark godmakers and cursed blades based on the fantasy series of the same name by author Wolfgang Hohlbein.

The music fits the theme, a cinematic record combining the big choruses and showboating solos of power-metal with the ambitious song structures of progressive metal and the epic production and pomp of symphonic metal, with a bit of musical theatre thrown in for good measure. There are big soaring power-ballads, hard-rocking guitar and keyboard solo wig-outs and sprawling epics where razor-sharp riffs alternate with tinkling piano interludes. The songwriting and arrangements sound like a band who have been perfecting their craft for a long time, and the whole thing has a big rich wall of sound production. Vanden Plas don’t do anything in half-measures, finishing in gloriously over-the-top style with the choir and orchestra of “Circle of the Devil”.

This is an album that may be too bombastic and overblown for those who prefer more straightforward rock’n'roll; and sometimes the effect can be similar to an over-rich dessert when there’s only so much you can eat at once. But Vanden Plas do what they do extremely well, and fans of anyone from Threshold to Ayreon ought to find a lot to like about this record.

Posted in Record Reviews | 1 Comment

Less than three weeks until Mostly Autumn play the Grand Opera House in York. If you’re travelling to the city, why not make a weekend of it and see Cloud Atlas at The Post Office Social Club the following night. Tickets from the Cloud Atlas Webstore.

Posted on by Tim Hall | Comments Off