With Just A Hint Of Mayhem

Music trivia, useless info, extra added random stuff and the odd rant from me

“Delightful Horrors” – Pavilion September 20, 2022

Filed under: Review — justwilliam1959 @ 10:05 pm
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York band Pavilion released their new single “Delightful Horrors” last week. They have put out a couple of good singles previously, but this one takes a step up to great. It is a really mature-sounding tune with elements of the finest 60s and 70s rock combined with the kind of skillful tunefulness that Paul Weller does so well. This has radio hit written all over it with some sublime melodic hooks and a sound that shows a band in peak form. I love this and it has me drooling for a Pavilion album! The single was immaculately produced by Mickey Dale. The accompanying video, a satirical, psychedelic take on ‘The Office’, is supremely well shot and edited by ace photographer and filmmaker Nathan Luke Riley. I particularly loved the cake celebration vignette at the end. Click here to spin it on Spotify.

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Coach Party – The Crescent, York – Wednesday, September 7th, 2022 September 12, 2022

Filed under: Review — justwilliam1959 @ 2:37 pm
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This was my first visit to one of York’s finest venues, the Crescent, for some time. This was also the second gig in a row for me where I had never seen any of the bands before, and that really doesn’t happen too often. Headliners were Coach Party from way down south, the Isle Of Wight to be precise. But more of them later, there were two rather spiffing bands on before them. First up were Yorkshire-based White Roses. They are purveyors of fine classic rock sounds, but we are not talking covers, this is their own original material. Vocally is like a cross between Joan Jett and Stevie Nicks at times. The lead guitarist is a complete master of his art and plays his axe like a young Bill Nelson. This is definitely a band for the future.

White Roses

Next up was Priestgate from Driffield, which is where Spiders From Mars drummer Woody Woodmansey hails from. As soon as they hit the stage and started making their huge noise I was blown away, a real what the fuck moment. Think Bauhaus, the Damned, the Skids, and even Big Country, particularly Stuart Adamson’s great guitar work with the latter two bands mentioned. Goth, punk, glam, this band has it all and then some. Lead singer and frontman Rob Schofield has that 1,000-yard evil rock god stare down perfectly, just like Jordan from Avalanche Party. The energy that Priestgate have is the equivalent of a billion Duracell bunnies and frontman Rob is one of the best I have seen in a long while.

Priestgate

I certainly wouldn’t want to be the band that followed Priestgate, but Coach Party did and they played an absolute blinder. They entered the stage with a weird and wonky cut-up/ remix of the Human League’s “Don’t You Want Me” and their set was weird, wonky, and wonderful throughout. The Isle of Wight has not been a hotbed of great rock music over the years, but I think Coach Party have the talent, skill, songs, and performances to change that. Up to now, we have seen Mark King (Level 42), Jet Harris (The Shadows), Snowy White (Thin Lizzy), David Steele (Fine Young Cannibals), Dick Taylor (Pretty Things), and more recently Wet Leg. Well, frankly they can all move over and make way for Coach Party. They are a band that uses wit and humour really well in their lyrics, but not without being able to get serious in some songs. Jess’s voice is spot on and enhances the tunes perfectly in the live environment, although to be fair the recorded versions are damned good too. There is a feel of 90s grunge in some of their tunes and maybe Dinosaur Jr. and Sonic Youth. They worked the crowd really well too and we all clapped and sang along. This was a great set from a band that has an air of greatness and coolness about them. Highlights for me were “Everybody Hates Me”, “Bleach” and the staggeringly good “Shit TV” with its lyrics of pathos and comedy! I love this band!

All pictures, except the gig poster, were taken by me using my very cheap Chinese Android phone. The videos were found on YouTube. If the video is yours and you would like a credit or for it to be removed please let me know. If you have enjoyed this article feel free to follow the blog, or follow us on;

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The Goa Express – Fulford Arms, York – Sunday 4th September 2022 September 7, 2022

Filed under: Review — justwilliam1959 @ 2:27 pm
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This was another visit to one of my favourite places and one that has the potential to become my second home. Yes, I was back at the Fulford Arms. Incidentally, when I eventually pop my clogs and leave this mortal coil many years from now I would like my wake to be held here and my ashes scattered in the Fully Beer Garden! But enough of me, there were two bands playing tonight, (interestingly I had seen neither of them before. The first was Highschool. they have a feel of New Order, the Killers, and perhaps a synthless OMD. Singer Rory’s voice at times reminded me of the softer side of Iggy Pop and also Julian Casablancas from the Strokes. This Aussie band is rather excellent and I am looking forward to their new single, due in October. Their 2021 EP ‘Forever At Last‘ is ace too.

Highschool

Headliners were Burnley’s the Goa Express, in the early part of their set the organ-style keyboard licks gave them a feel of the Inspiral Carpets or maybe Traffic. But overall their sound is a hard-rocking indie dance fusion with a bit of old-school classic punk styling thrown in a la the Clash. Are they Burnley’s finest band? probably yes, and almost certainly across a much wider area than that, among the best UK bands I have seen this year. At times James Douglas Clarke’s voice evoked the best of James Dean Bradfield, T.V. Smith, and Julian Casablancas. That is the second mention for Casablancas in the same review! They got more punky as the set progressed and the band is supremely tight. A very special shout-out to the ace bass player, Naham, who played some superb marching, melodic bass lines. I bought their 7-inch single, “Everybody In The UK”, from the merch stand and it is damned good. I will definitely be seeing this band again sometime!

The Goa Express

All pictures, except the gig poster, were taken by me using my very cheap Chinese Android phone. The videos were found on YouTube. If the video is yours and you would like a credit or for it to be removed please let me know.

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Leeds Festival Day 2 – Saturday 27th August 2022


Day 2 of the Leeds Festival 2022 kicked off for me with Frank Carter and the Rattlesnakes on Main Stage East. Frank and the Rattlesnakes are possibly the best live band in the country, and probably beyond, right now. Frank Carter clearly loves what he does and cares passionately about his fans and the wider festival crowd. The female mosh circles he got going were incredibly popular. But the highlight was Frank and Deano hoisted high in two separate circle pits while they carried on playing and singing. That takes balls and skill and this band has an abundance of both. I doubt that there is a more perfect band to kick off a day at this festival. Next, it was over to the Festival Republic Stage for Beauty School Drop Out. These manic LA glam metal punksters smashed it with a storming energetic set. I love this band that occasionally reminded me of Don Broco. I stayed at the Festival Republic Stage for the Scratch. This was fucked up folk music for all of us fucked up folks. This band is like an Irish Gorgol Bordello but on Lemmy levels of speed. The Scratch are definitely one of the best bands I have ever seen at a festival and also one of the oddest. There was even traditional Irish dancing going on in the mosh circle too. This was refreshingly different and bloody magnificent. I made my first visit to the BBC Introducing Stage on Saturday to see Sisi. Some of today’s R & B can be derivative and bland, but that is not Sisi. She is an ace performer and her voice has a majesty that only some of the greatest soul singers can match. Imagine the voice of Whitney Houston (in her less shouty moments) spliced with Millie Jackson’s immense soulful voice, that will give you some measure as to how good Sisi is. Witch Fever drew me back to the Festival Republic Stage. They are like a Bikini Kill for this generation. But they are even more magnificent, even more metal, and this last one might be hard to believe, but even more militant. This band wears their hearts and their beliefs on their sleeves. People should be more Witch Fever.

Sisi

I stayed at the Festival Republic Stage for Scene Queen who had Aqua’s “Barbie Girl” as their entry music. For a moment that did make me think what the fuck is happening here. But oh boy this was light years from AquaThis US band put on a proper rock show “Pink Bubblegum” was good, but “Pink G String” took the roof off and was accompanied by a huge ass-slapping circle pit. Scene Queen also played a cover of Katy Perry’s “I Kissed A Girl” and made it their own. I need to see this lot again. I wandered over to Main Stage West next for some of Joy Crookes set. I would say that she is almost certainly influenced by a mix of Stevie Wonder and Amy Winehouse. She has a stupendous voice and some great tunes. I decided to spend a lot of time at the Festival Republic Stage and went back there for Kid Kapichi. Someone recommended them to me at an Apollo Junction gig last year and finally, I got to see them live. The band give it their all and some. They have a party hard and play music harder attitude. In the music family tree, they might fit close to Idles and Fontaines D.C. although they have a greater handle on great pop hooks in their songs. “The Gift That Keeps On Giving” is a fabulous anti-UK government anthem, which is perfect for these strange times. It was the turn of Deadletter on the BBC Introducing Stage next. If you were to put Yard Act, Talking Heads, and Eddie and the Hot Rods into a huge blender I think the resulting output might be Deadletter. Lead singer Zac has the best of the stage presence skills of Iggy Pop and Jarvis Cocker and he is a total master of his audience. He also has that classic Ian Curtis jerky St. Vitus dance moves. But above all that perhaps the best thing about Deadletter is the sheer scale and quality of their staggeringly great songs. If they didn’t make new fans from this appearance I will eat my notepad!

Dolores Forever

I returned to the Festival Republic Stage next for a band that sounds like Muse going full-on metal, but on steroids, I give you Tigercub. The mountainous riffage and the stellar drive of the rhythm section puts a beat right in your chest that competes with your heart. Tigercub grabs you by the throat and don’t let go until you succumb to their towering tunes or when you simply melt in the mosh circle and become a part of the Tigercub ether. Caity Baser was on the BBC Introducing Stage next. She has a pop rap style that draws on Lily Allen, Taylor Swift, and Katy Perry. She has a stunning voice, even though on the shouty bit of the first song the ghost of Violet Elizabeth Bott loomed large. This was one of the biggest crowds that I have ever seen at a BBC Introducing Stage at Leeds or Reading. All Time Low were on the Main Stage West and I caught some of their show. With bands like these, it kind of does what it says on the tin, just perfect pop punk. Nothing groundbreaking maybe, but fuck they are still a good band and their canon of great tunes have aged well. The first time I saw All Time Low was at Reading Festival in 2010. The Festival Republic Stage became a home from home today and I went back there for Sick Joy. This lot reincarnated the ghost of Kurt Cobain with a grunge riff tsunami. The vocals were raw and matched the excellent songs perfectly. Singer Mykl even wore a dress, which Cobain did sometimes too. Dolores Forever were next on the BBC Introducing Stage. In the opening numbers, there was a whiff of 70s Fleetwood Mac about them. But songs like “Funeral” and “Party In My Mind” took them a long way from that comparison showcasing just how original they are. The vocals are sublime throughout, especially on “Kilimanjaro”. It would be incredibly hard not to like Dolores Forever.

Dan D’Lion

Tigress was the next band to occupy the Festival Republic Stage and I think it is fair to say that they have the combined power of a pack of a thousand tigresses. This was a marauding musical assault on the senses in a good way. The singer worked the disappointingly small audience really well. I guess everyone had gone off to see Little Simz, if that was you then you missed something very special by not seeing Tigress! The Festival Republic Stage was next host to Cleopatrick, a truly great name for a truly great band. This band are punk as in PUNK, they deserve to be huge. They deliver their cracking tunes with the power of a neutron bomb coated in megatons of passion. Bilk were next on the BBC Introducing Stage. These Essex lads come on like old-school 70s punks, at least musically anyway and they pull it off with style and supreme skill. “Be Someone” was my favourite song from an outstanding set. As It Is hit the Festival Republic Stage next and they hit us with molten melodic metal with hooks that Gods would sacrifice themselves for. This bunch are absolutely and officially as loud as fuck! Headlining the BBC Introducing Stage was Dan D’Lion. I sensed a range of influences from Justin Timberlake, to Jamiroquai via Plan B. But it is also crystal clear that Dan D’Lion is a rare and very special talent in his own right. What a fucking brilliant performance, he did not let up for a moment. This bloke even makes a tracksuit look cool. I would pay to see him again! Megan Thee Stallion was next with a spectacular performance. The scantily clad performer had the crowd screaming at every move, every word, every twerk, and every booty shake. She stopped the show to bring fans onto the stage to dance and I suspect some of those fans will be telling their grandchildren about that moment in years to come. I was perhaps a bit lukewarm on Megan Thee Stallion until now, she was fucking awesome! Surprise last minute guests on the Festival Republic Stage were the Interrupters a very classy LA ska punk band. The energy from this set could have powered the whole three days of the festival. “Take Back The Power” and “Raised By Wolves” were particular highlights in a set filled with banging tunes!

The Interrupters

Incidentally, there won’t be a report on Day 3 of the Leeds Festival for me as my car decided that Sunday was the right day for a meltdown, so sadly I missed what looked like the best day of the weekend, but hopefully, normal service will be resumed next year.

All pictures, except the gig poster, were taken by me using my very cheap Chinese Android phone. The videos were found on YouTube. If the video is yours and you would like a credit or for it to be removed please let me know.

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Ginger Wildheart – Fulford Arms, York – Friday August 26th 2022 September 3, 2022

Filed under: Review — justwilliam1959 @ 1:53 pm
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Regular readers will know that I left day 1 of the Leeds Festival early to come to this show, was it worth it? read on to find out! This was the last date in a four-date spin around the country titled “Ginger Wildheart Presents Summer Lovin'”. They also played Hastings, Birmingham, and Wigan. First to take the stage was one of York’s finest musical talents, Mr. Boss Caine, the Barry White of Country (thanks to Ginger for that description, yes Daniel Lucas! The new songs Dan played bode very well for his next release, there are some gems there. I would say the highlight for me, and there were plenty to choose from, was “Ghosts And Drunks”. It was also great to hear Dan dedicate a tune to “the pricks in Westminster”. This was a sublime solo acoustic set from Mr. Lucas which has made me look forward even more to the next Boss Caine (or solo?) release. Carol Hodge was up next and what a great performance it was. She has the voice of an angelic demon with the purity of tone of a Karen Carpenter for the 21st Century. It was like she was playing a small intimate show in your living room. This was the first time that I had seen Carol live and it definitely won’t be the last!

Ginger Wildheart was joined on stage by Jon Poole and the aforementioned Carol Hodge. There was some great delving into Ginger’s huge canon of stunningly good tunes, including some Wildhearts songs. “Boxes”, “Geordie In Wonderland” and “Why Aye (Oh You)” were superb, but the song that stood out in this marvellous set was “Paying It Forward” which is an absolute classic. But I can’t let this go without mentioning the beautifully eclectic range of cover versions performed. “Summer Nights” was there, but given the title of the mini tour/ 4 date extravaganza, I guess that was no surprise. “How I Survived The Punk Wars” (Hey! Hello!) was ace and “Run For Home” (Lindisfarne) gave us all the opportunity for a great singalong, as we did for the opening song which was a cover of the theme from Cheers a.k.a “Where Everybody Knows Your Name”. The most fascinating cover for me though was Focus’ “Hocus Pocus”, including the yodelling. Acoustic prog anyone? On paper that should not have worked, but on stage it certainly did! What I loved so much about this set was the intimacy, it was like we were all sat around a huge campfire (it certainly felt that hot!) listing to Ginger, Jon and Carol entertain us.

All pictures, except the gig poster, were taken by me using my very cheap Chinese Android phone. The videos were found on YouTube. If the video is yours and you would like a credit or for it to be removed please let me know.

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“Barraque Beat” – Matziz August 31, 2022

Filed under: Review — justwilliam1959 @ 10:20 pm
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The new single from Matziz is called “Barraque Beat” and it is a strange but very satisfying slab of Electronic Dance Music (EDM). It uses a lot of synth sound and electro instrumentation, but also includes a fair bit of organic instrumentation, mainly guitars. It is a four-minute instrumental with the kind of vibe that means it is impossible not to move to it. The track will induce everything from robot dance to just tapping your feet via a full-on Dad dance on amphetamines. Matziz describes his work as “an attempt to translate images into music, to sculpt sound material and play with its textures to extract an emotional essence. This is about working alchemical formulas through sound, to: – treat, accompany, heal, inspireā€¦ The sensitive world according to its various needs, which fluctuate at full speed, according to the context of the extremely changing and tumultuous news”. Matziz says that he is inspired by “the origins of Techno and the English effervescence of electronic music in the ’90s” Apparently the tune is about a toad, trying to enter a very weird house, now I know that it explains the weird toad-like sounds that can be heard scattered through the piece. This really is a great track and different from so many less exciting releases in this genre.

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Leeds Festival Day 1 – Friday 26th August 2022 August 30, 2022


Let me kick off with the whole split Main Stage thing at Reading and Leeds. What is the point of having two main stages? Surely whoever plays last is effectively the headliner. Does it sell more tickets? Or is it an ego stroke for bands and singers? Or maybe it is something else entirely, I would love to hear your views. Anyway, enough of a bit of ranting let me tell you who I saw on day 1. First up was Mall Rat on the Main Stage East. Mall Rat came all the way from Australia and maybe this is what Kylie might have sounded like had she emerged now rather than back in the 80s. Mall Rat mentioned that she was hot and to be fair it was pretty warm, but she was wearing some kind of woolly mittens, what was that all about? I thought “Are You High?” is a striking pop dance track. The clouds on her rolling logo screen had clouds shaped like Care Bears, so I should insert an “aaaahhh” here right? It is still a bit weird watching just one person on stage singing to backing tracks, but to be fair Mall Rat has some great tunes. Next, it was a trip to the Main Stage West for the K’s, these lads have some top songs and they are getting better and better musically. I reckon that they are potential future Reading/ Leeds headliners, hopefully, by then we will have reverted to a single Main Stage. The K’s have the power, passion, and skill that will lead to them becoming the band that Oasis probably wanted to be but never were.

Mall Rat and some Care Bear shaped clouds!

I saw Dylan at the Latitude Festival a few weeks ago and she was bloody good, so I had to catch her at Leeds, where she opened the BBC Radio 1 Dance Stage, not quite sure why she was on the Dance Stage. I think Dylan will be huge, she has a great core following and I am sure she picked up a lot of new fans with this set. Once again she did a snippet of a great cover of “Paradise City”. And just like at Latitude “You’re Not Harry Styles” went down an absolute storm! I paid my first visit to the BBC Introducing Stage next for Boy Bleach, a great festival discovery for me. Hard glam punk with a wonderful overlay of camp. This was a belting full-on performance. This included kind of band uniforms of tartan ties and white shirts adorned with slogans, such as “Tax The Rich” and “Destroy”. “So Good” is a fabulous song, but “Bullet” is anthemic punk for Generation Z. On top of that, the cover of Britney Spears’s “Toxic” was an explosive banger. A truly awesome band. A short hop to the Festival Republic Stage next for Daisy Brain, the alias of Will Tse. This is grungey slacker rock of the finest order. There’s some Graham Coxon, some Dinosaur Jr and maybe even some Pavement and Nirvana too. But above all, there were megatons of Daisy Brain originality. This was a spectacularly good set and I am now proper looking forward to the release of the Daisy Brain EP later this year.

Boy Bleach

I stayed at the Festival Republic Stage for The Native from Plymouth. They are purveyors of melodic and emotional power pop with a punchy rock edge. This band knows how to write a great song. In particular “Looking Back” is something very special, from the harmonies to the screaming guitar solo. The Native were clearly well up for this appearance! Bradford’s Bad Boy Chiller Crew were on Main Stage West. This bunch put on a British rap and hip hop party, but I didn’t really feel it. A bit like Goldie Lookin’ Chain with nowhere near as much humour. I trudged over to Main Stage East for the phenomenal Pale Waves. When they first arrived on the scene they were considered as another indie band, but they are so much more than that. The songs from the new album, ‘Unwanted’ testify to that. Front woman Heather Baron- Gracie is a real performer and she works the crowd wonderfully well. The band are incredibly tight, especially drummer Ciara. This was another stonking set from Pale Waves. I managed to catch the tail end of Belfast based rapper Emby’s set on the BBC Introducing Stage. Wow, can anyone else spit rhymes and ciphers as clear and as fast as this bloke? Somehow I don’t think so, he was bloody good and I need to hear more of his stuff.

Panic Shack

I stayed at the BBC Introducing Stage for DIY Welsh punksters Panic Shack. Incredible songs from a fantastic band. If the Tuts, the Spice Girls and the Runaways had been cloned and spliced then I am sure that they would become Panic Shack. The co ordinated moves were entertaining and skillfully exercised. I love the humour and fun that Panic Shack convey, and obviously the fab tunes too. I want more Panic Shack in my life please. My final act of the day was Crawlers from Liverpool on the Festival Republic Stage. Their songs are impassioned, heartfelt, funky and punky. Another great band and what a stunner of a show! OK why is this my last act of day 1, well I had a prior commitment to whizz back to the Fulford Arms in York to see Ginger Wildheart and I sure as hell wasn’t going to miss that for the 1975. Obviously if Rage Against The Machine hadn’t pulled out I would definitely have stayed at the Leeds Festival!

All pictures, except the gig poster, were taken by me using my very cheap Chinese Android phone. The videos were found on YouTube. If the video is yours and you would like a credit or for it to be removed please let me know.

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“Priceless” – Jourdin Pauline August 28, 2022

Filed under: Review — justwilliam1959 @ 10:05 pm
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Guyanese (L.A. based) pop princess Jourdin Pauline is becoming a massive star, not only in music but also in business (she runs the “popstar” cannabis product line), and with close to 1.5m followers on Instagram, she will be someone with a massive influence on all of the above and probably fashion too. She is also a gracious philanthropist and uses her position in a positive way to make a difference in the community. She has been closely involved with A.W.A.R.H.E. (Artists Wanting AIDS and HIV Related Education) which helps to spread AIDS awareness. She has just released a rather interesting, exciting and colourful video for the song “Priceless” taken from her 2021 album ‘Love Songs About Nobody’. I have seen this song’s style, and Jourdin’s musical style referred to as Trap Pop. She definitely has a great knack for pop hooks and there are strong hip-hop elements in what she does. Incidentally, the Trap part I think comes from Atlanta slang for a house that sells drugs, well that phrase was used a lot in the early 2000s. The song seems to put Jourdin into that hip-hop role of power that used to be exclusively male until quite recently. Musicwise there is an element of Warren G, Snoop Dogg, and the softer side of Missy Elliott and of course fellow Caribbean star Rihanna. It is the kind of song that would sound great blasting out of the speakers of a slick convertible on a hot summer’s day. There is also an abundance of booty shaking going on in the video and Jourdin flashes the dollars and her bling around too, again just like so many male rappers back in the day. The titillating sexual imagery is strong, but given her position, I hope that Jourdin is using that to take back control. It might not be the usual kind of thing that I listen to, but I love this tune!

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‘Song Noir – Tom Waits And The Spirit Of Los Angeles’ – Alex Harvey August 27, 2022


Earlier this month I visited one of York’s unique and kind of niche music establishments, the Vinyl Cafe on Micklegate. You can pop in any day for coffee, food, alcohol, and browse and most likely buy some decent vinyl records. However, on the 6th of August, the venue played host to what I felt sounded like an intriguing and interesting book talk by author Alex Harvey. The book, ‘Song Noir – Tom Waits And The Spirit Of Los Angeles’ was a project that Alex started during the lockdown. His day job is a film and TV director who has worked on the Late Show and Panorama to name just a couple. But he is also a huge and obsessive fan of Tom Waits. Being an obsessive Bowie fan I completely understand that! Alex read a number of passages from the book and expanded them with his knowledge, anecdotes, and some of Waits’ songs. The book covers Waits’ life in Los Angeles and the albums he recorded there, from debut ‘Closing Time’ (1973) to ‘Swordfishtrombones’ (1983). It was a turbulent period for LA and Tom Waits. The first album was a little folksy and borders on country rock, which may be how the Eagles came to record Wait’s “Ol’ 55”. I hadn’t really thought about it before but the iconic Waits growl didn’t really appear until the ‘Small Change’ album. That album contains the wonderful “Tom Traubert’s Blues (Four Sheets To The Wind In Copenhagen)” which Alex used to illustrate that part of the book. I also discovered that this is Alex’s favourite Tom Waits song. I always felt that Rod Stewart did quite a creditable version of that song.

The story behind “Burma Shave” is fascinating, in that it came out of Tom Waits’ memory of car journeys as a child and seeing the regular advertising hoardings for Burma Shave, a brand of shaving cream. In the song, Waits uses the name as a destination and therefore reimagines it as a town. ‘Blue Valentine’ from 1978 was the first Tom Waits album that I ever owned, it was given to me as part of a bundle of maybe 40 albums from an old guy (he was perhaps only 45, but I was just 19) that I bought my first mobile DJ rig from. I listened to it and my first thought was that this is absolutely bloody awful. However, I did keep it and dug it out a couple of years later and grew to love it when I played it again. Had I matured, no maybe I was just in the right mood for it by then. But the key thing that I learned from Alex talking about the book and actually reading it myself was about Waits’ relationship with Rickie Lee Jones. Tom’s friend Chuck E. Weiss fell for Jones first before Waits made his move. A number of songs on ‘Blue Velvet’ refer to the relationship with Rickie Lee Jones, especially “Red Shoes By The Drug Store”. Alex recommended checking out Jones’ autobiography ‘Last Chance Texaco’ which I plan to do. Weiss is the subject of Jones’ huge 1979 hit “Chuck E.’s in Love”.

“Heartattack And Vine” from 1980 is a series of songs that has Waits wrestling with his demons. Apparently, his therapist’s telephone number is scrawled on the album cover, I did not know that! On the album cover Waits is also wearing a tie and one lyric refers to someone who hangs themself with a tie. I learned so many things from listening to Alex speak about Tom Waits with a deep passion for the man and his music, even little nuggets that Homer Simpson was a real artist. How the hell did I not know that? What Alex Harvey does so well in the book is bring together so many of the things that influenced Tom Waits, especially the film noir genre from the mid-20th Century. Waits also drew inspiration from Jack Kerouac and Charles Bukowski to name just a couple. But the life that Tom Waits lived in LA plays a very big part in his songs and how they developed over that period from 1973 to 1983. I loved the description of Waits’ experience of supporting Frank Zappa, you will need to read the book for that one. It took me just a couple of days to read my signed copy of the book and I loved it. I would recommend it to anyone who loves music, specifically Tom Waits, or those that just like a great biography. Go and buy this book, you will not regret it. Click here to buy it from Amazon US and here to buy it from Amazon UK.

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Cowgirl – York Vaults – Friday 19th August 2022 August 24, 2022

Filed under: Review — justwilliam1959 @ 7:49 pm
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This was my first visit to the Vaults in a while, I will definitely try not to leave it too long until my next visit to this great little venue, especially after such a great lineup. First to take to the stage were the Rosemaries, a band that I saw for the first time back in April. I thought they were pretty good then, but in just a few months they are definitely a stronger band. While “Hullabaloo” is perhaps a derivative nod to Yard Act the band has oodles of originality too. They are a young band with immense potential. Their songs pack great power and their confidence is obvious. “Vampire” is a punk anthem in waiting. The singer has a great skill of not only singing but also drawing on a wonderful thespian vibe to make it much more of a performance like he is living the songs. The non-singing guitarist seems to be the musical glue that holds the whole Rosemaries unit together, like their musical director. If ‘Twin Peaks’ was ever remade and set in a remote English village this lot could be the house band in the English equivalent of the Roadhouse/ Bang Bang Bar.

The Rosemaries

Captain Starlet were next, they are a band who for various reasons I have not managed to see play live until now. I love the band name and surely they need to be on the same bill as the Mysterines one day. OK, you might need to be quite old to get that reference! So is the band as good as the name? Well if the Beatles were reincarnated as an indie Little Feat they would probably sound like this. The songs are incredibly well put together with elements of Pete Wylie, the Zutons, and Cast, along with the aforementioned Beatles. It looked like they were loving it on stage. Definitely a band I want to see live again.

Captain Starlet

I had not heard of Rory and the Nature Kids until this show. They carry an undercurrent of menace in their music, a la early Talking Heads. At times while reaching, and hitting, the high notes the vocals came on like a warped psychedelic yodel, and yes I do mean that in a good way! The bass sound was often worthy of Jah Wobble, can we have some dub versions of these tunes, please? I bloody love this band!

Rory and the Nature Kids

This was the fifth time that I have seen headliners Cowgirl play live and they most certainly get better each time. They are a stunningly accomplished and talented live band who draw on a plethora of great influences to create that unique Cowgirl sound. I can hear slices of the Velvet Underground, Jonathan Richman (in his harder moments), the Strokes, and the MC5. Cowgirl are a magnificent garage band with, and I know this sounds weird, a positive slacker attitude. Their performance on some tracks evokes the finest workouts of Neil Young with Crazy Horse and Lukas Nelson with the Promise Of The Real. They are scuzzy, they are dirty and their often feedback-driven garage rock is something to behold. But it is not just garage rock, it is also distorted and warped electric blues that is a perfect fit for small, dark, sweaty venues like the York Vaults! This was an absolute barnstormer of a set.

Cowgirl

All pictures, except the gig poster, were taken by me using my very cheap Chinese Android phone. The videos were found on YouTube. If the video is yours and you would like a credit or for it to be removed please let me know.

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