Just a quick update, before I forget the details.

On Thursday night I did something I haven’t done in a long time, I went somewhere on my own. Probably doesn’t sound like much, but for me it was a small victory. Since it was Guy Fawkes Night there were loads of Firework displays on all over the city, and the one with Les McKeown’s Legendary Bay City Rollers playing at it appealed to my love of incredibly cheesy retro entertainment – like the time I saw Right Said Fred play The Cathouse for £5 at the end of their career, they played Deeply Dippy 3 times in the set. I decided to miss out on The MacDonald Brothers, which I reckon was the right choice since I could hear them doing a cover of Mark Ronson’s cover of The Zutons Valerie. I just don’t “get” The Zutons, it seems like 90% of their songs are comprised of the singer repeating the same line over and over again. One day I’ll make a compilation of their most repetitive songs, with the repetition edited out, I’ll put it up on torrent sites under the name “The Zutons – Fixed” in tribute to the classic NIN remix album.

When I got near the park it was like being at a carnival, but a carnival where the dress code is ‘tracksuits tucked into your socks’. Normally I’d hate walking through a large group of people dressed like that, but they were all too busy being distracted by the bright lights and sparklers being sold by roadside traders. I now suggest carrying one of those necklaces with a blinking LED in your pocket at all times. Should a tracksuited oath threaten you then simply take it out and throw it as far away as you can, that should distract him for an hour or 2 while you make your escape. The band on stage when I arrived were S Club 3, who weren’t as abysmal as I’d expected them to be. I only caught their last 2 tracks, but I can’t remember what they were – not abysmal, but not memorable.

After S Club it was time for the fireworks display, which I was quite surprised by. The whole thing was done to music, and started with The Divine Comedy’s Light Of Day. After this it went through a whole load of songs themed around the sun and the moon, like The Beatles Here Comes The Sun. The fireworks were designed to compliment the music, and occasionally went right in time with the drums – all in all it was a well thought out display. What pleased the old indie kid in me the most was when they ended on Pulp’s Sunrise, all fireworks displays should be bookended by indie songs from the 90’s. I filmed the fireworks on my phone but missed the first few minutes, you can watch the 2 part video here and here. *videos uploading right now, so be patient*

With the fireworks out of the way it was time for Les McKeown’s Legendary Bay City Rollers, my main reason for being there in the first place. When they came on at first they had a few technical problems, so the first track was like a soundcheck. Turns out this was because Les McKeown had injured his foot on the way there, so he spent the whole set sitting on a bar stool – probably a strange scenario for a recovering alcoholic. Even though the band were massive in the 70’s it didn’t seem like many young people had a clue who they were. This worked out quite good for me as a lot of the crowd wandered off and I managed to get right up the front. THe keyboard player looked a bit like you’d imagine Bill Bailey to look if he’d never discovered drugs, the guitarist was like a slimmer Ian Lavender (Pike from Dad’s Army) and the bassist looked like a grumpy Richard Digance – perhaps because his monitors weren’t working throughout the entire set. They played a good set, but it wasn’t until the end when they really seemed to get their shit together. Just as I was getting a bit bored they started a great rendition of Shang-A-Lang which temporarily morphed into Deep Purple’s Black Knight. Fortunately I filmed this, and you can see it here.

So that’s the story of my first solo visit to the outside world in many moons, hopefully it won’t be too long until my next one.

*fingers crossed*

Beginning with a fantastically Scottish cover of Saturday nights headliners, The Zutons’ “Valerie”, The Dangleberries are clearly running on a high from the recent release of their much anticipated second album. 

Lead singer, Smug, soon began his usual chat with the crowd, introducing the next song in their set, “Take Your Mama” : “a wee number fae the Scissor Sisters, bless them.”  It wasn’t long before resident dancer Annie was up to her usual tricks and her famous tambourine made a much welcome return to the Main Stage this year.

Back where they belong

Next the band played a relatively unheard song, a mash up of Bob Marley and more bizarrely Scouting For Girls, a mix that only the Dangleberries can.  “No Woman, No Cry”  and “She’s So Lovely” may seem odd in practice but the crowd celebrated in epic proportions on hearing. 

The band turn up the heat with a quintessentially Scottish rendition of “Daddy Cool” and as a spit of rain falls, it’s clear the Scottish weather isn’t moving any of fans.

The Dangleberries no longer seem to be just a local phenonema but a cult following with a fan base wider than anything else on show this weekend, each and every one sporting the t-shirts as worn by each member of the band themselves!

In celebration of Scotland’s year of homecoming, next comes the Burns classic “A Man’s A Man For A’ That” which sends the crowd wild.  The electricity from the band is absolutely mesmirising.

As the crowd sense the set is nearing the end, Smug announces an old favourite “The Screamin’ Yab Dabs”.  Following this was a highly impressive version of Katy Perry’s “Hot & Cold”.  Ending with a “wee number fae Paolo” the set was concluded with “New Shoes” from their latest album.

Did the majority of the festival goers turn up to see them? Probably not, but let’s face it, putting the people’s favourites in for their one and only appearance of the entire weekend early on Friday afternoon was a bit daft.

But in the end, all was not lost, the band will always give it their all, whether the audience is 1 or 10000, and after all, they were back on the main stage where they belong.

The Zutons é uma banda formada em Liverpool, terra de grandes bandas, e eles honram a tradição.

Tired of Hanging Around

Faixas do álbum:

1. Tired of Hanging Around

2. It’s the Little Things We Do

3. Valerie

4. Someone Watching Over Me

5.  Secrets

6. How Does it Fell

7. Why Won’t You Give Your Love

8. Oh Stacey (Look What You’ve Done!)

9. You’ve Got a Friend in Me

10. Hello Consciense

11. I Know I’ll Never Leave

LINK – Tired of Hanging Around

Parece com? The Coral, The Fratellis.

Clipe de música Why Won’t You Give Your Love.

Enjoy o/

Foi num dia quente (pelo menos lá no hemisfério norte) de julho que nomes consagrados como David Bowie, Black Sabbath, Queen e Mick Jagger subiram aos palcos da Filadélfia e de Londres para fazerem sua parte num festival de shows que tinha como objetivo arrecadar renda para ajudar a  Etiópia. Realizado em 1985, desde então a data tem sido celebrada como o Dia do Rock, e é apresentando algumas bandas que tentarei contribuir para esta data tão importante. E olha, foi difícil manter clichês como Elvis, Beatles e ACDC longe dessa lista, viu? Seja como for, aí vai, espero que gostem!

 

MGMT

MGMT – Kids

The Zutons

The Zutons – Don’t Ever Think

The Fratellis

The Fratellis – Everybody Knows You Cried Last Night

The Kooks

The Kooks – Victoria

The Hives

The Hives – Hate to Say I Told You So

This is a macro of one of my bracelets, using a reverse lens adapter

Anyone wanna take a guess at what the next line is to my blog post lyric title today?  It will give a hint as to what I was feeling today …

Work is still keeping me busy.  Still working simultaneously on two projects and today we had to demo the work we were doing on one of them.  I was so calm and collective throughout the whole meeting and then when it got to me to present I somehow started to get really nervous and was fluffing all my lines lol.  Apparently all the people on the call were really impressed with what we did so i was still happy after it.

And I spent the night doing absoutely nothing.  Jess was busy trying to sort out her new phone whilst I tried out my reverse lens adapter for the first time.  Cant believe this is the first time ive used it!  Talk about extra macro.  To do this I need to recommend a couple of things:

First is a tripod!  Any macro photography usually is asking for a tripod but especially with a reverse lens adapter

Next is an flash gun (you might get away with your on board flash);  I had the aperture as high as it went so that nearly everything was in focus.  But you barely see anything through the viewfinder lol!

Finally, an old lens cap to control the aperture (remember, you have the lens the opposite way around now!).   I used a bit of wire to contol mine, whilst trying to take the photo.  Was soo damn hard!  I would love to try this out in the garden at some point with a little bug or a blade of grass lol.  So yeah, the photo for today is a macro of one of my bracelets.  Here is it in original size:

Original Size Of The Bracelet

–Amy Winehouse – Valerie

Amy Winehouse live circa 2007 doing her acoustic cover of the Zutons’ “Valerie”.

Need I say more?

Close But No Cigaris my quick takes on albums that didn’t make it to my “best of” list this year but are still worth checking out. Some have a great song or two, many are consistently good but not great. Not quite “bridesmaids”, the “cigars” will slot somewhere south of #40 on the list when all is said and done. But that’s just one man’s ears talking. I’m hoping that you find an artist or three that knocks your socks off and/or rediscover something that you passed on earlier.

Part One featured ten albums. Here are ten more, in no particular order…

Randy Newman:  Harps and Angels

Oddly, a combination of his early songwriting chops and vocal phrasing and his latter day (read: Disney) arrangements and orchestration. Meaning something for everyone; the approachability of the latter day material with more serious subject matter and wit for the long time fans. On the surface, almost the antithesis of Born Again, but all he’s really done is replace sarcasm with direct hits – Reaganomics still suck. Includes the brilliant “A Few Words In Defense Of Our Country”, a bookend to the early classic “Political Science” (which still resonates 37 years later). Stay away from the Mouse, Randy – we need more albums like this one.

Paul Westerberg:  49 Minutes Of Your Life

See what happens when you offer a new record as a download with no marketing, even a free download? Suffice it to say that by leveraging the release as one long track, Westerberg forces you to think album in a digital single age (oh the irony) and delivers a basement classic that will please both Mats and solo PW fans. It’s messy, it’s semi-derivative in spots, there are snippets of classic tunes and some random meanderings as if you’re along for the ride when his thoughts get clouded. Just like a Replacements concert, only less beer and fistfights.

The Rhinos: In Rhi-Fi

Sweden is a remarkable place. If you think it’s only about watches and beautiful blonde women, you’re missing out on some tremendous music. The Diamond Dogs are The Faces reincarnated, The Refreshments carry the torch for Rockpile, and The Rhinos must have grown up on a diet of The Byrds, The Zombies, The Hollies and countless other classic harmony bands. Songwriting is not in that league, but check out “I’d Rather be Sad” and tell me the Beach Boys could do that better.

Brickhouse: Walk Of Shame

Sweden rocks yet again. This actually came out in 2006 in limited form but was available last year in wider release. Let’s just say it took ten seconds of the title track to absolutely floor me. Magnus Andersson’s voice and guitar simply bleed mid-period Stones, and if “Walk Of Shame” isn’t “Jiving Sister Fanny” reincarnate, I’ll buy you the next two rounds. With a rocking band reminiscent of The Faces (if sober and more blues-oriented) I am stunned that this album is not more widely known. Time trip to 70’s rock, yes, but with a fresh perspective.

Cut Copy: In Ghost Colors

New Order gravedigging at its finest, with a layer of Boomtown Rats for texture. Total time-trip back to the Europop 80s; dance floor, 4/4 pulse beats, sweeping synth soundscapes and your best  Depeche Mode aura to boot. I much prefer the Smiths-like pop of “So Haunted” and “Unforgettable Season” over the electronica of “Voice In Quartz”, but that’s because I’m a  melody guy, not a dancer. The closest I get is “Nobody Lost, Nobody Found”, which is Avalon-era Roxy Music. As the band name implies, not the most original take on music, but if you forgive the Kaiser Chiefs for digging up the past, you’ll have to give this Melbourne band their due as well.

Stone Coyotes: VIII

Barbara Keith, husband Doug and step-son John prove the adage that “the family that plays together stays together”. As the album title indicates, this is their eighthalbum, and it ranks among their best and most consistent. Keith, who reappeared on the music scene ten years ago after a quarter-century hiatus, is a great storyteller, good guitarist and emotive vocalist (think Grace Slick with a smaller range and less histrionics). It’s great barroom rock, direct and organic, as are all of their albums. But see them live, which is transcendent.

Todd Rundgren: Arena

To celebrate his 60th birthday (!), Todd returns to rawwwwk and roll us by playing, writing, singing and producing everything just like the old days. After the mess that was The New Cars (I still prefer Autopia or Nazzcar!) it is refreshing to hear the man reinvent himself as a one man Utopia, even though astute ears will hear as much Z Z Top, Derringer, AC/DC, Queen and several other FM classic rock staples. While it’s an amazing accomplishment to assemble a recording like this using a computer program, it’s also Arena’s limitation…you never really get the power intended for these songs, a theory justified by anyone fortunate enough to see him rip these to shreds on last year’s live tour. But Todd is playing guitar again, and that’s a good thing.

Scott Kempner: Saving Grace

Scott, a/k/a “Top Ten”, is best known as being the heart and soul of two revered bands, The Del Lords and The Dictators. But as he proved years ago with Tenement Angels, he also has his finger on the pulse of timeless urban angst, the kind that bleeds through West Side Story and artists like Lou Reed and Dion (who was astute enough to realize this himself and collaborate with Scott). Saving Grace is blues, rock, alt-country, soul, and most importantly heart. I don’t know if we have a single definition of “American Music”, but if pressed to identify it this wouldn’t be a bad example to start with.

The Muggs: On With The Show

Like on their first record, also criminally under-appreciated, the Muggs flat out rock as if they’re trying to raise Cream and Led Zeppelin from the dead. There are a lot of bands starting to break through in the same territory (Wolfmother, for one) but these guys take a backseat to no one. Danny Methric (also in The Paybacks) is a passable singer, but he’s a brilliant guitarist, and he smokes that thing over a rock-solid bottom of drummer Matt Rost and Tony DeNardo on bass. (DeNardo, who had to learn keyboard bass after a stroke left him paralyzed on one side, is an amazing comeback story). A fitting testament to a band who put friendship and loyalty first and let the chips fall where they may…success is now that much sweeter. 

The Zutons: You Can Do Anything

The Zutons always seem to have a knockout single or two that are so much better than the rest of the album that I’m torn on how to recommend them. Not that there’s anything wrong with the bouncy  ”You Could Make The Walls Cry” or the sweetness of “Don’t Get Caught”, the album is chock full of listenable songs. But “What’s Your Problem” is flat out killer, all stomp and pomp, horn section and anthemic chorus. And imagine The Sweet nabbing David Lindley to play some slide guitar on a bubblegum song – that’s  ”Always Right Behind You” in a nutshell. Neither is typical of the band’s overall sound, which is boisterous and theatrical, yet somehow introspective (perhaps best exemplified by the schizophrenic “Give Me A Reason”). You’ll probably like the album, I guarantee you you’ll love those two singles.

(More almost-made-it albums coming this week – stop back daily!)

1.

UK Blues Legend at Staines

Jan 22 2009      8:30P  RIVERSIDE CLUB – PAPA GEORGE & STEVE SIMPSON

One of the musical highpoints of 2008 was the visit to STAINES of the legendary bluesman Papa George- to the Riverside Club.  Over 30 years Papa George has forged a reputation for stunning performances on the blues circuits and at festivals.

Recognised as one of the top blues guitarists and vocalists of our time and described by THE TIMES as “a mean axeman”, he captivates audiences playing Fender Stratocaster, or bottleneck blues-style on Amistar and National Steel guitars, with a passionate vocal style delivered with absolute conviction.

See him THIS WEEK in STAINES for less than a fiver with the sensational STEVE SIMPSON who is a musical legend in his own right!

Steve Simpson was the lead guitarist with ’Ronnie Lane’s Slim Chance’ group and general all round multi-intrumentalist taking on the part of fiddle and accordion in addition to his stunning lead guitar roles.

Links:

http://www.papageorge.co.uk/

http://www.stevesimpsonmusic.com/

2.

Dutch Pop Exponents – Staines

Jan 25 2009      8:00P STAINES – The Hobgoblin GRAVITY IS DEAD

One of the UK’s most promising new bands are set to explode in 2009 with their refreshing and authentic blend of energetic English rock.

Putting the reality and the power back into the UK’s rock scene is what Gravity Is Dead are all about. They’re ready to explode their way through the crowds of the ‘emo’, ‘screamo’, ‘electronica’ masses and show the world that their blend of original passionate dynamic rock music can stand out at the front.

The time is indeed now for these Surrey teenagers to make it all happen so watch this space Ladies & Gentlemen, and remember where you heard them first!

Links:

http://www.gravityisdead

3.

Dynamic nine-piece Rock and Soul band – Windsor

24 JAN 2009 9:00P at THE OLD TICKET HALL, WINDSOR
THE AVERAGE CHALKY WHITE BAND with the ‘Sister of the Bands’

The Average Chalky White Band is a dynamic nine piece rock and soul band with a horn section, playing up-beat songs from artists such as Van Morrison, Zutons, The Stones, Madness, Stereophonics, The Blues Brothers, James Brown, Scissor Sisters, Sam & Dave, Paul Weller and more…………..They feature 4 different lead vocalists, and for the this gig at The Old Ticket Hall they will also have a very special guest vocalist, Sissy Vincent – the very soulful “Sister of the Bands“

Cost: £3
LIVE BAND + DJ PLAYING 80’s & 90’s HITS – BAR OPEN TILL 2AM

Links:

http://www.myspace.com/veenex
4.

Channel 4’s  “SKINS” band – Live in Windsor

Paper Heroes Jan 23 2009      8:00P Firestation  note: 14+     Windsor

Famed for their appearances on Channel 4’s cult show Skins and now signed with the Skins label, Paper Heroes peddle rapid fire rhythms, growling vocals and inventive guitar riffs with songs staying hooked in your brain ready for rapid replay this is Indie-pop-rock at its exciting best.

With FRAN & JOSH

Fran and Josh’ is the sound wave form of the term one size fits all.

They were recently the first unsigned band to play on the ‘Live Drivetime’ session on ‘XFM Manchester’ where they covered the song “Better off Alone” by Alice Deejay. They have since been invited back to play at Clint Boon’s wife’s Tea Party in November!

This troublesome doublesome of whippersnappers will soon be hitting the screens of MTV on ‘Living on The Edge’.

You will also be able to catch them on MTV’s Brand spanking new music website!

Their latest success has been an interest from 14th Floor Records in London.

Originally their music developed from a love for flamenco, admiring artists such as Paco De Lucia, Rodrigo Y Gabriela and Tommy Emmanuel. By studying their fast paced and skillfull guitaring techniques they began to teach themselves from day one.

‘Fran and Josh’ have combined flamenco with true party music. In doing this they continue to cover many genres through the use of an acoustic guitar, for example;
Hip-hop, house music, dance, trance and D’n'B.

Links:

http://www.myspace.com/paperheroesmusic

5.

Six Piece Miodern Rock Outfit – in Staines

Jan 25 2009      8:00P STARS OF THE SEARCH PARTY
STAINES – hobgoblin with ‘We Know John Doe’

Stars of the Search Partu are a hard-working  6-piece rock band from Guildford in Surrey. They play music which ties together all your favourite modern genres,
ultimately creating something that can appeal to the majority of music fans out there.

-Visit AdPontes-Staines Regularly for Staines Arts-

The Zutons- ‘Pressure Point’

Por Bruno M. “Bruim”
Editor do site BH Lado B

Você provavelmente já ouviu Amy Winehouse cantar “Why Don’t You Come On Over, Vaaaalerieee”, na ótima versão produzida por Mark Ronson. Sim, essa é uma versão, para a surpresa de muitos. A “Valerie” original é uma música de autoria da banda inglesa de indie rock THE ZUTONS. Um tanto mais lenta, porém sem deixar de chamar essa tal Valerie pra porrada.

Formada por cinco jovens de Liverpool – conterrâneos dos Beatles – os Zutons gravaram seu primeiro álbum (Who Killed… The Zutons?) em 2004. No início tiveram que enfrentar comparações com outra banda da mesma cidade – The Coral - por terem o mesmo produtor e serem ambas expoentes da cena de Liverpool. Mas com o passar do tempo mostraram sua originalidade, com uma sonoridade difícil de definir.

Os próprios Zutons citam entre suas influências Talking Heads, Devo, Sly &amp, The Family Stone, Dexys Midnight Runners e Madness. Da minha parte acho que muitas de suas músicas tem uma pegada bem setentista, como “You Will You Won’t”, do primeiro álbum, que me lembra muito os dinossauros do Grand Funk Railroad.

A banda alcançou grande notoriedade no Reino Unido, e também fora dele, com o primeiro e o segundo álbum – “Tired of Hanging Around”, de 2006. Neste lançamento, mantiveram a mesma pegada e a mesma habilidade em misturar baladas e canções mais dançantes, mantendo a influência do rock dos anos 70. “Valerie”, que ficou consagrada na versão dançante de Amy Winehouse e Mark Ronson, é a terceira faixa deste álbum.

Em junho deste ano, lançaram seu último álbum: “You Can Do Anything”. Foi o primeiro depois da saída do antigo guitarrista, Boyan Chowdhury, dando lugar a Paul Molloy. Confesso que ainda não pude fazer uma avaliação mais precisa deste lançamento além do single “Always Right Behind You”, que traz claras influências dos Beatles. Mas, de antemão, o álbum não me pareceu trazer grandes novidades em relação aos dois primeiros. Quem sabe você, leitor do blog do coletivo Pegada, possa deixar suas impressões nos comentários? =)

I went to a Zutons concert last night – and wished I hadn’t.  It was nothing to do with the Zutons and more to do with me – I just felt so old and as the concert wore on I just got grumpier & grumpier.  Age and tolerance are definitely connected – as one goes up, the other comes down.

I made a few basic errors – I hadn’t listened to any recent stuff so didn’t recognise most of the tunes, I therefore didn’t know the words, plus I was sober and it was a Tuesday  – not a good day for a concert – no sense of winding down for the weekend, just the thought of having to get up in the morning.

The Zutons didn’t do me any favours - they didn’t say hello to me until after the third unknown song, so I didn’t feel appreciated for being there on a  Tuesday night.  When they did say something I couldn’t understand it (poor sound quality). They also waited a full hour before playing anything I knew – and I’d had a drunk beside me shouting Valer-ee-ee-ee at every pause between songs.  It was a huge relief when Valer-ee-ee-ee did finally appear – all the audience got excited (even me) and started calling their mates on their mobiles, shouting the lyrics down the network to the lucky ones who had decided Tuesdays were better spent at home. 

I also just didn’t enjoy being at the concert.  Why do people go to a concert and then talk very loudly behind me?  Why do people want to throw their plastic pint pots across the room with their drinks still in them?  Thankfully I watched that spectacle in front of me where the arm waving, pogo-ing, major fans who knew the words were bouncing around.  (I haven’t pogo-ed since 1979 when a borrowed sequinned boob tube I was wearing ended up as a belt.  Thankfully it was dark. ) 

I had my bottom groped – or else they were trying to pick pockets I didn’t have.  Either way no-one got anything good out of it.  I had my hair tousled by the drunks behind, who kept blaming each other.  The Valer-ee-ee-ee fan spilt his beer on my shiny going-out boots and then in his uncontainable excitement started pogo-ing  and spilt his beer down my back.  That was when I decided I’d had enough.  There was nothing like this at the Lionel Ritchie concert – it was much more civilised!  Maybe that says more about me than the Valer-ee-ee-ee fan.

And for those who missed it – all together now – “stop making a fool out of me, why won’t you come on over Valer-ee-ee… Valer-ee-ee… Valer-ee-ee…”  You’ll be singing it all day now!

Mark Ronson is currently one of England’s biggest music exports, having won an English Brit Award and being a three-time Grammy award winning music producer and artist .

Oasis star Noel slams Amy Winehouse

(Friday August 15, 2008 03:48 PM)

I love a man who speaks his mind, and can fight/buy his way out of trouble

Noel Gallagher has hit out at uber-producer Mark Ronson and troubled singer Amy Winehouse.

The Oasis star, 41, recently caused a stir by saying rapper Jay-Z should not be headlining Glastonbury.

And he compared Brit award-winner Winehouse, 24, to a “destitute horse”.

Of Ronson, 32, who remixed The Zutons’ track Valerie for Winehouse and the Kaiser Chiefs‘ tune Oh My God for Lily Allen, he said: “He wants to write his own tunes instead of ruining everyone else’s.

“Mark Ronson needs to learn three chords on the guitar and write a tune.”

Gallagher described Scouting For Girls as “Scouting For Idiots” and had a go at the Kaiser Chiefs, saying: “The Monkees haven’t split up, they’re just going under the name of the Kaiser Chiefs.”

He told the Chris Moyles’ breakfast show: “I did drugs for 18 years and I never got that bad as to say, ‘You know what? I think the Kaiser Chiefs are brilliant’.”

Meanwhile, Oasis announced dates for their UK tour, beginning in October.

O single What’s Your Problem, do Zutons, vai ser lançado dia 15 de agosto, mas o vídeo já está disponível no youtube. É tuuuuuddddooooo ffffeeeeiiiitoooo eeemmm ssssllllllooooowwww mmmmooootttttiiiiooooonnn.

The alt-folk revolution is inexorable and is taking over the control room.

If ten years ago Belle and Sebastian were a singularity in the rock scene, nowadays from Toronto to Brighton, Seattle to Liverpool harmonium, fiddles and brasses become cooler than electric guitars.
It was probably since Newport circa 1964 that the rock music wasn’t living such a strong affair with popular roots, acoustic sounds and bucolic feelings.

The latest battle of this peaceful war has been the conquest of the London Coliseum.
The English National Opera sumptuous theatre, opened for a night to psych-folk hippies in order to let them experience their favourite music in an exceptional setting.

The Coral are playing an acoustic set to promote their upcoming The Singles Collection.

Thanks to the great work of Deltasonic label, Liverpool in recent years managed to come back on the music scene as probably it hasn’t been since (and because of) The Beatles. Together with The Coral, the label signed The Zutons, The Dead 60s, The Little Flames and Miles Kane’s The Rascals who is also sharing with Alex Turner the leadership of The Last Shadow Puppets.

The first time I met The Coral because a friend took me to one of their concerts at the Brixton Academy, it must have been back in 2003. They were touring the second, brilliant album: Magic and Medicine. I remember it was quite a short gig, which disappointed me for the lack of an encore, nevertheless full of character.
With 2 sold out dates in the biggest London venue, it was revealing a band with potential and big aspirations.

As too often happens in music, quality doesn’t get along with success. The following release, a limited edition EP, the weirdly titled Nightfreak and the Sons of Becker who I rushed to buy supposing to sell out soon (it is still available!) got some synth in it and never touched me.
Their next 2 full length albums, The Invisible Invasion and Roots and Echoes contain some great songs but didn’t match the success of the beginning.

As a counterpart, interestingly, The Coral are one of the most appreciated British bands among musicians. Probably the only who can count among their fans both the Arctic Monkeys (who invited them to open their tour including gigs at Manchester Old Trafford stadium) and Oasis‘ Noel Gallagher, who joined them on stage for the BBC electric proms.
It is worth noting on their producers’ list, members of Portishead and Lightning Seeds.

The Singles Collection out in September, includes a now standard extra CD of rarities, covers and live tracks; another attempt to expand their public beyond the loyal fans. This London Coliseum concert was a perfect setting to stage that.

Waiting for the band to arrive on stage, I observe technicians tuning electric guitars, bass and positioning a keyboard and a organ next to each other. I wonder if “acoustic” tonight is being used in the same sense MTV was misusing “Unplugged” ten years ago.

The Coral have never been a hard rock band and I struggle to imagine an acoustic side played with electric instruments being any different from the standard line-up.

Nevermind. When the band enters the stage and four of them sit on stools in a straight line, I think at the cover of CSN&Y 4-way Street. My mind is set on “acoustic”.
Hopefully the calendar says it is 2008, Déjà vu is just a Neil Young documentary and these folks (oh yeah!) are young and born on the Merseyside.

A greatest hits set introduces most of The Coral classics in these stripped down versions. Played mostly on acoustic guitars, the best moments are when the ex rhythm guitarist now promoted to lead indulges on his articulate arpeggios holding his electric baby.

There is a special guest moment with Lightning Seeds frontman (and Coral producer), Ian Broudie, coming to help with a 12 strings on a couple of songs but, despite Broudie, what impresses me from start to finish is the reliability of their songwriting.

Four (and half) albums packed with high and lows but when they cherry pick their best, the entire set sounds incredibly harmonized and the crowd receives it enthusiastically. From the early hit Dreaming of you to the new singles Being somebody else I can’t perceive any sort of weakening, any lack of inspiration.

Among the singles some new tracks are thrown in. I was impressed by Green is the colour probably because of the audacious cloning of a Pink Floyd title.
A cover of Fred Neill’s Everybody’s Talking was a bit too much James Taylor to me, but the closure with the theatre singing along on Everly Brothers’ Bye Bye Love sounded pure delight.

The Coral are confident and strong to move their sixties psychedelic folk inspirations on the subconscious and join the front line of this alt-folk revolution with character. In the end they have been among the first and they clearly seem to know and indicate the way.
Their only problem will be to convince that growing beard and coming from North America isn’t the only way to play this music today.

Listen to The Coral on their [myspace] [website]

Photo tip

Clearly accessing the London Coliseum without having to see an opera it is a great occasion to know this theatre. I don’t know were my unsympathetic relation with lyrical music comes from; being Italian doesn’t always help to love sopranos.

The problems begin since entering the building. I go to the guestlist queue to discover my name isn’t there. Never forget to ask and bring with you a printed proof of the agreement you reached with whoever PR.

Got the photopass thanks to a band manager, I ask the theatre steward where to go for the pit. He looks at me as I was a Venusian and tells me what pictures and that he is not aware of photographers tonight. Then he asks another kind of manager and I am escorted inside the theatre.

I am amazed by such a wonderful baroque venue with stalls, balcony, some hyper decorated boxes and…guess what? The orchestra pit!

I should have gone back to my early memories when my mum taught me how opera is staged, with the orchestra in a deep pit to let audience see the actors.
If you don’t know that, it is nothing similar to normal press pit. I am talking of a crater 3 meters depth and 10 long. It is impossible to take pictures from down there, impossible to get any close to the band.

The steward relegates me to the extreme right, in front of the emergency exit. I explain I can’t work from there. Even with my 200mm lens, which I found so impersonal in concert photography, I am too far away. I stop complaining and slowly slip towards the central aisles.

Playing hide and seek with the stewards I sneak to the right aisle and sit in a free seat of the very front row. More photographers arrive, to make life more difficult, we are too many there. I decide to move to the left aisle, I am alone. It works.

Sit on the floor I am hiding longing for the lights to go down to be unnoticed.
From here I can take some pictures, it is far away, no chance to move but it is the best place of the theatre anyway. Some photographers got access to the orchestra pit climbing some stools to get to an elevated position. I prefer mine, even because there is another spare seat on the front row. When the third song ends I assume that seat will stay free. I sit there and enjoy the concert without having to go to the second circle where my free ticket was allocated.

To summarize, if you are going to shot at the wonderful London Coliseum consider that:

Staff is not prepared to have photographers and do not have idea what to do with you.
There is a huge orchestra pit that puts you far away from the stage, don’t forget a telephoto lens.
The two aisles are the only spots where you can take decent pictures unless you have access on the stage (rare), or you have a seat in one of the boxes that look over the stage from aside.
You might be offered to shoot from the orchestra pit standing on some elevated position, your choice.
The acoustic is so good that you better go for a silent camera. If the concert isn’t loud enough anyone would hear your shutter.
If you are lucky that a free place is left, try to stay there and if you are lucky as me no one will come to kick you out.

OK, I’ve been told that using album and artist titles to create my intro message is annoying. And I guess that’s right. Well here’s the latest reviews. Heavy on the UK this week, but that’s how it goes. I really have nothing more to say. See what happens when I have no gimmick?!

Coldplay – Viva La Vida – *** – Coldplay gets a bad rap by many music fans, but their music still speaks to me. I think this latest album is their biggest sounding record, and I think they open up their sound quite a bit, which is refreshing. This album seems to lack some of the bigger hooks featured in previous albums, but in time, may catch on to me.

The Fratellis – Here We Stand – *** – The Fratellis are a band that I am not sure about. I liked some songs on their last album, but overall it left me kind of dry. This album is a step up, I think, by stepping away from some of the recklessness of that first album, however, this move also takes some of the power out of their songs, this seems almost too crafted of a record.

The Zutons – You Can Do Anything – ***1/2 – The Zutons always get me pumped up. When I hear their songs, I immediately need to start moving. They catch you from the very start and that’s what makes them great. This album is no exception. The great thing about this album is that it doesn’t stray to far from their original sound, but does take a few chances. With a band like this, major change is going to have to come slow, because I have so embraced their sound.

Laura Cantrell – Trains and Boats and Planes – *** – Laura Cantrell is a great interpreter of songs. This is a covers record, and kicking it off with my favorite Bacharach tune is a great place to start. She has such a clean and dry vocal style that brings something different to each of these songs.

Joan As Police Woman – To Survive – *** – This album is slow moving, but it captures you from the beginning and holds on tight throughout. You want to isolate yourself and just focus on what is happening within each song.

The biggest question that was to be answered was, with such a line up for Saturday of Oxegen would it be possible to see everyone on the hit list?

Well, with some major dashing from tents to stages we got to see everyone we wanted. The day began with Scouting for Girls and as they got the crowd going the heavens opened, however after a quick shake off everyone was back bopping.

The main stage had the best line for the afternoon, with Newton Faulkner, Counting Crows and Amy Winehouse and REM, dashes were made to the Ting Tings in the Green Room which was far too small for the popularity of the Ting Tings. Hot chip in the Pet sounds was another pit stop as were Alphabeat and Codes. The night ended with the Zutons and The Prodigy on the O2 stage.

It was a great day, Amy Winhouse was excellent contrary to maybe sceptics in the crowd. Alphabeat even impressed non pop lovers with their tunes, unfortunately the sound at the Prodigy wasn’t great which was a pity.

For me Amy Winehouse made Saturday at Oxegen, she was excellent.

Well I came back to Birmingham for a concert, and i have to say it was one of the best I have been too, the Zutons at Cannock Chase put on by the forestry commission. The forestry commission i hear you cry? Why on earth would they put on a music event, well it’s obvious really – good PR for the fact that their job is to ‘manage’ the woodland to cut down replant and exploit… a nice music event in outdoors makes everyone think they are doing a wonderful job and been green. However that is enough of me been grumpy it was actually a very good show and i must admit lots of the time the forestry commission gets things right and this was just an additional bonus – also the fact they had a huge traffic jam in the middle of a forest gave those trees plenty of carbon dioxide so I’m sure will help to ensure direct uptake and some good old fashioned food for those trees.

Onto the concert however, just a small bowl shape in Cannock Chase a clearing about 4 minutes into the wood with the stage set down in a ditch. There was a beer tent not that i spent more than my fair share of time there i can assure you dear reader, but still I had to be social? Anyway the acts Noah and the Whale – this band, they had a charm about them I have to say and I did warm to them – they were defiantly a little rough around the edges and hopefully I think in 5 years might be quite a good sounding band with a defiant knowledge of what sort of music they are going to go for, as last night they appear to just go for a slap-dash mix of anything they could think of. Anyway here are some shots I took of them with a pair of binoculars on the front of my Kodak C530 as it is a cheap point and shoot with no optical zoom, so this is my improvised solution.

So finally after another god awful band that i won’t even mention came the Zutons – and I have to say they preformed fantastically it really was good performance, they were loud the made mistakes they varied the songs a bit to keep it interesting it really was an enjoyable experience. The Zutons also appeared to make a point of not ramming it down our throats that they had a new album out, they played some off it and then the old tracks as well they defiantly knew what ones to pick that were going to do well and sold the audience on them, it really didn’t feel like a sales pitch but it was carefully done that made every new song feel like an old favourite and I shall say again it was thoroughly enjoyable.

Retour Scouse/Scouse’s Return
The Zutons-Always right behind you

Mute en studio/Mute in studio
Code Unknown
Like a thing you never knew

pour plus d’infos/for further infos: www.wearemute.com  ou/or www.myspace.com/wearemute

bloc électro-smooth de Genevieve/Electro-ambience with Genevieve
Neon Neon-Stainless Style
Hot Chip-We’re looking for a lot of love
Eskimoe Foe-The Lie (projet de Tord Overland Knudsen des Wombats/Wombat’s Tord Overland Knudsen Side Project)

Le Record de la Semaine à Brice/Brice’s Record of the week
Ladytron-Predict the day
L’électro quasi-industrielle de LUKE SLATER ou ANNE CLARK, les atmosphères shoegaze à la LUSH de la guitare et surtout des voix de la Bulgare Mira Aroya et surtout Helena Marnie et qui continue ce que le groupe faisait sur Witching Hour et les pieds toujours bien ancrés dans le son des années 80 NEW ORDER, THE CURE, DM, INDOCHINE …nouveauté le SON chargé de PLACEBO, NIN (et mëme NICK CAVE en fin de parcours

Successeur de l’album “Witching Hour”, le quatrième opus studio de la formation de Liverpool Ladytron, Velocifero laisse transparaître une approche ayant gagné en épaisseur les mélodies, glaciales et ingénieuses. Ladytron a toujours su faire danser avec ses chansons à forte composante electro

produit par Ladytron en compagnie de Alessandro Cortini (Nine Inch Nails)et surtout Vicarious Bliss de l’étiquette Ed Banger (collaborateur de Justice et DJ Mehdi) ont fait le choix d’épaissir assez considérablement les textures et les rythmiques.

se destine à des espaces plus grands en concert. voix décharnées et mécaniques ; guitares fusionnées aux couches electro, rendant quasiment impossible l’identification totale de tel ou tel élément comme relevant du champ synthétique ou organique. Tout est bien là, hybridé comme jamais, et dans un désir mélodique renouvelé.

Le nouvel album saisit surtout par la lourdeur acquise par ses rythmiques, en comparaison des derniers essais (“Runaway”). Ladytron fait danser et plombe en même temps (le lourd et saisissant “Predict the Day”), organisant à cet égard une fin d’album époustouflante. La lourdeur de la frappe qui suit celle de “Predict the Day” semble devenir la règle d’une fin de parcours qui, alors, donne le meilleur : “The Lovers”, par exemple, couvre d’un beat assommant et à l’esprit très rock une impressionnante mosaïque de couches sonores, servant une des compositions mélodiquement les plus fortes du disque mais se terminant de manière assez abrupte. Lui succède ce même beat, assis et sourd, sur le spatial et chargé en basses “Deep Blue”. Ici, le groupe se plait davantage à jouer d’effets sur les parties de voix, redevant alors un peu ce qu’il avait été dans les premiers temps. D’assez discrets claviers insufflent ensuite une allure cybernétique à la froide musique pop de l’avant-dernier et assez New-Orderesque “Tomorrow”, nouvelle Electro-Pop, façon XXIème siècle.

Le Sélectionneur de Brice/Brice’s Choices of the week
Radiohead-My Iron Lung

Best of : en fait EMI aurait pu appeller cette compilation Single Collection et non best of car evidemment plusieurs must de Radiohead manquent cruellement à l’appel même sur le 2e disque bonus de l’édition double. : où sont blow out, Morning Bell , Climbing Up The Walls , electioneering, subterranean homesick alien, Dollars & Cents , motion picture sdtrk, where i end & you begin, like spinning plates, kid a, … et les pièces inédites pearly*, the trickster, permanent daylight et autres polyethylene (part 1&2) …mince consolation, les producteur de cette compile bonne à remplir les coffres de EMI music ont eu la bonne idée d’ajouter Talk Show Host au 2e cd de l’édition spéciale, permettant au grand public d’entendre pour la première fois en copie domestique la version originale de la pièce que le groupe avait offert en remix à Marius de Vries et Nellee Hopper pour la trame sonore de Romeo & Juilet. D’ailleurs, il serait vraiment intéressant qu’une compilation des pièces inédites de radiohead sortent car plusieurs de leurs compositions inédites se retrouvent parmis les meilleures pièces du groupe.

Optimistic sur 2cd mais la seule chanson retranchée de l’édition 4vinyles. Une pièce inédites est la seule b’sides s’étant frayée une chemin sur le 2e CD de l’édition spéciale 2dc Talk Show Host (orinal version) don’t un remix de Nellee Hopper et Marius De Vries était compris à la trame sonore de Romeo & Juliet de Baz Luhrman.

The Futureheads-Think Tonight

This Is Not The World’. Embracing the punk-rock ethic like never before, Barry, Ross, Jaff and Dave are releasing their third album independently sur leur etiquette NUL records and taking control of their own destiny. It’s going to feel like the first time, all over again…‘This Is Not The World’ was recorded in 3 weeks in the summer with super-producer Youth … the band couldn’t help but be influenced by Youth’s enthusiasm, and describe the album as one of ‘defiance, optimism and joy.’

pop album, full of streamlined, punchy songs more straightforward than any of the Futureheads’ earlier music. Great harmonies, quick tempo changes, and razor-sharp riffs. On s’éloigne donc du son plus introspectif de ‘News and Tributes’ pour se concentrer sur 12 pure bombes rock. On remarque en particulier le drum très propulsif.

The Ting Tings-That’s not my name

The Ting Tings are an English Indie pop band, consisting of two members: Jules De Martino (drums, vocals) and Katie White (vocals, guitar, bass drum); who formed in 2006 from an association from artists/musicians alternate lifestyle commune The Islington Mill in Salford, Greater Manchester.

Katie White first appeared as a teenager in girl group TKO – short for Total Knock Out. then formed trio Dear Eskiimo with De Martino. they formed The Tings Tings the band started out “publicising” themselves through private parties at the Mill, which ended up as some of the most sought after tickets on the Manchester party scene – with various A&R reps and record producers, including American Rick Rubin who artistes include the Red Hot Chili Peppers and Johnny Cash, asking for tickets.

Their first single That’s Not My Name was released on local label Switchflicker.

Demo de la semaine/Demo of the week
PAM-Overcast
pour plus d’infos, for more infos www.myspace.com/pamtheband

Le Classique de la semaine de Genevieve/Genevieve’s classic of the week
Travis-Why does it always rain on me

Le bloc mélancolique de Melanie/Mel’s melancholic mix
Spiritualized-Death take your fiddle
Editors-Well worn hand
Isobel Campbell and Mark Lanegan-Sally don’t you cry

et pour finir une nouvelle découverte de Leeds/and to finish a new discovery from Leeds
O Fracas-Zeroes and Ones

La semaine prochaine au programme encore plein de nouveautés et de succès souvenirs avec entre autres Pavement en demande spéciale, les Wombats, Amy MacDonald et plusieurs autres

next week on air: still loads of new uk indie discoveries and classics with Pavement as a request, The Wombats, Amy MacDonald and much more…