The Music Page
Under Amazon.co.uk's website, if you shop for an album, they do a list of "you may also be interested in", and if you click on that album, you'll have the chance to read reviews (by customers) of that album. I can't even remember what was the first link in this particular chain was, but it proved interesting.
There was a time, when I managed to get to 10 concerts in 14 days at Manchesters Apollo theatre. That was during the glorious era of rock, when in the same week, it was possible to see AC/DC, Rush and Van Halen. That was mostly a scheduling thing, but the happy days are gone.
BBC radio, never a friend to hard rock music, didn't promote any new bands, and other considerations forced me to look elsewhere for entertainment.
Now the wheel is coming full circle again. There is a plethora of new exciting talent around. The talent is touring, and it's possible to pay reasonable prices to see it.
Not having been to a gig this year until November, here's a review of what I've been listening to and seeing.
Fiona too has been to see her idol. We're at opposite ends of the musical spectrum, I like rock music, she likes easy listening. Her idol being Barry Manilow.
Quick Links
Alter Bridge. Strange name for a band, but I bought their first album "One day remains" based on several of these reviews. It seems the bands name is derived from a place in Detroit that has some meaning for all the members. Listening to it for the first time my thinking was "thank you - the return of the guitar based rock band". Heavy, but melodious, clearly the band have talent. With a more than competent vocalist in Myles Kennedy, the screaming long drawn out notes missing from rock since the '80s have returned. Most of the band claim (as so many do) that their influences include Led Zeppelin, yet I don't know how conciously they realise that although they don't sound anything like Zep, the essential ingredients remain. Mark Tremnti is a terrific guitarist, but it's the bass of Brian Marshall, and especially the unique drumming patterns of Scott Phillips that drive the sound.
Enjoying, (belatedly - it was released in 2004) the first album, I had no hesitation in buying Blackbird, their second album, released around July of this year. Not just more of the same. The writing has become better, and the overall sound clearer.
When I learned that they were touring, playing the Manchester Apollo in November I rushed out to buy tickets. So long since I'd been, would I still enjoy it? Was I past it? Hah, you're never past it - it's a state of mind. And my mind was blown away by these guys. Playing with competence and maturity, they played the bulk of their two albums. Only at one point did an extra guitarist need to join them on stage. Better than tapes. They were terrific.
Assuming that there a re no personal or musical differences, then Alter Bridge will be with us for the long term. Maybe the third album will be the acid test, but I don't think so. Like Led Zeppelin, they seem to have the ability to both progress and delight their audience. In an era of fewer bands being able to move on, I suspect Alter Bridge will be of the very few current acts able in a few years, to sell out stadiums.
Black Stone Cherry. In the same Amazon recommendation list were this band from Kentucky. More raw and raucous, they show off their southern roots without copying anyone.
Their debut self titled album has only one cover, the Yardbirds “Shapes of things”, everything else is self penned. None of the songs are what you’d consider sophisticated, but aside from the usual dealing with lost girlfriends, there is mention of their roots.
The second album is more of the same, but doesn’t appear to suffer from the second album standard problem. They ran out of ideas, so resurrected the songs that were thrown off the first. Many of the songs are better than those on the first, in particular, “Ghost of Floyd Collins”, “Long Sleeves” and “The Key” will be staples of their live set for some time to come.
As to their live set – I went to the Manchester Academy on December 5th, (I’m writing this on the 6th) , not really knowing what to expect. Maybe a bunch of Southern Hicks out of their depth? Oh was I in for a pleasant surprise.
There were two support acts, the first, I didn’t get their name, and don’t feel as though I’m worse off for not knowing who they were. Eminently forgettable, they merely took up too much of my remaining time on this earth. But the “Stone Gods” were something else altogether. Formed from the remnants of the lamented “Darkness”, this band had all the right ingredients. No claim to being stars in the making even though most of their number had headlined bigger venues previously; they seemed to regard themselves as a new hard working band prepared to pay their dues by touring non stop as a support act. Indeed they had only played the Academy two weeks previously as support for the Australian AC/DC clone Airbourne. I’d (not) missed that, but I thoroughly enjoyed their all too short set. Keep going guys, work on the material, swear a little less on stage and you’ll make it.
So what of Black Stone Cherry? One thing that came across on their website was what a charming bunch of guys they were. The whole Southern thing oozes out of them. There’s a brief video there where they talk about their influences, and even revisit their old high school. The principal joked that he hoped they were successful with their music, since they certainly weren’t going to make it big based on their education!
Playing fluidly, with verve and enthusiasm, they ran through much of the two albums. Not getting upset during a sound problem during one song and spoiling the set only once by the inclusion of that ‘70’s requirement, the drum solo. Despite their youth, they already understand that although the audience wants to hear what they’ve recorded, improvising, adding and extending the recorded work makes them more that simply human jukeboxes.
As much as the material, what really came over was how genuinely nice these lads were. Too many times, I’ve heard bands thank audiences for turning up, as though they were reading from an unfamiliar script. Chris Robertson was absolutely effusive in his appreciation of those who’d come to see them, remembering the smaller Academy 3 that they’d played previously. One thing I’d heard about the band was that as long as there was time, they would meet anyone who wanted to meet them. If this was supposed to be a secret, it wasn’t by the end of the show. Chris announced before the final song, that after they’d finished, they’d take a few minutes, then go to where the T-shirt stall was, and say hello to everyone who wanted to drop by. He even went so far as to apologise that they would only have until midnight, otherwise they’d be happy to be there all night, but they were getting thrown out at midnight themselves. After the final song, when taking the bows, they made a point of dragging out their road crew onstage to take a bow, claiming that the roadies were as much a part of Black Stone Cherry as the musicians.
They’re a likeable bunch of lads with a terrific work ethic, a sense of where they came from, not an ounce of pretension between them, and a great joy in what they’re doing. Time will tell if they’ll go the distance. Much depends on the quality of their forthcoming material. If they can both progress and stay true to their roots, then they may yet write the classic that their fans will love, and the band themselves will come to hate.
I wish them every success.
Joe Bonamassa. The next big thing no longer, Joe Bonamassa has arrived. Also in Amzons recommended list, I’d never heard a thing by this guy, and so elected to buy the live album “Live from Nowhere in Particular”, as this would probably be the equivalent of a greatest hits album. Oh, this album knocks my socks off. It has been a very long time since I heard the blues played like this, if indeed I ever have. Think of Gary Moore, slightly heavy but essentially blues, and you’re halfway there. Joe Bonamassa seems to have the right mix. He rocks, but it’s blues. He can play. Plays better than almost anyone, including Clapton in his prime. He can sing. Not particularly well, but his voice matches his material. He can write. The recorded catalogue includes a fair number of cover versions, but his own material is superb. His playing on India actually made me stop doing whatever it was I was in the middle of just to concentrate on his playing. He tackles complex riffs such as those from Led Zeppelins “Dazed and Confused” with aplomb, without trying to imitate Jimmy Page. Backed by competent musicians who are allowed to shine in their own right, but still acknowledge the maestro among them.
I managed to miss getting to see Joe Bonamassa twice. He was booked a Manchester Academy on the night of 9th November. I couldn’t go on that evening. I was going to see Alter Bridge at the Apollo. On the 18th December, I did go to the Academy to see Extreme (remember them?). At the Academys door, there’s someone handing out leaflets with a list of gigs on it. I didn’t really need it, since I look on the internet, but took one anyway. The Extreme gig was okay, but I was tired and left shortly after they’d played “More than Words”. It wasn’t until I got home when I looked at the leaflet. Among the listings was Joe Bonamassa rescheduled now on 17th December. I’d missed him by one day through not knowing that it had been rescheduled. I was distraught. Even started working out if I could afford to go see him in Barcelona the following weekend.
By now, Joe Bonamassa’s next UK show is a bit different from playing the small venues. He’s booked into (and sold out) London’s Royal Albert Hall. Truly – he has arrived. Keep going Joe, I’ll get to see you in concert yet, even if it means it will be at an arena, rather than the compact venues that I prefer.
Update Promoting his new album, "The Ballad of John Henry", Joe will again be touring the U.K. But only a mini tour, and Manchester is not included. (Why Not?) So, I'll be going to see him in Sheffield instead. I waited and waited, watching his website as more European dates were being added, until I decided that I could wait no more. Alas, only restricted view tickets were available for the Sheffield City Hall, but at least I got them.
As for the new album. Joe claims it's his best work. Some of it probably is. The title character is featured in "Who Killed John Henry", the story of a freed slave driving spikes as they built the railroads. Eventually replaced by a steam hammer. Wikipedia have an interesting slant in this story, so if you're curious, have a look. It seems there's nothing new about being replaced by machines. Stop is a cover, and a well done one, as is Feelin' Good. But I'm not sure that he should have done this song. Whilst bringing his superb guitar to the tune, it really requires a full brass ensemble, and someone with a huge voice. Joe's singing is competent, but not up to whats required for Feelin good. Jockey Full of Bourbon is probably my favourite track. Surprisingly so, since he neither does fantastic fretwork, nor is it a rocker, and barely blues. But it's a great tune. Very catchy. Also worth a mention is Funkier than a Mosquito's Tweeter and Lonesome Road Blues.
A review of Joe Bonamassa at Sheffield City Hall.
.It was one of those rare and magical nights. Even the drive to Sheffield (at ruch hour), or the return journey along one of Britains most tortuous roads, unlit and raining, could not dampen what turned out to be one of the finest shows I've seen.
Led Zeppelin at Earls Court in 1975, Humble Pie at the Hammersmith Apollo, Kate Bush on her one and only U.K. tour, the first time I saw Rush, just after the release of a Farewell to Kings. All memorable evenings of the highest quality. It's been a long, long wait. Finally, a new star has risen. Not a new performer, or a new act. A star. That overused term to describe any halfwit who has the bottle to step out in front of an audience and strut his/her stuff.
The evening of 28th April at Sheffield City Hall, joins the select list of memorable concerts, when Joe Bonamassa and his band took to the stage at 8:20, and for more than 2 hours, delighted the sell out crowd.
By the time I'd managed to get tickets for the show, all that was remaining were "restricted view". This turned out to be fairly close to the stage, but at the extreme left. It turned out that this wasn't a problem. With only a four piece, thoughtfully placed on stage, all the performers were visible for the entire performance. Credit too the venue. Clean, well maintained (at least to public view) and staff were considerate, polite and helpful (instead of the thuggish types to be found intimidating the paying public at so many of Manchester’s venues), the venue was reasonably straightforward to find for someone who'd not been to Sheffield before.
It had started raining as we'd approached Sheffield, and it had turned into something between a downpour and a deluge by the time I'd found a car park. The line in front of the pay and display machine ensured I was bedraggled by the time returned to the car, placed the ticket in the windscreen and followed the crowds to City Hall.
The support act was a single guy with an acoustic guitar. Ben Montague (I think). Pleasant, but unremarkable. A brief pause whilst what little equipment he had was removed. Normally, this is the point where roadies seem to think the show is theirs. That the public have come to watch a bunch of removal men yelling "one-two" into various microphones. All that had been done. Nor was there any of the prima donna "keep 'em waiting" attitude. Enough time for me to go outside for a cigarette. Thanks to the lady on the door who initialled the back of my ticket so I could get back in. A visit to the men’s room, (no further details)... and within five minutes of me returning to my seat, the house lights dimmed. Rick strolled to his keyboards, and started the intro to Django.
Resplendent in an impeccably tailored black suit, Joe Bonamassa came on to launch into first the opening tunes notes, before commencing the set proper with “The Ballad of John Henry”. This is clearly a man comfortable on stage. As he should be. He’s been performing proper since the age of 12, but then again, some never aquire it, and some lose it, with the help of various South American pharmaceuticals. He has charisma, he can move without looking either stagy, or as though it's required of him. I suspect his dark glasses on stage are more to protect his eyes, than for the cool rock star look. Like Freddie Mercury, he holds an audience, they are his to please and tease.
Playing much of the new album, I did miss the haunting Jockey Full of Bourbon, but the mix of old and new songs was pitched exactly right. There was unfamiliar material, (I don’t have everything JB has recorded, but it’s all on my shopping list), but it didn’t matter. Everything was delivered with perfection. A shame the City Hall was all seated. Many a time at my age, I prefer to be seated, but for much of the set, I wanted to get up and stomp my tired feet. Being seated also tends to inhibit audience participation too. At one point, Joe stood centre stage and let off a blistering riff, then stopped dead and waited for the “hey” to come back from the crowd. But instead, silence. So again, with the same result. Jokingly, he complained to the band, “I don’t think the fine people of Sheffield are getting me. I’m doin’ my best”.
Performers sometimes feel they need to assault an audience. But refrain can also work well too. A lighting rig that merely complemented the performers instead of showing off technical brilliance. All the brilliance came from the guys on stage. Mostly from Joe, (it is after all his band), but how can anyone play an acoustic guitar as superbly as he did on “Woke up dreaming”, or make it wail as in “Sloe Gin”. Even the use of a theramin, (not seen by me on stage since Jimmy Page used one in “Whole Lotta Love” was restrained.
Whilst Joe isn’t the finest vocalist on the planet, he’s more than adequate, and I felt that strangely, he comes across better on stage, than in recordings. Even on the live album, he seems to sing better on stage. This is the opposite to most performers who can’t seem to hack it when they don’t have the opportunity to go through numerous takes.
I’ve seen many fine guitarists. Richie Blackmore, Edward Van Halen, Nuno Bettancourt, Jimmy Page, to name a few. But none seemed to be able to match Joe Bonamassa. So to Joe, Rick, Carmine and Bogie, thank you all for a memorable evening. If ticket prices had been twice the price, it would still have been a bargain.
And Joe, you claim you were doing your best. For me, at least, your best is THE very best.
P
Review of Nickelback concert.
M.E.N. Arena 22nd May 2009
Out of all Manchester’s venues, the M.E.N. Arena is for me, the easiest to get to. Since Fiona wasn’t going, (she’s no rocker), I took the bus, since car parking charges in our city are prohibitive.
I’d already found out my first pleasant surprise of the evening, the previous day in an e-mail I’d received from Leeds Academy. They’d mailed me the latest gig anouncements, and Black Stone Cherry were playing there in October. So I duly went to the bands website. The Leeds gig hadn’t been posted yet, but what had were their current dates. It seemed that they were playing the M.E.N. Arena on the 22nd May. How about that. BST were supporting Nickelback!
My first unpleasant surprise was when I found my seat. I already knew where in the Arena it was, so being so high up, or exactly to the right of the stage wasn’t an issue for me. What was a problem though was the safety barrier. In order to see the stage, I was continually craning either left to get an unobstructed view, or right to peer through the safety glass. Having brought along a new compact camera (shots are elsewhere), this was going to be a problem, and since it was just about sold out, I was going to struggle to move anywhere.
Enough of the preamble. BST took to the stage with their usual verve and enthusiasm. I still like these Southern boys, even to the point of having the least photogenic member of the band as the frontman. Chris is just a little on the tubby side. But he makes up for it with that Southern charm, and an enthusiasm for what he and the boys are doing. Their material still isn’t outstanding, but it is original, well played and designed to get you moving. Unable to resist the self promotion, Chris announced that they'd be returning to Manchester in October, and this time they’d be playing the Apollo. So that’s one more to go to. They are working their way up the correct way. Academy 3, a support stint, Academy 1, support to Nickelback, now the Apollo. Maybe next time they visit after the Apollo will be as headliners in their own right at the M.E.N. Good luck again guys – You’ve got what it takes.
So, what of Nickelback? Some bands treat the Arena as though it’s simply a bigger version of the Apollo. Maybe, they’ll have screens up to let the people at the back see. Not so here. From where I was sat, there was plenty of gear on stage, and even more stage. Not a new technique, but there was a catwalk leading to a larger circle almost in the middle of the crowd on the floor. With the house lights still on, and still musing about BST and how much longer it would be before the band came onstage, I was jerked from my reverie by a sudden BANG! From the top of the lighting rig. Almost immediately, there was another, followed by the house lights not so much going down, as off. A few seconds, and there they were onstage, launching into “Something in your mouth” from the Dark Horse album. Alternately griming from ear to ear, and being frustrated by my wretched seat position, I enjoyed the whole set. The sound was loud, and good enough. (Not quite perfect, but that may have been due to my seat area). The lighting was sensational. Could have been designed by Marc Brickman who does Pink Floyds lighting. A long time since I’ve seen vari-lights used to such effect.
Even the unfamiliar songs were great. By about the fifth number, they brought on Chris Robertson from BST and played a superb version of AC/DCs “Highway to Hell”. Chad Kroger is very charismatic on stage. Charming, fun and able to deliver his songs professionally. He’s good at banter too, a skill many performers don’t seem to have. Possibly my nearest reference would be Sammy Hagar. Also with an amusing style of self deprecation. The band had moved to the centre centre cicle and performed one acoustic song seated, before Chad announced that since they were in the middle of an acoustic slot, they’d add a sofa commercial. (D.F.S. furniture used RockStar as the tune for one of its T.V. commercials).
One of the most bizarre tricks I’ve ever seen on stage took place between a couple of songs. Chad starts announcing that it’s around this point in the show where they like to give away a few T-shirts to the crowd, and went on to complain that they could (in this style of venue) not throw them very far. “Well, we’ve got some new toys”, and proceeded to bring four guys in quasi-military outfits on stage. They had T-shirt firing guns that if misused could have resulted in injury. No idea how these things worked, but they loaded up rolled and taped T-shirts, and fired them into the crowd. Two came my way, one way over my head; the other was picked up by a girl 4 rows in front of me. Great fun. I couldn’t stop giggling, especially since by now, I’d managed to find a better spot. Bit further toward the stage, but the great thing was, it was so empty there, that it wasn’t a problem for me to stand up, since I wasn’t obstructing anyone behinds view.
By the time the show closed, I was sweating, and my deodorant had given up the unequal struggle. But of course they came back for more. With the final “Animals”, Chad explained almost regretfully that “This is where we blow everything up”. And they did. Pyros, flashes, flame-throwers, it was rock’n’roll heaven.
I left the Arena feeling as though it was back to the great days of the ‘80s again. A terrific show by a band that understands its audience. It was a great night out, and next time they come round, I’ll be there again.
Barry Manilow.(This one's from Fiona)
It's been six long years since Barry Manilow last appeared at the M.E.N. Arena. During that time, the only band I’d been to see there was the Corr’s. At least hubby went to that one. He seems to feel that what little “street-cred” he has, will be forever diminished were he ever to see my hero.
As soon as I heard that he had booked the MEN, I scoured the internet seeking tickets. Finally I managed to procure a couple of tickets from Ticketline.com. At £60 a ticket, (+ the obligatory booking fee + postage chasrges), I was determined to enjoy this show.
Assuming that I ever got there of course. My mother (who was coming with me) had booked a taxi to pick me up at 7:15, then go to her house to collect her. 7:35 and frantic ‘phone calls to Mum and back. Then he turns up.
Panic for nothing. We made it to the arena in plenty of time, to see the awful Bobby Davro who acted as support to the main event.
“Comedy” over, the lights dimmed, thousands of screaming housewives (we’re called “Fanilows”) applauded as our idol appeared on stage.
With the professionalism of a seasoned performer, he ran through all the favourites. Performed live, songs such as Even now, Mandy, Could it be magic, Somewhere in the night, Who’s been sleeping in my bed all sounded as fresh as when I first heard them. Songs such as these conjure up memories, and with a back catalogue stretching back to my adolescence, there was plenty of reminiscing during a wonderful evening. Of course, the show had to close with his best known “Copacabana”, where his backing singers donned the costumes and head-dresses of a musical revue.
A wonderful evening. He may not be to hubbys taste, but even Howard admits that the man deserves his success, through a time honoured combination of hard work, talent and ability. Charisma on stage helps.
Regrets about the evening? Well, he didn’t pick anyone out of the audience to sing with him, (including me – boo hoo), and it was too short. Even if he’d played for four hours, for me, it still would have been too short.
Keep going Barry. Performers such as yourself are truly a dying breed. But like Frank Sinatra, I hope to be going to see you perform when you’re long past mandatory retirement age.
