concert will see him celebrating the 50th Anniversary of the revolutionary
guitar sound he created which launched the Kinks into international stardom.
go on sale Friday 28th Februaryat 9am
from the Barbican Hall box office – 0207 638 8891 or can be booked online from www.barbican.org.uk.
Really Got Me and All Day and All of the Night were predecessors of the whole
three-chord genre," says musicologist Joe Harrington. "The Kinks did
a lot to help turn rock 'n' roll into rock."
guitarist and co-founder of the Kinks, Dave Davies is one of the most
unpredictable and original forces in rock,” enthuses writer Bill Crowley. His
distinctive guitar style went on to have major impact on several key
guitar-rock styles, including heavy metal and punk. A Rock and Roll Hall of
Fame inductee, Dave's massive guitar sounds have inspired bands from Van Halen
to Green Day."
the early days, Dave has worked on a slew of critically acclaimed records,
ranging from solo hit song Death of a Clown, to experimental Kinks records like
Village Green Preservation Society and Arthur and the classic song Lola in
1980s Dave released experimentally prescient solo work like the eponymous album
titled Dave Davies or AFL1-3603 named after himself and/or the barcode symbol
face cover art.Mainstream success
continued with the hit Kinks albums Low Budget and State of Confusion, as they
re-attained the commercial success they previously had in America in the
mid-60s, before they were unfairly banned for 4 years.
1990s Dave released more solo work such as Bug and the compilation Unfinished
Business. His songs have been featured in films by John Carpenter and Wes
Anderson, who featured Strangers in Darjeeling Limited (the song has been covered
by numerous artists including Norah Jones).One of Dave`s most popular Kinks songs Living on a Thin Line was used in
the HBO television show "The Sopranos".
tell-all autobiographical book Kink was well received in the late `90s as well.
In recent years, Dave has collaborated creatively with his sons. In 2010 he
worked with son Russell Davies to create the hauntingly beautiful rock
electronica album, The Aschere Project.Dave is currently working with son Martin on their second documentary
film Dave Davies Rock 'N Roll Journey - following on from Mystical Journey -
and he has just released a book on meditation called Heal. He has also been
collaborating on a Kinks biopic directed by Julien Temple, who previously made
the BBC documentary about Dave - Kinkdom Come.
latest album I Will Be Me is a return to his groundbreaking guitar sound and
innovative songwriting. His classically English voice shows off a new deepness
but still hits his famous high notes in this collection. Dave is beginning work
on a new album and is planning more shows throughout 2014. No matter how
diverse the ambition, Dave Davies puts his heart and soul in all of his
comes to songs about first love, true love and heartbreak, we go back, again
and again, to a record label that took its heart and soul from Detroit: Motown.
of Stevie Wonder, the Temptations, Diana Ross & the Supremes, Marvin Gaye
and the young Michael Jackson. The music itself is pop rooted in the traditions
of gospel, accompanied by pounding drums, layers of strings and brassy
call-and-response bits. But it's easier just to say "Motown." It's
music that actually sounds like love, and you don't need to speak English or
have grown up in the 1960s for that message to translate.
the secret all Motown junkies know: The label began by Berry Gordy in a little
house on Detroit's Grand Boulevard had more hit songs, and more talent, than
those four walls could ever hold. And for every hit single crafted by Smokey
Robinson or the crack songwriting team Holland-Dozier-Holland, there were
equally great songs that flopped, and equally talented singers who were
unfairly denied marketing or access to tracks. There were lawsuits, feuds and
falling outs. Even further in the background were session musicians like the
Funk Brothers and background singers like the Andantes who gave their all on
dozens of records before fading into obscurity.
you can find a collection of little known singles, unreleased tracks and deep
cuts from Hitsville USA's heyday, about 1963 through 1971. Some of these 22
songs come from Motown artists you know and love. Others come from groups that
might be new to you. All of them deserve to be recognized as "lost
classics" of the Motown sound.”
Monitors, "Time Is Passin' By"
original Monitors line-up only released one album in 1968, which collected
three years' worth of songs that Richard Street, Warren Harris, and Sandra and
John Fagin recorded for the label. This foursome had a certain magic together,
as the swing of "Time Is Passin' By" suggests, but Street would go on
to replace Paul Williams in the Temptations during the 1970s, and a new
Monitors lineup would come together in the 1980s. The original group never
found success at Motown, but fame shouldn't have passed them by.
Stevie Wonder, "I Don't Know Why"
fans may have paused during the epic make-out session between Olivia Pope and
Fitz to ask, "Which Stevie Wonder song is serving as the perfect backdrop
to this relationship train wreck?" The B-side to 1968's "Ma Cherie
Amour," "I Don't Know Why" finds an 18-year-old Wonder playing
the lovesick victim -- but the accompanying guitar riff is all wounded
vengeance. "I Don't Know Why" has been covered by the Jackson 5, the
Brand New Heavies and, most notably, the Rolling Stones, who were practicing it
when they got the news that founding member Brian Jones had died. It will take
one listen for you to wonder why it's not one of your favorite Stevie Wonder
Clark, "Love's Gone Bad"
blonde teenager, Clark didn't look like a typical Motown artist. But one spin
of "Love's Gone Bad" shows why the label signed Clark, who's been
called Motown's answer to Dusty Springfield. This rollicking
Holland-Dozier-Holland single only charted at #41 on Billboard, but crazy has
never sounded so compelling. After her Motown career faded away, Clark, a
California girl, didn't stop living a fascinating life. She co-wrote "Lady
Sings the Blues," the Billie Holiday biopic starring Diana Ross, and
married the writer of the Shaft novels. She also photographed the Masai in
Africa and owned a pet cougar. Read more about Clark in the Los Angeles Times.
Tops, "Remember When"
to wonder whether the Four Tops, only second to the Temptations in success,
were singing about themselves on this track. The powerhouse songwriting team
Holland-Dozier-Holland had recently quit the Motown label, and the Tops were
working with an assortment of new producers. A dry spell for the singing group
lay ahead on the Billboard charts. The moodiness of "Remember When"
recalls another famous Motown hit, the Four Tops' "Bernadette." Read
more on "Remember When" at Allmusic.
Wells, "Oh Little Boy (What Did You Do To Me)"
Motown fan has heard Mary Wells sing about "My Guy," but most don't
know this standout track, which features an incredible mini-aria from Motown
session singer Liz Lands. "Oh Little Boy" was inexplicably tacked onto
the end of Wells' 1964 "Greatest Hits" record. Despite the operatic
coda, Wells gets the credit for selling this breathtaking number of a woman
slowly going mad over a man she loves and hates at the same time. Motown
doesn't get deeper, or more devastating, than this. Read more at Motown
Velvelettes, "(We've Got) Honey Love"
artists were famous for covering each other's songs, along with any other songs
that were current hits. So while Martha & the Vandellas made "(We've
Got) Honey Love," our favorite version is an unreleased cover by a
lesser-known girl group called the Velvelettes. This foursome had a few singles
but were edged out of the limelight as the Supremes became superstars. Motown
fans on Soulful Detroit say that this track is a rare opportunity to hear some
lead singing from Sandra Tilley, who would later become a Vandella.
Terrell, "I Can't Believe You Love Me"
no Motown story is more tragic than that of Tammi Terrell, a sweet young
songbird who became famous after replacing Kim Weston as Marvin Gaye's duet
partner. But Terrell wouldn't be able to enjoy much of her success. Collapsing
into Gaye's arms during a performance in 1967, she was later diagnosed with a
brain tumor. After eight unsuccessful operations, Terrell finally succumbed to
cancer in 1970 at age 24. "I Can't Believe You Love Me" was the
singer's first R&B Top 40 single. It was also the first song she recorded
after Gordy changed her professional name from Tammy Montgomery.
8. The Jackson
can't talk Motown without including a song from this pint-size band of
brothers. Everybody knows their song "ABC," but this counterpart from
the same album remains relatively unknown. "2-4-6-8" features one of
Michael's most adorable spoken word parts ever recorded: "I may be a
little fella / but my heart is as big as Texas!" Another incredible
outtake from the "ABC" recording session never made it onto a Motown
album. Listen to Michael cover Ray Charles' "A Fool For You" with singing
chops a vocalist twice his age would envy.
Sherri Taylor & Singin' Sammy Ward, "Oh Lover"
Sammy Ward was the Motown Soul label's resident bluesman. Newcomer Sherri
Taylor was a brash vocalist equipped with a piercing wail. Their unlikely duet,
"Oh Lover," is a randy little number co-written by Brian Holland and
Smokey Robinson. Motown Junkies says it's the first duet released by Motown. By
the time Ward died, sometime in the mid-'90s, he was all but forgotten by the
music industry. Find out more about Singin' Sammy Ward at Motown Junkies and
listen to his masterful ballad "Then You Changed," which was never
released by Motown's Soul label... but really should have been.
Supremes, "Surfer Boy"
forgive you if you haven't seen the 1965 surfing flick "Beach Ball."
It's best remembered for cameos by the Righteous Brothers, the Four Tops and
even the Supremes, who sang "Come To The Beach Ball With Me," along
with this addictive little jangle. The Supremes look a bit bemused up onstage,
like they're wondering, "How on Earth did we get cast in this movie and
why are we singing about surfers?" Song's still a winner, though, as is
the name of their backup band on set (The Sinners!).
Miracles, "Whole Lot Of Shakin' In My Heart (Since I Met You)"
Brothers set this dance track on fire with their dynamic horn arrangements.
When Smokey Robinson grabs onto the word "I" around 2:16 and refuses
to let go, it's really one of the Miracles frontman's finest vocal moments. How
this song barely made it into the R&B Top 20 charts, we can't really
understand. More at Funky 16 Corners.
Marvin Gaye, "This Love Starved Heart Of Mine (It's Killing Me)
Gaye's catalog of hits for Motown was so strong that in 1994, the label
released 25 recordings from his career that had never seen the light of day. As
Jason Ankeny wrote at Allmusic, they are "performances of such sublime
beauty and haunting poignancy that their failure to reach the masses until now
is nothing short of remarkable." Among the most incredible tracks are
"This Love Starved Heart Of Mine (It's Killing Me)," a breathless,
string-laden march that Gaye escalates to a passionate climax. Is this Marvin
Gaye's greatest track? Is this one of the greatest Motown songs EVER? Here's
one argument in favor.
Martha & the Vandellas, "A Love Like Yours (Don't Come Knockin' Every
B-side to "(Love Is Like A) Heat Wave," this sweet standard was
penned by the Holland-Dozier-Holland team and first sung by Martha & the
Vandellas. Covers by the likes of Dusty Springfield, the Animals and Ike &
Tina Turner emblazoned this track on the American consciousness in the 1970s.
Fans may note that this recording has a lighter touch than the classics Martha
& the Vandellas are remembered for -- "Dancing In The Street,"
"Nowhere To Run" and "Jimmy Mack."
Frank Wilson, "Do I Love You"
a serious Motown 45s collector, and they'll bring up Frank Wilson's "Do I
Love You," the only single Wilson released before moving into songwriting
and producing at Motown Records. According to the BBC, there are only two known
copies left on Earth -- Berry Gordy reportedly destroyed the rest. The record
was discovered after being played in Britain's Northern Soul nightclubs in the
1970s. One copy fetched an astounding £25,742 at auction in 2009.
Weston, "Take Me In Your Arms"
husband was Motown A&R chief Mickey Stevenson, but that still couldn't
guarantee Kim Weston fame and backing from the Motown brass. One blog calls her
"another artist Berry Gordy just left on the shelf." No matter who
was ultimately responsible for not showcasing her talents, this is clear: Kim
Weston matched the commanding force and personality of her one-time duet
partner, Marvin Gaye. Her sensational vocals are best showcased on "Take
Me In Your Arms," an upbeat Holland-Dozier-Holland romp that allows Kim to
vacillate from intimate pleadings to a full-throated snarl. Check out 2:18 to
hear her unleash, "I said I wouldn't beg him / I said I wouldn't
plead." Motown Junkies writes, "If you told me this was your
favourite Motown record of all time, well, I couldn't really argue the
David Ruffin, "I've Got A Need For You"
critics are still wondering why Motown shelved "David," the third
album from former Temptation David Ruffin. More than 40 years later, it's
shocking to realize how well this LP, only released in 2004, would have fared
had it been liberated back in 1971. A less distinctive voice than Ruffin's may
have been overshadowed by the lush, dramatic arrangements. The entire album is
worth listening to (especially Ruffin's grown-up redo of "I Want You
Back"), but the signature track here is "I've Got A Need For
You." With the choir howling in the background, Ruffin leads the vocals
with so much joy, it's like the song itself is a triumph for him to sing. Read
more at Allmusic.
Isley Brothers, "Why When Love Is Gone"
guitar line slays us! This live jolt of electricity was an early single from
the Isley Brothers, released on their 1967 album "Soul On The Rocks."
"Why When Love Is Gone" is the B-side to the group's version of Kim Weston's
"Take Me In Your Arms (Rock Me A Little While)." The Isley Brothers
had briefly welcomed Jimi Hendrix to play guitar in their band, but when
neither single charted, Hendrix left them and the brothers signed with Motown
Records' Tamla imprint. Their only Tamla hit was "This Old Heart Of Mine
(Is Weak For You)," and the Isleys only stayed with the Motown family
until 1968 before leaving to form their own label. They left Motown with one
more great song: "Why When Love Is Gone," produced by Ivy Joe Hunter,
the man who made "Dancing In The Street."
Marvelettes, "Too Many Fish In The Sea"
ones, tall ones, fine ones, kind ones... The Marvelettes deliver this
marvelously snappy advice to girls hung up on the wrong guys. This song's
history also suggests there were too many potential hit songs swimming around
Motown Records. At the time, the Marvelettes picked this song over another
track called "Where Did Our Love Go," which was eventually assigned
to another girl group that hadn't had a single hit record yet -- the Supremes.
Brenda Holloway, "Just Look What You've Done"
story of Motown's first West Coast signing sounds like a '60s teen movie plot.
The shapely Brenda Holloway grabbed the mic at a Los Angeles DJ convention to
sing a cover of Mary Wells' "My Guy." In the audience was none other
than Berry Gordy, who was so blown away by Holloway's looks and voice that he
signed her, just 18 years old, to Tamla, according to Allmusic. Although
Holloway scored some hits, like "Every Little Bit Hurts," she became
equally as interested in songwriting -- and disillusioned by Motown. Gordy did
let her record one song she co-wrote, "You've Made Me So Very Happy,"
which later became a hit for Blood, Sweat and Tears. On songs like "Just
Look What You've Done," Holloway, who quit the label by age 22, sounds every
inch the troublemaker Motown feared she was.
Gardner, "Expressin' My Love"
you've never heard of Stu Gardner, but you know "Kiss Me," the song
he recorded that became the theme to "The Cosby Show." Before this
underground soul star was producing for Bill Cosby, he was a recording artist
for both Stax and Chisa Records, an imprint that signed a distribution deal
with Motown in 1969 -- meaning that while Gardner was never technically on the
Motown label, he was part of its extended family."Expressin' My Love"
is the struttin' song of a wildcat man whose emotions remain blissfully
untamed. It remains one of the era's most irrepressible lost singles.
Pirates, "I'll Love You 'Til I Die"
Temptations were named by Motown after two local Detroit groups, the Primes and
the Distants, merged together to form a sort of new supergroup. And the
Temptations really could do everything -- sing marvelously, dance in time and
dress sharp. The Motown museum compares their influence on R&B to the
Beatles' impact on rock 'n' roll. Even many fans don't know this group was
briefly renamed "The Pirates" in 1963 -- just a year before "The
Way You Do The Things You Do" established the fivesome on the Billboard
Charts. They'd remain there for years to come, their brief fling as the Pirates
all but forgotten.
Contours, "First I Look At The Purse"
thought the singing group behind "Do You Love Me" didn't have any
other moves, think again. One of Motown's jolliest acts, the Contours achieved
pop perfection with this ditty about sizing up women for the right reason:
money, honey! Written by Smokey Robinson and Bobby Rogers of the Miracles,
"First I Look At The Purse" is a joke song -- and one that was simply
too risque for an act like the Temptations to tackle. The song could certainly
be criticized from our modern standpoint, but the lyrics are too ridiculous to
take seriously. "If she waddles like a duck and talks with a lisp,"
who really cares, "if her dollar bills are crisp?"
friends at modculture.com have recently flagged-up this new book saying, “We thought
we would flag up Quadrophenia by Stephen Glynn in case you want to get your
hands on a copy.”
is published by Columbia University Press and is described thus:
Mods clash with Rockers in Brighton, creating a moral panic.
ex-Mod band The Who release Quadrophenia, a concept album following young Mod
Jimmy Cooper to the Brighton riots and beyond.
Franc Roddam directs Quadrophenia, a film based on Pete Townshend’s album
narrative; its cult status is immediate.
almost fifty years on from Brighton, this first academic study explores the
lasting appeal of ‘England’s Rebel Without a Cause’.
academic, music, press, and fan-based responses, Glynn argues that the
‘Modyssey’ enacted in Quadrophenia intrigues because it opens a hermetic
subculture to its social-realist context; it enriches because it is a cult film
that dares to explore the dangers in being part of a cult; it endures because
of its ‘emotional honesty’, showing Jimmy as failing, with family, job, girl,
and group; it excites because we all know that, at some point in our lives, ‘I
Glynn is Associate Research Fellow at De Montfort University, UK. His writings
on rock movies range from the particular, A Hard Day's Night (2004), to the
general, The British Pop Music Film (2013).
want a copy, you can get the 144-page book directly from Columbia State Press
for £10.50 or if you want it sooner, you can get it from Amazon.co.uk for the
Kindle for £6.86.
Records’ ‘Paisley Archive’ imprint is currently in top gear and top form in
terms of new releases with the stonkingly good ‘Studio 68’ CD anthology out on
Monday immediately followed a week later by the brand new ‘Boiling Point’ EP
starts in blistering form with the excellent ‘Yella Belly’ which has a flavour
of 1966/67 Freakbeat about it as it bashes out a really good R&B style
number with great passion and power. As you would expect from the opening track
of an EP, this is A-side material, and at a little over 2-minutes long is quite
Money City’ is a guitar led track with a throbbing bass with an overall backing
track that would not be out of place on an early Weller solo LP. Another good
song that already starts to show the range and diversity that Mannequins have.
is ‘Sound of Silence’ (which is something it clearly (and thankfully) isn’t).
It starts lightly and builds up, combining a ‘dirty’ rockabilly style riff with
heavy tom-toms, before building up once again to an even more intense level.
This is a seriously good song and I really, really like it a lot.
finale is ‘Oh Glorious’ which starts slowly and develops into a very commercial
chorus of ‘Glorious’ that I can easily imagine being chanted back to the band
by the crowd after the final number as a plea for an encore.
summary then, another great release from Detour from a band that are clearly in
top form – for just £4.99 you can add another superb 2014 CD to your
Detour Records Product Description:
on from Mannequins 2013 self-titled album release, Detour Records present
“Boiling Point” EP.
Point is a superb collection of four tracks that sees Mannequins at their most
creative period, encompassing an eclectic range of influences that are
reflected in this release.
your face Rhythm and Blues of opening track “Yella Belly” to the sublime
closing track “Oh Glorious” this captures a band that are at the top of their
Anniversary of Blue Note Records, the most-respected and longest-running Jazz
label in the world, is being commemorated throughout 2014 and beyond with a
broad range of special releases and events.Blue Note is pleased to announce a new vinyl reissue series of 100
essential remastered Jazz albums spanning both the classic and modern eras of
the label. The series will launch on March 25 with five iconic LPs:Art Blakey Free For All, John Coltrane Blue
Train, Eric Dolphy Out To Lunch, Wayne Shorter Speak No Evil, and Larry Young
Unity. On the same date, the GRAMMY Museum in Los Angeles will launch Blue Note
Records: The Finest In Jazz, a one-of-a-kind exhibit offering visitors an
in-depth look at the legendary record label.On the evening of March 25, the museum will host a special public event,
“An Evening With Blue Note Records,” featuring a Q&A with Blue Note Records
President Don Was.
Note Records was founded on January 6, 1939, when a German immigrant and
passionate Jazz fan named Alfred Lion produced his first recording session in
New York City. Blue Note has gone on to represent The Finest In Jazz, tracing
the entire history of the music from Hot Jazz, Boogie Woogie, and Swing,
through Bebop, Hard Bop, Post Bop, Soul Jazz, Avant-Garde, and Fusion, and into
Jazz’s numerous modern day incarnations under the leadership of Bruce Lundvall,
who revived Blue Note in 1984, and the label’s current President, Don Was, who
took the helm in 2012.
GRAMMY MUSEUM EXHIBITION AND LAUNCH
25, The GRAMMY Museum in Los Angeles will unveil Blue Note Records: The Finest
In Jazz. Located in the Mike Curb Gallery on the Museum’s fourth floor, this
one-of-a-kind exhibit will offer visitors an in-depth look at the legendary
record label through music, album artwork, photographs, artifacts, interviews
evening of March 25, the museum will launch the exhibit with a special public
event, “An Evening With Blue Note Records,” a Q&A with Blue Note President
Don Was, hosted by the museum’s executive director, Bob Santelli, and the
curator of the exhibit, Nwaka Onwusa, in the museum’s Clive Davis Theater.
Tickets for the event are available for purchase on the GRAMMY Museum
BLUE NOTE RECORDS 75th ANNIVERSARY
Note will commence an extensive 100-album vinyl reissue initiative on March 25
with the release of five classic titles (Art Blakey Free For All, John Coltrane
Blue Train, Eric Dolphy Out To Lunch, Wayne Shorter Speak No Evil, and Larry
Young Unity). The vinyl releases are set to continue monthly and will also
include modern classics from Blue Note’s recent catalog such as Joe Lovano
Quartets: Live At The Village Vanguard, Jason Moran Soundtrack To Human Motion,
Terence Blanchard Flow, Medeski Martin & Wood Combustication, and Cassandra
Wilson Traveling Miles. Click here for the full list of vinyl releases.
Note President Don Was says, “Two years ago, we began remastering the jewels of
the Blue Note catalog in hi-def resolutions of 96k and 192k. In order to
develop a guiding artistic philosophy for this delicate endeavor, we donned our
lab coats, ran dozens of sonic experiments and carefully referenced every
generation of our reissues. Ultimately, we decided that our goal would be to
protect the original intentions of the artists, producers and engineers who
made these records and that, in the case of pre-digital-era albums, these
intentions were best represented by the sound and feel of their first-edition
vinyl releases. Working with a team of dedicated and groovy engineers, we found
a sound that both captured the feel of the original records while maintaining
the depth and transparency of the master tapes... the new remasters are really
these new versions will become available in digital hi-def, CD and Mastered for
iTunes formats, the allure of vinyl records is WAY too potent to ignore. This
year, Blue Note - along with our friends at Universal Music Enterprises - is
launching a major 75th Anniversary vinyl Initiative that is dedicated to the
proposition that our catalog shouldbe
readily available at a low cost, featuring high quality pressings and authentic
reproductions of Blue Note's iconic packaging. Although this program begins in
celebration of Blue Note's 75th Anniversary, our catalog runs so deep that we
will faithfully be reissuing five albums a month for many years to come!”
11, Blue Note/UMe will release a new 2CD collection of 22 stellar tracks
spanning the label’s history, Best of Blue Note ICON, including Sidney Bechet
Quintet/“Summertime,” Thelonious Monk/“’Round About Midnight,” John
Coltrane/“Blue Train,” Sonny Clark/“Cool Struttin’,”Lee Morgan/“Sidewinder,” Wayne Shorter/“Speak
No Evil,” Norah Jones/“Cold Cold Heart,” and more.
Record Store Day in April, Blue Note will also reissue the label’s first two
releases as limited edition 12” vinyl:Meade “Lux” Lewis “Melancholy”/”Solitude” (BN1) and Albert Ammons
“Boogie Woogie Stomp”/”Boogie Woogie Blues” (BN2). Other catalog releases,
including a 75-track digital bundle spanning Blue Note’s entire history, will
be announced shortly."
the new 10” EP through from RAF, an American Mod Band from Portland, and what
great fun this is.
anyone who loves the revival period and a Mod & Proud attitude then this is
the record for you (as well as me). With titles like ‘(It’s A) Modern World’, ‘We
Are The Mods’ and ‘Ready Steady Go (Tonight)’ you have a flavour of exactly
what you’ll be getting. This is hearts on their sleeves time.
sound reminiscent of early Squire and some of the other ‘Mods Mayday ‘79’ bands
(and others of that time) I find that I cannot recommend this release highly
enough. Although this is the first time I have heard these songs, in a weird
way it brings back memories of being in my mid-teens again.
a band I would love to see ‘live’ in the UK
into their history (via their FaceBook page) the band themselves say, “RAF was
formed in 2011 with a simple goal - create punchy, danceable, music with as
much style and attitude as possible. This is Mod music from Across the Pond. A
full frontal assault of catchy 3 minute songs delivered in sharp suits and
vintage instruments. No standing around. No Chavs. The foursome of lads
includes Chris Rich (guitar & vox), John Crawford (bass & vox), Josh
Millman (guitar & vox) and Brad Pharis (drums). Come be a part of "The
British Inversion." We are the Mods!”
own description of themselves is bang on – seriously, don’t miss out on this
the legendary rock band celebrate 50 years in music, original drummer Doug
Sandom recalls the bitter row that led him to walk away.
member of one of the world’s most influential rock bands The Who, Doug Sandom
could have been a multimillionaire rock star. Instead today the 83-year-old
lives on his state pension in a two-bedroom council house just a few miles west
of the sumptuous London homes occupied by his former bandmates Pete Townshend
and Roger Daltrey.
because of a silly argument with Townshend 50 years ago.
was The Who’s original drummer long before Keith Moon came on the scene. Back
then they were called The Detours, travelling in a clapped-out van to dance
halls as far afield as the tenner a night they earned could fund the petrol.
weeks of the group changing their name to The Who, Doug went his separate way
after a row with Townshend during an audition for a record company.
rest, as they say, is history,” remarks Doug who was about to sell his
legendary drum kit to fund Christmas celebrations when he landed a contract to
publish his memoirs The Who Before The Who.
would have been the saddest deal of my life,” he continues. “I keep that drum
kit at the foot of my bed and kiss it every night before I go to sleep. After
all it’s been on stage when we were up there as a support act to The Rolling
Stones, The Searchers, Wayne Fontana And The Mindbenders, Eric Clapton’s Yardbirds…
you name ’em and Pete, Rog, the Ox and me played with ’em.”
was the group’s affectionate nickname for their bass player John Entwistle who
died of a drug overdose in a Las Vegas hotel room in 2002. He was a regular
visitor to the Sandoms’ home where he would eat a mountain of sandwiches
prepared by Doug’s late wife Lily in the days when the musicians could ill
afford decent food.
became the band’s drummer after a chance meeting with Roger Daltrey in 1962: “I
thought I was going to an audition but it wasn’t happening so during a brief
chat with Roger I told him I’d had a wasted journey. ‘It’s not wasted mate,’ he
said. ‘Our drummer’s going on holiday so come and sit in with my band The
didn’t need asking twice. That Friday I turned up at Acton Town Hall and it’s
there I met one who had funny hair – he turned out to be John – and a tall
skinny one with a big nose, Pete. I went on for the second set and we gelled.
From that night on I was the drummer.
played all over the place, mostly songs that were hits for other people like
Gerry And The Pacemakers and Cliff Richard. They were Roger’s choices, he’d
formed the group so he chose what we played. That was to cause a lot of
friction between him and Pete further down the road. Pete was an art college
student and he favoured R&B. But I believe that friction was what
subsequently made The Who the success they are today. The anger off those two
came across on stage and the fans loved it. Occasionally I had to go to Pete’s
rescue when tempers flared but it never came to actual fisticuffs which was
just as well because Pete would have come off worst.
band needed Pete for more than just his musical skills. His mum Betty was a
professional singer and through her connections she got us quite a few gigs –
she even drove us to some of them.
was Roger who did most of the work. He picked me up from my home for every
single gig. I was always ready and waiting which was more than could be said
for Pete – Rog would often have to drag him out of bed.”
Detours became more successful the seven-nights-a-week gigs (and the groupies’
make-up on his shirt collar) put a strain on Doug’s marriage and Lily pressured
him to quit.
had stepped away and they became incredibly successful, Lily did say, ‘If only
I’d been more understanding we could have been rich now.’ But that was never
what I wanted. I loved the fans, the music, being in the band.”
drummer Doug had a privileged insight into the 1960s rock scene. Take the
first night we backed them Pete went to the dressing room to begin what turned
out to be a lasting friendship with Mick Jagger.”
didn’t hit it off with everyone: “Pete said Keith Richards was arrogant. That
didn’t stop him adopting the arm-swinging move Keith made when he was warming
up to go on. As the windmill gesture it became our band’s trademark.”
as everything seemed to be coming together for the group John Entwistle dropped
setting up our gear when the Ox arrived and told us there was another band
called The Detours and they’d already been on TV so we had to change our name.
That night we all went back to a friend of Pete’s – a wonderful chap called
Richard Barnes, or Barnsy, to try to find a new name.
initially suggested The Group and Pete favoured The Hair. Someone else
suggested No One until we imagined a compere on stage saying: ‘Ladies and
gentlemen, please welcome No One.’ We’d have been a laughing stock. It was
Barnsy who came up with The Who. Pete tried to compromise by suggesting The
Hair And The Who until it was pointed out that it made us sound like a pub.
Anyway, Roger came round to mine the next day and said it was to be The Who.”
fateful day of the audition for Fontana Records, Doug recalls he was not in a
good mood and Pete was not pleased.
a terrible go at me, snarling, ‘What’s wrong with you? If you can’t get it
right then you’re out.’ I just got up from my stool and said, ‘That’s it, I
quit.’ It was the biggest mistake of my life. It really came home to me when I
watched them on TV giving that fantastic performance at the Olympic Games and
knew it could have been me up there too.”
a happy ending to the story, however. The others still send Doug tickets for
their concerts and VIP passes for their fan club conventions where he is
recognised and mobbed by autograph-hunters.
69 – who insists the ex-drummer calls him every Sunday morning – once said:
“You’re famous, Doug. You’re a legend.”
moving foreword to Doug’s book Pete Townshend, 68, writes: “Had we continued
together back in 1964 with Doug on drums we may never have become as successful
as we are today. Keith Moon was a born publicist as well as a highly eccentric
performer. But I have no doubt that personally I would have been happier as a
young man. Partly because I think we would have continued to put music and
friendship first in our band because that was Doug’s way.
Doug as my friend, I believe I could have been a better man.”
Before The Who by Doug Sandom is available from Amazon at £20 and as an ebook
on Amazon Kindle for £8.04.
band is to tour the country after it recorded new songs at the studio of music
legend Paul Weller.
Gramotones will take in cities such as Birmingham, Liverpool and Glasgow, as
well as their native Manchester, next month.
shows come on the back of recording sessions at the studio of Paul Weller, the
former frontman of The Jam, at his studio in Surrey.
group were spotted by the drummer in Weller’s band while performing in
Liverpool, and the legendary musician even mentioned one of their songs as his
favourites of 2013, alongside efforts from David Bowie, Paul McCartney and
Ryan Comac, of Meadowcroft, Radcliffe, said he is looking forward to taking
their show out on the road.
22-year-old said: “It has been a long time coming. We haven’t gigged for over a
year so it will be good to get out there and give the new songs an airing. We
looked at where we went down well when we toured with Steve Craddock.
were really receptive in Glasgow and Bristol, and it will be good to get back
playing in Manchester.”
says the group will soon be releasing the songs which they recorded at Weller’s
studio, and that it has been a pleasure to be associated with such a
added: “It is just good to get credit like that. If nothing ever happens, it’s
just the fact that somebody like that has come out and supported us. It’s
Manchester show at The Castle in Oldham Street sold out within three days, and
the group are hoping to either upgrade to a bigger venue, or add another date.
who are influenced bands such as The Hollies and The Beach Boys, formed nearly
two years ago after Ryan met drummer James Cardus while studying at Bury
College, and joined with Jake Fletcher and Sid Cooper, who are both based in
of music at Tyneside’s coast will be marked by a performance from the Modfather
musician Paul Weller will take to the stage as this year’s headline act at the
Mouth of the Tyne Festival at Tynemouth Priory and Castle.
and Style Council front man is the first artist to be announced by organisers
of the outdoor event which takes place on Saturday July 12.
Mayor of North Tyneside, Norma Redfearn, said: “We are thrilled to welcome Paul
Weller to our tenth anniversary festival and can’t wait to see him in action –
it’s a great way to celebrate ten years of live music and entertainment at one
of North Tyneside’s most iconic locations.”
successful solo artist since the early 1990s, Paul Weller, 55, is expected to
play a wide-range of tracks from across his 11 top-ten albums.
big name acts at the event include The Script, James Morrison, Beverley Knight,
Scouting For Girls, McFly, The Human League and The Wanted.
organised by North Tyneside Council and supported by Port of Tyne, Kier and
cost £40 each plus a booking fee and go on sale from www.ticketmaster.co.ukat 9am on Thursday morning.
the music of SMALL FACES, HUMBLE PIE & THE FACES! Performed
by the SMALL FAKERS, HUMBLE LIE & THE FACES EXPERIENCE
frankly, a nailed-on, copper-bottomed ‘must see’ show for any self-respecting
fan of The Small Faces, Humble Pie, Rod Stewart & The Faces, or any
permutation of the three!
a trio of exceptional tribute bands - The Small Fakers, Humble Lie and The
Faces Experience (featuring internationally renowned Rod Stewart tribute Stan
Terry) - The Faces Story presents the very best of these three amazing groups
whose inextricably linked histories weave a narrative through the most dynamic
and creative period in British popular culture.
and a half hours, The Faces Story recreates the sights, sounds, energy and
excitement generated from ’65 to ’75 by the exceptional talents of Marriott,
Lane, McLagan, Jones, Frampton, Ridley, Shirley, Wood and Stewart, also known
Small Faces – for any discerning mod, the very finest home-grown group to come
out of the sharpest youth cult ever spawned in the UK, and an outrageously
talented band to boot. Hugely influential even now, almost 45 years after they
split, the Small Faces left us with such classic tracks as All Or Nothing, Here
Come The Nice, Tin Soldier, Itchycoo Park and Lazy Sunday amongst many others.
Pie – formed by singer Steve Marriott after quitting The Small Faces, and with
Pete Frampton on guitar, Humble Pie, along with Led Zeppelin, took the new, hip
sound of ‘white man blues’ to an entirely different level. Reworking R&B
standards and writing original material with astonishing power and exquisite
musicality, Humble Pie left all but the very best of their contemporaries
standing, and blew audiences away wherever they took the stage. In no time at
all, they were established as one of the major league rock acts in the US,
where they dominated the arena and concert hall circuit throughout the early
70s thanks to blistering belters like Thirty Days In A hole, Four Day Creep,
Big Black Dog, Hot ‘n’ Nasty, Black Coffee and their lava-hot version of Ray
Charles’s I Don't Need No Doctor.
Faces – picking themselves up and dusting themselves down after the shock of
losing their virtually irreplaceable lead singer, the three Small Faces left
behind – Kenney Jones, Ian McLagan and Ronnie Lane – recruited Ronnie Wood on
guitar, and then a certain Rod Stewart on lead vocals. Like we said, Steve
Marriott was virtually irreplaceable, not utterly irreplaceable! Rod’s husky
vocals and sublime song-writing talent, matched by that of Ronnie Lane, coupled
with the raunchy playing of the band, produced an awesome repertoire of
incredible songs and created one of the finest and most entertaining live acts
of the early 70s. Not content with producing such terrific tracks as Three
Button Hand Me Down, Cindy Incidentally, Stay With Me, Ooh La La, Debris and
Miss Judy’s Farm, The Faces also backed Rod on numbers he put out as a solo
artist, including massive monsters like Maggie May, Reason To Believe, You Wear
It Well, Mandolin Wind, Gasoline Alley and way too many more to mention.
FACES STORY – a trilogy of performances compressing the very best of three
these amazing acts into one sensational show. Our advice to you is: DO NOT
was a rock ‘n’ roll revival as talented teenagers The Strypes played to a
packed Institute in Digbeth.
noticeable divide in the audience was hard to ignore – those at the age where
they would be enjoying a half term break from school the next morning, and
those who looked like their parents.
is what is special about The Strypes, an appeal that crosses generations, and
for good reason. Classic rock, bluesy guitars and plenty of harmonica, but with
enough youthful energy to restore your faith in the future of live music.
by enigmatic Ross Farrelly, who kept his dark sunglasses on for the entire set,
and with each member so technically gifted at their respective instruments,
they are instantly likeable and enviable in equal measure. It’s hard not to be
excited about a band in their position.
ten album, a recent support slot with Arctic Monkeys and with famous fans such
as Sir Elton John and Noel Gallagher, the Irish teenagers have achieved more
before their 18th birthdays than most will in their life.
attention is deserved. Kitted out in smart suits, their music is as sharp as
their attire. A racing 90 minute set, rarely pausing for banter or breath, saw
the band play hits from their debut album Snapshot as well as covers of The
Specials, The Ramones and a particularly raucous version of The Kingsmen’s
was their own songs that showed off their talents the best, each one performed
with a refined self-confidence and obligatory guitar solo or two.
while the 12 bar blues nature of the songs led to a similar pattern emerging, a
few of the songs did sound remarkably similar and the encore lingered a little,
the sheer musicianship was enough to carry it through.
Johnson and Roger Daltrey reveal all about their new collaborative album in the
upcoming issue of Uncut, dated April 2014 and out on Friday (February 28).
Who’s Daltrey and Johnson, who revealed last year that he is suffering from
terminal cancer, release the punchy Going Back Home on March 10 through Chess.
out Wilko’s condition,” Daltrey tells Uncut, “I just said to him, ‘You choose
the songs and I’ll have a go at singing whatever you throw at me.’ It was all
done in a real rush. But so much modern music is over-polished and this album
has a freshness. Fast, three-minute R’n’B songs. No bullshit. Just great
Roger Daltrey saying to you, ‘I’ll sing whatever you like’,” says Wilko
Johnson. “So I took advantage…”
For a review
of the album and a full interview with Johnson and Daltrey, check out the new
Uncut, out on Friday (February 28).
Rocket Man saw The Strypes on YouTube he invited the teen band from rural
Ireland over for lunch. Two weeks later, he signed them. Now they’re jamming
with Paul Weller and getting giddy with life on the road. Watch out Arctic
Monkeys, says Ruby Warrington.
God, they are young!’ the man behind me gasps. The Strypes, aka bassist Pete
O’Hanlon, drummer Evan Walsh, guitarist Josh McClorey and singer Ross Farrelly,
have just exploded on to the stage at New York’s Webster Hall, and their
reputation — as the latest must-see teen sensation — obviously precedes them.
Aged between 16 and 18, the band have attracted some pretty hefty music
industry backing in Elton John, whose management company Rocket Music signed
them after the star saw one of their videos on YouTube. As he tells it: ‘I had
them round to lunch and signed them two weeks later. I couldn’t believe the way
they looked and sounded, their age, their musicianship and what they were
them play might be a bit like watching The Inbetweeners (with better hair), but
listen to The Strypes’ music and you hear an accomplished band just hitting their
prime. Add in the fact that they write all their own songs — high-octane blues
that make reference to everyone from The Rolling Stones to Dr Feelgood and back
— and the lads become the anti-One Direction, a breath of fresh, un-Simon
Cowell-contaminated air. ‘It’s annoying that he has the power to make artfully
unintelligent music huge, and tell everyone this is what you should listen to.
Destroying music isn’t funny, OK?’ spits Pete backstage before the gig. So
they’re not exactly Cowell fans, then? Evan rolls his eyes: ‘He’s just a
w***er. It’s the manipulation of naïve young minds as well…’
except for singer Ross, still officially a schoolboy (the others quit last
summer), who overcomes his nerves by wearing a pair of shades on stage, the
lads are outspoken beyond their years. The New York gig is part of a US ‘taster
tour’ ahead of a proper go-for-it in the spring, and they’re gutted that
blizzard conditions detained them for an extra night in Toronto. ‘New York was
the place we were looking forward to the most,’ says Pete. ‘Coming into
Manhattan and seeing the skyscrapers was the most giddy we’ve been yet. I mean,
hello, Spider-Man lives here,’ he deadpans. No strangers to life on the road,
the band have been touring together since 2011 (they started out gigging around
their native Ireland in a converted disabled access van), and it’s safe to say
‘the novelty has already worn off 110 million per cent,’ says Josh, the
heart-throb with his Bobby Gillespie bob.
travelling is when you get to realise all the things you hate about the people
you hang out with,’ pipes up Evan, whose dad, Niall, tags along as ‘chaperone,
manager, ass-wiper and slap-giver-slash-amateur psychologist and mentor’,
according to Evan. And speaking of mentors, Elton John says it’s their sound —
think Arctic Monkeys via the 1960s — that puts them in another league to
typical boy bands: ‘This is their career. It’s proper music. They’re writing
their own songs and they’ll only get better, so the world is their oyster.’
they’re on a mission for mega-stardom. As Pete puts it: ‘I would definitely
take credibility over being a huge f***ing rock star, ’cos that’s bollocks
anyway.’ While Evan claims: ‘The ambition is just to do something we love, to
not be a dickhead and hopefully break even.’ No diva demands for their rider,
then? ‘We have water and Skittles. We’re trying to upgrade to crisps, but it’s
finding the space in the budget…’ And what about the groupies? Evan snorts:
‘Take a look! We’re here backstage with three middle-aged men…’ ‘It’s also kind
of perverse to think, “I’m playing for this woman and I’m going to get her
after,”’ says Pete, adopting a prim tone. ‘It’s horribly abusing your role as a
musician.’ To be fair,
it’s not exactly
the kind of music that makes teenage girls swoon. There’s no mention of any girlfriends back
home, and the Webster Hall crowd consists mainly of… more middle-aged men.
the hard-drinking rock’n’roll lifestyle: ‘If I was in a band with someone who
just turned up smashed all the time, I’d think, “What a f***ing moron,”’
says Evan. Or as Josh puts it: ‘If
the fun bit of being in a band is going out and getting pissed, just go and do
that! Don’t waste your
time being in a band…’
come from the rural Irish backwater of Cavan (population c.10,000) and have acquired
a sort of town mascot status. ‘It’s like if Cavan have a local football team,
we’re the town band,’ says Pete. ‘We always do a couple of shows in the pub at
Christmas, and it’s like, “Ahhh, the lads are back.”’
It’s the kind of
town where ‘you get pub
bands playing Thin Lizzy till the cows come home,’ says Evan, and where the
occasional trad night still sees the old folks break out the spoons.
was always in the background for the boys growing up — Evan’s dad was in a band
himself, and got his son his first drum kit aged just three. ‘In typical Irish
fashion my grandmother sold a field to get the money. It was to stop me hitting
things, like my sister’s head.’ Pete started playing guitar aged seven (‘after
watching School of Rock, I can’t lie’), and Josh when he was eight or nine.
Meanwhile, singer Ross picked up the harmonica two years ago. ‘Most of the
singers of the bands we were listening to at the time, they were playing the
harmonica,’ he explains.
anybody wants to criticise them for referencing their idols too heavily in
their song-writing: ‘Complete originality is overrated anyway. Everyone’s too
focused on being original, and everyone is s*** at the moment,’ says Pete
(currently having ‘a big The Clash moment’). ‘Whenever you come up with a song,
you have something in your head you want it to sound like,’ Evan chimes in.
‘Like The Specials: they were dressing like 1960s rude boys and doing ska
covers, and they were regarded as this new cult band’ — when, in fact, as he
points out, they were heavily influenced by other people. As Josh puts it:
‘It’s what Costello called “getting other bands wrong”.’
already met plenty of the greats — having played a ‘dream gig’ with Wilko
Johnson at Canvey Island, and shared stage space with Paul Weller (‘he was
like, “Guys, slow down!”’). As for Elton John: ‘We’ve met him a handful of
times, but mainly we just talk about the weather,’ says Josh. ‘It’s not like
he’ll pull us aside and be like, “Now, I’ve got just the nugget of advice for
you...”’ But of course he has. His words of
wisdom for his spunky new protégés? ‘Work hard and enjoy it. Carry on
writing your own songs and just enjoy the ride.’