Soldier On release their second EP, "Between The Bricks", worldwide this Monday 2nd March. Pre order your copy now.
CD:-
http://
Download: -
https://itunes.apple.com/
Saturday, 28 February 2015
Soldier On to release 'Between The Bricks' EP this Monday 2nd March
Soldier On release their second EP, "Between The Bricks", worldwide this Monday 2nd March. Pre order your copy now.
CD:-
http://
Download: -
https://itunes.apple.com/
Ray Davies to appear at Glastonbury Abbey Extravaganza 2015
Saturday 8th August 2015, 5pm
Glastonbury Festival is delighted to present the 19th Glastonbury Abbey Extravaganza starring the legendary Ray Davies.
Brum Beat on Saturday 11th July has been cancelled
"Had to cancel my first do of the year pencilled in for July 11th as didn't want to clash with another night that is happening in Birmingham on the same night.
Big thank
you to the events manager at The Hare & Hounds for being so understanding.
Will put another
night on if and when I can get another date sorted."
More Paul Weller tickets released for Scunthorpe Baths Hall show reports the Scunthorpe Telegraph
Bosses at
the Baths Hall confirmed a "small number of tickets" for the show on
Tuesday, March 17 are now on sale.
Tickets
for the Modfather sold out within three hours when they went on sale on
December 5 and pre-sale tickets sold out within 10 minutes.
The tour
sees Paul play a more varied selection of towns across the UK than the usual
run of arenas and the show at The Baths Hall is the only show he is doing in
the Humber region on this 14-date tour.
Tickets
for the show are priced £38 (booking fee may apply).
Thursday, 26 February 2015
Dennis & Mark from Nine Below Zero on BBC Radio 4 Loose Ends show this weekend
Dennis and Mark appearing on Loose Ends this weekend
Performing two songs from their Duo album.
Check it out!
Performing two songs from their Duo album.
Check it out!
‘Ring Ring’ is the debut single from British soul artist Harris Adams and is scheduled for release by Sponge Records on 28th April
The team
behind the single includes Grammy Award Winning producer Steve Sidwell,
recording engineer Haydn Bendall (Van Morrison, Kate Bush), guitarist Adam
Goldsmith (Rod Stewart, Mick Hucknall) and pianist Pete Murray (John Legend,
Joss Stone). The track also features a smoking-hot horn section led by Paul
Spong (whose punchy trumpet can be heard, among many other hits, on Mark
Ronson’s “Uptown Funk”)
It was
recorded at the world famous Air Studios, London, with vocal sessions at the
iconic Strongroom Studios in Shoreditch and mixed by Ben Lamdin at the Fish
Factory.
Listen to ‘Ring
Ring’ now via the following URL: -
Wednesday, 25 February 2015
Pete Townshend plans extensive reissue programme
Pete
Townshend has announced details of a major reissue campaign.
11 of his
solo albums will be remastered ahead of a digital release on February 23. They
will then be released on CD in stages throughout the rest of 2015 and into
2016.
The 11
digital album releases cover Who Came First, Rough Mix – his collaboration with
The Faces’ Ronnie Lane – as well as his albums Empty Glass, All The Best
Cowboys Have Chinese Eyes and the live album Deep End Live, featuring David
Gilmour.
The albums
will all be released on UMC/Universal Music are:-
Who Came
First
Rough Mix
Empty
Glass
All The
Best Cowboys Have Chinese Eyes
White City
Iron Man:
The Musical
Psychoderelict
Scoop
Another
Scoop
Scoop 3
Deep End
Live
News of
the reissues arrives soon after The Who confirmed plans to release a 7″ singles
and all studio albums on vinyl.
Meanwhile,
later this year, Townshend will premier a new orchestral version of
Quadrophenia at London’s Royal Albert Hall.
The Who
are also due to play London’s Hyde Park on June 26, 2015.
'For The Love of Mod Tokyo' by Emma-Rosa Dias - Out Now!
AVAILABLE NOW FROM AMAZON & EBAY: http://ebay.eu/1ArFNX2
Or download from Vimeo: https://vimeo.com/ondemand/31188
Dennis' Kingskerswell church hall debut - and a great excuse to visit his mum!
DENNIS Greaves is going to church — and Mark 'The Harp' is going with him. But the tunes will be secular rather than sacred when two of the nation's top blues musicians take to the stage.
Promoters
World Unlimited are behind An Acoustic Evening with Nine Below Zero's frontmen
Dennis Greaves and Mark 'The Harp' Feltham at Kingskerswell Parish Church. The
gig takes place on March 14.
And for
Dennis it's a chance to combine a date of his current live tour with a trip
home to see mum, who lives in Torbay. He said: "I have never played a gig
in a village church before. I'm really looking forward to it!"
Dennis and
Mark were founder members of rhythm and blues outfit Nine Below Zero in the
late 1970s, gigging in London's pubs and clubs and sharing bills with bands
such as The Who and Dr Feelgood.
Plenty of
TV exposure around that time included a starring role in the first episode of
The Young Ones, where they played Eleven Plus Eleven in the lounge of the flat
where the sitcom's main action took place.
Their
first album, 1980's maximum-energy Live At The Marquee, consistently makes the
higher reaches of charts of the best-loved live albums of all time.
More than
20 albums later, the band are being name-checked by a new generation of
rockers, with media favourites The Strypes the latest to acknowledge their
influence.
Now Dennis
and Mark, whose harmonica playing has seen him work with artists as diverse as
Robbie Williams, Oasis and Ocean Colour Scene, are going back to their blues
roots for a series of intimate, acoustic concerts as a duo.
These will
be the first 'old style' blues shows the pair will have performed in the 35
years they have been working together.
Covering
songs by blues legends such as Sonny Terry and Brownie McGhee, Jimmy Reed, Slim
Harpo and Leadbelly, they will also play unplugged versions of well-known Nine
Below Zero material.
Dennis
said: "We will continue to play the bigger venues with the whole band, but
Mark and I are looking forward to getting up close with audiences who, like us,
are fans of the blues.
"As
well as playing the songs, it will also be nice to talk about the artists who
inspired so many of the great British Blues Bands of the 1960s, who in turn
went on to inspire us."
The love
of the blues began at an early age for both of them. Two of Dennis' uncles were
big fans, and both had big collections of blues albums.
It was
listening to these records that encouraged Dennis to first pick up the guitar.
Mark had
an uncle in the merchant navy, who used to bring him back harmonicas from his
travels overseas.
The pair
first met in the late 1970s, during punk, when Dennis decided to form a blues
band and harmonica player Mark was recommended to him.
By an
amazing coincidence, it turned out they were not only living on the same estate
in South London, but also just 14 houses apart.
Dennis
said: "The rehearsals for the duo shows have been brilliant, some of the
best ever.
"We
are looking forward to playing this music live.
"We
will be playing all sorts of things we heard as children, real American folk
blues from the likes of Hank Williams and Sonny Terry.
"It's
the first time we've really had the guts or the confidence to go out and play
these songs this way.
"It's
a tall order too, because that stuff is very difficult to do well.
"To
see Mark perform in this environment is truly a master-class and it's a little
daunting for me, to be playing acoustic guitar.
"There's
no hiding behind the Marshall amp!"
But even
if the performance can be a little stressful, there's always a relaxing side to
a trip to South Devon for Dennis.
"I'm
looking forward to catching up with my mum!" he said. "It's a lovely
part of the world, and I'm looking forward to getting down there for a few days."
GUY
HENDERSON
The Who Are You Package
Package includes a ticket for The Who Hits 50 show at The O2 on 23rd March AND a priority entry ticket, for the price of a GA ticket, to see The Who at Barclaycard presents British Summer Time Hyde Park on 26th June. All booking fees included – combined fees cheaper than booking separately.
The O2:
• Price level 2 seated ticket
Barclaycard presents British Summer Time Hyde Park:
•Dedicated entrance for Priority Entry customers
•Entry to the event up to one hour before the gates open to General Admission customers
•Access to an extensive range of bars, food traders and toilets in the main arena
•Opportunity to stand directly in front of the Great Oak Stage if you are early enough
As Paul Weller brings his tour to Halifax, The Huddersfield Examiner asks: “Which Weller was the best Weller?”
Jam
frontman, Style Council singer and solo star Paul Weller will visit Halifax on
his March tour.
The
Modfather will perform at the Victoria Theatre on Wednesday March 18 as part of
his 14-date spring tour.
The live
tour comes just months before the release of Weller's new album, Saturn's
Pattern.
Tickets
cost £38 and can be booked online or by calling 0844 338 0000.
In honour
of Paul's visit to Halifax, we've decided to find out which Weller era was the
best.
Was it his
breakout days with punk-rockers band The Jam in the late seventies and early
eighties?
Or do you
prefer Weller's days in soulful band The Style Council?
Perhaps
your favourite tracks come from Paul Weller's solo days.
Vote in
our poll for your favourite Weller sound.
The Jam years (1976-82)
Style:
Punk rock, 1960s rock, R&B, Mod movement.
Successes:
18 consecutive top 40 hits and four number ones.
Fun fact:
The only band other than the Beatles to play two songs on one edition of Top of
the Pops.
The Style Council era (1983-89)
Style:
Soul, funk, pop, R&B.
Successes:
Number one album, seven top ten singles.
Fun fact:
Paul Weller appeared on Band Aid's Do They Know It's Christmas in 1984 — and
mimed Bono's line for the Top of the Pops performance.
Solo career (1996 (PHK: ???) -present)
Style:
Britpop, jazz, folk, pop.
Successes:
Four number one albums, five top ten singles.
Fun fact:
Weller was listed as one of the 50 best-dressed over 50s by the Guardian in
March 2013.
Which
Weller era was your favourite?
Monday, 23 February 2015
"This Is What London Fashion Shows Looked Like In The '60s" reports Stephanie Sporn of Refinery 29
Between
spontaneous make-out sessions, front-row meltdowns, and of course, Kanye,
Fashion Week and awards season always make midwinter 100 times more exciting.
In the spirit of the Oscars this Sunday, we thought we’d turn our attention to
a more humble time for awards shows: the early 1960s. On British Pathé, a
newsreel archive, we came across this video of the first-ever Sunday Times
International Fashion Awards. The event took place in 1963, and boasts all the
shift dresses and thigh-high boots one could possibly desire.
Leggy
models don Twiggy-esque eyeliner and strike poses in designs by Pierre Cardin
and Emilio Pucci. It's designer Mary Quant, however, who takes home the biggest
honor, the Sunday Times International Fashion Award for Britain. Her models
strut it out in buffalo-check apron dresses, prim pantsuits, and gold
stockings.
Watching
this makes us wish every awards show came complete with trumpeters and a
Duchess presenter (paging Kate Middleton). Check out the video via the URL below to marvel
at Quant’s creations and see how these designers ignited the iconic mod
movement: -
96.4 Eagle reports, “The Jam release charity single in aid of Woking & Sam Beare Hospices.”
A limited
edition charity single is being released on 20th February to raise money for
Woking & Sam Beare Hospices.
The song
titled 'Left, Right & Centre' was written by two members of punk rock band
the Jam. Paul Weller and Steve Brookes wrote it when they were 15 years old.
Victor
Falsetta is behind the fundraising project. He tells us what they have planned:
"We have got an after show party upstairs with a band called Coco La Funk.
"They're friends with Chris Cook who died last year in the (RideLondon-Surrey)
cycle ride. "It's going to be very emotional the whole evening, but
raising money for Woking & Same Beare Hospices is something we all like
doing."
Victor
tells us he is pleased he managed to persuade his old school friend, Paul, to
do it: "It was a surprise for me, and a relief when he said yes. "It
was something we put a lot of work in to beforehand to get the contacts."
The song
was recorded by James Stone at his studio in Kent (Dusty Attic) and has been
mixed at Paul's own studio by his engineer Charles Rees. The release has
already attracted the attention of dedicated fans all over the UK.
Victor
adds: "Paul wanted us to use an unsigned local band to record his song so
The Special Guest was the perfect choice, and Steve Brooks had just finished of
his new single so it all came together nicely."
The single
will be released in three editions; 200 on black vinyl; 50 on clear vinyl also
containing a copy of the handwritten lyrics on the cover; and 50 Deluxe copies,
which in addition to the lyrics will also include a CD with the acoustic and
live version of the Weller track.
Community
Fundraiser Wendy Denty said: "It's a brilliant project and Vic is so
relentless in his Fundraising for our Hospice at no gain to himself and for
that we are really grateful. "We simply can't thank him enough."
All editions
can be ordered from Woking Hospices' Fundraising Department on 01483 881752 or
by emailing fundraising@wsbhospices.co.uk
Prices
range from £15 to £30 and all proceeds will go directly to Woking Hospice.
The
release will take place in the 100 Club in London and will be followed by a
concert at the HG Wells suit in Woking on the 21 February, featuring The
Special Guest, The Transmitters, The Lost Boys and many more.
Jail for fraudster who swindled £170k out of historic Woking music club used by The Jam
The former
secretary of a historic Woking music venue has been jailed for masterminding a £170,000
fraud which coincided with the club's closure.
Woking
Liberal Club, formerly the Working Men's Club, was where founding members of
The Jam, Paul Weller and Steve Brookes, gave some of their earliest
performances.
Read the
full story at: -
Rhythm skills taught to budding drummers in masterclass from Paul Weller's sticksman Steve White reports the Gloucester Citizen
Stylish
drumming skills were taught to budding rhythm kings in Gloucester. Drummer
Steve White, who was Paul Weller’s sticksman for 25 years, first with the Style
Council, and was the youngest performer at Live Aid in 1985, dropped in for a
masterclass organised by city drum tutor Graham Twist.
Graham
said: “The event was an incredible success with a full house of 100 eager
drummers and their families in attendance. Steve kept everyone entertained with
his dazzling playing, anecdotes and quips about the music business, and help
and advice for not only us drummers but musicians in general. A particularly
great moment was when he invited one of my students Poppy Blake, aged nine, up
on to his drum kit to play a groove from one of her favourite Michael Jackson
songs. She received the biggest cheer of the night!”
Steve also
played with Oasis, The Who, Sir Paul McCartney and many others in rock royalty.
Sunday, 22 February 2015
'I was a zombie. I was completely out of my mind': Ray Davies on punch-ups, pills and how The Kinks nearly killed him by Johnny Rogan
Punch-ups
with his brother. Hitting his wife with a phone. Running six miles across
London to thump his agent. And the day he tried to kill himself on stage. With
unprecedented access to his family, friends and rivals, Johnny Rogan delves
deep into the dark psyche of Ray Davies, the very controlling king of The Kinks
at: -
The aristo and the spiv: the true story of the men behind the Who by The Guardian
Pop
impresarios are often the hidden power behind the biggest acts, now two films
turn spotlight on Kit Lambert and Chris Stamp.
In the
telling of rock’n’roll history, managers rarely claim centre stage. That is
about to change with a documentary about the relationship between Kit Lambert,
the aristocratic, homosexual son of the classical composer Constant Lambert,
and Chris Stamp, the son of a tugboat captain, as played out through the
creation and management of the Who.
The band
has never shied away from crediting the pair – described by singer Roger
Daltrey as “the shell of the egg” – but their role in guiding the group from
their early days as guitar-smashing mods to their peak of 70s rock indulgence
has never been examined so clearly.
The
documentary, called Lambert & Stamp, is a reminder of the energy of social
upheaval that found expression in pop music. “We were both marginalised, him in
gayness and me in my class,” Stamp, who died in 2012, tells the film’s
director, James D Cooper. “It was a powerful bond defined creatively in the
Who.”
Described
by his brother, the actor Terence Stamp, as “a rough, tough fighting spiv”, Stamp
and the Oxford-educated Lambert had sought careers in film. Lambert had already
been a cameraman on an expedition to the Amazon during which the party had been
ambushed by natives and one of their number killed.
The pair
resolved to make a film about a band in the documentary style of the French New
Wave. What they found in the Who – “four complicated, difficult guys”, Stamp
recalled – met their needs. They filmed several concerts, but later abandoned
the film and became the band’s managers. Stamp says: “We didn’t know what we
wanted, but we knew what we didn’t want. It was really about us – some mad
concoction of stuff that looked like us.”
While
Lambert encouraged the band’s destructive antics, he also provided them with
intellectual cover. Sections of Lambert & Stamp are taken from their
would-be documentary and Lambert is filmed philosophising about the era’s
“beautiful and powerful” youth.
“Nobody
knows for sure where they are going. In 20 years, these young revolutionaries
could be arch-conservatives. But not me,” he says.
As Andrew
Motion noted in his biography The Lamberts, Kit fashioned the Who so that they
would speak for their audiences’ own sexual feelings.
Lambert
later said: “They have to have a direct sexual impact. They ask a question: do
you want to or don’t you? And they don’t give their public a chance of saying
no.”
The cost
of the band’s routine destruction of their equipment – encouraged by Lambert –
necessitated new streams of income. They turned to recording and established
Track Records, the label that signed Jimi Hendrix and the Crazy World of Arthur
Brown to its roster.
Lambert
fostered Pete Townshend to become the band’s resident composer, instilling him
with confidence to reach for grander goals, among them the rock operas Tommy
and Quadrophenia. Townshend says it was Lambert who understood the band’s
audience. “You don’t give them what they want – you allow them to be,” the
guitarist says. “You don’t try to change them – you affirm them.”
Lambert
& Stamp is not the only project looking at the role of managers at the time
when the rock’n’roll business was still forming. Mojo magazine editor Pat
Gilbert, and Orian Williams, producer of the Joy Division biopic Control, are
working on a feature film of Lambert’s life that is expected to start filming
later this year. “Rock management was a new profession, and an interesting
thing for forward-thinking people to get into,” Gilbert said.
Robert
Fearnley-Whittingstall, a contemporary of Lambert’s in national service and
university, recalls that Lambert was interested in the Who from a creative
point of view. It was Lambert who suggested Daltrey’s stutter on My Generation
to mimic young fans on amphetamines. “He was a bit self-conscious standing
there in a suit, but I think he found there wasn’t such a gap between them.”
While
managers such as Elvis Presley’s Colonel Parker, the Sex Pistols’ Malcolm
McLaren or Led Zeppelin’s Peter Grant became well-known, their influence is not
always clearly acknowledged. Among the forthcoming studies is Barney Hoskyns’s
Smalltown Talk, a portrait of Albert Grossman’s creation of the Woodstock music
scene in the 60s.
Groups
tend to be a reflection of their managers, Yardbirds, T-Rex and Wham! manager
Simon Napier-Bell acknowledged to the NME in 1984: “The Beatles were really
Brian Epstein’s brushed-up, middle-class gay presentation of some pretty rough
boys, and Jagger was so fascinated by [Andrew Loog] Oldham’s campness that he
started adopting his mannerisms. The Who were of course an extension of Kit
Lambert’s manic attitude to life.”
Lambert’s
life rose and disintegrated chasing these visions. His wayward lifestyle
contributed to both him and Stamp being sidelined by the band in the mid-70s.
His London home burnt down; and his palazzo in Venice was also damaged by fire.
Clearly unfit to manage his own affairs, he was made a ward of court to escape
a prison sentence after being arrested for drug offences.
“Life was
not good,” recalled Fearnley-Whittingstall. “Everyone said he was bankrupt. He
said he was owed a lot of money from publishing. After his death [in 1981] that
was found to be so.”
Lambert
and Stamp may now begin to acquire equal standing with Epstein and the other
behind-the-scenes architects of rock and roll.
Writer Mat
Snow, currently penning a new illustrated book on the Who, said Lambert’s
self-implosion contributed to his being written out of the narrative. “The Who
were never as big as the Beatles or Stones, nor, unlike Oldham or Napier-Bell,
did Lambert write his memoirs,” he said. “Still, Townshend does not stint in
stressing how important he was as an artistic and cultural mentor, and
visionary for the group.”
Boogaloo Film, 'We Like It Like That', Salutes the Sound That 'Saved Latin Music in New York' by Judy Cantor-Navas at Billboard
For We
Like It Like That, a new documentary premiering at SXSW that vividly tells the
story of the rise and fall of boogaloo, director Mathew Ramirez Warren uses
vintage footage, album covers and concert posters to create a film that brings
the New York barrio in the early '60s alive.
The film
centers on interviews with Johnny Colon, Joe Bataan and other artists now
considered music legends, but who were pushed out of the spotlight after their
short and euphoric success by the coming of salsa.
Like other
current boogaloo fans, Warren, who is 32, discovered the music while digging
through flea-market crates.
"Here
were these songs that were half in English, they had the funky backbeat, kind a
of a soul R&B thing," says Warren, a native New Yorker and first-time
director whose background is in journalism. He supported the production of the
film with a successful Kickstarter campaign, as well as several grants.
"Growing up, to me, Latin music was kind of something foreign, from
somewhere else. Boogaloo particularly reflected for me this idea of New York
influencing the music."
The
documentary details boogaloo's rise from the streets to the clubs and the
charts, described by artists and fans in the film as a grassroots phenomenon
that gave voice to the children of Puerto Rican immigrants in East Harlem.
"In a
way boogaloo saved Latin music in New York," Warren says. "You had
these kids who were becoming more and more Americanized, who were assimilating,
because they were born and raised in New York. And at that time, in the early
'60s, most of them thought of [Latin music] as their parents' music and kind of
corny. So it took this fusion of soul music into the Latin sound to get them to
perk up their ears."
The
grooving freestyle songs performed by largely self-taught musicians with wild
hair and tight pants challenged the reign of the more buttoned-up mambo orchestras
in New York, who were identified with an elegant social elite that seemed out
of place as the youth revolution began.
"You
have to understand the cultural times which played a role," Warren notes.
"You had the Black Power movement and the Latino Power movement going
on." The boogaloo was the perfect vibe as sex and drugs became part of the
scene; it was great music for dancing stoned.
"They
were young kids charging a lot less but who seemed to be getting top billing
over people like Tito Puente," says Warren. "Prior to that there was
a process of how you would make your way as a musician, particularly in the
Latin music industry. You would become a player in a big band first, and maybe
in your 30s you could start your own band. [The boogaloo musicians] were
entirely breaking the mold."
The movie
title We Like It Like That riffs on Pete Rodriguez's "I Like it Like
That," the most enduring boogaloo track together with Joe Cuba's
"Bang, Bang." But as the film shows, many did not like it.
"I
think there was a natural resentment once they started to have success from
certain people in the industry," Warren explains. "They were like,
'You're bastardizing our sound, you're making it black.'" As the film
explains, by the '70s, boogaloo had been effectively obliterated by salsa, the
new sound that was heavily promoted by Fania Records, which took control of New
York's Latin music scene.
"There's
no denying how important salsa is and what a huge mark that's left across the
world," Warren says. "But boogaloo helped create a space for that.
Boogaloo was almost so succesful that it caused its own demise. It got these
kids listening to Latin music, and it got them to a place where they say, 'I
want to listen to music in Spanish now, I want to be truer to my roots.'"
Warren's
search for the boogaloo stars found that some, no longer able to make a living,
had left music altogether. Johnny Colon started a music school where salsa star
Marc Anthony, like other kids from the projects, studied as a child.
"It
was hard for [the artists] to appreciate what they'd done [with
boogaloo]," Warren says. "Because there was this sense in the '70s
of, 'Don't do your music in English. If you're a real Latino you're going to do
salsa music now.'"
Trips back
to the old neighborhood with Joe Bataan and Colon bring emotion as well as
historical value to the film. A postscript documenting a recent boogaloo
revival is less compelling, but odds are that after watching this movie you'll
be putting on some of those old boogaloo songs yourself. And dancing.
We Like It
Like That debuts Wednesday, March 18, at the Stateside Theater in Austin. You
can view a trailer at: -
Sharon Jones and the Dap-Kings bring soul power to the Merriam
Sharon
Jones is a dynamo. The 58-year-old soul singer danced nonstop during her
90-minute set at the Merriam Theater Friday night, commanding the stage from
the first aggressive moments of "Retreat" to the last moments of a
funked-up version of Woody Guthrie's "This Land is Your Land." Her
energy is all the more remarkable because she's a cancer survivor: In May 2013,
about to release her fifth album, Give the People What They Want, Jones was
diagnosed with pancreatic cancer, and she spent half of 2013 undergoing chemo
treatments.
She
returned to performing late in the year, and the delayed Give the People
finally came out in January 2014. It received a Grammy nomination for best
R&B album (losing to Toni Braxton & Babyface). "I may not have won
a Grammy," she said Friday night, "but I got me some Philly
love."
When Jones
testified about her cancer fight late in Friday's show, she came across as a
grateful hero, triumphant but humbled by the opportunity to be back on stage
before an audience that loves her. The former prison corrections officer
remains a fighter: In January, she had a tumor on her liver removed. Friday
night's performance, however, showed no lasting effects of her health
struggles. Jones was all boundless energy, ear-to-ear smiles, and earnest good
humor.
She
fronted the Dap-Kings - the same group, helmed by bass player Gabriel Roth and
guitarist Binky Griptite, that backed Amy Winehouse on Back to Black. The
five-piece band, plus three horns and two backing vocalists, moved through an
encyclopedic range of classic soul from the late '60s and early '70s. Nostalgia
is part of the thrill, and Jones paid tribute to Tina Turner, Gladys Knight,
James Brown, and even Shirley Bassey (with a snippet of
"Goldfinger"). During one segment, she demonstrated a catalogue of
mid-'60s dance moves - the Pony, the Swim, the Mashed Potato, the Boogaloo, the
Twist, and many others.
Although
songs like "You've Been Lonely," "Making Up and Breaking
Up," and "People Don't Get What They Deserve" are anchored in
the past, Jones and the Dap-Kings make them fully alive in the present. Jones
brought up audience members to dance with her, directed the band with a cock of
her hip or a flip of her arm, and danced and grinned constantly.
"I'm
so happy I'm alive and in Philly," she proclaimed, and that happiness was
infectious.
Saturday, 21 February 2015
Subscribe to:
Posts (Atom)
The Specials last ever filmed concert (at Coventry Cathedral) on Sky Arts at 9pm today
TONIGHT! The last-filmed concert by leading Ska-band The Specials, before the sudden and tragic passing of lead-singer Terry Hall in 2022,...
-
In 1983, the venerable British pop magazine Smash Hits (sadly no longer with us) published a feature called “The Things People Said,” in w... -
It was 60 years ago that a venue opened that truly caused a seismic shift in terms of what was on offer for the youth of Sheffield. But ...