L e o p a r d-S k i n-P i l l-B o x-H a t

Bombay Beach (Film Review)

2012-02-03T17:48:00.000-08:00

This documentary film translates itself into a work of art and poetry. Set in an abandoned space by the Salton Sea in Southern California, it captures the world of the forgotten, neglected souls who are in one way or another abandoned by society. The protagonists all strive to achieve the best they can within the world that is provided for them by this reclusive environment, with some trying to build their lives within it and others trying to escape it. One of them exclaims that life is just habit, and the film really draws this out. What one is accustomed to, eventually becomes their world.

Alma Har'el (Director) really managed to get a real sense of the characters and the lives they lead, tapping into their mindsets and making them accessible. The cinematography makes the place seem almost idyllic in it's rustic and surreal beauty, but not for a minute can we assume that this is the case. It shows the remnants of a failed American dream, that was left behind in the 1960s after tourism declined in the area. It is like the town that the world forgot about and those unable to leave it were forced to fend for themselves. Equally there is a sense of it being like a form of sanctuary, with one of the main protagonists (Cee Jay) using it as an escape from the crime he had witnessed in LA. This is both a prison and a place of freedom depending on how it is utilised.

Slab City and the Salton Sea area have often been described or viewed as 'hippie communes'. The first time I encountered the area was in the book/film Into The Wild, where the protagonist Chris McCandless sought out the communities to live a more simple and pure life. The depiction of the Salton Sea area could not have been more different through the eyes of an educated, middle class twenty year old searching for meaning and adventure. Har'el's documentary exposes the area beyond it's cliches.

On top of a wonderfully directed film, it offered a tremendous soundtrack. The original music was done by Zach Condon (lead singer of Beirut), as well as music by Beirut and Bob Dylan. I think the use of 'Moonshiner' was one of the best moments of the film. Each of the songs were used effectively, zoning out of the scene to letting the lyrics come through, which added an wonderful eery quality to this artistic masterpiece.

Trailer;

Guardian Podcast;

http://www.guardian.co.uk/film/audio/2012/feb/02/film-weekly-bombay-beach

Holy Moly & The Crackers - Semi Finalists to Play Hop Farm 2012

2012-02-02T04:54:00.000-08:00

Lauren Stone Photography ©

Thanks to everyone that voted. Holy Moly have now reached the semi final rounds and have fended off hundreds of other bands to get there. The live judging will take place on the 27th February 2012 and will be held at the 101 Club in London. They need a booming live audience so everyone should come and show their support. There will also be music from the other semi finalists so all in all it should be a great day for music.

Check out the other acts below;

http://www.supajam.com/hopfarm2012acoustic/results#.TyqEOdFtDL0.facebook

Lana Del Rey - 'Born To Die' (Review)

2012-01-30T18:48:00.000-08:00

My Rating - 3.5 / 5

The music world has collectively dragged Del Rey from a unique sensation with a sparkle in her voice to botox, 'gangster', pop fling with a generated background. Despite the constant flow of articles about the manufactured star who is scandalised by her inability to stop pouting, she has survived the initial stages of the gruelling public eye. All that was needed was that album release, which has been widely discussed and speculated about. I personally fell in love with her voice, sound and style instantly and after the release of her more polished 'Born to Die' video, I was hooked and convinced that she was the one ready to shake up the music scene in 2012. However, the album was always going to be the 'make it, or break it' moment. I very much chose to ignore the criticisms about her image as it is quite irrelevant if she is producing good music and as long as she could maintain that calibre for 12 songs it would all be ok. People would surely then just let it go....

But alas here we are an album release later and perhaps the hype has been the worst thing possible for her career. There are moments in the album of pure gold and this is mainly a result of her wonderful vocal range and experimental style, but it all falls short when the words that fall from the songs are little more than poppy love songs with very little to say. I never expected that she was going to write poetry, but for some reason there are some worryingly teenage moments on this album, which I just couldn't let go of. For example in the songs This Is What Makes Us Girls and National Anthem. In the latter there is some haphazard attempt at what I can only assume is rapping, though I would be wary to define it as such.

Despite this, there are a few songs which had that wonderful hook and draw that attracted me and many others to her in the first place. Dark Paradise is a beautiful song (another love song), which displays her voice wonderfully and despite the somewhat monotonous tone of it, I think it still holds a certain charm. Radio is another winner and perhaps one of my favourites tracks. The lyrics are simple but effective in that they seem somewhat autobiographical documenting her change from a youtube nobody to the centre of all musical debate.

Ultimately I am disappointed but with the amount of attention she was given before she had even released an album, it is what one would expect. It isn't the strongest debut but when she's good, she really does get it right and I would love if this came through as a consistent factor in the album. More than the music, it's the lyrics that grate on me, though I refuse to fault her voice, with or without a poor Saturday Night Live performance. Perhaps it's a grower and if so then i'm sure that she will remain on centre stage long enough to release a second, more developed album.

Lana Del Rey - Radio

Neil Young & Crazy Horse Return

2012-01-25T17:49:00.000-08:00

The long awaited return of Young with the ultimate band set up of Crazy Horse, is set to return this year with not one, but two albums The Guardian reported today. The last time Young toured with the band was in 2003 and the double album release has already become the talk of the music world. Rolling Stone magazine have confirmed the release, and apparently after finishing up the first instalment, they have already plunged themselves into recording the second album.

Release dates are not finalised yet but the first is set to be on the scene by late spring. Hopefully a tour will follow alongside a documentary film titled 'Neil Young Journeys'. Some of Young's best music has been produced in collaboration with Crazy Horse, such as Rust Never Sleeps, After The Goldrush and not the mention the debut Everybody Knows This Is Nowhere so this is set to be an eventful year for music.

Here is a track from their last collaborative album Greendale;

Leonard Cohen - The Final Album?

2012-01-25T17:09:00.000-08:00

'Old Ideas' (UK Release Date - 30th January 2012)

How do I start a discussion on a man such as Leonard Cohen. His name itself holds so much history, stigma and association that it would be difficult to introduce him at all. He stands as an entity or symbol of the music world in its rawest form. For decades he has delivered his unhindered truth and it has emerged in many forms. With any great artist, progression and development is the key and without each of these, one cannot muster up opinion and debate. It is talk of the musician that sometimes shapes them and Cohen has moved between spoken poetry to heavily synthesised creations to get to this untouchable pedestal of musicianship, that he stands upon today.

I think that some artists, even those as established as Cohen, sometimes feel the pressure of the contemporary world of music weighing down on them. Conceding to this does not necessarily mean failing or 'selling out', but may just result in an experiment gone wrong. Luckily I think Cohen has passed this stage and as a result I expect that his album album will pull us back down to his core.

The album cover is simple but effective. It shows the 77 year old lounging carelessly on a garden chair, with his shadow cast ominously behind him. Dressed to the nines in a sharp black suit, fedora and wayfarers on a bright sunny day, the image sparks up a sense of darkness and melancholy. He has given many interviews leading up to this album release, and he is just as cryptic as ever in his responses.

The taster track released about a week ago is called 'The Darkness', which starts beautifully with intricate guitar and deep bass sounds sneaking through. He rolls in smoothly with the line 'I caught the darkness, it was drinking from your cup'. His broken in, grizzly tones are still as effective as ever as he walks over the words effortlessly. The keyboards in the background give it its Cohen jazz feel, but it's the lyrics that make the song perfect. If this is what we should expect from the album then i'm already excited. I can't help but feel I can hear a little bit of Dylan's 'Forgetful Heart' in this track, but not enough to call them similar and it is indeed his 'gift of a golden voice' that carries the individuality and uniqueness in his music.

Here's the taster track;

And The Track List;

'Going Home'
'Amen'
'Show Me the Place'
'The Darkness'
'Anyhow'
'Crazy To Love You'
'Come Healing'
'Banjo'
'Lullaby'
'Different Sides'

VOTE FOR HOLY MOLY & THE CRACKERS TO PLAY HOP FARM 2012

2012-01-13T15:58:00.000-08:00

Lauren Stone Photography ©

Hello all! This is a note to anyone out there reading that the wonderful Holy Moly have entered a draw to play the wondrous Hop Farm festival 2012. The line up is always full of festive, folky cheer and this year would be a perfect opportunity to get their name on the scene. They have recently just signed with independent Newcastle based record label 'Northern Lights Music' and this would be a great way to get their musical journey on the move.

Please do vote using the link below (it should take a maximum of 3 minutes). All you have to do is register your e mail address and then give their 2 tracks the 5 stars they deserve. The link is;

http://www.supajam.com/hopfarm2012acoustic/entry/Holy-Moly-and-the-Crackers#.TxBuKGwGjOo.facebook

Enjoy some of their music in the mean time!

Josh T. Pearson - 'Last of The Country Gentleman'

2012-01-11T17:30:00.000-08:00

I stumbled across him recently while attempting to find some new music and it's been a while since i've been pleasantly surprised by a new artist. I would describe him as a a cross between the average singer song writer, but with an added sense of depth. In my opinion he is distinctly different from the usual hollowed out acoustic tones that seem to be floating across the folk music scene. His mix of Americana and sometimes more 'indie' sound is the perfect blend and alongside this, the lyrics are beautiful. Davendra Banhart may be a good comparison, but Pearson's voice is a little smoother and often more haunting tones.

The Texas born singer left behind a short lived band experience to pursue a solo musical career, which has paid off. The album he has produced is filled with emotion and these are expressed directly through his lyrics and perhaps less obviously through his use of drawn out instrumentals and poignantly painful (in a good way) violin and classical guitar. This is brought out best in the track 'Woman, When I've Raised Hell', which is a refreshing 6 minutes and 59 seconds. He is definitely not aiming for the pop folk market with that length of song. Rather than attempting to polish off the tracks into neatly packaged 4 minute stints, Pearson allows his musical soul to run wild and does not limit himself to time frames expected on conventional album releases.

Currently signed to Mute Records, he is one to look out for in 2012. I think he will be hitting up the summer festivals comfortably and I look forward to learning more about him. At the moment we can only go by the album!

'Woman, When I've Raised Hell'

'Last of The Country Gentleman' - Track List

1. Thou Art Loosed (3:14)

2. Sweetheart I Ain't Your Christ (11:45)

3. Woman When I've Raised Hell (6:59)

4. Honeymoon's Great! Wish You Were Her (13:00)

5. Sorry With A Song (10:50)

6. Country Dumb (9:07)

7.Drive Her Out (3:32)

8. Last of The Country Gentleman (Bonus Track - 8:06)

No Direction Home Festival 2012

2012-01-08T06:34:00.000-08:00

In all honesty I have never heard of this festival and I spend hours looking through gig listings and festival line ups. It is apparently some form of spin off of the existing 'End of The Road' Festival, and they both appear to be quite similar events. From what I have found so far, each of these seems to locate a highly picturesque area as grounds for the three day event and No Direction Home is being hosted by Welbeck Abbey on the edge of Sherwood Forest. I couldn't imagine something more wonderful.

Wellbeck Abbey, Nottingham

It is supposed to be an intimate event and the line up is a carefully selected array of wonderful folk, singer songwriters and Americana, both fresh on the scene and a few underrated classics. The aim does not seem to be to compete for 'who gets the best headlining act' business that starts a whole year before festival season. It seems instead that they want to provide their listeners with music for ears and not the eyes. Their sister festival - 'End of The Road' - had a beautiful line up in 2011 and I expect that it will be something along the same vain this year. It included acts such as Beirut, Joanna Newson and Laura Marling (headliners) and these were a perfect topper to a line up of acts such as Okkervil River, Willy Mason and Kurt Vile.

Laura Marling, End of The Road Festival

Price wise it is a little cheaper than the average festival (around £105 without booking charges and £42 for camping). It is due to take place between the 8th and 10th June 2012. I'm putting No Direction Home on my festival wish list this year - not only for what I expect will be a unique and exceptional line up, but also for it's beautiful location and low key intimate atmosphere. This is how the 2012 line up is shaping up so far;

Andrew Bird Beth Jeans Houghton & The Hooves Of Destiny
David Thomas Broughton Diagrams Django Django Dirty Three
Gruff Rhys Lanterns On The Lake Liz Green Martin Carthy
Martin Simpson Moon Duo Slow Club Spectrals The Low AnthemThe Unthanks With The Brighouse & Rastrick Brass Band Veronica Falls

'Gangester' - New Take on 'Miles Davis' In Upcoming Movie

2012-01-08T05:29:00.000-08:00

Don Cheadle announced in 2010 that he was to release a film about jazz legend Miles Davis. It is to be directed by George Tillman Jr., who also directed Notorious, a biopic about rapper Notorious B.I.G, also known as 'Biggie Smalls'. Now, attempting a biopic of any kind is a questionable and difficult task. It exposes you to elements in terms of not only your talent as a director, actor or producer, but also in terms of resurrecting a past as a means of exploration and entertainment. In my opinion there have been few films about musical greats that have really been a success, such as Oliver Stone's The Doors and James Mangold's Walk The Line.

I expect that Cheadle's film will be open to the same criticism, especially with Cheadle's suggestion that he wishes to make this a 'gangster' film and not only that, it will be a cubist gangster film. Not to worry - nobody seems to know what that means but i'm sure we will find out, whether it is clear or not how they came to this somewhat peculiar decision. He believes that this is the type of story that Davis 'would have wanted to star in'. In this sense perhaps we're in for a treat. He is paying homage to the legend not through a vigour interpretation of his life story, but rather through the medium of his personality and how it shaped his life. No further details have been revealed and the film has been in the pipeline for several years now. It may be the case that it won't see the light of day for a good while yet but i'm sure everyone will be awaiting its arrival.

A Christmas Playlist

2011-12-24T12:45:00.000-08:00

Here's a selection of Christmas songs from a few of my favourite artists to get in everyone in the festive mood (this playlist does not include Mariah Carey, Wham or Slade);

Johnny Cash - I'll Be Home For Christmas

Elvis Presley - 'Blue Christmas'

Rolling Stones - 'Winter'

Joni Mitchell - 'River'

Bob Dylan - 'Must Be Santa'

Ella Fitzgerald & Louis Armstrong - 'Baby It's Cold Outside'

The Beatles - 'Christmas Time (is here again)'

Tom Waits - 'Christmas Card From A Hooker In Minneapolis'

Bruce Springsteen - 'Santa Clause Is Coming To Town'

Hope everyone has a lovely Christmas and New Year.

Chimes of Freedom - 75 Dylan Tracks Covered

2011-12-19T16:52:00.000-08:00

As i'm sure many of you are aware, to celebrate 50 years of Amnesty International, an epic 75 song album is being compiled involving over 80 artists that are to cover the songs of Bob Dylan's extensive and ongoing career. It is set for release in late January 2012 and in my opinion is one the most anticipated releases of the new year. Harking back to Dylan's 'protest song' days, which to this day he denies to be part of him or his music, the album is not only a tribute to him and his 'inadvertent' contributions to the political world of the 60s, but also sets to celebrate a cause that has become central to the notion of development and harmony in the Western world. We cannot deny that the idea of 'human rights' (no matter how vague) is a deliciously tempting and wonderfully idealistic idea that essentially has good intentions. Dylan's music is to me a novel way of congratulating the success of an organisation such as Amnesty International.

The track list has been described as 'insane' as its star studded contributing artists diversify the folk and rock melodies that have been the soundtrack of a generation. The line up include a cover by Dylan's old rival Pete Seeger who at the age of 92 shows his support for the cause and for Dylan in his cover of 'Forever Young'. He is one of the many 'big' names on this album, which also includes Billy Bragg, Patti Smith, Pete Townsend and other living legends. On the other end of the scale we have some more unlikely candidates such as Miley Cyrus, Ke$ha and My Chemical Romance. This is set to be an intensely diverse and unique album and something that should be of great interest to any music lover or Dylan fan.

We have on various occasions been shown that a cover of a Dylan song can often produce some magical results, such as Jeff Buckley's version of 'Mamma You've Been On My Mind', Richie Haven's 'Tombstone Blues' from the 'I'm Not There Soundtrack' and even Adele's recent cover of 'Make You Feel My Love'. His lyrics provide a canvas that is not so blank that the artist has no guidance, but is not painting by numbers either. It is definitely something to look forward to.

In the mean time this is the track list - it will prove irresistible I assure you;

DISC 1

Raphael Saadiq - Leopard-Skin Pill-Box Hat
Patti Smith - Drifter's Escape
Rise Against - Ballad of Hollis Brown
Tom Morello The Nightwatchman - Blind Willie McTell
Pete Townshend - Corrina, Corrina
Bettye LaVette - Most of the Time
Charlie Winston - This Wheel's On Fire
Diana Krall - Simple Twist of Fate
Brett Dennen - You Ain't Goin' Nowhere
Mariachi El Bronx - Love Sick
Ziggy Marley - Blowin' in the Wind
The Gaslight Anthem - Changing of the Guards
Silversun Pickups - Not Dark Yet
My Morning Jacket - You're A Big Girl Now
The Airborne Toxic Event - Boots of Spanish Leather
Sting - Girl from the North Country
Mark Knopfler - Restless Farewell

DISC 2

Queens Of The Stone Age - Outlaw Blues
Lenny Kravitz - Rainy Day Woman # 12 & 35
Steve Earle & Lucia Micarelli - One More Cup of Coffee (Valley Below)
Blake Mills - Heart Of Mine
Miley Cyrus - You're Gonna Make Me Lonesome When You Go
Billy Bragg - Lay Down Your Weary Tune
Elvis Costello - License to Kill
Angelique Kidjo - Lay, Lady, Lay
Natasha Bedingfield - Ring Them Bells
Jackson Browne - Love Minus Zero/No Limit
Joan Baez - Seven Curses (Live)
The Belle Brigade - No Time To Think
Sugarland - Tonight I'll Be Staying Here With You (Live)
Jack's Mannequin - Mr. Tambourine Man
Oren Lavie - 4th Time Around
Sussan Deyhim - All I Really Want To Do
Adele - Make You Feel My Love (Recorded Live at WXPN)

DISC 3

K'NAAN - With God On Our Side
Ximena Sariñana - I Want You
Neil Finn with Pajama Club - She Belongs to Me
Bryan Ferry - Bob Dylan's Dream
Zee Avi - Tomorrow Is A Long Time
Carly Simon - Just Like a Woman
Flogging Molly - The Times They Are A-Changin'
Fistful Of Mercy - Buckets Of Rain
Joe Perry - Man Of Peace
Bad Religion - It's All Over Now, Baby Blue
My Chemical Romance - Desolation Row (Live)
RedOne featuring Nabil Khayat - Knockin' on Heaven's Door
Paul Rodgers & Nils Lofgren - Abandoned Love
Darren Criss featuring Chuck Criss and Freelance Whales - New Morning
Cage the Elephant - The Lonesome Death of Hattie Carroll
Band of Skulls - It Ain't Me, Babe
Sinéad O'Connor - Property of Jesus
Ed Roland and The Sweet Tea Project - Shelter From The Storm
Ke$ha - Don't Think Twice, It's All Right
Kronos Quartet - Don't Think Twice, It's All Right

DISC 4

Maroon 5 - I Shall Be Released
Carolina Chocolate Drops - Political World
Seal & Jeff Beck - Like A Rolling Stone
Taj Mahal - Bob Dylan's 115th Dream
Dierks Bentley - Senor (Tales of Yankee Power) (Live)
Mick Hucknall - One Of Us Must Know (Sooner Or Later)
Thea Gilmore - I'll Remember You
State Radio - John Brown
Dave Matthews Band - All Along the Watchtower (Live)
Michael Franti - Subterranean Homesick Blues
We Are Augustines - Mama, You Been On My Mind
Lucinda Williams - Tryin' To Get To Heaven
Kris Kristofferson - Quinn The Eskimo (The Mighty Quinn)
Eric Burdon - Gotta Serve Somebody
Evan Rachel Wood - I'd Have You Anytime
Marianne Faithfull - Baby Let Me Follow You Down (Live)
Pete Seeger - Forever Young
Bob Dylan - Chimes Of Freedom

Madeleine Peyroux vs. Dylan, Waits & Cohen

2011-12-05T16:23:00.000-08:00

This woman has truly mastered the art of taking on music's greats and getting it right. This is not new news to many I am sure, but my interest was renewed in her skills after my aunt spent half an hour telling me about a radio show she was listening that had a flood of callers all phoning in with their discovery of her Tom Waits cover of '(Looking For) The Heart Of Saturday Night'. My aunt knows little about either artist but was drawn in by the debate, with fans and music lovers torn between their love of the original, which is a near perfect song by Waits, and Peyroux's flawless cover. When I heard my first Peyroux song (a cover of Bob Dylan's 'You're Gonna Make Me Lonesome When You Go') I went through a similar journey. She sailed through the song with such confidence in its transformation, I found it hard to question and after twenty minutes of playing it on loop I was forced to abandon Dylan's version forever in favour of hers. She gave the song a meaning that was missing in Dylan's rougher and somewhat heartless sounding original. Her voice brought out each word and I was hooked. I assume this is how these Waits fans were feeling.

Peyroux has said on several occasions that she loves to cover songs and this is partly because she enjoys the manipulation to make it her own. There are few that can take on artists such as Leonard Cohen, Waits and Dylan and have the end product emerge even better than it began. Cohen's 'Dace Me To The End Of Love' is unrecognisable from its original happy go lucky synth form. Peyroux's cover is almost heartbreaking but without being depressing. When she opens with Cohen's beautiful line of 'dance me to your beauty with a burning violin', the surreal image comes to life. Maybe it's her ability to inject some soul into songs that are beautifully written but sometimes lack the heart of the original artist. She has a knack for picking on gruff voices and beautiful lyrics as her playthings, but it's something that I will continue to crave more of. The combination of these musical gods and her voice/style is almost otherworldly.

Madeleine Peyroux - 'Heart of Saturday Night'

Kerouac's 'Lost' Novel & 'On The Road's' 50th Birthday

2011-12-02T12:19:00.000-08:00

'On The Road' celebrated its 50th Birthday this year. There were book readings, documentaries, speakers, university tributes. Kerouac left his mark on society in a way that could never have been foreseen by the struggling Beat writers of the 50s and 60s. His mad adventures with Neal Cassidy and Ginsberg not only made for a great story, but also conjured up an irresistibly tempting image that writers to this day replicate (whether they wish to admit this or not). I won't lie by saying that I think that this is the best piece of literature ever written, though I cannot deny it's impact. His works such as 'The Dharma Bums' and 'The Subterraneans' are by far more superior pieces of work, as well as his anthology of 'Scattered Poems', published by the same house that agreed to publish Ginsberg's 'Howl'. Years later emerges another little piece of unpublished and newly discovered writing, which was revealed in 2009. It was a 158 page novel entitled 'The Sea Is My Brother'.

Written at the age of 20, this is clearly the work of a novice and is still relatively underdeveloped in style, however, it is still a point of excitement for any Kerouac lover or even any admirer of the Beat generation. It shows the early stages of Kerouac's writing style developing, but is nowhere near the level of his later works'. It details another friendship between two men who have a sense of adventure and go around drinking and finding others like themselves amongst a world of cynics and conservatives. It is again vaguely autobiographical, but as I have already said, underdeveloped. However, despite this, there is a sense of promise of something to come, but as one critic has pointed out, had the book not been written by Kerouac, it is unlikely that it would have been published. I don't think it is of any significance whether the book is well written or not. The fact that there is still such fervour about its release, is proof of the impact of his writing and the transcendent nature of his works.

Though few people now could really appreciate hopping freight trains, struggling artists on an American adventure, or even his sense of humour in parts, we still identify it with a certain time. Many have attempted to imitate the great American adventure of 'On The Road' and it is indeed part of the whole 'find yourself' logic, but yet it cannot be replicated. BBC dedicated a whole week to American 'Road' documentaries and programmes, which reflected exactly this sentiment, but everyone wants a piece of what they had and experienced because of the legacy they have left behind. Whether the lost novel is any good or not, for a writer to survive 50 years as a hero of something is still an exciting thing to celebrate. Homage will be paid again next year with the much anticipated release of a film adaptation of 'On The Road'. We can only hope they do it justice!

Here's a link to an article by the New York times about the 50th;

http://www.nytimes.com/2007/08/15/books/15kero.html

Also for those of you that are interested here is a link to the trailer of 'Howl' that was released last year:

Sound It Out (Documentary)

2011-12-01T16:41:00.000-08:00

Film by Jeanie Finlay

An unexpectedly engaging documentary, that sets out to uncover the lives of record shop owner Tom and the colourful characters that come through the doors of the last standing establishment of its kind in Stockton. Tom is described by his colleague as a 'dealer' at one point, which is something that definitely comes across in the film. He is providing his customers with their fix and a long lasting high, which like a drug, is a hard habit to kick.

We all know about the decline of album and record sales in recent years and the loss of many independent and high street music stores, but Finlay's attempt to bring it down to a very personal level is highly effective and touching. It maps the mind of the avid music lover, who is completely consumed by the tracks that have shaped their lives and day to day existence. You feel connected to their emotional journey of collecting and buying records to build on a lifetimes 'work' and the relationship they have with the owner.

Tom comes across as a highly personable character, who makes his store a home for the musically homeless. For those who want to find their place in the world and can do this only through music, spending their monthly wages on that record they have been looking for. Not only is it a comment on the nature of 'music loving' and how inescapable it is, but also touches on some more significant issues. There is a sense of loneliness and isolation amongst the customers, many of whom seem to declare music their one true love and there is little room for anyone else. The store itself acts as a sanctuary and some of the customers comment that it is their escape.

What I liked most about the film, was that it avoided the cliche of the hipster vinyl store, where people pick up albums they never intend to listen to, but just feel they should have that copy of 'Dark Side of The Moon' hanging around their room. There something deeper at work here, and Finlay shows the spectrum of tastes, age groups, and types of people that have found something special within the store. As well as this, the customers are humorous and come across as completely real with no pretension, a word often linked with avid music collectors. Anyone who has a true appreciation of music will find this enjoyable and relatable and it is a great promotion for a return to a more personalised style of music buying.

Here's a link to the online store;

http://www.sounditoutrecords.co.uk/

Holy Moly & The Crackers at The Boogaloo

2011-12-01T07:46:00.000-08:00

28th November 2011

Promina Verma Photography ©

I'm a big fan of this 'folk' revival idea. Of course folk can never return in a really big way, as society is just so far away from that notion now that only a few can really appreciate it to its full capacity. However, I love that there are young bands really keeping the scene alive, and maintaining a lost past. For me, being only 21, I never really got to be part of that wonderful Greenwich Village, Folk City ideal that i've always longed for so I have had to find it in my own world. This band is a sure fire way of doing so. I have previously mentioned them before in my first article, and it has been about 6 months since I last saw them play and boy oh boy have things changed in that time. Their sound is sharper, purer and more prominent than I have ever heard and their ability to get everyone in the audience up on their feet and besotted is so natural and welcoming, that by the end of the night I felt as if i were in some whiskey tavern on Route 66.

The setlist too is more developed, with a wonderful mixture of their own music and covers with a refreshingly original take. My favourite was the cover of Dylan's 'Moonshiner' from Bootleg Series 1. Although Dylan's original is beautiful I love the way they manipulated it so that the gentle acoustic could be replaced by accordion and violin. They're all good friends, and I wish them lots of luck and want to help get their music out there. I think their next few gigs are up in Newcastle so if anyone is around that area look them up!

Holy Moly & The Crackers - 'London Town'

Ruth Patterson - Vocals & Violin

Rosie Bristow - Accordion

Conrad Bird - Vocals & Guitar

Ashley Etchells Butler - Percussion

https://www.facebook.com/pages/Holy-Moly-and-the-Crackersss/143251055767126

Lana Del Rey

2011-12-01T07:11:00.002-08:00

I'm probably quite late on this trend to be honest but I always am when it comes to new music. My friend introduced me to her a few weeks back when we were at work and I had to completely stop what I was doing to listen to the song she was playing me. It was one of her debut tracks - 'Blue Jeans' - which is perhaps her defining moment so far. It was pure joy to listen to and I haven't really heard a voice like hers before. It surpasses etherial, as she can bring out some deeper, earthy tones one minute and then soar high Joni Mitchell style and moment later. The track was most definitely unique and somehow managed to be very contemporary despite the fact that it had something very timeless about it. I of course had to go home an find out all about her. Her name is really Elizabeth Grant, a more humbling name than her southern belle sounding stage name (which is ironic as she is originally a New Yorker). You couldn't tell that she was only 25 from the rich, deepness and character of her voice. Even without the lyrics her voice is like a narrative and her classic but contemporary image offsets her music wonderfully.

Of course the first songs that came up when I attempted some research were 'Blue Jeans' and 'Video Games'. The latter song was released onto Youtube with a low budget video in Autumn of this year and went viral with over 6 million views. The video is simple but beautifully done and you can tell that this is definitely the beginning of something. She released her first album in 2009, which was pretty much unheard of until the release of 'Video Games' and to be frank it is a little underdeveloped. Her dulcet tones are the centrepiece but the lyrics and music are in some respects still a little bland. Her two singles on the other hand are otherworldly and a real taster for her album to be released on the 23rd January 2012, 'Born To Die'.

All critics are awaiting its arrival eagerly and her live reviews thus far have been flawless. She has a confidence on stage of a natural born star and she knows how to work her image without being a promotional machine. I see another Florence on the way! Someone to add to the list of female vocalists with a twist.

Lana Del Rey - 'Video Games' (Live At The Premises)

Lana Del Rey - 'Blue Jeans'

Wuthering Heights (Film)

2011-11-25T16:31:00.000-08:00

Oh why must people keep attempting a film adaptation of this novel. It's not only tiresome, but in my opinion, completely futile. I know I generally concentrate on music or related topics, but after watching this film I couldn't keep it in any longer. I was promised that this would be different from the others, in that it was a wildly new way of approaching the classic novel, and therefore I couldn't emerge disappointed and vexed at the attempt. This is a dangerous promise to make when it comes to this book. Both Lawrence Olivier & Ralph Fiennes have attempted the difficult, complex and enigmatic Heathcliff and their attempts have still appeared somewhat half hearted.

Well yes it was 'different' and Andrea Arnold should most definitely be given some credit for that. The Curzon magazine pinpointed that nature was as much a central character as Cathy and Heathcliff, which I expected would be a brilliant idea. The wild and unruly Yorkshire moors are terrifying and unpredictable in the novel and the scenery is by no means in the backdrop. However decentralising the storyline and key characters for the sake of beautiful cinematography is dubious territory. If I had prepared myself for a nature documentary as opposed to a classic story of love and violence perhaps I would have been satisfied.

James Howson as Heathcliff

I think the choice to render any form of dialogue from the book quite near obsolete was another strange and poor choice on Arnold's part. Without the dialogue, chemistry between any of the characters is impossible, unless the actors are truly of an outstanding calibre (which they were not). The famous soliloquies were cut in exchange for awkward moments of silence and sexualised scenes, which were non existent in the book. I do understand artistic license, but I want to question how far you can take it before you're challenging so much of it's original author and writing, that it is a completely separate work.

Kaya Scodelario as Cathy

Kaya Scodelario as the choice for the older Cathy was actually one of the best things about the adaptation, but unfortunately we didn't get to see much of her performance as Arnold's chose to concentrate primarily on their childhood. As a result it lost its darker moments and haunting aspect. I don't want to delve too deeply on the choice of actor of both the child and adult Heathcliff. Both were entirely unconvincing and the fact that Solomon Glave (young Heathcliff) had no prior acting experience was apparent. Perhaps again I generally expected too much and to me if the main characters are off key it sets the tone for the entire film. The Guardian gave it a high and might four stars, which I am still attempting to come to terms with, but if you would like a more positive outlook of the film, then here's the link to Peter Bradshaw's article.

http://www.guardian.co.uk/film/2011/nov/10/wuthering-heights-film-review

Bob Dylan & Mark Knopfler; Hammersmith Apollo

2011-11-22T15:03:00.000-08:00

20th November 2011

Walking up to the venue, I was waiting to see Dylan's named brandished in lights across the entrance, but alas I should have known better. You wouldn't have known that a musical legend was about to grace the stage in just over an hour. There was no hype but a surreal calm and two small posters carefully tucked away behind the security guards. Despite my excitement, I couldn't help but feel a little anxious about the performance. Dylan's performances in recent years have had their fair share of bad press, but this tends not to put off the 'true fans' shall we say.

What do you expect when you go and see two legends play a relatively small scale concert hall in West London? I would suggest you just go in with the intent to listen to something unexpected and not expect the world, which is exactly what I did. I have previously seen Dylan. My first attempt was Hop Farm Festival 2010. He was the final act after 2 days of scorching heat, brilliant live music from the likes of Van Morrison, Pete Doherty, Peter Green and Ray Davies. The crowd was roaring and most people probably enough out of their minds to enjoy it regardless of a good performance and unfortunately his uniquely croaky tones were lost in the sea of music lovers, who needed a more lively fix.

I decided as a Dylan fan I would give it a second chance, this time closer to home and in a place where I thought all attention would be on Dylan alone and I could really appreciate the sound. I was indeed pleasantly surprised as I didn't have particularly high expectations. Mark Knopfler as an 'opening act' was a genius move on Dylan's part. I'm not quite sure that he was an opening act at all as he had a significant set that was in my eyes pretty flawless. He hasn't lost that elusive charm in his voice and his guitar playing was magical and I didn't for a minute crave a Dire Straits number as his solo music was more than enough to completely draw me in.

Knopfler accompanied Dylan on his first three tracks and he opened with one of my favourites - 'Leopard Skin Pill Box Hat'. I of course know that it has been years since he has played a song anywhere near it's original sound, but it didn't seem to matter. His voice regained its unique sonorous tones and his presence on stage was inescapable. I barely noticed Knopfler cracking out his beautiful guitar licks as the Dylan held it completely in the opening number (of course I say this with great bias)... To me this was a perfect setlist, despite the fact that it was relatively predictable and naturally he altered the setlist for each night he played at the Apollo. My favourite performances of the night were definitely 'Highway 61 Revisited' and 'Desolation Row' and I enjoyed that he still chose to finish it up with 'Like a Rolling Stone'(of course not followed up by an encore). As always everyone was singing a completely different tune to Dylan but it didn't seem to matter much.

Though I could fault the performance I choose not to, as being in that environment with fans of every age all looking on at Dylan as if he were still the unconventionally handsome, poetic genius of his heyday was an experience in itself. Dylan has always known he could get away with anything and it seemed on this night that no matter how gruff his voice was, or how peculiarly his hat 'balances on his head, just like a mattress balances on a bottle of wine', it was of little significance. He is now more than ever beyond our judgement.

Bob Dylan - The Setlist;

Leopard-Skin-Pill-Box-Hat (with Mark Knopfler)
It's All Over Now Baby Blue (with Mark Knopfler)
Things Have Changed (with Mark Knopfler)
Tryin' To Get To Heaven
Honest With Me
Tangled Up In The Blue
Summer Days
Blind Willie McTell
Highway 61 Revisited
Desolation Row
Thunder On The Mountain
Ballad Of A Thin Man
All Along The Watchtower
Like A Rolling Stone

Mark Knopfler - The Setlist;

What It Is
Cleaning My Gun
Sailing To Philadelphia
Hill Farmer's Blues
Privateering
Song For Sonny Liston
Marbletown
Brothers In Arms
Speedway To Nazareth
So Far Away

The Rolling Stones; 'Some Girls' Remastered

2011-11-17T16:26:00.000-08:00

The 50 Year Mark Approaches

The cliche of 'sex, drugs & rock n' roll' doesn't even apply when it comes to the Stones, as they were the inventors. After forming the band in 1962, Richards and Jagger have come through a near 50 year journey riddled with drugs, music, violence, scandal and women of every age and origin and in 2011 their music still holds a firm place in world music history. Of course this is not enough for men who seem to have survived a form of apocalypse and cheated death. Despite their manic past, there is still more to come from the men that have swapped drugs for herbal tea (and the occasional bourbon).

The Stones re release of their classic 1978 album has more to offer than a re mastered sound quality. Due to be released on the 21st November 2011, it has an additional 12 tracks that have been been dug out of the archives by their producer Don Was, as well as never before seen photo shoot by the legendary Vogue photographer Helmut Newton capturing them at their peak of stardom. From start to finish the 10 songs on this album are pure beauty and what adds to this is the fact that it is probably one of the most diverse 'rock' albums to ever be released. You go from the catchy 'Miss You' with its brilliantly powerful but soft riff guiding you through and then something heavier in early classic rock style with 'When The Whip Comes Down'. It progresses with force from there on. They slow and up the tempo and genre at their own will, but yet never for a minute can you think they are anyone but the Stones! This album really captures that unique sound that has proved irresistible for generations and is the 'spokes piece' for their career.

I am awaiting its release eagerly. For now my favourite track off the album - I know it's one of those songs that everyone knows and is a 'classic' Stones track, but I suppose things become cliche for a reason;

The Rolling Stones - Beast of Burden (1978)

The Rolling Stones - Shattered (1978 - Live in Texas)

The Rum Diary (Film)

2011-11-13T09:54:00.000-08:00

Hunter S. Thompson

Such high expectations! Johnny Depp in another instalment of a Thompson classic and directed by Bruce Robinson ('Withnail & I). Perhaps that's why it didn't quite deliver in the way I was hoping. After 'Fear & Loathing' became such a cult classic, I think it would have been hard to maintain the same standard. The two books themselves are of course distinctly different, so if you've read them you would have known it wouldn't have been quite the peculiar, trippy affair of Thompson's ramblings through Vegas and the highways of America. 'The Rum Diary' is indeed a more suave and 'clean' novel and perhaps more clear cut in purpose and plot. However the beauty of the book was in some ways hidden beneath the soundtrack and imagery. The best thing about Thompson is his writing and unfortunately it didn't quite come through in the dialogue. Though there were some brilliant moments, which had you hanging for a moment or two, I just thought it didn't do the book justice.

Johnny Depp, who I normally appreciate in any capacity (other than 'The Tourist'), was a little mediocre in his performance. He was stained by his Tim Burton past and his stereotyped moments of 'crazy' could have done with some rethinking, perhaps looking back to his depiction of Thompson in 'Fear & Loathing'.

However, despite my criticisms, which are mainly because of the comparison between the book and the film, it was still an enjoyable experience. The soundtrack was mainly instrumental jazz by Chris Young, and opened with a great Dean Martin number ('Volare (Nel Blu Di Pinto Di Blu'). Patti Smith ('The Mermaid Song' ended it off, which was a nice contrast to the smoother sound that had preceded it. It was greatly entertaining but if you are a Hunter S. Thompson fan, it is probably best to try and view it with an open mind.

Dylan's Project - 'The Lost Notebooks of Hank Williams'

2011-11-11T08:55:00.000-08:00

The death of Hank Williams in 1953 at the age of 29 was perhaps the first in a string of reckless musical deaths. He became the prototype for the self destructive talented and iconic musical idol, found in his car with empty beer bottles and unfinished song lyrics after an unexpected heart failure. His legend was engrained into music culture by folk and country artists of the 60s who looked to him for lyrical inspiration. He spoke 'truths', which were simultaneously simple and complex and this touched many artists. Bob Dylan was one of them and he has always paid tribute to Williams for being a inspiration to his own work. In 1967 he was handed over a few shoeboxes full of old notebooks and scraps of paper with unfinished lyrics. For some reason he didn't gain full rights over them until 2004 and a few years on from this he began the project of reviving Williams' ghost through 'The Lost Notebooks...' album.

Originally the project appeared to be a Dylan exclusive piece, when he spoke of it in an interview in 2009. However over time it evolved into a multi artist collaborative tribute (Rolling Stone). Dylan worked closely with Jack White, who lives on the same Nashville street as Williams and has expressed his excitement about working on the project. It was officially released on the 4th October 2011 and it heralds a great line up of artists who all bring their personal gifts to the intimate album. They have used Williams' notes and song sketches to interpret the unfinished or unreleased works, maintaining both his country feel but with an added sense of history and development. The Guardian describes it as evoking 'tunes of lonesomeness, betrayal and faded love'.

On the album itself, some songs definitely stand out more than others. Jack White's cover 'You Know That I Know' is perhaps my favourite off the album, alongside Norah Jones' 'How Many Times Have You Broken My Heart?'. I think the reason they are perhaps the more prominent tracks on the album, is because their sound is traditionally quite different from the one they are attempting to achieve in Williams' songs. Whereas Alan Jackson and Lucinda Williams' interpretations are more streamlined and don't challenge the 'country song' idea much. Overall the project has been something work embarking on as it has produced something that I think is brilliantly haunting and it is a great tribute to a 'founding father' and original country poet. ]

The Track List is;

No.	Title	Artist	Length
1.	"You've Been Lonesome, Too"	Alan Jackson	3:24
2.	"The Love That Faded"	Bob Dylan	2:32
3.	"How Many Times Have You Broken My Heart?"	Norah Jones	3:33
4.	"You Know That I Know"	Jack White	3:54
5.	"I'm So Happy I Found You"	Lucinda Williams	3:54
6.	"I Hope You Shed a Million Tears"	Rodney Crowell, Vince Gill	4:01
7.	"You're Through Fooling Me"	Patty Loveless	2:06
8.	"You'll Never Again Be Mine"	Levon Helm	3:11
9.	"Blue Is My Heart"	Holly Williams	2:44
10.	"Oh, Mama, Come Home"	Jakob Dylan	2:27
11.	"Angel Mine"	Sheryl Crow	3:37
12.	"The Sermon on the Mount"	Merle Haggard	2:08

[edit]

'The Dirty Gentlemen' play at London's 'Ain't Nothin' But' (Soho)

2011-11-11T07:41:00.000-08:00

Soul, Funk, Gospel, Blues

'Ain't nothin' but' is a blues bar located in the heart of one of London's most thriving and unique areas. Though it is probably one of the more popular venues of its kind, I still think it's quite a hidden gem. It's charm lies in the fact that it doesn't try particularly hard to maintain any form of music snobbery despite its niche interest and market. I have now been there about three times and every event is different - musically, aesthetically and in terms of the crowd it draws in. This was probably one of the more superior nights and had the small space packed out from corner to corner. The bar's main draw is live music every night and the quality is generally of a high standard. The Dirty Gentleman proved that they were the best of the bunch last night.

Taken by P.R.Verma

I walked in probably half an hour into the set and the crowd was already heaving and on their toes. Not expecting much I hung out by the bar to avoid the crush for a moment and then they started up. Within seconds every person was dancing feverishly in their confined space and the band filled every inch of the room with an absolutely 'jiving' sound. Each of the seven members of the band creating brilliantly sharp and harmonious sounds. I wasn't quite sure who I wanted to pay attention to - the singer was charismatic and the saxophonists each had their own sound and the drummer was carrying a beat just slightly off tempo, that it was impossible to think of it as just part of the music.

Taken by P.R.Verma

They played a good range of both covers and their own songs and I particularly enjoyed their rendition of 'I Hear You Knocking'. From beginning to end they were brimming with energy and it was impossible to tear away from the stage. Their chemistry was magnetic and they brought a contemporary feel to the music they were playing. Each member of the band brought their own personality to the stage and the music, and I would definitely recommend them for a great night out.

Taken by P.R.Verma

Here is a list of the band members;

George Elliot- Vocals/Guitar
Phil Hughes- Vocals/Tenor and alto Sax/Harmonica
Bob Morgan- Tenor Sax
Alex White- Tenor Sax
Paul Taylor Wale- Bass
Rob Pokorny- Drums
Jon moody- Keys

The Dirty Gentlemen - 'Gangster of Love'

Chili Peppers Play Historic Knebworth

2011-11-03T07:50:00.000-07:00

Knebworth - Rock's Historic Venue

The Chili Peppers return to the stage after their sold our UK arena tour this year. After the release of their tenth studio album 'I'm With You' in January 2010, they played 4 dates in London's 02 arena, returning to their always lively and energetic form. I must say that though I am no 'die hard' fan, I still feel drawn to their chemistry and flawless live performances. Some bands are made for the studio, but the Chili Peppers have proved that they are most definitely NOT one of these band. Reminiscent of Iggy & The Stooges (a comparison i'm sure the band have heard countless times), their sound is much too powerful to be confined to a small recording space. Their true talent lies in the performance - both as a band and as individuals. Between them they spark a wave of complete mayhem within the audience and I have long craved to be one of the lucky participators in the fervour they create. So what better place than the legendary Knebworth Park.

As an avid Led Zeppelin fan, this venue to me has become their crowing glory, with very few bands able to live up to their final 1979 performance. Not to say that I place Chili Peppers on their level, but I do see them as one of the few more current bands that can really pay homage to the space and use it to its full potential. They will be joining the likes of The Allman Brothers (who played the first major concert there in 1974), Pink Floyd (1975 & 199), The Rolling Stones (1976), BB King (1981), Queen (1986) and Paul McCartney (1990). The list is of course endless and it has become a rock music pilgrimage site. It is bound to be an experience for both the band and the audience alike.

Here are a few clips of some of the greatest performances at this venue - hopefully the Chili Peppers will live up to it's charm;

Led Zeppelin - 'Black Dog' (Knebworth - 1979)

The Rolling Stones - 'Honky Tonk Women' (Knebworth - 1976)

Eric Clapton - 'Sunshine of Your Love'

Barry Feinstein & Dylan 1966

2011-11-01T10:03:00.000-07:00

Feinstein - Capturing Dylan on his 1966 tour.

On the 24th October 2011, the legendary rock photographer Barry Feinstein died age 80. Though Feinstein faded away from the music scene by the mid 70s, every obituary on the day of his death could only define him by his iconic style, which was perhaps perpetuated by the icons he shot. These included Janis Joplin, George Harrison, Eric Clapton and of course most notably Dylan on what Sean O'Hagen (Guardian Obituary), identifies as his 'controversial' 1966 tour.

Janis Joplin - 'Pearl' Album Cover

What Feinstein lacked in technical knowledge of photography, he made up in emotion. Each of the photos that came out of this tour showed the often inaccessible Dylan in a new light. He was simultaneously vulnerable and highly empowered by his new transition away from the traditional folk world. Capturing him both on stage as a performer and then in more intimate moments in his hotel or moments of interaction, Feinstein was the key to revealing the world of the complex and distant Dylan.

The photos from the tour later appeared as a collection in his book 'Real Moments' in 2008 and perhaps the most memorable of these is the shot of Dylan waiting for the Aust Ferry, which heralded the cover of Scorcese's 'No Direction Home'. Dylan had caught onto Feinstein's somewhat unpolished, natural and untrained talent in 1958, which resulted in the infamous portrait which dons the cover of 'Times They Are A-Changin''. The pictures from this shoot, as well as those captured posed/candidly on tour are very revealing of something more internal for both the photographer and his subject. I think the album shoot can be compared to the iconic 'Young Lion' photos of Jim Morrison but there is something much more personal that emerged from Feinstein's legendary work.

Here is a book review of 'Real Moments';

http://www.guardian.co.uk/books/2008/may/11/bobdylan.music

Bob Dylan Vs. Joni Mitchell

2011-10-30T16:48:00.000-07:00

Mitchell Calls Dylan A 'Plagirist'...

I came across a Guardian article today in which Joni Mitchell made the claim the Dylan was a 'plagiarist'. An interesting and somewhat weak argument as she based it on a name change from his original Robert Zimmerman to his 'stage name'. As well as this, the article outlines that she moved onto an outlandish statement, which states 'his name and voice are fake. Everything about Bob is a deception'. I am a great Mitchell fan and am a little surprised at the rather unjustified attack, which was taken from an interview in 2010.

The idea of plagiarism intrigued me in the sense that as a folk artist she put across a sense of betrayal. Similarly Joan Baez and Pete Seeger expressed their discontent when Dylan veered away from the untainted nature of folk music into the unwarranted realm of 'electric'. It was his abandonment of responsibility that seemed central to their disappointment. This does beg the question of whether any artist should limit musical development in fear of offending their listener. Mitchell herself began as a 'pure' folk artist and later began to experiment with jazz and the forbidden electric sound that got Dylan booed off stage at the Newport Folk Festival in 1965. The falsity and deception she refers to could perhaps be linked to this idea of abandonment or maybe more simply linked to musical rivalry. Dylan dared to move away from a sound that had made him iconic and he did this with little fear. He was able to leave behind a musical past in order to develop a new one and this is an intimidating vision to even an established artist.

'Poetic', 'Prophetic' - whatever Dylan has been called over the years, he has always in my opinion done exactly as he pleased. Whether this meant obscure lyrics with vivd and complex imagery or an advert for Victoria's Secret, this integrity is most definitely part of his attraction.

Here's a link to the article for anyone who would like to read it!

http://www.guardian.co.uk/music/2010/apr/23/bob-dylan-joni-mitchell

Madeleine Peyroux

2011-10-29T15:18:00.000-07:00

Madeleine Peyroux - The Favourites

I've selected a list of my favourite Peyroux tracks - for those of you that don't know much about her she's an American/French Jazz singer. I saw her live about a year ago and it was truly one of the most breathtaking performances i've ever seen. Her voice is completely pure and just sounds like it floating in perfect waves over you. She has a completely effortless sound and is my pick of the moment (again). Here's my Peyroux playlist;

1) 'Don't Pick A Fight With A Poet' (Album; Standing on The Rooftop, June 2011)

2) 'Everybody's Talkin' - Cover of the Nilsson classic (Half The Perfect World, August 2006)

3) 'Don't Wait Too Long' (Careless Love, January 2004)

4) 'You Can't Do Me' (Bare Bones, April 2009)

5) 'La vie en Rose' (Dreamland, October 1996)

6) 'Back In Your Own Back Yard' (Got You On My Mind, June 2004)

7) 'Dance Me To The End of Love' (Careless Love, January 2004)

I must say I think her cover beat Leonard Cohen's original...

http://www.youtube.com/watch?v=zXgFkhMPTIY

8) 'Don't Cry Baby (Acoustic)' (Don't Wait Too Long EP, February 2005)

Hope you enjoy them all - her voice is absolutely flawless!

Tom Waits - 'Bad As Me'

2011-10-29T12:04:00.000-07:00

Tom Waits - 'Bad As Me' (Album Review)

The 17th album in a unique and oddly soulful discography and any fan would surely call this another 'classic'. His lyrics remain youthful and at times ridiculous but this is the way we enjoy the harsh yet melodious vocals of Waits. I have few criticisms in the sense that with a history such as Waits, musical licence should not be limited and it would be true to say that he doesn't venture away from his usual style.

The first track is striking, filled with heavy instrumentals, which sometimes disguise the lyrics. However it's probably one of my favourite tracks on the album. Short and sweet but really gets it going. The rest of the album follows in the same way. The music is jerky creating an unsatisfying feeling, which falls in well with the moaning lyrics (in a positive way). He throws in a good ballad or two. Though I wouldn't compare them to the greats such as 'I Hope That I Don't Fall in Love With You' and 'Rosie', they still hit the spot. The best of these is probably 'Last Leaf' as his voice finally becomes the focal point.

He certainly has lost none of his charm in this album and for those who aren't fans I think if you started with this album you would still be privy to the wild old ways of his music. The one track that stood out for me was 'Get Lost'. It really captures the album for me. The trombone and guitar work brilliantly together and the simple but effective lyrics produce the Tom Waits essence we love.

Tom Waits - 'Get Lost' (Bad As Me)

Tom Waits - 'Chicago' (Bad As Me)

What's It All about?

2011-10-29T11:43:00.000-07:00

What's it all about?

I want to use this as a forum for exploring music in all it's forms. I truly believe in the power of live music and there is no better way to really explore the raw nature of a band and it's talents (or lack of). Over the last 3 years I have lived in somewhat of a bubble of musical bliss. Spending several nights a week just jamming out tunes with no intent or purpose with as many or as few people as possible. It was a time that I really got to appreciate how music works, not only in it's technicalities, but also in it's more pure moments. The old sixties 'jamming' notion is something that truly produces some interesting and unique things and I would like to take the opportunity to explore the outcomes of this. Johnny Cash would call out to Dylan, Joplin and Young for 'Jam Sessions' in his country cabin, where each of them would showcase their new songs and then all play harmoniously together. If it works for some of folk's greatest wonders then surely it is a successful formula for creating something truly special.

Perhaps one of the best things to come out of my experience was a band called 'Holy Moly & The Crackers'. A group of close friends who found a musical centre that demanded no authorship. It was pure enjoyment - nothing more. I have seen them develop from their rough around the edges, foot stomping, folk glory to a more polished but still naturally raw and powerful band. Composed of four wonderful people; Ruth Patterson (violin/vocals), Conrad Bird (guitar/vocals), Ashley Etchells-Butler (drums/bongos/harmonica) and Rosie Bristow (accordion), the band revives a folk tradition that exists in small pockets across the country. Sure to get any crowd up on their feet with a drink or two in their hand i provide them as an example of what it is I believe music should be about, and the themes I wish to explore in my writing.

Here are a few tasters - their myspace page has some great recordings and i've included some youtube clips. If you fancy seeing them live they're going to be playing a gig in London on the 27th - I will keep you posted with the venue;

http://www.myspace.com/holymolyandthecrackers/music

http://www.youtube.com/watch?v=47dDP4v8OaA (Woody Guthrie/John Martyn - 'Cocaine')

http://www.youtube.com/watch?v=-fzoi1xx2Ro (Jerry Garcia/Fairport Convention - 'Shady Grove')

I will attempt to use this as a space to not only bring some new bands to the forefront, but also to explore musical history in relation with my interests. This will include everything from album, concert and article reviews, to looking at more abstract parts of my favourite artists' lives!