Oct 172014
 

When Spear of Destiny played the Moorings Bar this past Saturday, it was a case of ‘they came, they saw, they conquered’ (in the words of Dod Morrison). Suzanne Kelly agrees.

Spear of Destiny (4) - Credit Julie ThompsonSpear of Destiny’s  show last year in Aberdeen was a powerful, heady affair.

This year was another triumph, and surely one of the best nights at the Moorings or any other local venue in ages. Striking new material from the new album XXXI added to the evening beautifully.

The  line-up if it needs re-stating is Kirk Brandon (guitars, vocals), Craig Adams (bass), Mike Kelly (percussion), Adrian Portas (guitar) and Steve Allan-Jones (keyboards).  If you’re touring exhaustively as they are, keeping things fresh for your audience is hard work – but they did it.

The set list was spirited away after the show by a frenzied, deliriously happy ‘Big Steve’, and alas, I can’t tell you precisely what order the music came in. I sort of just remember the overall effect of time going too quickly and overwhelmingly powerful, varied material.

Spear of Destiny (6) - Credit Julie ThompsonThe new track Sputnik was introduced by Brandon talking about the Russian satellite programme Sputnik and the monkey and dog it sent into space – the audience and Brandon were making animal noises, and it was all good fun.

Last year Brandon asked about the referendum, and took a little vote which saw the audience nearly split down the middle.

It might have been a bit soon for some to have contemplated the referendum result, and I’m glad he didn’t go there.

Sputnik, Titanium Man and Here Comes The Sun are infectious tracks from the new album; they went over beautifully.  World Service had the whole room singing.  Babylon’s Burning was covered powerfully (NB – The Ruts come to the Moorings soon), and we were left wanting more.

Apparently a review requires some negatives for balance, but I’m finding this a struggle. We didn’t get to hear everything we wanted to hear, but with a 31 year back catalogue, there was never going to be time to play all the favourites. (The only other criticism is that Kirk Brandon doesn’t seem to like BrewDog, proving that no one is perfect).  Wish I’d seen the opening act for that matter as well.

Spear of Destiny (5) - Credit Julie ThompsonIf I can’t find a bad word to say, then neither can any other person I spoke to on the night or who came forward since. Here’s what longstanding as well as new fans had to say.

Roddy Kennedy:

“Kirk’s been my hero/idol for near enough 3 decades so to have a wee chat like that with him was brilliant [note – the band could not have been more accommodating to their fans after the show – SK] I dunno if my review will be balanced, after all they are my favourite band of all time, but it’s definitely one of their best performances up here. Here Comes The Sun, The Wheel, Titanium Man and Babylon’s Burning were the stand out tracks for me and of course Liberator is always a crowd pleaser.”

Photographer Dod Morrison [who has seen god knows how many acts] :

“Yet again SOD came saw and conquered an captivated Aberdeen audience , they come back year after year and never disappoint…”

Shaun Young:

“SOD brilliant as always. great set list too, played all my favourites the new album I never listened too yet but sputnik and titanium man I think sounded great. the one that stood out was world service still sounding great so overall really enjoyed the gig and wouldn’t hesitate going to see them again. 5 times I’ve seen them now everytime’s a belter of a night.”

My friend Alex (who great  enjoyed speaking to Mike Kelly, who was most generous with his wine):

“Spear of Destiny gig – As a total newbie who has never heard any of their music I thoroughly enjoyed the gig. I’m a staunch lover of rock music and there were plenty of beats to enjoy bobbing around and stomping my feet to overlaid with some powerful vocals and catchy rhythms. Excellent performance, would see again.”

Victor Beattie:

“they were great. Mr Brandon’s voice has passed the test of time and their new material stood well with the old. The crowd seemed to enjoy it and I’d definitely go to see them again..”

A virtually unanimous thumbs up from a diverse audience.   Thank you Spear.

On a personal note.

Spear of Destiny (3) - Credit Julie ThompsonA failing on my part, which I can’t fully explain, is that I had never seen them live before last year.

Perhaps I was busy with other bands and genres; perhaps it was that I’d only moved to the UK in ’88. (Likely because I also got very jaded with the industry – I’d worked in some majors and that brings cynicism, well for me anyway).

Most likely it was that I expect far too much from live music and stuck to acts I knew to be flawless live.

Les Paul set the standard by which I would judge any guitarist; I grew up (as far as I’ve managed to grow up) by seeing him play as often as I could. I’d happily (and fairly frequently) walk out on any act that got on a stage and proved to me their music was a studio engineering feat and not a musical one. I knew SoD from albums.

No one was going to play like that live and make it gel, never mind excelling the studio work. And certainly no one was going to sing like Kirk Brandon outside of a studio. So, I never saw them live until last year. I guess I had a wasted youth after all. There’s a reason that so many people have followed them faithfully for a remarkable 31 years.

I will be back for more.

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Oct 172014
 

Jim Jones RevueA roadtrip, three gigs in 2 evenings and a spot of sightseeing  proved an exhausting but exhilarating weekend in and around Glasgow for Voice photographer Julie Thompson.

It might seem a bit of a hike to head for Glasgow for a small gig but it WAS the last ever show in Scotland for the Jim Jones Revue. Combine this with The Undertones the following evening and it made the trip even more enticing.

So, a hotel was booked – not in Glasgow but a bit out of town on the seafront in Helensburgh, just a short drive from Loch Lomond, meaning we could add a spot of sightseeing to the weekend. There was no enticement to hit the city during the day – I’m not one for shopping.

So, early Friday evening we arrive at Òran Mór, the venue for the first gig. We’re early – and hungry – so we head for the bar to grab a bite to eat, bumping into a couple of well known faces on the way in, who are also down for the gig. The food was OK, basic, but tasty and very hot. Just what was needed.

Checking the time, we have to dash for the door and head down to the basement for the support, which was partway through the first song when we arrive so it was a bit of a mad rush into the pit for some photos before heading to the bar for a drink and a listen.

John J Presley (no relation, I think) were playing – a 3 piece consisting of 2 guys (lead/guitar & drums) and a girl (keys). Mellow, bluesy music with driving guitar from the lead. Bass tones come from the keys section along with the interesting addition of a Harmonium. We actually had a long discussion – and some internet searching – with Jim Gellatly, a familiar face from the festival circuit, about what the instrument was actually called.

John J PresleyÒran Mór itself as a venue was actually pretty good. There are layers to this converted church. Food is served upstairs, where there is also a function room, there was a wedding going on somewhere and the basement was the live music spot and separate doors take you to the different spots. A very versatile place.

The popular A Play, A Pie and A Pint thing that comes to The Lemon Tree every so often, has a home here. Starting in 2004, they do lunchtime sessions and now put on 38 new plays a year.

Of course, we were here for the Jim Jones Revue. They recently announced that they were stopping recording and that this was their last tour – the ‘Last Hurrah’ tour in actual fact – so we had made a special effort to make it down for this – their last ever gig in Scotland.

By now they will have finished their tour ending back where they began, in London, but leaving a lot of disappointed fans behind.

They began their set as they meant to go on – at 100 miles an hour – blasting out their old school rock and roll like it was going out of business. We had a mad 10 mins in the pit (the length of the first 3 songs) before squeezing into the crowd to watch the rest of the gig. It was hot, sweaty and bouncy, even that early on.

Up on the stage there was a lot of thrusting guitars, splayed legs – in fact, all the moves you’d expect to see. The crowd wasn’t much different except they were thrusting their mobile phones into the air.

I spent a bit of time trying to figure out who Jim Jones reminded me of. Then it came to me – he looked a bit like Alan Rickman (except he was packing a guitar and yelling into a microphone) in Dogma. Well, it made me smile.

Not having seen Jim Jones Revue before, I was totally unfamilar with their work. I’d heard they were worth catching live and they really were. I am very glad to have had a chance to see them before the end.

Before we’d left Aberdeen my gigging partner, G, had spotted that a band we’d been wanting to catch were playing their last residency gig at Broadcast in the city centre. It was a late gig, so the timing was perfect for us. We’d decided to wait and see how we felt after Jim Jones Revue before deciding whether to head down for our second gig of the evening.

Just across the road from Òran Mór is the Botanical Gardens, where we had parked, and walking back to the car we spotted a food van. The aroma captured us as we wandered past – we were hungry again after bouncing about for a couple of hours. We didn’t have the advertised Scoobie Snack (1/4lb burger, sausage, cheese, bacon, egg & potato scone, all in a burger bun – for £3.40) but we did demolish a cheeseburger each.

Laura St JudeReplenished and re-energised we headed off down the road to Sauchiehall Street for a spot of Baby Strange, arriving shortly before their support, Laura St Jude, was due on stage.

Broadcast is a small, low ceilinged space in the basement of a bar, across the road from The Garage (where we would be the following night) and accessed via a spiral staircase. It’s pretty dark and red lit, not the best place to be with a camera and no flash but we’re always game for a challenge.

We had time for a drink and a sit down before the music began. Laura St Jude is a bonny girl – all dark hair, long eyelashes, high heels, long legs and a lovely voice. Mellow tunes strummed on her guitar, supported on lead guitar by a familar face to anyone who has seen The Amazing Snakeheads (who recently played The Lemon
Tree).

Dale Barclay is a lot more restrained (and fully clothed) here. In fact, Laura has also been known to hop up on stage with The Amazing Snakeheads for a couple of songs – as she in fact did at The Lemon Tree just a few days ago.

The mellow music is a nice break from the fast and furious pace we’d just experienced and the place gradually began to fill up as the set progressed.

We’d last heard Baby Strange from a distance at the Wickerman Festival but I’d previously seen them in Inverness at the GoNorth music festival and had been hoping to catch them again. Here we got up close and personal with them and a very bouncy crowd – literally bouncing off the ceiling at times.

Baby StrangeThey’ve been doing a residency here at Broadcast for a while – playing here regularly and building up a following at the same time. It’s an interesting concept that some Aberdeen places could think about trying. Anyway, this is their last night of residency and they went out with a bang.

It was hot and sweaty and very lively, we had great fun here and G was pleased to finally have seen Baby Strange. They have a new fan and we hope they make it to Aberdeen sometime soon.

It was pretty late (early if you prefer) by now, so we went back to the car and began the drive back to the hotel. it was mostly motorway and pretty quiet so we made good time. I seem to remember faceplanting onto the bed and being off to sleep pretty quickly.

Morning found me a bit bleary but in need of sustenance. A walk along the seafront found a hot food shop where a bacon roll was gratefully accepted. I also managed to begin my Christmas shopping on the way back. Then we went for a drive up to Loch Lomond.

Heading north along the western shore we were disappointed by the lack of places to stop. There were lots of private no access roads until we got a bit further north. Then we hit the roadworks.

I’d forgotten the road got washed away some time ago and they are still fixing it. The queue northbound was maybe a half to three quarters of an hour waiting time. When we finally got to the head of the queue, the stop/go sign man let two lots through from the north with a long gap between where both ends had to wait (moving roadwork vehicles I guess), leading to a man in a car behind getting out to remonstrate with him.

We finally got through the fairlt hefty road workings only to find about 2 cars waiting to go south. We counted around 80 waiting to go north when we went back through a little later on.

Loch LomondHeading to a hotel/pub at the tip of the Loch we had a look in – it was dead and the car park was full of signs effectively saying ‘Don’t park here unless you’re going to spend money’ which put us off.

So we decided to get lunch elsewhere.

We stopped at one point and managed to get down to the Loch shores and had a wander along the banks.

There was so much rubbish there I spent some time picking up bits of emergency tape, old batteries and other nasties to dispose of properly. Not the reason we wanted to be there. All in all we found Loch Lomond a bit of a let down.

We found some information about the Loch Sloy hydroeletric scheme (the largest conventional hydroelectric power plant in the UK, begun in 1945, completed in 1950, built partially by German prisoners of war, 21 men killed during the construction) in the Inveruglas Visitors Centre and found our lunch in Luss, before heading back to Helensburgh to change and collect the gear for our next gig.

We were heading to The Garage – handily located across the road from Broadcast, so we were familiar with the area.

Supporting tonight were Esperanza – a fast 7 piece ska band, which struck me as a strange warm up for the Undertones. However they did a sterling job, and the place was busier than might have bee expected so early on.

The UndertonesThere was some jovial banter – ‘Hey Robert, where’s your hat’ – from a crowd who were obviously familar with them.

Their bass player is a tiny female, who was only slightly taller than her bass, sporting a batman belt buckle. Later we spotted her right in the middle of the lively moshing and having a whale of a time.

Ah, The Undertones. Tunes from my teenage years. I remember my first kiss – it was a guy called Nigel who cringed whenever a certain popular The Undertones tune came on the radio. Oddly enough, this was the show opener.

They have lost the distinctive vocals of Feargal Sharkey of course, but Paul McCloone provides a lively replacement.

Post photo shoot, we joined the crowd just on the edge of the moshpit. A few songs in, the bloke in front turned around and said ‘I apologise for what I’m about to do’ and with a giant grin he launched himself into the fray gone wild as ‘I’ve Got Your Number’ began.

The encore was 5 songs long, bringing the set list to 29 songs in total – and even then people did not want it to end.

Post gig, we located a fish and chip shop for some late night supper (bumping into one of the Security folk we’d seen in the Garage). G asked her for a funny story while we were waiting for the orders – she mentioned some of the things found when they searched people on the way in; a breast pump; one guy had some condoms, to which his girlfriend said ‘why have you got them, we don’t use them…’ – and so to the car and back to the hotel for bed.

Stirling CastleWe headed home cross country on the Sunday, the last day of the Ryder Cup at Gleneagles, joining the M9 at Stirling, stopping for lunch in a lay-by close to Stirling Castle while enjoying the view, before heading finally for home.
So back to my original thought – it might seems a long way to go just for a gig, but if you plan a little, you can turn it into something so much more. Why not?

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Oct 102014
 

With thanks to Jonathan Russell.

OneWorldDoveAberdeen and District CND will be hosting a Peace and Justice Concert at the Blue Lamp on Sunday afternoon 2-5.30pm on 19th October as part of a number of events for One World Week. There will be Music, Poetry and Dance performed by local artists from Scotland, India, Nepal, Vietnam, Germany, China, Japan, Spain and South America.

One World Week aims to bring people together across the world in the cause of Peace and Justice.  The event is dedicated to all people suffering injustice worldwide.

Artists playing will be Dave Davies and friends, Colin Edwards, Nigel and Mark Lammas, Precious Few from Köln in Germany, Nabin Chhetri Nepalese poetry, Rev Dr Isaac Poobalan and Dr Amudha Poobalan Indian music,

Mukal Dahal Nepalese poetry, Fuji Toyonobu and friends  Japanese music, Colin Edwards poetry,  Minh Tri Tran Vietnamese guitar, Yoleah You Li Chinese violin, Imagine ensemble, Tommy Campbell reading Hilda Meer’s poetry / Simon Gall sings Hilda Meers followed by Simon Gall and Xavier Ortiz sing Latin- Columbian music, Nepalese Dance, Javier Dominguez and friends Flamenco and Dance.

There will be a finale of Bob Marley’s One Love and Stand up for your Rights with everyone either playing instruments dancing or singing

The event is free but donations will be welcome for the Local CND group and the World Development Movement

Please come along and join in the fun

For further information please contact Jonathan Russell

E-mail: jhamiltonrussell@hotmail.co.uk
Mobile: 0758-245-6233

Oct 102014
 

carpenter n mayBy David Innes.

Almost Blue Promotions, to the delight of main man Martin Raitt, is starting to go places.

Or at least fill them, but the one downside to this increasing popularity is that they seem to attract a small
proportion of punters there to socialise noisily rather than watch and listen to the high quality acts now prepared to travel to our city.

It’s not unique to shows in Aberdeen; it’s a growing problem everywhere, disrespectful to performers, to audience members who can behave appropriately and to promoters like Martin who work hard to bring great music to what has been, for years, a neglected geographical backwater.

Fortunately, Tim Carpenter and Fred May, with co-conspirators Matt Flinner (banjo and mandolin) and the mischievous Todd Phillips on bass, delivered more than enough scintillating, swinging bluegrass to delight those there for the right reasons on the final night of their week-long Would It Kill You To Buy A CD? tour of Scotland.

The band’s stirring set was a sublime combination of fleet-fingered instrumentals and respectful and often unique takes on material by, among others, Merle Travis, Flatt and Scruggs, Tom Paxton, The Mississippi Sheiks and Woody Guthrie.

‘When You’re Smiling’ has been recorded, re-packaged, kicked around and generally abused by performers and producers alike since Satchmo made it a standard in the 1920s, but in the hands of these maestros it was delivered with almost visible swing and jaw-dropping instrumental prowess.

Everybody and their bar band has covered a Lennon and McCartney song, but We Can Work It Out is rarely given a makeover, never mind such a wistful but energetic 22-string melodic assault. I’m sure that Tim’s guitar solo is making George Harrison smile somewhere.

The band’s great friend, fiddler Ian Patton joined them for two emotional Celtic-flavoured tunes before, charging to a finish, Neil Young’s Out On The Weekend and Bill Monroe’s Jerusalem Ridge were given loving and lively Carpenter and May treatment.

Two encores, vociferously demanded, somehow managed to bring together the diverse and divided-by-decades joys of Dire Straits and The Stanley Brothers, as these marvellous craftsmen’s versatility and interpretive abilities dazzled the 80-strong Lampie crowd, privileged to be witnessing one of the live musical events of the year.

Links:

http://www.carpenterandmay.com/
http://youtu.be/RRaCLV3qYt4
http://youtu.be/HXhoc0_KeaM
www.almostbluepromotions.com

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Oct 062014
 

Eliza and the bearWith thanks to Chuff Media.

London quintet Eliza and the Bear appear at The Lemon Tree on Thurs October 9.
Mixing the euphoric hooks of Imagine Dragons and the off kilter energy of Crystal Fighters and Grouplove, Eliza and the Bear burst onto the scene at the end of 2013 winning a legion of fans supporting Twin Atlantic and Paramore.

Their dizzying live performances have helped them build a fanatical fanbase.

This Autumn the band take their exuberant live set on the road for a twenty-date headline UK tour, culminating with one of their biggest headline shows to date at Islington’s O2 Academy on October 16th.

The band released their new EP ‘Light It Up’ on 3rd August via Mi Familia Music. Their most infectious offering to date, the elevating title track from the EP is guaranteed to set the radio airwaves ablaze this season, ladened with melodic charm and dazzling sing-a-long vocals.

‘Light It Up’ follows Eliza and the Bear’s critically lauded singles ‘It Gets Cold’ (Zane Lowe’s Radio 1 Hottest Record In The World and soundtrack to the BBC’s Sochi Winter Olympics coverage), ‘Brother’s Boat’ (championed by Fearne Cotton on Radio 1) and ‘Friends’ (which provides the backing for the Bulmers Cider summer advert).

“Light it up is about making a positive change to your way of life and when times get rough, doing something about it.” – James Kellegher

Light It Up EP Track Listing:

Light It Up
Talk
Let Us Be Young
It Gets Cold (Acoustic)

Elisa and the Bear play the following dates on their headline UK tour:

October 6th              Manchester, The Ruby Lounge
October 7th              Edinburgh, The Electric Circus
October 8th              Glasgow, King Tuts
October 9th          Aberdeen, Lemon Tree
October 10th            Dundee, Buskers
October 11th            Middlesbrough, Twisterella Festival
October 12th            Leeds, The Cockpit 2
October 14th            Birmingham O2 Academy
October 15th            Leicester, The Scholars Bar
October 16th            London, Islington O2 Academy

Links:

http://www.twitter.com/elizaandthebear
http://www.facebook.com/elizaandthebear
http://www.youtube.com/elizaandthebear
http://www.soundcloud.com/elizaandthebear

Oct 032014
 

Spear of Destiny is going to be in Aberdeen at The Moorings venue next Saturday, 11th of October.

SpeardestinypicKirk Brandon has now been leading SPEAR OF DESTINY for over 30 years. 2014 sees the release of the band’s 13th studio album ’31’ (Thirty-One).

These brand new recordings will be released on vinyl, CD and digital via kirkbrandon.com, Code7 Distribution and The Orchard Digital Platform.

To coincide with the new album’s release on September 15th, an extensive UK tour commenced on September 18th and concludes on October 19th.

Fresh from being described by NME.com as a Brilliant 80s Band, Kirk appeared on Jools Holland’s BBC Radio 2 show on Monday 22nd September where he played three of his favourite tracks, premiering two tracks from ’31′ and joining Jools’s band to cover a very special song.

Jools accurately described ’31’ (Thirty-One) as ‘possibly [Spear of Destiny’s] best album in 20 years’.

Sep 262014
 

Spear of Destiny haven’t let up these past 31 years. Released last week, XXXI/ Thirty One is their first studio album in six years. And they’ll be appearing at the Moorings soon. Suzanne Kelly reviews.

Spear of Destiny xxxi‘XXXI / Thirty one’ was pre-released to fans, and is out to the rest of the world now; details here http://www.kirkbrandon.com/ where you’ll also find a montage of the new material to listen to.

Jools Holland called it ‘possibly [Spear of Destiny’s] best album in 20 years’.

Holland is right. XXXI marks another major milestone in SoD’s continuing voyage.

Spear of Destiny are Kirk Brandon (voice, guitar), Craig Adams (bass, vocals), Adrian Portas (guitars), Mike Kelly (percussion), and Steve Allan-Jones (keyboards).

The music is beautifully written, arranged and recorded; the diversity of the material is striking. XXXI offers epic guitar and vocals as fans would expect. It’s a journey through rockabilly, melancholic dirge, ‘60s retro, uplifting anthems and still each work is instantly, unmistakably identifiable as Spear of Destiny at its finest.

When the album was being recorded, Brandon wrote on his website:

“…it promises to be a more up-tempo record than most in recent years, which can only be a good thing I think. A bit of a kick to it!” 

Here Comes The Sun is perhaps the most positive and affirming track in this collection.

Equally infectious, equally powerful is the haunting, melancholic Sputnik, which was the first track released to those who pre-ordered the album. This builds from a minimalist start featuring electronica echoing what a satellite might sound like in the depths of space to a rich crescendo. Spear’s trademarks are the blistering layers of Portas’ and Brandon’s guitars supported by Kelly’s drums and Adam’s bass, these two tracks exemplify those traits so loved by the fans.

The diversity of this collection is something to marvel at; particularly when a Marvel Comic anti-hero/villain Titanium Man is brought to life. To those of us of a certain age who remember the animated television Marvel comics Iron Man and Spider Man and their theme music, this song could have been written at the time; its 1960s/70s retro feel belongs to a golden age of comics on television.

If Marvel is planning to revive the Russian Titanium Man in one of their upcoming films in the wake of renewed East-West tensions, SoD is in pole position with this track. But it’s not quite as fun as it seems at first hearing; the music is positively fun; but in the lyrics dark roots appear.

An early album review comes from Louder than War; it’s an appropriately enthusiastic thumbs up. It aptly describes the song ‘Australian Love Song’ as ‘a rockabilly trip-out that sounds like a piss take/homage to Nick Cave’. It certainly nods to Cave’s landmark ‘Murder Ballads’ album.

Thirty one years together makes for flawless instrumentals, a unique sound, and some remarkable riffs and harmonies. The layers of vocal and guitars is transporting throughout, though notably in Here Comes The Sun, and the solo in Sputnik. Here Comes The Sun begs to be released as a single; Fascinations offers scathing social critique as it describes bullemia and other ills.

Hurry Home (which features ethereal, plaintive vocals from Heidi Berry) is a worthy addition to the band’s anti-war arsenal

Falling Down is remarkably sad (‘this is the sorry state of our lives’), angry (‘smiling idiots only want to take it away from you’), and harsh (‘the sunlight’s a happy place / but I guess you wouldn’t know’).

The instrumental section of this piece is likewise equally remorseful.

It opens with a single guitar rising and falling at the chorus (‘you could be anything in this life / but you chose every time falling down’), and after the angry part subsides, it fades away in the word ‘delusion’ sung over and over again as if in some tranquilised haze of thought. Between this and Here Comes The Sun is an entire spectrum of emotions.

Write On:

If there is any fault to be found in this latest release, it’s that the lyrics aren’t supplied in the CD; it would be good to have them laid out. As Brandon advises:

“This marks a very big moment for Spear and for myself; it marks a return to the writing process… and the writing deserves as much consideration as the instrumentals at least”

Hurry Home (which features ethereal, plaintive vocals from Heidi Berry) is a worthy addition to the band’s anti-war arsenal. In simplest terms, Hurry Home presents us with a soldier who’s not going to make it. It immediately opens with mournful guitar, and then the vocals. While all the tracks’ lyrics demand attention, these lyrics are particularly worth delving into. Brandon’s written:

“They’ll be no reveille in the morn
They’re be no sleep tonight
We haven’t talked on the phone
I ain’t lonely, but this breeze is”

The word ‘reveille’ puts us in the barracks; the sleeplessness implies worry and the unstated cause of this worry foreshadows a tragic end. The soldier’s denial of loneliness is a very lonely, heartbroken depiction of bravado.

It continues:

“Blue on blue
Afghanistan
Shot in the back
I understand”

Thinking on this seemingly simple passage for any length of time raises several questions. Is Brandon meaning our soldier was literally shot in the back, or is there an implied dig at the UK’s military?

Could this be a reference to the military continuously betraying troops by sending them on missions without the right equipment and protection, or by sending them on futile life-risking missions (the unfinished Helmand electricity project having just been criticised in the news this week)?

Is the ‘blue on blue’ line echoing the many occasions on which troops have been killed by people who infiltrated the Afghan police and armed forces only to turn on their former comrades to kill them when their guard is down?

This line isn’t likely to have been written without some meaning intended. When Brandon writes ‘I understand’ does he simply mean he believes the soldier was shot in the back – or is Brandon saying he knows what it’s like to be metaphorically shot in the back? In ten, plain, short words Kirk Brandon gives you some fairly large questions to think on – it’s a master class in poetic economy which layers several ideas in a condensed verse.

And if you’re not delving deeply into what ideas may be hidden here, then the last unambiguous lines close the story:

“No last hurrah for you
Just a stone in Arlington”

As poignant and political as Hurry Home is, Titanium Man is as playful (well, on the surface at first hearing anyway). Cry Baby Cemetery is laced with menace and Americana; a synthesizer mimics a rattlesnake as it opens, putting the listener on a dark lonely Louisiana highway at night before the song is halfway started. There really is something for everyone on this album.

The Album Live

Live music trumps studio work and always will. There are acts who put out simplistic but highly produced studio albums but who can’t get cleanly through a single song live (don’t mention the Cardigans… oops).

There are acts like the Grateful Dead which, love or loathe them, created studio albums more often than not as an afterthought to the unpredictable, whirlwind live shows built around remarkable impromptu improvisations which frenzied fans adored. And then again, there are acts which do great work in the studio and equally great if not greater live renditions, like SoD.

They proved this at the Bisley Underworld Festival as the album was launched; the new material was as equally well performed and well received as their cornerstone works such as Take Me Alive. There was also a well thought out, apt cover of Babylon’s Burning, perfect for this punk festival. Cover songs do have a time and a place* (see footnote).

Kirk & Jools

Brandon appeared on Jools Holland promoting the album last week; discussing his music, early life and influences. His choice of material played / performed in the show earns him triple points:

Robert Johnson – Love In Vain
Led Zeppelin – The Lemon Song* (see footnote)
Free Walk In My Shadow
Clash Complete Control

From the new album Holland’s show included:

SoD XXXI – Fascinations
Sod XXXI – Sputnik

Brandon and Holland’s live version of Free’s Walk In My Shadow was high voltage, good fun, and just a bit dirty. You can still access a clip from the show; catch it here.

Brandon’s rendition of Paul Rodger’s vocals were splendid (note – Paul Rodgers will perform at the Royal Albert Hall in early November to benefit Aberdeenshire’s Willows Animal Sanctuary. He and his likewise animal loving wife Cynthia are patrons of Willows. Also on that bill is the Deborah Bonham band; she has likewise donated generously to Willows and is a fellow animal lover).

Back to Brandon’s website where he’s also written:

“These are exciting times… See you on the album release tour in September! I for one cannot wait.”

The wait’s over, and if you make it to the Moorings, or one of the album playback dates (there’s a show near Glasgow on the 12th), you’ll be glad you did.

A Date With Destiny

Experience Spear at the Moorings; they return on Saturday 11 October (do hurry if you expect to get a ticket).

* Compare and Contrast – A Footnote

When Spear of Destiny performed at the Moorings last year, Miley Cyrus had just released something called ‘Wrecking ball’, which involved her straddling said wrecking ball without benefit of protective clothing, or actually any clothing at all (I’m sure it was essential for the creativity of the artist, for expressing individuality, etc. etc).

In that same year that Spear, ToH and Brandon toured and created this remarkable new album, Cyrus has brought us ‘twerking’, taken her clothes off, and has just slaughtered Zeppelin’s ‘Babe I’m Going to Leave You’. We are inexplicably in a world where the latter earns more money than the former. Then again, people will be listening to XXXI decades after anyone wants to see Miley with or without clothes.

A performer (or a stripper with a famous line dancing relative) just can’t buy an ability to write, to perform, to sing (please do not listen to the live Cyrus version of ‘Babe’ – it will stay with you for a long time for all the wrong reasons), however much money they and their team have. Apparently you can’t even get competent advisors however much money you have.

La Cyrus has explained she committed this crime to bring Led Zeppelin to a new generation. Don’t know where she’s been, but Zeppelin is deservedly everywhere. Cover songs do have their place and time; this slaughter of a classic will send banshees screaming into the night in terror. In fact people on Facebook are reporting that when she starts screaming frightened pets are hiding under beds and trembling.

It occurs to me that Van Gogh never sold a painting in his lifetime. Perhaps he should have taken his kit off. Thankfully, this particular cover version shall pass, if not soon enough.

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Sep 262014
 

carpenter n mayBy David Innes.

It’s quite a coup for local Americana promoter Martin Raitt’s Almost Blue Promotions to bring scintillating roots duo Carpenter & May to The Blue Lamp.

Attracting such a prestigious act is proof that in just over a year of existence, Almost Blue is punching above its weight and becoming the go-to outlet for PRs and promoters eager to promote their acts in NE Scotland.

The Gallowgate gig on Friday 3 October is the final date of the duo’s eagerly-anticipated eight-date Scottish tour.

Both experienced and busy musicians, Fred Carpenter and Tim May have impressive CVs, having variously worked with, among others, Emmylou Harris, Barbara Mandrell, George Strait, Patty Loveless and Charlie Daniels.

Their debut CD Carpenter & May was released four years ago and topped the Folk Radio airplay chart on its release.  It continues to delight fans, four years on. The critics were effusive in their praise…

“It is obvious by the end of the first song on this new album by Fred Carpenter and Tim May that the virtuosity expected from these two wonderful musicians is in full effect. This album is fun, powerful, and superb.” – Bluegrass Unlimited

“Anyone seeking an alternative to blazing bluegrass and slick Nashvegas sounds could find what they are looking for right here. Everything is impeccably understated and without pretension.”  – Driftwood Magazine

“It is easy to see why Fred Carpenter and Tim May have had a great deal of success beside some of the biggest names in country music. It’s time for them to step out and shine individually.” –  Sing Out!

Witnessed live, the duo has attracted fine reviews too, and not only from the critics…

“Fred Carpenter and Tim May play roots music at its best. Using guitar, fiddle, mandolin, bass, and vocals, they can mow down backyard bluegrass, tug the Celtic heartstrings, or even croon a jazz standard.” – Tim O’Brien

“Fred and Tim are a one-two punch: two virtuosos who share a passion for acoustic music from many different traditions. Both have a musical maturity and depth of phrasing that instantly complement and play off each other. From achingly beautiful ballads, through celtic airs, jigs and reels, to hot jazz and fiery bluegrass, they bless us with their talent, their vision and the generosity of spirit with which they play.” –  Kathy Mattea

The Lampie’s clientele is in for a treat, then. It promises to be one of the year’s best city gigs.

Tickets will cost £8 in advance, or £10 on the night. Advance booking here: http://tinyurl.com/ovfjrqc

Keep up to date with Almost Blue news here www.almostbluepromotions.com

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Sep 232014
 

bce14-017 Big Country will be performing songs from their classic multi-million selling album ‘Steeltown’ on Friday 3rd October at The Lemon Tree. With thanks to Dave Hill.

‘Steeltown’ is the second studio album and was recorded at ABBA’s Polar Studios in Stockholm with Steve Lillywhite producing. It was released on 19 October, 1984. Bruce Watson remembers the time very well, amid the nationwide strife back in the UK, fully in the grip of the Miners Strike:

“We started work on Steeltown back in June 1984 at Abba’s studio. We worked alongside Steve in Studio One as Tim Rice and Andrew Lloyd Webber worked on ‘Chess’ next door in Studio Two. Stockholm felt like the most expensive place on earth – it’s as if we were on a different planet to how things were back home – my Dad was a miner, so what we did was knuckle down to hard work for six weeks”.

Regarded by many as a classic, the multi-million selling Steeltown went straight to the Number 1 slot in the album charts.

The band will perform songs from the album as well as the classic hits and live favourites including

Harvest Home – Fields of Fire – In A Big Country – Chance – Wonderland –  Look Away – The Teacher

Plus many more…

Steeped in a stunning catalogue of proud and stirring hit songs such as ‘Fields of Fire’, ‘Chance’, ‘In A Big Country’ (which sold 2 million), ‘East Of Eden’ and their biggest UK hit ‘Look Away’, along with massive albums such ‘The Seer’, ‘Steeltown’, ‘Peace In Our Time’ and the triple Grammy –nominated, ‘The Crossing’, Big Country continue to look beyond the next horizon in 2014.

The band – BRUCE WATSON (guitars/vocals); MARK BRZEZICKI (drums, vocals); JAMIE WATSON (guitars/vocals) and former SIMPLE MINDS’ bassist/vocalist , DEREK FORBES – will be augmented on stage by SIMON HOUGH ex-front man for DENNY LAINE (WINGS), ERIC BELL (THIN LIZZY) etc.

For further info: www.bigcountry.co.uk

‘STEELTOWN’ 30TH ANNIVERSARY TOUR.

Friday 3rd October,
The Lemon Tree,
5 W North St,
Aberdeen,
01224 641122
www.aberdeenperformingarts.com/venues/the-lemon-tree
doors 8pm
£27.50 inc B/Fee

Sep 192014
 

Wrigley SistersThe Tarland Food and Music Day Festival is set to take place on the weekend of 26th and 27th September, offering a feast for all the senses.

The programme is extensive and it is advisable to book tickets in advance for some of the events, as they will have number restrictions.
In fact, you would be advised to stay in Tarland for the weekend, so as not to miss anything!

The weekend kicks off on the evening of Friday 26th September with a rare opportunity to hear the Wrigley Sisters, supported by Paul Anderson and some members of his extensive musical family.

Please spread the word to your friends and family. This will be a special evening, and a busy weekend.

Born and raised in the northern Scottish Orkney Islands, the twins began performing together when barely into their teens; Jennifer on fiddle, Hazel on guitar and piano. A decade or so later, their fan-base stretched around the world, built up through a hectic schedule of concert tours and festival appearances in Europe, the US, Canada, Australia, New Zealand and the Far East.

The universal audience appeal of Jennifer and Hazel Wrigley reflects both the calibre of their music, a sparkling blend of traditional, contemporary and original material, invigorated with jazz, blues and ragtime flavours – and the effervescent charm of their performances.

The Wrigley Sisters will be performing at the MacRobert Hall, the Square, Tarland, AB34 4YL on Friday 26th September, starts at 7.30pm and the admission is £12.00. The gig is licensed, and your ticket price includes some lovely nibbles.

Tickets can be booked by emailing: tarlandfoodandmusicday@gmail.com
or: s.lithgow67@btinternet.com
or can be purchased from Strachans shop in Aboyne,
or from Sheila Lithgow, Tel 013398 87367

Further info including the full programme of events here.