May 012014
 

Mayday2014The Annual Aberdeen Trades Union Council (ATUC) May Day March and Rally 2014 will take place on Saturday with its theme for this year to celebrate “solidarity across borders”.

In celebrating International Workers Day, the march and rally will welcome Trade Unionists, friends, families, community activists, community organisations and local politicians to join with ATUC in a family friendly march down the whole length of Union Street to demonstrate  opposition to austerity and to show solidarity across borders.

The 2014 May Day March and Rally, on Saturday 3 May 2014, will gather at Rubislaw Terrace Gardens, Aberdeen at 11am.

Organised by Aberdeen Trades Union Council (ATUC), it will march off at 11.30am down the full length of Union Street, to a Rally in the Castlegate at 12.15 where there will be a variety of speakers, including Ian Tasker from STUC and Janice Godrich PCS Union National President, as well as local politicians and community figures.

The march will be led, once again, by the Guarama Drummers who will bring plenty of rhythm, noise and cheer to the proceedings

Alan Robertson, President of the ATUC urged union members, their families and friends, and community activists to attend the march and rally in numbers.

He said:

“Once again marchers will be able to march the whole length of Union Street so it is really important that as many trades union and community activists as possible turn out.

“Please bring your banners, flags, pendants and signs to make the march and rally as colourful as possible.”

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May 012014
 

Singer Christine Tobin, who appears at The Blue Lamp on May 22, might be crowned Vocalist of the Year by order of Parliament by the time she arrives in Gallowgate, says promoter Rob Adams.

christinetobinNewThousandKissesPhoto

Christine Tobin appears at The Blue Lamp on May 22

Dublin-born Tobin, who studied at the Guildhall School of Music, has just been shortlisted for the title, along with recent Aberdeen Jazz Festival star Zara MacFarlane and two other singers, in the Parliamentary Jazz Awards, the UK’s most prestigious recognition for jazz musicians, educators, media workers and organisations.

Nomination is open to the public but the final decisions are made by the All Party Parliamentary Jazz Appreciation Group, whose members represent both Commons and Lords and work to raise the profile of UK jazz.

The results will be announced on May 13 in a ceremony on the Commons’ Terrace Pavilion and having come close to awards for Best Musician and Best Album in previous years, Tobin, 51, is hoping that this will be third time lucky.

“It’s always nice to get recognition for your work,”

says Tobin, who won Best Vocalist at the 2008 BBC Jazz Awards and a British Composer Award for her 2012 album Sailing to Byzantium. She also won a Herald Angel at the Edinburgh Fringe last August for the show that she’s bringing to Aberdeen, A Thousand Kisses Deep, her salute to singer-songwriter Leonard Cohen.

She will be accompanied by guitarist Phil Robson, who has worked with Barbra Streisand, and double bassist Dave Whitford

A Thousand Kisses Deep is also the title of Tobin’s latest Proper Note album, launched at a sold-out concert at Ronnie Scott’s in March. It comes just in time to mark Leonard Cohen’s 80th birthday year.

“I’ve been a fan of his since I was ten,” says Tobin.

My sister had the Fill Your Head with Rock album, a diverse compilation of early 1970s music. Leonard Cohen’s ‘You Know Who I Am’ was on it and I loved it. Forty years later I still love it and I’m really looking forward to singing it at The Blue Lamp because it’s such a great, warmly-intimate venue.”

Thu May 22: Blue Lamp, 121 Gallowgate, Aberdeen 8pm 01224 641122 www.jazzatthebluelamp.com

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May 012014
 

More than half the people in Aberdeen over a certain age seem to claim they were at the Music Hall when Led Zeppelin played. That night went down in local musical history; those who were actually there still enthuse about it. The Temperance Movement’s night at the Lemon Tree on Saturday 26 April will be remembered as likewise legendary in the years to come. Suzanne Kelly reports; photographs by Julie Thomson.

TTM_Phil_Damon_Luke

The Temperance Movement. Phil, Damon, Luke – Credit: Julie Thompson.

New bands are (finally) arising from the ashes. Sliding ratings signal the decline of the anodyne TV talent show and prefabricated boy/girl bands whose members don’t have a clue as to how to play, let alone write (but who have great skin and haircuts).

Of the new, great acts coming over the horizon, The Temperance Movement must be the most promising, accessible and talented.

A sold out Lemon Tree witnessed one of the most inspired and inspiring acts that venue is going to see. Ever. Am I overstating the case? Not even slightly.*

TTM at first hearing invites some obvious comparisons with The Black Crowes, but they have learnt lessons from a  host of country, rock and punk icons. Vocal inspiration seems to be taken from diverse sources ranging from Soundgarden and Pearl Jam (rough, edgy soulful vocals), through to Pure Prairie League and Little Feat (countryesque harmonies).

There is a point in the show where an instrumental section veers towards The Grateful Dead’s unpredictable, country improvisation. Ballads evoke acts from Lynyrd Skynyrd  through to Johnny Cash and back around again to guitar-driven Zeppelin-tinted tracks. Chord structures veer from pure country and western (Chinese Lanterns) to simple old-fashioned rock (Be Lucky).

TTM have built on some solid cherry-picked foundations, adding some powerful lyrics and insights which you’d expect from a band that’d been together for decades.  The end result is music that is unique, and more than the sum of its parts.

TTMThis is kind of the Shakespearean method approach to southern rock flavoured music. Shakespeare basically worked by taking the best plots, devices, structures and literary tools (alliteration, versification and other highbrow stuff), and turned them into works people will always remember.

In their own fashion, The Temperance Movement has used the same approach to crafting their music.

When you look at a track such as ‘Chinese Lanterns’; musically it is a country track. Guitarists Luke and Paul play this sweetly, gently, but in such a way that you know it’s a brand new song belonging in 2014 more than in 1954 Nashville. As to the lyrics and their delivery; it’s a Shakespearean sonnet – simple, true, honest, and structured in such a way that’s so original and so haunting, you won’t forget it anytime soon. I think everyone on the Lemon Tree floor sang along with it.

“I took one for the team but I never played the same
They wrote my story and they asked for my name
But I knew
And I learned how to lie how to make believe
I tried for hours to pull you out of my sleeve
But I knew

“Love don’t wait around for you to catch on
Try to work it out you won’t before it’s gone
Life don’t always go the way you want it to
And I can’t wait around for you”

– The Temperance Movement
Read more at http://www.songlyrics.com/the-temperance-movement/chinese-lanterns-lyrics/#ToXFRy0QIY4u2VdF.99

Or as my companion for the show Alex put it on hearing the song for the first time tonight ‘Oh my god, I’m going to cry, that’s the f*cking saddest thing  I’ve ever heard in my life! And it’s so beautiful’. I think she bought two CDs at the end. And so did I. Mine are up for auction on Ebay, signed by the band; all proceeds to be split between Sea Shepherd and Willows Animal Sanctuary.

We didn’t get to hear ‘Serenity’, but we heard virtually everything else, including a new track (future album is eagerly awaited). ‘Be Lucky’ is one of the most upbeat tracks of the last few years; everyone loved it. I will have to find out more about how they write their lyrics.

When it comes to love songs such as ‘Chinese Lanterns’, ‘Smouldering’ and ‘Serenity’ – you’d think they could only have been penned by someone who’s been around the block more than a few times – and had a very, very tough time of it. And yet the other upbeat songs are so simple and cheery that they are equally infectious, just for different reasons.

ttm_phil_damon_nickThe upbeat side to TTM had everyone electrified. The opening track ‘Ain’t No Telling’ is an unashamed feel good song; powerful and far from the melancholia of the band’s love ballads.

A few numbers in, and they played a track where Campbell’s voice softened. ‘Smouldering’ is not a musically complex song.

But the seeming lack of complexity of so many of their pieces is what makes them so accessible, memorable and positively haunting. And you can write something that’s both simple and beautiful if you don’t know your craft well. ‘Are you still smouldering for me?’ was being sung by everyone in the place.

The band consists of brilliant guitarists Luke Potashnick and Paul Sayer; Phil Campbell on vocals (and occasional guitar); Nick Fyffe bass and percussionist (‘drummer’ doesn’t quite do it justice) Damon Wilson. Mind you, they are all vocalists as well, as you’ll appreciate when you sensibly go to see them.

The Black Crow’s Chris Robertson is clearly one inspiration and influence on vocalist Phil Campbell, but depending on whether he’s trying to cheer you up or make you think of lost loves, his delivery may invoke Kurt Cobain, Dan Fogerty, or Eddie Veder .

Other songs on the night played by the band, and sung by the entire Lemon Tree audience, included ‘Be Lucky’, ‘Only Friend’, and ‘Lovers and Fighters’. During the first encore, ‘Pride’, I am sure I saw a bunch of guys crying. When the band finally stepped to the front of the stage and took their last applause, no one wanted the night to end.

And the night didn’t end for a while. After a brief break, they came, and talked to virtually every remaining fan in the venue. They run competitions on this tour whereby fans can nominate a local drinking den to hang around in, and the winner meets the band based on the number of votes they get on social media sites.

Tonight the band talked to everyone.

It was incongruous; the same men who’d just floored the Lemon Tree were unassuming, polite, friendly and happily chatting to everyone with complete humility. I’d only like to think they left Aberdeen as happy as they’d made those of us who were there.

ttm_phil_campbellThe crowd surprised me – not because it was packed like sardines (it had been sold out), but because everywhere I turned there was either a talented local musician, or a really tough looking 6’6” guy and his mates singing love songs to each other. Men who might have looked at home at an Iron Maiden show were arm in arm singing ‘Love don’t wait around for you’ and feeling it. I’ve never seen such an atmosphere in Aberdeen before, and doubt I will again.

The songs of love, loss, redemption and, well serenity are probably the most powerful in terms of gaining audience solidarity; the funky, happy upbeat songs such as make you feel better after a TTM slow ballad has left you close to tears (but you’re never sure if they’re tears of joy or loss).

The most baffling thing about this band is how they can be such affable people off stage (they hung around for ages after the show meeting fans, talking and signing CDs, drum sticks, drum heads and set lists).

The Temperance Movement are without any doubt in my mind the new band of the decade; possibly the century. I’d go see them again in a moment, and will be checking their schedule to do just that.

*Personal note stuff:  I used to love nothing more than live music; seeing acts I loved and up upcoming bands. For a number of years I failed to find any young signed acts that caught my imagination, impressed me with their playing or lyrics, or could even perform live to a decent standard. I just stopped going gradually, and lost a lot of my passion for new music.

Then Julie played The Temperance Movement on a trip to Dundee last year.

She and other people told me that they were amazing at The Tunnels. At the first few measures, I thought ‘this is probably just another over-produced act that’s trying to be The Black Crowes’.  By the time I’d heard ‘Smouldering’ I was seriously impressed, and by the time I’d heard the full album, I was fully hooked. I had to see them live. This is the act that woke me up and got me hungry for live new music again. Cheers.

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Apr 252014
 

Patrick Duff brings his remarkable skills back to Aberdeen on 30th April, but this time with some exciting added extras. Esther Green writes.

Patrick Duff BnWPatrick Duff returns once again with Craig John Davidson as Special Guest, but this time as a collaborator in an exciting new venture – a white vinyl 7” split release single.

Because of the special connection the Bristol-based singer now has with the Granite City, The Blue Lamp has been selected for the Launch Party for the record.

2013 saw Patrick release two albums; Visions of the Underworld, now available through Rough Trade and Seven Sermons to the Dead, a record originally commissioned by Bristol City Council.

With that in mind, here are seven reasons why you ought to come along to what promises to be a fantastic night…

1) The Songs.  Patrick has an incredible body of work behind him, whilst trying out new material all the time.  He may include the occasional cover in his shows, rarely – if ever – dipping into his extensive Strangelove back-catalogue, but mainly taps the rich vein of his solo career.

2) The Stories.  He’s a man of many stories, all of them fascinating, many of them almost unbelievable and some hilarious. As well as the eloquence of Patrick’s delivery of these tales, their intensity and personal nature is something to savour.

3) The Atmosphere.  If you have ever attended one of Patrick’s concerts, you know what this is about.  The audience silence means something, an experience he often refers to “deep listening”.

4) The Special Guest.  A Fat Hippy Records favourite, Craig John Davidson’s talents are outstanding.  A great songwriter and musician in equal measure, he never fails to impress audiences with his finely-crafted guitar style.  He recently toured successfully with label-mates in Los Angeles and can be found playing various venues around Aberdeen.

5) The Single.  It’s a celebration of the friendship and musical brotherhood of its collaborators and we’re all invited. Patrick’s “Thought Birds” and Craig’s “Mr Manners” are popular live tracks among their respective fans and you will have the chance to grab a copy of this very limited edition collector’s item.

6) The Voice.  Patrick has the most beautiful singing voice – often unexpectedly courageous and cavernous, it is a soulful, pure and expressive sound.

7) The Experience.  You will never forget it.

Links and Info.

Tickets

Pre-order the single

Upcoming concerts

Patrick Duff on Facebook

Patrick Duff on Twitter

New interview with Bristol’s Artscare Records

Craig John Davidson on Facebook

Craig John Davidson on Soundcloud

Links to previous Aberdeen Voice articles about Patrick Duff

https://aberdeenvoice.com/2013/04/dandy-of-the-underworld/

https://aberdeenvoice.com/2013/09/man-downstairs-flies-high/

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Apr 182014
 

Youthful Newfoundland trad band, The Dardanelles are widely recognised as one of the best live acts in the world, says Loudon Temple of bloodygreatpr, representing the band in Scotland

The Dardanelles

Young Newfoundland trad band, The Dardanelles will be appearing at Glenbuchat Hall.

They’ll be in the NE on April 23, bringing their ‘energetic repertoire of stirring jigs, reels and ballads, delivered with an energy found more often in high-energy rock ‘n’ roll’, to Glenbuchat Hall, Upper Donside on 23 April.

Their headline show at 2013’s Celtic Connections, was regarded by many witnesses as one the festival’s highlights.

Celtic Music Radio presenter Bill Morris reviewed the performance and raved:

“They were magnificent!”

It’s what happens each time they hit the road and take their stirring repertoire to the big stage. At last year’s Folk Alliance International event in Canada, delegates all agreed they were in a league of their own following showcases to festival bookers and agents from around the world.

The Dardanelles will be one of the main visiting headliners at Shetland Folk Festival, and there is the opportunity to catch them live at one of the few add-on tour dates in Scotland.

Five strong, the band has previously impressed at major national festivals on their home turf including Winnipeg, Mariposa, and Vancouver.

You can be assured of a warm welcome at Glenbuchat where live roots music is becoming a regular feature of this delightful community hall’s entertainment programme.

www.thedardanelles.com
www.facebook.com/GlenbuchatHall
http://www.bloodygreatpr.com

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Apr 182014
 

Northside3With thanks to Anton Pell.

On April 26th at Café Drummonds, Manchester baggy legends ‘Northside’ play as part of the bands 20 year reunion tour.
The band featured on Top of the Pops and played for the BBC at Wembley even after being banned from all BBC shows due to their debut hits drug reference titled ‘Shall We Take a Trip’.

They also stole the show in a famous Elland Road, Leeds gig with happy Mondays and The LA’s.

For the first time since then, the band are back together with all four original members for a reunion tour playing all their hits from their albums ‘Chicken Rythms’ Section.

The band quickly became cult legends and featured on the front cover of NME amongst other major music magazines. They had two hits in the American billboard charts and even a number one in Canada, knocked off the top by Nirvana’s ‘Smell like teen spirit’.

The band famously split when the Happy Mondays broke Factory Records when they were at their peak.

Tickets are available from seetickets.com for all the bands tour dates.

Here’s one of their songs – one which still made the top 20 despite being banned by the BBC.

Apr 112014
 

Sheep On Fire - Sid OzalidWith thanks to Sid Ozalid.

A new anthem for Aberdeen Football Club has been launched ahead of the Dons’ Scottish cup semi final with St Johnstone.

Topically titled The Sheep Are On Fire it has been described as:

“a comedic but very groovy tune that celebrates everything that is great about Aberdeen FC”. 

To celebrate the birth of his son, Matthew, on the 21st March, just five days after the Dons lifted the League Cup, their first cup triumph in 19 years, best selling author and award winning poet, Sid Ozalid wrote a 18 verse poem about all the Dons players he has watched since the first match he attended in 1969. (AFC v Morton – Reserves)

He shared it with his friend Jim Shepherd of Jasmine Minks (Creation Records / Poptones Records / Alan McGee Signings) and the rest they say is history. Sid did have to cut it back to 3 verses, but thankfully, such lyrical gems as ‘Heid like a spud, Willo Flood’ and ‘Big Eck, Powder keg, face like a scrambled egg’ survived the edit.

When the Dons last won the League Cup in 1995, Sid was broadcasting weekly on Northsound Radio and had lots of ‘fitba’ chat with a young sports reporter called Richard Gordon. Sid had no choice but to invite him to take part in the recording.

Richard, now BBC Scotland Football Commentator, was happy to oblige and duly provided a spoof commentary which name-checks many Dons greats of the past as well as a few more recent red shirted heroes.

Sid also invited friends from other Aberdeen bands he had worked with from the 70’s, 80’s through to the present day. He likes to call them ‘The Sheep Shaggers Male Voice Choir’ and they – Fred Wilkinson (Toxik Ephex), Alan Davidson (The Kitchen Cynics), Wattie Duncan (Jasmine Minks) and Jeremy Thoms (Cathode Ray) to name a few – don’t appear to have any objections.

Sid’s only regret is that he feels he would have mustered a much larger flock had he not sent the invites out in the early hours of April 1st, but conversely, has come to the conclusion that this ploy was essential in rallying the ‘right’ kind of people for the task.

Play it loud and proud!

The Sheep are on Fire by Sid Ozalid, Jimmy Jazz, Richard ‘Fitba’ Gordon and the The Sheep Shaggers Male Voice Choir.
 https://www.youtube.com/watch?v=rhF3r4QVLo0&list=UUyPKRrSSwnYVYKIyxyQyn2A

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Apr 112014
 

By Suzanne Kelly.

alan davie 1At age 93 Alan Davie passed away peacefully on 5 April 2014.

His unique talents bridged art, music poetry and jewellery making (among other gifts); improvisation and intuition always guiding his hand.
He leaves behind a body of work which is exuberant, mystical, engaging, and compelling.

He commanded genuine affection in his friends and associates, and admiration from peers including Pollock, Rothko and Hockney.

One of Scotland’s greatest artists, Davie’s work and life merit the phrase ‘vibrant and dynamic’ overworked as that phrase may be. For decades he veritably defied the ageing process by creating images filled with joy, magic and passion.

He lived to see Tate Britain announce a show of its own collection of Davie paintings, plus items, especially jewellery, lent by the artist. This will run from mid April through September this year. The Gimpel Fils gallery in London proudly showcased his work for an amazing 64 years.

Davie’s interests in fine art and musical improvisation informed his artworks, created with the enthusiasm of a colour-loving child and a daring genius. He was an early abstract expressionist, and his work has inspired many artists since.

While many around him shied away from colour, Davie was synonymous with what was bright, beautiful, bold and powerful.

He was born in 1920 in Grangemouth; he studied painting at Edinburgh College of Art for two years, and later taught at London’s Central School of Arts and Crafts. He found artistic inspiration from the artwork of many cultures around the world; symbolism, intuition and improvisation mixed with his unrestrained love of colour and paint to create unforgettable work.

alan davie 2Gimpel Fils Gallery will have a show of his work at the end of this month. Aberdeen Voice spoke with Rene Gimpel, the great-grandson of the founder, Ernest Gimpel.

Ernest Gimpel opened his first gallery in Paris in 1883.

The gallery there ran until 1940 and after the war, reopened in 1946 in London.

Six years ago  they-established a branch of the gallery in Paris.

Rene Gimpel had this to say of his friend Alan Davie:-

“Reflecting on his death made me realise I knew him when I was a child when my parents were working with him; I knew him longer than I knew some of my family members. With Peter Gimpel’s (Rene Gimpel’s uncle) death, Alan became in a sense the leading figure for us. We would visit him in his beautiful studio and home in Hertfordshire; he was the silent leader for us – not that he was aware of the position. We were guided by when his next show was, his next project, next interview; and we assisted. There will be a real void. 

“He talked about Bach which he played every day. Piano, clarinet, cello – there were always lots of instruments lying around and lots of scores. It was different getting way from the city and one’s desk and getting out there. The highlight was the visits to the studio. Works on paper would be on the floor as well as the wall and decades’ thick oil paint covered the walls and easel. Until recently he painted every day because that’s what he did. 

“If you have a vocation you go on doing it. He would wait for our comments; he could work on 15 paintings at any one time, and he worked quickly, but at a certain stage the painting would stop. Often a work would be put away for a while and then taken out, sometimes years later, to be worked on further, or it could be completed in a few days. 

“He painted layer upon layer; he just painted on top of works – there will be masterpieces found by restorers and researchers underneath his paintings in the future. The thing about Alan when his wife Billie was alive, he would keep good records of his work; he would sometimes just hand work over to people, and he donated work to benefit auctions.”

Davie was no stranger to Aberdeen; he visited Peacock Visual Art and made a print with them.

Mark Hudson was the last interviewer to speak to Davie; he wrote:-

“His exuberant improvisatory canvases had a ruthlessness, as he painted out passages of paint other artists would have killed to have created, in pursuit of a visceral anti-perfection, a sense of mystery and ritual that made the efforts of his British peers look positively effete in comparison.” http://www.telegraph.co.uk/culture/art/art-features/10706381/The-artist-that-time-forgot.html

Hudson’s piece was called ‘The Artist that Time Forgot’. As is so often the case with the genuine genius who is ahead of their time, it is after they pass (and time passes) that their greatness becomes more fully appreciated. Davie’s work may not have received the acclaim it deeply deserved throughout much of his life, but there is no doubt that he and his work will be cherished by those who love art, now and far into the future.

We’ve lost someone very special in Alan Davie; but we still have his epic works and the example he set.

Samples of Alan Davie’s paintings such as Birth of Venus can be found on these links:

http://www.tate.org.uk/whats-on/tate-britain/display/bp-spotlight-alan-davie
http://www.gimpelfils.com/pages/exhibitions/exhibition.php?exhid=43&subsec=1
http://www.bbc.co.uk/arts/yourpaintings/artists/alan-davie-9645

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Apr 042014
 

crash silver beetles1 duncan harleyIn the May of 1960, Johnny Gentle – a pop star from the same stable as Billy Fury and Marty Wilde – was dispatched by his manager to tour the dance halls of the North-east of Scotland. Backing him were some youngsters from Liverpool. Duncan Harley writes.

Mention The Beatles in the context of Scotland and most folk will recall their 1963 tour.

It began on 3 January that year and included performances in Elgin, Dingwall and Bridge of Allan, before climaxing at Aberdeen Beach Ballroom, on 6 January, with the Fab Four seemingly being booed while on stage, following a reported ‘mixed reaction’ from the assembled
crowd.

John Lennon, Paul McCartney, George Harrison and Ringo Starr had been billed as a supporting act for the Johnny Scott Band Show, and The Beatles’ performance of mainly Buddy Holly and Ricky Nelson cover numbers seemingly suffered from a less than perfect sound system.

After being paid a reputed £45 for the Beach Ballroom gig, the Beatles went on to play to audiences all around the globe. They never returned to Aberdeen Beach Ballroom, but did play in Madison Square Gardens and Tokyo’s Nippon Budokan, among a few hundred other stadiums. However it almost never happened…

Rewind to 1960. Page four of the Inverness Courant for Wednesday 25 May included: an advert for staff wanted at Ayr Butlins Holiday Camp during the summer season; a local Elgin car dealer’s ad listing a one-owner 1957 Jaguar 2.4 saloon for sale at a “very reasonable price” – and a Northern Border Dance advert for the Beat Ballad Show.

For just five shillings, folk from Nairn, Kinloss, Lossiemouth and Elgin were encouraged to dance the night away at the Forres Town Hall, to the beat of Johnny Gentle and his supporting group, The Silver Beetles.

Fast-forward to Keith, in the present day.

Unless you have local knowledge of the town, the St Thomas Hall is a building quite easy to walk past. Erected in 1912, the hall has a fairly modest exterior, graced only by a stained-glass panel above the plain wooden door. In sharp contrast to the copper dome atop the grand St Thomas’ Chapel nearby – the hall boasts a blue slate roof, topped with a pair of rusting ventilators, and a chimney stack with two mismatched chimney pots.

However, on closer inspection, a small blue cast-iron plaque on the wall beside the entrance reveals that the hall played host to one of the earliest incarnations of possibly the most enduring band ever to tour the world stage.

The inscription reveals that on 25 May 1960, The Silver Beetles, comprising George Harrison, John Lennon, Paul McCartney, Tommy Moore and Stuart Sutcliffe, played to a packed hall – almost three years before The Beatles’ memorable 1963 tour of the North-east of Scotland.

silver beetles keith3The Silver Beetles’ 1960 Scottish tour comprised a series of performances backing the up-and-coming pop star, Johnny Gentle.

In those early days, the group toured in a battered old Austin 16 van, staying in budget hotels along the way.

The group were paid a total of £60, plus travel expenses, for the entire tour and, until an hour before the first performance, they had never even met Johnny Gentle.

London-based promoter Larry Parnes had hired an elderly Scottish pig farmer by the name of Duncan McKinnon to organise the tour, and McKinnon’s apparent lack of geographical knowledge meant that the seven gigs were aligned to maximise the travelling distance involved.

The 1960 tour started at Alloa, on 20 May, with a set comprising cover versions of popular hits including: Buddy Holly’s It Doesn’t Matter Anymore and Raining in My Heart; I Need Your Love Tonight, by Elvis Presley; Ricky Nelson’s Poor Little Fool; Clarence ‘Frogman’ Henry’s I don’t Know Why; C’mon Everybody, by Eddie Cochran, and He’ll Have to Go, by Jim Reeves. In short, there was not a Lennon and McCartney piece within hearing range.

The same set was to be repeated slavishly throughout the tour.

What’s more, George was billed as ‘Carl Harrison’; John as ‘Johnny Lennon’, and Paul went by the pseudonym of ‘Paul Ramone’. In the publicity material, even ‘The Silver Beetles’ name was largely unused, with the band being known simply as ‘Johnny Gentle and His Group’.

After Alloa, the young musicians performed at Inverness, Fraserburgh, Keith, Forres and Nairn, with a final gig at Peterhead’s nicely-named Rescue Hall. In all, they are said to have driven more than 600 miles, in an overloaded and antiquated 1950s Austin 16 van. This gruelling travel schedule, not to mention the late nights and early starts, nearly led to disaster – and a small autograph book holds the key to what happened.

In September 2004, Christie’s advertised ‘Lot 204/Sale 9919’, comprising:

“A very rare, early set of autographs, 23rd May, 1960, on five pages from an autograph book signed and inscribed during the Beatles’ first ever tour of Scotland, one page signed in blue ballpoint pen by Paul McCartney and George Harrison with their then stage names Paul Ramon and Carl Harrison and by John Lennon as Johnny Lennon, the page additionally inscribed in McCartney’s hand The Beatles, another page signed and inscribed in blue ballpoint pen love Stuart xx [Sutcliffe], additional pages signed and inscribed Thomas Moore, Drums; love Johnny Gentle; and With best wishes, Margie xx.”

On 29 September 2004, at the firm’s South Kensington premises, the autograph book fetched a healthy £5,019 at auction.

Seemingly, the Silver Beetles’ tour van, with Johnny Gentle at the wheel, had crashed into a saloon car outside the autograph book owner’s house, near Banff, while travelling from Inverness to perform at the Dalrymple Hall, Fraserburgh. According to one account, the band’s regular driver, Gerry Scott, had wanted a rest from driving and Johnny Gentle, with a sleeping Lennon by his side – both perhaps a little the worse for wear in those pre-breathalyser days – had driven straight into the rear of a Ford Popular at a crossroads on the A98.

silver beetles plaque beside the entrance of St Thomas' Hall, Keith - Credit: Duncan Harley.The journey had seemingly been punctuated by a lengthy stop at a North Aberdeenshire pig farm, arranged by tour manager Duncan McKinnon, which had involved copious amounts of bacon and eggs, washed down with copious amounts of Mackeson Stout.

The occupants of the saloon car were reportedly ‘all shook up’, but otherwise unharmed. The elderly husband and wife had been on a shopping trip to Aberdeen and, of course, could have had no idea at the time how near the accident had been to completely changing the course of British pop music forever.

The tour drummer, Tommy Moore, was not so lucky, however.

The crash impact had sent a flying guitar directly into his face and he was taken by ambulance to the local cottage hospital, having suffered two lost teeth and severe facial cuts.

According to the Christie’s sale brochure, John Lennon had asked the autograph book owner where the nearest chip shop was, before deciding to stay at the scene until the police arrived. The young pop fan then went off to buy chips for all the musicians and, on her return, Lennon told her to keep the change and the entire band signed her autograph book.

The “Margie” who signed “With best wishes, Margie xxxx”, was seemingly Marjorie Overall, Johnny Gentle’s girlfriend at the time, whose striking peroxide-mauve hair and matching tight mauve trousers must indeed have been an unusual look in the Scotland of 1960.

Following the accident, the dented, but still serviceable, van continued en-route to the Fraserburgh gig, arriving in the seaside fisher town at about 3pm, in plenty of time for the evening performance, but of course minus one drummer. The Silver Beetles would have probably managed to perform without a drummer, but the local organiser of the gig insisted that since he’d paid for a drummer, a drummer was what he wanted.

So the luckless, and by now semi-sedated, Tommy Moore was literally dragged from his hospital bed by his fellow band members and transported to the ballroom, where he was grumpily seated behind his drums and encouraged to perform. His painful, if not life-threatening injuries, plus his growing disillusionment with a life on the road, led him to wonder if his past employment in a Liverpool bottle factory might be preferable to a future with a travelling pop group.

The tour proceeded at a pace from then on, and, after performances in Keith, Forres, Nairn and Peterhead, The Silver Beetles decided to change their name to The Beatles, with reference to the ‘beat’ generation and Jack Kerouac’s On the Road. ‘Paul Ramon’ became Paul McCartney, ‘Johnny Lennon’ reverted to John Lennon, and ‘Carl Harrison’ became George Harrison.

The rest is history and even some 54 years on, the contribution to the music scene of the first real mega-group is still being felt.

To this day, many Elgin and Forres folk of a certain age will very quickly correct any visitor who dares suggest that the Beatles ever played in Keith. They will usually assert that the Keith leg of the 1963 tour was cancelled due to a blizzard and blocked roads. They will further assert that the Beatles still owe the former owner of a local hotel for bed and breakfast, and that Paul McCartney was so skint during the tour that he played at an Elgin wedding reception to earn some extra money to pay for fuel.

In truth, however, the Fab Four played to the townsfolk of Keith well before 1963 – although given that potentially serious road accident on the road to Fraserburgh, on 23 May 1960, it very nearly never happened.

First published in Aberdeen Leopard http://www.leopardmag.co.uk/blog/ © Duncan Harley 2014

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Apr 012014
 

Deborah Bonham’s new album Spirit is out, she and the band have taken to the road to promote it in the UK and Europe. Suzanne Kelly and Julie Thompson saw the show at the Green Hotel in Kinross. Photos by Julie Thompson.

Deborah Bonham  by Julie Thompson (7)There are reasons to see your favourite performers live.

For one thing you quickly separate the studio-invented acts that can’t perform live rather quickly from the dedicated artists who are musicians first. Of these, there are a small number of people who transcend their recorded music and come alive onstage.

Their lives shows are always refreshing and unique; they make every show feel new and every audience feel special. This is true of Deborah Bonham and the musicians in her band.

When I learned Deborah Bonham would be playing Kinross, I knew I had to be there. This was to be the third time I’d see her and the band. The first time I saw her was in Chichester, doing an intimate charity night for Willows and a local dogs’ charity. She shared the bill with Willows’ patron and Bad Company/Free/The Firm legend, Paul Rodgers.

Rodgers, his wife Cynthia, Deborah Bonham and her extended family, are ardent animal lovers, and the combined efforts of the performers and their families created an electric atmosphere. Paul Rodgers was brilliant, but I’d not expected the emotional rollercoaster ride Bonham gave us.

Even those who were familiar with her material, such as Lorraine Robertson and her husband from Aberdeenshire – were still struck by the emotional outpourings of Bonham’s performance. Her personal triumphs and trials inform her writing and vocals. When Bonham sang of lost loves and lost relatives, there might have been a few dry eyes in the house – but not many. The band was playing music in an industrial shed that deserved to be heard in the Albert Hall.

For my part I only had my meagre camera phone, which was not up to the task of capturing any of the performances that night; I knew I had to get Julie to photograph these people.

It would be one thing being on your best performance to impress Paul Rodgers when in a hall filled with music business professionals and your families; would she and the band be consistently on form elsewhere? Material such as ‘No Angel’ requires the strength of a Janis Joplin (Bonham evoked Joplin in the best possible way – I think she’s somehow she must be related to Plant and Joplin); how consistently well performed would or could it be?

Deborah Bonham  by Julie Thompson (3)Her ode to her family members who have passed on, The Old Hyde’ (about John Bonham’s beloved farm) got many audience members (including me) emotional that first night and at a later show in London even when I knew what was coming; how would this song translate to a fairly lengthy spell on the road? Exhausting to perform, emotionally draining and usually performed towards the end of a demanding set, this work sets a very high beam.

When I saw Lorraine at the Green Hotel, she explained that she goes to see Deborah perform as often as she can, and that the power and intensity are always there.

She clearly can’t get enough, and indeed even after seeing Bonham for many years now (first at a country fair on the same bill as Robert Plant); tonight’s show still got Lorraine choked up.

A black and white photograph of John Bonham at his kit with a triumphant arm stretched overhead looked out on the stage in the venue that night; when it was time for Deborah to do ‘The Old Hyde’ – it was almost too much for her (and the audience) to look at them side by side. Keeping it fresh? It was as if she’d never done the song live before in terms of emotional content.

The touring band are Bonham on vocals and acoustic guitar occasionally; her partner Peter Bullick on guitars and mandolin (his fills and solos are accomplished but fresh, and I particularly like his slide guitar); keyboard player (and long-lost friend of mine) Gerard Louis; on bass Ian Rowley and percussionist Rich Newman. Newman particularly came to the fore when called upon to repeat John Bonham’s percussion in ‘Rock and Roll’ – if anyone has the right to cover this track, then it’s this band.

After the emotional (if not spiritual) ups and downs of the two sets, it was a superb, energizing way to end. And so it was that everyone had more drinks in the comfortable Backstage Bar, and those who stayed at the hotel enjoyed a happy session which lasted a wee few hours.

Deborah Bonham by Julie ThompsonWhat a great venue for music. (All sorts of offers appeared when I booked – discount champagne; discount beauty treatments; late checkout. They must have seen me coming).

As to the Green Hotel’s Backstage bar – well. It’s a paradise of memorabilia from every guitar-based act you can think of, and plenty you can’t.

There may be a spare inch of wall space not covered by guitars, posters or mouth-watering autographed memorabilia of some sort, but I didn’t’ find it.

Backstage is David Mundell’s labour of love, and the bill of artists who come here to play intimate shows is impressive, and growing more so by the day.

It’s a must see stop on any pilgrimage for lovers of guitar; an old Gibson of Jimmy Page’s peers out at you from behind the bar as you order your jack and coke. It’s a rock haven created by a devotee.
http://www.mundellmusic.com/gigs_green_hotel.php

The new album Spirit is here. My favourite tracks so far are the title track, ‘Take Me Down’ with its country music romantic flavour and ‘Fly’ which is nothing short of empowering for us women of a certain age; it speaks of freedom and escape. Whether the songs are going in a blues (No Angel), rock, or country-esque direction (Take Me Down), the sound of Bonham and the band is unique and memorable.

I’ll definitely be seeing more of Lorraine Robertson, because like her, I’ll want to see more of this band. Soon.
www.deborahbonham.com

*STOP PRESS* Deborah Bonham donated ten signed copies of her new album to Willows Animal Sanctuary, which is having its first open day on Friday 5 April. More info here http://www.willowsanimals.com/