Dec 192019
 

Craig Chisholm reviews Adam Ant / Glam Skanks at The Music Hall, Aberdeen.

Today’s popstars are boring and dull.
Look at some of the biggest names in the biz just now – Ed Sheeran, looking like he’s just finished a shift at McDonalds before going busking; Coldplay – bed wetting stadium rock that your parents would approve of; Adele – a less dangerous version of Amy Winehouse that even your Granny likes.

Now look back to the 80s – David Bowie ushering in the decade singing ‘Ashes to Ashes’ and looking like a coke addled death-clown in the video; Boy George – almost guaranteed to give your bigoted uncle a heart attack and causing debates in the school playground as to whether they were a man or a woman.

And, top of the pile, Top of the Pops? The Dandy Highwayman himself, the preening peacock with all the number one hits – Adam Ant.

And here he is tonight, in cold, dark Aberdeen in the middle of November bringing some technicolour glam on a Friday night to the masses.

Looking fit and healthy and much too sprightly for his 65 years on Earth he never stands still on the Music Hall stage as he blasts through a near 2 hour set that boasts 29 songs. The makeup may be toned down somewhat, but the glamour hasn’t and he is still a bona fide rock star on stage – spinning, shuffling and dancing constantly.

There’s an unashamed nostalgia to the massive UK tour he’s undertaking as it celebrates his 1982 album ‘Friend or Foe’.

He starts the set by playing said album from start to finish – 12 tracks that include the hits ‘Goody Two Shoes’, ‘Desperate Not Serious’ and the title track of the album itself which opens the set.

What follows is a greatest hits set that includes some real pop classics in there – ‘Prince Charming’, ‘Dog Eat Dog’, ‘Ant Music’, ‘Kings of the Wild Frontier’ and ‘Stand and Deliver’.

Each song is as familiar as the last and sang word for word by the appreciative audience.

The two hours pass in the blink of an eye – Adam saying his goodbyes as the band, including twin drummers, grind out the coda of ‘Physical (You’re So)’.

As the band finish up, he is gone – a fleeting memory, a half-seen ghost, enigmatic till the end.

LA quartet Glam Skanks, that support Adam tonight, are indebted to him in their glamourous look, all teased hair and trashy glamour.
They blast through a 45 minute set that also recalls T Rex, Hanoi Rocks and glitter punk bands galore. The girls stage presence is cocky and assured, giving it their all with confidence and attitude.

But the night belongs to Adam Ant, still showing he has the charm, wit and star appeal over 3 decades later.

Adam Ant Set List:

Friend or Foe
Something Girls
Place in the Country
Desperate But Not Serious
Here Comes the Grump
Hello, I Love You (The Doors cover)
Goody Two Shoes
Crackpot History and the Right to Lie
Made of Money
Cajun Twisters
Try This for Sighs
Man Called Marco
Dog Eat Dog
Kick!
Vive le Rock
Antmusic
Zerox
Cartrouble
Ants Invasion
Prince Charming
Puss ‘n Boots
Lady
Fall-In
Kings of the Wild Frontier
Beat My Guest
Stand and Deliver

Encore:

Press Darlings
Red Scab
Physical (You’re So)

Nov 202019
 

Craig Chisholm reviews She Drew The Gun / Peaness / Freakwave at The Lemon Tree, Aberdeen

The Lemon Tree played host to one of the best up-and-coming bands in the UK, in the shape of She Drew the Gun, along with sterling support slots from Peaness and Freakwave in an exhilarating – and refreshing – triple bill of female fronted bands.

Opening the nights proceedings are Glaswegian’s Freakwave. Their spiky, energetic punk-inspired rock is exciting to watch.

Drenched in a red-lit stage the band blast through a short, passionate set. Each band member has their own individual style – the barefoot bassist, the drummer with his “taps aff”, the guitarist with the bottle of Buckfast in his back pocket. But its guitarist / singer, the enigmatically named Summer Skye, that’s focus of attention.

Dressed in a leopard print top and trousers and Doc Marten books she’s a captivating sight with talent to back it up.

Their set includes a cover of ‘Pure Imagination’ from the 70s ‘Willy Wonka and The Chocolate Factory’ movie which goes down well.

Second support is Peaness. The three piece from Cheshire have a dreamlike, almost shoegaze in places, quality to their sound.
Their three-way harmonies recall the Gallic indie sound of Stereolab in places, but all recall the dreampop of early Lush.

There’s an Afrobeat influence lurking in their at times that gives them hints of Talking Heads or Vampire. Another band to watch, for sure.

She Drew the Gun deserves to be huge.

Their two albums – ‘Memories of Another Future’ from 2016 and this years ‘Revolution of Mind’ – are both well developed, confident tomes of work.

Live, they are just as confident. The Wirral band plays in front of projections of psychedelic, swirling visuals. And their music is just as kaleidoscopic and trippy.

From opening track, ‘Resistor’ the band blast through nearly an hour and a half of engaging politicised indie pop.

Highlights include their current single, ‘Trouble Every Day’ which is a zeitgeist capturing reinterpretation of the Frank Zappa song, the spoken word passages of tracks such as ‘Paradise’ and ‘Revolution of Mind’ and the final track, a poignant cover of The Beloved’s classic ‘Sweet Harmony’.

Three bands, three distinct sounds but one amazing bill.

Oct 302019
 

Craig Chisholm reviews Alice Cooper / The Stranglers / MC50 @ P&J Live, Aberdeen

It was a night of firsts in Aberdeen as the new P&J Live arena held its debut gig. and rock legend Alice Cooper visited the city for the first time in his near half century career.

Also celebrating 50 years are opening act MC50. This is the current name for original MC5 guitarist Wayne Kramer’s touring act which is celebrating the seminal US proto-punk classic album ‘Kick Out the Jams’.

The band is a who’s who of underground and alternative rock legends – as well as Kramer on guitar and vocals there’s Faith No More’s Billy Gould on bass, Soundgarden guitarist Kim Thayil, Fugazi drummer Brendan Canty and on vocals, Marcus Durant of the band Zen Guerrilla who have released albums on feted records labels such as Alternative Tentacles and Sub Pop.

If the line-up of the band is jaw dropping then the music is even more so. Rock staples such as ‘Rambling Rose’ and the aforementioned ‘Kick Out The Jams’ are electrically charged and life affirming.

In these politically charged times it’s essential to have politically aware bands and MC5 are the originals.

It’s an honour to see them. Essential listening for anyone not familiar with these classic Detroit rock legends.

Middle of the three band bill is another legendary act. The Stranglers need no introduction; such is their legacy and body of work.

It’s a tight, 11 song set lasting 50 mins they perform, filled with classics.

Massive hits such as ‘Golden Brown’, ‘Peaches’ and ‘No More Heroes’ pepper the set, along with rockers such as ‘(Get a) Grip (On Yourself)’ and ‘Hanging Around’ and their cover of Dionne Warwick’s ‘Walk on By’.Dressed in black and minimally lit the band give a masterclass in understatement that provides a suitable juxtaposition to the headliners performance.

There’s no subtlety or understatement in Alice Cooper’s performance – its pure overblown theatre from the moment he walks on stage.

Dressed theatrically in top hat and leather he strides on stage in front of a giant castle wall backdrop.

The show is pure pantomime and schlock horror, bombastic and supersized.

Giant babies stride the stage; corpse brides interact with Alice; slasher flicks are performed; canons are fired and, in an elaborate set piece, Alice himself is beheaded on a guillotine.

It’s an elaborate stage show – pure theatre. The horror is, thankfully, tongue in cheek and is well staged without being too bloody or trying too hard to shock.

It’s a fun crowd pleasing show that would have got everyone talking.

Fortunately, however, there’s some good music behind
it.

Tracks such as the brooding ‘Poison’. the air-punching ‘No More Mr. Nice Guy’ and the raw rock of ‘Under My Wheels’ are catchy and melodic.

‘I’m Eighteen’ is a singalong anthem; and the closer, ‘School’s Out’ is such a rock staple that even non-Alice Cooper fans must know it.

His band are virtuosos – expert enough in their playing to be able to ham it up and add to the theatrics whilst simultaneously providing a tight musical performance.

Guitarist Nita Strauss is particularly eye catching as she plays stunning guitar solos and flings her guitar around, looking every inch the rock god(ess) and living up to her nickname of Hurricane. It’s a fun show and it’s one that every rock music fan should catch at least once.

As for the new venue, it is also a success – it’s large enough to not feel crowded but not large to feel dwarfed; queues to get in are handled well and getting food, drink or merchandise is easy.

It’s going to be hard to top the opening night for P&J Live but with Lewis Capaldi, Liam Gallagher, Catfish & The Bottlemen and The 1975 all booked to perform in coming months, there’s certainly going to be a few trying.

Apr 022019
 

Review and photos by Craig Chisholm.

The Men in Black returned to the Beach Ballroom for another triumphant performance, albeit one with a few teething troubles including a couple of false starts and one song being stopped half way through.

But, as lead singer Baz says apologetically “it’s only music, only a band” before pausing and adding:

“Not just any band – it’s the fucking Stranglers.”

And he’s right, it’s not just any band. It’s a legendary, critically acclaimed, punk band that scaled commercial peaks, influenced everyone from punks to Britpoppers and still sells out venues across the world nearly 50 years into their illustrious career.

And, as it’s only the second date of their 2019 tour, then any teething troubles can be as easily forgiven as the exuberance at seeing such a seminal act in front of a sold-out crowd.

Before the self-proclaimed Men in Black take the stage, however, there’s an opportunity to see another classic rock act ply their wares as Britain’s premier Rhythm & Blues act, the mighty Dr Feelgood, open the night’s proceedings.

It’s a very different Dr Feelgood that started in Canvey Island 1971 and became mainstays of the then burgeoning pub rock scene – long gone are original members Wilko Johnson, The Big Figure, John B Sparks and late, enigmatic frontman Lee Brilleaux.

Instead, present members Kevin Morris, PH Mitchell, Steve Walwyn and Robert Kane have been keeping
the band’s name alive as a going concern for a few decades now. 

Between them, they provide a competent, nostalgic and talented run through of some of the band’s finest moments – ‘Down by The Jetty’, ‘Milk and Alcohol’ and
a cover of ‘Route 66’ being stand out songs of their all too brief set.

The Stranglers themselves have a few line up changes over the years too and the only remaining members from their early years are bassist JJ Brunell and keyboard player Dave Greenfield – although drummer Jet Black is still part of the band when recording in the studio but no longer touring due to ill health.

It’s a typically eclectic set from the band that stretches back to their 70s beginnings right up to their most recent releases.

Chart hits such as ‘Golden Brown’, ‘Peaches’, ‘Always the Sun’ and closer ‘No More Heroes’ are well received by the adoring crowd as are fan favourites such as the pile driving ‘(Get a) Grip (On Yourself)’ which, as always, gets the crowd going wild only three songs in.

Humour is never far from the band – whether it’s JJ’s huge grin throughout the set, or lead singer and guitarist Baz Warne’s between song banter.

But the comedy moment of the night surely belongs to their poor guitar roadie, tonight celebrating his 40th birthday and getting the opportunity to dance topless on stage whilst wearing a tutu. Quite a sight, to say the least.

The Stranglers return to the Granite City in October as primary support to Alice Cooper in an eclectic three band bill that includes the surviving members seminal rockers The MC5, celebrating 50 years and billed on the night as The MC50.

It’s sure to be another unmissable night of live music that, one suspects, won’t feature any false song starts, early tour teething troubles and, most importantly, dancing roadies in skirts! Miss it if you dare.

Sep 062018
 

Review and photographs by Dod Morrison.

P.I.L hadn’t played Aberdeen since the mid 80s, so this was a highly anticipated gig. The gig sold out about a week after it was announced.

The shows starts off with “Warrior” and the crowd gets excited to see a punk legend.

He now has a book in front of him to read the lyrics and doesn’t move around so much, but still pulls silly faces and grimaces as he puts heart and soul into each song.

This was a no nonsense show, no rants ( well a wee one when he asks the lights to be turned down a bit ) , no banter, just a song after song.

There is a lull in the crowd when a few new songs are played but once the hits are played. 

“Flowers of Romance” and “This is not a Love Song” perk the crowd up again, but it is “Public Image” that really gets the crowd in a frenzy and singing along..

I think the crowd may have been mostly PIL fans but I felt there was quite a few who were just there to see John Lydon aka Johnny Rotten in their home town.

Here some comments from people on the night.

Margo McCombie:

“Transported back to my youth. Last time I saw PIL was in the Capitol over 30 years ago.”

Jeff Bruce: 

“Debut PIL gig for me, wasn’t disappointed!, great sound and visuals!”

Paul Reid:

“3rd PIL gig, once again pure class. No nonsense, we we’re treated to pure PIL.”

Gary:

“From the moment I walked in and saw the backdrop I felt the hairs rise. Memories of The Capitol and bouncing down the front. This was to be a nostalgic experience for so many.

“From the second the band emerged I felt a sense that something special was about to be witnessed. John Lydon’s presence on stage is mesmerising and his voice intoxicating. A tour not to be missed by any Lydon fan. Feeling blessed, still smiling.”

Hen:

“Absolute stotter of a gig , I’ve seen them a heap of times but last nights rendition of Flowers of Romance was the best I’ve heard them do it, got me duncin like a neep!”

Micheal Foreman:

“Great gig same as Hen I’ve seen them loads, great gig, loads of new versions of the classics with Lydon ad libbing throughout.

“He said at rebellion he used the music stand cos he couldn’t remember the lyrics. Maybe he should have consulted his lyrics before writing them down. Great show though didn’t disappoint.”

Billy Aitken:

“No Lydon psycho-drama – just let the music do the talking which is always a good move. Lu is the dude like.”

Donna Bruce: 

“The Public Image gig last night was fantastic with some old favourites and some new gems and I have not seen a gig so well attended at the Assembly. Cracking night.”

May 032018
 

Frank Turner & The Sleeping Souls, Arkells and The Homeless Gospel Choir @ The Garage, 20th April 2018. Review and photos by Craig Chisholm.

It’s gig number 2155 for Frank Turner, as announced by the man himself from the stage.

However, for the venue, there’s only one number of gigs that matters tonight – and that’s zero. That’s how many are left at The Garage once Frank exits the stage after his encores.

It came as a shock to many of the Granite City’s gig goers and clubbers when it was announced that the venue was to close early May after 6 years of being one of the mainstays of the Aberdeen live music scene.

However, any notions of this being an evening of mourning are dispelled as soon as the first act takes to the stage in front of a healthy number of fans, despite the 6:30pm stage time.

The Homeless Gospel Choir is the nom de plume of Pittsburgh born folk-punk singer Derek Zanetti.

The punk aspect of his music is influenced by Green Day and the 90s explosion of US day-glo stadium acts rather than the original ’77 spirit of punk however.

By his own description, he’s an ‘overweight rock singer’.

With lyrics revolving around politics, mental health and angst, but delivered with a jokey aside he proves to be a popular draw, particularly to the younger members of the crowd.

Canadians Arkells are a different proposition – the lyrical themes may be similar but live they are much more polished and professional stage performers than Zanetti’s looser style.

Lead singer Max Kerman has the looks, moves and attitude that have been honed to perfection on larger venues in North America rather than the small stage he finds himself on tonight. In fact, the stage isn’t enough for him as it takes him only a few minutes to find himself on the barrier hanging over a willing audience who succumb instantly to his charms.

And the very notion of crowd and audience is blurred completely on a couple of occasions during their 40-minute set.

Only two songs in and he has pulled a young female fan out of the audience to play guitar quite competently alongside the band.

And another fan is hauled onstage for the final song where he sings with the band perfectly.
It’s possibly a bit gimmicky and cliched but it’s also quite touching and endearing and it will have won them new fans tonight and provide unforgettable memories for the young fans that performed with their idols.

Arkells play an energetic and fun set that serves to ramp the crowd up into even more frenzied anticipation for the night’s main act.

Frank Turner is another polished live act. After a couple of thousand gigs in venues of all shapes and sizes, festival stages and stadiums he’s a man with no fears treading the boards and honed the skills to the work the crowd into a frenzy.

Not that the crowd really require worked up – the sold-out venue is boiler room hot with a packed floor full of devoted Turner fans, almost wilting in the heat.

His new album – his eighth – ‘Be More Kind’ might not be released for another couple of weeks but that doesn’t stop four of its cuts getting an airing tonight, all of which go down a storm with the devoted crowd.

The rest of the set spans the full gamut of his career – reaching as far back to 2007’s ‘Sleep is for the Week’ as the track ‘The Ballad of Me and My Friends’ is given as a solo performance by Turner during a 3-song acoustic interlude in the middle of the set.

The crowd aren’t here out of curiosity – this is a crowd of devoted fanatics of all ages here to see their hero. They know every word and sing along to every song, fully immersed in his performance.

It’s an unusual sight and sound to see 700 people hollering ‘There is no God so clap your hands together’ – they might not engage in worshipping a holy deity but, then again, there’s maybe no need to tonight whilst they worship at the altar of Frank Turner.

So, gig number 2155 for Frank Turner, and it’s a roaring success for him with a sweaty, joyous crowd fully immersed in his 100 minutes on stage.

But, by the time the clock reaches 2155, The Garage is emptying slowly as the night concludes and live music at yet another Aberdeen venue ends for the final time.

Turner would not have reached that amount of live performances if not for venues such The Garage.

So it not only leaves a gap in the Aberdeen scene, but in the UK scene as a whole. If venues keep on closing where will the next Frank Turner learn their trade and spread their message?

Apr 132018
 

Review and photos by Craig Chisholm.

Three of the UK’s most highly tipped bands brought their unique talents to the Granite City as Manchester’s Cabbage, She Drew the Gun from Wirral, and Glasgow’s own Rascalton performed rapturous and well received sets to an appreciative crowd at The Tunnels.
Opening tonight’s triple bill were Rascalton.

The young Glaswegian’s performed a short, punky set that drew heavily from classic punk bands such as The Clash or the Sex Pistols but a post-Libertines indie aesthetic also shone through.

The band are no strangers to Aberdeen having played The Tunnels before – previously playing there as support to Baby Strange – as well as playing a headlining set at Café Drummond just before Christmas.

Frontman Jack Wyles is engrossing – his chiselled features hidden behind an unkempt mop of hair, whilst the way he attacks his guitar makes him look not unlike Wilko Johnson in his prime.

He has angelic features but a devil’s stare that makes his barked vocals and the bands shouty choruses compelling to listen to and hard to forget.

The band are back North in June to support Idles at The Tunnels.

It is highly recommended that if you’re going to that then make sure you’re there early to see them.

She Drew the Gun are a different proposition. No less intense, but in a quieter, subtler way.

Singer and guitarist Louis Roach performs a mix of poetry and psych-pop that has brought her and her band Radio airplay – championed by no less than Steve Lamaq on Radio 6 – and accolades such as winner of the Emerging Talent Competition that saw play the John Peel Stage at Glastonbury on 2016.

Roach is front and centre on stage, glad in a blue, sparkly hoodie with the hood drawn up which gives her an aura of mystery that suits the music perfectly.

She is a compelling, virtuoso guitar player – picked solos break through the dreamy, fuzzy riffs that anchor the music whilst she half whispers, half sings the lyrics. The music is dark and swampy reminiscent of classic PJ Harvey.

There’s only one slip in an otherwise flawless set as Roach forgets the lyrics to ‘Poem’ half way through. But she recovers well, acknowledges the mistake and wins the audience on side at that moment.

Headliners Cabbage are on a roll just now.

New album ‘Nihilistic Glamour Shots’ has been released to critical acclaim and has made it to number 21 in the BBC Album Charts as well as no.1 on the Official Cassette Charts.

Live in concert, they are fantastic – energetic and exuberant, never staying still as they blast through their own unique post-punk sound.

Frontmen Joe Martin and Lee Broadbent control proceedings from the front of the stage with different styles – Martin is icily cool and more detached whilst Broadbent is more manic and deranged looking.

Their song titles are compelling and confounding in equal measurers – ‘Arms of Pleonexia’, ‘Molotov Alcopop’, ‘Postmodernist Caligula’ and ‘Uber Capitalist Death Trade’. Those alone will have you reaching for the dictionary.
Beneath the sometimes-perplexing titles, there’s political discourse and juvenile humour in equal measure in their lyrics – ‘Dinner Lady’ might sing about having a ‘w**k in the quiche’ but is also a comment on the class divide, in this case in a private school.

Closer ‘Necroflat In the Palace’ has the chorus that will be ringing in their ears as they head home – ‘I was born in the NHS, I wanna die in the NHS’. There’s no encore as the sweat drenched band collapse off stage after their exhilarating set, a gesture of punk defiance against pop crowd pleasing acts.

Three bands then and all, to quote the title of Cabbage’s collection of EPs, ‘Young, Dumb and Full of…’. Maybe not so dumb though and if they are full of anything it’s life, exuberance and lots of promise.

Apr 022018
 

Review and photos by Craig Chisholm.

Stiff Little Fingers yearly St Patricks gigs at The Barrowlands in Glasgow are stuff of legend.

For 27 years they’ve played the iconic venue on the fabled night of Irish celebrations that has become a pilgrimage for their fans.

For fans in the North East, however, the Irish punk legends trip to the Granite City, around the same time of the year, has also become a regular pilgrimage as a sell out crowd tonight can testify.

This might have been the smallest of the three venues the band are playing in Scotland this tour but that didn’t stop them from giving a memorable show that pleased the energetic and loyal crowd.

Before the influential Irish punk legends hit the stage another bunch of influential punks step up to warm the crowd up.

Ruts DC have a long, and sometimes complicated, history that stretches back to the original punk days of 1977. But their music is more varied and eclectic than straight ahead rock with a strong reggae influence shining through in songs such as the mighty ‘Jah War’.

They run though a strong set of a dozen songs with punk classics ‘Babylon’s Burning’, ‘In a Rut’ and ‘Staring at the Rude Boys’ all going down a storm with the attentive crowd.

Headliners Stiff Little Fingers last couple of shows in Aberdeen have been at a different venue – The Garage – but they are no strangers to the Lemon Tree having played here numerous times to sell out crowds.

It’s a partisan audience that greet them as they walk out to the regular intro tape of ‘Go For It’. The crowd are a sea of SLF t-shirts and hoodies – and anyone not wearing one could have bought from the dozen or so on sale at their merchandise stall.

Singer and guitarist Jake Burns tells the crowd that this is going to be a set that explores more of the deep cuts from SLF’s ‘forgotten’ albums but that doesn’t stop them singing and pogoing along to tracks that cover all eras of the bands four decade career.

However, it’s the bands first three albums that made up the bulk of the set – ‘Tin Soldiers’, ‘Nobody’s Hero’, ‘Roots, Radicals, Rockers & Reggae’, ‘Safe as Houses’ and ‘Barbed Wire Love’ from that era are all given a blast.

As with Ruts DC, reggae is also an influence on the band and there’s a nod to that with cover versions of Bob Marley and the Wailer’s ‘Johnny Was’ and ‘Doesn’t Make it Alright’ by The Specials.

Completing the night with a finale of ‘Alternate Ulster’ the band walk off to triumphant applause from an adoring crowd that will already be planning to see them again next year, whatever the venue.

Mar 312016
 

Roughly 39 years ago some bored teenagers in Surrey started making music together. They became The Members.  Their first new album in 8 years was released recently.  What’s this new album like? Suzanne Kelly reviews.

300onelawThe punk anthem ‘Sound of the Suburbs’ summed up suburbia in the seventies. ‘Working Girl’ is a USA poppy but punk cult classic.  ‘Chelsea Nightclub’ was a fun, laddish, cheery youthful drinking song with a twist of sarcasm.  But time’s moved on, and we’re preparing to celebrate 40 years since punk started.  What would the new record ‘One Law’ be like?

Am happy to say The Members have come up with a solid, varied, enjoyable studio album which is a worthy addition to their body of work. They’ve mixed elements of their own sound while time travelling through the ’50s to the present, while pounding on the door of the future of punk as well.

There are tracks that evoke 1960s guitar bands (the sound of the Kinks comes through loud and clear; sometimes very hauntingly).  There are moments when they’re channelling surf music; then the next track is reggae.

It’s a punk album from punk stalwarts – and it’s also an evolutionary step for the band – possibly for the future of a kind of punk as well.  There’s something about the overall feeling of ‘One Law’ which is some kind of new grown-up punk – but not too grown up thankfully.

It must be great to sing / play / write / be cute – but however talented or good looking you are, if you’ve nothing better to say than ‘Bitch better have my money’ or ‘There ain’t no party like an S Club party,’ what’s the point? The Members have quite a lot to say.  People might have different takes on what punk is/should be – but many hold that if it’s not got anything to say about the messed up state of affairs we’re in, it’s not really punk.  If you think that way, this album should find its way into your collection.

The current line up is JC Carroll (a host of instruments and vocals), Nigel Bennett (guitars and vocals), Nick Cash (drums) and Chris Payne (bass, vocals).  JC Carroll wrote or co-wrote all the tracks (there’s 15 on One Law), and he’s certainly not short of social critique or things worth saying. ‘Emotional Triggers’ starts the album – it also has a great video that goes with it – find it here.  If you’ve never considered how cynically we’re all being psychologically played by the media/advertising/marketing powers that be, or if you’re angered/pissed off/a bit sad when you hear The Ramones used to sell you something, or David Bowie (RIP)’s ‘Changes’ used to make you want to buy a car, Carroll’s got it covered.  The song starts with a nostalgic description of the music he grew up with, and takes us to where we are today:  “The songs that meant so much to me are adverts on the tv… we’re social networking; on YouTube we’re twerking; our iPhone are beeping, we’re constantly tweeting… emotional triggers are making us bitches.”

‘Chelsea Aggro’ is a punk song with guitar, harmony, and a beat that evokes the early 1960s. Nigel Bennett’s guitar work might well make you want to do the twist.  Or something.  It’s got the kind of laddish London feeling that ‘Chelsea Nightclub’ had – just not in a cheery way.  A cracking track.

membersFor a nice piece of political commentary, ‘Robin Hood in Reverse’ delivers a nice attack on the powers that be with vocals that are restrained but clearly quietly angry. I thought of the song when ‘Robin Hood in Reverse’ was a newspaper headline this week.

‘Apathy in the UK Part 1’ is just as apt an anthem for 2016 as ‘Sound of the Suburbs’ was in its time.  Again more great guitar work from Bennett.

Tension and stress are given a darkly humours treatment in ‘Incident at Surbiton’, a tale of rat-racing commuter 9-5 stress ending in tragedy: “I never thought my life would be like this.. I worked hard for my GCSE… don’t push me ‘cause I’m way too close to the edge.”

“It really is a shame to live your life like a machine.”  You can easily picture the scene at the train station Carroll’s painted.  Nice syncopation too.

A further video is out for ‘Working The Night Shift’ which comically uses the dark world of voodoo and its mystical figure Baron Samedi.  Carroll’s accordion playing adds atmosphere to the piece – it’s a most unusual fusion of calypso/reggae/ and maybe due to the accordion – there’s something Eastern European.. something Tiger Lillies – something different going on.

The Members have things worth saying which they get over in a straightforward way, using great music, and drawing on their – and our – emotional triggers.  There was one complaint on Facebook about it, amid a large group of compliments from fans.  Someone fumed that ‘…they hate it when punk bands take years to put out an album.’  A bizarre criticism, especially for a band that’s been touring, exploring many avenues and individual projects all this time, and for a band that still managed to play when Bennett was up to his thigh in a leg cast with a nasty, nasty break not that long ago.  If there is a punk work ethic somewhere that albums have to come out frequently, it’s a stupid rule.  You can’t dictate when inspiration will find you, or write on a schedule. This is a great album for 2016.  It’s a thinking-person’s diverse collection of evocative and thought-provoking track to be enjoyed.

On a personal note

This little review, brief as it is, has taken ages to get out. It’s not that I wasn’t listening to it and enjoying it.  It’s one thing writing about straightforward news stories, but I find it a bit hard to write a critique of people who are professional writers.  Some music critique makes me cringe.  A local reporter just wrote ‘rock idols wowing fans’ ‘stomping’ and clapping, having ‘witnessed a masterclass in musical manipulation…’ Other reviewers delve into detail that only the band’s guitar tech would know (but likely wouldn’t appreciate), and still others review with a view to doing as much name-dropping and sophistry as possible.  I’m trying to avoid the pitfalls.  I wonder whether I am.

Aside from how I feel about writing reviews, there were other things going on.  First, I got bogged down in a story I was working on that took over my life completely for a month, which still hasn’t died down yet.  The ‘One Law’ CD I bought went missing.  My iPod also disappeared, leaving me without the album for a bit.  I had two talks with JC and Nigel, and my meticulous notes wound up in a watery pulp when my roof flooded (again).  Then I decided I’d wait until The Members played a show at Aylesbury to hear the new work live (NB – was a great line-up – Kirk Brandon acoustic, The Members, and Big Country).  However, the sets that night were short, and not much of the new material was aired.  A million and one other things got in the way of getting this simple review out as well, not least the passing away of David Guthrie, an Aberdeen Voice founder.  He was a musician who very much cared about where our insanely greedy government is taking us and social ills.  He’d have loved ‘One Law’.  So, apologies for the late running of this service.  It’s not nearly as worth waiting for as this album was I know, but there you go.  The bottom line – you ought to get this and you ought to go see them.  SK  PS – it’s on orange vinyl too.

Mar 172016
 

A Multi-millionaire leading a charmed life due to commercialisation of punk has denounced the commercialism of punk.

“just by focussing a little bit of money in the right direction you can make things happen and that’s amazing” – Joseph Corre C 2009

As Joseph Corre, son of Malcolm McClaren and Dame Vivienne prepares to destroy £5,000,000 worth of punk memorabilia, Aberdeen Voice’s Suzanne Kelly asks What the actual?

Fire (6)Whether or not you believe that punk is now 40 years old because of the pending anniversary of the Sex Pistols’ God Save the Queen, various celebrations are going to take place in the UK.

The establishment has acknowledged punk by having the odd event as have several museums, businesses and artists.

Some people hate this idea passionately; some are bemused that punk’s attack on the State is now something to be looked back on fondly.

In November in Camden, people will drink at the Underworld. They will listen to bands at the Dublin Castle. They’ll buy Ramones t-shirts in the market. Knox Carnochan and his band of volunteers will run Rock ‘n Roll Rescue, the charity shop selling music memorabilia (and then at closing probably spill into the Dublin Castle for some pints of Camden Hells).

Somewhere in Camden this November, Joseph Corre has announced in Rolling Stone Magazine that he will be burning £5,000,000 worth of punk memorabilia. This is a protest, or so we’re told, at the commercialisation of punk and by the state’s endorsement of same. Well, Corre would know a tiny bit about both, wouldn’t he?

Meanwhile, Knox will be doing his best with the donations that he can get.

Rock ‘n Roll Rescue’s mission is:

“We are trying to help local people through supporting food banks, then helping the womens’ refuge up in Kentish Town, helping people at the bottom end of the welfare system, and have been helping Jennie Bellstars’ Hari Krishna food van, etc., etc. An ever growing list of stuff that needs help. (Look around you!)”

Looking around you seems like good advice for at least one of us.

What Other People interested in Punk, Music and Compassion said:

“He [Corre]could have flogged it all and given the money to a charity or a good cause like Saving The Music in Denmark St. Twat! I’M FUMING!”
– Henry Scott-Irvine, ‘Save Tin Pan Alley’ campaigner

“I will just say that in my time volunteering at the shop [Rock ‘N Roll Rescue], I’ve seen a lot things that led to my little rant on why it’s not good to burn the punk memorabilia in Camden in November and why Joseph Corré is a plonker. First, because it’s history. I’ve seen the eyes of men and women light up and watched them become teenagers again as they rummage through the old vinyl, posters and magazines on offer at Rock ‘N Roll Rescue.

It isn’t long before they start telling stories of their first concert or the first time they heard a song. For many, items of punk and music memorabilia are deeply personal and in the broader sense, are a record of a brief, albeit very important part of musical history. Second, because, like it or not, we live in a Capitalist society wherein the material items we place historical or personal value on also carry monetary value.

It’s not very punk, but it’s how things are and we must deal with reality as it is. It is also true that currently, the divide between rich and poor is greater than ever. All you have to do is walk through Camden to see this. It serves no purpose to burn these items other than to prove to the ego of a millionaire, that he hasn’t sold out and to gain publicity. All of the anarchist posturing is bullshit. His parents packaged it and sold it.

He grew up wealthy, on money made off of the musicians and fans of that movement. How about giving back to the community that bought what his parents were selling? Ever have the feeling you’ve been cheated?”
Jennifer Upton, volunteer, Rock ‘n Roll Rescue, Camden

I asked his press people a few questions by email:

“How you square your decision to destroy material with the knowledge people (including many punk musicians) have serious financial problems which a sale rather than destruction of your goods could do much good?

“Do you think that your own financial success is in any part due to your parents’ financial success in the punk era?

“Had you looked at alternatives such as sales/donations of your old punk memorabilia and decided that it was better to announce a public, theatrical event rather than doing something beneficial to others? (you could have given it all to Knox Carnochan of the Vibrators for his shop Rock N Roll Rescue in Camden – or done one of a thousand other beneficial thing).

“How supportive is your mother, Dame Vivienne Westwood, of your action, given her titled status?

“Ideally Mr Corre, I’d like to get you to reconsider what to me is the act of someone who’s never know what it’s like to have to go without. It seems as if a slap in the face to the poor is your response to the establishment’s acknowledgement of punk’s place in UK history.”

If an answer is sent, you’ll hear about it. In the mean time, we’ve someone who’s made their point – there is no need to follow through with the destruction. Punk is commercial. It went commercial when his dad steered it that way – for some groups. Show me how TV Smith, just for one instance, has gone commercial. Punk was commercial when Vivienne started sheltering her fashion income from taxes using overseas avoidance schemes, took a title, and paid low wages to those making her garments. I missed the part when Junior objected to these instances of punk commercialisation in his own family.

It would be good to know how and when Joseph got elected to teach us lessons in what punk should be all about. I’d really like to know that he’s just making a joke to get a story (the Rolling Stone reporter would be pissed off, but there you go). In fact, when it comes to ‘punk’ there are as many different opinions as to what it means as there were bands and fans.  Maybe his cosmetics venture isn’t selling as many £19 pound lipsticks as he’d like it to (although good on this venture for being cruelty free).

I’ve read about his hard life while researching this. He had a bad time at a boarding school in Wales (has he helped expose the school’ alleged cruelties so no one else has to suffer?). He had a tough time of it because of his parents and had a failed marriage. I guess no one else could relate to this suffering.

“My new job won’t even take my phonecalls; my mother’s throwing me out of the house; I’m at my wit’s end.”

– someone with a serious, nearly untreatable syndrome that makes work nearly impossible posted this on social media today; this woman is doing all she can to earn money and stay as healthy as she can. What would £5,000,000 do for people like this? For animal charities, the hungry, children in poverty? What message does burning clothing send to the refugees and the people who don’t have £30,000,000 in the bank unlike our patronising, would-be philosophy instructor? Not a particularly kind or punk one.

The Rolling Stone piece continues to quote our man:

“People don’t feel they have a voice anymore… The most dangerous thing is that they have stopped fighting for what they believe in. They have given up the chase. We need to explode all the shit once more”.

‘They’ might seem to have stopped fighting – if you’re Corre looking out over the battlefield from a castle. People haven’t stopped fighting – but they could use a bit of financing. Not a bonfire of the vanities.

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