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The Cult At The Music Hall – Craig Chisholm Reviews

Aberdeen City, Featured, Opinion No Responses »

Mar 112016

Thursday March 3 2016 saw the long awaited return of The Cult to an Aberdeen stage, this time at the Music Hall. Review and photographs by Craig Chisholm.

Frontman Ian Astbury, dressed all in black, cut an engaging figure centre stage

The title of The Cult’s recent album, Hidden City, seems quite appropriate as Aberdeen has been a city hidden from the band’s touring schedule for nearly 30 years. It’s actually been so long since they last played here that the halls they headlined in the mid ‘80s, both Ritzy’s and The Capitol Theatre, are now long gone as live venues – renamed and re-appropriated as clubs or, in the case of The Capitol, offices.

However, the old haunts may be gone but the old crowd still remain with 1,500 of them packing out a sold out The Music Hall on a cold Thursday night to welcome back the band to the Granite City.

Kicking off with the opening track from Hidden City, the jumpy swinging rhythm of Dark Energy, the five piece got the crowd instantly on their feet with a quick follow up of classic cuts Rain and Wild Flower.

For the next 90 mins the set spanned across the years from tracks from the 1984 album Dreamtime (Horse Nation, Spiritwalker) to latest single G.O.A.T (aka Greatest of All Time).
.

However, it was the tracks from the band’s biggest selling albums Love, Electric and Sonic Temple that got the biggest cheers – from Lil’ Devil to She Sells Sanctuary to Sweet Soul Sister and Fire Woman it was a reminder of how much great singles the band have released over the years.
Tracks from the recent Hidden City – arguably the bands finest album in over two decades and a fine return to form – may not have been so well known to the crowd but all were received with rapturous applause.

Frontman Ian Astbury, dressed all in black and hidden behind shades for the first new numbers, cut an engaging figure centre stage.

Looking half of his 53 years he never let up from beginning to end, immersing himself in each song and looking every inch the rock god, part Jim Morrison, part shaman. Between songs he engaged the crowd with his banter, his opinions and reminders of his Scottish heritage – even going as far as introducing final song Love Removal Machine as “Love Removal Macbeth”.

To his left, guitarist Billy Duffy cranked out the riffs behind his signature Gretsch guitars.

Holding the guitar near vertical at times he created a sound that resonated through the Music Hall from front to rear and quite possibly rattled a few drinks on bars at the far end of Union Street such was his volume and power.

Fellow Mancunians Johnny Marr and John Squire may get the plaudits for their work with The Smiths and Stone Roses respectively but Duffy is surely one of Manchester’s great guitarists with a body of work and personal history second to none.

Both Duffy and Astbury thanked the crowd unreservedly at the end for selling out the venue and they must have been left wondering why they had not been this far North for the last three decades.

One can only hope that they don’t leave it another thirty years before returning to Aberdeen.

On this showing, if they did then you are left with no doubt they could still pull in the audience and give a similar energetic performance to the one seen tonight.

Steve Harris At The Lemon Tree – Reviewed

Aberdeen City, Featured, Opinion No Responses »

Aug 132015

Steve Harris spent some downtime from Iron Maiden at Lemon Tree with his new band, British Lion. Andrew Watson was in attendance. Pictures by Dod Morrison.

The album was released about three years ago, so it was refreshing that some newer material was thrown into the mix.

Upon the band name itself, Harris has reasoned it wasn’t necessarily harking back to the days of imperialist might on these shores; but more like supporting your local football team.

He certainly knows how to do that, with West Ham’s crest emblazoned across the body of his bass; his guitar strap a thick, woolly claret and baby blue.

Soft on the shoulders the key to his longevity perhaps. The Hammers, also known as the Irons because they were founded on Thames Ironworks – ‘Up the Irons!’ – provides a possible link to the origin in the name of his most famous musical endeavour.

One can’t help but draw at least some initial comparison to this setup and the formative spell of Ozzy Osbourne’s solo career. They were originally meant to be called Blizzard of Ozz, yet in the end that was only the name of the debut album and not the band itself. Yes, again as in Iron Maiden, Harris is the primary songwriter, unlike Ozzy.

However, why say onstage the band is called British Lion, when the CD says it’s Steve Harris and that’s merely the album title. It makes sense in both instances from a marketing perspective, one would suppose. Band rebelling against record label? Never!

Before all that, though, were support act The Raven Age, of London. These guys featured none other than George Harris, Steve’s son, on guitar. They were really interesting, actually. The brutality of more modern heavy metal, combined with a more classic rock sensibility of desire for melody and completely refraining from screaming and growls.

What’s more, they actually looked like they were enjoying themselves and, shock horror, you could even catch them smiling from time to time. The only drawback was the singer appearing to thank, come the end, Edinburgh for a good show. Whoops. Which was kind of strange because Aberdeen was mentioned mid set prior to that, so let’s put it down to a mere lapse of thought; engaging tongue before brain.

It turned out they were actually a man down, with their current guitarist away getting married. The fill-in did a tremendous job. Oh, and Harris Jnr was every bit as flashy, dextrous and brilliant as his father; albeit just on a different instrument. As is done a lot, both guitarists took dual responsibility for leads and solos, but you could tell he was their driving force; and that’s no disrespect to the aforementioned.

Overall, very good.

Main act British Lion opened with the thundering ‘This Is My God’. This was quite a grungy number and a fair old rocker to get the crowd going. Think Alice In Chains or Stone Temple Pilots. Yet another comparison would be that the singer sounds like Brandon Boyd of Incubus, and that’s only part of his range.

His opening salvo to the audience was something along the lines of ‘the harder you work for us, the harder we work for you’.

The Aberdeen audience, perhaps conscious of perceived reticence in comparison to more vocal places like Glasgow, and of course, Edinburgh, duly accepted the challenge and went on to do this with much aplomb. Later he said the latter were good but Aberdeen was better. Very diplomatic.

He went on, perhaps as a titbit in reward for the crowd’s raucous behaviour, to explain that ‘These Are The Hands’ was about his hometown, it’s history and it’s struggle and perseverance to this day. It’s driving, epic and links well to the tribal pride in your area or nationality.

There were chances aplenty to wave your arms in the air and clap to the beat of the drums, call and response football-esque chants and get shot by Harris Snr and his machine gun bass.

The song selection was generally good and featured, as said, a lot of new material. The likes of ‘Karma Killer’ was omitted, which was a shame because it’s punchy, groovy and little like anything Iron Maiden has ever done.

Speaking of the Irons there were at least a few numbers that sounded like that kind of material, but never explicitly so. Just like Bill Wyman warned his Rhythm Kings wouldn’t play Rolling Stones songs at the Music Hall a few years back, so British Lion are within right to demand the same.

However the influences do creep into some. Who is the audience to claim they don’t like the sound of dual guitars, or the performer to claim they don’t like pretending they’re Thin Lizzy when they’re doing them?

A pretty lively night, considering it was a Monday.

Big Country Live In Huntly: Suzanne Kelly Reviews

Aberdeenshire, Featured, Opinion No Responses »

Jul 302015

When Big Country played The Lemon Tree last year as part of their 30th Anniversary ‘Steeltown’ Tour, fans had come from all parts of Aberdeenshire and further afield. The atmosphere was intense as well as friendly and warm, the band seemed to enjoy themselves as much as the large crowd. It was a great night – but when Big Country came to Huntly last week, there were a few new and special things going on. Suzanne Kelly reports. Photos by Rob Scott.

Big Country have seen many many changes during their long, hit-filled career. Huntly was the scene for a further lineup change with Simon Hough on vocals.
There was something about the intimate old venue with its high ceilings having a definite acoustic edge over venues such as Aberdeen’s Lemon Tree.

There was something about the crowd; all who spoke to Aberdeen Voice on the night having encyclopaedic knowledge of the act. There was something about the Aberdeenshire setting and the summer evening that made it the perfect time and place for Big Country’s decidedly Scottish unique sound.

As the photos show, they also looked great. Things look very positive for the rest of this year’s demanding tour schedule.

The opening act, actor and singer Tom Urie entertained with covers and good humour.

The band played their classic hits and live favourites including Harvest Home – Fields of Fire – In A Big Country – Chance – Wonderland – Look Away – The Teacher.

This line-up was a new one for us all; and it worked. The band line up – BRUCE WATSON (guitars/vocals); MARK BRZEZICKI (drums, vocals); JAMIE WATSON (guitars/vocals) and former SIMPLE MINDS’ bassist/vocalist, DEREK FORBES – was augmented on stage by SIMON HOUGH, ex-front man for Denny Laine (Wings), Eric Bell (Thin Lizzy) etc.

Event organisers Huntly Live said:

“after a shaky sound start, we did really good. The band are getting tighter and the sound of Simon’s voice won’t be Stuart’s – but it ain’t far away.”

Any sound issues were minor if not unnoticeable to those front of house on the floor or in the balcony, where the sound was perfect. Perhaps a few larger / city centre venues could learn a thing or two from Huntly.

The organisers have a mission to bring acts out of the big cities to the lovely Huntly area. As they told Aberdeen Voice:

“The idea behind the company is a simple one. To provide good quality entertainment on our doorstep… we have some great venues around the region and it’s our plan to use as many as we can.”

They’d succeeded on the night.

On a personal note – I was taken ill (very ill), or I’d have had a few words from the band to share. This will definitely be redressed when they play Aberdeen later this year. And even though I could barely stand, when they played, my focus was on them and I forgot how badly I was doing.

For further information on the rest of the band’s 2015 tour dates, news and more, visit www.bigcountry.co.uk including their future Lemon Tree date.

Visit Huntly Live Entertainment for information about further shows.

RAM It Down Festival 2015 – Saturday May 23

Aberdeen City, Events, Featured, Information No Responses »

May 182015

With thanks to Mark Chalmers.

Fans of heavy metal in Aberdeen are set to have their own music festival. RAM It Down is Aberdeen’s only dedicated heavy metal festival, with 10 bands playing across two indoor stages.

The event will take place on Saturday 23rd May in The Garage Aberdeen and is the result of hard work from a group of volunteers in Aberdeen University Rock and Metal Society.

Five touring heavy metal bands from across the UK are set to play alongside five local bands. The bands have been chosen from a diverse range of metal sub-genres.

Headlining the main stage is groove-metal band, Xerath, who are increasingly gaining recognition for their extraordinary musicianship and intense technical metal sound.

Vocalist of Xerath, Rich, commented,

“Xerath are hugely excited to play this year’s RAM It Down Festival. We’ve always had an absolute blast in Scotland and it’s about time we ventured further north to Aberdeen! We cannot wait to see you all there at what promises to be a really special show!”

Joining Xerath on the main stage is female-fronted symphonic metal band Winter in Eden, who are travelling up from Durham especially for RAM It Down Festival. Winter in Eden have worked with some of the big names in their style. Their most recent album was produced by Ruud Jolie, guitar player of Within Temptation.

Steve Hauxwell, who plays drums for Winter in Eden had this to say,

“I’m really fired up about appearing at ‘RAM It Down’. I’ve never been to Aberdeen before and yet have heard so many great things from other acts that have performed at The Garage, so I already know it’s going to be an event to remember. There’s a good variety of styles on the bill too, personally I’m looking forward to seeing Red Rum deliver some good ‘ol Pirate Metal.”

Travelling yet further, is Nottingham-based Red Rum, who last year played Garage Aberdeen supporting fellow pirate-metal band Alestorm. Red Rum feature a range of traditional instruments, including Flute, Bouzouki and Mandolin, which they used to add a folk dimension to their pirate-themed heavy metal.

Commenting on their return to The Garage, bass player, Steven Ryan said,

“After pillaging Aberdeen for the first time with the mighty Alestorm we are thrilled to pillage again! No body will stop us on our quest as we sail to the finest shores of Scotland to play a rum-tastic show. We are excited and honoured to bombard Aberdeen with our pirate-shantees once more!”

One of the exciting names in Scottish heavy metal at the moment, are undoubtedly Fife-based Party Cannon. Their brightly-coloured logo may resemble that of a well-known mutli-national toy shop, but this ironically contrasts with the style of their music, which is extremely heavy. Party Cannon are influenced by bands such as Napalm Death and Cannibal Corpse, but do this in an entertaining way, often lightening the mood by bringing novelty items, such as balloons to their gigs.

Chris Ryan, who plays bass in Party Cannon, commented,

“We are super excited to bring our unique mix of atmospheric black metal and Euro mega trance to this year’s RAM It Down Festival. Join us at our alter of flesh, fog will rise and gabba will live in Aberdeen this May.”

Opening the main stage, are Aberdeen-based, White Wasted Virgin. They have a psychedelic-infused metal sound, which they claim is influenced by ‘everything heavy’. They have a comparatively energetic take on a style often described as ‘doom metal’. They will be opening the show at 5pm.

Headlining the second stage, is Toledo Steel, a band who are not just resurrecting the sound of early 80’s British metal, but also the direct approach to bringing music to their fans through intense touring commitment all over the UK. Toledo Steel are travelling all the way from Southampton to play a 3-date mini tour across the main Scottish cities.

Tom Potter, guitar player of Toledo Steel said,

“We’ve always found our Scottish fans to be some of the most dedicated and loyal metalheads. RAM It Down will be our first gig in Aberdeen and it’s a great honour to headline the second stage.”

Supporting Toledo Steel on the second stage are four local bands. These include, Asylum Four Star, who, like Toledo Steel, are resurrecting the sound of 80’s heavy metal, complete with powerful lead vocals, epic guitar solos and a strong rhythmic backing. Contrasing in style, are local band Boak, named after a colloquial word for vomit. Boak’s style fuses some of the heaviest punk and metal influences into their own sound.

Heavy metal has from its creation has been a style that demands intense musicianship, Aberdeen-based Kamehameha play a ‘tech-metal’ type style where the talent in the ranks of the band is displayed through intense grooves and instrumental parts.

Opening the main stage are a jam-band drawn from the ranks of the organisation hosting RAM It Down Festival. Aberdeen Uni Rocksoc band will be playing songs from across the spectrum of rock and metal.

RAM It Down Festival 2015
Sat 23 May, Garage, Aberdeen.
Doors 4.30pm (bands from 5pm)

Tickets are £10 and are available from Seratique, Belmont Street, Aberdeen and Campus Bar, Windmill Brae, Aberdeen.

E-Tickets are also available through Skiddle.

Wire: Live Wires Live

Aberdeen City, Featured, Opinion No Responses »

May 012015

Lemon Tree 26 April 2015; it’s been snowing, most people are cancelling their plans to stay home and be warm. The result is an audience size below what was expected for Wire. But completely undaunted and unphased, they air their new album Wire to Aberdeen’s hardcore, devoted live music fans. Suzanne Kelly reports. Pictures by Dod Morrison.

I wish I’d stayed until the end. I wish I’d stayed until the end. Having to leave this show early is a huge regret a week later.

With a new album to promote, long-running, ever-evolving punk/art/rock act Wire played a, well – sweet and strong set to an audience that loved it.

The Lemon Tree was not packed, but almost everyone I’d ever met in Aberdeen who loves music was there.

One proud fan had bought everything the merchandise stall had to offer. A beautiful silver foil on black poster, signed by Wire, was his prized possession.

The geometric graphic was composed of many smaller elements making a striking, elegant, strong overall design. And that’s kind of how I see their music as well. Complex, perfectly executed percussion layered with bass, guitar and vocals combine; and rock-solid, cohesive and compelling music is the result.

As another person who loved the show said:

“they’re artists; this is art.”

Wire formed around 1976 and today are Colin Newman (vocals, acoustic guitar , electric guitar, keyboards, and more); Graham Lewis (bass, effects, keyboards, vocals, backing vocals); Robert Grey (drums) and since 2012 or so Matt Simms (electric guitar, 12-string electric guitar, lap steel guitar, effects, keyboards)

Of this new album they’ve said:

“Their 13th studio album — simply titled ‘Wire’— comprises material that was written with the album in mind, but toured extensively first, as well as songs that Newman introduced to the group in the studio just prior to recording.

“The idea was to get the most spontaneous reaction possible from the musicians, and far from the rough and ready results one might expect from such a tack, Wire is full of swooning pop melodies with a ’60s tinge and an irresistible, near motorik rhythmic momentum. One can recognise certain melodic inflections, guitar and bass motifs, and drum rhythms from Wire’s idiosyncratic vocabulary but it has a remarkable freshness.”
http://www.slicingupeyeballs.com/2015/02/12/wire-new-album-tour-dates/

The new guitarist Simms in particular seems to be enjoying himself and is smiling at his bandmates and the crowd; other than that the rest of the act seems focused on every note. I wonder how they’re feeling: it’s the end of the UK tour; it’s Sunday night; it’s snowing; they’re probably shattered. But they’re here and we’re glad of it.

A sound engineer is darting all over the place; some said as I left the vocals could have been higher in the mix and brighter, but I’ve no complaints myself.

No point in pretending I know what the new songs were or what the complete set list is. (If someone out there wants to share the set list, please do weigh in). What I did hear was infectious and beautifully delivered. Know the names of the songs? I wasn’t sure whether I was in the 1980s 90s or the future. But I liked it a lot.

If you want a sample, here is Joust & Jostle.

I’d not previewed the new album; this show was mainly dedicated to tracks from this their 13th album, the self-titled ‘Wire’. As my friend said later:

“They’ve finally put out an album named ‘Wire’ – its brilliant, it IS Wire.”

I find them crisp, smart, sharp; the drummer is absolutely amazing; at one point I’m not at all sure how Simms is getting his guitar to create the most amazing sounds; I’m a bit mesmerised by this and several other passages.

My phone’s SoundHound app didn’t recognise any of the new pieces, which I thought I’d try for a variety of reasons; but I was far too busy listening to them to worry about it. But I’m sure that once this album’s been properly launched, everyone, even SoundHound will be familiar with this impressive new material. Aside from the people who came and stood directly in front of me after the third song and didn’t’ stop talking once, it was a gripped and attentive audience.

By the time this review is out, the UK tour will have finished; the band will tour the US in May. If you can’t get there, I’d get the album.

Is it punk? Is it new wave? Is it PostPunk? Is it electronica? Is it rock? Yes. And I’d like more of it.

Album and Wire info here: http://www.pinkflag.com/

Mark Olson – Blue Lamp, Sunday 26 April

Articles, Featured, Opinion No Responses »

Apr 232015

With thanks to David Innes.

In another major coup for Martin Raitt of the city’s Almost Blue Promotions, Americana giant Mark Olson will grace The Blue Lamp stage on Sunday 26 April.

Olson is the founding member of pioneering country rock legends The Jayhawks, who are universally cited as being among the most influential bands from the 1990s with their albums Hollywood Town Hall and Tomorrow the Green Grass high on the must-have lists of Americana fans.

Olson’s new album, Goodbye Lizelle, is his first solo project for five years and features his Norwegian wife, Ingunn Ringvold on vocals.

It has been attracting hugely favourable reviews, and Mark’s visit to the city displays Alost Blue’s determination to bring the highest-quality acts to the NE, reflected in online interest and impressive ticket sales.

Opening the show is Stonehaven loon Colin Clyne, now back in the NE after a 10 year stay in Southern California where he built a sizeable following. Clyne combines Scottish influences with his love of American music, and has been recorded and produced by Grammy award winning Engineer Alan Sanderson, best known for his work with The Rolling Stones and Burt Bacharach.

http://markolsonmusic.com
http://www.colinclyne.com

Almost Blue’s May gig will feature Cahalen Morrison and Eli West, no strangers to the NE, but who seem to love coming here and putting on ever more skilful and uplifting shows.

Simply put, they are two of the most innovative and subtle roots musicians touring and recording today.

Their music draws from old folk sources, but it sounds vibrantly alive.

Cahalen Morrison writes songs that sound like a Cormac McCarthy novel, simple, beautifully-crafted, and giving the impression that they’ve been formed from raw natural elements.

Eli West brings jagged, angular arrangements based in bluegrass and old-time, but refracted through a 21st century lens. Like Ansel Adams’ photography, their music is instantly accessible and built from the simplest materials, but at the same time seems to transcend its base fundamentals.

Together, Cahalen and Eli tap the root of the old country and bluegrass duets. As the sparse landscapes of Cahalen’s vocals reflect the warm glow of Eli’s voice, it’s clear that this duo was made to sing together.

http://cahalenandeli.com
https://aberdeenvoice.com/2013/04/cahalen-morrison-and-eli-west/

Almost Blue gig listing 2015

Mark Olson supported by Colin Clyne
The Blue Lamp, Sunday 26 April

Cahalen Morrison & Eli West
The Blue Lamp, Wednesday 6 May

JP Harris & The Tough Choices
The Tunnels, Saturday 23 May

The Red Dirt Skinners
The Blue Lamp, Friday 7 August

Greg Trooper
The Blue Lamp, Tuesday 22 September

Ben Rogers
The Blue Lamp, Friday 23 October

Tickets for all shows are available from See Tickets, Aberdeen Box Office or www.almostbluepromotions.com

www.facebook.com/AlmostBluePromotions
www.twitter.com/AlmostBlueGigs

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Tunnels Date For The Stevie Nimmo Trio

Articles, Featured, Gigs and Concerts, Opinion No Responses »

Apr 232015

With thanks to David Innes.

Some fantastic blues acts have played in Aberdeen so far in 2015. Ian Siegal, Laurence Jones and King King graced the Jazz Festival and Robin Trower, with Joanne Shaw Taylor in support, and Kenny Wayne Shepherd all excelled at The Lemon Tree in April.

Then Seasick Steve, supported superbly by My Baby, delighted the Music Hall audience last weekend.

Graham Robertson of Blues Rock Aberdeen is keen to point out that the blues action continues, with the Stevie Nimmo Trio booked to play an afternoon show at The Tunnels on Sunday 3 May at 1500, a perfect way to celebrate the May Day weekend.

As one half of Scotland’s highly respected Nimmo Brothers, Stevie Nimmo has built a deserved reputation over 15 years of touring and recording, and is a well-respected musician throughout the blues and rock scene.

Following a successful Nimmo Brothers gig in Aberdeen in 2014, Stevie now brings his trio line up to the Granite City for a full-on electric gig.

Stevie’s critically-acclaimed Wynds Of Life solo album in 2010 featured top Texas musicians, and now the first Trio album is on release to coincide with the tour. Songs previewed live during 2014 received great audience reaction.

Virgil and the Accelerators will return to The Granite City playing at The Tunnels on Friday 15 May.

Tickets are available from www.aberdeenperformingarts.com

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Gerry Jablonski Band: No Trouble With These Blues.

Aberdeen City, Featured, Opinion No Responses »

Apr 172015

Trouble With The Blues is the fourth album from the Gerry Jablonski Band. It’s a classic compendium racing up and down the full spectrum of The Blues, and it’s absolutely cracking. Suzanne Kelly stops listening to it long enough to review.

The Gerry Jablonski Band has come up with their best album yet, although it’s not as if they’ve released any flawed albums before. Twist of Fate, their last album was rightly well received.

But on Trouble With The Blues, the high production values, writing, playing, solos and vocals have reached new, highly-gelled heights. My first initial reaction is that I must see them do this material live as soon as possible.

The lyrics run from playful, for example in ‘The Curse’, to heartbreakingly raw and painful.

This emotion comes in no small measure from the sad passing of the band’s long-standing percussionist Dave Innes, who tragically passed away one year ago after illness. The last piece, ‘I Confess’ puts me in mind of Hamlet’s famous soliloquy which painfully questions existence; if you hear the song, you’ll perhaps take my meaning.

In ‘I Confess’, the lyrics are initially filled with sorrow:

“I never felt this way before until my friend passed away”

– as direct and crushing as a lyric can get. As it reaches a crescendo, the lyrics increasingly expose more raw pain, self-contempt and anger mirrored in the poignant vocals. All the while the guitar grows correspondingly louder and more insistent.

It’s cathartic for anyone who’s had such a loss; such a person will identify with this song and likewise be moved. It’s incredibly honest, as is ‘Anybody.’

‘Anybody’ is also a mournful, classic blues. Clapton would have been happy to have come up with this song. The instrumentals are minimal, while Jablonski sings

“I’m only human after all. I’ve been through my changes; don’t know which way to turn. All my friends are doing fine. So somebody, could be anybody, take me to the light.”

People are going to be singing along to this when they hear it live, I guarantee it. The only thing I’d say is that this sweet song is one I could imagine with a gospel choir on the chorus towards the end; i.e. the ‘Under The Bridge’ effect if you will. But other than that suggestion, I’ve no fault to find with this accomplished album.

Jablonski’s voice has never been in better form; the guitar work, and especially the guitar solos have also taken things up a notch. The title track ‘Trouble with the Blues’ has a scorcher of a solo, for instance.

But this album is a group effort, a team production. The entire band shares the song writing credits. There are polished bass lines and funky bass solos: ‘Trouble With The Blues’ has a great solo. Once again Peter Peter Narojczyk’s harmonica work is versatile, polished, expressive; Jerry Portnoy would approve. Lewis Fraser is now on the drums. He’s done a brilliant piece of work on this album. Mr Innes would approve.

I’ve dwelt on two melancholy, soul-baring tracks so far; but ultimately this album is celebratory. ‘Lady & I’ is upbeat and sassy; ‘The Curse’ is great fun. Then again so is ‘Fork Fed Dog’ – down, dirty, fun. I can imagine sets opening with this high-voltage track. It’s a tremendous track and I look forward to experiencing it live. ‘Big Bad World’ is a nice sharp bit of social commentary and a good showplace for Narojczyk, with a short but sharp Jablonski solo.

Live dates are indeed coming; for more information on this album and where to catch the Gerry Jablonski band, see the website here: www.gerryjablonskiband.com . I also understand that a video is forthcoming, shot at least in part in Aberdeen’s D-Range recording studio.

There is a great deal of debate in Aberdeen now about what is or is not culture, and what Aberdeen’s greatest cultural assets are. This album is as strong a hint as you can possibly get on that score.

This is not a piece of work to listen to once and forget; it will be going on your iPod and going where you go.

Having seen their Facebook updates during the project, and how happy they were to be at Abbey Road, I must say I’m very happy they’ve come out with such a strong, varied, memorable work. Nice work, gentlemen.

A Night In The Mooring s With Joe Lynn Turner

Featured, Opinion No Responses »

Apr 102015

The Moorings continues to bring acts to Aberdeen which command attention. Joe Lynn Turner’s not-to-be missed acoustic evening was something else again. Suzanne Kelly reports; photos by Still Burning – aka Julie Thompson and George Mackie.

If you were of a certain age, and living in the US, you loved rock and metal. Particularly English metal.

Every guy wanted to be in a band; some great musicians came out of the 70s in the US. UK bands filled giant arenas and played to capacity crowds. Led Zeppelin reigned supreme (and for many of us still does, not least with the re-release of Physical Graffiti on its 40th anniversary – but I digress).

If you worked at it long and hard, you became a halfway credible guitarist.

If nature had particularly gifted you and you worked at it, you could sing passably. If you could play remarkably well, had a perfect voice for rock, and could write, then you could only be Joe Lynn Turner.

This was the guy from New Jersey who joined Ritchie Blackmore’s Rainbow for much of the 80s and was on Deep Purple’s Slaves & Masters.

This guy from New Jersey who played to tens of thousands in stadiums invited us to have a nice, warm intimate show at the Moorings. And we loved it.

JLT is touring; it’s an acoustic show with two other guitarists. Being able to hear music stripped down to an acoustic essence is a good way to figure out if you’re just listening to someone who can deliver a few power chords via some distorting electronics or someone who can play with some subtlety and skill.

I dare say he’d won us over before he was through the first few measures of his opening piece ‘Stone Cold.’ He finishes, tells us he ‘looks like a criminal’ under the bright lights, and asks us to just shout out any questions as he goes along.

He then tells us about a recurring dream and a face that haunted him – and ‘Street of Dreams’ is next. People have brought along their treasured memorabilia; he promises to sign these later. Soon he mentions Ronnie James Dio and sings Catch The Rainbow.

He’s doing material that showcases his considerable gifts. He’s taken tracks from Slaves & Masters; he’s covered the Beatles’ Blackbird and When I Saw Her Standing There; he’s done Van Morrison.

This night is more like hanging around with your friend who plays guitar, as you talk.

I’d never imagined this would turn out to be such a warm, friendly, down-to-earth evening – but it gets even more so.

We wind our way to the last few songs. Deep Purple’s Hush is near the end; and by now most of us are singing. But as the show nears its end, we get the extraordinary treat of an acoustic Smoke On The Water. I’ve seen Flash in the room; he’s grinning from ear to ear. I think that every single person was singing along. Remembering this moment makes me want to sing it aloud again now.

He’s off; he explains the band have an early plane to catch. All I can say is thanks for a great evening, and if you find out that Joe Lynn Turner is heading your way, I’d suggest you get there.

On a personal note.

I never thought I’d see a show quite like this; JLT virtually made a friend of everyone there. When he mentioned Ronnie James Dio, I was catapulted back to the late 70s when groups like Elf, The Rods and The Numbers were swelling up in Dio’s hometown, and the impression they made on me then which lingers.

Somewhere I have an old cassette tape (is there any other kind?) of Dio singing before he broke big. I must find that tape.

Lemon Tree Date For US Trio

Aberdeen City, Opinion No Responses »

Apr 032015

With thanks to Warren Higgins.

South Carolina natives, Heyrocco will be bringing their infectious mix of grunge-pop to Aberdeen Lemon Tree on the 15th April ahead of the release of their upcoming debut album.

After making waves at home and abroad last year, Heyrocco continue to win fans on both sides of the pond the band are now set to unleash their stunning debut album ‘Teenage Movie Soundtrack’ on June 8th, via Vital Music Group.

The album is a perfect marriage of grungy angst and bubblegum pop. ‘Teenage Movie Soundtrack’ lends itself as much to the A-List radio airwaves as it does to the grimy basements in which these tracks were written.

Already being compared to the likes of Nirvana, Pavement, The Cure and Mudhoney, the album is packed to the rafters with gargantuan choruses, sludgy guitar hooks, and boasts stellar made-for-radio melodies

From the slushy, yet happy Weezer-esque opener ‘Loser Denial’, to the sleazy, chugs of ‘Melt’ and ‘Mom Jeans’, to the grunge-laden tracks ‘Virgin’ and ‘Happy’, right down to the more laid-back sounds of ‘Allison’ and ‘Santa Fe (Stupid Lovesong)’, Heyrocco have produced a work of undeniable sonic gratification, with an abundance of mucky guitars and the vocals of singer Nathan Jake Merli, sound-tracking the voice of disheveled youth.

Nathan (Guitar and Vocals), along with Chris Cool (Bass, and yes, that’s real name) and Tanner ‘Taco’ Cooper first plugged-in the amps in their parents’ garages five years ago in South Carolina and were soon touring across the United States in their beaten up old van.

Their first UK tour at the end of last year brought their explosive live show to a rabid audience, including a sold out show in front of 1,400 people for Club NME @ KOKO. They also have been lighting up the radio airwaves with support from Zane Lowe, Huw Stephens and Phil Taggart at Radio 1, alongside XFM & Kerrang Radio.

The band are set to hit UK shores in April with a 12-date tour in support to The Xcerts, stopping off at The Borderline in London. Following this, Heyrocco will embark on a series of their own headline dates.

“Cue the light wash denim jeans and tattoo chokers because Heyrocco’s new single launches us right into 90’s teenage movie nostalgia. Like these Southern sweethearts, we admittedly might not have been the coolest kids in high school—but at least we can pretend like we were while listening to some 90’s inspired rock and roll.” – NYLON

“‘Virgin’ mimics the angst-ridden grunge of Nirvana, while flecks of Pavement ensure a distinctly nostalgic flavour to these guitar heroes” – NME

“Set in high school, with its corrosive mixture of The Cure and Mudhoney conjuring up all manner of adolescent fury” – Clash

APRIL TOUR – SUPPORTING THE XCERTS

10th – Guildford, Boiler Room
11th – Tunbridge Wells, Forum
13th – York, Duchess
14th – Hull, Fruit
15th – Aberdeen, Lemon Tree
16th – Inverness, Ironworks
17th – Edinburgh, Mash House
19th – Birmingham, Rainbow
20th – London, The Borderline
21st – Cambridge, Portland Arms
22nd – Northampton, Roadmenders
23rd – Exeter, Cavern

HEADLINE DATES

28th April – London, Seabright Arms
29th April – Chelmsford, Undertone

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