Nov 042014
 

ANL__Aberdeen__October_2014_by By Dod Morrison.

The League has been going for an impressive 34 years now, but despite this they have never played Aberdeen.

It was a sold out show at the Moorings, the best place for punk music in Aberdeen.

The band came on stage and Animal screamed “We are the League!” but nothing happened… Tommy’s guitar was not working!

A couple of minutes later we start again, and the lyrics of this song sums it up:

“You criticise us, you say we’re shit
But we’re up here and we’re doing it
So don’t you criticise the things we do
No fucker pays to go and see you”

and a couple of hundred people had indeed paid to see them.

It was like a sauna in there with people jumping all about from the off. We got 9 songs from the “We Are the League” album, which is in my all-time top ten albums. The band did things differently from other groups, and played the big hitters early, instead of leaving them until the end.

“So what”, their most controversial song back in the day and now covered by the likes of Metallica, was their fourth song in, and “Woman” which all the women love too, was a couple of songs later. They both had the crowd going berserk.

Animal commanded the stage in his usual leathers, complete with menacing look, scowling at the crowd, dropping to his knees and thumping the ground: the crowd loved it. These guys haven’t lost any of their energy over the years. Shady and Tom came to the front during some of the songs, playing guitar and bass like rock stars, meanwhile Nato on drums was banging away like a man possessed.

They were a tight outfit and a great live act. Catch them if you can.

Oct 172014
 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

So we decided to get lunch elsewhere.

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Comments enabled – see comments box below. Note, all comments will be moderated.
Oct 032014
 

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

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

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

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

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

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

Sep 262014
 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The instrumental section of this piece is likewise equally remorseful.

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

Write On:

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

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

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

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

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

It continues:

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

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

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

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

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

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

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

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

The Album Live

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

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

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

Kirk & Jools

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

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

From the new album Holland’s show included:

SoD XXXI – Fascinations
Sod XXXI – Sputnik

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

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

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

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

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

A Date With Destiny

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

* Compare and Contrast – A Footnote

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

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

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

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

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

  • Comments enabled – see comments box below. Note, all comments will be moderated.
Sep 232014
 

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

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

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

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

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

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

Plus many more…

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

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

For further info: www.bigcountry.co.uk

‘STEELTOWN’ 30TH ANNIVERSARY TOUR.

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

Jun 132014
 

Downstairs ThmIt was a night, generally, of brutal thrash at Aberdeen’s newest live music venue, Downstairs. Andrew Watson was there.

First up were Perth’s Blackened Ritual. They were a man down, so played as a four piece of drums, bass, guitar and vocals.
They combined thrash with a bit of groove, and if the guitar levels were a bit better the subtlety and technicality of the riffs would’ve been realised and more so appreciated.

The singer was enthusiastic and was able to laugh at himself. It’s nice to see people on the stage genuinely loving what they do.

Local act Drekavac were probably the most pounding and heavy band on the bill. It wasn’t just about loudness wars, either, with clean guitar atmospherics brooding throughout. This black metal four piece (again, drums, bass, guitar and vocals) put tremendous effort into stage props.

Goat skulls, face paint and black cloaks were all included onstage.

The main support act were Nolti Nan Gana Nan Nolta or NNGNN for short, of Edinburgh. In the build up to their set their drummer was clearly seen pacing the width of the stage floor, from end to end. He was so psyched it’s a wonder he wasn’t punching holes in the wall. His bandmate said the ritual helped him play drums better.

Anyway, the three piece consisted of said drummer, vocals/bass and guitar. These guys were intense and distorted blackened thrash.

Headlining were Croatia’s Evil Blood, who reside in Fife and are were made up of guitarist, vocalist/guitarist, bass and drums. They seemed to hark back, at least a little sometimes, to the times of classic metal with dungeons, dragons and ice maidens amongst the subject matter. There was no shame in the subject matter, which in itself is a positive.

All round a colourful night of headbanging, windmilling, devil horns held aloft and swilling of beer.

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/

Mar 182014
 

Julie Thompson continues her series on photographing bands in Aberdeen taking in The Beards/Massive Horse, The Answer/Estrella and Federation of the Disco Pimp/Kagoule/Marionettes at The Lemon TreeThe 1975/The NBHD/Wolf Alice at The Music Hall, and chats to local music photographer Dod Morrison.

beards

The Beards – Credit: Julie Thompson

It seems somehow appropriate to be interviewing Dod Morrison, given that we both recently paid a visit to The Lemon Tree to photograph The Beards.

Dod sports a fairly substantial beard himself, although arguably not as luxurious as those attached to the band.

The Beards, a novelty band over from Australia were here to entertain us, along with their support – Massive Horse. Massive Horse are a couple of rappers, who use a projection screen to show videos, filmed to go with their songs.

These sorts of thing can be useful props when photographing bands – although getting the right moment for the image you’re after can sometimes require patience and a lot of luck.

Beard stroking commenced when The Beards came on. They stroked their own, they stroked each other’s. They even stroked the beards of members of the crowd.

The Beards base their act around the fact that all of their songs are about beards, but that aside, they are actually pretty good. Mostly rock but with some slower numbers, they entertain between songs with banter and some set pieces such as the band taking a break – the singer & lead guitarist had a chat over a beer while the bassist read a book about beards – leaving the audience to carry the chorus.

One track in particular tickled my funny bone; Shaved off his Beard . You can watch them perform on Youtube here: https://www.youtube.com/watch?v=KJkLH4uZ73M

All in all, it was a fun night.

The bearded (and often Mohicaned) Dod Morrison has been shooting gigs for some years – about half of them with professional gear – since getting the bug when he first took photographs of Hayseed Dixie on his wee camera back in 2004.

His biggest frustration is a fairly typical one, as I have found from reading other music photographer interviews:

‘PR companies messing ya about or be replying or forgetting to add you to list and the restrictions you get put on you when everyone in the crowd has a camera anyway.’

It does seem that people spend more time watching gigs live through a phone than actually looking at the band these days. It can be a problem for us when we are limited to shooting from the sound desk up at the back – all you can see is a sea of arms and hands with phones in them.

So, what bands has Dod found the most fun or exciting to photograph?

ttm_dod

Dod (bottom right) at The Temperance Movement – Credit: Julie Thompson

‘The Adicts are the most exciting, along with Cock Sparrer and Rancid.’

He singles out the Adicts because he went on a 21 cities tour of America with them from coast to coast (New York to LA and back) including the House of Blues in Los Angeles. This was the furthest, to date, that he has travelled to shoot gigs.

The most famous names under his belt include U2, Iron Maiden, and Katy Perry and on that note we’ll stop for a while. The second half of this interview will continue next time

I’ve been busy photographing other gigs between my last Musings and this, but I never got chance to write them up before a chest infection, exacerbated by some smoke machines at The Music Hall, knocked me out of commission for a couple of weeks. I’ll quickly mention some of them and there are photos linked below for anyone interested.

In late January, Federation of The Disco Pimp arrived at The Lemon Tree, along with Kagoule and supported by local band Marionettes.

We arrived at The Lemon Tree to find the usual photographers pit missing – a new one to me at this venue. It did mean, after some discussion with security, that we had a bit of a free rein on shooting, as long as we didn’t get in the way or annoy anyone.

The local band, Marionettes, kicked off the evening. The band consists of 5 mostly local lads (some hail from Glasgow) and were actually good fun, sparring with the crowd and producing some nice bouncy music.

Next up were Kagoule, who are a very young (17 years of age) three piece grunge/post punk band – 2 lads on drums & guitar/vocals and a lass on bass and are already proving to be an exciting new addition to the music scene. In a departure from my normal gig routine, another photographer and I had a short back stage shoot with the band.

FOTDP are a seven-piece funk band – 2 saxophones, a trumpet, keyboards, 2 guitars and drums make up this ensemble. No vocals as such so finding the focal point for shooting was tricky. However, concentrating on the instrument lead at the time seemed the way forward. They were a pretty good band – if you like to strut your funky stuff, try and catch them if they come again.

matt_1975

The 1975 – Credit: Julie Thompson

The 1975, supported by The NBHD and Wolf Alice, played the Music Hall in early February.

When I arrived, there were young folk queuing into Golden Square, and some of those at the head of the queue were wrapped in blankets after being waiting for some time.

First up was Wolf Alice, which is a four-piece alternative rock band with a female lead. The lights were really down low for this band, giving me a challenge.

The NBHD (also known as The Neighbourhood) are an alternative rock band from California, formed in 2011. The crowd at the Music Hall seemed pretty familiar with this second support act. For this band and the next, there were strobes and smoke machines – not my favourite combination.

Headlining the young trio of acts, The 1975 hail from Manchester and are an up and coming alternative/indie foursome whose debut album hit number 1 in the UK Album charts back in September last year.

Fronted by Matthew Healy, sporting a floppy Mohican, it was a surprising accomplished performance with Matthew having the stage presence you’d expect from the lead. They are no boy band and they don’t stick to single instruments – swapping between guitar & keyboard, or adding in a sax solo and they seem to enjoy what they do – which shows in their performance.

Their highest charting single, Chocolate, reached 19 in the charts last year. They will be playing at T in the Park along with The Isle of Wight, Reading & Leeds festivals in the summer.

Later in the month was The Answer at The Lemon Tree – signed to the same Agency as The 1975.

theanswer

The Answer – Credit: Julie Thompson

The Answer is an Irish rock & blues band, formed in 2000 and, as well as supporting the likes of Deep Purple & Whitesnake, they toured with AC/DC in 2008/2009.

Their most recent album, New Horizon, was released last year.

They were supported by Scottish band Estrella, originally from Thurso but relocated to Aberdeen. They play 80’s style rock and have the look to match – entertaining and fun to shoot.

Coming up next – the second part of the Dod Morrison interview, along with Indian Red Lopez at the Peacock Visual Arts Centre, Kid Canaveral at The Tunnels and March of the Mods.

 

 

More Photos:

Federation of the Disco Pimp (FOTDP)
Kagoule
Marionettes
The 1975
The NBHD
Woof Alice
The Answer
Estrella
The Beards
Massive Horse

  • Comments enabled – see comments box below. Note, all comments will be moderated.
Feb 142014
 

KIRK_2014_Akoustik_imageKirk Brandon will be appearing in Aberdeen on Sunday 9th of March as part of his aKoustiK nights 2014 tour. With thanks to Hen Beverly.

Kirk Brandon is the voice of Spear of Destiny, Theatre of Hate and Dead Men Walking. With over 15 studio albums and countless single releases, his career now spans well over 30 years.

He has enjoyed worldwide success with all three of the above bands and is also a leader in every punk rock poll by being the singer and songwriter in The Pack.

Over the last 8 years, Kirk has released five solo acoustic studio albums (the Dutch Masters series) that have pulled tracks from all eras of his career, these albums have featured many of the people he has worked with and collaborated with over the years including Derek Forbes, Slim Jim Phantom & Clint Boon.

The latest of these solo acoustic albums entitled Dutch Masters Volume Five has become, in it’s first year of release, the best seller in the series.

DM5 features two outstanding Theatre of Hate interpretations, a James Bond theme and a Country & Western cover of a Ry Cooder tune.

Kirk has spent his Christmas break preparing a brand new solo show for 2014, even some of his best known tracks (Never Take Me Alive, Do You Believe In The Westworld? & Young Men) have been dusted off and given a given a good spruce up.

The aKoustiK nights 2014 tour kicks off in Brighton on February 20th and ends in at the beautiful Hermon Chapel in Oswestry on March 15th.

Joining Kirk on all these dates will be long time friend Dave Sharp. Dave, best known as guitarist, songwriter and sometime vocalist of The Alarm, will be show -casing a selection of songs that cover his thirty plus year career.

 “Kirk Brandon is one of the UK’s most underrated songwriters and ‘Omega Point’ is a fine addition to his arsenal of epic albums” – Vive le Rock! Magazine.

 “Kirk Brandon is on of the UK’s best kept secrets” – Mojo

 “@kirkbrandon is one of our greatest musical geniuses” – BBC’s Jeremy Vine

“Spear of Destiny are criminally underrated and are one of Britain’s best, Boys Own, punch the air, grandiose Rock’nRoll bands” – John Robb’s Louder Than War

 “Brandon’s vocal is fuller, it is more powerful, it is more tuneful. But what impresses me more is his total clarity; not only vocally but his overall performance – he lives, breathes, screams, shakes these songs out of his body. At times he appears to be in the throws of an exorcism, bent double and shuddering rhythmically” – gettotthefront.co.uk

Links:

www.kirkbrandon.com
https://www.facebook.com/pages/Kirk-Brandon/35405326217
www.davesharp.org
https://www.facebook.com/pages/Dave-Sharp/43087293724

  • Comments enabled – see comments box below. Note, all comments will be moderated.
Feb 042014
 

Julie Thompson continues her series on photographing bands in Aberdeen taking in Terry McDermott & The Bonfires, Amy Sawers, Craig John Davidson & Innes Cardno at The Lemon Tree, Toxik Ephex at The Moorings, and Iron Broo at The Beach Ballroom.

Craig John Davidson - Credit: Julie Thompson

Craig John Davidson – Credit: Julie Thompson

The last of my three Lemon Tree events between Christmas and New Year was to shoot Terry McDermott and the Bonfires, along with his supports Amy Sawers and Craig John Davidson with Innes Cardno.

A queue had formed outside The Lemon Tree when I arrived. Some had come over from the USA especially for this gig – they were big Terry McDermott fans.

I also bumped into Matt Jolly’s dad – who is also a big Craig John Davidson fan.

Craig John Davidson took to the stage to start the evening, along with Innes Cardno. Craig was excellent as ever but Innes was new to me and what a revelation the two of them together was – quite amazing. Craig alone is an incredible guitarist, but the two together were musical manna with Innes weaving lovely melodies around Craigs vocals and guitar.

amy1Amy Sawers was the next act on stage.

This was my first time seeing her on stage (previously I’ve only seen her in one of the Old Granite Whistle Test sets in HMV). She has a fantastic, powerful voice and big dark eyes.

Her eyes were usually open as she played and she looked around and made eye contact with the photographers (well, their cameras).

So many guitarist look down at their hands, which can make catching an open eyed shot a challenge.

I’ve found that eye contact from a performer can often lead to intense images that can make the back of the neck tingle.

Aberdonian Terry McDermott – who was runner up on Season 3 of The Voice, a US talent show and has become a big name over there – was back in his home city to coincide with his new single release; ‘Lose this Feeling’, and to Headline at the New Year’s ‘Gig at the Brig 2013’ in Ellon.

Terry was previously with the Aberdeen band, Driveblind. Today he was singing with his band, The Bonfires – a mixture of American and British musicians.

terry2By the time Terry & his band took to the stage, the place was pretty packed, with the Americans fans front and center against the pit wall.

Also along to shoot this gig were Matt Jolly, George Mackie, Dod Morrison and Andy Thorn.

I had a quick word with Captain Tom before Terry came on, as I wanted to see if I could shoot some images from the crowd later on, after the pit session was over.

Terry was actually quite good to shoot – he was active and made good eye contact with those there to take the photos.

I enjoyed the shoot and his performance and the crowd loved the show, his new single going down very well with them.

I had a stupid novice problem later on, outside the pit. When I was taking my camera out of my bag I must have knocked the autofocus switch to off.

I didn’t notice at first; I just thought my eyes were tired. Anyway I missed a few, but luckily not too many, good photo opportunities due to that mistake, so mental note to self – take more care and always check the autofocus switch is on!

innes1Terry and his band had a busy night planned, as it happens – during his set he announced that they were playing again a little later that evening.

After the signings and chatting at the Lemon Tree, they were off to play an acoustic gig at Korova on Bridge Street.

At the end, I managed to swipe a set list that Terry was kind enough to sign, as an addition to my memento drawer.

I remember, some time ago, asking George Mackie if he’d photographed anyone well known – Iron Maiden, Paul Weller & Katy Perry were some of the names he mentioned.

He has also been at the X-Factor shows when they visit and was recently at the AECC for Boyzone.

I asked if there was anyone he applied for and was gutted when he got a refusal:

“I wouldn’t give them the satisfaction of knowing. I still get rejections of photo pass applications, but not so many these days.”

His travels for music photography are somewhat limited by him being self employed – he single-handedly runs his football related business and can’t just take off for days on end whenever he wants – so he mainly reserves his trips for the summer when the festivals are on.

Wickerman is his favourite and was the first he got a pass for:

“My kind of music with my kind of people in attendance”

Belladrum is another favourite, mostly because there is so much going on. It’s a family friendly festival and great for candid/street style photography, another of his interests.

I asked if there anything he wished he’d known when he first started:

“Possibly to shoot in RAW, but fast action photography needs the best equipment to process the digital files. At the time I could capture sudden movement more precisely by pressing the shutter whilst saving as jpeg files. I’ve never been a fan of rapid shooting as you then lose the precision and control over what is captured.”

Last question, George, honest! Any tips you’d like to share?

“Start with small shows in dark rooms, you’ll learn the functions of your camera better.”

A couple of weeks on from the festive season and I was off to The Moorings to see Toxik Ephex.

toxik1Toxik (originally called The Abductors) are possibly one of Aberdeen’s longest surviving Punk bands going back, off and on, for some 35 years.
Having previously only caught the tail end of their last one in Downstairs @ The Malt Mill a few weeks back I was interested to see a full show.

Dod Morrison was, of course, there; in fact he was singing along in a mic at several points during the evening. Moorings house tog, Matt Jolly, was also
there.

Tonight I had decided to try a new thing. I had an event coming up the following week which needed me to be familiar with flash and I thought this would be a suitable venue and subject to use as a testing ground.

I’d played around with various settings during the support act but wasn’t really happy with the results, a dark background and flash lit washed-out subjects.

During the gap between support and main act, I put my thinking cap on, eventually coming up with a theory where I could fill-light the subjects so they look natural but also keep the ambient lighting visible. Still, proof of the pudding is in the result – having a theory is all very well – and so, with some trepidation, I set my camera to those theoretical settings and prepared to give it a try.

Another issue with using flash is that you have to wait between shots for the flash to recharge. It slows you down and makes you pick your images more carefully, so in some ways it is no bad thing. However, here’s a little tip – always carry spare batteries because flash recharge time increases as the batteries are used. Swap them out for fresh ones well before they go flat. Keep the old ones for reuse – they’ll still last a long time in a tv remote.

toxik2Looking for that special moment can be engrossing – which is why I ended up getting my camera accidentally smacked back into my eye. People are closer than you think when you’re looking at them through a wide angle lens.

I eventually ended up standing on the edge of the stage for a while to grab some close-up photos of Dod, the frontman, interacting with the crowd. This was an excellent position for the shots I was looking for, but the crowd closed in beneath leaving me effectively stranded for a while.

I think everyone there had a great time, the crowd was well natured and I was pretty pleased with the results from my flash experiment. I had a great night, despite the bruises.

The last event I’ll briefly mention was something new to me.

iron_broo1There was live music, yes, but this was of a different sort to the music I’ve usually been
encountering.

It was a Ceilidh – in this case a charity event to fundraise for ARCHIE – with Iron Broo and friends (Paul Anderson & Bob Knight) providing the music.

The event was a sell-out and the floor was so often packed that people had little room to dance.

It was fun to watch, a challenge to photograph and all for a great cause. I even learned a few new dances that night. Well done to all those involved in getting this event organised!

.paul_anderson2sq bob_knight1sq

I’ve picked my next music photographer to talk to – Dod Morrison. He’s been shooting gigs for some years now and should have some interesting tales to tell.

More Photos:

Terry McDermott & The Bonfires
Amy Sawers
Craig John Davidson & Innes Cardno
Toxik Ephex
Ceilidh for ARCHIE

  • Comments enabled – see comments box below. Note, all comments will be moderated.