Levellers - Southampton Guildhall

 

This evening watching the levellers it's apparent that their edge has not been dulled by the years, they remain as sharp and committed as ever they've been. Some 40 years in the music industry have not swayed their ethics, their stance, nor the grind of modernity diminished their energy. In 40 years they've amassed a  library of notable albums packed with consistently solid tracks, each relevant to its' time. They’re a band that clearly care about their music, consummate performers never failing to deliver the audience a memorable evening of well honed artistry.  Tonight they kept that commitment to excellence with a stunning performance. It’s been 30 years since the release of Zeitgeist, an album containing some of their best loved tracks, tonights' set incorporated the entire album, plus a smattering a fan favourites from across the bands' expansive repertoire. A wonderful evening was had by all; the band appeared to be having fun, the audience certainly were. Great show, great sound, a great evening all round. 

Grace Petrie - Southampton Guildhall

This evening we found ourselves in Southampton, off to see the mighty Levellers. Their support, folky-protrest-rock type Grace Petrie. I hadn’t heard of Grace before this evening, although what I heard tonight I really enjoyed. She had to feel of an upgraded Billy Bragg, better vocally and lyrically; Grace has presence and warmth too. Her songs have energy, and powerful lyrics in the tradition of protest folk though brought modern. She appears at ease on stage, natural, and a sense of humour too, so easily lost in modernity. Grace engaged and involved the audience, it was a lovely experience. She said her job was to warm up the crowd for the levellers, and she did just that, and did it with gusto. If you get an opportunity to see her, take it.

Henry Parker & David Ian Roberts @ The Wight Bear

 

I can't remember where I first heard Henry Parker, but on doing so I was immediately prompted to buy his 2019 album Silent Spring. An album of timeless folk. His new album in collaboration with David Ian Roberts Chasing Light is in the same vein. Folk has always been the voice of the proletariat, the people, music that keeps alive an oral tradition conveying story, history and fable, whose origins disappear into the mists of time, it's important, as are the stories it tells. This afternoons' performance at The Wight Bear in Southborne was part of messrs Parker and Roberts album release tour. The duo graced us with two captivating half hour sets, the quality of musicianship was superb, with exquisite melodies beautifully rendered, folk music of the highest order. Parker and Roberts represent contemporary folk at it's best, masterfully breathing fresh energy into the medium, ensuring the traditions continuing appeal. Wonderful stuff, we were afforded a real aural treat, music that stirs ancestral memory and touches the soul. The venues owner has a no talking whilst artists are playing policy which I salute, never more essential than when listening to performances such as this, allowing us to bask in its fine detail. Lovely. 

Now, to say the Wight Bear is bijou under plays just how small it feels, though what it lacks in size it more than makes up for in character and warmth. What a smashing venue. I'd not previously been here, though immediately felt at home. Really friendly regulars, everyone appeared to know everyone, and even if they didn't they made you feel that they did; the staff where the same, very welcoming; and the range of craft beverages is expansive. I said it felt small, although it must have a tardis quality about it, there were people sitting chatting, others making lino cuts, others milled about, whilst massages were available in their small snug at the back. What a remarkable establishment. Well worth a visit.

Fabulous afternoon, big thanks to all. Check out Henry Parker and David Ian Roberts Chasing Light on bandcamp, as well as Henrys' back catalogue.

Carlton Melton @ The Winchester Gate

 

I was lucky enough to get to see the fabulous Carlton Melton for the second time in less than a week, and they were, again and as one would expect, truly phenomenal. This time it was closer to home at another of my favourite pub/venues, the fantastic Winchester Gate in Salisbury. What I wrote regarding Carlton Melton and the qualities of their King Arthur performance remains true for tonights' gig, I'd only be repeating myself, and anyway I've already used all the available superlatives to describe this prodigious bands performances. The only difference I'd say was that whereas the Arthur performance had a wild frenetic nature to it, this evenings' was a more considered and focused affair; viva la difference I say, both were far out. It was also a treat to see Carlton Melton supported by Salisbury band Carpet. I've seen Carpet 3 times (?) previously, each a unique experience as they appear to have a wonderful fluid nature to their sound and performances; tonight they were joined by a nervous looking fellow singing in Hindi, damn fine stuff, the cultural mix of electronic psych and traditional style vocals worked well. Check Carprt out here. 

All in all another wonderful evening, great venue, two superb bands and the fine company of friends old and new; again my cap is doffed to all who made this evening the respite from modernitys' tribulations that it was.

Carlton Melton @ The King Arthur Glastonbury

Until this evening I'd not been to a gig since the outbreak of 'rona', so it was a real joy to be back at my favourite pub/venue, the King Arthur in Glastonbury; to see psych rocks' finest Carlton Melton create their magic. If you get the opportunity to catch Carlton Melton live don't hesitate, you'll not be disappointed. Carlton Melton are Andy Duvall on drums and guitar, Clint Golden on bass, Rich Millman guitar and synth, and Anthony Taibi also on guitar and synth. For me the essence of Carlton Melton's music is it's immersive nature which is dialled up to 11 live. Tonight's performance epitomized that, although differently to previous shows I've attended which have had an ethereal nature, whereas tonight’s performance had a more driven nature. An evolution in sound which is reflected in their phenomenal new album 'Turn to Earth'. At the core was Andys' drumming which had an affecting tribal vibe to it, organic and shamanistic, which along with Clints' solid bass lines drove the rich rhythmic groove which under pinned this evenings' performance. If you've seen Carlton Melton live you know to strap yourself in and prepare to be taken on an aural trip, their music has the capacity to create a collective flow state, and tonight was no exception. Every track was delivered masterfully with gusto, driven hypnotic drone all solid psyche rock riffs and rhythms had the audience moving, it was smiles all round, every track receiving enthusiastic applause. Right on! Out front Richs' performance was electric, delivered through his bold and energetic stage presence, throwing himself and his guitar into the music tonight literally had him lying on the floor amongst the crowd. I know not how. Importantly though he was okay, and with smiles all round he crawled back on stage as Dead Otter's Omar Aborida picked up the guitar and filled in for him. I'd previously seen Carlton Melton as a three piece, tonight was the first time I've seen Anthony perform live; I've enjoyed his contributions in White Manna and DDT (two bands I'd thoroughly recommend), he delivered an impress live performance. The band looked like they were enjoying the performance as much as the audience were. Then sadly, all too soon, as with all good things, it was over; as the music faded we were returned to reality, all the better for our journey.

 

Genuinely you couldn't fault tonight’s performance, capital show all round, Carlton Melton were outstanding. In fact everything about this evening was perfect. I mentioned Omar, that's as Dead Otter were one of two other bands on the bill along with Thee Crow, both also acquitted themselves magnificently delivering exceptional performances. As for the Arthur I love it, great staff, friendly clientèle and a wonderful atmosphere which makes the traveller feel like a local; the sound guys do a great job too. I doff my cap to all involved in thoroughly uplifting evening; I for one feel better for it.

Cary Grace @ The Assembly Rooms Glastonbury 28.12.2019

After writing an earlier post on gigs, I realised I hadn't finished, let alone posted my intended post on Cary's Assembly room gig back in 2019. So, still not at all finished (too much time elapsed), though tidied up enough to give an impression, here it is.

Well, what a  absolutely splendid evening of sublime music. I've missed far too many gigs this year, and am so glad that I made it to this one. Tonight was the album launch of Cary Grace's much anticipated fabulous new album 'Lady of Turquoise'. Cary's a mesmerizing performer and purveyor of quality compositions, check her page out, there's some beautifully work there charting Cary's musical evolution. Fantastic as her albums are, and they are, catching a live performance is something else; and tonight in Glastonbury's esteemed Assembly Rooms, a lovely venue, one with history, character and a great atmosphere; lovely staff and a great sound too. Tonight was going to be good!

 

It wasn't just Cary on the bill this evening either, no, tonight we were well and truly spoilt. First up was the wonderful Tim Hawthorn. It doesn't matter how Tim Hawthorn manifests, The Archytypes, The Anarchitypes or simply himself, his bardic magic never fails to engage and enthral; and tonight was no exception, a performer with range and presence. Tim was followed by Kangaroo Moon, those renowned troubadours of joy, whose performances are guaranteed to raise your spirits, and you to your feet...which of course they did. I heard Elliet say her violin is way over 200 years old, imagine that, it's been moving people for that many years, there's magic in that, man. Speaking of magic, one of the band's magical qualities is the alchemy created by transient members, tonight's transient was Hawklords bassist Tom Ashurst. Nice! Talking to Tom's affable friend Kav, they'd driven down from Wigan especially for the evening; I doff my cap to you sirs and salute your commitment. As you'd imagine Kangaroo Moon played a wonderfully set. 

 

Then the main event of the evening...The Cary Grace Band. It seems like an age since we last saw the Band perform, a collective of musicians of the highest calibre, who consistently deliver memorable performances and tonight was to be something special, the première of Cary's new album 'Lady of Turquoise'. Wow, Cary's surpassed herself with this one, what an album, and what a performance too! Cary's voice was on top form, as was her synthe, both magnificent instruments working wonders together. The bar was set for the rest of the band and as you'd expect, they rose to it. Victoria Reyes on keys contributed some lovely harmonies as well as Sax; her playing giving no indication that she'd only picked the instrument up a fortnight ago! Whilst John Garden looked so laid back delivering his masterful guitar, so much so that on several occasions he was reclined as if in repose on a chaise lounge. Underpinning it all a solid foundation brought by the formidable talents of David Payne (drums) and Andy Budge (bass) ensuring flawless rhythm; the two maestros really came into their own through the heavier segments. Talented folk all, whose talents shone throughout tonight's splendid performance; a magnificent job, this evening was the band's first time playing the new material live too. They all looked like they were having a good time (always lovely to see), there were plenty of smiles and looks between them as it all came together. I can say with authority that the audience absolutely loved it! Lady of Turquoise is a modern progressive psyche rock masterpiece, beautifully written and arranged, and tonight magnificently performed with a theatrical delivery perfectly pitched for the material.

What a lovely evening; what a splendid show, fabulous music, in a beautiful place, spent in the company of wonderful people...that pretty much ticks all the boxes of top evening. It was always fated to be a fabulous evening...which of course it was. You must check the album out Lady of Turquoise.

Gigless

After spending time with family and friends, what I've missed most over the last 18 months of covid weirdness is going out to gigs. I love live music, always have from my first gig at Bournemouth's Stateside, the Two Tone Tour in 1979 (The Specials, The Selecter, Madness). There's something about being in those communal spaces, being moved by the performances, experiencing the event in a very personal individual way, yet being connected to the others in the room and making it a shared experience too. I love that energy, it feeds something in me...maybe I'm a Colin Robinson? I think though like walking the wild places or sitting around a fire, a good gig resonates with something deep within us, triggering ancestral memory maybe...communal events with music go as far back as we do. I was watching a Cary Grace Band gig from 2018 at the King Arthur, it reminded me of the joy afforded by quality live music. What a top gig. That's what I miss bands like the Cary Grace Band giving stellar performances in intimate venues like the King Arthur. You can't beat that shit. On the 'Arthur'; discovering the King Arthur was like finding a rare treasure, a warm and welcoming establishment with a constant stream of quality performers plying their art, we've enjoyed so many fine evening there. I can't wait to attend to live performances again. As it happens it was a Cary gig that was my last gig before covid, also in Glastonbury, though this time at the larger Assembly rooms...another stellar gig (where's that post?).

Kangaroo Moon @ The Square and Compass 19.10.19

Tonight we found ourselves packed inside the thick Purbeck stone walls of the 18th century Square and Compass pub perched high on the hills above Seacombe Cliffs with dramatic views along the Jurassic Coast.  The assembled were gathered to enjoy a performance by legendary musical troubadours Kangaroo Moon, who blend myriad musical influences to create all sorts of wonderful aural magic that touches the spirit. If you've read my posts before you know I've a tendency to effusive verbosity and, man, I could wax lyrical about tonight's performance, but I'm going to try and spare you my clumsy prose (of course, I will go on a little bit) and just say this evening's performance was bloody marvellous! The word that best describes Kangaroo Moon's performances is 'real', and in our fake world you can't put a value on that. Tonight the band comprised of Elliet Mackrell on violin and whistle, David Williams on things with strings and other things, Gem Quinn on drums, Nick Marshall on guitar and Mark Robson on keyboard, didgeridoo and everything else. As if that wasn't enough, they were joined by Gong's Dave Sturt on bass, adding some funk to the proceedings...nice! Something really special about tonight's performance was the relationship between Elliet's violin and Dave's bass, man, that was something else. What a superb line up. Every one a musician highly skilled at their art, which was obvious throughout their performances, and none more so than during their various stellar solos. There were two sets, both a lovely mix of fast or slow numbers, every track was bliss, creating a wonderfully uplifting and joyful atmosphere, there was dancing and smiles all round, the ensemble appeared to be enjoying themselves too. Kangaroo Moon's blend of traditional and globally infused psyche folk flavours resonates deeply, it's proper music, real, touching that part of your subconscious where ancestral memories live, that was enhanced by being performed in a 250 year old building who's walls are soaked in centuries of tradition and memories of similar evenings throughout the ages...it's timeless music. As I said, bloody marvellous! Thank you Kangaroo Moon and Mr Sturt, you're beautiful people, and thank you Square and Compass for putting on these elevating evenings, keeping our spirits buoyed on the turbulent seas of our times. Kudos y'all. If you're wondering why the photo is of an empty stage, it's because the rest of my shots look like they were taken by Mr Magoo.

Crystal Jacqueline @ The King Arthur 24.11.2018

After Icarus Peel's Acid Reign, a short interlude and next up at the Arthur was Crystal Jacqueline.  The Crystal Jacqueline Band tonight was Crystal Jacqueline (vocals), John Wyatt (keyboards), Icarus Peel (guitar), Andy Budge (bass) and Brian Rushbrooke (drums). I was really looking forward to this, I've enjoyed Crystal Jacqueline's voice through my speakers, though to hear sing live was a real treat.  Jacqueline has such a beautiful voice, honeyed and haunting, ethereal yet strong, her sound was dreamlike throughout. Jacqueline's got great stage presence too, she didn't just capture your ears, she demanded you attention, and justifiably so, she's a fabulous performer. She was supported by an ensemble of pure class. On keyboards was John Wyatt, who looked thoroughly laid back throughout, though that didn't stop him delivering some nice keyboard work, lovely sounds. If you've read my last post, this next section is going to read somewhat familiar. Well, what was I to do, same musicians, same night, still playing magnificently, only difference...stylee. I've previously remarked on Peel's lovely guitar style, his natural symbiosis with his guitar and in this manifestation we saw new dimensions to it. Still exquisitely picking as he works the frets, conjuring those magical riffs, and crafting sweet flourishes, though now infused with beautiful psychedelic prog flavours. What an outstanding guitarist. Brian Rushbrooke continued to deliver formidable drumming, beautifully paced with great resonance and depth, more of that really nice clean drum sound. Lovely. Ubiquitous psyche bassist Andy brought his trademark, full toned, rich, deep and resonant bass to the progressive arena. Still cucumber cool, the master bass practitioner's neutronium fingers continued to pick out some sweet licks and riffs. What struck me about these three was how versatile they are, and how effortless their transition from power trio to prog trio. All the musicians played their parts to perfection, and the whole set was a feast of gloriously progtastic flavoured psychedelic tunes wonderfully performed by the best of musicians, and we the audience filled our boots. At one point the power failed and the room was enveloped in darkness, there was running about and fussing, but not from Jacqueline who simply continued singing, the sound soon returned and the performance went on. The audience loved every minute of it, and why wouldn't they, it was flippin ace! As I'm ever heard to remark, it was over all too soon, to rapturous applause. Really lovely stuff, man. A huge thanks to the band for such a wonderful performance, loved it. As always, big up the Arthur for putting on these evenings, to the friendly patrons who shuffle and cavort in gay a'bandon, and to my friend for driving...I heartily thank y'all. And check this out!

Icarus Peel's Acid Reign @ The King Arthur 24.11.2018

And here we are again, in the west country's Albert Hall, venue of quality and distinction...The King Arthur. Our musical landscape would be greatly diminished if it weren't for the efforts of the King Arthur to consistently put on wonderful evenings of top draw bands. Tonight was particularly exciting for me as we were seeing two bands I've never seen perform. Exciting stuff! First up was Icarus Peel's Acid Reign, a band who showed perfectly that you still can't beat the beauty and pure power of a trio of first class seasoned musicians playing blistering rock. I don't think it'll ever be surpassed.  Icarus and chums delivered blistering blues infused psychedelic rock with an element of late 60's sensibility, and they did it with gusto. Icarus Peel has a lovely guitar style, he makes it look a natural symbiosis, man and guitar, exquisitely picking as he works the frets, conjuring magical riffs, sweet flourishes and a well deployed whammy, made for some masterful guitar work. He's certainly in his element. What an outstanding guitarist, Icarus looked like he was having of fun too, a lot of smiles... always good see musicians enjoying themselves. Behind him, in the boiler room of the band, Brian Rushbrooke on drums, drums are a bands engine, and Brian made it look effortless (which of course it can't be, far from it), as he delivered some formidable drumming, beautifully paced with great resonance and depth, a really nice clean sound. Lovely. On Bass Andy Budge.  Ubiquitous psyche bassist Andy, was on top form this evening, full toned, rich, deep and resonant bass is the Budge trademark, and he doesn't fail to deliver. A cucumber cool master bass practitioner, with great presence, Andy's neutronium fingers picked out some wonderfully groovy blues licks and riffs. The Budge Rushbrooke combination ensured a rock solid rhythm section, together with Icarus' sweetly singing guitar all the ingredients were there for a musical feast. Man, what a feast of wonderful bluesy psychedelia it was, a real listening pleasure. We could've listened to a lot more of that, it was bliss. I love that the cut back nature of the production allows you to hear and enjoy the individual musicians contributions, there's a purity to a good three piece, and these fellows were way beyond good, each performed magnificently. Kings of blues infused psychedelia, the throne rightly belongs to them, long may Icarus Peel's Acid Reign. Big thanks y'all. And check this out.

The Cary Grace Band @ The King Arthur, Glastonbury 10.11.2018

So, we're back up in Glastonbury at the towns premier music venue The King Arthur, we'd just seen Yamma's amazing set, next up was The Cary Grace Band. I love a superlative, me, and may have a tendency towards verbosity, though I reckon after tonight they're going to have to create some new superlatives, as none existing could really do the Cary Grace Band's performances justice, and I'm near dumbstruck by it. We've seen the fabulous Cary Grace Band several times now, and every time has been a wonderfully unique experience, there's always a new dimension to the bands interpretations. Unique, is the bands stock-in-trade, and tonight was to be no different. There's a magical alchemy to the Cary Grace Band, of course Cary's a fantastic writer/performer and the core members are par excellence, though it's the fluidity of a line up regularly augmented by guest artists which ensures every performances uniqueness. Tonight’s line up were Cary Grace (Synths, everything electric and vocals), Andy Budge (Bass), Mike Howlett (Bass), Graham Clark (Violin/Guitar), Steve Everitt (Synth/Guitar) and Rob Everitt (Drums). Blimey, a who's who of musical pre-eminence, I'm sure you'd agree. Tonight’s set was to give us a nice mix of the past, current and future Cary Grace Band; favourites like War Child, single Without a trace and a first live play of a new track off the forthcoming album (something definitely to look forward to), to name a few, all in all we were spoilt with a nicely curated evening. Of course it goes without saying (though I'll say it anyway), every track was delivered beautifully, these are consummate musicians, one and all. Cary created the wonderfully textured swirling synth and voice soundscapes she's renowned for, through which the other psychedelic minstrels wound their merry way. Cary's mesmerizing voice is powerful and has a wide range, and she used it to full effect this evening, whether singing or as a constituent of the soundscape, it's always superb. Behind the soundscapes was the bands driving heart, the solid rhythm section of Rob and Andy. Rob Everitt may be younger than the others in the band, though that in no way impeded him, he easily held his own, a talented drummer with a great style. Rob also recently did a sterling job on Cary's contribution to recent Fruit de Mer release 'Three Seasons' a spectacular interpretation of Hendrix's '1983 a Merman I shall be'. A drummer to watch for sure, kudos, man. Rob's partner in rhythm is of course CGB core member Andy Budge, who delivered his trademark sumptuous bass lines with the style and panache we've come to expect. One of the best bassists out there, and one who's rightly always in demand, I've lost count of the bands he basses for. The pair worked well, spot on in fact. Initially, legendary bass player Mike Howlett wasn't on stage, more on that later. Now, Steve Everitt was an interesting addition, I thought Steve brought a whole new dimension to the bands sound, his guitar playing is so sharp with a certain clean rock edge to it, a fantastic guitar sound.  Steve was fabulous, unleashing some blistering guitar riffs which were bliss to the ears. Graham Clark's violin playing is always out of this world, and always grabs your attention, though tonight he had it turned up to 11 at times, man, can he make a violin sing, he's so understated too. A highlight was Mike Howlett joining Andy Budge on bass duties. Howlett is a bass legend making it look so natural that bass lines just flow from him, and Budge has built himself a similar reputation, cucumber cool and adamantium fingered. Together they delivered a storming bass riff, both have great presence and, man, they was just something else to see and hear...really! It was an evening of unique psychedelic aural adventures in music, brought to us by an extraordinary ensemble of visionary frequency explorers. I loved it, the entire audience love it, it was all over too soon though, the audience wanted more and band were willing, though venue legislation was not. Boo! Man, evenings like this are truly priceless, rarer than, and worth more than their weight in, gold pressed latinum, especially in these turbulent times. After the performance I availed myself of one of the quality posters on sale at the merch table and proceeded to bother the artists for their signatures (thanks to Andy B for the use of his Sharpie). On my rounds I remarked to Mike Howlett what a fantastic performance it was, and he replied he agreed and couldn't understand why Cary's wasn't better known, word, man...and Mike Howlett knows his musical onions!
 
A massive thanks to all the musicians for an outstanding performance, to Lux Looper for the lovely visuals, and of course to the Arthur, for continuing to put on such splendid evenings. Bravo! And I for one can't wait for the The Cary Grace Band's new album, check out her site in the meantime, there's plenty of musical gems there.

Yamma @ The King Arthur, Glastonbury 10.11.2018

We were again off to Glastonbury's hostelry/venue of high repute, The King Arthur, and this evenings aural delights...Yamma, and The Cary Grace Band. First up was Yamma, a new project between psychedelic songstress and analogue synth supremo Cary Grace and original Zorch member and pioneering synth wizard Basil Brooks. We've been looking forward to this since first hearing a Yamma set on Mixcloud, tonight as a bonus, they were to be joined by special guests legendary bass player Mike Howlett and equally legendary violinist and guitarist Graham Clark. Man, what's not to love about that? Sadly though, Basil was unable to participate in the evening, though his station was more than capably manned by another musical big hitter Steve Everitt (of Ozric/Eat Static, among other things). The band took to the stage with Cary attired in a 60's/70's sci-fi style outfit, think something along the line of classic pulp science fiction or Anderson's 'UFO' imagined in an anime stylee, an indication of this evenings musical direction, maybe? Indeed it was, as tonight’s performance was going to be out of this world. Yamma really showcases Cary's electronic skills, creating her beautifully deep and richly textured electronic sound-scapes, woven through with wonderful psychedelic threads. It's mesmerizing to watch Cary crafting those wonderfully spacey sounds, all those knobs, keys and twiddly things, no wonder she's so focused as she carefully tunes us into the frequencies of her world. This was a different Yamma to that which we'd heard, this was less ambient. The addition of Steve Everitt on synth had definitely added something, as had Howlett's bass, and Clark's guitar, they all contributed new elements to the mix. Each musician brought their distinctive musical DNA as they supplied interesting treads to the evolving musical tapestry, transformative layers, it was sonic alchemy in action. The ensemble crafted some very tasty ambient psychedelic space flavours, and our minds happily absorbed. That's the beautiful alchemy of accomplished musicians. Sadly, the set wasn't long enough, though it was long enough to give you a good indication of Yamma's potential. I know I wasn't alone in being blown away by the set, the entire audience loved it. I look forward to the next opportunity to be blown away. An aspect that I particularly love to some of these bands, is the fluidity of line up, the guest artists and the unique experiences that creates. I know next time we see Yamma it'll be different again, and that's Cary's genius (beyond the fact of her immense talent as an artist), she knows how to craft a unique musical evening and does so, so sublimely. Tonight really worked, man, the line up, the music, the colourful projections and Cary's sci-fi image, all gelled nicely in an ambient psychedelic space bonanza. What a fantastic performance. I couldn't tell you the name of any of the tracks, I don't know if we were told, and anyway, I was lost in my exquisite aural journey, transfixed as four premier artists plied their magic. A massive thanks to Cary, Mike, Graham and Steve, to Lux Looper for the lovely visuals and of course to the Arthur, for another stunning evening.Now for the Cary Grace Band.

The Fraud Band @ Chaplins Cellar Bar 8.11.2018

Great night at Chaplins Cellar Bar, tonight it was Palisades and The Fraud Band, two local bands. Palisades were first on stage, a three piece featuring singer-guitarist Ronnie Mayor formally of The Tours and Biz Internationale and bassist Mark Pickfield of Shy Boys. The Palisades delivered a nice set of catchy indie pop tunes, you could tell they were experienced musicians, their sound was clean and nicely delivered. Sadly, we didn't really get a chance to listen as we'd been joined by a particularly drunk chap who'd introduced himself as an Apache from Alaska, nice fellow, though very intense and distracting as he recounted bloody aspects of Apache history and 'our' part in it. Up next head-liners The Fraud Band, a tidy three piece beat combo of Bob Redman on guitar and vocals, Kevin Roberts on bass and Andy Hancock on drums. The Fraud do a lovely line in souther rock infused blues and the do it with gusto, Bob is an excellent guitarist, and the Kev and 'Hank' are no slackers themselves. Smashing evening of top notch music, one complaint....The Fraud Band don't play out and about enough, and that really needs rectifying.

Kangaroo Moon @ The Square and Compass 20.10.2018

There's something about Kangaroo Moon, it goes without saying that they're all amazing musicians, it's not that, I think it's their uniqueness, the uniqueness of their sound, drawing as they do from many wells, some old and deep, near and far, it's the way their music seems to flow effortlessly from them, so naturally. Kangaroo Moon are a band of many, with a fluid line up, and can come in many manifestations, each a slightly different beast, each though an equal wonder, some funkier (the set/line up at last years Avalon Ballroom Weekender, for example), some folkier.  Tonight’s  manifestation is a folkie one, Elliet Mackrell on violin, David Williams on things with strings and assorted stuff, Mark Robson keys, whistle and didge, Gem Quinn on drums and Nick Marshall providing guitar. Their performances are always a joy, and tonight was to be no exception. The band have a certain timeless quality to their music which speaks to the soul, it resonates, it stirs your ancestral dna, I reckon. The way their music touches you is real, you can't help but move and be moved. Elliet's violin grabs a hold and draws you in, and the way David plucks at his string, eyes closed, as if channelling the sounds is wonderful, whenever I seen Kangaroo Moon, these two musicians have me transfixed. As for Gem, is this the same powerfully frenetic drummer who drums for psyche/punk/rock beat combo Here and Now, yes it is, though tonight he shows another side to his drumming, a versatile and talented drummer for sure. Mark (also of Here and Now) is exhausting to watch, always multitasking, singing, keys, twiddling stuff whilst periodically blowing a didge and penny whistle, whilst guitarist Nick looks like the happiest man in the world, beaming smiles as he plays. The band did two sets, both filled with wonderful tracks, beautifully delivered and both sets were received by the audience to rapturous applause. They're consummate musicians, who clearly love their music, and that joy is infectious, and we all went down with it, I don't think there was a foot in the room that wasn't tapping or dancing. The venue too adds to the heady atmosphere, The Square and Compass at Worth Matravers, a public house of fine repute and high standing, though not high ceilings. Now, it's not big, to the point were it's a lot like seeing the band playing in your front room, that's no complaint, mind, and merely adds to the beauty of it all. The Square and Compass is the perfect venue for a musical soiree of nature. It was a thoroughly enjoyable evening, it always is. Though as with all such evenings, it's over far too soon. A big thank you to the all the band, the venue and everybody there, for another memorable night of fine music. If you haven't, and get the chance to catch Kangaroo Moon, make sure you do! If you're passing Purbeck be sure to pop into the The Square and Compass. And if you're passing Purbeck and Kangaroo Moon are playing at the The Square and Compass, you'd be mad not to be there!

Carpet @ The Winchester Gate, Salisbury, 26.7.18

I've picked up a few set lists over recent years, although never anything like this unique info-graphic set list, how cool is this! Accurate too. And, the band? One of Salisbury's finest...Carpet. Carpet are a high quality psychedelic beat combo, a band we first saw supporting west coast maestros Carlton Melton a couple of years ago. We like them. For good reason, they play a very nice line in improvised grooves, I say improvised, clearly there's a plan (the images is evidence), but you can tell by the way the band throw glances at each other that there's an element of flexibility and freedom in their performance. I felt jazz stylings as the individual band members did their things, before blending into a fabulous psychedelic whole, it was proper immersive stuff too. I don't know much background on the band, although I do know guitarist Darren also plays with those Salisbury stalwarts of 60's flavoured psyche The Neighbourhood Strange. Clearly all the musicians are proficient in their art, each band member bringing their best to the table, and all looking to be having fun. The drummer was interesting, there was something decidedly punk about his style and delivery which certainly added to the energy, the other guitarist too was really throwing himself into it...they all were. We were blown away, the whole room were loving it. As the info graphic suggests, so it was. A psyche explosion sent all the musicians hurtling out into space on their own courses, slowly coalescing into a lovely mellow groove, before the beat kicked in and a sumptuous heavy groove took hold, and that really was a lovely heavy groove to finish. Bravo! My only complaint, I wanted more. Another top night at another one of our 'not so local locals' (The Winchester Gate, Salisbury), not so not local as our primary 'not so local local' (The King Arthur, Glastonbury), but still not a local really as to be described as local. I digress. Carpet have changed and most definitely grown since we first saw them a couple of years ago, and they may well have been the support this evening, but I'd happily have turned out just to see them, and hope to catch them again real soon.Check them out here.

Here and Now @ The King Arthur, Glastonbury, 30.6.2018

I'd first seen Here and Now perform in 1983 at Southampton Guild Hall, and never looked back, since then I don't know how many times we've seen them. What I do know is that 35 years on, and several line up changes later, they're still going strong, in fact as strong as ever. Over all those years Here and Now have never failed to come up with the goods, they never disappoint. Of course, over those years the shape of the band has changed as band members have come and gone, though I can honestly say that the current line up is as good as any I've seen perform. Throughout those years there's been one constant, the legendary, Keith the Bass, the governor, whose steadfast bass remains the solid foundation of the band. Joining him in the bands current manifestation are long time Gong family/Here and Now member Mark Robson on keyboards/vocals and Gem Quinn on drums, two fabulously versatile musicians (both also of Kangaroo Moon, now there's a band); and the 'Andy's', long time Here and Now synth wizard Andy Roger, and on guitar, fellow Andy, Andy Burrows (both also of the most excellent, Music of the Andy's). With a line up like that, of that high calibre, you know your ears are going to be well fed. Relative newbie Andy Burrows has really nailed that distinctive Here and Now guitar sound, and as with those who've gone before him, has brought something unique and new of his own, enriching the collective DNA of the sound which I think has been one of the secrets of the bands longevity (of course, the band will tell you 'there are no secrets'). I think one of the things that makes psychedelia so vibrant is the diverse and manifest talents of those in it, and their ability to effortlessly evolve, maintaining quality whilst remaining box fresh, Here and Now epitomize that.

The evening got off to a bumpy start, as the Andy's began to weave a nice trippy intro, the sound crapped out...I was getting into that too. Soon though with technical gremlins dealt with (the Arthurs' sound guys know their onions), Here and Now launched to full effect.  From the get go it was a stellar set, a beautifully curated mix of material from across their illustrious repertoire. There were some older numbers like a beautifully updated rendition of 'Surgeons Knife', off of their 1979 'All Over The show' album, it' a real favourite of mine, and always a pleasure to hear. Several tracks from the 'Fantasy Shift' and 'Theatre period', it was tracks from these albums which were the sound track of our early Here and Now forays, and still hold a very special magic, creating continuity wormholes to those days of yore. And excitingly, there was also another welcome opportunity to hear some of the bands new material, and wonderful stuff it is, fresh and vibrant, distinctly Here and Now. It's so good to see, and hear. You'll be pleased to know that the band are recording new material for release and if the new tracks they've played of late are anything to go by, we're in for a aural treat...I for one can't wait. Throughout the evening the crowd were enthralled, dancing and showing their thanks loudly after each number. Kudos to the band, it was soooo hot this evening, they must have been melting up there under the lights, though that didn't stop them delivering a magnificent performance. The small back room of the Arthur was like a furnace, made more so by the gig being well attended, it was a full house. Man, evenings like this are needed more than ever, thank you Here and Now, you beautiful people. Sadly, as always, it was over all too soon, leaving a warm glow which resonates on as anticipation grows of the next opportunity to see the band. For over 40 years Here and Now have crafted something magical, never sounding tired, always sounding current, the band continue to be a influential force, as was clear tonight with another absolutely stunning performance by a seminal band of the British psychedelic scene. 

Of course, a big thank you to the Arthur, our not so local local (70 miles away, in fact), for your friendly staff and clientèle, and for continually putting on top shelf nights like this to buoy our spirits. I doff my cap to you.

Deviant Amps @ The King Arthur, Glastonbury, 30.6.2018

So, here we are again back in Glastonbury, returned to the venerable King Arthur, tonight to see the renowned Here and Now band, supported by the Deviant Amps. I'd heard a lot of good things about the Deviant Amps, all good, and what I'd heard of their music I liked, although until now I'd somehow never gotten to see them, narrowly missing them on a couple of previous occasions. Well, that was certainly hugely erroneous on my part, wow, what a great band. Formed by Paul Woodwright in the early 1980's, I understand the The Deviant Amps have gone through untold line ups and guest performers over the years, as appears common with bands of the psychedelic genre, and Deviant Amps appear solidly in the space rock wing of psychedelic. The current line up sees a 3 piece comprising of Paul Woodwright up front and centre on guitar and vocals, you've Dave Onley on bass and drums are supplied by Keith Chenery. Woodwright and Onley are fine musicians, clearly seasoned veterans and masters in their art, clean and tight, both delivering wonderfully rich sounds. Though I'll be honest, for the most part it was drummer Keith Chenery who had my attention as he furiously beat his kit, pulling a range of contorted faces. I searched for a word to describe his drumming style. Then a friend suggested he looked tormented. I had to laugh, I thought, spot on. It was as if the drums were tormenting him, driving him, pushing him through a range of emotions, sometimes he looked tortured, battling the drums, at others times he looked elated. I tell you what though, he's one heck of a drummer, the band weren't playing parlour music, and it's his drums which were driving those tracks along. So, a solid three piece delivering the finest quality psychedelic rock. Smashing! Tonight though, a bonus, as on synths they were joined by Ozrics' Seaweed. Man, can Seaweed twiddle knobs and tinkle keys, or what, he's got form for it and tonight he showed why as he wove his sumptuous tripped out sounds beautifully into the mix, taking our rockers further out into space. Like Mr Chenery, you couldn't help become transfixed by Seaweeds performance, as you almost saw the music flowing through him and the buzz that gave him. I love it when you can see the musicians really digging what they're doing, it's an absolute joy to behold, their energy is infectious. I spent the whole gig head bobbing, feet tapping and with a huge smile on my face. All the band members played superbly. I don't know the titles of any tracks, I have no idea, what I can say though is that that was an thoroughly enjoyable, well executed set of top psychedelia, played at it's best with genuine passion by musicians who really know their onions. Bravo chaps! When the opportunity arises again I'll certainly do my best to catch them, and I recommend you do too. And in the meantime check out their Bandcamp page, you wont be disappointed.

Carlton Melton @The Winchester Gate 25.2.18

It was just over two years ago that we'd seen American psyche-rockers Carlton Melton perform in Salisbury, and tonight they were back. Anticipation was high, as their performance in 2015 was an extraordinary evening, really, something else, and the opportunity to see them again had been a long time coming. Tonight they were playing at The Winchester Gate, a great little venue, no really, it is a little venue, though with great charm, atmosphere and low beams; Andy (Duvall, drummer/guitarist) came a cropper on one of them, gave himself a nasty knock. The Winchester Gate is one of those venues where the stage is barely higher than the floor, and being set in a small room, it makes for an intimate performance. Support was local psyche band Carpet, who may have only played one track, but it was a bloody long one, and good too.  Unfortunately being at the back I saw nought, though what I heard I enjoyed. After the support, as folk went off to the bar, we took the opportunity to secure a position front and centre. Of course, it was a good choice, allowing us to see the band working their magic at close quarters. And magic it certainly was; I suppose you could describe them as musical shaman. These three unassuming guys are accomplished masters of the deep psyche sound-scape and hypnotic drone, and there's more, their heavy psychedelic meditations are punctuated by tracks with solid rock riffs and rhythms; a fantastically complementary juxtaposition. Take their most recent release 'Mind Minerals', a beautiful album which from the opening track grabs your imagination, hypnotizes you, then four sides later you're back in the room, wondering where you were for the last hour and a half, but knowing you were all the better for it.  Don't take my word for it, buy it!  Anyway, I digress.  Interlude over, three guys with guitars take to the stage and immediately work on opening the portals to their somewhere out there musical dimension; Rich Millman (guitar/synth), Andy Duvall (guitar/drums) and Clint Golden (Bass). The scene set, we're off on our magical journey.  Andy is now behind the drums (he'll periodically move forward with his guitar again) and is bashing out some driving rhythms. Clint is doing what bass players often do, staying in the shadows, ensuring the rhythms are maintained and clean, an anchor in this reality, which he does with masterful understatement Whilst Rich plays sublime guitar, periodically twiddling knobs and pushing keys creating a synth canvas for his guitar to glide over. These guys are skilled professionals, but more importantly than that, you can see and feel the passion for their music in their performance. I know the venue was small, but still, their sound filled it to bursting, you weren't so much listening to the music as immersed in it. Standing directly in front of Rich I got to really appreciate his skill as a guitarist, as seemingly effortlessly he made his guitar make the most wonderful sounds. Andy too, moving with ease from guitar to drums and back again, looked blissed out (I suppose that could have been concussion, kidding!). They all looked like they were enjoying performing as much as we were enjoying the performance. I couldn't tell you the titles of the tracks they played, I'm rubbish like that, though be assured it was from start to finish solid gold, not a minute was filler, with each track receiving enthusiastic applause. As with all good things, all too soon it was over, safely returned to the room the audience was all smiles.  What a fantastic evening, and what lovely guys, no pretension, happy to chat with the audience, sign stuff and importantly for a band of their calibre and standing, prepared to play an out of the way tour date in a smaller venue. Kudos.  Thanks to Carlton Melton (and The Winchester Gate) for a memorable evening, I hope it's not so long before their return this time.