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.

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?).

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.

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.

On the ninth day of Christmas

On the ninth day of Christmas music gave to me the best gig of the year, the Grace Curvey Collective. Well, that's just what I called them, in fact it was an evening with the Cary Grace Band and The Luck of Eden Hall in the shape of Mr Gregory Curvey, beautifully moulded, melded and exquisitely blended into something unique. Wondrous! I refer you to my post at the time.

On the fifth day of Christmas

On the fifth day of Christmas music gave to me The New Avalon Ballroom Weekender. And wow, what a weekend that was! Sublime bands in salubrious surroundings enjoyed in good company, it doesn't get much better than that. The last few years have throw up obstacles which have meant I've not made it to the festivals or gigs I'd often planned to, I feared it was going to go the same way for The New Avalon Ballroom Weekender, though the Gods and Goddesses smiled upon me and with a little help from my friends (as the Beatles said), at the last minute I was travelling to the Isle of Avalon and on to that hostelry of fine repute, The King Arthur.  The weekender was more fun than I could have imagined. We, like many, camped on the edge of town at the Isle of Avalon Touring Caravan Park, very nice, good atmosphere and within easy walking distance of the town. I have to admit to getting a bit too wasted on the first night, I blame....well, I don't blame anybody, it was a fine evening, even if I did require supporting on the walk back. I took a more measured approach on subsequent days. We didn't get to see all the fantastic bands, although as you'd expect the ones we did gave stella performances. We saw current favourites like The Cary Grace Band, Magic Bus and Music of the Andys, new bands (to me anyway) such as Zub Zub and Tim Hawthorn and the Archetypes and long time favourites and legends in the form of the Invisible Opera Company, Kangaroo Moon and Here and Now. It was magical. And, Here and Now's Andy Roger giving me shout out before 'So glad your here' was a lovely gesture, brought a tear to my eye and was the cherry on one hell of a weekend cake. I was so glad I was there too, to have seen such fabulous bands and enjoyed the company of so many lovely people was a real tonic. I salute all involved.

On the first day of Christmas.....

On the first day of Christmas music gave to me 'Andience' from the 'Andy's', and my first gig of the year. Relatively new, Music of the Andys have already established themselves as a band with depth and substance, and oodles of potential. I say relatively new, that is as a band, Andy Roger is long term twiddler and twister for the legendary Here and Now Band and really knows his electronic onions, and guitarist Andy Burrows is....Well, I don't know, he must have come from somewhere, though I know not where. Unless of course, he's magic, and if you've seen him play then that's a credible suggestion. Anyways, together they create the finest of auditory immersions, wonderful musical textures and landscapes, surfed over by blistering spaced out guitar. Smashing stuff, from nice fellows. Word is there's an album just over the horizon, which will be most excellent, and in the meantime there are few tracks already available on Bandcamp, such as the drifty trance 'Goose of Perception'.  You want to get in now, next thing you know they'll only be playing stadiums and you'll have missed out. Don't say I didn't warn you.  

Magic Bus @ The King Arthur 17.11.2017

Another fantastic performance tonight by Magic Bus, who pulled into Glastonbury to stop at the King Arthur, inviting anybody who dug a good groove to step on board. If you don't know Magic Bus (sort that out!), they're purveyors of the finest musical flavours. Magic Bus have picked up the Canterbury scene baton and run with it, a soupçon of West Coast, a smidgeon of folkiness and they've created a wonderful colourfully wrapped stick of complexed psychedelic rock, with rich jazzy prog sensibilities running through it. You hear a Magic Bus song, you know it's Magic Bus; they've developed their own strong sound. And,  man, they really are very good. The last few times I've seen them I've felt that the bands delivery had been becoming a touch heavier, and that carried on this evening with all the band members taking the sound a little bit deeper. That's no complaint, mind. There were two sets, both a marvellous mix of tracks from the bands 3 albums, and all of which flowed beautifully. The first set was heavily 'Phillip the Egg' (their current album) orientated, though with a track from each of their previous albums; tracks such as 'Mystical Mountain' from 'Phillip the Egg', a favourite of mine, along with the west coast influenced and delightful 'Back to the Garden' off their first album 'Magic Bus' and 'Three Days' a jazzy Canterbury/Gong-esque treat from 'Transmission from Sogmore's Garden'. As the guy of jazz club says......nice!  The second set was previous album based and just as glorious; tracks like the joyful 'Sunflower', or the floaty 'Magic Bus' and the space jazz 'Distant Future' to cite a few.  The band played every track magnificently. We know the rhythm section is the foundation on which a good band is built, and Wihll Mellorz does stirling work on bass, whilst Billy Burl's drums were solid, both drove the songs along at a perfect pace. Over this foundation Jay Darlington hung his rich tapestry. I love Jay's keyboard work, it's perfect, he channels a Canterbury-ish sound so warm and immersive. It's wonderful. Jay augmented that sound tonight with some great space rock-esque synth, partly in place of the flute sections. It worked nicely. Whilst Terence Waldstradt let rip on lead guitar, really letting his fingers do the talking with some masterful noodling. I also thought Terence was more present in the harmonies tonight. Throughout, Paul Evans on guitar and vocals, delivered his wonderful whimsical lyrics with the perfect wistfulness they deserved. Paul's a great lyricist and has got a voice made for narrative songs like 'Mystical Mountain' or 'Trail to Canaa'. All together, the band created a sumptuously rich sound with so much depth you just wanted to sink into it; a 'Bus' gig is a joyous affair. After a nice rendition of the Grateful Dead's 'Franklin's Tower' as their final number, the crowd wanted more, and the band were cajoled into playing 'Zeta' (the track they opened with) again. Bloody marvellous! Even with two sets, it wasn't long enough; another first class performance from an ensemble who never let you down. Over the last couple of years I've seen them on several occasions, each a fantastic performance, and they just keep getting better; definitely a band who always to bring their 'A' game. A psychedelic combo, which as their name implies, are magical. Only sad part of the evening was to see flautist/vocalist Viv Goodwin-Darke had got off the bus at a previous stop, Viv's magical jazz flute and lovely harmonizing were a real joy. I don't know if she's got a return ticket? Whatever, I wish her the best and thank her for her part in previous memorable gigs. As for the 'Arthur', our not so local local, it still tops the venues of class and character list. Nice staff, friendly clientèle, great sound and always the choicest bands. I salute all involved in another lovely evening.

Cary Grace Band & The Luck of Eden Hall @ The King Arthur, Glastonbury 4.8.2017

It must be a rare occurrence that the two bands who produced your two favourite albums of the last year would appear together at the same venue, though that's exactly what happened with the wonderful The Cary Grace Band ('The Uffcolme Variations') and the awesome The Luck of Eden Hall in the shape of Gregory Curvey ('The Acceleration of Time'). So we found ourselves back on the road to our not so local local, the renowned King Arthur in Glastonbury. Traffic tonight was a nightmare and as the cars crawled along I have to admit to becoming increasingly anxious that we'd miss the gig in part or completely, or find it sold out. Fortuitously, the deities who oversee the musical world, in their benevolence, ensured we arrived in time. Now, when I said two bands, it wasn't quite like that, what we had was a merging, a melding of both bands to form one super band, lets call them - The Grace Curvey Collective. The Grace Curvey Collective were: Cary Grace on analogue synth and vocals, Gregory Curvey on lead guitar and vocals, Victoria Reyes on keyboards, Oboe, and vocals, Andy Budge on bass, David Payne on drums and Andy Thompson on Mellotron and synth. This was going to be good.

So, it was to be an evening of two sets, one dedicated to each band, and first up was The Cary Grace Band. And I thought that their set this evening was an inspired choice of tracks from the bands back catalogue, and one which gave Cary the opportunity to really utilize her voice, which has a stunning range. Cary's vocals are distinctive, powerful, strong and clean, yet diametrically delicate and magical, perfect for delivering her well constructed poetic lyrics, and, man, can she hold a note!  It's not just notes she holds, it's your attention too, there's an intensity in her delivery. As I've mentioned before, she's a mesmerizing artist. The set felt different in style to the ones we've been used to recently, with more tracks and those chosen were shorter, punchier and delivered in a harder rockier style.  I'm not complaining, mind, it's all good. The opening track 'cyanide', is off the fantastic 2015 'Tygerland' and is a powerful number with an air of menace, and one that allows Cary to show of her manifest vocal talents. Cary's voice was complemented on the harmonies when joined by Victoria who also has a wonderful voice.  On tracks like 'Without a trace', one of the bands most recent releases, their combined vocal talents blend sublimely, it's like honey to your ears. Victoria's doesn't just deliver wonderful vocals though, no, she's fabulous on keyboard and even found time to add some oboe to the mix. On drums David is a regular powerhouse who, whenever we've seen him perform, has fair beat the crap out of those drums to blisteringly good effect, and this evenings performance was no different.  The rhythm section is the foundation of a band, upon which beautiful things are built, and in the Payne/Budge combo the band have a rock solid construction platform on which to build. Andy B, as is the way of the master bass practitioner,  looks cucumber cool most of the time, vibranium fingers plucking out groovy licks and riffs with clear intent. Tonight though he was totally rocking out, clearly loving the chemistry and enjoying every moment of it. The whole band looked like they were really enjoying performing, as much as we were enjoying the performance. David and Andy B heavily contributed to whole 'rockier' vibe to tonight’s show. One of the magical elements of The Cary Grace Band is hearing how guesting band members effect the sound, putting a unique flavour to familiar and well loved tracks, crafting one off magic moments.  This evening there were two guest faces, on Mellotron and lead guitar. Andy T was on Mellotron (lovely sounding instrument) and synth, he made a groovy addition to the mix, adding nicely to the overall musical texture of the evening which was deep and richly woven. On lead guitar Gregory was faultless, his rendition of TCGB's tracks was perfect, as if he'd always been in the band. Whereas, this was only their second live performance together! That my friends must be the mark of a great guitarist! Gregory too definitely added to the rockier feel this evening, and along with Andy B and David formed a potent rock trinary. The band delivered every track beautifully, the sound was tight and clean. It was a real treat to hear tracks from earlier albums get an airing (check out that back catalogue, man, it contains gems). The set finished with an interpretation of the Stones 'Paint it Black', which did justice to the original by bringing new dimensions to it. The audience showed their appreciation for what was all round a fabulous performance of the type we've come to expect from The Cary Grace Band who never fail to deliver; tonight sprinkled with added Thompson and Curvey magic.

During the intermission there was an opportunity to chat to band members, all lovely folk, all having a fun time, and happy to chat to their gibbering fans. The intermission was short and it was soon time for The Luck of Eden Hall set. 

Now, I'm ashamed to say, I'm a late arrival to the Luck Of Eden Hall party, 'The Acceleration of Time' was my first album. Though what an introduction to a band, the album is an absolutely sublime listen (an extensive, and rather groovy back catalogue is also available). So, imagine my joy to hear some of those tracks included in tonight's set. Like Cary, Gregory is a wonderful lyricist, who's words are well chosen and often convey  pertinent topics, take 'The Happiness Vending Machine', as an example, is definitely a song for our times. The quality of his writing both musically and lyrically are right up there, each track is beautifully crafted. Gregory's a really fine guitarist who undoubtedly knows how to get the best out of a guitar, and he's versatile too. During the TCGB set his style was clean and rocky, as the tracks required. Though now on musical home turf you could really hear TLOEH's familiar warm, more psychedelic, guitar sound coming through.  As with the first set, the Payne/Budge combo remained in full effect, to great effect, constructing firm footings for the others to build on. The rock trinary was still strong. Victoria's keyboard work was perfect, and along with Cary who twiddled and fiddled studiously with her analogue synth to stupendous effect, and Andy T's mellotron magic, crafted a fabulously rich tapestry of sounds and textures, through which Gregory's guitar could flow and dance. And Gregory made that guitar sing magnificently, whilst delivering some of his wonderfully insightful lyrics. For me the highlight of the TLOEH's set, had to be a live preview of the the bands forthcoming single, the totally epic, 20 odd minute long opus, 'make way for the mighty machines'. Man, epic is just what it is, so many different elements at play, so many diverse musical styles blended beautiful to create a fabulous whole, it's horizons huge. Elements of psych rock and punk sensibilities flowed through undertones of prog grandeur, it's a vast canvas and every inch bathed in a myriad of musical colour and flavour. I see the track as an anthem for positivity as disobedience to the prevailing negative mainstream narratives as projected through a corrupt corporate media, a rallying cry in the face of the developing storm born of capitalisms failings. It's immense, in sound and in scope, it's message salient. Our culture needs more musicians who give positive focus to our feeling of disenfranchisement, 'we're the resistance, we wont give in, to corporation blight' one lyric goes. It's a bloody musical masterpiece, man! Well, that's how I see it anyway. Even at over 20 minutes, it was over all too soon, as, sadly, was the whole set; time must have accelerated. Rapturous applause followed and was well justified; the audience had loved that. Gregory then kindly performed a solo number as an encore, which he'd arranged for his acoustic set in London next week. Lovely. All members of the collective delivered stellar performances, magic was created in that back room tonight. In both sets there was a tangible chemistry between all musicians. And, the quality of said musicians was testified to by their ability to, not just play the others music, which must be hard enough, but to be able to do each others music justice. I'm sure you'd agree, no mean feat, though one they appeared to have taken in their collective strides.  In particular I doff my cap to TCGB for their parts in 'make way for the mighty machines' were outstanding, kudos all round. What a performance, a unique evening to remember. If a recording was taken, I'd have a slice of that, just saying. Big thanks y'all.

If you've not yet, you've got to catch The Cary Grace Band, you really must, they're group of consummate musicians. We seen a few gigs now, and I can honestly say, I have never been disappointed. In the meantime you can pick up the bands releases here.  As for Gregory he's soon back state-side, though hopefully he and The Luck of Eden Hall will be returning next year, and be assured, they'll be gigs not to miss. In the meantime check the bands bandcamp page and pick yourself up a copy of something groovy, like 'The Acceleration of Time', a real must have album. Thanks for coming over and playing Gregory, man.

Again, massive thanks to the King Arthur for consistently putting on the finest of bands and events. The sound's always great, the atmosphere's always great, great staff and clientèle, have I mentioned it's great? My one complaint (a recurring one), where was everybody? Two great bands, a respected musician comes all the way from the states to play for us, and although the room was by no means empty, and all who were there were appreciative, it should have been rammed, man. We need to support bands and small venues, or we'll lose both and be the lesser for it. Anyway, thanks to all involved in creating this most memorable evening.