Buried within the bleakness of a country album called ‘Deguello Motel’, is a more upbeat song called ‘Honky Tonk Rose’. The album is written and produced by American singer songwriter Roger Alan Wade who is from Chattanooga, Tennessee.
Although I am guessing that Roger Alan Wade is relatively unheard of over here in the U.K. he does however have a pedigree of note. It sees that Roger has written songs for country legends such as Johnny Cash, Waylon Jennings, George Jones and Hank Williams Jr. amongst many others.
A verse from his song ‘Honky Tonk Rose’ goes like this……..
On the crazy side of town there is a bar room
Where the music's loud and beer and whiskey flows
There's a girl there breakin' hearts and waitin' tables
I love that girl, my honky tonk Rose
And maybe, it was, just that track, which may have been the catalyst for one of Coventry and Warwickshire’s newest, and most unlikely bands. Namely: Honky Tonk Rose. Who knows?
But regardless of whether or not the song inspired the band, I do think that it sets the scene for what HTR are all about. They are certainly upbeat and they are certainly uplifting.
I mentioned the word unlikely. Not in a derisory way at all but more with surprise. Folk who know the Coventry and Warwickshire music scene will be familiar and know the background to some or all of the names that make up HTR. And maybe they share my surprise.
However for those who don’t the band are Holly Hewitt - vocals, Dave Page - guitar, Horace Panter - bass, Rick Medlock - drums, Jim Widdop – steel guitar and Malc Evans guitar.
Having witnessed HTR in action several times during 2016 this 6 piece appears to specialise in delving into the American songbook in search of obscure, the not so obscure and long heard country rock based songs and bringing them to life once more.
The project was brought together by Horace Panter who had the dream of playing the classic country songs he remembered as a youngster. And HTR simply came together to enable that dream to reach fruition.
2016 was a very productive year for the band. Their debut was at the Broomfield Tavern back in February and they continued to play some top venues and events throughout the year.
To quote one of the band members ‘Honky Tonk Rose is a dream of a project and I feel very lucky to be part of it’. ‘Every gig has been received with great enthusiasm’.
And it is absolutely right to say that this is a serious band. Each of those involved in this project are seasoned and experienced musicians who are equally enthusiastic.
All the elements for country rock are there including trucking, beer, the dispossessed and God. This all sounds very dull maybe but, dour in its execution of the music, it certainly is not. This band really does whip up an exciting atmosphere.
And with concerts performed well beyond Coventry’s boundaries, including prestigious venues such as the Jam House in Birmingham, Honk Tonk Rose is raising a few eyelids.
So there you have it. Honk Tonk Rose, creating their take on country music and delivering it passionately and with sincerity. So maybe, it shouldn’t have been so much of a surprise to me after all.
Honky Tonk Rose - give it up or let me go - broomfield tavern,coventry - 27/02/16
Ploughing his own furrow for a good number of years on the local circuit, and beyond, has been Steve Stylusboy.
Gradually, and over time, Stylusboy has built up a devoted following. Once heard you do tend to stick by him.
Steve songs cover love, family even mishaps. They can be melancholic yet they do not contain a hint of malice or anger. They are heartfelt and real and the type that you can quite easily connect with.
Not only that but they have a positive feel. Escapism maybe, but they do leave you with a feeling of hope.
In terms of gigging Stylusboy has headlined his own shows, supported major artists, a regular at the Godiva festival and, if you provide the refreshments for the evening, will even play in your own front room.
Hearing acoustic music, played well and performed in an intimate venue with an appreciative audience really is a delight and Stylusboy is no exception to this.
Stylusboy began his career in music playing guitar and bass for a variety of bands. Eventually though he settled on the stripped down sound of just him and his guitar and began to create his own blend of folk music.
During 2009 he released his self-produced debut EP – Fingerprint, which was mostly recorded and mixed in his lounge and a local community centre.
His second EP, ‘Blue Whale Session’, was recorded at Birmingham’s Blue Whale studios and released during 2010.
There then appeared a 6 track EP, ‘The Whole Picture’, released by Lazy Acre Records during 2011.
Since then Stylusboy has now settled in at Wild Sound Recordings. And Wild Sound has released his debut album ‘Hospitality for Hope’ along with an EP titled ‘Lantern’.
In the time since its release ‘Hospitality for Hope’ has received great acclaim.
In December 2015 Stylusboy released the ‘Christmas Light’ EP, where he added his own take to traditional carols, and a live album ‘Tales from Home’,
Most releases are usually accompanied by unique handmade sleeves created and put together by Steve himself.
Now you would think that Steve was a lover of vinyl to settle on a name such as Stylusboy. Well he is but that is of no relevance here.
It all came about when Steve was creating an email address a number of years ago. The inspiration for the name actually came when he was sat in front of an Epson Colour Stylus printer. And the moniker just seemed to fit well when he went out to perform.
Stylusboy recently described 2016 as ‘a great musical year’. He has been busy songwriting and developing his sound and how he wants to sound as an artist. New projects are planned for 2017 and I suspect gigs are inevitable. You could do worse with your time if you didn’t pay him a visit. ................................... Website - http://www.stylusboy.co.uk/biog
On the same evening that Black Sabbath were saying au revoir, by way of their hugely publicised gigs at the LG arena, another band from the region, were doing similar.
This, more low key affair, was taking place at the Nelson Club in Warwick. It featured rock group Barnabus who, strangely enough, I heard being compared to Sabbath by some lads who had been standing behind me at the packed out venue.
Apart from the odd reformation there has effectively been a hiatus of over 40 years for Barnabus. But on the rare occasion that this 3 piece do get together they retain the exact same line up whom once graced venues such as The Walsgrave and The Plough up on the London Road. And the time apart hardly shows.
Barnabus, originally formed in Leamington Spa, were and still are John Storer on lead guitar, Keith Hancock bass guitar and Tony Cox on drums. They initially came together in 1970 when John and Keith who both had, then, recently split from covers group The Jay Bee Kay Pees aka The JBKP’s, and joined forces with Tony who himself had just left The Rockin’ Chair Blues Band.
The Rockin’ Chair Blues Band who last performed during the late 1960’s, were themselves a popular act back then, and regularly seen at venues such as the Drumbeat Club at the Globe Hotel in Warwick. They were also on the bill for the 1969 weekend music marathon staged at the Umbrella Club in Queen Victoria Road, Coventry alongside bands such as The Chris Jones Aggression, Wandering John, Dando Shaft and many others.
This latest event itself did have a serious side as it was put together as a charity gig in order to raise money and awareness for Leukemia Care.
First up, and opening the proceedings on the night, were drummer Tony Cox’s current group The Hoochmongers Blues Band who have been touring the Coventry and Warwickshire pub scene for a number of years now.
Barnabus followed with their brand of guitar led heavy rock that was quite prevalent at the time they first formed. From initially being a rock and blues covers band Barnabus began to write some very good original material. This was done with the help of a young lyricist and poet named Les Bates whose work was once described as being articulate, and, a lot better than some of the ‘name’ bands around at the time.
During 1971 Barnabus recorded an album at Monty Bird’s studios, in Snitterfield near Stratford upon Avon (aka Bird Sound Studios). And a great deal of the music performed by Barnabus at the Nelson Club featured on their album.
Then, in 1972, the band had a major breakthrough. Barnabus went on to win the Midlands heat of the Melody Maker Rock & Folk contest. The judges at the competition, incidentally, included Ozzy Osbourne and Tony Iommi. This success led to the band furthering their growing reputation resulting in them breaking away from the gigging circuit around Coventry and Warwickshire. Support slots for bands such as Man, Trapeze, Hawkwind and the Edgar Broughton Band followed.
But, despite being so close to making it into the big league, it was all short lived and Barnabus split up a year or so later during 1973.
Back to the charity night and, as the wise one who accompanied me to the gig quickly pointed out, it was like stepping back to the 1970s. And he was right. Even the Nelson Club’s concert room had kept its charm and character from those days.
Last up on the night were The Jaykays Sixties Band, featuring John Storer and Keith Hancock who lightened the atmosphere and had the audience on their feet dancing and singing along for the remainder of the evening.
The gig itself was a sell-out and the club was packed. This resulted in the Leukemia Care charity itself being better off by over £1000 so a huge well done must go to the organisers. The whole event was memorable to say the least.
Another article by Pete that was originally earmarked for the Coventry Telegraph.
Growing up
during my formative years the ‘Live in Europe’ LP by Otis Redding
was a
huge fave of mine. But of course, at that tender age, it was
just a bit of plastic with some songs on that you just took for
granted. I just enjoyed it for what it was to me at that time. An
exciting L.P. of an exuberant singer, surrounded by lots of horns,
and who also threw in more familiar Rolling Stones and Beatles songs
into the mix. But of course, it was a lot more than that.
It was
only when I got older, and more interested in the background to such
albums, that I discovered more about Otis Redding the person. I still
remember hearing the news that Otis had been killed but it did not
resonate that much to me at the time. However as time went on I
slowly began to learn where he had gotten to in his career up to the
point of his death. And now I feel compelled to remember the guy who
gave so much, and continues to give, immense pleasure 50 years after
his untimely loss.
Born in
the American south Otis, from all accounts, was a big man. Not just
physically but he was very confident and very single minded. He was
also an incredibly likeable man and a good people person. According
to his promoter Alan Walden he could have been a boxer. Problem was
though it took an awful lot to provoke Otis. But when the he was
cornered he could, and would, come out fighting.
Otis’s
wife Zelma, whom he married during August 1961, described Otis as
having a
strong religious background. He sang in the church as a
youngster. And Otis was once quoted as saying ‘in order to sing the
blues you have to have it in your heart in the first place’.
Otis
Redding enjoyed listening to singers like Little Richard and Sam
Cooke and these people clearly influenced his own style of singing.
His first hit record came in 1962 with a self-penned song titled
‘These Arms of Mine’. The song became a ‘live’ favourite
which with the mainly black R ‘n’ B audiences he was performing
to. Through acquaintances the song was brought to the attention of
Stax Records who took him into the studio to record and release it on
their sister label Volt. Stax and Volt would become known as the
Memphis Sound.
By 1965
and on this side of ‘the pond’ U.K. youngsters also known as the
Mods, and who would have been mainly white listeners, had by now
picked up on the recorded output of Stax, Volt and their distribution
label Atlantic Records. Otis and the Memphis Sound who back home,
were still playing to mainly black audiences, were completely unaware
that their music had been picked up in the United Kingdom.
Otis
Redding’s first trip to Europe was during 1965. This also included
a series of shows in the UK when he headlined a tour that included
Alan Price on the bill. It was only then that Stax Records became
fully aware of the fact that the U.K. was already embracing their
sounds. Apart from the Mods, audience members during that tour also
included Tom Jones, Rod Stewart and Brian Ferry who were all left
inspired.
A further
visit to the U.K. in September 1966 was marked by an Otis Redding
‘special’ when he took over a whole episode of the popular music
T.V. programme ‘Ready Steady Go’. For this Otis was accompanied
on stage by established British artists like Eric Burdon and Chris
Farlowe.
As the
Memphis Sound became even more popular in the U.K. Stax Records
promotions manager Al Bell, in trying to cover all angles, would send
new single releases from all their artists direct to the growing
pirate radio station scene.
As his
celebrity grew Otis also ensured that his family and his parents were
well provided for. Yet despite his new found trappings of his
success, and according to those who really knew him, Otis remained a
grounded person.
As the
number of gigs grew so did the studio-work. Otis Redding was also now
recording old classics. One such song ‘Try a Little Tenderness’
caused some controversy. This 1930s song had been covered previously
by the likes of Frank Sinatra and Bing Crosby. But Otis approached
the song from a totally different angle as he performed it with a
fast hot soul style as opposed to the slow smoother style that it had
been sung in on previous versions.
Building
on Europe and the U.K.’s keen interest in the Memphis Sound, and
also sensing a commercial success, it was Al Bell who came up with
the idea of sending Stax/Volt Records, house band and all, across
‘the pond’ by way of a concert tour.
A tour was
arranged and Booker T and the MGs, Otis Redding, Sam and Dave, The
Mar-Keys, Arthur Conley and all the touring party arrived at Heathrow
airport early in the morning on a drab March day in 1967. Unsure by
their surroundings they were amazed to find that The Beatles very own
limousines had turned up to escort them on the initial part of their
journey.
This was
the first time out of America for the MG’s studio band and they
were blown away by the fact that their music was already being
embraced over here. Although Otis Redding must have mentioned it,
they were now seeing at first hand, just how popular they were in
England.
At each of
the dozen or so dates on the tour they were greeted by an
enthusiastic crowd
who would chant out Otis’s name. And Otis
Redding would, in turn, react to the wild adulation. His confidence
soared even higher and, between them they created an electric
atmosphere. This energy also fed into The MGs who also stepped up
their game as their musical prowess soared.
But the
European tour changed everyone who had been a part of it. In the
words of guitarist Steve Cropper ‘everyone returned home thinking
that they were superstars……in their heads’. They went to Europe
as struggling musicians and returned home as heroes. Otis Redding
returned to his 400 acre ranch.
Suspicion,
money and paranoia then came into the equation. Shortly afterwards
‘the Stax team’ began to split up and Stax records started to
implode to the point of almost disintegration. Atlantic Records, who
had, up until then, had partnered up with and distributed Stax
records, would eventually sever its contract. Al Bell took full
control of the label and went after radio stations in the U.S.
attempting to get more airplay in America.
Quite by
surprise Otis Redding and the MG’s played prestigious Monterey
Festival in June 1967. At short notice he headlined the Saturday
night after The Beach Boys had dropped out late on. Otis told the
MG’s to just play the gig the way they had done in England. They
triumphed. Even musicians like Bob Weir of the Grateful Dead were in
awe as Otis as he and the MGs reached a whole new audience.
A live
record produced from the earlier tour of Europe was released in July
1967. It was a hit on both sides of the Atlantic.
But 1967
also saw Otis develop a vocal condition due to polyps. For weeks he
couldn’t sing, and for a part of that time, he couldn’t even
talk. But he could still write. And during this period Otis wrote
upward of 30 new songs including ‘(Sittin’ on) the Dock of the
Bay’. His musical creativity poured out during this period. Toward
the end of 1967, and after his had voice recovered, Otis set to work
again and with the help of MG’s guitarist, Steve Cropper, recorded
‘Dock of the Bay’.
At the
height of his career Otis was cruelly killed while flying to a gig in
Wisconsin during December 1967. Released as a single during January
1968, ‘Dock of the Bay’ reached number 1 in the U.S. and number 3
in the UK selling over 4 million copies worldwide.
(This article by Pete Clemons was originally written for the Coventry Telegraph but as the association seems to have finished,we publish it here along with Pete's many other articles.I should point out though that this article is about coventry music as is evident from the title.)
Toward
the end of 1966 The Beatles desperately wanted to get away from the
old image of just being a beat band. They had recently announced that
they were finished with touring and, effectively, they were going to
draw a line under past.
Locked
in a recording studio for several months they recorded what would
become known as ‘Sgt Pepper’s Lonely Hearts Club Band’ a record
that was arguably the first even concept album.
The theme of the
album represented a touring brass band in the mind of the listener.
The laughter you hear on certain tracks represents the sound of the
virtual audience.
Recordings
began at Abbey Road during November 1966. And unlike previous Beatles
albums each of the band members could be seen entering Abbey Road
studios with reams of A4 paper brimming full of notes and ideas.
The
technology at hand during that time was pushed to the limit. Every
conceivable sound that you could get out of a guitar, for example,
was touched upon.
It was as though the band were attempting to split
the atom
Producer
George Martin allowed and encouraged every musical whim to surface
during the sessions. He allowed complete artistic freedom.
Even
the final tracks destined for the album, recorded during April 1967,
found room for innovation. The final run off groove for example
played back on itself thereby, I guess, representing that the album
was an infinite piece of music.
Despite
the recording of the ‘Sgt Peppers’ title track not appearing till
mid-way through the sessions, the idea to create an album about this
fictitious band, apparently formed quite early on. The whole album
was infused with sights and sounds of the times.
The
album’s title came about; it seems, from inspiration gained from
the bunch of elongated band names that were cropping, up during the
mid-1960s, in the San Francisco area of the United States.
Sgt
Pepper’s release had been preceded, in February 1967, by the single
‘Penny Lane / Strawberry Fields Forever’ giving the listener
clear warning for what was about to come.
After
a couple of revised release dates the completed record saw day of
light on 1st June 1967. The initial pressings were in two formats. A
Mono version serial number PMC 7027 and a Stereo version serial
number PCS 7027.
In
stark contrast to today’s music scene, no singles were released
from the album. That still didn’t stop the Sgt Pepper’s going
straight to number one in the UK albums charts after it sold in
excess of 250,000 copies during the first 7 days of release.
From
a listener point of view the complete album didn’t really sink in
during the first listen. Or at least it didn’t with me at least. In
fact it took several listens to even begin to understand it. Like all
concept albums they are designed to sink in gradually. Each listen
peeling back another layer until at some point the full beauty of it
is revealed.
Sgt
Pepper’s didn’t escape the ears of the censors either.One song in particular came under extreme scrutiny of
the various monitoring committees and other authorities, that existed
back then, who would carefully categorise and, if they deemed
necessary, censored material destined for the airwaves.
And
that song was ‘A Day in the Life’. The lyric to the song was as
if the band were singing ‘of life’ as being the polar opposite to
‘actual life’ back then. And one particular line on ‘A Day in
the Life’- ‘I’d love to turn you on’ - found itself under
intense scrutiny. The song was eventually banned by the BBC
authorities who deemed it ‘a step to far’. That ban was
eventually lifted during 1972.
‘A
Day in the Life’ ends with an orchestra seemingly going mad as it
plays itself out with a cacophony of sound that ends with the
infinite groove.
The
censors however did appear to miss or overlook other songs, on the
album, that did have dubious references. But it certainly didn’t
take long for listeners to point out that track 3 on side one ‘Lucy
in the Sky with Diamonds’, when abbreviated, could well be
referring to the mood changing LSD or acid. However John Lennon soon
scotched the rumours as he explained that the lyric came about when
his son Julian had one day come home from school with a letter from
classmate Lucy.
The
continuous thread that binds the album together didn’t just apply
to the twelve inch vinyl record. It also continued with the album
sleeve itself. Designed by Peter Blake and Jann Haworth the gatefold
sleeve of the L.P. opens out to reveal The Beatles in the robes that
represented their alter egos. The front cover was a collage of famous
and influential people from that time all posing behind the band.
Early copies of the record also came with a host of freebies and
cut-outs.
Sgt
Peppers was also the springboard, and acted as a catalyst, to the
production of some future fine music. It acted as an innovator. But
it clearly didn’t sit well with some as the record was also
lampooned. And I am thinking The Mothers of Invention and their album
‘Were Only in it For the Money’ album.
By Pete Clemons - another article written for but unpublished by the Coventry Telegraph.
The mid to late 1960s brought with it a genre of music that stretched, challenged and pushed, the then, existing music boundaries. Somehow, it became known as progressive rock and, amongst other things, it opened up a whole new world of musical invention and exploration.
Quite how, when and where progressive rock began is subject to much conjecture and debate. And this debate has been particularly prevalent since the dawn of the internet.
You could point to the time in July 1966 when Melody Maker proclaimed during a review of Pet Sounds when they posed the question ‘is this the most progressive album ever?’
You could even argue that it evolved when The Beatles began spending more time in the recording studio. And there are those who point to bands like The Moody Blues, Family and The Nice as the starting point.
And then there is a theory that all the previously mentioned strands came together as a kind of big bang effect that gave birth to King Crimson and their debut album ‘In the Court of the Crimson King’.
One thing that is for sure is that the term ‘progressive’ was frequently applied to music that was left of centre from the mid-1960s. It is also fair to mention that, back then, many differing bands were lumped into the progressive rock genre.
So big a beast progressive rock, or whatever you want to call it, became that, a few years’ later, bands such as Pink Floyd, Genesis and Yes had taken the genre to a whole different level.
40 odd years on and with the benefit of hindsight, scholars of today, have I think tried to re-define the boundaries of what was, and what was not, progressive rock. But the above was how I saw it all through these eyes and heard it all through these ears.
The mid to late 1970s saw punk rock all but kill the genre off. But it never quite put the final stake through its heart and the very late 1970s and early 1980s saw the genre make a resurgence of sorts.
Having lapped up as much progressive rock as I could during the 1970s I was curious by this new wave of bands. I can still clearly see myself at the General Wolfe and Busters Nightclub attending gigs by Twelfth Night, IQ and Marillion. Sadly they were only memorable to me for the reasons around how totally unimpressed it all left me.
Maybe I was still hung over from the punk rock era which had just passed us by but to me this music, which clearly tried to hanker onto the past, had little or no bearing to those glorious days that had gone before. The reason being that, for me, it simply didn’t bring us anything that was new. Not to these ears at least.
For me, rather than reinvent and build it-self, this new incarnation of progressive rock made what I consider to be the fatal error of trying to somehow attach itself by creating some kind of a derivative.
Worse still and the truncated word ‘Prog’ began to enter the psyche. I had certainly never heard the term before. Maybe it had come across from the U.S. who knows. But with the clue being in the name ‘Progressive’, for me, it failed to.
As time went on, and for a variety of reasons, prog/progressive became a term of folly. So maligned did the genre become that by the 1990s bands that played ambitious rock music began to distance themselves away from this more modern take of progressive rock. Preferring instead to refer to the genre of music they were trying to perform as anything other than progressive.
However, prog lumbered on and, decades later, it appears to be in vogue once more. And one band that has hung their hat on the ‘prog’ label and, appears to be more than happy to be associated with it all, is called Big Big Train.
Big Big Train’s musical influences are from the past. And that cannot be denied. That said they are very very good at what they do. Their playing and their vocal harmonies are, at times, simply breath taking.
The band has been around for a quarter of a century and it has not been a straightforward and easy ride for them. But their fortunes have grown noticeably since 2009.
Big Big Train do not write music that is an exploration of life and death or parts of our world being transported to other galaxies or even adaptations of trips to the centre of the world. No, the subject matter is much more grounded than that. But the music is just as grand and majestic.
Instead the band create albums are made of mini period dramas from a bygone age. Stories passed from generation to generation. The songs are history lessons or field studies set out on vinyl or polycarbonate plastic depending on your mode of listening.
BBT are also adept at rediscovering old English words and create a song around them. And for their fans a new language develops.
And I must admit that after initially being indifferent with them at first I am finding myself more and more drawn to them to the point where I am actually enjoying their more recent output without actually being totally blown away by it all.
To their credit Big Big Train does have modern sensibilities. Away from their recorded output they appear to be very prudent in all they do. They do not tour the country, as tradition would see other bands. They tend, instead, to take over plush London venues for a weekend. They have threatened to tour nationally but that remains to be seen. To be fair though, over time, BBT have grown into an 8 piece, and with not all of the band members being resident in the UK, precise logistical planning would be required.
They are not frightened to make hay out of past recordings either. Rather than simply reissue albums due to a growing demand they will repackage them and throw in bonus tracks as the lure.
But at the end of it all it’s all down to the listener as to how much they want to be involved. The important thing is that Big Big Train is very enjoyable to listen to.
And it has taken me up to the hearing Big Big Train’s latest release, ‘Folklore’ to convince me that maybe now the shackles associated with being tagged as ‘prog’ have finally been removed. The genre does seem to be hip once more.
The band is currently working on a new album titled ‘Grimspound’, due for release later in 2017, and I freely admit to looking forward to hearing it.
by Pete Clemons (another recent article earmarked for the Coventry Telegraph but unpublished by them)
syd Arthur
Not a Coventry band but one of Pete Clemon's many articles for the Coventry paper.
Having had a long day at work I felt lethargic. I knew that one of my favourite bands of the moment ‘Syd Arthur’ were playing in Birmingham but it was difficult to get myself going again on this dark and damp November evening.
But drag myself out of the house I did and off and set off for Mama Roux’s. This was a new venue to me situated in the network of narrow roads set within the Digbeth area and where the railway line network looms large overhead. The layout inside Mama Roux’s was particularly impressive.
By way of introduction Syd Arthur were named after a character of a book but the spelling was amended slightly so that it became a sort of nod towards Syd Barrett and Arthur Lee. They are also based in the Kent area of the UK where, historically, many a fine band has been produced.
Having said all that I wouldn’t even begin to compare Syd Arthur with any of those previously mentioned luminaries. This band is unique in that they have created and ploughed their own musical furrow.
Syd Arthur is made up of Liam Magill - guitar and vocals, Joel Magill – bass, Josh Magill – drums and Raven Bush – violin, keyboards and guitar. Previous drummer, Fred Rother who was present at my two previous Syd experiences, has sadly had to leave the band due to health issues relating to the ear.
A change of drummer, to most bands, would have been a big deal. But the beating heart of the Syd’s appearing to have adapted well. And, after all, the new drummer Josh is the brother to the bass player Joel.
The gig itself was a showcase for the bands wonderful new album ‘Apricity’ – the yearning for April – which was appropriate given how I felt earlier in the evening. They performed tracks such as ‘No Peace’, ‘Coal Mine’, ‘Portal’ and of course the album’s title track.
The Syd’s also find the time to delve back in time to their back catalogue by way of ‘Hometown Blues’, ‘Ode to the Summer’, ‘Autograph’ and many others.
Previous albums have seen Syd Arthur being completely self-produced. At their record labels suggestion ‘Apricity’ is the first album where the band have worked with a nominated producer.
It was a strange new experience for them. The whole thing was totally alien. But they were totally open to it and it seems to have paid off as Apricity has been a total success.
On almost every song the Syd’s get the opportunity to cut loose and display their dexterity of instrumentation. The rhythms being played are almost jazz like at times. Very free form, but all within a rock music framework.
On record the Syd’s sound composed and structured. No such thing in a live environment as they cut loose. One of the things I enjoy most about this band is that they do not perform their songs verbatim. There is certainly room for expression and improvisation. And that does indeed bring a smile to the face.
You get very little chat from the stage, the band preferring instead, to let their music do the talking for them. Liam Magill certainly comes across as a pleasant but modest front man. I did notice that Raven Bush flits constantly between guitar and keyboard occasionally appearing from beneath his huge mop of hair sporting a broad smile. And it was the kind of knowing smile that you only produce when you are on top of your game. Clearly the band was really enjoying things.
Like a breath of fresh air, Syd Arthur write elaborate tunes in a very unique style when viewed against what the mass market has to offer today. And from initially feeling lethargic at the beginning of the evening my spirits had certainly been lifted by the end of it.
By the end of it all I was so glad I made the effort to get to this gig.
The Syd’s music is incredibly refreshing. They band are tight, the sound they create is soulful and it is very swayable. Simply, they put in an absolutely tremendous shift this particular evening and I felt all the better for it.
