First gig where I set off from my new house in Liden (although I really wasn't there that long!). Dave picked me up, and he drove myself, Ady and Tim down to the Alleycat, in time to get a pint in before support Idlewild started at 9. They were painfully young and introverted types, who nevertheless played a spiky punk thrash, which initially reminded old timers Dave and myself of Birdland (remember them???) but also sounded like a slightly thrashy and more unhinged Joy Division. When they get their shit together, they may be a name to watch...
Quite a crowd out for the Warm Jets tonight, which seems to signify that they're on their way up, right now. Vocalist Louis Jones' romance with DJ Zoe Ball having ended, I think the star spotters are on their way out, and real fans hopefully on their way in! Tonight they took a little while to get started properly in their set, but burst into life with the mesmeric "Silver Surfer". Overall, another fine, moody and agitated set from the Jets, during which I shook a leg despite recovering from flu! They'll play better sets than this one, so The Warm Jets are definitely a name to watch in 1998!
Tuesday, 31 August 2010
370 DRUGSTORE, Wireless, Cheltenham The Axiom, Thursday 26 March 1998
Well, after 370 gigs, here's a first - a first one in Cheltenham! Drove Dave and Ady and met up with Clive in the Axiom pub, then decanted at about 9.15 into the venue, which was the shed in the courtyard! This one brought back memories of the Windsor Old Trout, albeit on a smaller scale, but was quite atmospheric - especially when the dry ice got going!
Wireless, a new name on me but a fave of Clive's, got going at 9.30, and played a splendid spangly pop noise, reminiscent of C86 strumalong stuff, or even Rumblefish at first listen, albeit toughened up for the 90's. Despite injuring his groin moving amps the previous night (!), the vocalist was an enthusiastic and kinetic frontman, but had to cede to the chunky drummer, who grooved down and "gave it loads" especially during the last number. By this time, of course, I was a whirling dervish down the front along with Clive!
As for Drugstore; Isobel took the stage at 10.30 with her intro, "Say Hello", an introduction to all the junkies, prostitutes and lovers who don't get it right! She was then joined by the rest of the band - now a 4-piece, following the recruitment of a full-time cellist! - for a stunning set drawn primarily from the imminent new LP "White Magic For Lovers". Isobel was her usual enthusiastic and effervescent self - bantering with the audience and giving as good as she got in terms of sexual innuendo. "Nectarine" however was the highlight of the set for me, a bewitching blend of magic and madness. Also, following the planned encore, Isobel took the stage solo one last time, and played a freaky number rubbishing Glenn Hoddle and extolling her home country Brazil's World Cup chances! A spellbinding night, and well worth the late night and car-mare with Clive afterwards, as he found his NCP car park was locked up! D'oh!
371 LIBIDO, GLITTERBOX, Ballroom, Bristol Fleece, Monday 13 April 1998
A veritable Easter Monday "Posse" field trip, this one, with 7 of us descending on the "Seven Stars" to meet up before the gig. This being necessary, of course, as I had the tickets to get us in! Gained entry to the sparsely populated venue at 8.30, just as Ballroom took the stage. Despite still being derivative of the current Suede/ Radiohead school of angst, this was a much improved Ballroom set, with a bit of fire and passion where there was previously precious posturing.
Clive's current hot tips, Glitterbox, were next up. I joined the one-man moshpit down the front and had a rocking time to this excellent set, from a fine new guitar band with an expansive and well-rocking sound, semi-American in feel but also chunky and radio-friendly, rather like Cottonmouth (Lemonheads support from last October). The band's flippant style and delivery was also entertaining, and made for a great set which received the thumbs up from the boys.
Headliners Libido, on the other hand, polarised opinion more, despite (in my view of course!) once again coming up with a good and challenging guitarry set which I took the opportunity of having a good bop to. I dunno, they remind me a little of Pale Saints mixing it up with Daryll Ann, which pitches them on the difficult and experimental side of the guitar rock spectrum, but then "Overthrown", their best number, is a totally catchy pop blast, like a poppy Wonderstuff number! Anyways'up, I enjoyed them again!
Clive's current hot tips, Glitterbox, were next up. I joined the one-man moshpit down the front and had a rocking time to this excellent set, from a fine new guitar band with an expansive and well-rocking sound, semi-American in feel but also chunky and radio-friendly, rather like Cottonmouth (Lemonheads support from last October). The band's flippant style and delivery was also entertaining, and made for a great set which received the thumbs up from the boys.
Headliners Libido, on the other hand, polarised opinion more, despite (in my view of course!) once again coming up with a good and challenging guitarry set which I took the opportunity of having a good bop to. I dunno, they remind me a little of Pale Saints mixing it up with Daryll Ann, which pitches them on the difficult and experimental side of the guitar rock spectrum, but then "Overthrown", their best number, is a totally catchy pop blast, like a poppy Wonderstuff number! Anyways'up, I enjoyed them again!
372 CHINA DRUM, The Pecadiloes, Reading Alleycat "Live", Friday 17 April 1998
I was expecting a hot one tonight, so despite the snow earlier this week, I donned shorts for the trip to The Alleycat with Rich and Ady. Got there at 9 and got the beers in before The Pecadiloes came on. They were bloody awful; clumsy pseudo-glam, with a triple-decker leopardskin print keyboard being played at random, like a bad Roxy Music or early John Foxx Ultravox. Still, the vocalist had a good t-shirt on; "Jesus Is Coming - Look Busy!"
Got more beer in and returned to the by-now very busy stage front crowd just before 10, for the arrival of the Drum. Vocalist Adam Lee, now divesting himself of his former drumming duties and sporting a maniacal stare and dyed blond crop, pitching him somewhere between Henry Rollins and Edd The Duck (!), sauntered onstage and sang the a capella opening of "60 Seconds". I immediately knew we were in for a battering, and this proved to be the case, as the Drum ripped into a sweaty, phenomenally hot and hard set of their top drawer popcore, a la Sugar/ Husker Du. I've enjoyed the Drum at festivals before, but in a small club they really soar, and were magnificent; aggressive, intense, committed and bloody loud and fast! I stayed in the fierce moshpit with the boys throughout the set, the highlights being a superb early "Fiction Of life" and the wilful encore destruction of "Wuthering Heights", including Adam dragging some poor unsuspecting girl onstage and pronouncing her, "Kate Bush for the night!".
Wandered around Reading town centre in a slight daze afterwards, with the boys, looking for fast food and stripped to the waist, still steaming from the mosh, soliciting cries of, "it's freezing! That bloke's a nutter!" from the locals. Right then, however, I was hot and happy - a self made maniac!
373 DAWN OF THE REPLICANTS, Formula One, Cheltenham The Axiom, Wednesday 13 May 1998
Left late for this one - 8 pm - as this is a late gig, apparently, even on a Wednesday night! Had a drink with the boys in the well-appointed courtyard outside this venue, before venturing in at 9.45 for first band on, Formula One. Their formula was a Stereolabbish love of metronomic rhythm, with a heightened ear for strumalong tunes. The final cacophonous number also harked back to the unorthodox song structures of the likes of Wonky Alice (!). In F1 terms, not podium finishers, but likely to get a few points here and there. Maybe they should tap up Jackie Stewart, as he needs a driver for his team...
The Replicants came on at a very user-unfriendly 11 (d'oh!); a very odd looking bunch, accentuated by the vocalist's silver lab jacket and WW1 linen flying helmet. They played the most intriguing, unorthodox and downright weird set - sorry, show! - I've seen or am likely to see this year. Showing it is possible to push the boundaries of rock music without losing sight of good tunes and absorbing melody, their set, based mainly on their puzzling but fine "One Head, Two Arms, Two Legs" CD, was oblique and mightily good, with "Lisa Box", nevertheless their most orthodox and rocking number, the highlight. Comparisons? Well, the vocalist matches such as Isobel Drugstore for unusual attention-grabbing stage presence, but the music? Hmmm... the best I was able to come up with was an indie/grunge Bonzo Dog Doo Dah Band!
Friday, 27 August 2010
374 THE FLAMING LIPS "BOOM BOX" EXPERIMENT NO. 13, London Kentish Town Forum, Saturday 16 May 1998
It was Tim's 21st birthday today, so how better to spend it than a day's shopping in London and a completely different aural experience in the evening! Tim organised the hire of a spacevan which I duly offered to drive, as everyone else got drunk the night before! So, after a trundle up to Kentish Town, we parked near the Forum at 1-ish and went off to Camden! I did some shopping then watched the FA Cup Final in a pub, Arsenal beating Newcastle 2-0. We then met up back in Kentish Town, and were first in the Forum at 7, gaining good vantage points by the mixing desk for this very strange musical experience. 40 chairs occupied by beatboxes were laid out onstage, and by 9 pm, they became occupied by guest operators, including Miki of Lush, Martin Carr of the Boo Radleys, 18 Wheeler's Sean Jackson, and Wannadies' bassist Frederick! The Flaming Lips vocalist Wayne Coyne, our "compere" for the evening, then explained the procedure for this event; he and Steven Drozd of the Lips would "conduct" pre-recorded tapes played by the beatboxes to the operators, for an experiment in sound!
Coyne was a very personable and entertaining compere, as he conducted proceedings with a, "1... 2... 3... G... Go!" to cue in each musical "piece". Following the test, the first musical piece was a huge and awesome cacophony of white noise, which with various sounds resembling screaming angels and earthquakes, sounded like the soundtrack to a planet being devoured! Galactus in the house? Other "songs" were less cacophonous but no less intense, as Wayne and Steven took on the roles of conducting one half of the operating participants each, creating as visual a spectacle as the sound was awesome. Some of the "pieces" were a little repetitive, and the sound, pushed through 40 tapes on 40 old beatboxes allegedly procured from Oklahoma City pawn shops, was a little fuzzy and impure, but as a sonic experience it was unusual, unique, nothing less than intriguing and at times very enjoyable and even emotionally moving. At the end, after which we ran into some other Wannadies for a brief but nice chat outside the venue, Wayne Coyne thanked us, "for coming along with open minds." That summed it up really - a great way to spend anyone's 21st!
2010 recollections - it's quite interesting to look back on this gig, given how these "Boom Box" experiments contributed to the changes the Flaming Lips subsequently made to how they produced their music, resulting in the massively influential "The Soft Bulletin" CD in 1999. A significant step along the way!
Coyne was a very personable and entertaining compere, as he conducted proceedings with a, "1... 2... 3... G... Go!" to cue in each musical "piece". Following the test, the first musical piece was a huge and awesome cacophony of white noise, which with various sounds resembling screaming angels and earthquakes, sounded like the soundtrack to a planet being devoured! Galactus in the house? Other "songs" were less cacophonous but no less intense, as Wayne and Steven took on the roles of conducting one half of the operating participants each, creating as visual a spectacle as the sound was awesome. Some of the "pieces" were a little repetitive, and the sound, pushed through 40 tapes on 40 old beatboxes allegedly procured from Oklahoma City pawn shops, was a little fuzzy and impure, but as a sonic experience it was unusual, unique, nothing less than intriguing and at times very enjoyable and even emotionally moving. At the end, after which we ran into some other Wannadies for a brief but nice chat outside the venue, Wayne Coyne thanked us, "for coming along with open minds." That summed it up really - a great way to spend anyone's 21st!
2010 recollections - it's quite interesting to look back on this gig, given how these "Boom Box" experiments contributed to the changes the Flaming Lips subsequently made to how they produced their music, resulting in the massively influential "The Soft Bulletin" CD in 1999. A significant step along the way!
375 THE DELGADOS, ROC, Reading Alleycat Live, Friday 29 May 1998
When the cat's away, I go to gigs! Alone in the house for the weekend, and at a loose end, Clive persuaded me to join him on a Friday night jaunt to Reading to see one of his favourite bands. Got there at 9.15 (thanks to footy on the telly delaying us!) just as ROC were starting their set. A shoegazing lot from 10 years ago (so it seemed), they were suporiphic and dull. Music for insomniacs!
The Delgados were on soon after, at 10 past 10. I'd ignored this lot before, due to their connections with the truly vile Bis, but Clive assured me they were nothing like them. Indeed, they came across like a second division Madder Rose, with a perplexing and chameleonic range of musical styles, occasionally a little countrified, but mainly all arty and moody, bordering on but not crossing over into Goth. Their one super-fast number, the incendiary and speedy "Under Canvas, Under Wraps" was by far the highlight of a slightly disappointing but intriguing set. Better than a night in, though!
The Delgados were on soon after, at 10 past 10. I'd ignored this lot before, due to their connections with the truly vile Bis, but Clive assured me they were nothing like them. Indeed, they came across like a second division Madder Rose, with a perplexing and chameleonic range of musical styles, occasionally a little countrified, but mainly all arty and moody, bordering on but not crossing over into Goth. Their one super-fast number, the incendiary and speedy "Under Canvas, Under Wraps" was by far the highlight of a slightly disappointing but intriguing set. Better than a night in, though!
376/ 377 DRUGSTORE, Cartoon, Lazyboy, Reading Alleycat Live and Bristol Fleece, Friday 12/ Thursday 18 June 1998
A double-header from Drugstore, which meant gigs no. 10 and 11 for them overall, therefore equalling my "most seen band" number, which of course they're on course to break at Reading Festival! A real initial attraction for this double-header, though, was the presence of the excellent Glitterbox as support. However we were disappointed to find, as myself, Ady, Clive and Peej arrived at The Alleycat, that the 'Box had pulled out at short notice, and we had to make do instead with Cartoon, a poppy but unspectacular lot. So we repaired to the bar to watch World Cup footy instead! We'd earlier seen Lazyboy, a Swindon trio featuring a couple of ex Skanxters (a ska band my brother drummed with briefly), who were surprisingly good, a harder-edged power trio with a slight r'n'b feel. Certainly worth seeing again!
Anyway, the stars of the show came on at 10, Isobel being carried onstage by a large bouncer thanks to having broken her toe running to answer the telephone; or at least that's what she told us! Despite this, she delivered a totally mesmeric and captivating performance whilst sat on a table! The set-list was deviated from notably, as Isobel led the band through a magical and unique set, which seemed utterly short but lasted about an hour, encores and all. Leaning more on Drugstore's slower, more ballady numbers, but also featuring a new number which had a sexy tango feel, the set was superb, particularly their haunting reading of "Black Star", which was once again chillingly beautiful, pissing all over Radiohead's original.
The record equaller therefore came at Bristol, 6 days later. Clive, Dave, Ady and myself met Fred in the bar next door then we bumped into BT colleague and new friend Rachel in the more-packed-than-Reading Fleece during Cartoon's slightly better set. Ady's theory about Cartoon was that we didn't like them at Reading because they weren't Glitterbox, but for Bristol we were expecting them so were more receptive to their innocuous but pleasant pop. Which is fair enough, I suppose...
Clive and I took good spots stage left at the front, as we had bandaged our right feet in sympathy with Isobel! However, she walked on, booted up and foot-stomping, and delivered a rockier and more energetic set of their sleazy, sexy, haunting yet majestic and expansive mood muse-ic. We rocked out, particularly to the libidinous "Solitary Party Groover" and the enchanting, Lemonheads-"Confetti"-like "Spacegirl". "Black Star" again was a highlight, but a shambolic "Star-Crossed", which they stopped 2/3 through as they'd forgotten it (!) and a gloating "Offside" were also notable. As was Isobel calling Clive and I a, "sad pair!" as we revealed our bandaged feet and hoisted them onstage!
Magical, mysterious, captivating; Drugstore are ace, frankly, and will be worthy "most seen band" record holders!
378 GARAGELAND, The Hangovers, the Vivas, London Camden Falcon "Barfly" Club, Thursday 2 July 1998
A new gig venue for me, and also new company joining Clive and myself; my new work friend Rachel (who of course is now my wife!). She fancied this short-notice (we found out about it the day before!) gig as well! Unfortunately a 3 hour trip (car and tube) meant we didn't get to the venue until 9 pm, missing all but the last number of the Vivas set. A shame, as that number, "Anna", was fiery and spunky, with the vocalist showing no little attitude.
Second band on, in this fine and dingy pub back room venue, was a predominantly female band called the Hangovers, featuring a former Raincoat as vocalist. Her gravelly yet feline vocals, and stories of life on the wild side, marked her out as kind of a female Lou Reed, and I warmed to their pseudo jazz music, after initially disliking them. Clive liked it, anyway...
Garageland, on just after 10, played a predominantly new set, rather than drawing heavily from their jagged, Pixies-ish guitar CD "Last Exit...". Their new numbers were occasionally country-tinged, occasionally moody and slow-burning, occasionally spiky and well rocking, but always intriguing, absorbing and mighty fine! Vocalist Jeremy Eade - who also adopts a "pre gig squirt" ritual, judging by my bumping into him in the loo beforehand - also made me and the other fans present happy bunnies by dropping "Come Back", "Beelines" and a well rocking "Fingerpops" into this set as good moshing material. A great hours rock! And KFC in Shepherd's Bush afterwards, leading to our not getting home until 2 am, but well worth it overall!
Tuesday, 24 August 2010
379 CHEAP TRICK, Rachel Stamp, The Hormones, London Astoria, Tuesday 14 July 1998
I couldn't find anyone up for joining me for this one, but Clive wished he had, when I phoned him from Tottenham Court Road with news of the supports! Got in straight away, therefore, to catch first band The Hormones, on at a ridiculously early 7.20. A short, nervous and criminally ignored set couldn't mask a gift for lovely Beach Boys-esque harmony, ringing guitars and splendid choruses loaded with 3-part harmony. Rather like a young Teenage Fanclub, and splendid with it!
Rachel Stamp, next up, came on to a more appreciative reception from the crowd, variously made up of old rock casualties, young punks and indie kids, and married couples reliving their pasts. All colour, riot and sexual ambiguity, the Stamp were in many ways the perfect support for Cheap Trick, with their 90's take on glam metal punk recalling a more brash Placebo. Good stuff - I particularly enjoyed the "Clockwork Orange" attired female keyboardist, with "naughty night attire" clearly visible beneath her suit jacket, bowler hat and obligatory glam feather boa.
I wondered why the roadies were gaffer taping what appeared to be hundreds of guitar picks up the mike stands, outsides of speaker stacks etc. I soon found out as the Trick came on to a rapturous welcome, and proceeded to blast into glam punk classic "I Want You To Want Me". Guitarist Rick Nielsen, the loony schoolboy of legend, but now sporting a Methuselah-like goatee beard, had a habit of using then discarding said picks after mere seconds!
Well, the Trick never appealed to me first time around, as I felt that they veered too much towards glam metal for my then-buzzsaw punk tastes. However, I've since grown to love their grand rock vision and big choruses, and tonight they were magnificent. Rick was obviously the leader, introducing the band and thanking the enthusiastic crowd throughout, but Robin Zander, resplendent in purple crushed velvet suit and still sporting the trademark long blond hair, was also superb, with vocals that variously excited (as in "Southern Girls" and fine encore "Dream Police") and ached with passion (the heart-rending "Voices") in equal measure. Highlight, however, was the simply Godlike set closer "Surrender", Rick playing a 5-necked (count 'em!) guitar for this one, and the band gave this all-time classic the full-on performance it fully deserves. It was also about this time I managed to catch a couple of Rick's picks (sic) and find that not only were they personalised with an image of his face, but the same image was printed all over his reversed black and white boots!
Wonderful set - superb entertainment. Even a delayed train journey home and a 1.30 am cycle ride home from my parents (don't ask) couldn't put the dampeners on this one. God bless Cheap Trick!
Rachel Stamp, next up, came on to a more appreciative reception from the crowd, variously made up of old rock casualties, young punks and indie kids, and married couples reliving their pasts. All colour, riot and sexual ambiguity, the Stamp were in many ways the perfect support for Cheap Trick, with their 90's take on glam metal punk recalling a more brash Placebo. Good stuff - I particularly enjoyed the "Clockwork Orange" attired female keyboardist, with "naughty night attire" clearly visible beneath her suit jacket, bowler hat and obligatory glam feather boa.
I wondered why the roadies were gaffer taping what appeared to be hundreds of guitar picks up the mike stands, outsides of speaker stacks etc. I soon found out as the Trick came on to a rapturous welcome, and proceeded to blast into glam punk classic "I Want You To Want Me". Guitarist Rick Nielsen, the loony schoolboy of legend, but now sporting a Methuselah-like goatee beard, had a habit of using then discarding said picks after mere seconds!
Well, the Trick never appealed to me first time around, as I felt that they veered too much towards glam metal for my then-buzzsaw punk tastes. However, I've since grown to love their grand rock vision and big choruses, and tonight they were magnificent. Rick was obviously the leader, introducing the band and thanking the enthusiastic crowd throughout, but Robin Zander, resplendent in purple crushed velvet suit and still sporting the trademark long blond hair, was also superb, with vocals that variously excited (as in "Southern Girls" and fine encore "Dream Police") and ached with passion (the heart-rending "Voices") in equal measure. Highlight, however, was the simply Godlike set closer "Surrender", Rick playing a 5-necked (count 'em!) guitar for this one, and the band gave this all-time classic the full-on performance it fully deserves. It was also about this time I managed to catch a couple of Rick's picks (sic) and find that not only were they personalised with an image of his face, but the same image was printed all over his reversed black and white boots!
Wonderful set - superb entertainment. Even a delayed train journey home and a 1.30 am cycle ride home from my parents (don't ask) couldn't put the dampeners on this one. God bless Cheap Trick!
380 BOOM BOOM MANCINI, Supp. The Milltown Brothers, Little Weed, London Camden Falcon "Barfly", Wednesday 15 July 1998
I don't normally go for 2 gigs in 2 nights these days, let alone 2 in 2 in London, but I was up the Smoke for a meeting anyway, so how could I resist? Finished my meeting and did some shopping in Camden, then surprised Geoff and the rest of the Boomers by turning up in my suit at the pub! Watched them soundcheck, and hung out before the gig, getting a free admission stamp in the process, along with the band. Result!
Clive, Beef and Rachel showed up at 8.30, and we chatted in the bar during Little Weed's female fronted pop set, which was just audible from the "Barfly" back room. However, we piled down the front for Boom Boom Mancini's set, and Clive and I, as usual, turned into whirling dervishes to the fine pop music from one of our enduring faves. Using more keyboard in their newer numbers than previously, the band were nevertheless their usual sparkling, spiky, challenging and effervescent selves. As this set was a landmark for this band, given that it meant I'd seen them (in their various incarnations) a record-tying 11 times, I particularly "gave it loads", especially to their amphetamine-speedy "Supermodel", the highlight of the set for me!
Chatted in the bar to Rachel during the Milltown Brothers' set. I've seen them before and they're still the same; innocuous and instantly forgettable. I was enjoying the company more, and we'd already seen the stars of the show!
381 THE 1998 READING FESTIVAL
SHERIFF'S DIARY - DAY 1, FRIDAY 28 AUGUST 1998
A false start thanks to parenting issues nevertheless saw me getting a train on my own and arriving, doing the wristband/programme/running order check thang, and still getting into the arena early doors. After 8 years, I'm starting to get good at this... Got into the by-now sunny arena at 12-ish and dived into the Tiny Tent, moved this year to a better vantage point near the arena exit, to catch local heroes GEL. They wore iridescent silver shirts and played bratty teenage punk rock to a surprisingly large tent crowd. In fact, the whole arena was busy all day today! Popped into the arena itself afterwards for mainstage openers HEADSWIM, who were a bleaker version of Radiohead (if you can imagine?) and thus totally unsuitable for such a sunny day and a positive vibe. Headed thereafter over to the Big Tent (this year sponsored by Melody Maker, and thankfully in its' rightful place in the corner!) to see Sweden's SOUNDTRACK OF OUR LIVES, who were running 20 minutes late, thanks to 60 Ft. Dolls very late cancellation, and who were playing some dreadful swirly 70's type prog rock, with beards and grand gestures to match. Decamped quickly to the Tiny Tent for a bit of SARA SARA, featuring another iridescently clad (trouser-suit, this time) vocalist, with a fine late night club voice and a clutch of spiky, half decent songs.
Waited in the arena with the horrendously clumsy and leaden heavy rock of MONSTER MAGNET as accompaniment, and then disappeared off to see THE DELGADOS in the Big Tent. Their gearbox was again set to cruise control, and they played the type of indie pop rock which journos find "interesting" and "delicate", but which I found "uneventful" and "dull". No "Under Canvas, Under Wraps" this time either... oooh no, of course that rocks too much! Out again in the arena at 3, with the sleazy 50's glam style punkabilly rock of ROCKET FROM THE CRYPT for company. Quite entertaining, in a "Grease" where John Travolta ends up getting shot kind of way. However, I didn't stick around for long, as I was Big Tent-bound for potential first day highlight GRANDADDY. Despite looking like slightly confused Amish farmers, their set was hauntingly gorgeous. Call them low-fi, new country, whatever, they play a music that is ethereal, wonderful and so beautiful and far away, "'cause everything beautiful is far away". Jason Lytle, clad in a "Tucson Alternator Exchange" baseball cap and showing the correct use of a beard, said, "we're great! We're heading for the stars!" before the brilliantly catchy sound of "Summer Here Kids". No-one was arguing.
Stayed in for some of YO LA TENGO's subsequent set. They were like the moogy drone of Stereolab, set to the low-fi strumalongs of Lou Barlow's Sebadoh, and for some reason kept insisting they were from Glasgow. They're not. Their set improved as it got rockier, with a Jonathan Richman sound-alike number the best. Then, the 4pm arena soundtrack was brought to me by the mainstage antics of SYMPOSIUM. Enthusiastic, loud and thrashy as before, with at least no ska this time - none that I heard, anyway. I missed the eventful end of their set (vocalist Ross Cummins being assaulted by security after the band tried to hurl their kit into the audience!) as I'd disappeared to catch the arse end of Yo La Tengo's set, then off for food!
Gave the mainstage AFGHAN WHIGS another chance to get on speaking terms with my musical taste post-teatime, but again Greg Dulli's alleged US Indie Rock pioneers failed totally to float my boat. No tunes, Greg! Opted instead for a wander near the backstage entrance (Rocket From The Crypt and Gavin from Bush were hanging around, so no, I didn't see anyone famous), then took a wander to the phones by the information tent to give Rachel the heads-up on the first day... so far! Back in for the mainstage sounds of THE DEFTONES, who were, surprisingly, featured on more t-shirts than anyone else in this surprisingly large first day crowd - with the possible exception of "South Park"! However, they were a sub-Rage Against The Machine angry shouty grungy mess, so I ignored them.
Headed over to the Tiny Tent for an early evening set by SUNHOUSE, only to find that on arrival I'd lost my notepad! Disaster! Retraced my steps but couldn't find it - so the notes prior to this point are from memory rather then experience; impressive, huh? - so I picked up a postcard for scribbling on and headed back. Sunhouse were a bluesy and moody lot of ruffians from Nottingham, playing mainly considered, strumalong stuff with one fun, wig-out number, though apparently I missed their best song "Monkey Dead" whilst scrabbling around on the floor in the twilight. As dusk closed in further on the packed arena, I caught bits of KENICKIE's Big Tent set from the outskirts of said tent. Unfortunately their teen rebellion now has a disco beat, which did little for me. Apart from a bratty reading of "In Your Car", they were disappointing, with the new stuff insubstantial, rather like a poor man's St. Etienne. Obviously my opinion was shared by a couple of be-stilted aliens in fur coats, as they left too!
However ASH, our next band on in the main arena, were ace! The new numbers veered away from the slow growl of their disappointing debut "1977" back to more dynamic punky powerpop, yet sounding more mature and well fleshed out by the new girly on guitars. I piled into the mosh during the thrilling "A Life Less Ordinary" and stayed there for a frenetic and splendid set, climaxed by adrenaline buzzsaw oldies "Petrol" and "Kung Fu". Great stuff!
So, to the Tiny Tent afterwards in the dark, to finish off day 1. SCOTT 4 were not the new country act I'd envisioned - more like a dull bar-room blues act with overlong songs - but the very popular tent headliners GOMEZ were a more intriguing bunch. Inviting comparisons with late-period Doors and Talking Heads (fitting, given they encored with a "Road To Nowhere" cover), they were a melting pot of funky dubby beats, swampy rock and mellow mood music and went down very well with both the crowd and me! That took us to 11.30, so off to collect left luggage and bring a successful first day to a close.
SHERIFF'S DIARY - DAY 2, SATURDAY 29 AUGUST 1998
Armed with a new notebook to replace the one I lost yesterday, and with a shower and a belly full of brekky behind me (or in front, in the case of the belly), I was transported to the sunny arena today by Rachel, joining me for the last 2 days. The sun was out as we arrived, the vibe was really cool, and I was even inclined to feel charitable towards mainstage openers BIS, on at the ridiculously early time of 11.15. Their set was actually infinitely better than before as a result; DIY pop with attitude, like Kenickie used to be before they apparently turned Eurodisco. I enjoyed Bis. I never thought I'd write that! After the set, we bumped into a former footy opponent of mine who turned out to have been a bully at Rachel's old school! Small world. It got even smaller, as it turned out our Big Tent position to watch the day's opener's SEAFOOD was standing right next to happy campers Fred and Ady! I saw Seafood's set in 2 parts thanks to a trip to the loo (during which I saw t-shirt slogan of the weekend in "Let Her Finish Her Orgasm"), but they were cool; varying pace but always rocky, spiky and challenging. the set climaxed with an acoustic version of The Pixies' "Wave Of Mutilation" and a noise-fest version of "Walking In The Air"! Good stuff!
Despite another trip to the loo - the price I pay for trying to keep my fluid levels up on a hot day by drinking loads of water; yes, water - I then caught THE LLAMA FARMERS in the Big Tent. Painfully young, they were still poppy, melodic and sporting a surprisingly mature sound. The vocalist, whether by accident or design, sounded like Jonathan Richman, but the band were more of an early thrashy Teenage Fanclub. Good again! However, into the Tiny Tent we then ambled, still looking for that real treat that invariably arrives into our laps on Saturday at Reading, just after lunchtime (remember The Gigolo Aunts? Scarce?). And we certainly found it!
EL NINO, an Indiana 4-piece, sounded good in the programme write-up, but were much better "live"; hard, passionate US rock a la Buffalo Tom, with big choruses and hooks, and a vocalist resembling a young Springsteen, bulging neck veins and all, and singing with a conviction akin to the Tom's Bill Janovitz. And even better; following their set, I picked up the guitarist's discarded guitar pick from the feet of their press officer, and Rachel and I blagged loads of free stuff - tapes as well! Result! Stayed Tiny Tent-bound with Fred and Ady during SUPERIOR's set, which featured a PVC clad Goth girl striking some real "rawk chick" poses. Music? Didn't notice! Anyway, we eventually ventured into the early afternoon sun for some food during RANCID. They couldn't decide whether to play hardcore punk or ska, but always had an "oi oi oi" rabble-rousing element to their sound which kind of turned me off. Ignored them during our late lunch, then also ignored LEE SCRATCH PERRY onstage as we shopped and took in the sun for a dead (musically at least) hour or so.
I then divested myself of company, and piled down the front of the mainstage, as 4.45 approached; the witching hour, time for ECHO AND THE BUNNYMEN. My first "live" encounter with my old favourites since their reformation was accelerated as they started with "Rescue", and also proceeded to do "Back Of Love", "The Cutter", "Lips Like Sugar" and "The Killing Mon" in short order, and a subsequent "Do It Clean" finale, augmented with vocal snippets from "Sex Machine", the Cramps' "Garbageman" and a Pete DeFreitas tribute. I was in the mosh throughout, a 16 year old camo kid again. Mac as ever was glacially cool in shades and occasionally doing keepie-ups with his cigarette butts, and even a crazy disjointed dance step or two! The set was largely on autopilot, true, but hearing this grand, haunting, mythical music from another age was a brilliant experience.
Met up with the guys again, and, after the Bunnymosh pounding, I kept a watching brief for THE FOO FIGHTERS. From my vantage point their set seemed plagued with early sound difficulties, but Dave Grohl, a nice guy as ever (advising us not to bungee jump from the crane set up for that purpose, because, "the elastic is made out of the same stuff in your underpants - you don't want to trust that shit!"), ultimately won through. An excellently spooky run-through of their magnificent "Everlong" was the highlight of a well-rocking and powerful set. Rachel and I then sprinted to the Tiny Tent in the hope of catching some of ELLIOTT SMITH's set, and in the end only caught the final, delicious low-fi strumalong number "Division Day". D'oh!
Back into the dusty yet still sun-kissed early evening arena for my - and Reading Festival's - first "live" experience of SUPERGRASS. A damn fine sounding clutch of their poppy, catchy rock numbers ensued, sounding superb and prompting tapped toes and sing-along's. "Richard III" was a highlight, but overall I never thought I knew as much of their cool and flippant material as I did! As dusk closed in, we then headed over to the Big Tent for THE WARM JETS, who actually played an absolute blinder! Cool, spiky and moody as ever, they also added some drive and dynamism to the set, and were as good as they possibly could be - as good, if not better, than I'd seen them before. The elongated closer "Never Never" was a totally absorbing highlight of a set I ultimately saw just 2 rows from the front, centre stage, as people kept moving out of our way! Bizarre!
Anyway, this took us to 9 pm, so Ady (who watched The Jets with us) and I got Chinese food at the back of the arena, so we couldn't hear much of the god-awful PRODIGY on the mainstage (we unfortunately still heard "Firestarter" on our way to the food stall), then into the Tiny Tent with Rachel in tow for a final Saturday treat! DAWN OF THE REPLICANTS played a thoroughly bizarre set of their clunky, challenging, monotone, intriguing and totally unique Indie-meets-weird-science set, to an undeservedly sparse crowd (the "kids" were up for The Prodge - The Warm Jets were equally poorly attended). Vocalist Paul, bereft of flying helmet this time, was nevertheless totally bonkers - shouting, "you're never not near.. a rat!" regularly, and generally purveying oodles of mutant madness. We rocked to "Lisa Box" and had a great time!
And that was it for Saturday... nothing at the top of the bill to keep us there, so Rachel and I hit the road and were back in Swindon by midnight!
SHERIFF'S DIARY - DAY 3, SUNDAY 29 AUGUST 1998
This was the sunniest day of the lot to start with! Had a late start making and eating brekky, but we eventually set off, getting there in time to wake Ady up (at 11.30!) and get into the Big Tent for midday openers THE INTERPRETERS. Three black-clad rock ruffians from Pennsylvania, who kicked up an agitated fuzz noise, like Iggy And The Stooges meeting You Am I in the back of a pink Cadillac! Met up with everyone in the arena during GIRLS AGAINST BOYS on the main stage, who again failed to move me with their one-dimensional rock. Rachel said the sampled bits reminded her of Pop Will Eat Itself - never a good sign!
The mainstage was running late as Gene cancelled, and this was the quietest day of a nevertheless well-attended festival. We were all able to hit the front for DRUGSTORE, who despite our rather silly fear that they might be lost on the main stage, put on a great show. Isobel, clad in red Mexican silks, was the usual happy, charismatic frontperson, and the band, bereft of usual drummer Mike (a victim of TB, allegedly caught from an Arizona prostitute, according to Isobel!) were nevertheless in good form. The guest Mexican trumpeters, and the deliciously haunting "Black Star" were great. I've seen them better, but overall it was a great way to break the record - Drugstore are now my most seen band, with 12 times!
Had a cider before going into the Big Tent for A, a very popular punky thrash, with Offspring, Compulsion and The Ramones as obvious reference points. A huge moshpit too! Took a couple of minutes in the arena while MONACO were on the main stage. New Order's Peter Hook's solo project sounded exactly like New Order, all easy synth-pop rhythms and haunting bass. Surprise surprise! Left them to it after having a few words with a chatty Steve Lamacq, my former favourite NME hack and now a Radio 1 DJ. Back the tent for SIX BY SEVEN, who, despite a good reputation, were too gloomy and doomy for a sunny Summer Sunday. During their set I spoke to a chap I'd seen floating around earlier and recognised from somewhere; it turned out to be Richard Sayce, drummer with the excellent Silver Sun! Left 6x7 to it and back into the arena for baguettes, with the remainder of Monaco's set as a musical backdrop. THE DIVINE COMEDY were up next, but I left Fred to it; after their painfully moaning first number it again didn't sound like happy entertainment! Into the Big Tent instead for URUSEI YATSURA, who were surprisingly low-key, but nevertheless popular. Their set was redeemed by some of their early Weddoes/ C86 style sci-fi pop numbers, and their vocalist proclaiming, "we're now off to a sanatorium in Switzerland!"
After Gene's scheduled slot, the mainstage sets were running early, so SHED SEVEN started at 5.45. Big Sheddoes fan Rachel and I were down the front, but their opener and best number "Getting Better" sounded flat and un-dynamic, so I left her to it! Their standard Smiths-ish guitar pop is a little too, well, average for my tastes anyway, so I took a wander around the arena. Rachel emerged sweaty and breathless from the Sheddoe's mosh, but I departed to catch a bit of ROYAL TRUX in the Big Tent. I was expecting some sleazy US swampy rock, but instead I got a gravelly voiced chick in a cowboy hat and greatcoat singing some lumpen and doomy country numbers. Left her to it, and did some shopping around the arena while THE BLUETONES were peddling their flat and innocuous wallpaper pop on the main stage. I'm not a fan enough to take notice, and there wasn't much worth taking notice of anyway!
Met the peeps with my purchases and hit the MM tent, early evening, for THEAUDIENCE. I have my suspicions about this lot being career muso types, and their previous pseudo Goth style has been jettisoned in favour of a more user friendly, "commercial" girly indie pop sound. Sophie can sing, but her anonymous band were slightly discordant and just not up to it. They weren't doing it for me or any of us, so we came out to catch all of the NEW ORDER set. And for that we will remain eternally grateful.
Vocalist Barney Sumner came bouncing on, determined to, "rock the joint," and, after a couple of their more recent, atmospheric synth-fuelled numbers, they unbelievably hit the Joy Division material! "Isolation", a jaw-droppingly awesome and beautiful "Atmosphere", an agitated and beefed-up "Heart And Soul", then, incredibly, "Love Will Tear Us Apart"! My previous pre-conceived notion that here were 4 old chaps just going through the motions and cashing in on their earlier legend was made to look foolish by their performance of songs I never thought I'd hear "live", given that they were full of power, passion and conviction. The subsequent set was also considerably less "perfect" and rehearsed; looser and uninhibited, and infinitely better for it. A high 5 between Barney and bassist Peter Hook after "Touched By The Hand Of God" showed they knew it too! An astonishing encore "World In Motion", featuring Keith Allen rapping and the whole of Reading singing along, climaxed a majestic and extraordinary set. Band Of The Weekend? They nailed it!
"Thanks for sticking around after that monumental set by the wonderful New Order," thanked Shirley Manson of Festival "Headliners" GARBAGE, who had the impossible task of following that. To their credit, they not only tried the "we're so humble" line to get on the right side of the audience, but also played a fine set of their slightly samey and formulaic, yet dynamic glacial Gothy rock. Feisty Scots lass Shirley tried her damnedest to make it work, and they generated a large (but not New Order-esque massive) mosh, but it was definitely a case of "After The Lord Mayor's Show" for me. What worked for Garbage was their enthusiasm and a surprisingly tender cover of Big Star's "Thirteen". What didn't was Shirley's subsequent total sycophancy towards the diminishing crowd.
Still, Rachel and I stuck it out to the end of their set, then hit the road after a festival of surprises!
THE SHERIFF 1998 READING FESTIVAL AWARDS
Friday Best: 1. GRANDADDY, 2. ASH, 3. GOMEZ (of 17)
Saturday Best: 1. ECHO AND THE BUNNYMEN, 2. DAWN OF THE REPLICANTS, 3. EL NINO (of 14)
Sunday Best: 1. NEW ORDER, 2. DRUGSTORE, 3. INTERPRETERS (of 14)
OVERALL - 1. NEW ORDER, 2. GRANDADDY, 3. ECHO AND THE BUNNYMEN, 4. DAWN OF THE REPLICANTS, 5. EL NINO (of 45)
Best New Band: 1. EL NINO, 2. SEAFOOD, 3. GOMEZ
Crap! 1. SOUNDTRACK OF OUR LIVES, 2. THE DEFTONES, 3. THE PRODIGY
Disappointing; 1. KENICKIE, 2. THE DELGADOS not doing "Under Canvas, Under Wraps", 3. Not seeing FRED and ADY doing their Bungee jumps!
Sorry I Missed: The rest of ELLIOTT SMITH's set, THE MONTROSE AVENUE, SLEATER-KINNEY, MARCY PLAYGROUND (they cancelled. D'oh!)
Stars Of The Show: 1. BARNEY from NEW ORDER, 2. JASON LYTLE from GRANDADDY, 3. STEVE LAMACQ, 4. RICHARD SAYCE from SILVER SUN; 5. RACHEL for the post SHED SEVEN moshpit Asthma attack!
Thursday, 5 August 2010
382 EL NINO, Plastic Eyes, Bristol Louisiana, Tuesday 1 September 1998
This one was indecently soon after Reading Festival, but I wasn't about to refuse it, given how good El Nino were there! So, we had a bop down to a very quiet Louisiana on a Tuesday night. Clive was too injured to play footy, but not too injured to come to a gig!
We were unexpectedly assailed by a local support band, as, unfortunately, expected tour co-headliners and also impressive Reading set-providers Seafood had pulled out, due, we found out later, to the guitarist cutting his hand! Said local replacement support, Plastic Eyes, sported a tasty young female vocalist, some nicely constructed and spunky songs, and a set which sagged in the middle somewhat, but overall impressed in a sub Boom Boom Mancini way. Seafood would've been better, though...
El Nino came on at 10 and played an extended version of the set which impressed so mightily at Reading last weekend. Despite the poor attendance (probably less than 20 people overall!) they didn't spare the horses, and delivered a mighty rock set of power, passion and integrity. "Reptile", which I later found out to be a Lisa Germano song, was an early highlight of this set, during which I rocked out down the front to numbers already familiar to me, whilst my compatriots Clive and Rachel tapped toes as well. Also, following this splendid set of powerful yet melodic rock, we chatted with El Niño vocalist Glenn Hicks. Turned out he's a race fan and visited the Indy 500 this year, so he and I had plenty to talk about. Plus he thought that my comparison of El Nino to The Gigolo Aunts (not sure what I was thinking there - Buffalo Tom is probably more accurate) was nevertheless a great compliment. A fine gig from a band who are surely future stars!
Wednesday, 4 August 2010
383 GARAGELAND, The Hangovers, London Garage, Friday 4 September 1998
A mad panic to get over to the Garage in time for the Boom Boom Mancini set - as bassist Geoff had told Clive that they were on at 8.30 - was all for naught, as we found out on arrival that they'd cancelled at the last minute, with guitarist Brett having hurt his foot! D'oh! Nevertheless, we three were still up for Garageland, so we paid to get in (the BBM guest-list, which we were on, was cancelled too!) and waited for over half an hour in a very quiet venue before The Hangovers came on at 9.15. They were, again, better than before, and better than I'd expected. The vocalist's annoying whistle was evident tonight on only one number, and the rest of their set was moody, bluesy and at best quite absorbing. Are they creeping around my mental block? Surely not another Drugstore in the making??
Anyway, we were well up for Garageland, and hit the front for their set. Again, a predominantly new collection of songs, but featuring more of a smattering of oldies tonight, from the excellently spiky, Pixies-ish LP "Last Exit To Garageland". The absorbing, mesmeric and shimmering "Nude Star" was a top highlight for me, as I danced crazily throughout to both old and new. Indeed, some newies, such as the frenetic "Not Empty", were already recognisable from their recent Falcon set, and overall, Garageland were noisy, rocky and rather splendid. Complimented the Garageland bassist Mark afterwards, and we all bought cheap (£5!) Garageland t-shirts before a very sodden drive home!
384 BOOM BOOM MANCINI, Slinkyhead, London Camden Falcon "Barfly" Club, Wednesday 16 September 1998
A groundbreaking gig - the even dozen for BBM in their various guises - turned out to be a really eventful evening! I was in London for a meeting, so hopped along to the venue after a bit of Camden shopping, catching up with the band, including "hopalong" guitarist Brett, who was still on crutches! Stuck around during the various soundchecks, thus getting "in" free, and chewing the cud with Geoff and Brett awhile.
Clive, my gig buddy and driver home, turned up at 8, a short while before first band Slinkyhead took the stage. Sporting de rigeur glam wear - feather boas, lipstick, leopard print, and also a splendid "countdown" digital display t-shirt sported by the bassist! - they nevertheless kicked up a confrontational and agitated set of bursting loud rockers. Less brash and trashy than, say, Rachel Stamp, but operating in the same territory, I certainly warmed to them.
Boom Boom Mancini were due on at 9, but took the stage some 15 minutes late, compensating mightily for the delay with a fine and flippant set. Vocalist Diane, clad in leather skinny top, tried some flashy rock poses and screams, and the audience, initially reluctant, were sucked into their fine and tune-packed set. The keyboards, now sounding totally at home on the new numbers, really fleshed the sound out, and the set was splendid; again, my favourite being a frantic "Supermodel Human".
This, however, was where the fun began! We helped the band pack up, then set off at 10.15, ignoring the main band in favour of an early night. After nearly getting mugged at Camden Tube, we got to Clive's car at 10 to 11 in Shepherd's Bush, which promptly broke down in Chiswick High Street! The RAC came out and eventually got us going at midnight with a "Heath Robinson" repair job (we had KFC whilst waiting), but of course this never held out, and the car expired again, at 12.30, on the M4 just before Windsor!
So, another callout ended up with us getting towed home, which cost Clive a huge whack, as he didn't have the RAC "recovery" cover he thought he did! Whoops! I eventually got home, tripping over hedgehogs in my road, at 5 to 3. Bah! So much for my early night; but hey, Boom Boom Mancini were worth it!
385 SPARKLEHORSE, Neutral Milk Hotel, Portsmouth Wedgewood Rooms, Sunday 4 October 1998
A happy and packed 2 car convoy hit the road at 5.45 for this one, and despite hold-ups in Newbury got there in good time. Finding the venue was also easy this time - past the railway station, right at the big roundabout and left onto Albert Road. Easy for next time... or famous last words?
Into the venue well in time for the extraordinary Neutral Milk Hotel set at 8 pm. A horrendously be-jumpered beardy vocalist with a seriously loud, shouty and in-your-face vocal style, accompanied by a strange bunch of individuals, including quite the most rubber-limbed drummer I'd seen for a long while, they played a totally oddball, yet intriguing and thoroughly absorbing mix of choppy guitar rhythms, loud and downright weird stuff, with a folksy, almost medieval feel. This "performance" also involved all band members seemingly picking up and putting down selections from a dazzling array of instruments at the stage front - also seemingly at ramdom! Sort of They Might Be Giants from a backward hillbilly town, or even an Amish Weezer!
The venue - a fine old cinema type hall - filled notably for the arrival of the 'Hoss at 9.15. Starting with an almost beefed up "Spirit Ditch", they were on top form, with their fine balance of dusty country - evocative yet never maudlin - and almost savage rock attack sounding excellent. Vocalist Mark Linkous, an uneasy presence onstage, was nevertheless superb, alternating between normal and distorted vocal mics, and the band - changed again and now with original double-bass player Scott Fitzsimmons restored - were eerie and understated where appropriate, and loud where necessary. A brilliant "Happy Man" - beefed up and undistorted, as I'd hoped they'd do it - was the highlight for me of a 1 1/4 hour set (plus 4 encores!) which dashed by.
Oh yeh, I took some stick afterwards for swiping the set-list from under the nose of another punter - she wasn't too happy but them's the breaks. Still, that didn't detract from an exciting, touching, thrilling country rock set from this chameleonic yet splendid band Sparklehorse!
386 SILVER SUN, The Young Offenders, Bristol Fleece, Monday 12 October 1998
My Nan died today. She slipped peacefully away in hospital following a couple of respiratory arrests, with my brother and myself present. We'd already had tickets for this gig tonight, and following a whole lot of soul-searching and debate, we decided to go ahead as planned. My Nan loved going out and partying, so we figured she'd have wanted it that way. So, as planned, Clive, Rachel and myself travelled down, picking up my brother in Bristol, then repairing to the pub next door to the venue for a toast to celebrate her life with port and lemon, her favourite drink!
Into the venue at 8.30 for first band on, the Young Offenders. Favourites of Clive, they however sounded to me like a standard, slightly lumpen, derivative of the current Placebo-influenced brash glam pop sound. A poor man's Slinkyhead, even! So we largely ignored their set.
My drummer brother was off hob-nobbing with Silver Sun drummer Richard Sayce, but we other 3 had assembled down the front in advance of the entrance of The Sun, somewhat early at 9.30. Now seriously indulging in new wave chic - black sleeveless skinny T's, studs and metal stars being the order of the day - The Sun have also produced a current LP, "Neo Wave", which has received a total mauling in the press for sounding like 70's US "New Wave" proto-pop acts such as The Knack and my personal favourites Cheap Trick. To me, though, that can only be a good thing, so I decided to head for the mosh, and, not finding one in this nevertheless crowded stage front centre, I decided to start one!
Vocalist James Broad has obviously been attending frontman lessons given by Julian Cope circa 1986, as tonight he was every inch the mesmerising focus; brash, arrogant and dare one even say sexy - certainly a far cry from the gawky Hank Marvinisms of earlier Silver Sun gigs. The band themselves were perhaps a tad less surf punk on helium, and slightly more colourful New Wave rawk riffery. Drawing heavily from said new LP, they put together a splendid spiky set. "Last Day" took on added poignancy given the day's events, and solicited a high five with my brother. The magnificent "Lava" and encore "Trickle Down" were also memorable for me, as I emerged, saturated, from the mosh. The hob-nobbing also worked, as my brother got Sayce's sticks, so a bloody great time was had by all. Just as my Nan would have wanted.
Into the venue at 8.30 for first band on, the Young Offenders. Favourites of Clive, they however sounded to me like a standard, slightly lumpen, derivative of the current Placebo-influenced brash glam pop sound. A poor man's Slinkyhead, even! So we largely ignored their set.
My drummer brother was off hob-nobbing with Silver Sun drummer Richard Sayce, but we other 3 had assembled down the front in advance of the entrance of The Sun, somewhat early at 9.30. Now seriously indulging in new wave chic - black sleeveless skinny T's, studs and metal stars being the order of the day - The Sun have also produced a current LP, "Neo Wave", which has received a total mauling in the press for sounding like 70's US "New Wave" proto-pop acts such as The Knack and my personal favourites Cheap Trick. To me, though, that can only be a good thing, so I decided to head for the mosh, and, not finding one in this nevertheless crowded stage front centre, I decided to start one!
Vocalist James Broad has obviously been attending frontman lessons given by Julian Cope circa 1986, as tonight he was every inch the mesmerising focus; brash, arrogant and dare one even say sexy - certainly a far cry from the gawky Hank Marvinisms of earlier Silver Sun gigs. The band themselves were perhaps a tad less surf punk on helium, and slightly more colourful New Wave rawk riffery. Drawing heavily from said new LP, they put together a splendid spiky set. "Last Day" took on added poignancy given the day's events, and solicited a high five with my brother. The magnificent "Lava" and encore "Trickle Down" were also memorable for me, as I emerged, saturated, from the mosh. The hob-nobbing also worked, as my brother got Sayce's sticks, so a bloody great time was had by all. Just as my Nan would have wanted.
387 BOB MOULD, MERCURY REV, Dark Star, Wolverhampton Wulfrun Hall, Friday 23 October 1998
Took the afternoon off for a first ever gig in Wolverhampton, on an afternoon forecast to be traffic heavy. They weren't just whistling Dixie; we hit even worse than the expected traffic on the M5 thanks to a 14 car pile-up, and after being totally stationary for an hour, and in slow traffic for a further half hour, we eventually got to Wolverhampton at 7 - 4 1/2 hours after setting off! Following some KFC, we hit the empty venue at 7.40, just before Dark Star hit the stage with an unrepresentative (as it transpired) punky blast opener. I warmed to them as their set became increasingly sinewy and libidinous, rather like a goth version of New FADs. Not too bad at all, as the venue - resembling a smaller and posher Bristol Uni Anson Rooms - filled up.
Mercury Rev, however, were utterly and unexpectedly fabulous! A band I'd dabbled with in the early 90's, and generally found to be too quirky and droney for my tastes, the Rev, now split from their original musical leading light David Baker, have since reinvented themselves as astonishing moody musical auteurs par excellence. This set was music to die for; stunning, shimmering, majestic, haunting and wonderful. I remarked to Clive that not only had we just witnessed one of the Top 5 sets of the year, easily, but I'd also just seen a band who reach the heights that the likes of the Verve and Radiohead can only clumsily grasp at. A totally surprising, but awesome "Tugboat" (yep, the old Galaxie 500 number) as well as "Endlessly", the set opener from the rock critics' new fave LP "Deserter's Songs" (a record I'm going to buy in pretty short order!) were the highlights from a set where, well, there were no lowlights!
I also mentioned to Clive that Bob Mould would really have to go some to top that, and for me, unsurprisingly, he slightly fell short. Kicking in at 9.30 with 3 numbers from the splendid new LP "The Last Dog And Pony Show", Bob and the band ripped into this set with the usual venom, the scuzzy guitar and deep booming voice the highlights of this awesome noise. I initiated an ever increasing moshpit and kicked some ass! However, the sound fell slightly short of brilliant, and Bob delved into 1996's disappointing eponymous "Bob Mould" LP too much for my liking. A superb "Anymore Time Between" was by far and away the best of the set mid-section, bleeding-raw and emotional as it was. However, Bob scaled those heights far too seldom for my liking. Am I being harsh? Maybe... maybe I expected perfection, and I got a fat bloke playing punk rock. However, I still came out of the moshpit sweaty and happy, following a final encore blast through Sugar's "Man On The Moon", during which I swore the old boy flirted with me, from my front centre spot!
Tuesday, 3 August 2010
388 BUFFALO TOM, Superstar, London Astoria, Tuesday 27 October 1998
Gig of 1998, without a bloody doubt!!! I surprisingly never leapt at this one straight away, but it took just a little persuasion from Rachel, plus an "Only UK Show" caveat on an NME classified ad, to swing me! So, we four (Clive, Tim, Rachel and myself) did the usual Shepherd's Bush parking thang, and tubed it into central London for 8.15, just arriving too late for first band on, Whistler (Clive played their single on the way up, which wasn't much cop, so no great loss). Had a wander around the venue and found a balcony vantage point from which to see Superstar, who started with their best song "EverydayIfallapart", a deliciously harmonic groove in latterday Teenage Fanclub vein, but then slightly degenerated into a reasonable but ordinary lumpy pop rock stodge. Disappointing really.
As was the turnout... admittedly, this was a rainy Tuesday, but it's the Tom's only UK show and they couldn't fill the Astoria? What is wrong with you people??? Anyway, the Tom diehards (Clive, Tim and myself), and Tom virgins (Rachel) were primed and ready for the boys at 9.30, as they came onstage to little fanfare. However, they roared directly into the slashing guitar intro to "Velvet Roof", and I immediately piled into the mosh, already safe in the knowledge that it was going to be one of those very special nights.
The hits rolled on, as old favourites blended in perfectly with the slower, more crafted and considered numbers from the brilliant and no-less intense new LP "Smitten". Tom vocalist Bill Janovitz delivered a bleeding-raw performance of drama and passion, ably backed up by Chris and Tom (drummer Tom using the same DW kit owned by my brother!). Every one a winner, every one jaw-droppingly awesome, top-drawer, gut-wrenching rock, every one a highlight, but encore "Sunflower Suit" is a particular memory I'll keep with me. The 1 1/2 hours flew by, and I emerged dishevelled, soaked, breathless, a little battered but awestruck by a brilliant performance from a band who seem only to get better and better with the passing years. As I said at the opening; Gig of 1998, without a bloody doubt!
389 BOB MOULD, MERCURY REV, Dark Star, London Kentish Town Forum, Thursday 29 October 1998
Two London gigs in one week is pretty unusual these days, but this one was booked up before the Tom gig, last time out, so off we did trot! Having decided to drive over to Kentish Town, Andy picked us up at 4.45, and did a sterling job of getting us there for 7.30, given that he's a country boy who's never driven in London before!
First band on, Dark Star, arrived at 7.45, and seemed to warm to the London crowd, as their set was better sounding and more consistent than before. Relying heavily on their excellent drummer (so much so that my gig colleagues remarked that it'd be nice if they wrote some songs to go with the rhythm!), they were, again, a rhythmic and pretty useful opener.
However, as before, they paled into insignificance before the splendour and majesty of the Mercury Rev set. Since last Friday (was it really only last Friday?), I'd acquired their stunning "Deserter's Songs" LP, so was prepared this time, but the sheer irridescent beauty of openers "Endlessly" and "Holes" still took my breath away. These two were the highlights of another beautiful and majestic set from a band who have performed the ultimate re-invention, and have, as I said last week, reached heights of stunning majesty in their work others can only dream of. No "Tugboat" this time, but still incredible - a view echoed by all 5 of us gathered here, except Tim, who thought they were "dull"!!!
The Rev this time had Bob Mould comfortably beaten, as his subsequent set was beset with a muddy sound, and again a disappointing song selection. Despite the sell-out crowd tonight, the moshpit wasn't huge, and I managed a vantage point near the front without participating (tight calf muscles, you see, following my Tom mosh!). Bob again thrashed through the set with awesome energy and power, but too many numbers were lumpen and directionless. I hate writing those words, as I'm a huge Bob Mould fan, but as this was advertised as the last date of his last electric band tour ever, I wanted... well, honestly, I wanted Husker Du! I wanted Sugar! Instead, we compensated ourselves with a nevertheless excellent "See A Little Light" from his superb and defining 1989 LP "Workbook", and the knowledge that hopefully there's some life and intensity in the old boy yet. I'm sure he'll be back, next time thrashing an acoustic as wildly as he did his faithful blue stratocaster tonight, and every night.
And we had a pretty good run back home as well, Andy proving that driving through London isn't so bad after all - even for "country boys"!
First band on, Dark Star, arrived at 7.45, and seemed to warm to the London crowd, as their set was better sounding and more consistent than before. Relying heavily on their excellent drummer (so much so that my gig colleagues remarked that it'd be nice if they wrote some songs to go with the rhythm!), they were, again, a rhythmic and pretty useful opener.
However, as before, they paled into insignificance before the splendour and majesty of the Mercury Rev set. Since last Friday (was it really only last Friday?), I'd acquired their stunning "Deserter's Songs" LP, so was prepared this time, but the sheer irridescent beauty of openers "Endlessly" and "Holes" still took my breath away. These two were the highlights of another beautiful and majestic set from a band who have performed the ultimate re-invention, and have, as I said last week, reached heights of stunning majesty in their work others can only dream of. No "Tugboat" this time, but still incredible - a view echoed by all 5 of us gathered here, except Tim, who thought they were "dull"!!!
The Rev this time had Bob Mould comfortably beaten, as his subsequent set was beset with a muddy sound, and again a disappointing song selection. Despite the sell-out crowd tonight, the moshpit wasn't huge, and I managed a vantage point near the front without participating (tight calf muscles, you see, following my Tom mosh!). Bob again thrashed through the set with awesome energy and power, but too many numbers were lumpen and directionless. I hate writing those words, as I'm a huge Bob Mould fan, but as this was advertised as the last date of his last electric band tour ever, I wanted... well, honestly, I wanted Husker Du! I wanted Sugar! Instead, we compensated ourselves with a nevertheless excellent "See A Little Light" from his superb and defining 1989 LP "Workbook", and the knowledge that hopefully there's some life and intensity in the old boy yet. I'm sure he'll be back, next time thrashing an acoustic as wildly as he did his faithful blue stratocaster tonight, and every night.
And we had a pretty good run back home as well, Andy proving that driving through London isn't so bad after all - even for "country boys"!
390 SEBADOH, Nought, Oxford Zodiac, Thursday 19 November 1998
A strangely early one this, and my first time for awhile back at a venue (formerly The Venue) which I really don't care for too much; too smoky, wooden and packed, as I recall! Still, doors at 7 and we got our tickets from the door just after 10 past, so we were therefore part of a whole load of people from tonight's sell-out crowd in to hear support Nought. Sporting a thin female vocalist with a strong resemblance to Janet Street Porter (oh dear), they were bloody awful actually; an instrumental set of sub-HM thrashy rock doodling, which they obviously thought made them MBV. It really doesn't, guys...
They were thankfully over by 8.30, and we joined the packed-out throng at the front for the entrance of Lou Barlow's Sebadoh just after 9 pm, Barlow joining us by skipping (yes, skipping) across the stage. I must confess I'm still not over-familiar with Sebadoh, but this was an enjoyable, low-fi, considered set of US college rock and balladry. At least when Barlow was in charge, that is... however, the bass player had a slot of half a dozen numbers mid-set, which he sung and which were incongruously noisy ramalama punk, a la Offspring. Really not sure about that. Lou took over again for the final 4 numbers, which were the best of the night, culminating in a sensitive, touching and heart-felt "Soul And Fire" and a searing "Beauty Of The Ride".
So, Sebadoh, once again a fine but flawed performance. But early, so over by 10, and home before 11!
They were thankfully over by 8.30, and we joined the packed-out throng at the front for the entrance of Lou Barlow's Sebadoh just after 9 pm, Barlow joining us by skipping (yes, skipping) across the stage. I must confess I'm still not over-familiar with Sebadoh, but this was an enjoyable, low-fi, considered set of US college rock and balladry. At least when Barlow was in charge, that is... however, the bass player had a slot of half a dozen numbers mid-set, which he sung and which were incongruously noisy ramalama punk, a la Offspring. Really not sure about that. Lou took over again for the final 4 numbers, which were the best of the night, culminating in a sensitive, touching and heart-felt "Soul And Fire" and a searing "Beauty Of The Ride".
So, Sebadoh, once again a fine but flawed performance. But early, so over by 10, and home before 11!
391 PULP, EELS, Tiger, Cardiff International Arena, Monday 30 November 1998
A bit of a car-mare to start with; Rachel picked me up at 5, but the car - her brother's - refused to start at Sarah's! We eventually bump-started it, but this didn't bode well for a post-gig restart. However, we parked up at 6.30 (!) and were seated in one of the seating blocks to the right of the nowhere-near-as-big-as-expected venue (about the size of Newport Centre, really) for the first band Tiger at 7. They were lumpen, metronomic and dull - 'bout what I expected, really. Guitarist Julie's short leather skirt was for me the most entertaining part of their set!
There were a few more people in for Eels set; the band which really swung it for me to come along tonight. They took the stage in white kung-fu suits, and preceded their set with some slick warm-up moves and kicks! They then played a damn fine set of their introspective doom ballads, punctuated by a "Novocaine For The Soul" in a Tex-Mex Los Lobos style, a "My Beloved Monster" which comedically transformed into "My Girl", an unusual but gripping Christmas song with an audience member on shaky bell thingies, and a superb "Last Stop; This Town", the set highlight. Heartbreak rarely sounded so joyful.
On to Pulp then. They hit the stage at 9, a silhouetted Jarvis leading the band through "The Fear", with his usual staccato dance, soon joined by... another Jarvis! It turned out Jarvo No. 2 was the kosher article, the other being a very convincing look/dance/soundalike! A clutch of favourites ensued; the perfect glam kitsch pop of "Babies", the sinister hooks of "Joyriders", and the deliciously grubby balladry of "Underwear". However their set was punctuated with too many disappointing numbers from recent "This Is Hardcore" LP, although Jarv is undeniably still a fantastic frontman, holding the audience in the palm of his hand throughout. A riotous "Common People" capped an energetic and sleazy hour and a half. If they'd have cut out the mid-section of the set, it would've been an utterly splendid hour!
Oh yeh, and the car started first time afterwards, and we were back just after 12 - in double-quick time!
There were a few more people in for Eels set; the band which really swung it for me to come along tonight. They took the stage in white kung-fu suits, and preceded their set with some slick warm-up moves and kicks! They then played a damn fine set of their introspective doom ballads, punctuated by a "Novocaine For The Soul" in a Tex-Mex Los Lobos style, a "My Beloved Monster" which comedically transformed into "My Girl", an unusual but gripping Christmas song with an audience member on shaky bell thingies, and a superb "Last Stop; This Town", the set highlight. Heartbreak rarely sounded so joyful.
On to Pulp then. They hit the stage at 9, a silhouetted Jarvis leading the band through "The Fear", with his usual staccato dance, soon joined by... another Jarvis! It turned out Jarvo No. 2 was the kosher article, the other being a very convincing look/dance/soundalike! A clutch of favourites ensued; the perfect glam kitsch pop of "Babies", the sinister hooks of "Joyriders", and the deliciously grubby balladry of "Underwear". However their set was punctuated with too many disappointing numbers from recent "This Is Hardcore" LP, although Jarv is undeniably still a fantastic frontman, holding the audience in the palm of his hand throughout. A riotous "Common People" capped an energetic and sleazy hour and a half. If they'd have cut out the mid-section of the set, it would've been an utterly splendid hour!
Oh yeh, and the car started first time afterwards, and we were back just after 12 - in double-quick time!
392 DRUGSTORE, Annie Christian, Lapland, Oxford Zodiac, Saturday 5 December 1998
Drugstore? Again? Well, at the risk of sounding obsessive, I never miss 'em when they're on the road, so a 2 car posse headed to Oxford for my 5th Drugstore set this year, and 13th overall! We'd passed over the more predictable Fleece gig in favour of a weekend gig at a venue where, due to their slight Radiohead connections, they'd always gone down well. Convened in the Bullingdon Arms and toddled in out of the cold to catch the final third of local act Lapland's set. They were reasonably good in a considered, thoughtful guitarry way, and moreover they overheard me mentioning that to Clive during the set and commented on it from onstage!
The venue filled out a little more for Annie Christian, on at 9.15. Not a fey acoustic-strumming hippie chick with big braided skirts as the name suggests, but a bright, spiky, spunky and punky Scots rabble, with a fine line in incendiary rock tunes. Clive and I were down the front, giving it the usual "loads" (and being given space to do so by the "too cool to dance to support bands" Oxford crowd), particularly to current amphetamine blast single "The Other Way". They disappointed a little by not indulging us with their version of Joy Division's "Transmission" (particularly as they played "Decades" on the PA prior to their intro music!), but instead, played a clutch of unfamiliar numbers, with less of their adrenalised speed but more of a dark, angst-ridden feel similar to Ian Curtis' troubled troubadours themselves. They also reminded me of the always-excellent-live Marion, so a name to watch!
So, Drugstore. What do I write about them that I haven't already done so 5 times this year? Isobel, charming and charismatic as ever, Daron coy but a beautiful guitarist, the recently added cellist providing tender touches where needed, and big Mike, now restored to health, holding the rhythm together. Another spellbinding and dazzling set, from a consistently splendid live band, with a couple of surprises - a majestic "Black Star" to end the set proper ("we're not going to get out of Oxford alive not having played this," joked Isobel), and after a haunting encore "Superglider", Isobel decided to lighten the mood with a remarkable cover of "(She Don't Use) Jelly"! Aside from the triumphant "El Presidente" - dedicated to the finally-extradited Pinochet - "Jelly" was the highlight of another fine Drugstore set. There, I haven't written that very often... yeah, right!
The venue filled out a little more for Annie Christian, on at 9.15. Not a fey acoustic-strumming hippie chick with big braided skirts as the name suggests, but a bright, spiky, spunky and punky Scots rabble, with a fine line in incendiary rock tunes. Clive and I were down the front, giving it the usual "loads" (and being given space to do so by the "too cool to dance to support bands" Oxford crowd), particularly to current amphetamine blast single "The Other Way". They disappointed a little by not indulging us with their version of Joy Division's "Transmission" (particularly as they played "Decades" on the PA prior to their intro music!), but instead, played a clutch of unfamiliar numbers, with less of their adrenalised speed but more of a dark, angst-ridden feel similar to Ian Curtis' troubled troubadours themselves. They also reminded me of the always-excellent-live Marion, so a name to watch!
So, Drugstore. What do I write about them that I haven't already done so 5 times this year? Isobel, charming and charismatic as ever, Daron coy but a beautiful guitarist, the recently added cellist providing tender touches where needed, and big Mike, now restored to health, holding the rhythm together. Another spellbinding and dazzling set, from a consistently splendid live band, with a couple of surprises - a majestic "Black Star" to end the set proper ("we're not going to get out of Oxford alive not having played this," joked Isobel), and after a haunting encore "Superglider", Isobel decided to lighten the mood with a remarkable cover of "(She Don't Use) Jelly"! Aside from the triumphant "El Presidente" - dedicated to the finally-extradited Pinochet - "Jelly" was the highlight of another fine Drugstore set. There, I haven't written that very often... yeah, right!
393 POLAK, Lear, Cardiff Clwb Ifor Bach, Monday 7 December 1998
A minor first for me, in that this was the first gig I attended, having found about it on the Internet! The Polak website touted this one, so off did Clive and I trot, parking at this backstreet venue, between Cardiff Castle and the current building site that will eventually become the National Stadium in renovated form, at 9 pm. Had to become "members" of this well-appointed upstairs venue to gain entrance. Apparently this means I can now support their stated aim to promote the Welsh language. Hmmm.
Anyway, a local (Blackwood) band Lear entertained us at 9.45, with a jolly set of up-tempo, well-constructed powerpop with a 60's feel to it. The mod revival revival starts here?
Polak took the stage at 10.45, all dressed in black, with ex Adorable vocalist Pete (Piotr) Fijalkowski eschewing his former "Hopkirk (deceased)" white jacket in favour of black suit and polo neck. Going on their singles output to date, they could have been stripped-back yet brilliantly haunting pop, or dour yet interesting balladry. Which Polak would we get?
Thankfully it was the former, and they were bloody great. "Storm Coming" was a haunting and soaring early highlight, and even single "I'm Sick", disappointing on record, came across very well. During one ants-in-your-pants rickety rhythmic number, Pete jumped offstage to join Clive and myself dancing down the front, then grabbed Clive for a careering tango around the venue!
A final "Outta My Sky" was all raw passion and in-your-face guitar work, which suggested that Polak hopefully have one delicious album in the pipeline. We congratulated Pete afterwards, and hit the road at 11.30, deciding against staying for unremarkable local headliners Ether. We'd seen a set full of nascent promise from a man unencumbered by past lack of success. So, Polak; not Adorable, but certainly adorable!
394 MILES HUNT AND MALCOLM TREECE, Bristol Fleece, Sunday 13 December 1998
This one started with a bit of a panic; Rachel's friend Sarah blew out at the last minute due to illness, so we had to offer a spare ticket around. Could we find a taker? Could we heckers like! Still, they'd regret missing this one...
We eventually sold the spare ticket outside the gig and got in just after 8, to an already packed venue, full of grebos, fraggle rock rejects and other assorted old Stuffies fans, including of course Prov! Rachel and I then decided to blag backstage for a chat with Miles and Malc, claiming "friend of a friend status" with Phil Hurley, ex-Gigolo Aunt, as the friend in question! Miles was prepping with the roadie, but Malc - a thoroughly nice bloke - was happy to take time out to chat, saying he'd seen both Phil and Steve recently during their recent US jaunt!
The boys came onstage at 9 - just the 2 of them, armed with big chunky guitars and heads full of instantly recognisable pop tunes - plugged in, and cracked open a couple of old Stuffies numbers like vintage wine. This pretty much set the tone for the evening; an entertaining 1 1/2 hours of Miles' banter, a few new numbers, 2 Vent songs, but mainly Stuffies numbers done acoustically but with no less oomph. Some didn't work so well in this context, lacking the full band volume of the Stuffies, but the simple catchy pop stuff - "Golden Green" being an example - worked the best. After a final "Unbearable", they packed up, but then re-emerged for pix and chats with the lingering crowd. That made Rachel's night - a pic of her and Miles!
395 THEY MIGHT BE GIANTS, Catchers, London Garage, Monday 18 January 1999
A sell-out gig to kick off 1999's gigging year! Took the day off and had an afternoon up the Smoke with Rachel and her friend Sarah, shopping and visiting the Egyptian exhibit at the British Museum, before hitting the venue at 7 to successfully shift our spare ticket (poor PG is ill), getting into a Dutch auction and selling it for £25 to an American guy, much to the disappointment of the competing Greek lass! So, with my ill-gotten gains, I got the round in at a nearby pub, then we hit the venue in ample time for Catchers' set of unobtrusive strumalong songs at 9. Sort of a limp Irish Everything But The Girl, they were mildly diverting but nothing more.
Spotted Jonathan Ross (not Jonathan King this time!) and voluminously-proportioned wife arrive at the by-now heaving venue before TMBG took the stage at 10.15. Now a 7-piece "live" act, with 2 brass instrumentalists augmenting the line-up, they kicked off with a splendid "New York City", one of the rockier and bouncier, but no less sing-along, numbers from their last LP, 1997's "Factory Showroom", and proceeded to play a varied set of their clever, unique and fun US college pop. The set was very entertaining, if slightly self-indulgent (a few more songs and a little less twatting about would've helped for me) with highlights including a sing-along "Shoehorn With Teeth" and a frenetic early "Polka", played firstly very fast, then even faster! Big John Flansburgh was the main vocalist and focus, as he conducted the crowd with the ease of a seasoned carnival barker, with the manically grinning John Linnell contributing occasional lead vocals, some crazy tenor sax and squeezebox.
For me, though, the set picked up considerably for the encores; a brilliantly touching "Angel" and a riotous "Birdhouse In Your Soul" preceded some tomfoolery, with puppet heads singing "Exquisite Dead Guy" and big John getting a conga line going by exhorting the crowd, viz; "everybody conga! I'm NOT fucking kidding!!" So, I conga-ed at a gig - another TMBG first!
Oh yeh, and Jonathan Ross was down the front, singing along to a whole load of numbers, including obscure album tracks, so respect to him!
Monday, 2 August 2010
396 MERCURY REV, Snowpony, Bristol Fleece, Wednesday 20 January 1999
Another 1999 sell-out gig! This time I drove down to Bristol, after checking that Clive had personal RAC cover (good thing, too, as it turned out) and we parked near the Fleece, Clive selling another spare ticket for £15! The place was totally heaving straight from the off; Snowpony were on at 9 and played pseudo-goth mood music which varied from reasonable Curve impressions (appropriate considering ex-Curve bassist Debbie Smith was on keyboards) to dull unlistenable tosh. The tattooed female vocalist had one of the most emotionless voices I've ever heard, which turned me off their music totally.
From the ridiculous to the totally sublime; Mercury Rev came on at 10 and were utterly magnificent. Translating the more mellow elements and nuances of their stunning "Deserters Songs" LP into the live environment should have been a more formidable task, but they managed it with effortless ease, playing virtually the whole of this breakthrough LP during their 1 hour 15 minute set. Live, the songs took on new life, power and resonance, and soared to the heavens. My brother had previously asked whether The Rev were "Big" Music; for sure, bro', this is "Big" Music. In fact this is stratospherically huge, heart full of love, brain-crackingly massive music. They really don't come much bigger than this!
Jonathan Donahue, Rev vocalist and undoubtedly the coolest rock star on the planet right now, varied between an expression of utter bliss and an astonishing smile during the set, which, as per their LP, swept up rock, Americana, blues, ragged punk and above all majestic melody, and created a shining and unique sound.
To top it all, the encore was Galaxie 500's magnificent "Tugboat", especially for me! I'd bumped into guitarist Grasshopper earlier and requested it, to which he replied that they weren't planning to play it but would do so if - if, ha! - they got an encore. Needless to say, I was shouting the loudest at the end of their set! When they announced it I shouted, "thanks, Grasshopper," and he caught my awed gaze during their rendition, even apologising for allegedly messing up a guitar part during this nevertheless wonderful reading.
The night wasn't over, though, as we got back to my car, all eulogising about The Rev, to find that some bastard had cut my car's fuel lines! Good thing I'd checked Clive's RAC cover, as we called out a repairman, who effected a temporary repair to get us home eventually at 2 am. Not even that incident could dampen the evening though. An astonishing performance from an astonishing band; Mercury Rev!
397 MADDER ROSE, Dark Star, Bristol Fleece, Monday 1 February 1999
I was Mr. part-Driver tonight, but not a very good one as I knocked a wing mirror off my car driving down Rachel's road! D'oh! Nevertheless, I picked everyone up, then headed over to Clives, from whence he drove, hitting the venue at 8.30. Fuller than I thought it'd be, but there were still tickets at the door. Bumped into Bristol gig buddy Tim before Dark Star's set; they were more dynamic than previous sets, the smaller venue suiting them well at the moment, methinks. Their libidinous groove and spiky gothic rock was quite impressive as a Fleece support.
I ran into another old Bristol gig buddy, Rob, then missed the start of Madder Rose's set due to the queue in the bogs! D'oh! They checked in with "My Star", from the new, mellow and slightly trippy "Tragic Magic" LP. This one, available in the US since 1997, has only just received a UK release which has stalled their career somewhat, but the 'Rose seemed set to make up for lost time with a fine, slightly spooky set of laid-back, late night US coffee bar smoky guitar soul. They've veered towards the more mellow element of their work recently, and this set encapsulated this. A splendid "Car Song" and almost jolly "Swim" were set highlights, but overall "Beautiful John", their final encore, was the top toon of the evening - indeed the only one that had us really rocking all night!
A chat with vocalist Mary Lorson after the gig confirmed that this was the new mellow Madder Rose direction. Shame they're not going to kick out anymore in their Belly-meets-Violent Femmes white noise pop way anymore, but the songs always did it for me, so hopefully that will still be the case!
398 FEEDER, The Llama Farmers, Oxford Zodiac, Saturday 13 March 1999
Good thing we decided, on a hunch of Clive's, to leave 1/2 hour earlier than initially planned, as we'd just parked up and got into the venue when the Llama Farmers came on just after 8! Clive and I set off as whirling Dervish Brothers, as the hotly-tipped Llama Farmers regaled us with a fine set of swooping and clashing guitars and beats. They've matured since I saw them at Reading Festival last year, and now come across like a young Ride, or a less challenging Pale Saints. Good stuff, but shame no-one else really much cared...
No, tonight's sell-out crowd was here solely for Feeder, who came on at 9. Another band that have matured considerably since previous poor Reading Festival sets (1996 and 1997), they now peddle a popular grunge-u-like guitar rock/pop sound, not so much Smashing Pumpkins as Smashing Apples'n'Pears, guv! I recognised a fair chunk of their enthusiastically-received rock set from tracks played at local nightclub Level 3. No bad thing really! The vocalist obviously cares about the fans as well, playing to the crowd with the reciprocative enthusiasm and sincerity of a young Bono. Overall a good set of hardly challenging or original, but enjoyable and noisy rock stuff. Somehow, though, I'd prefer to go back for some more Llama Farmers, though...
Oh, and thanks to the early curfew (10!) I was home in time for Match Of The Day!
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