My Latest Novel & Supports Live
Wrexham Central Station, 28 May 2009
My Latest Novel
With such an interesting and varied line-up I was disappointing to see so few arrive to see one of my favourite UK bands, My Latest Novel. With no less than two highly acclaimed albums released in less than three years it was also surprising to find the band leading off the show against two other bands who have yet to release albums… My Latest Novel is a Scottish five-piece band from the Greenock in Scotland. Their style is somewhere between indie rock and folk pop but neither genres describe their sound exactly. With British commercial radio reluctant to play anything over 5 minutes long, and slavishly following BBC’s very mainstream play-list lead, My Latest Novel still remains relatively unknown over here. It’s criminal because amongst UK bands this one stands head and shoulder for originality and quality.
My Latest Novel are Chris Deveney (vocals, guitar, bass), Gary Deveney (vocals, guitar), Paul McGeachey (vocals, guitar, xlophone), Laura McFarlane (vocals, violin, piano), and Ryan King (percussion).
With acoustics totally unsuited to the band’s sound and especially the vocals, the band made a huge fist of playing songs from the new album (DEATHS AND ENTRANCES), and inspiring an audience to enthusiastically reward each and every song played. Opening with the first track from DEATHS AND ENTRANCES, ‘All In All In All Is All’, it was noticeable that vocals sounded tinny and far from great. But the song’s beauty and ambience survived. ‘Dragonfly’ sounded a tad better and by the third song, ‘Lacklustre’, it seemed that sound desk adjustments had partially fixed the problem.
There’s a live performance subtlety to the band; there’s no histrionics, little animation. However, every beautifully crafted song is performed passionately where instruments, solo vocals and vocal harmonies come together with such emotional power. Given a suitable acoustic environment I would have rated this 40-minute show the finest I have seen this year (and I’ve seen a few…). Certainly it was amongst the best and one only had to listen to the loud applause from an audience of (largely) strangers to understand just how good this band and its songs are.
Jeff Buckley: GRACE AROUND THE WORLD (Columbia/Legacy)
As a tribute to the enduring and expanding popularity and critical acclaim that continues to be devoted worldwide to Jeff Buckley more than a decade after his death, “Grace Around The World” - to be issued on June 2nd in two separate multi-disc packages - provides the most comprehensive and exciting musical portrait of the artist seen to date. The new package celebrates the fifteenth anniversary of the release of Buckley’s “Grace.”
Executive produced by Mary Guibert (Buckley’s mother), “Grace Around The World” focuses on previously unreleased live performances circa 1994-95, in concert and television locales ranging from the US and UK, to Germany, Japan and France (where Buckley was the #1 best-selling international catalog artist in 2008). Accompanying the 108-minute “Grace Around The World” DVD will be an audio CD counterpart.
A special limited-edition deluxe package of “Grace Around The World” will also contain the one-hour documentary DVD, “Amazing Grace: Jeff Buckley,” thus totaling 169 minutes of Jeff Buckley footage for his fans. In advance of this summer’s 15th anniversary of the release of “Grace,” Buckley’s landmark debut album (August 1994), the two “Grace Around The World” packages will be available at all physical and digital retail outlets starting June 2nd through Columbia/Legacy, a division of Sony Music Entertainment.
There are three components to the deluxe “Grace Around The World” package.
First there is the DVD, “Grace Around The World,” bearing witness to the fact that Buckley onstage was a transcendent force. In a unique concept, the main program of this DVD presents previously unreleased distinct versions of the songs from the Grace album, culled from a variety of television sources. These include 1994 US shows at Howlin Wolf in New Orleans (”Dream Brother”) and the JBTV performance in Chicago (”Lover You Should Have Come Over,” the only previously released clip). The balance of the songs all date from 1995: the BBC’s Late Show in London (”Grace”); the tv show Live Aus Dem Sudbahnhof in Frankfurt, Germany (”So Real,” “Mojo Pin,” “What Will You Say”); MTV Japan (”Hallelujah”); MTV’s Most Wanted in London (”Eternal Life,” “Last Goodbye”); and MTV Europe’s coverage of the Eurokeenes Festival in Belfort, France (”Lilac Wine”).
(Note: Buckley’s rarely-performed Qawwali-influenced “What Will You Say” appears instead of Grace’s Benjamin Britten adaptation of “Corpus Christi Carol,” which Buckley did not perform on-tour.)
The “Grace Around The World” DVD includes 33 minutes of bonus features. These begin with three songs performed in New York for MTV’s 120 Minutes (”Grace,” “So Real,” “Last Goodbye”), then “Vancouver” (from MTV’s Most Wanted in London), and conclude with the original music video for “Hallelujah” (directed by Ernie Fritz). In between are behind-the-scenes on-the-road segments for VH1’s Naked Café, and the Merri Cyr bus interview.
Liverpool Sound City: Live
I love Liverpool. Yes, I’ve visited many times to cover live performances there but last week Sound City had me walking the streets and driving around the various diverse enclaves as I searched for venues. It is rapidly becoming a truly great and diverse city that combines the best of the old with the best of the new, and adjacent to the best known rock river in the world! With well over 100 acts performing and limited stamina inevitably I had to pick and choose to survive the ordeal. So my first visit was to the famous Parr Street Studios nestling in amongst the city’s many rock and dance venues.
My target was a singer/songwriter called Ragz who my associate has played several times on one of our FM radio shows here in Wrexham. Ragz is a young Norwegian lady who attended music school in Liverpool but decided that doing it was more interesting to her than studying it. Now I know singer/songwriters like the back of my gnarled hands and this lady is up there with the best. She writes introspective and moving songs that are laced with pop sensibility. But it was her voice and style of delivery that had me pinned to my seat. Little Boots and Lily Allen are grabbing media attention and sales here right now but Ragz performs and writes the arse off ‘em. All she needs is a great producer, some airplay and if there’s any justice she will become popular on the world stage - I kid you not! Check her out at www.ragzmusic.net where you’ll be redirected to her Myspace page, BUT DO IT!
A manic dash over to the other side of the city centre (due to us being glued to our seats with Ragz) and we managed to catch the last few songs from a band that could make waves if their live show is anything to go by… The Drellas have been hotly tipped locally to go places and I could see why after an adreline packed 15 minutes of rock rampaging that made White Lies look like Trapist monks. The first night and something to write home about, hell it was even a tad inspirational.
Telegraphs: WE WERE GHOSTS (Small Town Records)
“The band’s debut was recorded on a mountain side in Snowdonia with acclaimed producer Dave Eringa (manic Street Preachers, Idlewild, Kylie Minogue). Telegraph are led by frontman Darcy Harrison and bassist Hattie Williams.”
With the proliferation of new bands emerging over the last 12 months, one is forced to look for a level of distinction and originality to separate the wheat from the chaff. Having just emerged from Liverpool’s major Sound City event and its many ambitious new bands my need to discover something different is magnified. Two ‘happening’ bands who appeared were You Me At Six and White Lies that left me wondering what all the fuss is about, and just how they are selling so many albums. Don’t get me wrong, they are competent bands, but I found nothing in their music to turn me on. Happily Telegraphs have some decent and distinctive songs as this album proves.
‘The Argument’ opens up with the rattle of drums and sharp slivers of guitar before the band let rip and quality rock vocals arrive. There are changes of pace, the odd adventurous guitar riff and a tangible melody to drag the tune along. ‘We Dance In Slow Motion’ has a punk vibe with driving drums and pace that seldom slackens. Lyrically it’s not bad while one senses that there’s control exercised over every single note. ‘Your First Love Is Dead’ opens at frantic pace before slowing to a crawl with the vocal dominating proceedings until choruses signal nothing less than anger and frustration in this love song. This is the first track that shines for me but the next track ‘Forever Never’ climbs even higher in my book. The vibe changes from punk rock to a darker and more contemplative indie vibe as Harrison provides a sensitive and expressive vocal performance. A strong melody, excellent lyrics, epic guitar riffs and clever changes of pace make this a highlight of the album.
‘Drop D Not Bombs’ is an interesting instrumental interlude before ‘I Don’t Navigate By You’ introduces Hattie Williams first lead vocals in a song that combines pop sensibility with heavy rock cleverly and effectively. ‘The Rules Of Modern Policing’ is back to heavy rock while offering up one of the most powerful melodies and best lyrics on the record. A deathly bass vibe lurks threateningly on the next track ‘So Cold.’ It’s a more conventional song but it’s also executed with acute precision especially during the desparing vocal passages.
‘Eyes Stitched Open’ is another major highlight with its haunting instrumental arrangement and clear vocal. Then ‘What’s So Good About Goodbye’ provides a moving and sincere slice of regret and loss with both vocals and instruments acutely tuned into the song’s mood and message.
This is an accomplished debut album which just manages to lift its head above the growing, homogenous crowd. I recommend…
3.9/5
Ragz: Love You Still E.P.
Last week was Liverpool Sound City 2009 week and I covered performances by most of the best unsigned and signed acts. My first stop was at Parr Street’s famous recording studio where Coldplay and many other major acts recorded their albums. The ground floor studio has been converted to a bar/club and it was there that I saw one of my favourite acts of the 4-day event.
Ragz is a Norwegian female singer/songwriter who has made Liverpool her home. This E.P. is available from her website (www.ragzmusic.net) and includes four self-penned songs. While the quality of recordings are not great there’s a firm indication that this lady is a rather special talent. ‘Love You Still’ is a softly flowing and very beautiful acoustic love song.
Ragz’s vocal is both distinctive and of extremely high quality as she intimately communicates her message. During the choruses her voice changes key and soars effortlessly. A powerful melody and sincere, intelligent lyrics complete a fabulous song. ‘Hold On’ is a darker, bass-driven track where the lady’s voice dives and soars to create an epic and moving vibe. ‘Oh Oh’ is another darker song backed by scraping guitar strings and flowing piano notes. It’s a very different and distinctive song that comes with another strong melody. ‘No Fairytale’ is an altogether grander affair with a full band providing a powerful backdrop, and multi-layered vocals adding drama. It’s superb.
It was however when I saw Ragz perform that my rating of her capabilities increased. What I witnessed was the most compelling live performance that kept my associate and I pinned to our seats and in danger of missing our next venue show. Her voice is incredibly powerful and delivered without effort. It was an intensely expressive performance and the kind that one doesn’t forget in a hurry. My point here is that here is an unsigned artist who is way better than those the media have heaped with coverage and praise. I looked around me to see if any record industry types were there to witness what we had and I couldn’t see any.
Ragz needs to work with a great producer. Of the many acts I saw at Liverpool Sound City 2009 Ragz (along with two other acts) left me wanting more. I have now visited her website which is linked to her Myspace page and discovered that she has a mini-album for sale. I suggest that you pay a visit…
4/5
Gary Go: GARY GO (Decca)
A guy who supports Take That in concert automatically raises doubts in my mind about whether I should even listen to this album. I’m glad I did (as I always do…).
Make no mistake this is a ‘pop’ album but it’s no ordinary one. First there’s the quite rocky band behind that pleasant, expressive and easy-sounding voice. Then there’s the intelligent, simple and direct lyrics that don’t usually come with your ‘radio-friendly’ mass-market trash. Then, there’s the superb production that separates vocals and instrumentals so bloody well. Finally there’s the absolute authority and passion from a ‘new’ writer and performer. It’s a heady mix and a very good album.
I smell ‘I spent time in the USA’ with the album at a critical stage in Gary Go’s musical career. That’s a good thing. First track ‘Open Arms’ pretty well sums up all the above: a nice opening sonic touch, lyrics like “Whatever happened to this city, it’s not like it used to be. Whatever happened to living without fear…”, monster melody, a rocky backdrop, an epic vibe and a pleasant, sincere voice. A great start. ‘So So’ is next and takes an altogether softer sonic route in delivering another succint message. The rockiness is muted but it’s there in the background surfacing briefly for the immaculate choruses along with beautifully judged orchestral strings. It’s another cracker. ‘Engines’ is next and really does remind me of Coldplay’s Chris Martin. There’s piano, another set of good lyrics (”I don’t know why we’re fighting, we’re on the same side…”) and a sense that Go is delivering a message that he really does believe in. ‘Wonderful’ is the first single and while not the strongest song here is pleasant enough. ‘Life Gets In The Way’ is a sadder, wistful song with a powerful chorus when Go’s voice soares - it’s all so right! This should have been the first single… ‘Brooklyn’ ends the first section (called ‘Of Youth’) with solid piano notes eventually joined by orchestral strings as Go is in contemplative conversation with his audience. It’s a more ‘adult’ ballad that’s beautifully crafted and delivered.
The second section of the album is called ‘Of Beauty’ and opens with ‘Refuse To Lose’ with vibrant guitar notes introducing Go’s vocal. The pace is glacial but quickens fractionally as the band arrives to boost the chorus in distinctive style. ‘Honest’ is another simple but excellent ballad that exhibits Go’s sincere heart-on-sleeve tendency. ‘Hearty And Soul’ is my pick of the second section with it’s slightly darker vibe, piano backdrop and Go’s expressive voice. The song picks up pace in the closing moments with strings returning to create an epic final passage. The thoughtful ‘Speak’ and ‘Black And White Days’complete an accomplished and highly polished debut album.
4/5
Serpico: NEON WASTELAND (WeSaySo)
“Drawing equally from metal, rock and punk, Scottish quintet Serpico have developed a sound that is like a soundtrack to modern living. As emotionally charged as it is intense, it showcases a band with supreme confidence and clearly enjoying every second of what they do.”
Band Members: Mikey Serpico (vocals), Steve Paterson (guitars), Olli Bowker (guitar), Jonny McMillan (drums), Iain Gillespie (bass).
It’s not often that we receive a new album from a new band which is immediately play-listed for one of our local FM radio shows. But that’s precisely what happened after hearing this album for the first time. The track selected was the distinctive and rocky ‘Kultura’ and not the band’s first single ‘We Own The Night’. It’s not surprising that the latter was selected as it’s more ‘radio-friendly’, but ‘Kultura’ slays it for drama, originality, pace, melody and sheer gut-wrenching metal vibe. ‘Devil’s Brigade’ comes in seamlessly (without those silent pauses) in very similar vein followed by a very different ‘Prelude’. Gone is the metal vibe replaced by electronic, spaced-out sounds to kick things off before it lurches back into heavy rock at breakneck speed, with melody and riffs to burn. A crash of cymbals introduces ‘Last Honest Cops’, a punk-arsed, driving song with guitar riffs to-die-for and pace that Lewis Hamilton could do with right now. ‘Godforsaken’ is a jagged, angry son-of-a-bitch metal song with deft changes of pace that veer from deathly to F111… There’s also more melody and great vocals to seal an appetizing package. ‘Feeling Minnesota’ is another highlight with its fabulous guitar licks and original vocals. Two more highlights close the album in the slower, contemplative ‘Glasseye’ and incendiery, epic ‘Nothingness & Infamy’.
There’s passion and authority on display here, with songs that give one the impression that this band has been around forever. An excellent debut.
4/5
Green Day: 21st Century!
My most treasured single CD is Green Day’s version of John Lennon’s ‘Working Class Hero’ released a few years ago in aid of Oxfam. I mention it because it’s my firm belief that it was that song that inspired Billie Joe to write and record both AMERICAN IDIOT and 21ST CENTURY BREAKDOWN - two great albums.
In fact you need to look no further than the second verse of the opening song (’21st Century Breakdown’) to find “My generation is zero, I never made it, as a working class hero.” Angst and punk rock go hand-in-hand but there’s only one band I can think of who can make this potentially deadly musical combination so accessible, so intelligent, so entertaining. That band of course is Green Day but it’s been four long years since AMERICAN IDIOT was released and sold in the millions around the world. So why so long before this beauty landed? The answer lies in the album of course. It’s beautifully crafted and scripted, and compiled with the care of a brain surgeon. Good wine takes time and with music, certainly where Green Day is concerned, gestation and birth doesn’t happen in short-time.
The big question remains: Was it worth the wait? The answer is a resounding Yes. 21ST CENTURY BREAKDOWN is better than AMERICAN IDIOT or rather it represents a major progression in several ways. So let’s start with the writing which is astute, intelligent and accessible. Not one of the 18 songs here misses the mark whether the subject matter is poverty, crime, politics, religion, war or love. And it’s all covered here in three chapters (Heroes And Cons, Charlatans And Saints, Horseshoes And Handgrenades).
Melodically I doubt whether there’s been a better rock album in the last five years. It’s this vital component that opens the door song after song, time and time again and engenders a sense of anticipation in between the momentary gaps between songs. Production is peerless allowing those wonderful lyrics and vocals to be heard clearly over the top of rock instrumentals that often leave one breathless.
There’s also a lightness of touch which opens up the record for younger listeners and fans to appreciate the messages that Billie Joe wants them to hear and understand.
Finally there’s the deft track order that provides a sequence of songs that mix and match pace and vibe so fabulously well. A prime example is the fantastic rock single ‘Know Your Enemy’ followed immediately by the very beautiful piano-led ‘Viva La Gloria.’ This is followed by a lone acoustic guitar-led ‘Before The Lobotomy’ where the vocal dominates until the vibe becomes rocky around a minute in. ‘Christian’s Inferno’ is an undisputed, gentle nod to the Beatles while ‘Last Night On Earth’ offers a rock and rhythmic counterpoint in no uncertain terms to end the first chapter on a devestating note. For a song that combines several musical elements (piano, strings, rock instrumentals, soft and hard) check out one of the album’s many highlights. ‘Restless Heart Syndrome’ will knock you off your feet… Then There’s the explosive, angry ‘Horseshoe And Handgrenades’ - I could go on and on about the superb songs here…
There will be those critics who will complain that one AMERICAN IDIOT is enough, and I have to confess that I had my doubts. But the proof (as always) is in the listening. My conclusion is that 21st CENTURY BREAKDOWN is a rock masterpiece and I just hope that I don’t have to wait four years for another one (maybe two…). Essential.
5/5
The Beatles: 09:09:09
THE BEATLES’ ENTIRE ORIGINAL RECORDED CATALOGUE REMASTERED FOR RELEASE 09-09-09
Apple Corps Ltd. and EMI Music are delighted to announce the release of the original Beatles catalogue, which has been digitally re-mastered for the first time, for worldwide CD release on Wednesday, September 9, 2009 (9-9-09),
Read more 
‘Palermo Shooting’ Soundtrack
“PALERMO SHOOTING” is the new feature film from legendary German film director WIM WENDERS (”Paris Texas”, “Wings of Desire” etc).
The original soundtrack to “Palermo Shooting” reads like a who’s who of celebrated alternative artists and features many tracks recorded especially for the film. Wenders’ old friend Nick Cave appears twice with his band GRINDERMAN who contribute two new tracks - “Dream (Song For Finn) and “Song For Frank” - while Bonny Prince Billy and Matt Sweeney recorded the sublime “Torn and Betrayed” for the film. Other artists to record original music for the film include Irmin Schmidt, Sibylle Baier, Get Well Soon and Thom.
The soundtrack also features tracks from acclaimed artists such as Portishead, Calexico, Beirut, Iron and Wine, Beth Gibbons and Rustin Man and The Velvet Underground.
“Palermo Shooting” is released in July on City Slang. No self-respecting musical aficionado will want to be without it…
Here’s some details about the film:
Wim Wenders, who won the Palme d’Or for his 1984 movie, “Paris, Texas,” is to screen “The Palermo Shooting,” a romantic thriller with a multilingual, multinational cast, Dennis Hopper, Giovanna Mezzogiorno and Milla Jovovich.
As a successful photographer of world-wide renown, Finn leads a life that is as prominent as it is hectic. He gets by with very little sleep, his cell phone is never still, and the music from his headphones is his most constant companion.
But when his life suddenly spins out of control, Finn takes off and leaves everything behind. His journey leads him from Düsseldorf to Palermo. There he finds himself persecuted by a mysterious shooter who’s after him with a vengeance. At the same time a whole new life is
beginning for Finn. And a great love…
Campino, singer with German punk band Die Toten Hosen, stars as Finn, a photographer from Dusseldorf. Here he is shown capturing model Milla Jovovich (she plays herself), who was actually pregnant during filming.
At the start of the film, Finn is shown to be a photographer of some renown, but as his life starts to unravel he decides to leave all the success behind.
On his journey into the unknown, he finds himself tracked by a mysterious assassin and encounters the ominous Frank, played by Dennis Hopper, who warns him that death is not far away.
Finn’s destination is Palermo, where he meets the beautiful Flavia (Giovanna Mezzogiorno). In Sicily’s capital, Finn and Flavia fall in love and Finn begins a new life, with renewed hope.
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