So with a sad and heavy heart it was time for the last concert of 2005. It's been one hell of a concert-going year for yours truly, but at least it was fairly certain that the year was going to end on a high note.
Tea at the Old Orleans kicked the night off. I love me them Bourbon Wings. It was whilst eating tea than me and Gee were blatantly chatted up by two women. Believe you me, I know that from time to time I can sort of get carried away when I say things like that, but there really was no dobut. Of course we couldn't sit there all night whilst Gee and "Claire" bonded over a mutual hatred for Mick Hucknall, so it was off to the Apollo...which took absolutely AGES thanks to that broken down bus.
Got to the venue to see that only Caz from the Tunstall lot was there yet and it was good to see her and have a bit of a chat. There was still no sign of the others when Mr Folds and his band hit the stage. A few songs in, Caz disappeared to find them and then came back to get us. She then led us back to where she thought they were, but she couldn't find them. Two minutes later she realised they were straight in front of us. There I had the pleasure of meeting Tom and Trev very briefly.
I enjoyed the show more than I did earlier in the year at the Lowry. Whilst standing up for a gig can be a pain in the arse from time to time, there is no doubt that it was better to be stood up for Ben. My only slight complaint would be that there was few Ben Folds Five songs inserted into the mix, although I concede the point that it was a Ben Folds "solo" concert. Still I don't think it's a coincidence that when he tossed in a few Five classics towards the end that was the best part of the show.
This was another fantastic night and it was good to see the Apollo very full indeed. Hopefully Ben will be back sometime in 2006!
Saturday, December 17, 2005
Monday, December 05, 2005
Girls Aloud - Chemistry
Ok, so I'm officially way too excited by this album...and this excitment is going to lead into a very special review. Because for the first time ever, I am going to give you lucky people a track by track review of an album. Not that I will include the Christmas bonus CD in that review, but we'll get to that later...
INTRO - Ok, see this is where the brilliance starts. You see an "Intro" is the kind of thing a proper serious album might have. So after less than 50 seconds, we are already into "anything better than Madonna's ever done" territory. Which is pretty cool is it not?
MODELS - The first proper song proves that the Girls are good, ahem, role models by advising young girls everywhere that there are some men out there who will, quite literally, fuck anything that's fit. And that's just not right. And they're saying, don't let them do it girls. So you see, not only are the Girls brilliant at pop music, they're looking after the kids. And remember folks, the kids are the future.
BIOLOGY - The finest pop single in ages. Yes, even better than Madonna's Hung Up. You see this is just too good for the record buying public to truly love. I mean this actually does away with having verses (which has only been the basis of music for about the last 50 years) and just plumps for having about four different choruses. Which is pretty bloody cool is it not?
WILD HORSES - Right, for a start let me just reiterate that this is the greatest pop song ever. Yes, even better than No Good Advice...even better than Wake Me Up....and YES, even better than The Show. Which really, makes it quite fan-fuckin-tastic doesn't it. I mean come on, what's not to like? It's even got "woo woo" noises in it. Which might just have given me a reason to live again. And it's got a very similar bass-line to Long Hot Summer, but it's better than that. So it's like they've admitted that LHS wasn't very good, so they thought they'd use the same tune again just to prove their pop genius. And also, you can't ignore the asbolutely GENIUS choir opening, which for just that slight moment makes you think you've bought an Aled Jones Christmas record or something.
SEE THE DAY - Well according to the inlay booklet, it seems like Paul Weller didn't write this, even though people still claim that he did. If he did, this is the best song he's ever done. This should be Christmas number one by a mile, although it won't be. It also seems like someone behind the scenes *louis walsh*COUGH* is trying to plant the seeds of a Nadine solo career with this track. But hey, I won't mind that will I? This is the best ballad they've done, which isn't saying much, but still...
WATCH ME GO - "I know what you're thinking, you've been thinking about my butt." Now how can you fail to love a song that ends with that line? And thats only one of two absurdly brilliant raps in this song. See if "My Humps" by the Black Eyed Peas was any good, it still wouldn't be as good as this. And if Nadine really was "was dressed in red, tied up to your bed" at quarter past two it really was remiss of her not to give me advanced warning. This reminds me of Ace Of Base, and they were bloody brilliant too.
WAITING - Now you see, Mc Fly and the Busted have made careers (or did make careers) out of ripping of 60's pop. So I suppose it's a good job that Busted have split up, because the Girls have gone and outdone them. McFly should be forced to listen to this and made to write "pop music should be fun" 100 times on the blackboard. This sounds as if it was writeen by the Kinks, which kinda proves just how kick ass this really is.
WHOLE LOTTA HISTORY - Someone needs to own up here. Because attempting to do a "Never Ever" was a very bad idea. I really cannot see how some people are raving over this track and saying it should have been the Christmas single this year. This is the one where I can press next track on my fancy musical player. Or take a piss break. Still, ballads have never been the girls strong point.
LONG HOT SUMMER - Ok so it's "shit", even though it's not "shit" at all. It's just merely quite good, which is a disappointment for a GA single I know. Still if the 411 or Pop or others of that ilk had done something half as good as this, they still might have careers. And in closing, if this track proves one thing, its that Nadine shouldn't try and rap.
SWINGING LONDON TOWN - Now we are back to the absolute genuis portion of the album. This is like The Chemical Brothers. Or, if you will, the Chemical Sisters. It's also got a bit of a riff that's blatantly nicked off something, but I can't quite remember what. It also rather brilliantly slows right down in the middle, like a proper song by some guitar band might do, before descending into a swirl of beeps and then smacking right back up to full tempo. Pop genius at work here folks.
IT'S MAGIC - This is the kind of song that would be the best song on a Sugababes album, but has to settle for being quite good in comparison to a lot of the album. They'll not be doing this one on the tour...
NO REGRETS - Sadly not a cover version of Robbie's best song, but this is a wonderfully shimmery ballad which the kids won't like, but will be the one that your mum goes "ooh, that's lovely. Katie Melua or Barbara Striesland could do that" when she overhears it in your car or something. It picks up brownie points for the completly out of tune pan-pipes (or whatever the hell they are) in the background.
RACY LACEY - This has to be one of the funniest songs ever. "She's got undulating, grundulating, grinding hips." "I know this girl who's not too bright, but she's good in bed alright." "A PHD with her legs apart." But what is GENIUS about this song is that it in NO WAY glamorises a promiscous lifestyle and it is in no way suggesting that the 10 year old girls listening should start a lifetime of one-night stands. There's a bit of the "Betty Boo" about this and in an absolutely BRILLIANT ending to the album, this song just stops dead, seemingly right in the middle of the song. I mean of course it doesn't stop in the middle of the song, it stops at the end, but it makes you think it's finished in the middle, which is just a stroke of pop genius yes?
CONCLUSION - So all in all, this is quite frankly one of the best pop albums EVER. No seriously, it is. If Madonna, Kylie, Gwen Stefani or someone like that did something this good, literally everyone in the world would love it and the NME would put it in their best albums list or something. But the way I see it is that those people who miss out on this because of some musical snobbery...well that's their problem. This is a pop album which is not afraid to be different and not afraid to shake of the shackles of predictabilty. You must buy this album, or eternal damnation awaits.
CHRISTMAS BONUS ALBUM - This, on the other hand, is pretty rubbish. But in "Not Tonight Santa" they do provide us with one Christmas song destined for classic status. Trust me.
INTRO - Ok, see this is where the brilliance starts. You see an "Intro" is the kind of thing a proper serious album might have. So after less than 50 seconds, we are already into "anything better than Madonna's ever done" territory. Which is pretty cool is it not?
MODELS - The first proper song proves that the Girls are good, ahem, role models by advising young girls everywhere that there are some men out there who will, quite literally, fuck anything that's fit. And that's just not right. And they're saying, don't let them do it girls. So you see, not only are the Girls brilliant at pop music, they're looking after the kids. And remember folks, the kids are the future.
BIOLOGY - The finest pop single in ages. Yes, even better than Madonna's Hung Up. You see this is just too good for the record buying public to truly love. I mean this actually does away with having verses (which has only been the basis of music for about the last 50 years) and just plumps for having about four different choruses. Which is pretty bloody cool is it not?
WILD HORSES - Right, for a start let me just reiterate that this is the greatest pop song ever. Yes, even better than No Good Advice...even better than Wake Me Up....and YES, even better than The Show. Which really, makes it quite fan-fuckin-tastic doesn't it. I mean come on, what's not to like? It's even got "woo woo" noises in it. Which might just have given me a reason to live again. And it's got a very similar bass-line to Long Hot Summer, but it's better than that. So it's like they've admitted that LHS wasn't very good, so they thought they'd use the same tune again just to prove their pop genius. And also, you can't ignore the asbolutely GENIUS choir opening, which for just that slight moment makes you think you've bought an Aled Jones Christmas record or something.
SEE THE DAY - Well according to the inlay booklet, it seems like Paul Weller didn't write this, even though people still claim that he did. If he did, this is the best song he's ever done. This should be Christmas number one by a mile, although it won't be. It also seems like someone behind the scenes *louis walsh*COUGH* is trying to plant the seeds of a Nadine solo career with this track. But hey, I won't mind that will I? This is the best ballad they've done, which isn't saying much, but still...
WATCH ME GO - "I know what you're thinking, you've been thinking about my butt." Now how can you fail to love a song that ends with that line? And thats only one of two absurdly brilliant raps in this song. See if "My Humps" by the Black Eyed Peas was any good, it still wouldn't be as good as this. And if Nadine really was "was dressed in red, tied up to your bed" at quarter past two it really was remiss of her not to give me advanced warning. This reminds me of Ace Of Base, and they were bloody brilliant too.
WAITING - Now you see, Mc Fly and the Busted have made careers (or did make careers) out of ripping of 60's pop. So I suppose it's a good job that Busted have split up, because the Girls have gone and outdone them. McFly should be forced to listen to this and made to write "pop music should be fun" 100 times on the blackboard. This sounds as if it was writeen by the Kinks, which kinda proves just how kick ass this really is.
WHOLE LOTTA HISTORY - Someone needs to own up here. Because attempting to do a "Never Ever" was a very bad idea. I really cannot see how some people are raving over this track and saying it should have been the Christmas single this year. This is the one where I can press next track on my fancy musical player. Or take a piss break. Still, ballads have never been the girls strong point.
LONG HOT SUMMER - Ok so it's "shit", even though it's not "shit" at all. It's just merely quite good, which is a disappointment for a GA single I know. Still if the 411 or Pop or others of that ilk had done something half as good as this, they still might have careers. And in closing, if this track proves one thing, its that Nadine shouldn't try and rap.
SWINGING LONDON TOWN - Now we are back to the absolute genuis portion of the album. This is like The Chemical Brothers. Or, if you will, the Chemical Sisters. It's also got a bit of a riff that's blatantly nicked off something, but I can't quite remember what. It also rather brilliantly slows right down in the middle, like a proper song by some guitar band might do, before descending into a swirl of beeps and then smacking right back up to full tempo. Pop genius at work here folks.
IT'S MAGIC - This is the kind of song that would be the best song on a Sugababes album, but has to settle for being quite good in comparison to a lot of the album. They'll not be doing this one on the tour...
NO REGRETS - Sadly not a cover version of Robbie's best song, but this is a wonderfully shimmery ballad which the kids won't like, but will be the one that your mum goes "ooh, that's lovely. Katie Melua or Barbara Striesland could do that" when she overhears it in your car or something. It picks up brownie points for the completly out of tune pan-pipes (or whatever the hell they are) in the background.
RACY LACEY - This has to be one of the funniest songs ever. "She's got undulating, grundulating, grinding hips." "I know this girl who's not too bright, but she's good in bed alright." "A PHD with her legs apart." But what is GENIUS about this song is that it in NO WAY glamorises a promiscous lifestyle and it is in no way suggesting that the 10 year old girls listening should start a lifetime of one-night stands. There's a bit of the "Betty Boo" about this and in an absolutely BRILLIANT ending to the album, this song just stops dead, seemingly right in the middle of the song. I mean of course it doesn't stop in the middle of the song, it stops at the end, but it makes you think it's finished in the middle, which is just a stroke of pop genius yes?
CONCLUSION - So all in all, this is quite frankly one of the best pop albums EVER. No seriously, it is. If Madonna, Kylie, Gwen Stefani or someone like that did something this good, literally everyone in the world would love it and the NME would put it in their best albums list or something. But the way I see it is that those people who miss out on this because of some musical snobbery...well that's their problem. This is a pop album which is not afraid to be different and not afraid to shake of the shackles of predictabilty. You must buy this album, or eternal damnation awaits.
CHRISTMAS BONUS ALBUM - This, on the other hand, is pretty rubbish. But in "Not Tonight Santa" they do provide us with one Christmas song destined for classic status. Trust me.
Jem LIVE
It's been a long time coming, but finally the lovely Jem got around to a UK tour. You never really know what to expect with things like this, especially when some people had told me that she couldn't really sing live. And in fact it looked a bit ominous from the very first song when there was a slight suspicion in mine and the Gee's minds that she was miming.
Well I'm glad to say that she most certainly wasn't miming, and she proceeded to whip through her Finally Woken album with a certain aplomb. I could have done without the pointless cover of a Coldplay (I do wish female artists would stop subjecting me to Coldplay covers...its not big and its not clever) and it was a bit pointless for her to do a cover of Sweet Home Alabama where she didn't do anything, but other than those minor problems, it was a great night.
Particular highlights were a cracking version of "They" and the hula dancing during "Wish I". I'm telling ya, I look forward to more of Jem in the future. She's the real deal.
Well I'm glad to say that she most certainly wasn't miming, and she proceeded to whip through her Finally Woken album with a certain aplomb. I could have done without the pointless cover of a Coldplay (I do wish female artists would stop subjecting me to Coldplay covers...its not big and its not clever) and it was a bit pointless for her to do a cover of Sweet Home Alabama where she didn't do anything, but other than those minor problems, it was a great night.
Particular highlights were a cracking version of "They" and the hula dancing during "Wish I". I'm telling ya, I look forward to more of Jem in the future. She's the real deal.
Ian Brown LIVE
I never did like the Stone Roses you know. But I must admit that Mr Brown did some decent solo stuff. So whilst it's fair to say that this wasn't the most eagerly anticipated of the 2005 concert list, I was hoping for a reasonable nights entertainment.
It got off on a bad foot when seemingly every restaurant in Manchester was full. Finally found some Pizzeria, only to be held up even longer by some arrogant Americans who, to quote one of them "aren't the kind of people you want to piss off." Quite.
Anyways, the foxy Italian waitress made up for the delay somewhat, and belly's full it was off to the MEN. Just in time to realise that whatever the hell the support act was, was well worth missing. Although then, someone's bright idea to have a "street magician" as another pre-Ian act made for five of the most uncomfortable minutes I have ever spent at a gig. Believe me, I'll not mention his name because I can guarantee that you'll never hear of him.
As for the Brownster...well his voice was as crystal clear and tone-perfect as ever. Although at least we could hear him. Whether it was a dodgy soundsystem or the fact we were sat sideways onto the stage, the guitar was barely audible (which made for some great moments as the crowd erupted at the start of a song and I was just sat there thinking "are they actually playing anything.")
There were some "boss" moments, including "If Dolphins Were Monkeys" and the rest of the crowd seemed to love the Stone Roses moments (although I suspect most of the crowd didn't think there were enough Stone Roses moments). All in all, I enjoyed myself, but it was hardly was the greatest concert I've ever been to. Still, I had fun and that's better than nothing isn't it?
It got off on a bad foot when seemingly every restaurant in Manchester was full. Finally found some Pizzeria, only to be held up even longer by some arrogant Americans who, to quote one of them "aren't the kind of people you want to piss off." Quite.
Anyways, the foxy Italian waitress made up for the delay somewhat, and belly's full it was off to the MEN. Just in time to realise that whatever the hell the support act was, was well worth missing. Although then, someone's bright idea to have a "street magician" as another pre-Ian act made for five of the most uncomfortable minutes I have ever spent at a gig. Believe me, I'll not mention his name because I can guarantee that you'll never hear of him.
As for the Brownster...well his voice was as crystal clear and tone-perfect as ever. Although at least we could hear him. Whether it was a dodgy soundsystem or the fact we were sat sideways onto the stage, the guitar was barely audible (which made for some great moments as the crowd erupted at the start of a song and I was just sat there thinking "are they actually playing anything.")
There were some "boss" moments, including "If Dolphins Were Monkeys" and the rest of the crowd seemed to love the Stone Roses moments (although I suspect most of the crowd didn't think there were enough Stone Roses moments). All in all, I enjoyed myself, but it was hardly was the greatest concert I've ever been to. Still, I had fun and that's better than nothing isn't it?
Sunday, December 04, 2005
The Like - Are You Thinking What I'm Thinking?
The Like...The Like. Just think, would I be sat here reviewing this album right now if the Gee hadn't gone to watch Maroon 5 a bit back? Probably not, although knowing the musical world I'm sure I would have come across three fit women playing rock music before too long...
I have to say that in some ways I am going to be biased in this review. I've met them and they're lovely. Especially Tennessee. But it doesn't hurt that their debut single "What I Say And What I Mean" was an absolute corking slice of fuzzy pop-rock (technical term that you know) which, in one foul swoop, kicked away all the thoughts of nepotism (all three of the girls father being musical hot-shots) and made you realise that they are the real thing.
I can't quite summon up the levels of hysteria that a certain friend of mine bursts out at their very mention, as not all the album hits the high-spots, but enough of it does to ensure that this album is a "must-have."
Whilst WISAWIM is probably the stand-out track, there are some other absolute crackers too. "Under The Paving Stones" evokes echo's of the Clash's London Calling and is an absolute top tune whilst "Too Late" almost snatches "Best Song" accolades, and it mentions pendulums. Quite why that excites me I don't know, but it most certainly does. There are also some quality "slower" moments, with the delightful "The One" being a particular highlight.
So all in all, this is a great album and bodes well for a long and prosperous career. Buy it when it comes out in the UK in the spring. DO IT.
Icon's View - 4 out of 5
I have to say that in some ways I am going to be biased in this review. I've met them and they're lovely. Especially Tennessee. But it doesn't hurt that their debut single "What I Say And What I Mean" was an absolute corking slice of fuzzy pop-rock (technical term that you know) which, in one foul swoop, kicked away all the thoughts of nepotism (all three of the girls father being musical hot-shots) and made you realise that they are the real thing.
I can't quite summon up the levels of hysteria that a certain friend of mine bursts out at their very mention, as not all the album hits the high-spots, but enough of it does to ensure that this album is a "must-have."
Whilst WISAWIM is probably the stand-out track, there are some other absolute crackers too. "Under The Paving Stones" evokes echo's of the Clash's London Calling and is an absolute top tune whilst "Too Late" almost snatches "Best Song" accolades, and it mentions pendulums. Quite why that excites me I don't know, but it most certainly does. There are also some quality "slower" moments, with the delightful "The One" being a particular highlight.
So all in all, this is a great album and bodes well for a long and prosperous career. Buy it when it comes out in the UK in the spring. DO IT.
Icon's View - 4 out of 5
The Cardigans - Super Extra Gravity
Ok, so I bought this album ages ago (on the day of it's release) but completely forgot about reviewing it. So belatedly here goes.
The Cardigans seem destined to be forever remembered as the band who did "Lovefool" (one of the most misunderstood songs EVER) rather than as one of the most diverse and impressive bands around in the 21st century. Few other bands have shown the range that the talented Scandinavians have, from the bright and breezy pop of Life to the whistful Long Gone Before Daylight.
This album continues the mournful sound of LGBD, but does also hark back to the sounds of First Band On The Moon. The lead single, "I Need Some Fine Wine And You, You Need To Be Nicer" not only has one of the greatest ever titles for a single, but it is also one of the best songs they have done to date. And it's in good company on this great collection. "Godspell" and "Little Black Clouds" are my personal favourites, but overall I would say that this is their strongest set yet and proves there is life in the Cardigans yet.
Icon's View - 4 out of 5.
The Cardigans seem destined to be forever remembered as the band who did "Lovefool" (one of the most misunderstood songs EVER) rather than as one of the most diverse and impressive bands around in the 21st century. Few other bands have shown the range that the talented Scandinavians have, from the bright and breezy pop of Life to the whistful Long Gone Before Daylight.
This album continues the mournful sound of LGBD, but does also hark back to the sounds of First Band On The Moon. The lead single, "I Need Some Fine Wine And You, You Need To Be Nicer" not only has one of the greatest ever titles for a single, but it is also one of the best songs they have done to date. And it's in good company on this great collection. "Godspell" and "Little Black Clouds" are my personal favourites, but overall I would say that this is their strongest set yet and proves there is life in the Cardigans yet.
Icon's View - 4 out of 5.
Late Tuesday - Storybook Beautiful
Ah, Christmas is nearly upon us. Which means some cool bands decide to regale us with some Christmas tunes. Of course you won't know who Late Tuesday are in all probability, but mark my words, they're excellent. Imagine Ben Folds was three women, and you get the idea of what they sound like.
Anyways, this EP is a bit of a departure but really does have a wonderfully Christmas feel to it. As well as re-working of traditional Christmas songs such as O Holy Night and O Come O Come Emmanuel, two self composed tracks are included. Storybook Beautiful is, well beautiful. And beats the pants off, say, The JCB song for a bit of emotive snow-blessed fare. This Holiday is even better, having as it does a bittersweet tinge and a Children's choir. Which probably isn't a proper choir, which gives it that nice little touch. Which makes it much better than the usual "Christmas is great" songs that abound at this festive time.
All in all this is a wonderful Christmas EP, and I can even imagine listening to some of the tracks at other times of the year. If you're looking for something a little different this Christmas, you could do worse than check this out.
Icon's View - 4 out of 5.
Anyways, this EP is a bit of a departure but really does have a wonderfully Christmas feel to it. As well as re-working of traditional Christmas songs such as O Holy Night and O Come O Come Emmanuel, two self composed tracks are included. Storybook Beautiful is, well beautiful. And beats the pants off, say, The JCB song for a bit of emotive snow-blessed fare. This Holiday is even better, having as it does a bittersweet tinge and a Children's choir. Which probably isn't a proper choir, which gives it that nice little touch. Which makes it much better than the usual "Christmas is great" songs that abound at this festive time.
All in all this is a wonderful Christmas EP, and I can even imagine listening to some of the tracks at other times of the year. If you're looking for something a little different this Christmas, you could do worse than check this out.
Icon's View - 4 out of 5.
Wednesday, November 30, 2005
Shakin' Stevens LIVE
Well it had been far too long hadn't it?
I got out my 20 year old Shaky scarves and got in the Dean-mobile to drive myself, my mate Gee...and yes...my mother to Shaky 2005!!!!
Nice and easy parking close to the venue and straight in...to what looked like the Manchester Care In The Community annual outing 2006. Hell I'm used to be one of the oldest at certain concerts (as young as I am) but even though there was a smattering of under 20's in attendance, they were definately in the minority.
Shaky is far too savvy to need a support act, so come 7:45pm it was straight into the fun. Sadly, Shaky was struggling a bit. Whilst definately giving it his all, he was clearly suffering from a bad throat. Still few in the audience seemed to mind, and he thanked us all for his patience. Of course I was most made up when he unexpectedly did my favourite Shaky song ever "With My Heart" so I was happy regardless.
I don't know what he took at half time (the man is a legend. I mean come on, a pop concert with a proper interval :D) but it did the trick. He came out, walloped straight into Lipstick, Powder and Paint and from then on he was on top form until the end. The hits kept on a coming...A Letter To You, I'll Be Satisfied, It's Late etc...coupled with some old classics like "Ain't That A Shame" and this was just off the scale fun.
He kicked started the encore with This Old House and then hit the classic single "Trouble" and then did a couple more songs before departing to a standing ovation...one that was, no kidding, as loud as 10 times as many Franz Ferdinand fans had made the night before. Whatever you think of the man himself, he sure as hell can put on one hell of a show
I got out my 20 year old Shaky scarves and got in the Dean-mobile to drive myself, my mate Gee...and yes...my mother to Shaky 2005!!!!
Nice and easy parking close to the venue and straight in...to what looked like the Manchester Care In The Community annual outing 2006. Hell I'm used to be one of the oldest at certain concerts (as young as I am) but even though there was a smattering of under 20's in attendance, they were definately in the minority.
Shaky is far too savvy to need a support act, so come 7:45pm it was straight into the fun. Sadly, Shaky was struggling a bit. Whilst definately giving it his all, he was clearly suffering from a bad throat. Still few in the audience seemed to mind, and he thanked us all for his patience. Of course I was most made up when he unexpectedly did my favourite Shaky song ever "With My Heart" so I was happy regardless.
I don't know what he took at half time (the man is a legend. I mean come on, a pop concert with a proper interval :D) but it did the trick. He came out, walloped straight into Lipstick, Powder and Paint and from then on he was on top form until the end. The hits kept on a coming...A Letter To You, I'll Be Satisfied, It's Late etc...coupled with some old classics like "Ain't That A Shame" and this was just off the scale fun.
He kicked started the encore with This Old House and then hit the classic single "Trouble" and then did a couple more songs before departing to a standing ovation...one that was, no kidding, as loud as 10 times as many Franz Ferdinand fans had made the night before. Whatever you think of the man himself, he sure as hell can put on one hell of a show
Franz Ferdinand LIVE
Back to the MEN...but fear not as we had good seats.
The day started off well with the Mighty Spurs kicking Wigan Athletic all over the park with a well deserved victory. Jimmy who?
Anyways, the train trip to Manchester was, well, different, as we ended up on a train with a load of Spurs fans making the long trip back home. Highlight was the unrepeatable Van Persie chant. Lowlight was the chav golfers who joined the train at one point.
Anyways, a few nice pre-concert drinks warmed us up nicely and onto the MEN. A £3 slice of Pizza went down nicely, though I really shouldn't have eaten that full bag of Giant Buttons. We missed the *DELETE AS APPLICABLE* Cribs/Kooks/Rakes/ support, support act and made it just in time for the Editors. I like the Editors. Can't say I think they're the best thing since sliced bread or anything, but they have one or two killer tunes and quite a few more that are catchy. They're not breaking down any musical barriers, but not all music has to does it?
So then it was onto the Franz. I feared for them in the cavernous arena atmosphere, but I suppose when you have fans as fevoured as the Franz do, it doesn't really matter where you play. Even the lesser album tracks were met with a rousing reception, although the REALLY big ovations were reserved for Do You Want To (which sounded a bit crap live actually), Dark Of The Matinee, Michael and, of course, the mighty Take Me Out.
Steady rather than spectacular it may have been, but it was still a decent night's entertainment which had much to enjoy. Sometimes you just want to have fun. And this was a night where you could have that in spades.
The day started off well with the Mighty Spurs kicking Wigan Athletic all over the park with a well deserved victory. Jimmy who?
Anyways, the train trip to Manchester was, well, different, as we ended up on a train with a load of Spurs fans making the long trip back home. Highlight was the unrepeatable Van Persie chant. Lowlight was the chav golfers who joined the train at one point.
Anyways, a few nice pre-concert drinks warmed us up nicely and onto the MEN. A £3 slice of Pizza went down nicely, though I really shouldn't have eaten that full bag of Giant Buttons. We missed the *DELETE AS APPLICABLE* Cribs/Kooks/Rakes/ support, support act and made it just in time for the Editors. I like the Editors. Can't say I think they're the best thing since sliced bread or anything, but they have one or two killer tunes and quite a few more that are catchy. They're not breaking down any musical barriers, but not all music has to does it?
So then it was onto the Franz. I feared for them in the cavernous arena atmosphere, but I suppose when you have fans as fevoured as the Franz do, it doesn't really matter where you play. Even the lesser album tracks were met with a rousing reception, although the REALLY big ovations were reserved for Do You Want To (which sounded a bit crap live actually), Dark Of The Matinee, Michael and, of course, the mighty Take Me Out.
Steady rather than spectacular it may have been, but it was still a decent night's entertainment which had much to enjoy. Sometimes you just want to have fun. And this was a night where you could have that in spades.
Saturday, November 19, 2005
Martha Wainwright LIVE
Well, having took a day off to facilitate my journey to Liverpool, it still took my over an hour to get to the city centre, but I suppose that means it's a good job that I didn't set off after work as I usually would. A couple of pints of Guinness and a look at the photo's from The Like concert later and we were on our way to a "nice little Cuban restaurant." A few minutes later we were making our way out of the said Cuban restaurant, which was ram-packed, and off to Liverpool's China town, which lets face it, is more of half a China street. But hey, any time crispy auromatic duck is on the menu you won't find me complaining.
Anyways, off to the venue it was, and my first visit to the Liverpool Academy 2 (and thus completeing the holy trinity) stopping only for a quick drink in a pub near the venue that I'd never noticed before with the hilarity of seeing a Wigan Athletic match advertised by the use of the phrase "dirty Wigan" and a picture of a turd! :D
Having to queue up for the venue was a novelty, although I did eventually resist the temptation to resort to fisticuffs when some people barged their way in front of us. It was pleasant enough, with a nice little seperate bar area, where I caught my first sight of a delightful Alison Goldfrapp look-a-like (more on her later) and ended up chatting to someone I used to work with.
Anyway, we went into the actual auditorium just in time to miss the support act and saw someone who Gee works with. We didn't actually go over to her of course, but she was eyeing him up all the same. Then my "The Like" badges created a conversation with the afformetioned Goldfrapp doppleganger, although for the most part we did seem to be at cross-purposes. Needless to say, the Dean didn't "seal the deal" but it was still more action than I would usually get on a Friday night :D.
I was a bit sceptical when Martha came on the stage, mumbled something I couldn't hear and then went straight into a song I was unfamiliar with (not having the BMFA ep). But then after that she kicked into "When The Day Is Short", one of my favourite songs off her album, and from that moment on I was putty in her hands.
She rattled through great versions of all her best tracks and treated us to cover versions of songs by the likes of Warren Zevon, The Rolling Stones and Cole Porter. She also did a haunting version of The Beatles' "Help" which stripped away the jovialty of the original and replaced it with the kind of maudlin helplessness well suited to my life. The fact that she'd only decided to do that song hours before the concert and had to have the lyrics in front of her only added to it's charm. There was also the French song she did, introduced as "a song written by Barbara" (said in a sexy French accent), "which is French for Barbara" (said in her sexy southern drawl). Well I laughed at the time anyway.
She also got a lady from the audience on stage to sing backing vocals, had half the audience squawking like Native Indians as a backing to another track and segued a request for Tequilla into a little song. It has to be said she was just ever so slightly barmy, what with forgetting lyrics and occasionally suddenly going off on a tangent mid-song. But by this time I think I was falling in love with her, so I found it all very charming ;-).
Of course all this meant that the show over-ran the curfew, but Martha played on anyway and still did the encore. Then she came out afterwards and, despite the hordes of people that waited to see her, was perfectly sweet to everyone who wanted something signing. Despite the bouncers best efforts to thwart my efforts, I queued up and got her to sign my CD booklet (although, in something which I found hilarious at the time, she took great effort to write the "To Matthew" bit and then scrawled a barely legible version of her own name).
Of course, whilst in the queue I entered a rather bizarre conversation with the girl and lad in front of us, which took in such topics as the relative brilliance of Fern Britton and Ainsley Harriot, and led to me declaring that it would be a great idea for me and Martha to be the contestants on Ready Steady Cook :D
I also got my picture taken with her and thanks to Gee for doing the duties. Of course Gee wasn't quite sure if it'd worked, so he stood there with the camera for a while, which gave me the chance to once again try and crack a joke to a celebrity that once again fell flat. Either that, or she really did want to stand holding me for a while longer... ;-)
So all in all this was an absolutely brilliant concert, and a brilliant night in total as well. I really can't praise the woman enough.
Martha Wainwright...better than Lucie Silvas (by a COUNTRY mile as well :D)
Anyways, off to the venue it was, and my first visit to the Liverpool Academy 2 (and thus completeing the holy trinity) stopping only for a quick drink in a pub near the venue that I'd never noticed before with the hilarity of seeing a Wigan Athletic match advertised by the use of the phrase "dirty Wigan" and a picture of a turd! :D
Having to queue up for the venue was a novelty, although I did eventually resist the temptation to resort to fisticuffs when some people barged their way in front of us. It was pleasant enough, with a nice little seperate bar area, where I caught my first sight of a delightful Alison Goldfrapp look-a-like (more on her later) and ended up chatting to someone I used to work with.
Anyway, we went into the actual auditorium just in time to miss the support act and saw someone who Gee works with. We didn't actually go over to her of course, but she was eyeing him up all the same. Then my "The Like" badges created a conversation with the afformetioned Goldfrapp doppleganger, although for the most part we did seem to be at cross-purposes. Needless to say, the Dean didn't "seal the deal" but it was still more action than I would usually get on a Friday night :D.
I was a bit sceptical when Martha came on the stage, mumbled something I couldn't hear and then went straight into a song I was unfamiliar with (not having the BMFA ep). But then after that she kicked into "When The Day Is Short", one of my favourite songs off her album, and from that moment on I was putty in her hands.
She rattled through great versions of all her best tracks and treated us to cover versions of songs by the likes of Warren Zevon, The Rolling Stones and Cole Porter. She also did a haunting version of The Beatles' "Help" which stripped away the jovialty of the original and replaced it with the kind of maudlin helplessness well suited to my life. The fact that she'd only decided to do that song hours before the concert and had to have the lyrics in front of her only added to it's charm. There was also the French song she did, introduced as "a song written by Barbara" (said in a sexy French accent), "which is French for Barbara" (said in her sexy southern drawl). Well I laughed at the time anyway.
She also got a lady from the audience on stage to sing backing vocals, had half the audience squawking like Native Indians as a backing to another track and segued a request for Tequilla into a little song. It has to be said she was just ever so slightly barmy, what with forgetting lyrics and occasionally suddenly going off on a tangent mid-song. But by this time I think I was falling in love with her, so I found it all very charming ;-).
Of course all this meant that the show over-ran the curfew, but Martha played on anyway and still did the encore. Then she came out afterwards and, despite the hordes of people that waited to see her, was perfectly sweet to everyone who wanted something signing. Despite the bouncers best efforts to thwart my efforts, I queued up and got her to sign my CD booklet (although, in something which I found hilarious at the time, she took great effort to write the "To Matthew" bit and then scrawled a barely legible version of her own name).
Of course, whilst in the queue I entered a rather bizarre conversation with the girl and lad in front of us, which took in such topics as the relative brilliance of Fern Britton and Ainsley Harriot, and led to me declaring that it would be a great idea for me and Martha to be the contestants on Ready Steady Cook :D
I also got my picture taken with her and thanks to Gee for doing the duties. Of course Gee wasn't quite sure if it'd worked, so he stood there with the camera for a while, which gave me the chance to once again try and crack a joke to a celebrity that once again fell flat. Either that, or she really did want to stand holding me for a while longer... ;-)
So all in all this was an absolutely brilliant concert, and a brilliant night in total as well. I really can't praise the woman enough.
Martha Wainwright...better than Lucie Silvas (by a COUNTRY mile as well :D)
Wednesday, November 16, 2005
Madonna - Confessions On A Dance Floor
Confession number 1 - I actually quite liked the American Life album. Sure it wasn't the old Madonna sound, but I thought it was very good indeed AND I maintain the opinion that if someone other than Madonna had done it, then people would have looked at it very differenly indeed. At least on that album she sounded as if she had something relevant to say, even if I personally wouldn't have agreed with her.
Confession number 2 - Despite me liking the last one, I too was all excited by the apparent news that Confessions On A Dance Floor was to herald a "return to form" for good old Madge. Even if by "return to form" most people meant "a return to what she used to sound like" that was not neccessarily a bad thing.
Confession number 3 - Whilst the lead single "Hung Up" is undoubtedly a fantastic piece of work, there is always the fear that it was going to be the main highlight of the album by a mile. And I have to say that it probably is. But that's not to say that there isn't a lot to enjoy. Future single "Jump" is more mellow than Hung Up, but its still a fantastic slice of pop music. Other tracks such as "Sorry" and "How High" comfortably sit up with her best work as well.
Confession number 4 - The fact that despite this being Madonna's "new" sound, it all sounds so damn familar should actually turn me against the album. There are certain nods to Madonna's past (at one point a strings sections apes the Papa Don't Preach opening) but the main thing that springs to mind when I listen to this is that some of it doesn't half sound like the Pet Shop Boys. The start of Jump echoes West End Girls (and deliberatly so according to producer Stuart Price) and Sorry brings It's A Sin to my mind. So really, what is in all probability a 3 1/2 star album gets knocked up half a notch to a 4 star album, purely because of the feeling I get that this is almost a PSB album in disguse.
Confession number 5 - However, the "continuous mix" of the album is a rubbish idea and really is a pretty poor gimmick which doesn't work at all. So I'm knocking that half a star off.
Icon's View - 3 1/2 out of 5.
Confession number 2 - Despite me liking the last one, I too was all excited by the apparent news that Confessions On A Dance Floor was to herald a "return to form" for good old Madge. Even if by "return to form" most people meant "a return to what she used to sound like" that was not neccessarily a bad thing.
Confession number 3 - Whilst the lead single "Hung Up" is undoubtedly a fantastic piece of work, there is always the fear that it was going to be the main highlight of the album by a mile. And I have to say that it probably is. But that's not to say that there isn't a lot to enjoy. Future single "Jump" is more mellow than Hung Up, but its still a fantastic slice of pop music. Other tracks such as "Sorry" and "How High" comfortably sit up with her best work as well.
Confession number 4 - The fact that despite this being Madonna's "new" sound, it all sounds so damn familar should actually turn me against the album. There are certain nods to Madonna's past (at one point a strings sections apes the Papa Don't Preach opening) but the main thing that springs to mind when I listen to this is that some of it doesn't half sound like the Pet Shop Boys. The start of Jump echoes West End Girls (and deliberatly so according to producer Stuart Price) and Sorry brings It's A Sin to my mind. So really, what is in all probability a 3 1/2 star album gets knocked up half a notch to a 4 star album, purely because of the feeling I get that this is almost a PSB album in disguse.
Confession number 5 - However, the "continuous mix" of the album is a rubbish idea and really is a pretty poor gimmick which doesn't work at all. So I'm knocking that half a star off.
Icon's View - 3 1/2 out of 5.
Sunday, November 13, 2005
The Like LIVE
What an exciting night was in prospect. Oldham...valley of the kings. The first ever visit for a concert (and my first visit there since I was about six years old). Would we get there? Would we find the venue when we did? Would we make it out of there alive? Thankfully the answers were all yes...even if the latter two looked dicey at one point.
We got to Oldham easily enough, but couldn't find an open car park (or one that didn't look dodgy). However imagine our joy when a bit of a detour managed to find us smack opposite the venue and on-street parking was available. Not much else was available though. There was a Sainsbury's, two kebab shops, a Portugese cuisine take-a-way and one pub.
So off to the Buck and Union it was, where they were getting ready for Karaoke. We didn't sing but we were treated to some rather good renditions of "classic" songs, and some that weren't so good. We did fear for our safety at one point as two guys at the bar started arguing about prison, court cases and killing old ladies, but that soon calmed down and I proceeded towards my task of getting very drunk. There were two ladies in there who so obviously wanted my mate Gee, but as usual he was having none of it. Although in fairness, they could have been trying to set him up with some sting. You know, he goes out the back for a bit of the old slap and tickle and then BOOM, a bunch of burly blokes beat him up and take his money. Better to play it safe.
So then it was onto the venue (pausing only for Burger and chips). Small and compact...and no other bugger in there! Ok that's exaggerating slightly, but it was desperately quiet when we went in at 10. Which in some ways was good. Because it meant a good view of The Like. Which cannot be a bad thing. :D
And yes, I know it's all about the music (more on that in a short moment) but the fact that The Like are rather, a-hem, tasty does them no harm at all. And couple that with the fact that they can really kick ass live, and can write all their own stuff and all that, well...it's a winning combination.
I wish I could tell you all about the songs, but I haven't got the album yet (nor heard it properly - THANKS GEE) although I had heard some of their EP's and therefore did recognise a couple of the tracks they played. I was also drunk. But what I can say is that it was excellent. I really enjoyed it. And that's good enough for me.
Then afterwards, we were lucky enough to meet them all, albeit seperately. They were all very nice, and they all seemed in awe of Gee's marker pen. Perhaps they don't have marker pens in America or something. I was also thrown when we (almost) went on the tour bus and the drummer turned out to have a British accent, and said she "might know" where Wigan was. Gee tried to ruin everything by slagging off Maroon 5 (not a good idea when the lead singer dates one of them apparently) but I think we got away with it.
All in all this was a great night, and proof that The Like are more than a gimmick. They are here for the long haul. And a-men to that.
The Like...better than The Faders ;)
We got to Oldham easily enough, but couldn't find an open car park (or one that didn't look dodgy). However imagine our joy when a bit of a detour managed to find us smack opposite the venue and on-street parking was available. Not much else was available though. There was a Sainsbury's, two kebab shops, a Portugese cuisine take-a-way and one pub.
So off to the Buck and Union it was, where they were getting ready for Karaoke. We didn't sing but we were treated to some rather good renditions of "classic" songs, and some that weren't so good. We did fear for our safety at one point as two guys at the bar started arguing about prison, court cases and killing old ladies, but that soon calmed down and I proceeded towards my task of getting very drunk. There were two ladies in there who so obviously wanted my mate Gee, but as usual he was having none of it. Although in fairness, they could have been trying to set him up with some sting. You know, he goes out the back for a bit of the old slap and tickle and then BOOM, a bunch of burly blokes beat him up and take his money. Better to play it safe.
So then it was onto the venue (pausing only for Burger and chips). Small and compact...and no other bugger in there! Ok that's exaggerating slightly, but it was desperately quiet when we went in at 10. Which in some ways was good. Because it meant a good view of The Like. Which cannot be a bad thing. :D
And yes, I know it's all about the music (more on that in a short moment) but the fact that The Like are rather, a-hem, tasty does them no harm at all. And couple that with the fact that they can really kick ass live, and can write all their own stuff and all that, well...it's a winning combination.
I wish I could tell you all about the songs, but I haven't got the album yet (nor heard it properly - THANKS GEE) although I had heard some of their EP's and therefore did recognise a couple of the tracks they played. I was also drunk. But what I can say is that it was excellent. I really enjoyed it. And that's good enough for me.
Then afterwards, we were lucky enough to meet them all, albeit seperately. They were all very nice, and they all seemed in awe of Gee's marker pen. Perhaps they don't have marker pens in America or something. I was also thrown when we (almost) went on the tour bus and the drummer turned out to have a British accent, and said she "might know" where Wigan was. Gee tried to ruin everything by slagging off Maroon 5 (not a good idea when the lead singer dates one of them apparently) but I think we got away with it.
All in all this was a great night, and proof that The Like are more than a gimmick. They are here for the long haul. And a-men to that.
The Like...better than The Faders ;)
Monday, November 07, 2005
Lucie Silvas LIVE
Ok, prior to going to this concert I had neither heard a single Lucie Silvas song all the way through, nor had the inclination to particularly do so. To be honest I thought she was a bit crap. Not that there was anything really wrong with her (teasely young piano playing singer that she is) but there was nothing to me that stood her out from the chasing pack.
Obviously 350,000 people who bought her album disagree with me, and so if I wasn't exactly open to a Damascian-style conversion to the Silvas army, neither was I so closed minded that I wouldn't give her a chance.
And I was pleasantly surprised. Sure there were a few too many "Mariah Carey" moments of over-wrought warbling...sure some of her lyrics are treading the fine line that seperates the meaningful from the trite...but there is no denying the power of her voice nor the fact that when it matters the tunes are good enough to speak for themselves.
I certainly recognised the singles, and some of the other songs sounded familar too (although whether that is a good thing, or a signs of a somewhat limited range is a question I won't answer just yet) and it surprised me to see her belt out some rather rocky numbers as well, which certainly shook me out of any tiredness.
The cover of Metallica's "Nothing Else Matters" was a clever trick (yes, I know it was on the album, but still, it is a clever trick although I'm sure the fact that it is a Metallica song is lost on most of the people who would buy a Lucie Silvas record); the Coldplay cover was less so. But all in all this was a pleasent evening, with much to reccommend. Although the fact remains that there are better singer-songwriters plying their trade who have to get by without so much of the record-company hype that propelled Silvas to the big time. Still, one shouldn't begrudge anybody that little helping hand, and this show proved that Silvas is certainly talented enough to move onwards and upwards.
Lucie Silvas....Better than Natasha Bedingfield.
Obviously 350,000 people who bought her album disagree with me, and so if I wasn't exactly open to a Damascian-style conversion to the Silvas army, neither was I so closed minded that I wouldn't give her a chance.
And I was pleasantly surprised. Sure there were a few too many "Mariah Carey" moments of over-wrought warbling...sure some of her lyrics are treading the fine line that seperates the meaningful from the trite...but there is no denying the power of her voice nor the fact that when it matters the tunes are good enough to speak for themselves.
I certainly recognised the singles, and some of the other songs sounded familar too (although whether that is a good thing, or a signs of a somewhat limited range is a question I won't answer just yet) and it surprised me to see her belt out some rather rocky numbers as well, which certainly shook me out of any tiredness.
The cover of Metallica's "Nothing Else Matters" was a clever trick (yes, I know it was on the album, but still, it is a clever trick although I'm sure the fact that it is a Metallica song is lost on most of the people who would buy a Lucie Silvas record); the Coldplay cover was less so. But all in all this was a pleasent evening, with much to reccommend. Although the fact remains that there are better singer-songwriters plying their trade who have to get by without so much of the record-company hype that propelled Silvas to the big time. Still, one shouldn't begrudge anybody that little helping hand, and this show proved that Silvas is certainly talented enough to move onwards and upwards.
Lucie Silvas....Better than Natasha Bedingfield.
Thursday, November 03, 2005
The Subways LIVE
Now the last time I saw the Subways it was, well shall we say, an "experience". Back in Gee's home study turf of Preston, in what perhaps was the worst venue ever, but despite all that, and despite only knowing one of their songs, it was a great night and a great concert.
This time around the album is in heavy rotation on the turntable, and I have slowly grown to love it. Add in HUGE ticket sales which bumped this gig from Number 2 to the Main Hall and there is quite a bit of expectation to deal with. There was even MORE anticipation when Gee briefly thought the Kooks were supporting, but thankfully we looked at the timetable on the door before going in to see that they most definately weren't. Which gave Gee the chance to drink more Vodka (ending the night on an estimated 19 shots).
Quite simply the show itself was a rollocking good hour or so of great music. With, thankfully, only a few slower moments. Highlights are too numerous to mention, and even the couple of new tracks they did didn't dampen the crazy mood of the gig-goers. Throughout the show there was a raucous energy prevalent in everything they did and, to quote a certain someone, the young lady sure was a "firecracker."
This was everything a rock 'n' roll show should be and showed that the future is bright for the Subways. Let's hope they can keep it up.
The Subways...better than The White Stripes.
This time around the album is in heavy rotation on the turntable, and I have slowly grown to love it. Add in HUGE ticket sales which bumped this gig from Number 2 to the Main Hall and there is quite a bit of expectation to deal with. There was even MORE anticipation when Gee briefly thought the Kooks were supporting, but thankfully we looked at the timetable on the door before going in to see that they most definately weren't. Which gave Gee the chance to drink more Vodka (ending the night on an estimated 19 shots).
Quite simply the show itself was a rollocking good hour or so of great music. With, thankfully, only a few slower moments. Highlights are too numerous to mention, and even the couple of new tracks they did didn't dampen the crazy mood of the gig-goers. Throughout the show there was a raucous energy prevalent in everything they did and, to quote a certain someone, the young lady sure was a "firecracker."
This was everything a rock 'n' roll show should be and showed that the future is bright for the Subways. Let's hope they can keep it up.
The Subways...better than The White Stripes.
Tuesday, November 01, 2005
Yet Another Concert Updates List
As you might expect, this is ANOTHER updated concert list. With the first confirmed date of 2006 in the bag!!!! :D
(The ones in red are the ones that have been and gone as of date of this post)
18th February - KT Tunstall - Liverpool Academy 3
27th February - Electric Six - Carling Academy Liverpool
1st March - Natasha Bedingfield - Liverpool Royal Court
7th March - The Donnas - Manchester Academy
16th March - The THrills - Liverpool Academy
12th April - The Subways - 53 Degrees, Preston
19th April - Nerina Pallot - Barfly, Liverpool (technically this is a Paddy Casey concert, but I'm really only going for Nerina :D).
24th April - The Hives - Liverpool Academy
14th May - Casino - Coventry Collesium
19th May - Girls Aloud - Manchester Apollo
22nd May - KT Tunstall - Manchester MDH
26th May - KT Tunstall - Carling Academy 2, Liverpool
27th May - Girls Aloud - Liverpool Empire
8th June - The Subways - Night & Day Cafe, Manchester - CANCELLED
11th June - Ben Fold - The Lowry
17th June - REM (with The Zutons,Feeder & Idlewild) - Lancashire Cricket Club
22nd June - Suzanne Vega/Nerina Pallot - Warwick Arts Centre (which, you know, isn't actually in Warwick!!!!)
15th July - Aimee Mann - Manchester University
8th August - Supergrass - Royal Northern College Of Music, Manchester. (NOT ATTENDED BY ME OF COURSE)
25th August - Weezer - Manchester University
17th September - Fun Lovin' Criminals - Manchester University
23rd September - Super Furry Animals - Liverpool Academy
28th September - Editors - Manchester University
3rd October - (Joseph Arthur) Nerina Pallot - Manchester Hop & Grape
9th October - Supergrass - Manchester Ritz
11th October - Laura Veirs - Life Cafe, Manchester
15th October - Kaiser Chiefs (Plus Maximo Park) - Manchester Apollo
16th October - KT Tunstall - Manchester University
22nd October - Nine Black Alps - Carling Acadmey, Liverpool
2nd November - The Subways - Manchester Academy
6th November - Lucie Silvas - The Lowry, Salford
18th November - Martha Wainwright - Liverpool Academy 2
26th November - Franz Ferdinand - MEN Arena, Manchester
27th November - Shakin Stevens - Manchester Opera House
3rd December - Ian Brown - MEN Arena, Manchester
4th December - Jem - Manchester University
15th December - Ben Folds - Manchester Apollo
2006!
18th March - Sugababes - Liverpool Philarmonic Hall
30th March - Depeche Mode - MEN Areaa, Manchester
27th May - Girls Aloud - MEN Arena, Manchester
Sunday, October 23, 2005
Nine Black Alps LIVE
In one of those nice "couldn't they have announced it earlier" moments I've already seen Nine Black Alps live supporting Weezer. Which in fact turned out to be a good thing, because I certainly didn't "see" Nine Black Alps on this occasion.
But to backtrack a little, the evening started out with a cracking little meal at some Italian restaurant. The spicy prawn fritters were alright, but the duck thing was bloody gorgeous. The sweet was less so, given that it simply appeared to be a cup of coffee with a dollop of ice cream in it (no, seriously that's what it was) but in a kind of bizarre way it was good.
So after a mini pub crawl around Liverpool we finally get to the venue, the first time I've graced the halls of the Liverpool Carling Acadmey 2. First shock was the fact that NBA were scheduled to be on at 9, with a 10pm curfew! 10pm curfew on a Saturday night? WHAT IS THE WORLD COMING TO?
Then when actually getting into the venue, we then realised that we were not going to get a great view of the band as they performed their set. In fact, I wasn't going to get any kind of view of any of them. Well that's a slight exaggeration. I saw one of the guitarists fleetingly. To cut a long story short, I'm sure the venue is great if you turn up really early and manage to get onto the actual floor space, but if you don't you may well find yourself without a view of the musicians.
Still, at least it wasn't a teasely group, so there are worse concerts where this could have happened. As such though my atmosphere was slightly off, although as the drink kicked in I found myself enjoying the music. They threw in some new songs, or at the least songs that I hadn't heard before, and it was a polished performance, albeit one perhaps lacking the spark that really would have set the evening on fire.
Then came more comedy gold as we left the venue. I saw some rather buxom lass that had a nice...well you get the idea. Anyway, I give Gee man the nod to check out the bintage and he falls about laughing. No, she wasn't ugly or anything like that, but was actually a girl who used to work where he does who he just happened to fancy the pants off. So it's proof that occasionally Gee does have some good taste :D
But to backtrack a little, the evening started out with a cracking little meal at some Italian restaurant. The spicy prawn fritters were alright, but the duck thing was bloody gorgeous. The sweet was less so, given that it simply appeared to be a cup of coffee with a dollop of ice cream in it (no, seriously that's what it was) but in a kind of bizarre way it was good.
So after a mini pub crawl around Liverpool we finally get to the venue, the first time I've graced the halls of the Liverpool Carling Acadmey 2. First shock was the fact that NBA were scheduled to be on at 9, with a 10pm curfew! 10pm curfew on a Saturday night? WHAT IS THE WORLD COMING TO?
Then when actually getting into the venue, we then realised that we were not going to get a great view of the band as they performed their set. In fact, I wasn't going to get any kind of view of any of them. Well that's a slight exaggeration. I saw one of the guitarists fleetingly. To cut a long story short, I'm sure the venue is great if you turn up really early and manage to get onto the actual floor space, but if you don't you may well find yourself without a view of the musicians.
Still, at least it wasn't a teasely group, so there are worse concerts where this could have happened. As such though my atmosphere was slightly off, although as the drink kicked in I found myself enjoying the music. They threw in some new songs, or at the least songs that I hadn't heard before, and it was a polished performance, albeit one perhaps lacking the spark that really would have set the evening on fire.
Then came more comedy gold as we left the venue. I saw some rather buxom lass that had a nice...well you get the idea. Anyway, I give Gee man the nod to check out the bintage and he falls about laughing. No, she wasn't ugly or anything like that, but was actually a girl who used to work where he does who he just happened to fancy the pants off. So it's proof that occasionally Gee does have some good taste :D
Tuesday, October 18, 2005
Sugababes - Taller In More Ways
Well bugger me, I've fallen into the trap again. Remember "Hole In The Head", the fantastic first single from the Three? It was brilliant wasn't it? Just a pity really then that the album was the usual "three great songs and a load of dodgy filler" routine that I've come to expect from the Sugababes since they went the "manufactured pop" route (as evidenced by choosing an ex-member of Atomic Kitten as the replacement for that one who left).
So yeah, "Push The Button" is a fantastic single, indeed it's one of the best of 2005, but there really is nothing else that comes all that close to matching it. "Joy Division" (sadly not about Ian Curtis :D) and "Red Dress" come close (and will surely go down well at the Christmas disco's) and "It Ain't Easy" and "Obsession" would be decent enough as the songs on a great album that weren't quite as good as the others. Sadly they are the best of a pretty poor bunch.
I often contend that Girls Aloud don't get the huge success they deserve because they don't do enough ballads to draw the parents in. Well no worries about that on a Sugababes album. The only problem is that the ballads that they do serve up are trite, forgettable and so tailored for the commercial effect that I am left totally unmoved by any of them. The worst of the bunch must be "Ugly" (not surprisingly a virtual carbon copy of TLC's "Unpretty" due to the fact it's written by the same fella) and "2 Hearts" which ends the album on the most mawkish level possible.
This will sell by the bucketload I have no doubt, but for all the positive press that the 'Babes get (and yes they certainly can sing) the fact remains that just like every other manufcatured pop group in existance, the bottom line remains the money that can be made. This album, ahem, pushes all the right button in that respect, but you are left with the impression the 'Babes crowing moment is destined to be their greatest hits.
Icon's View - 3 out of 5.
So yeah, "Push The Button" is a fantastic single, indeed it's one of the best of 2005, but there really is nothing else that comes all that close to matching it. "Joy Division" (sadly not about Ian Curtis :D) and "Red Dress" come close (and will surely go down well at the Christmas disco's) and "It Ain't Easy" and "Obsession" would be decent enough as the songs on a great album that weren't quite as good as the others. Sadly they are the best of a pretty poor bunch.
I often contend that Girls Aloud don't get the huge success they deserve because they don't do enough ballads to draw the parents in. Well no worries about that on a Sugababes album. The only problem is that the ballads that they do serve up are trite, forgettable and so tailored for the commercial effect that I am left totally unmoved by any of them. The worst of the bunch must be "Ugly" (not surprisingly a virtual carbon copy of TLC's "Unpretty" due to the fact it's written by the same fella) and "2 Hearts" which ends the album on the most mawkish level possible.
This will sell by the bucketload I have no doubt, but for all the positive press that the 'Babes get (and yes they certainly can sing) the fact remains that just like every other manufcatured pop group in existance, the bottom line remains the money that can be made. This album, ahem, pushes all the right button in that respect, but you are left with the impression the 'Babes crowing moment is destined to be their greatest hits.
Icon's View - 3 out of 5.
Monday, October 17, 2005
Fiona Apple - Extraordinary Machine
The is one of the most bizarre "new" albums that I will ever review for the simple fact that I had already heard 90% of it up to a year ago. The long (six year) wait since "When The Pawn" for a follow up album was attributed to Epic not thinking that the album that Fiona Apple and her producer Jon Brion delivered was commerical enough. And to be honest, if that had been the case they might have had a point. In it's "unofficial" form, it was the kind of album that all but Fiona's most ardent fans would have been completly non-plussed by.
Of course the official story now is that Fiona herslef was less than happy with the "original" record and wanted to re-record it, but Epic, having spent in the region of $800,000 on the record, were reluctant to give the green light to more expenditure. But the leaking of the music proved that there was an audience for the album and 50 Cent producer Mike Elizondo climbed on board to help finish the project.
The album was probably never going to live up to the hype that a six year abscence whirled up, but Extraordinary Machine very nearly pulls it off. The first thing that is immediatley noticeable is that there have indeed been many aesthetic changes to the version previously heard, and for the most part these are welcome. Gone are the cluttered arrangements of Brion (which at times seemed willfully designed to alienate listeners) but this is still hardly a commercial pop album.
This is very much a "break-up" album (as are all of Fiona's efforts really) but the sense of strong defiance that permiated When The Pawn is still very much evident. "Get Him Back" is a wry look at the aftermath of a break-up and has the pulsating piano one would expect. "Better Version Of Me" is another such track and is one of the definate highlights of the collection. But really there isn't a duff track on the whole album.
It never quite reaches the heights of "When The Pawn" and, to be honest, isn't quite the leap in a different direction that the protracted release of the album lead to suggest. You aren't going to mistake this for anyone else, it's a Fiona Apple record all the way through. Still, she's yet to make one that's anything less than excellent, and this wonderful album keeps that record going. Let's just hope it's not another six years for the follow up to this!
Icon's View - 4 1/2 out of 5.
Of course the official story now is that Fiona herslef was less than happy with the "original" record and wanted to re-record it, but Epic, having spent in the region of $800,000 on the record, were reluctant to give the green light to more expenditure. But the leaking of the music proved that there was an audience for the album and 50 Cent producer Mike Elizondo climbed on board to help finish the project.
The album was probably never going to live up to the hype that a six year abscence whirled up, but Extraordinary Machine very nearly pulls it off. The first thing that is immediatley noticeable is that there have indeed been many aesthetic changes to the version previously heard, and for the most part these are welcome. Gone are the cluttered arrangements of Brion (which at times seemed willfully designed to alienate listeners) but this is still hardly a commercial pop album.
This is very much a "break-up" album (as are all of Fiona's efforts really) but the sense of strong defiance that permiated When The Pawn is still very much evident. "Get Him Back" is a wry look at the aftermath of a break-up and has the pulsating piano one would expect. "Better Version Of Me" is another such track and is one of the definate highlights of the collection. But really there isn't a duff track on the whole album.
It never quite reaches the heights of "When The Pawn" and, to be honest, isn't quite the leap in a different direction that the protracted release of the album lead to suggest. You aren't going to mistake this for anyone else, it's a Fiona Apple record all the way through. Still, she's yet to make one that's anything less than excellent, and this wonderful album keeps that record going. Let's just hope it's not another six years for the follow up to this!
Icon's View - 4 1/2 out of 5.
KT Tunstall LIVE
So for an unprecidented fourth time in one year it was time to see the Tunstall live again. Of course it should also have been the time to see Ed Harcourt live, but we managed to only get there in time to see the end of his set. Don't know what his music was like but that bird he had playing the violin seemed like proper teasely.
Still it was a good kebab (with that bloody lovely girl having her Naan bread and Chips :) ) and it was nice to briefly meet a few fellow Tunstallation Nation members in the Kro Bar. Which was a nice little bar to drink in as well.
I should point out right now that whatever I say in the next few paragraphs, I enjoyed this concert immensely. BUT, and didn't you know there was a "but" coming the whole thing seemed a little superfluous. It was essentially the same show I'd already seen twice in May although there was a new track, Drity Water, performed. This was a decent enough song, but didn't really grab me by the balls and make me love it.
Suddenly I See and Black Horse were excellent, although it seemed like many in the audience had only come along on the strength of the singles, although thankfully there seemed to be an abscence of the usual knob-jockeys in our vicinity.
Heal Over was at least better than it was in May, and Through The Dark was a nice touch. The problem for me was that apart from the odd "extended" version of a song this was a show I felt like I'd seen before. Now I know that makes me seem hypocritical after banging on about hating the "Sweet Dream" version of Heal Over, but there comes a point when overkill is reached. Once her new album comes out and she tours that then I have no doubt I'll be there, but if she does another tour before releasing any new material, I think I'll be giving that one a miss.
Oh and on a final point, kudos goes to Xavi for being the designated driver :D
Still it was a good kebab (with that bloody lovely girl having her Naan bread and Chips :) ) and it was nice to briefly meet a few fellow Tunstallation Nation members in the Kro Bar. Which was a nice little bar to drink in as well.
I should point out right now that whatever I say in the next few paragraphs, I enjoyed this concert immensely. BUT, and didn't you know there was a "but" coming the whole thing seemed a little superfluous. It was essentially the same show I'd already seen twice in May although there was a new track, Drity Water, performed. This was a decent enough song, but didn't really grab me by the balls and make me love it.
Suddenly I See and Black Horse were excellent, although it seemed like many in the audience had only come along on the strength of the singles, although thankfully there seemed to be an abscence of the usual knob-jockeys in our vicinity.
Heal Over was at least better than it was in May, and Through The Dark was a nice touch. The problem for me was that apart from the odd "extended" version of a song this was a show I felt like I'd seen before. Now I know that makes me seem hypocritical after banging on about hating the "Sweet Dream" version of Heal Over, but there comes a point when overkill is reached. Once her new album comes out and she tours that then I have no doubt I'll be there, but if she does another tour before releasing any new material, I think I'll be giving that one a miss.
Oh and on a final point, kudos goes to Xavi for being the designated driver :D
Sunday, October 16, 2005
NME Rock 'N' Roll Riot Tour LIVE
First things first. We didn't make it in time to see the Cribs. We simply couldn't be bothered queueing up and so we went for a swift pint, which turned into two. Still it was worth it for the Elisha Cuthbert-esque barmaid :D.
Well where do we start with Maximo Park....? I've heard great things about them and they certainly have had some good reviews. But to be honest, I thought they were pretty poor on the night. All their songs sounded very similar, and as I didn't like the first one they did it just got worse from thereon in. They were quite entertaining I suppose, but perhaps I'm getting old, but I just don't get the point of them.
As for the Kaiser Cheifs. Well its quite simple really. They have three quite good songs (Everyday I Love You Less And Less, I Predict A Riot and Oh My God) and this fools you into thinking they are better than they actually are. Well folks, it's all hype. Were they terrible? No. But they are hardly the best band ever to have written an album ever or anything like that.
So all in all, I was pretty underwhelmed by both the acts I saw. There isn't really much more I can add to that.
Well where do we start with Maximo Park....? I've heard great things about them and they certainly have had some good reviews. But to be honest, I thought they were pretty poor on the night. All their songs sounded very similar, and as I didn't like the first one they did it just got worse from thereon in. They were quite entertaining I suppose, but perhaps I'm getting old, but I just don't get the point of them.
As for the Kaiser Cheifs. Well its quite simple really. They have three quite good songs (Everyday I Love You Less And Less, I Predict A Riot and Oh My God) and this fools you into thinking they are better than they actually are. Well folks, it's all hype. Were they terrible? No. But they are hardly the best band ever to have written an album ever or anything like that.
So all in all, I was pretty underwhelmed by both the acts I saw. There isn't really much more I can add to that.
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