Wednesday, 27 March 2013

Plus one

My first two gigs of 2013 turn out to be corkers.


First up, Richard Thompson at the Barbican, one of my favourite venues. Undaunted by the grim weather and the slightly disconcerting labyrinthine walk to reach the complex, I manage to link up with my gig companion, despite the flimsiest of pre-gig arrangements. We catch up on news (having last seen one another in 2008, on the rather momentous occasion of Pentangle's reunion at the South Bank). The intervening years evaporate as we chat Spanish life, passports, the pros and cons of Later with Jools, Tame Impala (in which I find myself alone in my fandom) and the previous evening's RT gig at Shepherd's Bush Empire. Would there be familial participation tonight?

It's a wonderful show (I discover that RT electric gigs are scarce these days - amazingly it's my first - and no less enjoyable for the lack of 'special guests'), marked by humble and prodigious musicianship from Thompson, Michael Jerome (drums) and Taras Prodaniuk (bass). Happily, the highlights (of which there are many) are recorded for posterity for Australian magazine Rhythms by the person seated to my right...

Friday, 22 March 2013

Wednesday, 6 March 2013

Friday, 1 March 2013

Fab Friday / 5



The first volume of Mark Lewisohn's Beatles biography is officially on its way in October. I shouldn't be excited but... I am.

The book has its own twitter account here. Let the build-up begin.


Thursday, 28 February 2013

Goodbye to Rosemary Lane

Maybe I'm just imagining a poetic reference to Bert Jansch there in the lyric. Certainly sounds like it. As much as I was partial to the twisted folk of Richard Olson's previous outfit, Eighteenth Day of May (fortunately being able to catch them live twice prior to their demise), The See See seemed even further up my musical alley, with their sonic allusions to the best West Coast '60s pop/psych.

Up The Hill, a little-heard limited edition 45 released in 2008, floored me from a single airing on the sadly-missed evening incarnation of the Radcliffe and Maconie show. If the shimmering first two and a half minutes aren't great enough (had this been on the turntable one wonders?), what follows for the remainder - a heads-down orgy of acoustics, echoey multi-layered "ah"s and some decidedly Richard Thompson-esque lead work - is even better...

Play loud.