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If you would like to write a review of a gig or CD, please email it to clairechisnall@medwaymusic.net
Christine Tobin at The Good Intent – Confessions of a rock chick at a jazz gig
The Good Intent is a surprising venue for one of the great new voices of jazz, Christine Tobin. We arrive at this unassuming Rochester pub, and assume that we have gone to the wrong place. A handful of drinkers are dotted around the bar, and we are definitely “not local.” It’s a scary moment; then a friendly voice pipes up, “If you want jazz, it’s round the other side. Follow him.” We are led behind the bar by a man bearing two stools and a rather attractive beard, and emerge into another room. Phew! Guitarist and strikingly red-haired woman in situ. We have come to the right place.
When I go to rock gigs I am usually twenty years older than the rest of the audience. I am but a babe-in-arms here. It’s a comfortable mix of middle aged and older people. “It’s like watching it in your living room,” a woman says to me. I am reminded of a Christmas Day family gathering, but without the arguments and the brussel sprouts.
The music starts promptly at 8.30, and we are treated to some classic jazz and blues including Billie Holliday and Bessie Smith numbers. All are delivered with a voice as rich, thick and raunchy as Tobin’s copious red hair. Her Dublin accent enhances the quality of her superb voice.
Tobin is supported by guitarist Phil Robson. He is possibly brilliant, but long noodling guitar passages do little for me. I am a virtual newborn to the world of jazz, and feel that some of these numbers are as long as a damp afternoon in Strood. “There’s something to be said for the three minute pop song,” I say to my jazz-loving partner. “No.” He looks annoyed and continues grooving to the noodling. I resolve to treat him to an evening of garage rock at the earliest opportunity.
I start people watching and note a mustachioed man in a comfy jumper eyeing up Ms Tobin with more than musical interest. He is just short of having his tongue hanging out. The musicians take a break, presumably to allow Tobin to clean herself of the drool from her admirer, and the raffle is drawn.
I hear someone say that you would pay £25 to hear this at the Jazz café, and thanks are due to Colin of Coljazz who has brought us this evening for free. All he asks for is a generous contribution to the raffle. One of our numbers is drawn, and we win some smellies and a book on Gettysburg. I bag the smellies, and am also offered the book by my partner on the grounds that, “You like books.”
“All books are not the same,” I reply and realize that the same could be said for jazz.
The evening draws to a close with a stunning jazz rendition of Brian Wilson’s God Only Knows. It’s beautiful. When my boyfriend isn’t looking, I pick up some fliers for other jazz gigs. I may have been infected with the jazz virus, but don’t tell anyone. I have my reputation as a rock chick to consider.
Maria Bradley
November 2004
Mingling with the Folks: An evening with The Singing Loins and poet Wolf Howard at the Command House
By Lynn Trebill, September 2004
It’s 7.30pm and I sit down at a bench and wait… 7.45pm the events is suppose to start – Nothing. As the hour passes, the pub slowly fills up only to form meet and greet groups in whirlpools of cigarette smoke.
Billy Childish and more folk elite arrive adding more browns, blues and purples to the clothing palette. I can feel a chorus of ‘why are we waiting’ coming on, as more whiffs of smoke follow the meandering folks circling each other.
At last Wolf Howard gets up and demands some Medway discipline. The crowd pauses for a minute while the warm-up poet Vic Templar begins. His prose poems slowly snake their way down the page he is reading, accompanied by the background chatter. He makes me feel old, when he describes how it felt to be fourteen in 1979.
A break, the conversation volume increases, and another fifteen-minute wait. Wolf Howard quietens the crowd for The Singing Loins. I wish the group would consider handouts so that I could read what they are singing. The background babble and the singer’s folk accent make it very difficult to hear properly. Shame, as I’m sure it feels more poetic than Vic Templar’s opening lines.
After another break, Wolf demands more Medway Discipline. Guess what? He gets it. There’s a hush; I can hear Wolf’s poetry! He controls the crowd with his humour and personality. His stint flies by, the crowd laughs in all the right places and then another break arrives.
I leave at this point as there’s only so much passive smoking my lungs can take. Verdict: A good night marred by late starting in a venue that desperately needs extractor fans.
Falling Over Billy Childish: The Singing Loins at the Command House
By Maria Bradley, September 2004
This event has the feel of an exclusive club. The bar is filled with people who know each other, have known each other for years, and are not sure if they want to know anyone else. Some of us virgins to the "Medway scene" wonder when the subs are going to be collected, and if we will be allowed to join.
Vic Templar kicks off the evening an hour and a half later than advertised. Is he a poet or a raconteur? What he reads bears little resemblance to Poetry. Poetry is supposed to be spare, using the fewest, best possible words. What we get is the long-winded ramblings of a forty-something man, reminiscing about trying to buy a Buzzcocks record in 1979. His next piece raises a few titters as he throws in a few cultural references that the audience relate to: Roobarb and Custard, Papa Joe by The Sweet. It leaves me cold. I mentally edit his readings to a quarter of the length, and still find them lacking. My attention wanders during his last piece, and suddenly going to the toilet seems more attractive than listening to this. He has thankfully left the stage by the time I return.
A handlebar moustache enters the bar, closely followed by Billy Childish. A wave of, "We’re not worthy" ripples through the place. There is no doubt that the man has charisma. I am impressed by his poker straight back, and wish I could have stuck with the Yoga classes as I slouch into the pew-like bench. I notice Mr Childish is concealing a bottle of Volvic and fantasise about the headlines in the NME, "Billy Childish: too tight for the bar."
The Singing Loins have a well deserved following, and launch into songs, old and new. Medway Delta Love Song and other tunes with a Medway flavour get the faithful mouthing, if not singing, along. A tall man with dreadlocks halfway down his back blocks my view, and I wonder where would be the best place to see this: a café set-up or a seated theatre perhaps. A crowd to my right talk loudly all through the set which makes me wish for the Christy Moore method of crowd control: he berates the audience until they shut up and listen.
At this point I have to do what Meridian News do to Gillingham Football Club match reports on a Saturday; they only film the first half, so they can get the report to the studio for the 5.30 news. Fact is I have to go at 10, and miss all of Wolf Howard (seen him before; liked him) and the second set of the Loins.
My overall impression: start on time please! It’s not laid back or cool to start late, it’s annoying and unprofessional. Lose Vic Templar (who ever told this man he could write?) and why is the "Medway Scene" so male-dominated? Some of us without dicks can write too.
I try to leave with poise and dignity, picking my way through the crowd, but fall over Billy Childish’s feet on my exit. I really must go back to those Yoga classes.
CD Review
Meadow Row - History in the Making
Meadow Row is a four piece of 15 and .16 years olds who have been gigging in Gravesend over the last couple of years. Now at the stage when they can throw away the cover hook and start to bring you their own rock sound - a sound well in advance of anything their experience might suggest - they have released their first CD of five originals songs and one cover. The CD is neatly packaged and comes with a professional looking CD booklet. All of which suggests here's a band that are both serious about what they are doing and want to make sure that promoters and punters know it.
"Hot Moment in Public" starts with a quite intro that soon introduces to the band and Andy, the band's vocalist. It's a distinctive sound which shows both a rough edge and an understanding of the value of enunciation, and is delivered at a standard that many, even after years of gigging, fail to achieve. Reece on lead guitar is not far behind suggesting that this is going to be a CD worth listening to. "Took a Long Time" sees the band developing their themes. "Part of History" has the bass and drums kick in on the intro before the guitar picks up the lead and dies for the vocals, then the band are back in for a great chorus, and the sound rises and falls against the vocals before coming back to the chorus. "Disgrace" shows that the last track was no lucky fluke and "Hear me out" starts with some nice development by James on drums and Terry on bass and as the song builds there is some good guitar work and harmony vocals in the mix. The CD ends with a decent interpretation of the Beatles' "Day Tripper."
So, it is a first CD but it is a very listenable CD. If you're into original rock this is one for your collection. Just a final thought, I know we are talking different animals here, but I kept thinking there were elements of this CD that reminded me of some of Parker's stuff.
I am not sure if the CD's available locally yet but when you decide to buy a copy, visit the Meadow Row web site at http://uk.geocities.com/meadow.road@btinternet.com and how to order is at the bottom of the band history page.
Not at My Best, Carpet Burn, Cassaday - Tap 'n' Tin – April 2004
Not at my Best gave us a mix of rock styles and seem to have brought a large following with them – always good news for venues. Unfortunately the band suffered from the usual first band sound mix and the vocals got a bit lost but there was enough to suggest that they would be worth catching again. While they seemed to be lacking some stage presence to me they did manage to keep the fickle Tap ‘n’ Tin audience from wandering off. Also worth a mention is the drumming style. If I am honest, I cannot remember why but it seemed interesting at the time.
Carpet Burn gave a performance up to the standard of their recent RAF Club gig and seemed to have added an extra guitarist who definitely adds to the set.
I had not come across Cassaday before so don’t know how long they have been together but they gave a tight rock/blues set, supported by some strong bass lines, which suggests they’ve been around or rehearsing like crazy. They seemed to have a few technical problems on what promised to be a good instrumental number, so better luck next time on that one. They have a CD coming out in early April so it might be worth a listen.
Stoftype – Tap ‘n’ Tin – April 2004
When I saw this band play in December 2003 I said “this could have been the worst gig they ever played” but there was more than a hint of what the band could be capable of on a good night. Tonight they proved they could deliver and gave a great performance. This is a band not afraid to experiment and in front of a tight back line of drums and bass, there is plenty of work going on with double mikes, echo and feedback. As well as the familiar stuff from their Nails CD there was some good new stuff - maybe it’s nearly time for a new CD. I don’t know of anyone else around here pushing the boundaries in quite the same way as Stoftype; so, take that open mind, and plug it into the Stoftype experience.
www.stoftype.com
Bonzai Reservoir – Beacon Court – May 2004
The new Bonzais, small but with a sound that’s bigger and better than before. I missed the start of the gig and was admiring the punch and drive of the new indie rock sounding band before I realised who they where. A tight set but with an attitude that allows space for future developments, like occasional brass. A new CD is due out soon, buy the CD – it looks it’s one to have – but make sure you go and see the band for a good night out. Bonzai Reservoir, off the starting block and moving fast up the track.
Meadow Road – The Fleur De Lys, Burham – May 2004
Meadow road are a new band made up of younger musicians playing a mix of rock covers and their own work. They have a very listenable sound although it took a couple of numbers for the right pace to come through. Their sound gear was probably at its limits in this venue so for anything bigger they are going to have to look at something a bit more powerful to give their sound the edge it needs.
They’re all competent musicians and it's probably unfair to pick out individuals but I am going to anyway, there is some really nice vocal work throughout the performance that goes on between the drummer and lead vocalist, and the lead guitar has some impressive playing up his sleeve.
They seem at their best when playing their own work but I loved the funky bits in the Hendrix cover. The audience was with form early in the set and a rousing finish on Mustang Sally, I Believe in a Thing Called Love and a rocked up Knocking on Heavens Door left them wanting more. I’d be surprised if they’ve not already been booked for their next gig here.
On the negative side, while they kept up a good rapport with the audience, there seemed to be some long pauses between numbers as they decided what to play – make sure you agree the play list and a few options next time. Definitely worth the visit to Burham, watch out for future gigs.
http://uk.geocities.com/meadow.road@btinternet.com/
Inside The Mind of Henry Holmes. Beacon Court also Tap 'n' Tin - May 2004
Why two venues? Because they sort of grow on you and maybe I needed that second hearing to really get into the mind of Henry Holmes. This band comes out of the now defunct Six Stage Suicide (I bet that fed up with people saying that, sorry) but have a new emo sound to their performance. Elsewhere they been described as a melodic Slipknot and that’s probably not far wrong. A strong drum and bass supports the set that also reveals a more melodic approach in parts. If you want to find out what emotional rock is all about, give these guys a try.
http://www.insidethemindofhenryholmes.com/index.html
Kingskin - Beacon Court - May 2004
The band that has it all, a tight sound, stage presence and good songs. These guys have must have worked hard to get to this level. See them before their mix of rock and funky stuff disappears off to the London scene and can’t be long in coming.
As someone in the audience said if they have a weak point they hide it well. Make sure you catch their version of “You’re Just to Good to be True.”
http://www.kingskin.com/
Intraverse - Beacon court - July 2004
The band that rocks? So many people have said this is the band to see, can they be right? Right away the sound says roll over Otto Frederick Rohwedder*, why did I wait so long? It’s the first few bars of the first number and I’m sold. Lots of stage presence and some excellent guitar built on a great funky rock presence. The second number is some top funk by a band that know what they are doing and obviously enjoy doing it. Can it get better? Yes it can. Okay, this turning in to something of a panegyric but who cares, this some of the best stuff you are going to hear at the moment. There is not a cigarette alight in the building as the lead vocalist offers to “take us on a journey” and impassioned bongos, overlaying a bedrock of drums and bass guitar, lead into a funked up Santana like soundscape caressed by the waves of a sea of guitar sound… wow!.. and then it's back into the driving rock funk. I am not writing anymore, just do yourself a favour and catch this experience soon.
* Inventor of the bread-slicer
There are a several of CDs, featuring some neat packing designed by the band, available, buy them but don’t miss out on the live experience.
www.intraverse.com
Stoftype - Beacon Court – June 2004
Barmy as a box of aardvarks but great with it. Tonight is more music about masks and tiger tape - I think? Was tonight new stuff or was it improvisation? Maybe it was both. It doesn’t matter he whole point of Stoftype is to challenge the conventions - a demonstration of Paul Celan’s proposal of the absolute poet or musician as an accompanist to the musical construct underway towards a yet to be. Tonight the audience were up for watching the set develop but the format limited meant a maximum of 30 minutes on stage so over here but the Stoftype experience moves on to…
www.stoftype.com
Kingskin - Beacon Court - May 2004
The band that have it all: a tight funky sound, stage presence and good songs. These guys have obviously worked hard to get to this level. There’s a weight of musical talent here and what’s more its talent that works well together. As someone in the audience said if they have a weak point they hide it well. See them before their mix of rock and funky stuff disappears off to the London scene or further and that cannot be long in coming. If your lucky you’ll get to here hear the their not to missed rendition of 'Your just good to be true' – Kingskin 1, Frank Valli and the Four Seasons 0.
www.kingskin.com
Motion picture soundtrack - Bar M - May 2003
MPS, a good sound with a big Coldplay influence but a harder edge. This is rock with harmony but don’t be fooled, the live sound is heavier than their first CD. There is lots of engagement with the audience tonight and most people seem to be here to hear MPS. There forthcoming CD is likely to be much closer to the live sound but hopefully they can strike a balance between that early sound and where they are now.
The new CD is now sampled on their web site and it does keep the balance.
www.motionpicturesoundtrack.com
Strange desire - RAFA Club - June 2004
They look good on stage, have all the moves and play a tight set - maybe too tight. I just have the impression they cannot decide if they are a rock or a boy band. They have obviously worked hard on their set but there is just something missing. Tonight has proved that they are all capable musicians and whatever style they cannot decide on they do well but they need to make that leap of faith.
www.psst.co.uk/strangedesire
Firstborn - Tap 'n' Tin – May 2004
Firstborn describe themselves as emotive rockers but the sound is much closer to rock than its emo sibling. This is the Bands first tour on being signed and on the strength of the audience reaction whoever signed them made the right move. Okay, there is nothing really out of the ordinary here but there is some consistently good rock coming out of the speakers and a band who are really putting their all into the performance, can you ask for much more?
www.firstbornmusic.com/index.htm
Keith and the Marzipan Soldiers - Rochester Cathedral 1400 Anniversary Youth Music Festival - July 2004.
After a couple of not doubt well meaning bands performing dirge like worship songs we get Keith and the Marzipan Soldiers. The guys apologised for the lack of pure worship songs in their set but if music praises their lord these guys were singing with joyful voice and gave the best set of the day with some great music for all. I suspect there are some religion warning lights flashing out there so let’s deal with that and move on: true there is a clear Christian message in a couple of numbers in the set but they are less about smiting the uncircumcised philistine and more about personal testimony. They’d like to help you make that leap of faith but we are not talking Fred Phelps and the Westboro Baptist Church like fanatics here…so go on, it’s okay to listen.
Back to the gig... it’s not promising start, a huge marquee with a smattering of folks between the ages of 8 and 80 rattling around inside. The band really worked hard to get their music across and create some sort of atmosphere. Fortunately there were a few in the audience willing to get up and show some enthusiasm for the band’s salad bowl of predominately Green Day and Coldplay, seasoned with a hint something a little heavier, and tossed with their own unique dressing. I’d heard the bands first CD and was keen to see them live, given the circumstances – Mars probably had more atmosphere at the start of the set - this was never going to be their best gig but there was sufficient both to enjoy and to make it worthwhile to catch them again, and there was certainly enough to keep those that did wander into the tent there. The disappointment has to be the number of potential punters skateboarding in the cathedral car park or just chilling by the war memorial who never knew the event was on and missed the opportunity to wander in and catch this band.