Showing posts with label Chic. Show all posts
Showing posts with label Chic. Show all posts

Friday, 2 August 2013

Glastonbury 2013 Part 2


OK, so I did watch a bit of the Rolling Stones set but frankly I wasn’t that impressed.  They looked tired, jaded and dated.  Mick looked faintly ridiculous, prancing around at his age in front of his largely static fellow band members.  Best rock ‘n’ roll band on the planet?  Hmm…

I was heartened to see that at the same time, over on the Other Stage, Chase and Status had drawn a huge crowd of not-interested-in-the-Stones people with their own brand of RapRock.  It’s good to see that the younger generation are not hanging on to the coat tails of classic bands and nor should they.  Each generation should discover their own and if that includes past examples then fine, if not then that’s fine too.

In fact, this year’s Pyramid Stage headliners didn’t really do much for me.  As well as the Stones, I’ve never really quite understood The Arctic Monkeys and although I like a bit of folk, the dreadful corporate blandness of Mumford and Sons sends me to sleep.  So, where do my awards for this year lie?  There were a plethora of new(ish) bands that got my attention without really standing out so a ‘highly commended’ goes to the likes of Noah and the Whale, Editors, Cat Power, Stealing Sheep, Hurts and Phoenix who were all very entertaining, but I’ve had to reject all of these in favour of my final choice of three.
Two HAIM sisters

In third place are US sister band Haim, who were just about everywhere, so hard to avoid.  They played several sets on various stages and turned up as backing singers for Primal Scream so their PR team deserve a medal at the very least.  Their own sets were full of bluesy rock which at times took flight into fabulously dizzy instrumental jams that few bands seem to manage these days (especially when they are playing to backing tapes!).  Unfortunately, their tunes are a bit disjointed and the vocals a tad idiosyncratic but hey, they come across as a raw joyous talent and they provided some of the best festival moments for me.  One to watch, I’d wager.
Daughter

For second place, I struggled between two bands that I’d not heard of before.  First were Savages, a somewhat strange outfit who delivered an intense and at times, quite frighteningly serious set of spiky songs.  In the end I ousted them for being too close to ‘Scream’ era Siouxsie and the Banshees for comfort and decided to deliver second place to the enigmatic Daughter, whose enchanting set of Indie Folk delivered on the John Peel Stage held me spellbound.  Singer Elena Tonra looks a solo performer but has chosen to surround herself with two male musicians whose edgy arrangements lift her songs to another level.
Chic


My choice for first place was the result of much soul searching, having already panned the Stones for being too old, but this lot were so much fun, so the award goes to Chic.  For me, music is something to be enjoyed and in this business oriented age, it is good to see how uplifting it can be, given the right circumstances and Nile Rogers delivered this in spades.  Everybody danced – how could you not?  Such a shame that Bernard Edwards was not there to reprise those iconic bass lines and see how much of his legacy still resonates with modern audiences.  The most enjoyable set at the Festival by a short glitter ball.

Tuesday, 7 August 2007

Aaah......Freak Out!


I don’t know whether you have ever been forced to live out your worst nightmare but it’s not something I would generally volunteer for. Yet inexplicably, I found myself watching a 90-minute retrospective on the Disco phenomenon of the 1970s/1980s on TV recently, a genre of music that I avoided at all costs when it first appeared.

It felt like someone at the BBC had raided my younger sister’s (12 inch) singles collection and played the whole lot, one after the other in an unending battery of chink-a-chink rhythm guitar and thumping bass lines. We won’t even mention the clothes…or hair.

Chic, Sylvester, Dan Hartman, KC & the Sunshine Band, Kool and the Gang - the list went on and on. But let’s try and be positive. What can we learn from this lot, using as our guide the academically approved tool of hindsight?

Well, first off it seems pretty clear that the disco template belongs to Chic. Nile Rogers developed the chink-a-chink guitar style and the late Bernard Edwards was the master of the hum-a-long bass line. Between them they set up the formula for the genre and they did it best. Some of the rest did a reasonable impersonation and the rest were Disco by numbers. Worse, most didn’t know when to stop (and to think that old prog-rockers got pilloried for this). Interestingly, the Bee Gees didn’t really stick to the approved template – perhaps that’s why they are considered the Disco kings?

Secondly, it is surprising how bare the music now seems without drum machines and computers filling in every nano-second with machine gun precise, mind numbing polyrhythms. With just a real live drummer and bass player the rhythm sections of these 30-year-old recordings sound stark and well, human. I reckon that the first wave of ‘band based’ Disco came a cropper at about the time that drum machines and sequencers appeared – about the mid eighties and by, say, 1988 when the Rave culture took hold, Disco was dead.

Would I like it back? Well, no. But on the other hand, it was instructive to hear ‘Groovejet’ by Spiller, released in about 2000 well after the demise of 1970s Disco, included at the end of the programme and guess what? Chink-a-chink rhythm guitar and hum-a-long bass lines!

At least it made a change from the sort of technology-produced ‘dance’ music we are now subjected to. Perhaps I’ve gone into nostalgia mode over real drummers. Now, where did I put that silver jumpsuit?