Noel Gallagher's High Flying Birds

So finally the Brothers Grimm have gone head to head.  Ever since Noel flounced out of Oasis we have been waiting for this moment.  Liam got his shot in first with Beady Eye’s ‘Different Gear, Still Speeding’ released earlier this year and now we have brother Noel’s offering, ‘Noel Gallagher’s High Flying Birds’.  So now we have both to compare and contrast, how do they fair?

First up, let me say how respectful Liam has been in gathering together the remnants of Oasis and rising from the ashes in a different guise, that of Beady Eye.  It would have been all too easy to carry on using the Oasis brand with all the global goodwill that entailed.  Lesser persons would have done just that but a clean break, at least in name, has opened a new chapter and avoided a whole heap of prolonged legal grief.  Unfortunately, it hasn’t quite worked out to plan as DGSS is dangerously close to being just what they were trying to avoid, the reheated leftovers of a once-great band (at least for a couple of albums, anyway).

I’m afraid that despite one or two decent moments, I can’t really get on with DGSS and find it rather insipid.  Overall, it all sounds a bit tired and a tad dated.  Whilst the songs are entering new territory, the sound of the band is, well, a bit Oasis-like and not being a huge fan, I’ve had enough of them now.  I need something different.  Perhaps Liam would’ve been better off gathering some fresh talent around him?

Which, of course, is what Noel has done.  OK, so most of them are old friends, but at least they are not Oasis.  Noel has the opposite problem in that although his band doesn’t sound too much like Oasis, his songs still do.  I suppose he can’t really help that but then when Paul Weller left The Jam, his next project, the Style Council sounded nothing like his old band, so it can be done.

Nevertheless, NGHFB does have a bit more verve about it.  There are the classic Gallagher trademarks – the ‘on the one’ up-tempo numbers and the epic ballads but there is a grandeur about it that sets it aside from Liam’s more down to earth rock ‘n’ roll.  It’s as if he was straining to create something worthy to get back at his irksome brother.  In a way, this album reminds me of The Teardrop Explodes’ ‘Wilder’.  It too was Julian Cope’s attempt to broaden his horizon with brass and string arrangements yet still retaining the epic nature of his own song writing.  Cope also was a big believer in the ‘on the one’ backbeat (exhibit A ‘World shut Your Mouth’, m’lud).

Although this probably isn’t it, I feel it in my bones that Noel has one great solo album in him.  There is a sense of development in his song writing that implies different things to come.  Let’s hope he can break a few of his own self-imposed barriers and pull it together in the not too distant future.

In conclusion, neither DGSS nor NGHFB is a classic but I’m hovering in the Noel camp for the time being.

Imelda May and the Curse of Rockabilly

For someone who has spent a lifetime in the grip of rock ‘n’ pop, you’d think that I would know something about its origins, wouldn’t you?  But shamefully the answer is more a ‘sort of’ than a ‘yes’.  I suppose the problem has been that my assimilation of knowledge has been via first hand experience rather than vicarious study and that I have basically winged it by living through its twists and turns.

So when it comes to a subject such as Rockabilly, I still find it hard to know whether it is angel or devil.  What I do know is that it is the earliest form of rock ‘n’ roll, emerging in the early 1950s from a primeval stew of Blues and Hillbilly (Country) and carried into the public ear by the likes of Carl Perkins and Elvis but as a style I’ve never really had much truck with it.

I can almost pin down exactly when it swung into the ‘devil’ category and that was in the early 1980s when the Rockabilly Revival stormed the charts in the form of The Stray Cats and numerous imitators and evolved into the dreaded Shakin’ Stevens.  Need I say more?  I hated both of them with a vengeance and vowed that Rockabilly or anything even vaguely resembling it would be banished from my collection for all eternity.

However, the door was edged open again in 1992 when Morrissey’s ‘Your Arsenal’ was released.  Subsequent to The Smiths’ breakup, Morrissey had offered up 2 solo efforts in ‘Viva Hate’ and ‘Kill Uncle’ but the quality was on the wane and the critics were circling.  Luckily for him, ex-Bowie guitarist Mick Ronson took on production duties for ‘Your Arsenal’ and pushed Morrissey’s style into Glam and *gulp*…Rockabilly.  And blow me down, it worked and it worked well.  Somehow, Morrissey’s ultra-modern muse was enhanced by the muscle of the oldest form of rock known to man and the Devil-Angel-ometer began to waver alarmingly.

Fastforward to 2008 and Dublin born Imelda May and her suitably be-quiffed band releases ‘Love Tattoo’ followed in 2010 by ‘Mayhem’ and the meter is registering ‘Angel’ for the first time.  There is something about her take on the form that is irresistible, especially her version of the Northern soul classic, ‘Tainted Love’.  So am I a convert?  Well…up to a point.  Whilst I like much of what Imelda does, there is a limit and I still find myself cherry-picking tracks from her albums.  It goes without saying that I’d still barricade the door if Shaky or The Stray Cats came a-calling.  Everything in moderation, I say.

Reflections

I have made an amazing discovery.  It is something that pertains to a song that I have known since its release in 1967 yet has only just revealed itself to me via the almost inevitable service of YouTube.  When I tell you what it is, you’re probably going to say, ‘Oh, that old thing…didn’t you know?’ but then I’m always the last to pick up on most things.

Anyway, the year of release - 1967 - will give you a clue as to what sort of song it is.  The Summer of Love was the height of Psychedelia and anyone who was anyone was experimenting with studio weirdness following The Beatles’ lead.  Most of the experimenters were taken from the growing ‘albums-only’ underground which would reveal itself as progressive rock in the 1968/69 period so it was a bit of a shock to find that the voice of Young America, Tamla Motown, a label carefully geared towards the commercial singles market, was also a willing participant.  There were several ‘experimental’ singles released by Motown during this period, mainly by the more progressive elements such as The Temptations, but the one I am referring to here is ‘Reflections’ by Diana Ross and the Supremes.

Written and produced, as always, by the Holland-Dozier-Holland team, ‘Reflections’ is one of my favourite Supremes hits.  It has all the usual hallmarks of a great H-D-H song with Ross’s breathy vocal carrying a compelling melody over a classic Funk Brothers backing track (with, unless I am mistaken, a signature slithery bass line from James Jameson).  But it is the psychedelic extras that are most interesting – the signal oscillators over the intro and verses and the strangely reverberated tambourine being just two devices on show.

And now we get to it, the bit that has surprised me over 40 years later and it is this: the main rhythm is carried by, of all things, an accordion!  I mean, who knew?  I didn’t expect to find an accordion in pop music at all let alone in a Motown single.  But then the Summer of Love opened the door to all sorts of exotic instruments, many from India, so I suppose it was inevitable that that most Victorian of instruments would turn up eventually.  Just not in Detroit.

Well damn me, if the video I based this post on hasn't been blocked over at YouTube.  You'll just have to listen to Reflections and try to pick out that accordian for yourself!

Terminator: The Sarah Connor Chronicles

For my at-home film fest this year, I watched the entire second season (22 episodes) of Terminator: The Sarah Connor Chronicles.  This was originally broadcast on Satellite TV here in the UK a few years back so as the only person on this isle that does not have a Satellite Dish disfiguring their house, it passed me by.  Nevertheless, watching it years later on DVD has its benefits, one of which goes, ‘OK - I’ll watch just ONE more episode…’

…Six episodes later I rise bleary-eyed from the sofa to get a coffee fix.  Yes, it is that addictive.  The plot has more twists than the Hampton Court Maze and the acting is superb – especially from Summer Glau as Cameron the Terminator whose unnervingly spooky not-quite-human mannerisms are very unsettling.  All in all, it is cracking stuff, which means of course that those haters of quality TV, the Fox Corporation, immediately cancelled it.

It has become abundantly clear that the business model that is Television is now completely broken.  Programming exists merely to ensure that as many viewers as possible are available to watch adverts.  Advertising is now the real reason why television exists, with the programmes between them being a subservient lure.  Quality programmes that attract an enthusiastic core following are not, by their very nature, a strong enough enticement to casual ‘viewers’ (i.e. those that merely have the set on while doing something else) to satisfy the real paymasters; the advertisers.

Science fiction and fantasy programmes seem to suffer particularly badly from the core viewer syndrome.  Look at the number given the chop (programmes, not viewers) prematurely, Buffy (although reprieved after season 5), Angel, Firefly, Dollhouse, Tru Calling, and now The Sarah Connor Chronicles.  The real reason these projects were canned was because their viewers don’t watch adverts like good little consumers.  We actually prefer good drama.  Shame on us.

Which brings me to another subject: Torchwood.  What the hell has happened to it?  The current series, ‘Miracle Day’ sucks.  After three episodes of a 10 episode run, I’m bored out of my brain.  Seems the mix of UK and US locations/writing/actors just doesn’t work.  The best of US produced Sci-Fi/Fantasy (see all those in the canned list above) are fabulous pieces of TV.  Ditto, the UK series, Dr Who being the prime example, which are also magnificent.  But try and make a hybrid and what do you get?  Torchwood.  I may not stay the course.  I’m going to cancel it before someone else does for the first time ever.  Yay me!

Marina and the Diamonds - Fear and Loathing

Some time back in the mists of blogdom I raved about Greek Welshwoman, Marina and the Diamonds.  Time has passed since her last release, ‘The Family Jewels’ and she has been a bit quiet of late.  Well, she’s back and if the phrase, ‘A game of two halves’ was invented for anything, it was made to apply to her new material – an album track labelled ‘Part 1: Fear and Loathing’ and a single release, ‘Part 2: Radioactive’.  Videos for both have just been launched on her YouTube site.

It appears that they are supposed to be linked but I’m buggered if I can see what the connection is.  ‘Part 1: Fear and Loathing’ is by far the better of the two.  It is a smouldering ballad wallowing in a massively atmospheric backdrop, the type of which she seems more than adept at writing.  This sort of tuneful yet slightly dark song suits her unique vocal delivery down to the ground.  It makes you realise that there is no one around currently who sounds exactly like her or has her peculiar accent.  I find it very endearing, but that’s probably just me.

It takes a few listens to get all the hooks but this in itself is a plus as there is nothing worse than a song that you can sing on first hearing – there is nothing left to know.  If this is a taste of what’s to come on the new album then bring it on.

Unfortunately, ‘Part 2: Radioactive’ rather lets the side down.  The polar opposite of Part 1, it is the type of up-tempo electro-pop that everyone and his dog is putting out at the moment from Katy Perry to Jessie J and it just doesn’t stand out from the crowd.  In fact, I struggle to stick with it all the way through which is a dreadful shame as these types of songs on her debut CD all had tremendously hook laden tunes but this is just not strong enough.  I just hope that this one is not representative.

Either way, I shall await the new material, to be entitled, ‘Electra Heart’, with much agog-ness as ‘The Family Jewels’ was close to being my Album of the Year, 2010.  Second albums are always a bit of a decider for me as to whether I stick with them or not so there is much resting on Ms Diamandis.  I hope she pulls it off again, as I consider her a rare talent.

Garbage - Best Live Act?

Isn’t it funny how some things just sort of creep up on you with all the impetus of an unstoppable, developing realisation.  Since the burgeoning force that is YouTube hit our computer screens I’ve been diving in and out watching clips of favourite bands like there’s no tomorrow, but when it comes to a bit of live rock ‘n’ roll, the type where you can turn the volume up to 11 and shut the world out for four of five minutes, I find that I am returning more and more to the live performances of one band; Garbage.

It begs the question; are they one of the world’s greatest live bands?  I think they probably are, but I doubt they would feature on any ad hoc list should a consensus of the great general public be taken.  I’ve not turned up one bad performance from Shirley and the Boys.  I’ve said before that I consider Shirley Manson one of the best live singers in rock and until I hear a really bad performance from her, I shall stick to this view.  The band members are no slouches either.

The band is a classic example of a deliberate sleight of hand.  Ask yourself: what do a bunch of session musicians, that is, Butch Vid (drums), Steve Marker (guitar) and Duke Erickson (guitar, keyboards & bass) do when they want to form a band and the following is apparent?

1. They are slightly over the hill age-wise to be pop stars
2. Let’s be kind, they are photo-genically challenged, and
3. They have a need to put out some killer material but can’t sing for toffee

Answer: they employ a fiery, feisty extremely photogenic Scottish singer, 10 years younger than them, to hide behind, to divert the attention of the paying public and of course, to sing.  The thing is, the guys are extremely competent, experienced rock musicians and adding Ms Manson has just put a cherry on an already excellent cake.

I bought their first two albums, ‘Garbage’ and ‘Version 2.0’ in the mid-90s and played them to death but curiously never bought their later work but that has now changed with the purchase of ‘Bleed Like Me’ from 2005.  It’s a cracker – what took me so long?  It may almost be their best album.

Here’s a track from the album, ‘Why Do You Love Me’, performed at Glastonbury 2005.  This whole set is worth seeking out on YouTube as the band is on top form.  If anyone knows how Shirley can manage to keep singing without being out of breath after all that running around, please let me know.  Perhaps she IS a cyborg after all…