Fair Enough...

Just returned from a record fair at the NIA in Brum and it got me all misty eyed over ye olde days. Not too long ago record fairs were full of people drooling at the mouth at the prospect of some rare Right Said Fred 12 inch promo. They would happily fork out big money for that A-Ha picture disc and give their right arm for the limited edition Deacon Blue tour EP. Okay, I jest slightly, but if you want a snapshot of the state of the music industry (from a commercial rather than artistic perspective) just take a trip to your local record fair (assuming there is one) or HMV/Virgin. HMV seem to be on some kind of suicide mission. Faced with rapidly dwindling sales (heavy competition from the supermarkets as well as downloading) they've come up with a great plan to aid recovery...they're going to put up their prices. Nice one fellas.

Anyway, back to record fairs. Picked up some real bargains (and I'm a bastard for a bargain). Brand new albums from The Bird and the Bee, Shockrock (Wall of Sound - stuff like CSS, Infadels, The Gossip), The Ripps, The Fall, The Little Ones, Mutemath and an EP by The Destroyers (a Birmingham 14 piece Eastern European influenced band much beloved by myself and fellow blogger Russ L)...all 50p each. The new Gruff Rhys Album for a mere £3 and a 3 CD Jah Wobble compilation for a fiver. Some dude was selling off a load of stuff from a old recording studio and had a pile of signed records from such household (admittedly an old household) names as Madness, Depeche Mode (including Vince Clark), The Jam, Human League, The Police etc for £3 a pop. Silly money. Of course, that's all this stuff is worth in these days of 'digital'. In fact most of the dealers (generally older folk nursing thermos flasks and each other)looked on the edge of topping themselves. It's all a bit sad really. I'm the first to admit that the world of the web has opened up more genres of music than I can shake a (glow) stick at, but there was something about the old fashioned way of doing things that, I don't know, just made the whole music thing that bit extra special (although anyone who would want to give up a world in which you can listen to pretty much anything ever recorded at the click of a mouse to return to the days when there was only vinyl and 'cassette' would have to be barking). For people of a certain age the question 'what was the first record you bought?' transports you magically back to the time you first parted with a huge sum of money for a small bit of plastic that somehow contained music (I think mine was Golden Brown by The Stranglers in 1981...I was very young then...obviously). Will people in the future remember their first download? I doubt it. The music business in general today now seems to be a lot more dispsable than it ever was too. There's little room for artists to grow and develop. The media isn't helping. NME in particular seems hell bent on shoving as many new bands into each issue as they can and hoping that one or two will stick. I predict that before too much longer we'll have a daily music chart, bands will get signed and dropped in the space of a few hours and you'll get paid to take stuff away from record fairs. HMV will obviously start offering mortgages so you can afford their CD's. Hmmmm...if it can happen, it will happen.

No point to this post really, just felt like waffling for a bit on a Sunday afternoon. Thanks for sticking with it...if you still are...if you aren't you smell of wee. Ha! Anyone who wants to show off how cool their first record was is free to post it in the comment bit...

Pull Tiger Tail / Ali Love / I Say Marvin Birmingham Barfly Tuesday 13th March 2007

Part of the MySpace Bleep Bleep Tour (answers on a postcard please...) currently calling at a venue near you...unless you live in the Outer Hebrides...the night was kicked off in fine, enthusiastic style by Cornish pop pixies I Say Marvin. They were called Marvin and the Gayes (wonder why they changed their name?) and have been getting some pretty impressive press over the last 12 months, in particular from Messrs Lowe and Lamacq. I can see the appeal. A bit new ravey in places but with some chunky powerpop guitar chords thrown into the mix. They have a song about that whale that got lost, swam up the Thames and was then hauled aboard a boat before being beemed across the world's media...Jade Goody I think it's name was...anyway, it's got a nice little baroque-ish piano bit in it which says to me that they might go off into all sorts of strange directions given the chance. And lo - I hereby give them that chance.

Ali Love treated us to his own particular brand of white boy funk next. Fans of new rave anthem 'Lost in the K hole' will probably be surprised that much of his other stuff is more funk-like. I was. Vincent Brain reminded me a little of Syd Barret...probably 'cos it rhymes with Arnold Lane. Then you've got a song like Post Modern Blues...more Dylan-ish. Hmmmm...I'm guessin that Mr Love has been in a few bands before and is bringing his various musical influences together in one neat package. I quite enjoyed it all too, although I think it confused some of the audience who were possibly expecting full on 'K-hole' action (that sounds like a particularly disturbing kind of film genre doesn't it?).

Headliners Pull Tiger Tail generously dished out My Space glow sticks, and yes, I too waved one in the air. I apologise to no one. I can new rave like the best of 'em...ahem. In my humble opinion they've produced some of the best tunes of the last few months and have the kind of sound that could well find favour in the cooler parts of the US of A/B or C. Let's Lightning has shades of Killers Mk1 (before they discovered country) whilst Mr 100 Percent has that great chugging Supergrass guitar bit followed by some lush soaring vocals...and stuttery bits. Animator was probably the highlight of the set for me. Just that bit more urgent than the recorded version, with added grrrrrrrrrr. Maybe someone was pulling the tiger's tail? Anyway, this makes it to my list of great gigs of the year...which is already getting a bit out of hand. Damn it. Where are all the shit bands? People are going to think I like everything. I wonder if James Blunt is touring? That should do it...

Fillmore Gears / Prospect Lane / Smart Soutane / A chappie with a beard who didn't tell us his name Bar Academy Friday 9th March 2007

Slightly hungover and in the grip of a nasty attack of the plague I made my way to the Bar Academy to catch one of the weekly Rise (up and coming local bands) events. Doors were due to open at 8pm so, being the good little boy that I am, I duly arrived on time. There were a few others loitering around when we got there. The time ticked by...members of various bands came out and went back in again...and the time ticked by...years passed, centuries even...mankind evolved and became one giant brain...still the doors remained closed. I exagerate (slightly), it appears that the 'doorman' hadn't turned up and they couldn't open the doors until he did. In my weakened state I decided to go home and eat a kebab instead. I even got as far as the bus stop but then decided that wussing out just 'cos I felt like death wasn't very rock and/or roll. So I returned to the music hungry masses waiting outside. By the time I got back someone had decided to pretend to be a doorman and we were all allowed in. Hurrah!

As the entire gig was now running a trifle late (so late in fact that the custard on top of the trifle had started to go off...) the first artist was already on when we got upstairs. Very good he was too. Male singer songwriter with a really strong voice playing slightly bluesy material. Pity most of the audience were ignoring him. Their loss. I'm afraid I didn't get his name (or maybe he didn't want us to know...perhaps he is a spy in real life...that's it...yes...a singer songwriter spy who woos his lades with his lush voice and mysterious beard). Seriously though I really enjoyed his set so if you know who he is/was let me know so I can link him (unless he really is a spy...).

Next up were Smart Soutane. A new name to me. They've got some cracking tunes but I think they were having some trouble with the monitors tonight 'cos the vocals were a little off in places (it can't have helped rushing on just 2 seconds after Mr Mysterious had finished). Musically the set was very strong, a bit Housemartin-y in places, a little alt-country-ish in others.

Prospect Lane were next. Regular readers will know that I rated them just a few weeks ago when they supported Ghosts and they were just as good this time round. They're able to carry off quite a wide range of different material really well. From the slightly Moddish / Oi! 'Fickle' to the more moody stuff like Ghosts (the track this time, not the band...reminds me a bit of Geneva...the 90's band, not the place...confused yet?).

Headliners Fillmore Gears appear to be doing more gigs than I am at then moment (and all I have to do is stand there tapping my foot like a middle aged lothario). Godammit they put on a damn fine display of classic, rifftastic blues rock. Lead Gear Pete even sounded a little (dare I say it...oh what the hell) like a younger Sir Robert Of Plantingham. Damn fine guitar from Mak, solid bass and drumming from Dave and Andy...if you're looking for an ace band to add to the list of great current Birmingham rock acts (I'm thinking acts like the Big Bang and Coptor here), Fillmore Gears are worthy peers (no, not piers, you're just being silly again). With the success of a band like Wolfmother, Fillmore Gears have a really good chance of making it. Constant gigging is the secret with music like this. And that's just what they're doing. The reputation will spread, the band will gel as tight as a gnats chuff (?) and with a bit of luck Birmingham will have some new Rock Gods. Hell yeah!

Gruff Rhys / Voice of the Seven Woods / 9 Bach Glee Club, Birmingham Tuesday 6th March 2007

For once we managed to get a front row seat at the Glee (a major plus point unless you have no legs as the seats are DVT-inducingly close to each other) - hurrah! This joy was further compounded by the haunting beauty of 9 Bach. There are normally loads of them but tonight we had the pleasure of just 2 of the band (2 Bach you could say...but then you would wouldn't you?). Sung entirely in Welsh, with a brief summary of the key points before each track, it reminded me of just what a beautiful, mysterious kind of language it is. The female vocalist had one of those voices that you could just dive into and splash about in (oh dear...I'm off again). It actually made me want to learn the language just so I could enjoy the songs even more...but then, in a strange sort of way, not being able to understand the words never really bothers me that much. A well sung song communicates on a different level n'est pas?

Voice of the Seven Woods was on next. Strong shades of John Martyn, perhaps even a harder Nick Drake in places. Such was the speed of his fingers across the geeetar that his hand resembled a spider on acid. Yes. Acid I tells ye.

Someone else who might possibly be familar with a range of chemicals (endorsed by spiders or not) is Mr Gruff Rhys. Here to promote Candylion (a simply brilliant album) he had a whole table full of toys and musical instruments which he played, sampled, picked up and put down again...all whilst singing in that unique voice of his. Photos were banned so you'll have to imagine the scene, but he resembled a slightly stoned office worker whiling away a Friday afternoon. He makes it all look so easy and laid back, but bloody entertaining at the same time...I could just watch and listen for days. Talking of which the highlight for me was the final track of the night, Skylon, a 14 or so minute epic (even longer tonight I think) about a bomb on a plane. It's the sort of track that just goes round and round, on and on...a tantric track in fact (with a Sting in the tail - boom boom!). Sublime and surreal at the same time. Gruff Rhys then - super and furry (well, he's got a bit of a beard and shaggy hair...you can see where I'm going...mad possibly?).

Gallows / The Scare Birmingham Barfly Sunday 4th March 2007

Hardcore punk. Two words that strike fear into the Daily Mail readers across the land. I, on the other hand, read Ferret Felchers Monthly and have no such prejudices. Another Sunday gig (damn, damn, damn...) but, like all the rest, this one was well worth prising my lazy ass off the sofa for. First up were Aussie locals The Scare (they're from Oz but now live in Birmingham...the mad fools) who delivered a punk blues kick to the groin and much needed enrichment to the soul. Kiss Reid (Kiss? Really?), lead vocal Scare delivers a powerful mix of Jagger at his best and a possessed preacherman, strutting the stage with aplomb (ha...first ouevre, now aplomb! There is such a word isn't there...yes...well if not, there is now). Reminded me of (ciminally underrated Birmingham legends) Coptor in places. This is a very good thing.

Headliners, Gallows, have already attracted a fair bit of press for their incendiary live shows...but would they live up to the hype? Well, in a word, YES. I'm sure I saw lead vocalist Frank paw the ground like a bull before the set started, a clear indication of things to come. And come they did. On spotting the metal barriers designed to keep us, the crowd, off the stage he shouted "I'm not fucking having this" and leapt over them. A circle gathered around the new stage on the 'dancefloor' and he launched into one of the most powerful sets I've ever witnessed. Describing it is difficult, but I imagine it's a little like being caught up inside a tropical storm. He 'owned' every inch of the venue, whilst still delivering vocals that you could actually understand (not a prerequisite of a good punk gig, but impressive none the less). The songs have a lot more to them than first meets the ear too and, whilst they're 'hardcore' to the bone, there's a strong enough melody to win over a much wider audience. Suffice to say I moshed to the best of my ability (despite promising myself to remain a suitable distance from the madness) and had a bloody fantastic time (as did Mrs Baron which, considering she hated Selfish Cunt - a similarly provocative performer, was a major surprise). Frank, by the way, is a bloody lovely bloke too. Intelligent, passionate and as REAL as they get. Full marks for the NIN / Trent Reznor jokes (you had to be there) and for gobbing on the ceiling then catching it back in his mouth as it did what gravity dictates. What a night. Legends in the making.

Los Campesinos! / Sky Larkin / Johnny Foreigner / Kate Goes Birmingham Barfly 2nd March 2007

Gig number 11 (or 12...hell I'm losing count already) saw another foursome bill (see what I did there, four bands...foursome...yep...) starting with Kate Goes. For the record I love Kate Goes. Seriously. I defy anyone to watch them and not feel happier about being alive. Heartbeat...as I've written on more than one occasion is a classic song...up there with whatever you want to put it up there with, Boom Shadilak is genius (kind of Birmingham Hip Hop in places)...goddamit there's just something so right about everything they do. They seem like the nicest people on earth too. Kate Thompson veers between child like innocence and knowing all too much about the human condition. Vocally too she's capable of hard ass screams and soft, sweet melodies (brilliantly supported by Beth, Bird, Joe and Susie). In fact. and I'm going out on a bit of a limb here, if Syd Barrett was a girl in 2007 he would be Kate Thompson. I urge you all to support this band 100%. THEY WILL MAKE YOUR LIFE BETTER.

Next up were Johnny Foreigner (also from sunny Birmingham...like Kate Goes...ha...take that Manchester...second city my arse) who were super, smashing and, indeed, great. Lead male Johnny did lots of thrashing around and reminded me (vocally speaking anyway) of the chappie out of Bromheads Jacket. Musically they're all spiky/punky bits with punchy chords and rather impresive drumming from Johnny drummer. Female Johnny added an ace counterpoint (yes, that's counterpoint...I think it means she made a good contrast with the male vocals....but then I could be wrong...it could be something to do with industrial steamcleaning) too. All in all a mightily impressive set from yet another great local band.

Not quite so local, but also ace, were Sky Larkin. Kind of like Pattie Smith on the 'erb or Sophie Ellis Bextor (when she was in The Audience...great band...what happened there?) crossed with early Orange Juice (the band...not the vitamin C orientated beverage). Keepsakes is a plinky plonky (second use of the phrase plinky plonky in this review...) organ driven humdinger (god, where did that come from?) and Molten hits a really great beat mid song before breaking into an indieish thrash.

Headliners Los Campesinos! are, lest you forget, one of my tips for the top in 2007 and tonight they fulfilled their promise by the bucket load. They're a bit like having a dozen cool mates come round your house, turn off your CD player (or MP3 if you're down with 'da yoot') screaming "we can do better than that" and then proving that they can by delivering tune after tune of uplifting, harmony stuffed anthems. If you love Arcade Fire but wish they had a bit more oooomph Los Campesinos! are the band you've been waiting for. Or, as the band put it on their My Space site, it's just pop music and, when it's this great, that's a good enough description for me. The fact that Mrs Baron and I ended the evening by beating each other round the head with Los Campesinos! balloons from the sheer glee of it all (the Strongbow had nothing to do with it) says a lot for how good this evening really was.

One has to question why people are wiling to fork out £800 for a Take That ticket when you can get to see four ace bands for a fiver but there we are. So far this year I have been blown away by how many excellent bands there are out there. No one has pissed me off with a half arsed set, the standard of 'muscianship' has been pretty brilliant and the sort of bills that local promoters are putting on are hard to fault. Sunday evening sees me risking my life, sanity and lower limbs at a gig by new punk sensations Gallows. Wish me luck...

Tilly & The Wall / The Little Ones / The Displacements Birmingham Bar Academy 25th February 2007

Aaaah music, sweet music. Does it get much better than this? Probably not. The Displacements are a fine chirpy pop band from Leicester with a distinctly '60's vibe, not unlike scouse pop pirates Coral in some ways or the Arctic Monkeys in other ways. Anyways...they played a thumpin' set that points to a group with more talent than most 'first on the billers' that I've seen for a while. Not unique, but cracking fun.

The Little Ones were up next. I'd heard a couple of their tracks recently and they've got a fair bit of press from the En Em Ee...do they deserve the hype? Oh yes. Oozing with California sunshine (but with a surprisingly harder live edge and slightly dark underbelly) they've got touches of Arcade Fire and the Beach Boys about them but with a style of of their own. Drummer Greg had just split up with his girlfriend so the rest of the band spent the entire set ripping the piss out of him...which was a lot funnier than it sounds (Heartless? Me? You betcha!). One of the musical highlights of the year so far...

They were closely followed by an even greater musical highlight of this or any year for that matter - the truly unique (yes UNIQUE) Tilly & the Wall. I'll be brief (that makes a change eh?) but basically they're a kind of tap (as in tap dance) punky, folky, country...indie...dancey...oh to hell with it just take a listen (and a look) and you might get some idea of what I blabbering on about. Reckless is one of my favourite tracks ever...that's ever...I don't know why it's so great...it just sort of makes you feel oooohhh. With a dab of ahhhh and a touch of hmmmmm. I'm aware that this is digenerating in into the worst review of a fabulous gig ever so I'll just say this. Tilly & the Wall are one of the finest live bands in the world. Jamie W almost literally danced herself to death and the whole band kept a sold out audience baying for more like few other acts I've ever witnessed. If Tilly and the Wall were a religion I'd become a Tilly monk in a flash. A tap dancing monk with blonde hair and frilly skirts. So there.

Fin.

PS: God they were great.

PPS: No, really...

Forward Russia / Men Women & Children / and a band I missed 'cos Birmingham City Council are digging up roads... Birmingham Academy 2 Saturday 24th

As you can see from the above we missed practically all of the set from the first band on the bill. Despite leaving home a full hour before they were due on stage for some reason the good folk in charge of the roads decided to shut the main route into Birmingham to dig it up. Why? God knows. I walk past the bit of road in question every day and there was bugger all wrong with it. Judging by the six 'workmen' standing around watching one guy dig it up, they felt the same way. Still, it cuts down the unemployment figures I guess and gives me something to rant about. Whilst I'm on a roll can people stop trying to photograph/video every second of every show by shoving their 'phone/camera in front of my face? I'm aware of the old 'pot calling the kettle black' scenario here as I take some shots at gigs, but not 25,000 which, judging by the amount of raised hands in front of my face is the average number taken by some 'folk'. Aside from annoying the crap out of me and many others, they can't be seeing any of the freakin' show. Maybe they should be banned altogether (the cameras, not the people...then again...). Get a decent photographer in, let them take the shots, then offer them as downloads to the people who went to the gig.

Anyway, to business. Like one night stands (I've been married for some time, so this is metaphorical one night stand okay?) should you revisit a band that you really fell for the first time you saw them or just leave it as a beautiful memory? This was the dilemma that I was faced with when it came to this gig. I ummed and ahhed over getting tickets for weeks then took the plunge just before it sold out. Am I glad? Yes and no (my membership card for The International Fence Sitters Society should be through any day now). On the one hand the band would have found it impossible to blow me away to the extent that they did the first time round. A combination of a poorer venue (the Academy 2 is far less suited to the full on Men Women & Children experience than the more atmospheric Barfly), getting their too late to bag a decent spot and my general annoyance at the whole human race conspired to put me in a less than jovial mood. But, even given all this, they didn't fail to lift my flagging spirits. Singer TJ just won't let an audience get away with apathy and he is one of the few people who can actually get me to put my hands in the air (like I just don't care). Bouncing around like a mad thing didn't seem to be the order of the day with the rest of the crowd, so I did my patented left foot/right foot bounce kind of thing that passes for dancing in my eyes (Napoleon Dynamite I ain't). Too camp for a rock audience and too rock for the dance posse they do seem a little stuck in the middle but I love em (even if they didn't get back to me on the interview I wanted to do with them...I guess they read the site and, quite rightly, decided I was nuts...mwhahahahahahah!!!!).

Which leads us neatly onto Forward Russia!!?%*$ with their punctuation marks (and vocals) all over the shop. They're clearly building up a sizeable and loyal following and have a distinctive sound / style all of their own. Like the last time I saw them their lead singer, Tom, is still trying to throttle himself with his microphone lead (maybe he too spent 45 minutes on a bus trying to get to the frickin' venue?) but tonight we were also treated to a few new songs which, breaking with tradition, actually have titles rather than numbers (new single Don't be a Doctor starts off a bit Coldplay-ish before hitting more familiar territory). 12 is still a brilliant post punk classic and the whole set throbbed with the kind of manic schizoid energy that the band represents. As far as I could tell the audience were divided into a hardcore of real fans who bounced along at the front in a sweat and a bunch of more bemused onlookers who were a bit freaked by it all. A bit like life really...there you go, that's Foward Russia in a snappy soundbite. Did I like it? Yes, I have to say that I did. Their range of material isn't extensive but, for pure adrenaline driven entertainment Forward Russia are real Tsars (eh? eh? come on now...that's what keeps you coming back for more...who needs the NME?).

Tonight I am revisiting another past lover (again, metaphorically speaking) Tilly and the Wall together with Californian love bugs The Little Ones. This time I'm walking though...no doubt Birmingham City Council have decided to shut every route into town by now and divert all buses via Gdansk while a dozen men in yellow day glo jackets stare at some bloke with a shovel...

Mika / Leon Jean Marie Birmingham Barfly Friday 23rd February 2007

I've not been to a full on sold out gig for a while. This was. It was all a bit strange, in particular the audience, one of the oddest crowds I've ever seen at a gig. It's clear that Mika has done that rare thing and become a hit with everyone from grannies to gay young things - a bit like Scissor Sisters did. For once I actually felt quite young...anyway, enough of my musings on audiences, that's got me into trouble on more than one occasion.

Leon Jean-Marie was the support and delivered a slew of funky, Brit soul tracks with a healthy dose of Beck thrown in for good measure. Scratch (out on March 12th fact fans...I know 'cos I'm looking at a sticker thrust into my hands by an enthusiastic 'street team' type person) was probably the highlight, but the whole set went down well with the crowd. He's being pitched as a kind of Prince for the next generation (as opposed to the new power generation...that's a whole different raspberry beret) and I'd agree that he's a lighter version of his purpleness. I quite enjoyed it all, don't see as much 'urban' music as I should really, but then (to my knowledge)there's not a huge amount on locally.

Mika. Some love him, some hate him. Personally I see him as a bit of a guilty pleasure. Like rum truffles or Weston's Old Rosie. It was a slick old show for sure. Pretty much note perfect, bags of energy, a winning smile...audience clap alongs (even though a few of them needed oxygen and a quick rub down with sponge afterwards). The songs are all as instantly hummable as swarm of bees on the lash and, after five or six weeks at number one, he's set to be the most successful artist of 2007. By a mile. He played one slower number during the set which perhaps hints at more torch song sort of future but, for now, he is the new king of Disco Pop, Freddie Mika-ry if you will (now I thought that was quite clever...). He's down to play Glasto this year and I can think of few things quite as lovely as watching the sun set over the Pyramid Stage with a pint of red wine whilst listening to Love Today. Like I say...guilty pleasures...

P.S: Before anybody points it out the photo wasn't taken last night it was nicked from the web...my mighty 3 megapixel camera just couldn't hack it...all I got were shots of some birds head.

Union of Knives / 35 Seconds / Grandscope / Selotape Birmingham Barfly 22nd February 2007

Union Of Knives...cutting it

The first of four gigs on the bounce. Going Deaf For Four Days anyone (apologies to Pete Ashton for trying to rehash his idea)? No? Just me then. Ok.

Openers Selotape are two bands for the price of one in some ways with their dual vocalists sharing duties, one taking the faster, more discordant guitar pieces and the other the slightly mellower stuff. It works well and enables the group to tackle a much wider range of songs. All in all a solid set that ended by one of the group taping down random keys on their keyboards before leaving the stage in a haze of noise. Other bands take note - it's not just how you start, it's how you finish.

Grandscope were up next and, despite being around for 10 years, this was the first time I'd seen them. Birmingham has always had a solid fringe of more eclectic bands (Broadcast, Misty's Big Adventure and Kate Goes to name just seven...only joking...four) and Grandscope fall into this rather magical category. Grandscope cite bands like Tortoise and Boards of Canada as an influence and I'd agree that they orbit a similar universe. I'd add a touch of Zappa and some Animal Collective too - like I say, magical stuff. It's difficult to write about music like this without coming across as too muso but (here I go, about to go muso on you) Grandscope create often fairly complex musical soundscapes, with distinct layers, anyone of which could form an interesting path of it's own (what the fuck am I on today? Answers on a copy of Wire magazine please). It's a jazz kind of thing, musical abstract, stuff that you can escape into and proof (as if we true believers needed any) that Birmingham has as much to offer the musical world as any city, anywhere. Check out Sunshine if you want an instant hit or Des 'n' Mel if you don't believe me about the musical soundscape bit. Anyway, I'm waffling. To cut a long review short (please god I hear you cry) I loved Grandscope and certainly won't leave it another 10 years to see them again. I suggest you hunt them out and get a dose of the good stuff.

35 seconds are an equally compelling prospect, but an entirely different vibe altogether. Andrew Hickman's a particularly strong vocalist and the songs were every bit as memorable. Dinosaurs sounds like some great lost early 80's classic (the indie Postcard-y bit, not the New Romantic stuff), Grudge Match is like being beaten round the head with a brick, then a pillow (yes, I've been sniffing magic markers again) and then there's stuff like Youth Club (almost jazz funky in places). Class. Why the fuck aren't they famous yet? Where's their NME spread? Should I start a record label and sign them? Hmm, now there's a thought...anyone know anything about starting a record label?

Unlikely to sign to The Hearing Aid Gramophone Company are Union of Knives who are destined (and I'm fairly sure on this one) to become stadium bestriding behemoths. Yes behemoths. I'm not sure that their excellent debut album does them justice. Live they're a lot fuller and pull off that neat treat that Depeche Mode cracked of melding electro sounds with full on rock. One of them has shaved his head so I also couldn't help thinking of Classix Nouveaux at times (for the record one of the unsung bands of the 80's who featured a certain Sal Solo - bald as a baby's bottom), they did a similar thing. The vocals are quite light, not rocky at all, which makes a nice counterpoint. On tracks like Operated On they almost quite a little choral, before a sledgehammer of guitar and electro noise punches back in. Brilliant, quite brilliant live band that would really benefit from and feed off a massive crowd. I wouldn't be surprised if they soon got just that.

Crass Communication / The Hussy's / Adventure Club Birmingham Barfly Tuesday 13th February 2007

Greetings dear readers to the continuing musical adventures of The Baron. Another gig and another strong line up at The Barfly, kicked off in fine style by Adventure Club. Listening to their My Space page as I type this one finger at a time (yes, I can multi-task) they strike me as one of those bands who often sound better live than on record (or whatever magic puts music on t'web). They reminded me a lot of one of the great 'lost' British bands, XTC, together with a side order of Joe Jackson. As a lover of all things New Wave I was in hog heaven. Lead singer Oliver is an impressive frontman too, plenty of theatrical flourishes that make the difference between an appearance and a performance. I can heartily recommend 'Bored of the Things' as a strong taster of their oeuvre (I've always wanted to use the word 'oeuvre' on this site and now I have it looks a little silly...oeuvre...oeuvre...nope, still silly).

Anyhow, on to (for me) the highlight of the evening and The Hussy's (pictured above). My god they're a damn fine band. I don't think they realise how good they are. Every tune (most of which I'd not heard before) is as catchy as a giant spider's web of pop. You can hear the crowds singing along to tunes like Tiger on the main stage at Glasto. Yes, I do think they're that good. Lead singer Fili has the kind of voice and presence that reminded me a little of Cerys Matthews back in the day, musically they're in the great tradition of 70's and 80's pop...being a bit of a musical oddball I even detected a touch of the Sensational Alex Harvey Band (musical heroes of mine) in there somewhere. I'm not sure how long they've been going for but the whole band is as tight as Bernard Matthews at an Hungarian charity ball. Napoleon Dynamite is probably one of my favourite tracks of the last 12 months and has the kind of cool, cult appeal that has US hit written all over it. Bloody good with a capital B...and L...(and that's good). I'm not sure when an album's due but if you don't buy it I will personally visit you all and shout abuse through your letter box until you capitulate (hmmm...that's nearly as bad as ouevre isn't it?).

Right ho. Final band Crass Communication have set the controls straight for the heart of planet prog (via the stars of Muse Major...I'm sorry, I'll stop now). It's an incredibly ambitious sound to aim for and they pulled it off rather well. They've been playing together for just over a year and I'll be intrigued to see how they develop. Personally I really liked the extended instrumental breaks when the whole band gained more of a jammy (in the sense of the word jam...as a musical thing you understand...nothing to do with fruit and sugar based products) looseness. The end bit was pretty cool too when the whole band swapped instruments. Nice touch. I purchased a CD too - I know, throwing my cash around like there's no tomorrow...speaking of which...

Next week sees an orgy of gigs not seen since the great gig out of 2001. Four to be exact. In four days. Whoops. Expect a flurry of reviews next weekend...or news of my untimely demise.

Let's RRRRRROOOOOOCCCCCCCCCCCKKKKKKKK!

Listen up...

Time once again dear reader for some random musical tip offs and we start with The Little Ones. If you liked The Spinto Band (Lovers Who Uncover makes me want to start singing Oh Mandy) you'll love The Little Ones. Both groups share that kind of wide eyed innocence and youthful lust for life that would even get Thom York breaking into a smirk.

Less smirksome, but no less exciting, I give you The Bird and the Bee. Anyone who names a track Fucking Boyfriend deserves to be heard but the rest of their material is just as good. Kind of '60's in places, Burt Bacherach meets the Carpenters even (I'm a Broken Heart is pure class), it's (un)easy listening for the 21st century.

Next up, Kate Nash. Currently the subject of a 'is she the new Lily Allen...no...Lily Allen's only been here for five minutes...oh bugger...music is moving faster than Jade Goody at a Mela' type debate, in truth Kate is painting from a far more diverse box of colours than the lovely Miss A. Caroline's a Victim (electrifying shouty stuff) is a complete contrast to the more Regina Spectorish moments like on Merry Happy for example. Ignore the hype and just enjoy.

Finally, Pull Tiger Tail. Vocally the result of a bizarre scientific cloning experiment between Elvis Costello and Julian Cope and musically a New Wave lovers dream I get the feeling that this is a band that more people have read about than heard...but no more! Mr 100% is like Supergrass' Mansize Rooster with a with a firework up it's arse...(NB: sticking explosives up your rectum -or any other orifice for that matter - is not to be recommended) and is a complete treat for the ears, feet and spleen (poor spleen...it hardly ever gets much coverage...let's hear it for the spleen, come on let's give the spleen a hand...hmmm, there's a song in there somewhere).

All of the above are about to embark on tours of the UK (The Little Ones backing Tilly and the Wall at the Bar Academy, The Bird and the Bee and Kate Nash at Wolverhampton somewhere - bah humbug - and Pull Tiger Tail at the Barfly). Be there or be...oh fuck it...just be there.

Foals / The Ripps / Linear / Mary Luxembourg and the Black Bats Sunflower Lounge, Birmingham

£4, 4 bands. Sunflower Lounge (or whoever organised this…This is Tommorrow…right…maximum respect) you are indeed spoiling us in a manner not seen since Mr Ferrero got it on with Mr Rocher. Funny venue the Sunflower Lounge. Very lounge like…which makes negotiating your way to the bar/loo a matter of politely squishing past people in a way not normally experienced at your average gig…not unpleasant though. Anyway, I’m drifting again.

Bands with long names No1 – Mary Luxembourg and the Black Bats reminded me a little of Donna and the Kebabs aka Honey Bane (no, I’m not making this up…they were a real band…late 70’s). Anyhow they released a great track called You Can Be You in 1978, a meaty slab of raw girl punk that you hardly ever hear these days. ML and the BB have similar raw energy, very DIY (they were selling cassettes…oh yes) and what I would call proper punk…not posturing, not pretending, but R – E – A – L. Liked them a lot. As I did Linear. It strikes me that Coventry is producing some pretty great bands at the moment (see also The Ripps - coming soon!) and Linear is right up there. Elements of Joy Division, Gang of Four, early Orange Juice and hints of more recent exponents of angular post punk majesty like Editors and The Rapture (well I think so and I’ve got the conch so ya boo!). Despite some microphone issues (2 were knackered, only one worked) they were a major treat and heartily recommended.

I’d seen The Ripps a fair time back and I remember being well impressed back then. They’re even better now. Drummer Rachel Butt seems on the verge of spontaneous combustion throughout the show and adds some seriously impressive non amplified vocal shouts that sort of make the sound more 3D somehow…nope…even I don’t know what I’m on about now. Let’s all join hands and contact the living again shall we? Hallelujah! Feel the spirit of da lord…come on people…feel da spirit….

Anyway (coughs nervously…no one noticed that did they. No? Good.) new single Loco is such a glorious pop punk tune that it will make Simon Cowell implode and become a black hole through which all shite music will be sucked through and banished forever leaving The Ripps to rule the earth. If it can happen, it will happen.

Foals. Foals. Foals. I’m repeating the name because you need to remember it. This is class stuff. Class as in your grandchildren will be listening to it whilst you reminisce about the days when you actually bought music on little silver discs from places called record shops. It’s dance. It’s post punk (I know I keep calling everything that, but that’s what it is…)…heck it’s a little bit disco in places. One of the standout tracks of an outstanding set, Hummer, is a bit like being hit over the head with a toffee hammer whilst playing an early 80’s arcade game. I don’t know about you but that sounds like my idea of a good night out. There’s a whole melting pot of good shit going on here, funkier than a mosquitoes tweeter and just as deadly. Foals. Foals. Foals (repeat after me ad infinitum….).

Web 3.0?

Okay, I’m going to stray off message again with one of my random, ill informed articles on something I know jack all about…that narrows down the field a bit eh?

Over the Christmas sojourn I blathered on about the number of people doing great creative stuff on the web for the love of doing it. “Where does that leave the creative industry?” asked little old me. If you can buy decent photos for use in ads for as little as $1, download pretty much everything (music, film and TV) for diddley squat and read some of the best writing around for absolutely zip are we in danger of making the creative arts an even harder way of making a living? By a bizarre coincidence (unless he’s reading this site…in which case hello Jezza!) Mr Jeremy Clarkson wrote a very similar piece in the Sunday Times last week.

Well, I have the answer, we can all relax…the answer is Web 3.0. I am so massively over my head here I can’t believe I’m writing this…but here we go. Web 2.0 is, as I understand it, where we are now. It’s about the net as a platform for user generated content (all the stuff that many of us are getting for nought). There’s a more thorough definition of it here (in Wikipedia…another free resource that’s probably not done a great deal for Encyclopaedia sellers). As a fairly recent user of the net (the last 3 years or so) I’d liken the current set up to a library run (or not as the case may be) by a bunch of anarchists. Anyone and everyone is free to put whatever they want into it and take whatever they want out of it…without anyone stopping them. The result? Absolute chaos. There’s some brilliant stuff on the web…10% probably. The rest is arse…utter arse. How do we find the good stuff? Recommendations from sources we trust or sheer luck. Do the people who produce the good stuff get anything out of it (other than a sense of entertaining others, a warm glow and an occasional pat on the back)? No. they don’t. So I’m recommending a radical approach which, in many ways, goes against everything the net stands for and puts it back in the hands of ‘business’. But bear with me for a mo. The idea is to start again. Back to my library analogy, we’d find a new room that the anarchists hadn’t messed up and put a big lock on the door. Then we’d go into the old library and, bit by bit, take the good stuff into our brand new library. The anarchists won’t care, just as long as they can still look at porn, gamble on poker sites and watch videos of American teenagers drinking horse urine…

Then, as we start to build up a library of good stuff (in the world of the net that’s the good sites with decent, regularly updated content and downloadable music and stuff…you got that bit of the analogy didn’t you…right, I’ll shut up again) we’d open our doors to the paying public. Ahh yes, I did say PAYING, that’s the bit people probably won’t like, but stick with me. We’d need a bit of help with the maths here, never my strong point, but, plucking a random figure from fresh air here, I’d say a fiver a month. Then, with a bit of clever programming (over to a 17 year old from LA), we’d spread this money amongst the people who put blood, sweat and tears into generating all the good stuff. The more people that visit your site, the more money you get. At the start it might be mere pennies but…well you get the picture. First of all I’d like the big record companies to buy into this and allow people to download whatever they want…legally. As our membership grows this should turn into a nice little earner for them and ensure that musicians get some money, as opposed to jack all, which is what lies around the corner. For everyone who pays a fiver a month we’d get the very best of the web, well organised and managed, virus free and reliable. Don’t get me wrong, I’m not advocating a bland Daily Mail kind of world. Far from it. The inclusion of sites would be down to a wide range of contributors from across the globe (probably the people currently generating what we all read or use). They would suggest a site, existing members view it and vote. If it gets, say, over 75% it gets in.

Of course this is just pie in the sky (or web) at the moment. It’s a fairly radical idea that makes me a little uncomfortable in some ways, but then so does a world in which people who should be getting some financial reward for entertaining us all get bugger all.

In the spirit of giving, this article can be freely copied or quoted as long as its source is recognised. In the event that someone takes it forward of course, I’d like my cut…after all, it’s only fair. Which is where we came in…

NB: If this idea has been suggested by a million other people, I’m sorry for wasting your time…but, in that case, why hasn’t anyone done anything about it?

Pop Levi / Hot Machine Birmingham Bar Academy Monday 29th January 2006

First gig of the year at the Bar Academy...and what a gig. Oh yes. Openers Hot Machine were a new name to me but they were quite brilliant. Ezra Bang (lead singer...possibly not his real name) from Noo Yawk and Lilly Lotus (again possibly not the name on her passport) from Germany are a glorious mish mash of early 80's rap, electro, a bit of funk...hell just have a listen and you - the audience - decide. Unlike 99% of bands these days they actually looked the part too. Ezra sported a pair of tights last seen on the Wicked Witch of the North, nicely offset with a pair of gold trainers and a T-shirt bearing the legend 'CUNT', Lilly wore very little...delish. Anyway, I'm perving again. Oodles of energy and the kind of band that the music press should be raving about. Go see or regret it until the end of time. YOU NEED THIS SHIT IN YOUR LIFE!

Right...headliners Pop Levi had a difficult act to follow, but follow it they did. On record they sound a tight knit, funky, dancey, almost metally (Zeppish at their best in places) kind of band. Live you can multiply all this goodness to the power of GODDAMN THAT'S SOME FINE NOISE. Many of the tracks were expanded into mind melting groove blessed wig outs, with every member of the band added something special (excellent drumming and guitar from all concerned) and, once again, they made a real effort to dress up. I'm fed up to the hind legs with bands who wander on stage dressed like they were popping down to the ALDI (other cheapo supermarkets are available). Pop Levi all look like rock gods. They sound like rock gods...hell, they are ROCK GODS! (I'm using a lot of capital letters here aren't I...that's a good sign).

If Pop Levi don't bestride the world like a musical colossus (one l or two...hmmmm...I'll plump for one...) by the end of the year I will change my name by deedpoll to Mr Why The Chuff Aren't Pop Levi Famous III.

Now that's a gig review.

In praise of Phil Ochs

Who? The chances are that you won’t know the name. Why would you? After all, his heyday (such as it was) was way back in the folk scene of the 60’s. But, for me, Phil Ochs is ripe for rediscovery and long overdue some serious respect. I’m no biographer (no shit Sherlock) so I’ll direct you to Wikipedia for the lowdown. But, in brief, he was once expected to be bigger than Dylan, he released some of the most powerful protests songs of his era, he recorded with African musicians at least 10 years before Paul Simon’s Gracelands and once bought his entire audience milk and cookies (I’m talking hundreds of people here) after a show...

After his 'one man and guitar' protest days he went off on a completely different tangent and created rich orchestral pieces as a backdrop for some pretty dark lyrics. Check out 'Rehearsals for Retirement' in the context of what was going on in his real life and you'll see what I mean. Listen to the music (why not start off with The War is Over - as appropriate today as it was back in the 60's - and see how we go from there). Read the bio. Spread the word. The man deserves it.

The View / Ripchord Birmingham Barfly Wednesday 24th January 2007

Managed to get ourselves in to this Kerrang-tastic gig for a night of Glasgow and Wolverhampton's finest (sounds like a brewer's dream). Openers Ripchord (again part of the so-called Best Midlands posse) came as a real surprise. I was kind of expecting another Arctic Monkey's style tribute act but they've got a real classic, almost early 60's 'Garagey / Liverpooly' sort of sound in places, spiked with (and they did admit to it on one track) a bit of The Coral. It all seemed a bit surprising at first (there's a few two part male harmonies going on too) but it grew on me and, by the end of the set, I had made a mental note to pick up their album when it comes out. As you know, The Baron does not like to part with his 'hard earned', so that's a good sign.

Headliners, The View, have really been bigged up by the likes of NME, which always makes me a trifle wary (not a trifle...now you're just being silly). But they've started to invade my brain with their new single, Same Jeans, so I was up for 'havin' it' as they say. What's really good about The View is that they have their own voice, accent wise I'm talking here, particularly during the in-between song banter. The fact that I didn't understand much of it is probably down to my proximity to the speaker and my advancing years... So there's none of the mid Atlantic cobblers that so many vocalists adopt. It sounds 'real', which matches the realness of the lyrics (spot the subtle use of the word 'real' there folks...that's 'real').

They're certainly a feisty live act and inspired a fair bit of mosh action, destined to be big on the festival scene this year too, but I didn't think they quite lived up to some of the comments written about them. It would be all too depressing if 'the media' (yes, you know who you are) built them up, then knocked them down again...for gawds sake let new bands breathe, find their feet, fuck up if they need to. Soapbox moment over. Anyway, the album is class. Check out 'Face for the Radio' to see a whole different view of (yes I'm going to be that obvious) The View.

Ghosts / Prospect Lane / The Hoi Poloi / Ben Calvert Birmingham Barfly Wednesday 17th January 2007

Slack. I am very slack. I have an excuse for posting this review a full 5 days after the event though...the words Dublin and red wine are involved. Nuff said.

Right ho. Ben Calvert. Very good. He didn't really make much of a impression on me at the Moseley Folk Festival las year but that could've been down to the earliness of his set and / or the rain. Tonight he was hampered by slightly dodgy acoustics. The Barfly probably ain't the best place to see a singer/songwriter with a good streak of Barrett, Belle and Sebastian and Nick Drake running through him but the songs really stood out well. Silas added some solid 'double bassness' too which complimented the voice and lyrics like a glass of port with a fine stilton (I am available for speech writing, christenings, wedding vows...).

Next up were The Hoi Poloi. Musically they had some good moments and were pretty polished for a local band, but the lead singer distracted me by pulling some of the most ridiculous rock star faces in history. Ever. Please stop it.

Prospect Lane came on next and were a really pleasent surprise. They've got a rocky / slightly electro thing going on in places...hints of Depeche Mode on tracks like Ghost but difficult to pin down stylistically. They're a good looking bunch of guys too (oh how metrosexual am I?) which, even in these enlightened times, does matter when it comes to 'making it'. What I also liked was that they didn't seem too blokey. A number of Brum bands are taking the Arctic Monkeys as a big steer and creating music just for the terraces. Prospect Lane seemed a lot more sophisticated than all that. Don't get me wrong, I love a bit of shouty chorus, in fact I'm getting moist just thinking abou it, but vive le difference as we say in Bearwood. Prospect Lane (sound bite ahoy), a band with real prospects. In fact I could even imagine them playing the NEC to a crowd of adoring fans. Go see them and tell me if I'm wrong (I won't listen to you because I'm a Taurus, but hey, free speech and all that).

Finally, Ghosts - one of my top tips for 2007 - didn't disappoint. They do have a distinctly 80's vibe sound wise...I'm thinking more your ABC than Black Box. Catchy song followed catchy song and they're surely destined to have the same level of cross audience (by that I mean all sorts of audiences like them, not angry audiences, why would angry audiences like them? Then again the music does have a feel good quality so maybe...are you still reading this? Good, well done. Full marks for stamina) success as The Feeling had last year. The World Outside Your Window is a lush classic that sits comfortably next to the very best in British pop and live it was even better. Soaring vocals and beautiful orchestration. A number of the audience drifted off before the end of the set which staggered me, but then quite a few were probably friends, fans and family of the previous artists so maybe they didn't know what they were missing.

On an unrelated note it appears that some people are actually reading The Hearing Aid now. This is a good thing. If you are one of them I thank you. If you want to see more of anything (or less) just let me know. Similarly if you want me to review your band in my own half arsed style (some would say unique, I quite like half arsed, or even quarter arsed on a good day) just let me know and I will try to drag my ravaged frame out to see you. Especially if you play at the Barfly, Jug of Ale or Bar Academy 'cos I like these venues...thanks. I'll shut up now. Really. There. See. Bye. Okay, there's nothing to see here (who said 'no change there then'?)

The Wombats / The Lights / Curzon Circle Birmingham Barfly Sunday 14th January 2007

Damn Sunday gigs...damn them to hades. Ahhh, that's better...you have to vent your spleen everyone once in a while n'est pas?

Openers and local boys Curzon Circle had an 'enthusiastic' following which bodes well for their attack on the mainstream. You could liken them to the Arctic Monkeys and wouldn't be too far off the mark (Arctic Circle anyone...no...just me then...right ho) but they've also got a Libertinesesque feel and certainly seem to engender a similar level of fan worship (jeez, what's this, have I swallowed a dictionary?). Given this, second on the bill, The Lights, had a tough act to follow. Their My Space page refers to a three year honing of their sound, and they're certainly a competent live band. A couple of tracks were particularly strong. Certainly one for fans of melodic rock a la Snow Patrol and Captain, but a bit edgier than both. Their guitarist had St Vitus Dance too...which was nice.

Headliners The Wombats are one of my top tips for 2007 and they were most excellent. The lead singer comes across as a little camp - which is always a winner in my books - and, as a band, they're a much sweeter proposition than many of the lairy guitar driven combos currently fiddling with our pop kids (nasty, string 'em up, bring back national service...put bromide in their tea...that'll fix 'em etc etc). Hmm, this isn't really a review now is it? Still, my site, my bullshit. Anyway, they're damn fine and, although none of the tracks struck me in the balls as much as Leaving for New York, I'm sure that many of them will be 'growers' in the coming weeks. As I say, ones to watch.

Electric Animals / Nigel Clark / Love Bites Birmingham Barfly Friday 12th January 2007

Yeeeh gig time. After a 3 week lull it was good to get back into the saddle again (?!) and hit the Barfly (one of the better venues in dear old Birmingham ). Love Bites, who I am compelled to call a 'feisty female four piece' ('cos that's what a real journo would do) are exactly that. They rock in an '80's poodle perm kinda way and did lot's of posturing and thrashing about. We had a bit of guitar fellatio too...and top marks to Aimee for the beer spray at the end.

It hit me the other day that Nigel Clark is probably one of the few artists that I've followed from the start(ish) of his career (back in 1992 with Dodgy) right through to the current day. Dodgy were, unfairly, lumped in with the whole Britpop thing and didn't really get the success they deserved. The fact that Nigel left the band just as they were starting to get somewhere probably didn't help. I can understand why he did it but can't help wondering whether there's now a little regret? Still, he's back, back, BACK! with an album every bit as good as Dodgy's finest. I suspect if he hit the big time again he'd probably jack it all in again. He seems quite happy playing smaller venues and I'm quite happy to keep watching him (shame he didn't play any Dodgy songs last night though...I hope he doesn't go all Paul Weller on us and refuse to play his classic songs for the next 20 years).

Finally (three bands for four quid...now that's VFM) Electric Animals hit us with a Kasabian/Oasis/Slade (just have a listen to Just Plain Stupid..can't you just hear Noddy belting this out in a 'Coz I Luv you' stylee?)/Led Zep-ish set that was indeed, as their my space page says, peppered with 'filthy, dirty riffs'. Very enjoyable in a familiar kind of way and well worth catching. They are one of many Midlands bands who have the potential to break out and I wouldn't be surprised to see them swept in the record label feeding frenzy that The Twang might cause if they make it big.

There we go then. That's my 2007 gig cherry well and truly popped...I totted up last year's tally the other day and it came to 51. So that's the target to beat. Hmmm, it's going to get messy...

I see a tall dark stranger...

Okay, I'm normally crap at stuff like this, but hey since when has that got in the way eh? Yes, I'm talking predictions (makes a change from bollocks I suppose). Last year was pretty good musically speaking, so we may be due a fallow one ('cos music is like farming...obviously). The great British public never ceases to amaze me with its obsession with bloody rubbish, so I may be pissing in the wind. Oh for the golden days when the Christmas number 1 wasn't decided by Simon Cowell some time in January. Razorlight? Why? "Oh oh ohhh there's panic in America" Gee, thanks for the insight Mr Borrell. Still, for what it's worth here are a few 'tips for the top'.

NB: Most of this is indie/pop sort of stuff. I have little knowledge of Mexican Death Metal, Ugandan Light Opera or Iraqi Gangster Rap...but if you do, let's hear it.

Ghosts - Garnering a fair bit of press at the moment they remind me a bit of The Blutones in their demos, or that band that did Life in a Northern Town back in the day. Catchy pop with a dash of 80's and a slice of lime.

The Wombats - Moving to New York was one of my tracks (not literally you understand, I'm not a Wombat) of 2006, a driving indie classic with insistant drum and guitar breaks...yeah...and powerful vocals...and stuff. Oh , just go and listen.

The Twang - Obviously destined to be one of the biggest bands of the decade (and they're from Brum, or 'Best Midlands' as the NME have labelled most of the central part of the UK) they have the Stone Roses/happy Monday thing going on but I also keep hearing echoes of Campag Velocet (who were also once tipped for the top just a few years ago but faded like a Comic Relief Red Nose on the front of P reg Nissan Micra). I like the music but I doubt whether I'll be so happy with some of the audience that they're likely to attract now they've gone national...beered up knuckle draggers who want to grope birds and hit people (or vice versa). If there are any of those reading, hello, I don't mean it, I love you really, you're my besht mate...cmon...let's 'ave it!!!

Mika - Think the best of Elton in the 70's, a hint of Devandra, a slice of Robbie and more than a little Freddie...sounds good to me, but then I'm a bit camp.

Uffie - Dirty girl. Electro pervstress who should kick Madge's sad ass off the world's stage so that she can finally give up the day job and induge in her new hobby of collecting babbies...go on Mrs M, they're just like Panini stickers, 1 down only 49 to go. Maybe you could play swapsies with Angelina?

The Rumble Strips - 2007 is all or nothing for The Strips. Their debut album comes out in May (I think) and will hopefully see them achieve the success they deserve...'cos they're lovely.

Blood Red Shoes - Boy/girl double act with a nice line in post punkish drum n'bass (White Stripe stylee).

Los Campesinos! - Difficult to spell but lovely to listen to (ahhh) there are loads of 'em (7 at the last count) and they make a noise a bit like Belle and Sebastian's drunken younger siblings - on speed. You Me Dancing!

Plus ones -

Other names to look out for: The View, The Shins, The Horrors (obvious I know but very entertaining), Hufdis Huld, 1990's and Men Women and Children.

Just remember, you heard it here first! Well...after the BBC, NME, The Times, The Guardian and Ferret Felchers Monthly obviously...

(in case you're wondering where the gig reviews have gone, I haven't been to any 'cos it's cold and wet and there's no one I want to see enough yet...)

James Brown - I Feel Good

James Brown R.I.P

I couldn’t let the passing of Mr Brown pass without adding my humble tribute. I was lucky enough to see him a couple of years ago at Glastonbury. He must’ve been around 70 by then and, whilst he couldn’t be compared to the unstoppable force of nature that he was in his earlier years, he had more funk in his little finger than most of the other acts that he shared the stage with. Now, at last, the hardest working man in showbusiness can take a well deserved rest.

Creatively bankrupt...

Okay. So it’s the holiday season. I can’t be arsed to prise myself out of the chair. After all, ITV are showing Back to the Future and Jurassic Park I, II and III on three consecutive days…genius. Therefore I have no gigs to write about. My d’etre doesn’t have a raison. I can’t just stick another video from You Tube on here. Too easy. And I ain’t gonna bore you with the minutiae of my life…went shopping, met Hank, picked my nose…you know the sort of thing. So instead I am going to bore you with my poorly researched, factually inaccurate thoughts on the state of the music business and creativity in general at the end of 2006. I make no apologies for the sweeping generalisations and crackpot theories that are contained herein. If you’re bored enough to read it, I’m bored enough to write it.

A few little things prompted this outpouring. Beanos Records (a legendary record shop in Croydon is closing its doors after 40 years), Reddingtons (a kind of Birmingham equivalent) shut down a month or so ago, Tower Records has just gone bust and HMV recently announced a drop in sales of 40% in just two months.

Then, browsing my local Tesco (I know how to live eh?) I came across a number of Mastercuts compilations. Mastercuts is/was a pretty good series of compilations of classic tracks covering soul, funk, blues, hip hop etc, all in their original forms (no shitty edits or pointless mixes). Each one was a triple album, containing 30 tracks. How much? Go on…take a guess. £2.84. I’ll say that again in bold. £2.84. Now, of course these are ‘old’ tracks. You could argue that the music business has already had its pound of flesh from this material, but £2.84? For someone who can remember buying 7 inch singles back in 1980 for £1.15 that’s a pretty shocking sum of money.

So what I hear you cry. The big record companies have had their day. They’ve ripped us off for far too long. Let’s hear it for people power! Okay. I agree…sort of. I’m sitting here listening to a mix by The Kleptones. It’s brilliant. A collection of some of the best tracks of 2006. The cost? Bugger all. Free. Gratis. Buy none, get one free. 100% extra free. I can sit here all day (and believe me, sometimes I very nearly do) listening to and downloading music to my heart’s content. But it’s not just the music that’s free. Do you know how many music blogs there are out there? No, neither do I…but the point is that there’s loads of them. Many, like this one for example, aren’t much cop. But there’s some seriously good stuff out there. Out of habit I still buy NME for £1.99 a week. The journalism is generally pretty poor now, it’s sort of moved to fill some of the gaps left by Smash Hits. There are lonely hearts ads, glossy posters of the poppermost stars, pictures of readers posing with ‘celebs’…even a lot of the reviews end up being nothing more than childish name calling and cheap shots against bands that aren’t considered cool enough. Compare this with something like Fluxblog or Headphonesex for example. Good, entertaining reads, loads of great info and the chance to download tracks for zilch. Locally I’ve been drawn to the Silver Footed Gig Slut (her words, not mine) who handily lists many of the gigs in Birmingham over the next week or so and even rates the acts concerned by listening to their tracks on MySpace. RussL writes reviews that are far more comprehensive than anything you’d find in NME and Pete Ashton’s site is a goldmine of information on music, art, the ‘net in general…

In pretty much every case bloggers blog in their own free time. They don’t get paid. We don’t pay to read them. Looking ahead, where does this leave so called professional journalists? What will happen to all of the magazines on the shelves? Will people continue to fork out money for books? What about DVD’s? Why bother buying or renting stuff when you can get it for free or at very little cost from the comfort of your own home? It’s a scary thought but it seems to me that creativity is becoming something that many of us just take for granted…it’s just there and because we’re now getting comfortable with ‘free’ access, that’s going to be the norm in the future. Photo libraries like I-stock photo now sell high quality pictures that you can use for anything from advertising to album covers for just a few dollars. You Tube doesn’t charge anything to watch a dazzling array of videos (I’m talking here about the music stuff, not mall rats miming to Hit Me Baby One More Time).

I’m not complaining. In fact I’m in hog heaven. I’m not one of those old bastards who pines for the days when you could only buy vinyl or tape at vastly inflated prices. The Internet will be the greatest media and communications tool ever created. I worship at the alter of Mr Blueyonder. However, imagine for a moment a world where a crack team of rich plumbers decided to do plumbing jobs for free…for ever. All of the other plumbers would have to find something else to do. Unemployment city ahoy. This is, for me, the nightmare scenario (not the plumbers bit obviously….I’m doing the analogy thing). A world in which creative people can earn a living being creative is a great thing. It sure as hell beats stacking butters and fats in Somerfield on the Isle of Wight (don’t ask), but who the hell is going to pay them (us) to do it in the future? Will kids in 2010 bother buying CD’s or paying £7.97 to download an album? Won’t many of them just get their musical and literary kicks for free and spend the rest of their dosh on crack?

Anyway…just a thought.

Ultra Modern Nursery Rhyme Promo

I just love this. I did back in 1990-ish and still do. Jerry Sadowitz in the video, Terry Hall, the lovely Blair Booth...pop perfection. Why Terry Hall hasn't had hit after hit will be a mystery that I'll take to the grave.

I should be so sucky, sucky, sucky, sucky...

My Space sucks. Buffering, unexpected errors, connecting...jeez, what is this 1982? Can someone not do a better job? Anyone? Please?

Fyfe Dangerfield / er...someone else but I can't remember his name... / Godfrey Salter and His Invisible Ducks Glee Club Sunday 17th December 2006

Bit of a last minute jobbie this one, and a bit odd it was too. I'm starting to seriously dislike the Glee Club. Nothing wrong with the line-ups, staff, sound or even the overpriced drinks. No, the real bug bear is the bloody seating. You're crammed in like freakin' sardines on bum numbing chairs...it makes the whole thing like a School Assembly. Aaagggghhh. Rant over.

Godfrey Salter (aka Al from The Courtesy Group) kicked things off in fine form by annoying most of the audience who clearly weren't expecting a poetry set from a slightly mad Brummie. As a Courtesy Group fan I loved it, sure it takes some thought and getting in to but judging by the cheers when he announced his last poem most of my fellow audience members would disagree (I guess none of them know he's Fyfe's brother either). The next act was fine. Yes, I've forgotten his name...it happens sometimes, especially at my age. I'm 92 you know.

This was Fyfe's first solo gig. Away from his fellow Guillemots (who delivered one of my gigs of the year a few months back) he was clearly a little nervous and the fact that he had his back to the audience for most of the set didn't help to establish the kind of rapport that you look for in a great gig. That being said, the voice and passion was a strong as ever. Perhaps a guest slot or two from other artists to break up the set a little (and give Fyfe someone to bounce off) might make for a more rounded experience in the future (can you tell I'm being diplomatic...good).

No pictures 'cos my knees were rammed up round my ears thanks to the generous leg room afforded by Messrs Glee and Club. Grrrrrr.

Billy Bragg / Get cape. Wear cape. Fly. Birmingham Academy Wednesday 13th December 2006

I've been a bit of a Billy Bragg fan for...a number of years (yes I know I'm old) but for some strange reason I'd never got to see him live. He plays Glasto most years but he's normally in the Acoustic Tent which is rammed full of men with beards drinking scrumpy. So I was rather looking forward to tonight. GC.WC.F. (far snappier don't you think?) got things off to a flying start with a set that was half Sam with his guitar and half a bloke on drums and a bloke with a trumpet. He's got a lot more oooommmph on stage than he has on record/CD/download (delete as applicable) and the drummer added an almost Drum and Bass vibe to a few tracks. In some ways GC.WC.F. is/are the Billy Bragg of the 21st Century. But then that would mean that Billy was no longer relevent and, judging by his performance tonight, that couldn't be further from the truth. One man and his guitar. No more, no less. Kicking off with 'Sexuality' (which represented the birth of a poppier Billy back in the early 90's) the whole set was littered with the classics plus a couple of new tracks from next year's new album. In between Billy chatted about this and that offering little insights into his life which, coming from most performers might seem a little odd (often there were gaps of several minutes in between songs), but tonight it just felt right. Inevitably, as tonight was part of the Hope Not Hate tour, there was strong political edge, given extra poignency by the closure of the Peugeot factory earlier that day. In fact some of the workers who had been made redundant were there collecting signatures to stop the loss of what's left of our manufacturing industry. Music and politics have, at times in the past, gone hand in hand. Today, few musicians, or any of us for that matter, bother. Of course this is all wrong. But perhaps what we lack are enigmatic speakers who genuinely believe in justice, rather than voting themselves a 66% pay rise. Then again, perhaps most of us are too busy voting for Celebrity ASBO Dancing Hairdresser to vote for politicians. Good grief, I'm turning into Ben Elton. The point I'm very clumsily trying to make is that Billy Bragg works. You trust him. You believe in him. As a person as well as a perfomer. And that's a talent that's all too rare these days.

The Band - Don't Do It

Okay, I'll even up the score. One weird video for one 'cool' video. Just watched The Last Waltz (one of the great music docs, directed by Martin Scorcese) so here's The Band.

Shoes

Why? I don't know why. Maybe it's the drag queen in me coming out...

Misty's Big Adventure / ZX Spectrum Orchestra Glee Club Birmingham Wednesday 6th December 2006

Jingle Bells indeed. With the time of Yule fast approaching the lovely BBC gifted us with a freebie gig at the Glee Club, during which they recorded a show for The Freak Zone (6 Music) hosted by Staurt Maconie. Actually it was less of a gig and more of an old school Radio One roadshow in parts with some character called The Professor delivering a 'lecture' on Serge Gainsbourg, supported by lovely clips of the old devil himself perving over young girls.

In terms of live music the ZX Spectrum Orchestra kicked things off in typically freakish style. Part of the Modified Toy Orchestra, Mike in Mono and other ecentric, electric 'groups', they make music using, yes, you've guessed, it Commodore 64's. No. I jest. ZX Spectrums. I'm so old that I actually had a ZX Spectrum, 16K as I recall. The only sounds mine made was some kind of fax noise whilst I sat and waited 15 minutes for Hungry Horace Goes Skiing to load from a tape...a tape I tells ya...only to get to the last 10 seconds for the whole thing to crash. But I digress (emotionally scarred, moi?). The Orchestra (two blokes in reality) are actually very good. It's strange how 'computer' music still sounds like something from the future, even though it ain't. A kind of Dr Who of the music world...

Anyway, next up, and finally, we were treated to a short but sweet set by the magnificent Misty's Big Adventure. I keep trying to remember when I first saw them. At The Flapper & Firkin back in the late '90's I think, when Erotic Volvo wore a Doctor's coat with surgical gloves stuck on it. If you haven't seen them, that last statement won't make any sense. Good. Shame on you. They are one of the greatest groups in British music, up there with the Bonzos, Pulp and Haysi Fantazee...have you ever heard John Wayne is Big Leggy? A sizable chunk of the audience was frugging (it's like dancing, only fruggier) like mad tonight to a set that, as ever, was strewn, nay littered (it's happening again, I've come over all Frankie Howerd...I had to be very careful how I typed that) with classic songs. I still love The Wising Up Song most of all, mainly 'cos it sounds like a cross between Frank Zappa, German Caberet and a bus full of brass instruments falling off a cliff. It ends with a tale of a man who tries to move a mountain using a spoon. I won't spoil the pay off line for you, but it beats the hell out of 'lil Chris any day (aww bless I can hear you saying, leave him alone...no...I won't...he scares me...and his new record sounds like a bastardised version of The Buzzcocks' Ever Fallen in Love).

Anyway, to cut a long rambling review short, Misty's were excellent as ever, as you can all hear by listening to The Freak Zone, BBC 6 Music (some new fangled digital thing) on Sunday 10th December..sometime...I don't know when...what do you think this is, the freakin' Radio Times?

Men Women and Children / Kill The Arcade / Montana Birmingham Barfly Saturday December 2nd 2006

Wow. Top 10 gigs of all time alert. Woo woo woo...call the cops. This was a seriously special gig.

Montana (yet another fantastic local band) kicked off things by playing a set that wouldn't have been out of place at Woodstock. They have a long haired guitarist who might just be one of the best I've ever seen in 18 years of gig going, a vocalist that combines a bit of Anthony from the Chili Peppers, a bit of Robert Plant from the Zep, a touch of Jagger and his own phrasing that somehow seems like a natural development of all the above. If this band were around in 1974 they would be flying the globe in their own jets.

Kill The Arcade had a hard act to follow and didn't quite blow me away as much. But it was still a strong, powerful set and on any other night they would've made more of an impression.

Which leaves Men Women and Children. After hearing Lightning Strikes Twice in New York and Dance in My Blood last year I knew they were a cut above most other bands around. The album backed this up. But live...well I can't think of anyone else who could top them. Every single member of this band puts 100% into their performance. They obviously know their musical stuff (I'm sure I caught the bass player tuning up to Money by Pink Floyd! Good choice fella) and have managed to create a kind of funk/disco/rock/metal/rap hybrid of music that puts some of the best moments from the past 40 years of music into a big blender, adds loads of other great new ingredients and serves it up piping hot.

If I'm starting to sound like a teenager who's just been to his first gig rather than a 36 year old bloke who's been gigging for half his life then that's how this band makes you feel. I defy anyone not to love them. If they played this music all over the world it would stop wars, cure disease and make people dance in the streets. It's THAT good. We had the good fortune to meet the after the gig and, to top it all, they're bloody nice people who genuinely seemed to enjoy meeting fans and appreciated everyone who came out to see them. Pretty much every second was a highlight, but respect due to a band that don's hard hats with miners lights on them then leads a conga through the crowd.

Hopefully there may be the chance to interview the band in the future - watch this space - in the meantime go out and tell your friends, buy the record, become their friend on My Space, go see them live...they will restore your faith in humanity.

Captain / Polytechnic / Envy & Other Sins Birmingham Barfly Friday 1st December 2006

If ever a line up was arse about face, this was it. Local boys Envy & Other Sins simply blew the socks off both Polytechnic and Captain. This was the third time that I'd seen them and they have developed into a truly brilliant live band with clever, grown up lyrics, catchy choruses and oodles of energy. I love 'em! If ever a band deserved to break out of the nefarious 'Best Midlands' scene (nice one NME, now fuck off and patronise someone else) Envy & Other Sins should be it.

I don't really know what to say about Polytechnic. Nothing wrong with their vaguely West Coast vocal stylings and gentle melodies (they kept reminding me of that band that sang Santa Cruz you're not that far...The Thrills...thank you Google) but I couldn't detect anything about them that justified this week's NME single of the week (if you're detecting a little anti-NME sentiment you're most perceptive. It's still the best weekly music paper 'cos it's the only bloody one left. But it's now full of ads for mobile 'phone wallpaper - whatever the chuff that may be - and lonely hearts. I have a terrible feeling it's going to go - in the words of Smash Hits - 'down the dumper' before too long).

Headliners Captain were also ok. Frontline (which has been rereleased more times than a 17 year old with an asbo) was delivered competantly, but that's not what music is all about is it? A little like Deacon Blue, without the songs or Scottish anger shining through (listen to Dignity, then listen to Frontline and tell me I'm wrong...go on, I defy you). The keyboard player, Clare, annoyed me from the outset by pulling a hissy fit about her vocals not being high enough in her ear piece. Real bands don't need ear pieces...as the following night's headliners showed...

The Rumble Strips / The Answering Machine Birmingham Bar Academy Wednesday 29th November 2006

This week (or four days to be precise) has seen an orgy of live music, some good, some not so good so I'll keep these brief.

First up The Answering Machine from Manchester. Quality, gentle Indie pop with a dark but romantic heart. Hints of New Order in places. One to watch for 2007.

Next, and finally (this was a two band bill - I demand three bands grrrrrrrr), The Rumble Strips. Why they aren't yet on Top of The Pops every week...oh bugger that's gone hasn't it...anyway, the point is that The Rumble Strips produce the kind of music that there's just too little of these days. You got a lot of it in the late 70's and early 80's, music with real instruments to the fore, bags of soul (even if it was highly polished - step forward ABC, Heaven 17, Blue Ronda a la Turk and oodles of others) and lyrics that seem to mean something. Live they're even better than on record, I never saw Dexy's in their heyday (and I imagine they were a different kind of power), but reviews that link The Rumble Strips with Kevin Rowland's crew would seem to be pretty close to the mark. Given that Dexy's were widely acknowledged to be one of the live acts of their era, that's a pretty good compliment. Oh Creole and Motorcycle were personal highlights but, in truth, every song was delivered with passion, balls and a little ingredient the music fairy calls X. If their debut album (out May 2007) doesn't tip them into the big time I'll eat Charlie's hat.