Accessing All Areas!!
I have this real ‘thing’ about rock’n’roll heritage being dismissed as frivolous or unimportant, and landmark buildings being lost or anniversary dates being ignored. Great to see, therefore, that at least a couple of this year’s anniversaries are being commemorated properly.
Visitors to our own website will know that we are commemorating the 40th anniversary of Hendrix’s death in London with a weekend of events (September 17th to 19th inclusive). We’re particularly thrilled that the Handel House Museum are hosting an exhibition of the great rocker’s life and times (and will include some really cool memorabilia).
Hendrix fans are not normally catered for at this central London site, other than to be able to gaze in speculative awe at the official ‘blue plaque’ mounted on the outside wall. It’s actually the only truly official plaque for any rock musician in London. Not even Lennon apparently deserves such recognition.
Hendrix’s comparatively small abode usually houses the Handel House management office so we’re to be grateful that they are putting up with the inconvenience of moving out for a few months.
Needless to say, we’ll be including a visit on our weekend.
Another notable event is taking place ‘oop north’. The 30th anniversary of the death of Ian Curtis, lead singer with the near legendary Joy Division (forerunners of New Order, as most fans will know), is being commemorated in Macclesfield. This Cheshire town, approximately 170 miles north of London, will be the venue for the ‘Unknown Pleasure’ festival.
Commencing from July 29th in the 1813 Sunday School Heritage Centre, the festival features an exhibition of the band’s memorabilia, original artwork, set lists and some of Curtis’s personal letters. There’s also a walking tour map of the town available and a series of musical events.
The idea and organization has been led by Joy Division’s drummer, Stephen Morris (also of New Order) and rock writer Jon Savage. And well done to both.
The only downside to these two events is that they are both commemorating the deaths of two superb musicians who would no doubt have continued to make all of our lives that more pleasurable had they lived longer.
Tuesday, May 25, 2010
Thursday, May 20, 2010
London Sixties Week
'London Sixties Week' is begining to take shape. The brain-child of Chris Paydell, this week long July festival aims to provide an umbrella under which a whole host of events will take place celebrating the golden decade.
Kicking the week off will be a 'twistathon' and an attempt at creating the world record for the number of people dancing the twist at the same time! The main event will be held in that epicentre of 60's cool, Carnaby Street. Be there or be square, is what I say!
Check out other events and happening on http://london60sweek.co.uk/about.html
Kicking the week off will be a 'twistathon' and an attempt at creating the world record for the number of people dancing the twist at the same time! The main event will be held in that epicentre of 60's cool, Carnaby Street. Be there or be square, is what I say!
Check out other events and happening on http://london60sweek.co.uk/about.html
Sightings!
It's always a kick getting a celebrity sighting on a tour, and while it's a fairly regular occurance (recent sightings include Jamiroquai, Chris Martin and a Sex Pistol), it's not often you get two Stones in a day!
Well, that's what happened today. Firstly, Charlie Watts is seen exiting a house in Chelsea, then almost before the excitment has died down and the cameras put back in their cases, up pops Ronnie Wood at the 'Sticky Fingers' restaurant! Cue for much more excitment and some more photos ...
As ever, however, privacy is important and we oggle from afar and are content with soem longer range photos. Having said that, Brian May kindly posed with a couple of one of our groups when bumping into him last year. A gentleman of the first order.
Well, that's what happened today. Firstly, Charlie Watts is seen exiting a house in Chelsea, then almost before the excitment has died down and the cameras put back in their cases, up pops Ronnie Wood at the 'Sticky Fingers' restaurant! Cue for much more excitment and some more photos ...
As ever, however, privacy is important and we oggle from afar and are content with soem longer range photos. Having said that, Brian May kindly posed with a couple of one of our groups when bumping into him last year. A gentleman of the first order.
Monday, April 19, 2010
Paul Rodgers goes home to Middleborough
It's really heart-warming when a 'star' remembers their roots, and what's more, plays homage to them. Last Saturday night, the great Paul Rodgers (in case you need reminding; Free, Bad Company, The Firm, The Law, most recently, Queen) turned out to do a guest spot at the very humble Marton Hotel, Middlesborough, in honour of John McCoy and the 50 years he's been promoting rock'n'roll on Teeside, England.
John McCoy is himself one of rock's legends (albeit somewhat unsung). He was a stalwart of the Ealing Blues Club, Flamingo and Marquee thru the '60s. He was the man who stepped down at the Cromwellian Club to allow North-Eastern mate, Chas Chandler, to launch a certain Jimi Hendrix on an unexpecting London. He was the man behind the famed Middlebrough 'Kirk Club' which, amongst many others, gave the Stones their first out-of-London gig. And he was the man who helped dozens of musicians find a home on Chris Blakwell's Island label. That's where Rodgers comes in and why he's doing this gig. Local boy makes good, and comes back to thank those who made it possible.
Repaying his acknowledged debt to the 'Kirk', and celebrating his recently awarded honorary Doctorate of Letters (Teesdide University), Rodgers took to what could just about be called 'the stage' to treat an adoring and select Middlesborough in-the-know crowd to a selection of half-a-dozen blues standards and, sending the crowd into orbit, 'The Hunter' and 'All Right Now'.
It must have all seemed a bit incongrous to Mr.Rodgers. I mean his last gig was at Wembley; last night of the Bad Company reunion tour. In front of 12,500 people. And here, in the Marton Hall function room, I'll bet there's no more than 400. At Wembley he was with fellow-heavyweights Mick Ralphs and Simon Kirke. At the Marton Hotel and Country Club he's in front of a scratch band of local musicians(complemented admirably though by 'Nottinghillbilly' Stephen Phillips). Paul didn't look too happy with the man on the skins at times, but the rest of the band did him proud. They'll be boring the grandkids for years with tales of their night!
The incongruity doesn't stop there; in the room next door, young local hairdressing students are oblivious to his presence and are concentrating on preparing for a Sunday morning, hair-styling competition. Pity Paul doesn't still have that mane he could once shake with such style. The hairdressers would have crimped for free, I'm sure, even if they didn't know how famous the head was.
Age might have seen an inevitable thinning of the hair, but it cannot wither the voice. Man, he was friggin' good! 'It's great to be back at the 'boro', he announced before launching into a short but satisfying set that had the Teesiders baying for an encore. That wasn't to be, despite the demands. Momentarily, I thought he'd got the locals wound up a tad too much. A riot looked on the cards if he didn't return! It took all John McCoy's 50 years of experience to cool the crowd (though I have to say that any crowd who will queue, uncomplaining for 30 minutes at a time, to get a beer probably aren't rioting material).
Crammed in between the night's house band and Rodgers, the angelic-voiced Claire Hammill tried to deliver a few acoustic numbers. She did her best but couldn't really compete against the noise an excited, beer-swilling, North-Eastern blues crowd makes. Shame. Claire was another of John McCoy's 'Island' protogees who illuminated the London scene briefly but memorably during the 70s.
I have to thank fellow London Rock Tour guide Ian 'Lucky' Luck for insiding me on this one, especially since he made sure I arrived in time to make the pre-show, warm-up, 'Paul meets his band' session. Remarkable experience watching a great pro preparing the local semi-pros for one of the biggest nights of their lives. He treated them as equals, with not a second of 'prima-donna' to be seen. Jeez, Paul even stayed the night at the Marton!
Great night all round, though. Whey aye. I wonder who won the hairdressing competion...
It's really heart-warming when a 'star' remembers their roots, and what's more, plays homage to them. Last Saturday night, the great Paul Rodgers (in case you need reminding; Free, Bad Company, The Firm, The Law, most recently, Queen) turned out to do a guest spot at the very humble Marton Hotel, Middlesborough, in honour of John McCoy and the 50 years he's been promoting rock'n'roll on Teeside, England.
John McCoy is himself one of rock's legends (albeit somewhat unsung). He was a stalwart of the Ealing Blues Club, Flamingo and Marquee thru the '60s. He was the man who stepped down at the Cromwellian Club to allow North-Eastern mate, Chas Chandler, to launch a certain Jimi Hendrix on an unexpecting London. He was the man behind the famed Middlebrough 'Kirk Club' which, amongst many others, gave the Stones their first out-of-London gig. And he was the man who helped dozens of musicians find a home on Chris Blakwell's Island label. That's where Rodgers comes in and why he's doing this gig. Local boy makes good, and comes back to thank those who made it possible.
Repaying his acknowledged debt to the 'Kirk', and celebrating his recently awarded honorary Doctorate of Letters (Teesdide University), Rodgers took to what could just about be called 'the stage' to treat an adoring and select Middlesborough in-the-know crowd to a selection of half-a-dozen blues standards and, sending the crowd into orbit, 'The Hunter' and 'All Right Now'.
It must have all seemed a bit incongrous to Mr.Rodgers. I mean his last gig was at Wembley; last night of the Bad Company reunion tour. In front of 12,500 people. And here, in the Marton Hall function room, I'll bet there's no more than 400. At Wembley he was with fellow-heavyweights Mick Ralphs and Simon Kirke. At the Marton Hotel and Country Club he's in front of a scratch band of local musicians(complemented admirably though by 'Nottinghillbilly' Stephen Phillips). Paul didn't look too happy with the man on the skins at times, but the rest of the band did him proud. They'll be boring the grandkids for years with tales of their night!
The incongruity doesn't stop there; in the room next door, young local hairdressing students are oblivious to his presence and are concentrating on preparing for a Sunday morning, hair-styling competition. Pity Paul doesn't still have that mane he could once shake with such style. The hairdressers would have crimped for free, I'm sure, even if they didn't know how famous the head was.
Age might have seen an inevitable thinning of the hair, but it cannot wither the voice. Man, he was friggin' good! 'It's great to be back at the 'boro', he announced before launching into a short but satisfying set that had the Teesiders baying for an encore. That wasn't to be, despite the demands. Momentarily, I thought he'd got the locals wound up a tad too much. A riot looked on the cards if he didn't return! It took all John McCoy's 50 years of experience to cool the crowd (though I have to say that any crowd who will queue, uncomplaining for 30 minutes at a time, to get a beer probably aren't rioting material).
Crammed in between the night's house band and Rodgers, the angelic-voiced Claire Hammill tried to deliver a few acoustic numbers. She did her best but couldn't really compete against the noise an excited, beer-swilling, North-Eastern blues crowd makes. Shame. Claire was another of John McCoy's 'Island' protogees who illuminated the London scene briefly but memorably during the 70s.
I have to thank fellow London Rock Tour guide Ian 'Lucky' Luck for insiding me on this one, especially since he made sure I arrived in time to make the pre-show, warm-up, 'Paul meets his band' session. Remarkable experience watching a great pro preparing the local semi-pros for one of the biggest nights of their lives. He treated them as equals, with not a second of 'prima-donna' to be seen. Jeez, Paul even stayed the night at the Marton!
Great night all round, though. Whey aye. I wonder who won the hairdressing competion...
Sunday, March 7, 2010
To Go or not to Go?
Ah, decisions, decisions.
Macca's lad, James, is turning out for a rare public perfomance, with band, on Wednesday at the 100 Club, Oxford Street. I've caught him before and he's worth a listen. What's the betting a proud father is in the audience?
The problem is that Manchester United taken on Milan in the second leg of the Champions League round on the same night. As 3-2 victors in the earlier meeting we should go through but with Rooney probaly out it might be a nail-biter...
Watch this space!
Ah, decisions, decisions.
Macca's lad, James, is turning out for a rare public perfomance, with band, on Wednesday at the 100 Club, Oxford Street. I've caught him before and he's worth a listen. What's the betting a proud father is in the audience?
The problem is that Manchester United taken on Milan in the second leg of the Champions League round on the same night. As 3-2 victors in the earlier meeting we should go through but with Rooney probaly out it might be a nail-biter...
Watch this space!
John Cale plays Paris 1919
Marketing men hit on a great ploy when they decided to reawaken the moribund careers of legendary artists by promoting '40-year anniversary' reunions, or cleverer still, one-off performances of complete albums. The Zombies did it a couple of years back to fantastic effect with 'Odyssey and Oracle', their near legendary Sixties 'lost album' which became a hit after their break-up and which was therefore never performed live at the time.
It doesn't actually need to be an anniversary now: the reformed band just picks an album and markets a tour around the promise of playing it in its entirety. The idea, I suppose, is that it becomes an 'event' and we'll all be more prepared to buy a ticket than if it was simply going to a regular performance of 'greatest hits and other favourite medleys'. Latest, in what has become a rather long-line of performers milking the idea, is John Cale: Welsh-wizard and alumni of the Velvet Underground. Cale, along with the Heritage Orchestra and three-piece band rolled out the 1973 released Paris 1919 at the Royal Festival Hall on Friday last.
Why Cale should have picked to perform Paris 1919 as his oeuvre somewhat defeats me. Probably it was his best seller. It wasn't his strongest single album by any means though. In fact, if truth be told, none of Cale's albums could be called classics. He's a man, if there is one, who benefits more from a greatest hits collection. I met a US serviceman at the Lakenheath base on Saturday who admitted that he'd never been as bored as when at a Cale solo gig a few years back. I have to listen on vinyl rather than CD as at least you have to rise from the torpor to turn the thing over and make a concrete decision to hear it through completely.
The RFH was packed anyway so the marketing worked. Interestingly, the crowd was multi-generational. Normally at these reunions or replay gigs what you get is grey-haired nostalgia seekers with a smattering of curious off-spring wanting to see what 'dad' was into. I went to see Stackridge at the 100 Club just before Christmas and that was like re-living an early 70's Friday night at the Student Union; the only difference was the price of a beer and the folically-challenged nature of the audience.
Cale opened with track one: 'Child's Christmas in Wales'. Though the title is evocative of Dylan Thomas the words aren't, unless general obtuseness counts. He likes Thomas though. Later he'll do a great version of 'Do Not Go Gentle into That Good Night' and on other occasions I've heard him sing the Rev. Eli Jenkins’s Prayer from 'Under Milk Wood'.
He follows the tracking order of the album faithfully, and pretty much the original arrangements. There are some flat tracks on the LP and so there are some flat moments tonight but the faithful (and that definitely describes the audience)whoop, holla and clap with deference and even enthusiasm. The title track sticks out as does Macbeth. Half Past France actually works much better live than on the original. Antarctic Starts Here is as anti-climatic a finish live as it is on the original vinyl.
Being only a about 40 minutes long, Cale is bound to comes back on after a short break and give us a second half of 'hits'. The set lifts off. He plays his pre-punk take on Elvis' 'Heartbreak Hotel', belts out Thomas's. 'Do Not Go Gentle', and tips his hat to material he did with Nico amongst other old 'favs'.
Unlike most Welshmen he's not too garrulous on stage. It would have added to the experience if he'd reached out a bit and communicated.
Worth going to? Yes, on balance. He is an inventive and iconic performer and rock 'n' roll would have been so much poorer without Cale's input, especially his early work. He's worth seeing if only for that. A bonus was that the ticket price was under £30. Not bad at all in market where you're often having to pay twice that to see the more fashionable bands. I don't think the US serviceman would have been bored with this one, even if you didn't come out with that elated feeling you get when really uplifted by hear a favourite 'oldie' re-performed.
I once had dinner with Cale. It was in Tel Aviv of all places. The British Council had brought him out as part of their cultural mission and he was to play a small auditorium in the city. The Council was short-staffed that week. I was there doing a consultancy project for them. They needed someone to host their guest at dinner on his first night in town; would I 'help out and take him out?' Under duress (ho ho!) I agreed and spent a most convivial evening with the great man. We talked about the Land of our Fathers; though ashamedly I couldn't talk with him in our national language (Cale didn't speak English until he was 7). Fantastic stories about his early life, the madness of trying to produce Happy Mondays and his life in the US. I suspect I heard more than I would have done if he'd felt I was interviewing him rather than chewing the 'vegetarian' fat.
If I'd had an opportunity to chat on this occasion I 'd have asked him when he was going to play 'Slow Dazzle' in its entirety, Now that was a much stronger LP than Paris 1919 and one I can play on CD ...
Marketing men hit on a great ploy when they decided to reawaken the moribund careers of legendary artists by promoting '40-year anniversary' reunions, or cleverer still, one-off performances of complete albums. The Zombies did it a couple of years back to fantastic effect with 'Odyssey and Oracle', their near legendary Sixties 'lost album' which became a hit after their break-up and which was therefore never performed live at the time.
It doesn't actually need to be an anniversary now: the reformed band just picks an album and markets a tour around the promise of playing it in its entirety. The idea, I suppose, is that it becomes an 'event' and we'll all be more prepared to buy a ticket than if it was simply going to a regular performance of 'greatest hits and other favourite medleys'. Latest, in what has become a rather long-line of performers milking the idea, is John Cale: Welsh-wizard and alumni of the Velvet Underground. Cale, along with the Heritage Orchestra and three-piece band rolled out the 1973 released Paris 1919 at the Royal Festival Hall on Friday last.
Why Cale should have picked to perform Paris 1919 as his oeuvre somewhat defeats me. Probably it was his best seller. It wasn't his strongest single album by any means though. In fact, if truth be told, none of Cale's albums could be called classics. He's a man, if there is one, who benefits more from a greatest hits collection. I met a US serviceman at the Lakenheath base on Saturday who admitted that he'd never been as bored as when at a Cale solo gig a few years back. I have to listen on vinyl rather than CD as at least you have to rise from the torpor to turn the thing over and make a concrete decision to hear it through completely.
The RFH was packed anyway so the marketing worked. Interestingly, the crowd was multi-generational. Normally at these reunions or replay gigs what you get is grey-haired nostalgia seekers with a smattering of curious off-spring wanting to see what 'dad' was into. I went to see Stackridge at the 100 Club just before Christmas and that was like re-living an early 70's Friday night at the Student Union; the only difference was the price of a beer and the folically-challenged nature of the audience.
Cale opened with track one: 'Child's Christmas in Wales'. Though the title is evocative of Dylan Thomas the words aren't, unless general obtuseness counts. He likes Thomas though. Later he'll do a great version of 'Do Not Go Gentle into That Good Night' and on other occasions I've heard him sing the Rev. Eli Jenkins’s Prayer from 'Under Milk Wood'.
He follows the tracking order of the album faithfully, and pretty much the original arrangements. There are some flat tracks on the LP and so there are some flat moments tonight but the faithful (and that definitely describes the audience)whoop, holla and clap with deference and even enthusiasm. The title track sticks out as does Macbeth. Half Past France actually works much better live than on the original. Antarctic Starts Here is as anti-climatic a finish live as it is on the original vinyl.
Being only a about 40 minutes long, Cale is bound to comes back on after a short break and give us a second half of 'hits'. The set lifts off. He plays his pre-punk take on Elvis' 'Heartbreak Hotel', belts out Thomas's. 'Do Not Go Gentle', and tips his hat to material he did with Nico amongst other old 'favs'.
Unlike most Welshmen he's not too garrulous on stage. It would have added to the experience if he'd reached out a bit and communicated.
Worth going to? Yes, on balance. He is an inventive and iconic performer and rock 'n' roll would have been so much poorer without Cale's input, especially his early work. He's worth seeing if only for that. A bonus was that the ticket price was under £30. Not bad at all in market where you're often having to pay twice that to see the more fashionable bands. I don't think the US serviceman would have been bored with this one, even if you didn't come out with that elated feeling you get when really uplifted by hear a favourite 'oldie' re-performed.
I once had dinner with Cale. It was in Tel Aviv of all places. The British Council had brought him out as part of their cultural mission and he was to play a small auditorium in the city. The Council was short-staffed that week. I was there doing a consultancy project for them. They needed someone to host their guest at dinner on his first night in town; would I 'help out and take him out?' Under duress (ho ho!) I agreed and spent a most convivial evening with the great man. We talked about the Land of our Fathers; though ashamedly I couldn't talk with him in our national language (Cale didn't speak English until he was 7). Fantastic stories about his early life, the madness of trying to produce Happy Mondays and his life in the US. I suspect I heard more than I would have done if he'd felt I was interviewing him rather than chewing the 'vegetarian' fat.
If I'd had an opportunity to chat on this occasion I 'd have asked him when he was going to play 'Slow Dazzle' in its entirety, Now that was a much stronger LP than Paris 1919 and one I can play on CD ...
Friday, February 26, 2010
Saving Abbey Road Studios
Thankfully, it looks as if the recent decision to give Abbey Road a 'Grade 2 Listed' status means that the threat to the building from redevelopment has been lifted - at least temporarily.
However it still leaves us with the wider debate on how we protect and preserve our other rock-related heritage.
It is the so-called 'establishment' who determine the tourism and cultural policy of this country, as much as individual companies like EMI, owners of Abbey Road, who do not apparently realise the importance of rock'n'roll to this country's economy. At a time when every other British industry seems to be in long-term decline our music heritage should be protected and not sold off for probable property redevelopment.
Abbey Road Studio is just one iconic site that is either under threat or has already been lost. Westminster councillors were seriously debating whether to move the crossing! Elsewhere in the city, we have lost the Astoria, and Marquee, famous record company offices and studios such as Polydor and De Lane, John and Yoko's flat at Emperor's Gate and the birthplace of Pink Floyd in Nottinghill Gate. And not to mention the scores of clubs and boutiques around Chelsea and Soho. In Ealing, the site of the Ealing Blues Club lies abandoned and drinkers in Edwards, Richmond, would not have a clue that they were sitting in the original Crawdaddy, where the Rolling Stones gave their first performances. Lennon, it seems, does not even deserve a blue plaque.
When it comes to a choice between 'high' and 'low' culture, it is the former that wins. London's Handel House Museum, for example, has no plans to commemorate the 40th anniversary of Jimi Hendix's death later this year even though the property was once owned amd lived in by the near legendary guitarist.
In Manchester, probably the UK's greatest rock city, a block of flats stands where the famed Hacienda once gave birth to 'Madchester'. The tourism department resolutely ignores protecting or promoting sites connected with bands that include from Herman's Hermits, The Hollies, Bee Gees, The Smiths and Oasis.
Yet, the tourists arrive in droves seeking out the landmarks. We carried over 4500 customers, from 55 different countries (including Outer Mongolia!) on our Legends of Rock London tour.
It is the same throughout the country. Rock'n'roll is here to stay. For many tourists coming here it is a case of 'Never Mind The Palaces! We want a rock tour'! Preserving our popular music culture will pay as many dividends in years to come as castles, gardens and palaces pay now.
Thankfully, it looks as if the recent decision to give Abbey Road a 'Grade 2 Listed' status means that the threat to the building from redevelopment has been lifted - at least temporarily.
However it still leaves us with the wider debate on how we protect and preserve our other rock-related heritage.
It is the so-called 'establishment' who determine the tourism and cultural policy of this country, as much as individual companies like EMI, owners of Abbey Road, who do not apparently realise the importance of rock'n'roll to this country's economy. At a time when every other British industry seems to be in long-term decline our music heritage should be protected and not sold off for probable property redevelopment.
Abbey Road Studio is just one iconic site that is either under threat or has already been lost. Westminster councillors were seriously debating whether to move the crossing! Elsewhere in the city, we have lost the Astoria, and Marquee, famous record company offices and studios such as Polydor and De Lane, John and Yoko's flat at Emperor's Gate and the birthplace of Pink Floyd in Nottinghill Gate. And not to mention the scores of clubs and boutiques around Chelsea and Soho. In Ealing, the site of the Ealing Blues Club lies abandoned and drinkers in Edwards, Richmond, would not have a clue that they were sitting in the original Crawdaddy, where the Rolling Stones gave their first performances. Lennon, it seems, does not even deserve a blue plaque.
When it comes to a choice between 'high' and 'low' culture, it is the former that wins. London's Handel House Museum, for example, has no plans to commemorate the 40th anniversary of Jimi Hendix's death later this year even though the property was once owned amd lived in by the near legendary guitarist.
In Manchester, probably the UK's greatest rock city, a block of flats stands where the famed Hacienda once gave birth to 'Madchester'. The tourism department resolutely ignores protecting or promoting sites connected with bands that include from Herman's Hermits, The Hollies, Bee Gees, The Smiths and Oasis.
Yet, the tourists arrive in droves seeking out the landmarks. We carried over 4500 customers, from 55 different countries (including Outer Mongolia!) on our Legends of Rock London tour.
It is the same throughout the country. Rock'n'roll is here to stay. For many tourists coming here it is a case of 'Never Mind The Palaces! We want a rock tour'! Preserving our popular music culture will pay as many dividends in years to come as castles, gardens and palaces pay now.
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