Getting baptised by your daddy

IMG_1765Live music is a wondrous thing, no?

You think you know a record, you have it neatly bundled up and categorised, you no longer spend a lot of time considering it, and then the hum of a cannily-plucked bass string, a clever little guitar run, or the expression on a player’s face as he does his thing… All of a sudden, all bets are off, and you’re somewhere you didn’t expect to be.

Ryley Walker & Danny Thompson, The Bullingdon

The fact that I was going at all was the subject of the odd eye-roll and raised eyebrow amongst my friends, as I’ve been somewhat luke-warm about Walker’s debut Primrose Green, a record that’s had usually-composed punters losing their cool. I do like it, but I can’t help hearing each track and saying to myself “This is him doing Tim Buckley. This one’s his Nick Drake song…” (This, of course, is not something you hear me say when the latest White Fence or Allah-Lahs record appears, oh no – consistency, pah!)

The truly massive figure of the great Danny Thompson clearly doesn’t have any authenticity issues, though, agreeing as he has to go on tour with Walker. And if that wasn’t reason enough to hoover up one of the last tickets at The Bullingdon, well…

I’d missed my chance to see the pair the night before at Bristol’s venerable old St George’s (also something of an
experience, I gather), so a maiden trip to Oxford’s number one venue was called for. It’s a decent enough spot too, although it was a little disconcerting to see it almost empty when we arrived just before the support act was due on.

IMG_1757We needn’t have worried. As soon as Meg Baird had finished her earnest (if flagging) set, a swell of old lags of Severn Bore proportions surged across the hall, and suddenly the room was abuzz with expectation. They were on pretty quickly after and once the introductions were over (“This is Danny Thompson, he’s just getting his start, so I thought it’d be nice to bring him along…”, followed by “I could’ve been at home watching ‘Flog it!’”), we were off.

It’s probably stating the bleedin’ obvious but Walker’s a helluva guitarist and almost immediately his impossibly deft guitar runs were filling the hall and mesmerizing a knowing but expectant audience. I cannot imagine how much you need to practice to be able to skip your way around a fret board as lightly and faultlessly as he does – I suspect no amount of practice supplants the sheer instinctive ability to articulate an idea in music. He was quite good.

Actually, I had to remind myself to switch my attention to the guitarist after about fifteen minutes once I realised that the equally nimble fingers and intense expressions of Danny Thompson had monopolised my attention almost entirely up until then. (Walker referred to him as “Mr Thompson” or “Sir”, so I guess maybe I should too…) His own description of his style (in this interview I read this morning) as being someone who just plays intricate bass solos is characteristically modest but was spot on for the evening. He scampered up and down the bass for intense seconds of activity then stopped and listened, looking for the next space, like some sort of woodland animal. He was massively captivating and yet never at any point hogged the stage. A dream to play with I’d imagine… (It’s perhaps worth
pointing out at this stage that his huge list of credits include being a founding member of Pentangle and playing on Five Leaves Left; Solid Air & Bless the Weather; Folk, Blues and Beyond and Dream Letter, not to mention Cliff’s “Congratulations” and also the Thunderbirds theme tune. What a guy.)

IMG_1769The pair of them showed a terrific understanding and a sensitivity to each other’s direction, which belied the fact that they can only have been playing together a matter of weeks. They ran through a number of songs unfamiliar to me which sounded fresh and above all original (making a mockery of all my prejudices), before finishing with two songs from Primrose Green. The evening ended (too soon) with an encore that included a dazzling “On the Banks of the Old Kishwaukee” and a beautiful new song that according to the setlist doesn’t yet have a name. Neither man bothered to leave the stage for the encore which I kind of like, and as the seventy-six-year-old (Mr) Thompson pointed out “when we go off, we’re hunting crumpet!”

Here are some of the highlights of a great, great evening.

Funny Thing She Said

On the Banks of the Old Kishwaukee

“New”

It’s been ten years…

 

Chewing my own arm off…

Penny Smith - The Clash London CallingHaving spunked away invested the last of my EMusic credits for this period in loco Peruvian psychedelia, I find myself drumming my fingers on the dashboard of my laptop impatiently waiting for my refresh date.

I’ve apparently not planned this well.

Firstly there’s the new Field Music record already out and no doubt getting good reviews (impossible to imagine them being anything less than gushing…), which I will be compelled to get as soon as that darned Refresh Date rolls around.

Here’s a very fidgety “The Noisy Days Are Over” from the record:

 

(Really enjoying the Blockheads-style sax break…)

I don’t need to say anything about Field Music, they are what they are, and I’d invest all of a hefty lottery win into ensuring they stay that way (I live in fear of them packing it in…)

Also due out… ooh…  any day now, is a second record from Trouble in Mind’s Doug Tuttle, which I’m very much looking forward to hearing. Really, really enjoyed the first one and I’d be very surprised if I didn’t say so loudly on these very pages.

There’s this offering on the TiM site, which is sounding very promising too:

 

 

And then there’s a third record from another of my recent favourites, the increasingly Dylan-esque Kevin Morby, which is due out in April. And again, doesn’t this sound good?:

 

I’m chewing my own arm off, here…

Just tell me how you feel…

Lest anTAPAyone should be deceived by the last piece into thinking that this Blog, such as it is, has become anything other than a series of irrelevant postings about whatever takes my fancy, I feel that I should tell you that as well as the new Nap Eyes record, I’ve just spunked away (only word, I’m afraid) most of this month’s EMusic budget on this piece of glorious Peruvian nonsense.

It’s another offering from what is definitely my favourite label around (no, really), Madrid’s fine Vampisoul pressing, home of recent PP picks Elia y Elizabeth, Vainica Doble and various tantalising  ye-ye and boogalu compilations. It’s enormous fun, containing as it does fabulous tracks by such household names as Los Saicos, Traffic Sound and Los Yorks. It also has this fabulous racket:

 

 

I don’t actually know anything about “El Troglodita”, except that miraculously there’s a whole album of his on EMusic.

Now if only I had some credits left…

Nobody faster than Kerry inside…

youth-lagoonPeriods of intense inactivity have been succeeded by similar periods of similarly intense activity and have meant that I’ve once again sorely neglected these already sub-catatonic pages. What to do, eh?

Put a record on, maybe…

Youth Lagoon

Can’t remember who, I’m afraid, but over the Christmas / New Year period with its hysterical parade of Best Of lists, someone was good enough to mention Youth Lagoon’s third record, Savage Hills Ballroom. What with all the other records I was recommended over the period, plus a host of confusion with the similarly named but diametrically opposed Sauna Youth, it’s taken me almost a month to get round to giving it decent listen.

Which is a real shame. What a terrific record it is…

I think I’ve probably fashioned a “ticking-all-the-wrong-boxes” conceit on these pages before, but Savage Hills Ballroom really does all that – whiny vocals; orchestral-style synths; all the trappings of tinny electronica; no guitars, for God’s sake (let along wah-wah or fuzztone). But a day’s driving around the mean(ish) streets of Cheltenham and Gloucester arm in arm with the powerful, anguished tunes of Trevor Powers has sorted this out, good and proper. All done with the power of song – haunting, affecting, clever song writing.

Here’s a Blogotheque (God bless ‘em) Take Away show, filmed in St Ouen, just outside Paris:

 

If you’re sensing in these lines a greater than usual sense of regret and frustration with my Blogging ineptitude, it’s firstly because I’ve only just realised that YL are playing at Thekla tomorrow night (too late) You can then add to this the news last week that Powers announced the end of Youth Lagoon – “I’ve reached the top of a mountain, only to then be able to see a much larger one I want to ascend.” – (too early, far too early…)

As a great man once said,

Bugger…