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The one member who just doesn’t last…

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I’ve been on something of a Squeeze listening binge of late, and can’t help but notice from liner notes (and following on, Wikipedia) that they’ve been through an excessively large amount of bass players, eight in total. Reading the great ‘Song by Song’ book, no real reasons have been given for Squeeze four-stringers moving on up to 1999, unlike the dirt on drummer Gilson Lavis hitting the sauce and getting a p45 – twice. Since then, the amazing Yolanda Charles lasted one album and her predecessor Lucy Shaw (long-termer of Tilbrook’s solo band) even less time. Add Sean Hurley and Owen Biddle and it makes four in the last six years.

I know the Grateful Dead got through an inordinate amount of keyboard players, and of course the mighty Tap were forced by misfortune and accident into getting multiple drummers.

Are there any other acts that have one particular instrumentalist who never gets a gold watch?

Here are ver Squeeze with the great Keith Wilkinson:

Jeremy Porter and the Tucos – Candy Coloured Cannonball

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What does it sound like?:

There’s a kind of music that falls through the cracks of traditional rock-journo classification. Somewhere in the middle of a Venn diagram of punk, traditional rock’n’roll, garage rock and Americana, it’s best enjoyed in a cosy bar room – small enough to appreciate witty lyrics, loud enough to feel the vibes. I’ve written on this site before about the difference between British and US bands in this regard – we do punk well over here, but veer away from its full-throttle dogma and you frequently get into leather-waistcoated pub-rock territory these days. In the States, it’s a rich tradition perfected by the Replacements and best imported over here in the 70s by Chrissie Hynde.

I’ve been following the career of Jeremy Porter and the Tucos since I caught their show at The Islington two summers ago, reviewed on these pages in October 2018. It cheered my old heart to see a US band who played this kind of rock and roll, less fussy than many of their trendier peers but smarter and sharper than either the punk or trad-rock acts they share their venues with. Their fourth album proper finds them at home » Continue Reading.

RIP Nick Walusko of the Wondermints

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Very sad to hear that Nick Walusko has died at just 59. The Wondermints were a treasured secret among pop-pop obsessives like me in the 90s. I saw them twice, and their gig at the Borderline was one of the very best shows I’ve ever seen.

The Wondermints are best known for backing up Brian Wilson, and an amazing job they did of it too, but I’ll always wish they got to record some more of their own stuff. Now it’s too late.

https://www.rollingstone.com/music/music-news/nicky-wonder-brian-wilson-wondermints-guitarist-dead-at-59-obituary-868888/

ATM: iPod Touch and Mac

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Hi All. I don’t know if anyone can help me, but since updating my iMac to Mojave, iTunes won’t recognise my iPod Touch. I’ll plug it in and an alert box comes up:

‘iTunes could not connect to the iPod touch “*TrypF’s* iPod” because an invalid response was received from the device.’

I’ve look it up on the various Mac forums and they all say it’s either the USB port or the cable (both checked – my wife’s iPod nano connects fine), or anti-malware software interfering. Other than updating Microsoft Office to 365 recently, I can’t think what else that could be.

Or it could just be my iPod is very old and Apple have finally given up on it – however it’s a trusty old warhorse and I don’t really fancy splashing out on an iPhone just to play podcasts and music on the go.

Any help would be gratefully received.

The Davenports – Don’t Be Mad at Me

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What does it sound like?:

Ever since those giants of mature American power pop, Fountains of Wayne, called it a day, there has been a gap in the market for their particular blend of witty, acerbic and tuneful guitar pop. Scott Klass, musical colleague of FoW’s singer Chris Collingsworth, has making something very like that under the name of The Davenports since the turn of the century, though it’s a lot less glossy and a bit more chamber-pop. Klass’s speciality is the small snapshot of social awkwardness – previous songs have concerned boyfriends making a scene after a drink too many, porn-addicted workmates and commiserating a friend after the over-long visit of a self-pitying loser. Don’t Be Mad at Me is the fifth Davenports album, and such is their relative obscurity that I hadn’t noticed its arrival this summer because I don’t do Facebook.

DBMAM contains two previous standalone singles and a cover of Wham’s Freedom taken from a tribute album, all released ages ago, and I’m keen to see where the other songs fit in and how the collection holds together. From stark piano-only waltzes to Kinksy guitar rock it’s a good mix, and the songs’ stories » Continue Reading.

Bohemian Rhapsody

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Year: 2018 Director: Bryan Singer/Dexter Fletcher

Remember the line in Wayne’s World that goes “Everybody in the world has Frampton Comes Alive. If you lived in the suburbs you were issued it. It came in the mail with samples of Tide.” My Frampton Comes Alive was Queen’s Greatest Hits – you were seemed to be issued with it at ten years old.

Most of the civilised world is probably aware of the difficult birth Bohemian Rhapsody has had, including the hiring and firing of its director (once) and lead actor (twice), never a good sign. But after seeing the pretty impressive trailer and as a fan of Queen’s imperial phase (see above), I booked a few tickets for two of my oldest friends who are more Queen obsessive than me, plus the GLW – very much a floating voter.

Bohemian Rhapsody is a very inconsistent film, with some great set pieces let down by some clunky dialogue and a ridiculous disregard for the band’s history. In this universe, the success of the band in the early 80s is ignored and Freddie leaves the band to do solo material and live hedonistically, then is talked back in to rejoining the » Continue Reading.

Jeremy Porter and the Tucos/Jimmy Regal and the Royals

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Venue:

The Islington, London

Date: 09/10/2018

Many Afterworders will know The Islington well, home of the Word podcasts and hosting as it does many Massive-approved acts. I’m here to see my friends (and occasional clients) Jimmy Regal and the Royals – so, interest declared, take my review of them with as much salt as you fancy. Jimmy Regal play old-school blues without a bass player. Where most modern blues guitarists echo Stevie Ray Vaughan or 60s Clapton, guitarist Corin channels ‘Gatemouth’ Brown, T-Bone Walker and Hubert Sumlin – clean-toned and heavy on the rhythm. Singer Joff Watkins has the authoritative bark of a Howlin’ Wolf and, most impressively, has The Gift when it comes to playing harp. Jimmy Regal come onstage to about five people and leave a room full and happy.

I thought I’d stick around for the headliners, and this turns out to be a good choice. Until they replace Jimmy Regal onstage, I had never heard one note of Jeremy Porter and the Tucos. The first effect is visual – the rock’n’roll look that tells you synth solos and sequenced beats will not be forthcoming. The Tucos’ bassist is called Patty Two Shoes, which also bodes » Continue Reading.

Club Wino

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12/10/2018

Once again rowdy tunesmiths Neil Gowans and the Winos are putting on their Club Wino, this time on Friday October 12th with fabled Medway mod’n’rollers the Len Price Three as special guests.

Venue is the ZigFrid von Underbelly in Hoxton Square, a delightful place many steps up from the usual sticky floored pub venue – great sightlines, great sound, nice toilets, everything you could want.

A few of you may know that two of the Winos frequent this board, as TrypF and TurtleFace. We’re delighted to get The Len Price Three on board and it promises to be a great night out. Show starts at 8pm. £7 entry. Here are the Len Price Three in action…

Modern English

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Venue:

100 Club, London

Date: 01/09/2018

Here’s a funny one. An old friend texts out of the blue and wanted to know if I fancy going to see Modern English. ‘They used to be called the English Beat’ he writes ‘And had a hit with a song called Melt With You’. I haven’t seen him for a while and could do with a night out, so I sign up.

One out of two ain’t bad. OK, it is pretty bad – Modern English were not The English Beat (or just The Beat) – a shame because it would have been nice to hear ‘Save it for Later’. This happens with people I know – one left a Cowboy Junkies gig disappointed they hadn’t played ‘Perfect’. Never mind: here I am, in the 100 Club, watching a band I know nothing about. So here’s a completely objective review – other than the name, Modern English ring no bells whatsoever.

What strikes me first is the disparity between four of the band and their guitarist. Singer, drummer, keys and bass are wearing the regulation Musician Of A Certain Age uniform of black suits and black T-shirts. They have short, or no » Continue Reading.

John Finnemore’s Flying Visit

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Venue:

Richmond Theatre, Richmond upon Thames

Date: 03/06/2018

If the phrases Yellow Car, The Travelling Lemon or Since You Ask Me For A Story bring a smile to your face, you may well be one of the thousands going to see John Finnemore and his regular gang on this early summer tour. If they don’t, you’re not in the minority. This isn’t Peter Kay, but a much niche in comedy – almost completely confined to Radio 4 until now, building an impressive back catalogue of humour since 2008 in John Finnemore’s Souvenir Programme (the sketch show) and Cabin Pressure (the almost legendary sitcom).

This production is a broad selection of mostly the former show – mainly due to the availability of Finnemore’s sketch team, and a thoroughly brilliant gang they are. Laury Lewin, Margaret Cabourn Smith, Simon Kane and the endearingly daffy Carrie Quinlan all play to their strengths, all playing stage personas within the acting and not many unfunny bones among any of them. To the faithful, it feels like a greatest hits set – Pooh’s Intervention, The Ice Cream Van Painter, The Short-Sleeved Shirts Team Talk – but there are new items, some reasonable audience participation, the » Continue Reading.

Pugwash – Silverlake

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What does it sound like?:

Fans of power pop should be acquainted with the music of Thomas Walsh, either as the leader of Pugwash or as half of the cricket-themed Duckworth Lewis method with Neil Hannon. I came to Thomas’ music via my love of Jason Falkner’s work, a mercurial muti-instrumentalist and producer, who has made some astonishing albums of his own, and guested on two Pugwash albums in the noughties.

Having reluctantly split the touring version of the band, Walsh has effectively gone solo, but using Falkner as his right hand man, recording in JF’s LA studio and using Kickstarter to fund their efforts.

Tunewise, it’s a concise bundle of ten songs ranging from sun-kissed pop (The Perfect Summer), via angular XTCish new wave (Why Do I) and woozy psychedelia (Autarch). There are a couple that could come from the pen of Falkner himself, but aren’t (Without You, Easier Done Than Said). The there are the slowies, which Walsh is the master of: Such a Shame is one of his very best, and very much my current ‘jam’. Sonically, it’s marmite – a departure from previous recordings and very much a Falkner sound – everything is thick and » Continue Reading.

Club Wino rides again

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03/11/2017

Once again, my band Neil Gowans and the Winos are heading our own night at London’s glittering Zigfrid von Underbelly, featuring two regulars at this parish. This time out, we’re lucky to have support from Sean ‘Dr’ Millar, a redoubtable songwriter from Ireland who some of you may have heard of. Starting up are the country-flavoured Tupelos, a fine outfit starting out. We’re a saucy Nick Lowe/Elvis/Feelgoods amalgam, with a few choice covers thrown in the mix. Zigfrid von Underbelly is at 11 Hoxton Square London N1, entry a mere fiver, kicking off about 8pm. If you can make it, say hi to the lanky bass player!

Tom Petty at BST Hyde Park

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Venue:

Hyde Park, London

Date: 09/07/2017

There’s a song from a lesser-known Tom Petty album, 2002’s The Last DJ, which rails against large outdoor gigs. “They sat in golden circles/And waiters served them wine … And way up in the nosebleeds/We watched him on the screen/They’d hung between the billboards/So cheaper seats could see”. This is the Hyde Park experience, and Tom Petty has become part of this – not that I blame him. He last came to the UK in 2012, and may not play here again, so he’s playing to Hyde Park sized places. My £65 ticket (plus fees) gets me the basic admission, which gets me about 100 yards from the main stage at best. If I were to empty my wallet further, I might get in the silver section, a crescent nearer the acts, or the gold section, nearest the front. My friend who works in the city got a ticket in the still-more-rarefied VIP garden, a grandstand slightly to one side of the stage, commanding a raised view of the stage, and possibly featuring butlers, caviar on ice and executive relief.

Back in the plebs’ area, we have the option of a huge amount » Continue Reading.

Club Wino 12

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08/04/2017

After a short sojourn, Club Wino is back and now we’ve made it all the way up to number twelve.

This one will take place downstairs at The Roadtrip and Workshop in Old Street on Saturday 8th April.

As the venue is what some might call bijou, there will be a slightly smaller bill than usual featuring your hosts, Neil Gowans and The Winos (featuring this board’s TrypF and Turtleface) and our particular brand of countrified power pop ‘n’ roll. We’ve even got a couple of new tunes.

We will be accompanied by The Bakelite Space Programme, who can rustle up a hell of a din, despite being just the two of them.

So, come join the fun at Club Wino 12, it’s been a while and we’d love to see you.

Can the Can

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Apparently Heinz are in trouble because their advert might cause people to beat razor edged tins with their hands until they bleed. While this is unlikely, and is simply a great opportunity for a) Heinz to get some free publicity and b) little Englanders to froth about ‘elf’n’safety gone mad’, I’d like it to be kicked into a pit and molten lead poured on it for completely different reasons.

One: It’s the soft-focus, grab-a-ukelele, twee guff that really boils my soup. Two: It’s close to theft. Theft of another theft, really. Remember Lulu and the Lampshades and their ‘Cups’ song? It was championed by David Hepworth in his blog some years ago, and in the old magazine. It’s quite charming. LATL even played a Word in Your Ear gig. Here’s the original: https://www.youtube.com/watch?v=DWCOYJg9ps4

This was then borrowed (ahem) for the film Pitch Perfect, in a scene starring Anna Kendrick. Here it is, at 1:22: https://www.youtube.com/watch?v=cmSbXsFE3l8

A few months ago, I was at some arts centre evening of entertainment (a freind dragged me), and a shit-awful ‘Glee’-style acapella group did their turn. You can probably guess what their centrepiece of the set was. The most annoying thing was they didn’t say » Continue Reading.

A sideman leaves us…

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Eddie Harsch, late of the Black Crowes, died the other day. One shouldn’t speculate at why he left us at 59, but I have a sinking feeling based on his, and the band’s, history of hard drugs. Nevertheless, he helped to give us some wonderful music and on their night, they were very hard to beat.

I could link to something from a live recording, but this from the Crowes’ second album is my idea of the apogee of his playing. At 3:56, after a wonderfully lazy drum fill from Steve Gorman, Eddie goes gospel, and Thorn In My Pride finds a new gear. Off you fly, Ed.

Roger Hodgson

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Venue:

London Palladium

Date: 28/04/2016

I’ve always had a soft spot for Supertramp, and in particular Roger Hodgson’s yearning, questioning songs. Although my venue of choice normally has me standing in a dark, sticky-floored Camden venue, I took a punt on a comfy seated nostalgic journey. Roger and band (more of them in a bit) started on the dot of 8 with Supertramp classic ‘Take the Long way Home’, followed by an endearing spiel about how great is was to be back in England, how lucky he is to be blessed with such a career and so forth. As Rog said at one point, with so much awfulness in the world this was a chance to escape it for a couple of hours. I believe he means every word, but we got quite a lot of these homilies through the evening and I had to fight my inner cynic a mite. So to the tunes: The ‘Tramp ones were excellent, played by a very talented band who had all come dressed as Vegas magicians. The solo years stuff was variable, and you could hear the room deflate when the animal rights anthem ‘Death and a Zoo’ was announced, and » Continue Reading.