Monday 27 June 2011

Do Not Forsake Me, Oh My Darling

Anyone who knows me personally knows I'm a long-time fan of 'The Prisoner', the 1960s spy/sci-fi/allegorical series starring Patrick McGoohan, once Britain's highest-paid TV actor. He was at the height of his success in 1966 which gave him the licence to make his own show, full of his own ideas, and one which remains etched in the minds of everyone who saw it. 

The influence of the programme has been felt far and wide, and only two years ago a remake was produced, to mixed reviews. All the same, it is the iconic imagery of the original which remains fixed in most peoples' mind, and it continues to influence art today.

I recently discovered a band calling themselves after one of the episode titles: Do Not Forsake Me Oh My Darling are a duo coming out of Boston, USA and made up of bass player Michael J. Epstein and drummer/vocalist Sophia Cacciola. They recently released their first music video, a shot-for-shot remake of the opening sequences to 'The Prisoner', only the location was Boston rather than London, and with Sophia Cacciola in the McGoohan role. The song is called 'Episode 1: Arrival' and is the first of 17 planned tracks, all titled after the episodes and all based on the programme. 

The video is available to watch on YouTube now and it is a painstakingly accurate recreation, right down to the Caterham 7 'Prisoner' edition car (a replica of McGoohan's car, which was produced in 1990 in limited quantities) and the near-perfect replica of the interior of The Prisoner's flat. If like me, you are a fan of this series, you will be amazed at how close they got it. They substitited a Boston garden for the Welsh village of Portmeirion, but found a beach location which is uncannily similar to that in the location in Wales.

Do Not Forsake Me Oh My Darling's music is loud and hard-hitting alternative rock, not quite the sort of old-school hard rock I normally prefer but with the use of 'The Prisoner' they have an effective hook in which to draw people in. Take a look at their video for 'Episode 1: Arrival' and if you are a fan, there are companion clips which show the original in an inset, and another which shows the making of the video. 

The band, (and video producers Lost Jockey Productions) are to be congratulated on a superb piece of work and the video will doubtless get them plenty of attention. I look forward to more. 

Video with the original inset for comparison

The making of the video

Do Not Forsake Me, Oh My Darling

Anyone who knows me personally knows I'm a long-time fan of 'The Prisoner', the 1960s spy/sci-fi/allegorical series starring Patrick McGoohan, once Britain's highest-paid TV actor. He was at the height of his success in 1966 which gave him the licence to make his own show, full of his own ideas, and one which remains etched in the minds of everyone who saw it. 

The influence of the programme has been felt far and wide, and only two years ago a remake was produced, to mixed reviews. All the same, it is the iconic imagery of the original which remains fixed in most peoples' mind, and it continues to influence art today.

I recently discovered a band calling themselves after one of the episode titles: Do Not Forsake Me Oh My Darling are a duo coming out of Boston, USA and made up of bass player Michael J. Epstein and drummer/vocalist Sophia Cacciola. They recently released their first music video, a shot-for-shot remake of the opening sequences to 'The Prisoner', only the location was Boston rather than London, and with Sophia Cacciola in the McGoohan role. The song is called 'Episode 1: Arrival' and is the first of 17 planned tracks, all titled after the episodes and all based on the programme. 

The video is available to watch on YouTube now and it is a painstakingly accurate recreation, right down to the Caterham 7 'Prisoner' edition car (a replica of McGoohan's car, which was produced in 1990 in limited quantities) and the near-perfect replica of the interior of The Prisoner's flat. If like me, you are a fan of this series, you will be amazed at how close they got it. They substitited a Boston garden for the Welsh village of Portmeirion, but found a beach location which is uncannily similar to that in the location in Wales.

Do Not Forsake Me Oh My Darling's music is loud and hard-hitting alternative rock, not quite the sort of old-school hard rock I normally prefer but with the use of 'The Prisoner' they have an effective hook in which to draw people in. Take a look at their video for 'Episode 1: Arrival' and if you are a fan, there are companion clips which show the original in an inset, and another which shows the making of the video. 

The band, (and video producers Lost Jockey Productions) are to be congratulated on a superb piece of work and the video will doubtless get them plenty of attention. I look forward to more. 

Video with the original inset for comparison

The making of the video

Tuesday 21 June 2011

Music Heals live music event and auction

Coming immediately after my second and last Whitesnake gig on their run of UK dates (at the Manchester Apollo) was this live event put together by the charity Music Heals. Music Heals was set up in 2010 by some friends, all of whom are Whitesnake fans and who all live in different parts of the British Isles. Already they have as patrons Whitesnake guitarist Doug Aldrich, that band's former keyboard player Timothy Drury and Liverpool singer-songwriter Stephen Langstaff.

The charity aims to help seriously-ill children through music in various ways, be it in the creation or addition of music rooms in hospitals, or the provision of instruments or other items for use in childrens' wards. The charity has worked with Claire House in Liverpool and St Oswald's Hospice in Newcastle, donating musical instruments, toys and books.  Having met with many noted rock musicians and gathered various items for auction in order to raise funds, the organisation put on its first live fundraising event at Jabez Clegg bar in the heart of Manchester's university area.  The event featured two live bands and a silent auction, where some items relating to Whitesnake and Status Quo were on offer. One of the items was auctioned separately and this was the chance to meet Quo themselves at any one of their upcoming UK dates. Fittingly then, the two bands playing were tributes to Whitesnake and Quo, in the form of Whitesnake UK and State of Quo. 

My involvement on the night was as event photographer; I'd been asked to take shots of both bands in action and any assorted goings-on. So it was that I found myself with my big SLR digicam for once, taking pictures of a band playing songs that I'd heard only the previous night! Whitesnake UK gave a set lasting around an hour and did a fine job in warming up the early attendees. After their set the auctions began with people coming along and making written bids; some smaller items were on offer including signed CDs, DVDs, posters and even the special Whitesnake issue of Classic Rock magazine which included the complete 'Forevermore' album.  The other band on were State of Quo; they had brought a few of their own followers along and when they struck up, the floor soon filled with air guitar players and boogieing punters. I was very tempted to join them, but I had a job to do! They also played for around an hour, featuring Quo material only from the 1970s - the classic stuff. Following their excellent set, the silent auctions closed and the main auction for the Status Quo meet and greet got under way, compered by State of Quo's lead singer Ian Hill. (No, not the bloke from Judas Priest!) To Ian, and everyone else's amazement, the bid reached a staggering £600.

By the time the totals were added from the night's proceedings and the eBay auctions (which included a guitar autographed by both Doug Aldrich and David Coverdale) a total of £2574 was raised. All in all it was a great night, with good music, good company, and all in aid of a very good cause. Music Heals are always looking for volunteers to spread the word and also musicians - at any level - to support them. For more information email at information@musicheals.co.uk or join their Facebook page.

 

 

Monday 20 June 2011

Clarence Clemons 'The Big Man' 1942-2011

It's been over a decade since last I saw Bruce Springsteen's E Street Band live, but it still came as a shock to learn about the death of saxophone player Clarence Clemons.

A mainstay of the E Street Band since its formation, Clarence Clemons was the first name beside the Boss himself anyone could name from the band. The huge imposing figure of 'The Big Man' was the perfect visual foil; the cover shot of 'Born To Run' featuring the two is now an iconic piece of album art.

Although I've seen Springsteen and the E Street Band (as it was always billed for live performances - at least while he toured with the E Street Band) live on several occasions, I'm not a massive expert on them.  On that stage at Wembley Stadium, the Big Man looked enormous - towering over the Boss and everyone else. Springsteen used to describe him as 'the heavyweight champion of the world' on stage during those shows, and few would have argued!  For all that, he had an engaging stage presence - always getting the biggest cheer.

When you think of Springsteen songs featuring sax solos, inevitably 'Jungleland' springs to mind straight away. A ten-minute epic concerning romance amid a background of violent gangs, its centerpiece is that signature solo. It wasn't the only song to have significant contributions from Clarence Clemons however; the title track of that same album has a short but memorable sax break.  'Bobby Jean' off the 'Born in the USA' album has an excellent outro solo and of course 'Dancing in the Dark', whose video featured a young Courteney Cox being invited up onstage with Springsteen while the Big Man plays out.

Clarence Clemons also played on other projects outside of Springsteen and one that raised a few eyebrows was his collaboration with 80s metallers Twisted Sister. He played a short solo on 'Be Chrool To Your Scuel', an unusually light-hearted rock 'n' roll number featuring a number of other notable guests including Alice Cooper, Brian Setzer and Billy Joel. Other artists he worked with included Aretha Franklin, Jackson Browne and more recently, Lady Gaga.

The last time I saw the E Street Band was in 1999 in Manchester, with all present and correct, looking in fine shape. However Clarence Clemons had suffered from ill-health for a number of years, and suffered a stroke on the 12th June. It was complications from that stroke which led to his death on Saturday evening.

Springsteen described the loss as "immeasurable" on his website and added: "His life, his memory, and his love will live on... in our band. " It seems inconceivable that there can be an E Street Band without The Big Man in it, such was his huge presence, but that seems to be the intention of The Boss.  Whatever he does, he, his band and the world of music have lost a true giant.

Tuesday 14 June 2011

Caught Live: Whitesnake, City Hall, Newcastle 13 June 2011

OK I admit it, I had some misgivings about this show beforehand. Whitesnake have just put out their best album in years with 'Forevermore', and vocalist David Coverdale rolled back the years on that record, belting out anthem after anthem to give a monumental performance. So much so I feared he'd left all his throat in the studio and would struggle to deliver that same thing live, night after night.

The last Whitesnake tour was cut short with the singer having to end prematurely a show and cancel the remaining dates of the tour, and he was diagnosed shortly after with damage to his vocal cords. A statement was issued which said that they were fortunate that it was caught in time, so a prolonged period of rest was prescribed before the singer was given the OK to resume work last year. The resulting album seemed to indicate the vocalist was out to prove he still had it in him, with some huge performances put down on tape.

He's been active once again in the rock transfer market since the last tour, with bassist Uriah Duffy and drummer Chris Frazier being released in favour of new signings, Michael Devin having assumed the bass role and Briian Tichy now behind the kit. Keyboard player Timothy Drury also departed last year, although he plays on the new record, and it is Brian Ruedy who has taken over the ivories for this latest run. So - with three new Snakes, and a month into the tour already for the veteran rock god, can he still deliver the goods live?

He certainly came up trumps at Newcastle, with Tichy now behind the kit the band's sound hits harder than ever and Coverdale had to work hard to elevate himself above the nuclear explosions coming from the back of the stage. The appeal with Coverdale is he always gives 100% every night, he may not hit every note, he may sound rough round the edges sometimes but he never holds back. That was the case last night, he was going for it hard and reaching - and holding - notes that he certainly was not doing in 2008. Perhaps it was the setting (Newcastle being in his native north-east) but, for someone who once declared that he wanted "less strain on the old Calvins" (a quote of his from over a decade ago), the Calvins were under as much strain as ever this night! He does rely on his band to back him up - the harmonies are sounding excellent in this new line-up - but when he was reaching for the fabled lung-busting roar, he got it. It was noticeable that the older songs have been taken down, possibly by as much as a whole step, but Coverdale has set himself a daunting task with this set list. Packed with demanding songs including five off the new album, it's understandable he's arranged them in a lower key in order to perform night after night.

They opened with 'Best Years' as they did in 2008/9, but this was the only 'Good To Be Bad' song performed. With so many new songs played Coverdale took the safe option with the oldies. He dare not drop 'Ain't No Love In The Heart of The City', for instance. So the new ones included 'Love Will Set You Free', 'Steal Your Heart Away', 'My Evil Ways' (which came after the guitar duel and preceded a blistering Tichy drum solo, including a Tommy Aldridge-inspired hit-em-with-the-hands part), the epic 'Forevermore' which showcased the vocal harmonies of the band, and a surprise in 'Fare Thee Well'. For this, everyone apart from Ruedy and Coverdale himself had acoustic guitars - even Tichy, who came out from behind the kit to play alongside the rest of the band. That was about as mellow as it got all night, most of the rest of the night was high-octane stuff. Even 'Is This Love' rocks harder now, with a turbocharger driving the band!

As I've been intimating, the revelation of this new line-up is the drummer. Briian Tichy has lit firecrackers under the band and as a result the whole sound is heavier, harder, and more Metal than ever. Unreconstructed headbangers (raises horns!) will love it, purists who hanker for the older style may not be quite so keen. However, this is the direction that has proved most successful for Coverdale over the years, so for now at least, he's sticking with it. Tichy does have his immense  power under control - he's not just a slam merchant - but when he really lets loose, duck! Fellow newbies, bassist Michael Devin and keyboard player Brian Ruedy, are less conspicuous and have blended into the line-up nicely. The two guitarists are now the longest-serving members apart from Coverdale himself, and you know what you are getting by now - Reb Beach is the flashier of the two, but Doug Aldrich has more of a bluesy feel.

The only reservation I did still have after the show was the solo spots - they're getting longer if anything, and as great as the guys are, I've never been a fan of long solos. Tichy's drum solo was also lengthy, and it might have been better to have the spots more spaced out. As it is, only 'My Evil Ways' separated the guitar and drum solos. meaning an extended period with Coverdale off the stage. If the singer does need a mid-set breather, it might be a better idea to revive 'Snake Dance' and have the other guys jam, or maybe even give, say, Reb Beach a song! The lengthy solos do tend to break the momentum of the show, and the mainman may need to look at this part of the show again.

For the most part though, Coverdale has once again triumphed. He hits the big six-oh in a few short months and is aware that he cannot tour like this indefinitely, but if he is planning on taking a different path in future, this is a momentous way to end.  So much for my misgivings!

Support was from The Union, with vocalist Peter Shoulder on home territory. He and former Thunder guitarist Luke Morley have established a strong reputation in the short time they've been together, and the live band included Chris Childs (also ex-Thunder) and new drummer Dave McCluskey. They were given only a short time to impress, but they did just that with Shoulder impressing the North East crowd with his own rich, bluesy voice. An immensely talented singer and guitar player in a band that oozes class, he and Morley will be selling out these kind of venues themselves soon if there is any justice. Don't miss these guys.  [[posterous-content:pid___0]]