Friday 31st January 2025
Watching Marianne Faithfull on BBC 4 . A BBC in session concert in LSO St Luke's in London from 2009.
Blogging from Leith about a variety of things, though mainly music.
Friday 31st January 2025
Watching Marianne Faithfull on BBC 4 . A BBC in session concert in LSO St Luke's in London from 2009.
Going to see Beau Gris Gris and the Apocalypse at the Voodoo Rooms when it was snowing in New Orleans was always going to be a special night. So I hoped and so it was.
No support just a four to the floor rock'n'roll band playing to an enthusiastic audience for two and a half hours.
They opened the night and their tour with the instant crowd pleaser 'What's My Name' audaciously introducing audience participation from song one. It worked and set the scene for the rest of the evening.
Beau Gris Gris are on the face of it the unlikely pairing of a skinny guitarist from Devizes and an ebullient singer from Louisiana have perfected a crowd pleasing sound mixing rock'n'roll, soul, americana and at times crunching glam guitar into the perfect night out.
Slowing the pace down mid set with a stripped back acoustic guitar a voice and a brace of songs including a soulful cover of 'Nothing Compares 2 U'.
The band are fronted by Greta Valenti and Robin Davey and although this was a different backing band than the last time I saw them it was clear that these guys all add to the whole.
After the band return the gig moves up a notch and there are audience invasions by Greta and Robin - there's bound to be film out there go find it.
Finishing with a curfew pushing rendition of their 'Don't Let the Bastards Grind You Down' I can't help but feel that this is probably the best live band I've seen this year! If you get the chance don't miss them.
It's been a bit quiet on Leith Notes for a while - only two posts before this one, the first in February and the last in December.
Leith Notes opened 2024 with the immensely wonderful Josienne Clarke who I'd been waiting for years to see live - I've been listening to her since before Leith Notes existence. I discovered her through my early days streaming music and probably found her more by accident than design. Did finally seeing her play lead to a deep satisfaction that meant no one else could move me to write about my experience of music, politics or the other things I write about here? While she's good,
To be fair 2024 has been a tumultuous year at Leith Notes villa. I worked part of the year as campaign manager for a candidate in the General Election and that consumed what free time had, well almost. I did regularly attended gigs and remained enthused by what I was experiencing. Often it was a welcome balm and release from the difficult and fractious political world. The General Election result did not go well for the SNP leading me to redundancy. That and my partner deciding that it was time to train as a teacher meant that there was change all around. Labour said it was change we needed haha.
I hope in the next few weeks to write about the year, the gigs, the politics, the hope, the enjoyment, the stuff that made me start Leith Notes all those years ago. After the ups and downs of 2024 I'll be looking for the discipline of writing to pull me into 2025. As always with a nostalgia for an age yet to come.
I'm always a bit wary of revisiting musical inspiration from my twenties (code for late 1970s early 1980s kids). But there can be exceptions and tonight was one of those. There were two bands that I should have seen when I was young and stupid but didn't because well...
Hooked in by a promised appearance of the legendary 'Cult Figures'. I've got their 'Zip Nolan' single from back in the day that thought that was it, 7 seconds of fame and blam they were gone. I think that was the case at the time but they are out there again. Indeed I had a ticket to see them a couple of years ago only to have them enigmatically cancel the gig. Did they really exist? Were they imaginary Cult Figures? Whatever I've still got the flyer for the gig that never happened. As it turns out they are real and produce an infectious sound that's a lot of fun since you're asking. Because there was never an extensive back catalogue their set was mainly relatively new songs including a few recent unreleased tracks, meeting my criteria of moving on. I could have listened to them for longer and thanks to streaming services undoubtedly will.
Television Personalities were a bit more real in my memory not least for the 'hit' the instantly singalong smash 'Part Time Punks' and an album with a picture of Steed from the Avengers with Twiggy on the cover. This combo was formed and led by Dan Treacy who is not able to tour anymore and entrusts his creations to capable hands who play them with a great amount of warmth, wit, and energy. There was something touching about the current line-ups dedication to keeping the Television Personalities legacy alive and with a good bit of kick. They were joined onstage for a couple of numbers by the garage band legend Lenny Van Helsing probably best known for legendary Edinburgh combo the Thanes. They ended the set with the 'hit' keeping everyone happy.
It was a great night filling in some gaps in my musical memories.
Shout out too for the opening act Big Lanes who hail from a more recent vintage and produce a guitar drenched pop sound that is well worth catching.
You wait for a singer to play somewhere near you and they set a date and of course you get your ticket. The much anticipated day arrives but the weather makes you think twice. It's really bad, though maybe you're a wuss. You decide not to go. And that could have been the end of this story. But then this happened - the singer posts on social media that she's arrived in Glasgow after a ferry journey from Bute and a drive through awful weather - she did write a song titled '(Learning to Sail) In All Weather' after all.
So that profound challenge and an obvious change in the weather saw me depart westwards for the customary getting lost within yards of the venue followed by a chickpea korma with my friend Stewart before the show I was there ready to see Josienne Clarke after years of listening to her music and the occasional interaction on social media.
Alone centre stage Josienne held the audience in the palm of her hand. Despite a new album in the offing there was only one new song, the rest of the set spanned a selection from across her career. And what a a body of work from an artist who writes lines like 'make your peace with failure/a lesson that you learned' and 'you sing and play and make things/for that is all you can do'. These lines come from 'Chicago' a song born of the disaster of turning up in that fabled city to play in an empty venue.
As a self declared miserabilist Josienne Clarke shows she also has a sense of humour with her between song banter and introductions. She frets that her sad songs are doing no good and might be making sad people sadder. That's probably a subject to discuss in a thesis but the evidence tonight would seem to counter that view as it appeared that these sad songs sung so beautifully made us, the audience, happy.
And there is the essence - the answer to the question do we need music, especially sad songs. Thank you Josienne the wait and the journey to hear you was worth it. More sad songs? Yes please.
https://josienneclarke.bandcamp.com/
Chicago Sun Times Melancholy is a Vocation in Itself
Sometimes my self denying ordinance of 'I should have seen that band or that singer twenty, thirty or forty years ago' needs a catalyst of some sort to break. This is what happened with Wilco and by association Dan Stuart. I'd never seen either live despite having the opportunity in the past. To be fair when I heard Wilco and Dan Stuart were coming to Edinburgh within a week of each other I was interested, perhaps a bit more than interested. Just not interested enough to get those tickets.
Then Wilco announced that the support would be Courtney Marie Andrews and I was in. I'd twice had tickets for Courtney Marie and had to miss the shows so I was not about to miss her at the Usher Hall.
Wilco intriguingly announced a new album 'Cousin' while touring the recently released 'Cruel Country'. I was a bit fretful that I'd fail to recognise many of their songs despite two things - I had the first four Wilco albums and they were heavily played when I got them they were rarely played now, I crammed 'Cruel Country' but was aware that with the size of their back catalogue I might be lost for sections of the set. Then given my aversion to nostalgia maybe that would be a good thing - fresh ears to unheard songs.
It turned out differently than I expected. Wilco included songs from all of the albums in my collection and although they did include songs across their catalogue including their latest LP and the new single 'Evicted' what I hadn't factored in was streaming - although I didn't have the albums I had obviously checked in on their albums over the years, played a few tracks, found what I liked and repeated those songs.
Has to be said they are a blisteringly good band to see live, the energy expended while making it look easy was amazing. The audience were up for it too and gave back generously. A word about the audience - despite the vintage of the band I'd expected mainly blokes like me, my age. While there were plenty there that fit that bill there were also a lot of younger folks in the audience. In my row in the 'gods' I was the oldest by my estimation and gender wise there were only two males and I had at least 25 years on the other guy. Someday I'll work out how Wilco reach beyond their demographic. I'm glad they do as it gives me hope that good music is universal.
All too soon it was over and the encore songs began. Jeff Tweedy invited Courtney Marie Andrews onstage to join them for 'You and I' and 'California Stars'.
When I got home I dug out Jeff Tweedy's book 'Let's Go (So we can get back)' and started reading it and there was a reference to Green On Red. And that is how I got to Dan Stuart who was playing the Voodoo Rooms a week later. I took it as a sign and bought a ticket. To be fair there was a fair chance of me going anyway but the weather report says there is a fair chance of rain. Signs is signs.
Dan took to the stage, one man, his guitar and a music stand with his novel 'Marlowe's Revenge' propped on it. Introducing himself to Edinburgh he confessed that he'd got into some heavy shit when he'd been here before. He didn't elaborate.
It's a long time since alt. country pioneers Green On Red folded and Dan, Chuck Prophet and Chris Cavacas went their separate ways. The memories of that seminal alt country band who blazed through this world spewing out incredible songs and living the rock'n'roll lifestyle loomed large over the night. Dan played their songs and reminisced about the band, picking out 'The Killer Inside Me' as being an album made when he was largely out of control. He described it as a psychic nightmare and has laconic disdain for the drum production which was of its time and 'hasn't aged well'.
It was great to hear stripped down versions of 'No Free Lunch' and 'Time Ain't Nothing' played alongside more recent songs like the descriptive 'The Day William Holden Died'. Dan has had an interesting career since leaving Green On Red. Not least in the creation of the alter-ego character 'Marlowe Billings' across not just three albums but three novels and it was from the book 'Marlowe's Revenge' that he read from and it was more than a reading as Dan inhabited the characters in the first two chapters of the novel in this hard boiled crime story.
He played two sets and invited us to choose the hard way or the easy way we chose the hard way and have no idea whether what he gave us the hard or the easy way. What he did give us or at least gave me was an insight to a rock'n'roll survivor who was described by his father as an entertainer and that is what he is doing night after night, finding simple pleasures like swimming in the North Sea off Bamburgh Castle while travelling to Scotland. He reckoned he'd try to get another swim while travelling down the west coast. Burt Lancaster in 'the Swimmer' came to my mind.
For so many reasons we are lucky to have Dan Stuart with us and to be able to spend some time with him as he wends his way, and tells his tales. The troubadour.
https://marlowebillings.com/centro
There are times when watching live music can be a wondrous experience which transports you to a mythical time. This was one of those nights and in a way it was unexpected. I'd pitched up to Sneaky Pete's for a headline show by California based band Sylvie. I knew their Laurel Canyon sound and that's why I was there - a sucker for the sounds of the late 60s early 70s California Laurel Canyon set.
The premise of Sylvie is an intriguing one. Essentially Sylvie is Ben Schwab and some friends so a kind of mythical collective of shifting musical characters.
The myth deepens when you learn about about the inspiration for Sylvie and the eponymous album. Schwab's father, also a musician, was a band member and songwriter for Bad Anthony a band with Ohio origins who has moved to California in the early 70s recorded some unreleased demos and disappeared unsung and forgotten. when he heard these demos Schwab younger was inspired and alongside fuelling the concept of Sylvie he cajoled his dad to finally release the demos. They are now available - find them where you stream your music or on vinyl.
For the show in Edinburgh the Sylvie line-up was Ben Schwab, vocals and guitar with Keven Louis Lareau on second guitar and vocals and Laura Jean Anderson providing the Linda Ronstadt sparkle to the evening.
The enthusiastic crowd were treated to a trio at the top of their game after a long tour where 'you never know what you are walking into'. Something happened or didn't in Nottingham but what we were never told. The three voices together swapping leads and the guitars conjured up the pure enjoyment of music and the evocation of an evening at the Troubadour circa 1972.
Most of the songs were Schwab's including a couple of new songs which bodes well for a future Sylvie album. but a masterful take on Ian Matthew's 'Sylvie' gives the collective their name and the modus operandi of their music. There were other covers - Mad Anthony's 'Rina' where they were joined on stage by Paulo Nutini in an totally unexpected turn which had the audience reaching for the phones to capture the moment. They encored with Neil Young's 'Flying On the Ground is Wrong'. Yes this was a Laurel Canyon moment for the 21st Century that happened right here in Edinburgh.
Prior to taking the stage with Sylvie Keven Louis Lareau opened with an intriguing set of songs played to a backing track that included instrumentation, vocals and his own audience. What the hell happened in Nottingham? Regardless he warmed the audience to the US West Coast sound setting the scene for the headliners. He included a song that caught my attention 'The Girl That Turned the Lever' a 1971 song by Ernie Graham that links back to Nick Lowe and Ian Gomm. If you know you know. Sublime choice.
An opening set from Grayling was well received and it can't be long before she is headlining too.
https://sylvie-music.bandcamp.com/album/sylvie-2022-2
https://kevenlouislareau.bandcamp.com/
https://laurajeananderson.bandcamp.com/album/lonesome-no-more-ep
https://www.facebook.com/graylingmusic/
https://www.fulltimehobby.co.uk/artist/sylvie