Thursday, 5 March 2015

Midlands seven-piece soul R 'n' B outfit Stone Foundation head for the Cluny 2 reports The Chronicle

This week’s preview gets a solid base to build on, a Stone Foundation in fact. 

The firmly-grounded Midlands seven-piece soul, R ‘n’ B outfit of that name make their regional debut on Friday when they play a show in Cluny 2. 

Brought to Tyneside by the Boss Sounds and 100% Proof promotion partnership, the soul septet have been touring buddies of Two-Tone recording acts, the Selecter and the Specials, in recent years. 

The band has the classic Hammond and horns line-up and come to the Ouseburn venue directly after picking-up a trophy at the 2015 Galaxy Music Awards in London. 

Tonight’s show is certain to include material from the band’s latest studio efforts – The Three Shades of Stone Foundation – which is due for release in the summer. 

Stone Foundation, previously touted as the best unsigned band in the country, have also backed the Northern Soul singer, Nolan Porter, whose song If I Could Only Be Sure was covered by Paul Weller.

Touring Bruce Foxton relieved The Jam feud over

There's a paradox many classic bands share that Morrissey once put into droll perspective. He still loved his old writing partner Johnny Marr, he told Q magazine in the bitter wake of the Smiths' implosion, "but I feel tremendous indifference to Bruce and Rick". 

The gag was that Bruce Foxton and Rick Buckler weren't in the Smiths. They were in Paul Weller's old band, The Jam. 

Cruel? No more so than public perception. From song-writing credits to photo shoots and interviews to subsequent solo profile, the front man tends to be considered a more equal partner than his backline comrades. 

So when bassist Bruce Foxton steps out with a new band called From The Jam, faithfully performing songs by the Jam, eyebrows will naturally be raised. But only from a distance, he says, never the front of stage.  

"In the view of our audience and the people that bought our records, they still say at shows that the Jam were a three-piece band," he says. "Yes, Paul was the main songwriter, but a lot of those songs came about from my bass lines or Rick's drum patterns." 

It was youthful naivety that signed away their rights in that regard, he says. "But that's water under the bridge. Thankfully, in terms of money, we all did OK. I've got no gripe with Paul. A good time was had by all and we're still doing it." 

From The Jam included Buckler from 2005 until 2007, when the drummer "got a bee in his bonnet" and resigned from the touring revival show with an email that invited no further discussion. "He can be stubborn, Rick," Foxton says with evident regret. 

He also regrets Our Story, the book the pair published in 1994, at the height of their former singer's solo fame. "Publishers and ghostwriters … they wanna dish the dirt, don't they?" he says. 

"I suppose it was a little bit bitter at that time, [but] the book wasn't really that great. It was the sort of book you'd have in the toilet. It was a bit half-hearted … but thankfully it didn't do any long-term damage." 

It was in another toilet, backstage at a Who concert, that Weller and Foxton reunited after decades of estrangement several years ago. A pair of shared tragedies – the loss of Foxton's wife, Pat, to cancer; the death of Weller's father, John – dwarfed any lingering grievances. 

Weller later invited Foxton to play on his Wake Up the Nation album, and the favour was returned on Foxton's most recent, Back in the Room. 

It's not an un-Jam-like record, and several of its tunes have begun to fit seamlessly into the live act – which, for the record, Paul Weller has expressed no intention whatsoever of re-joining. Even if it sometimes sounds uncannily like he has. 

"He hasn't mimicked him, that's just the way Russ [Hastings] sings," Foxton says of his new front man. "But I must admit, every now and then it kicks in: 'Christ, you really do sound like Paul'." 

From The Jam plays the Prince Band Room, St Kilda, on March 6.

50 Years Ago: The Kinks Rush Release Their Second Album, ‘Kinda Kinks’ by Michael Gallucci of Ultimate Classic Rock

It’s important to remember that things moved a whole lot faster in the music biz back in the ’60s. Even with modern artists writing, recording and posting songs online in the course of an afternoon, the schedule musicians were expected to keep 50 years ago — recording, touring, promotional appearances, repeat — was both back-breaking and soul-crushing. 

And once the record industry sniffs a good thing, the cycle becomes even more accelerated. Just look at the ’90s grunge movement for proof. How many Nirvana and Pearl Jam copycats were rushed to the public following the success of Nevermind and Ten? It was even worse in the ’60s, especially after the Beatles exposed an entire British music scene ready for its closeup. Dozens of bands flooded the market; few mattered.  

The Kinks got caught up in this brutal cycle. They’d released their debut single — a pretty dismal cover of Little Richard‘s “Long Tall Sally” — in early 1964. By mid-year, they scored their first U.K. No. 1 hit with the immortal “You Really Got Me.” A self-titled album was released a couple months later. And then more recording, tours and promotional appearances. Repeat. 

The band was barely off the road when they were rushed back into the studio to make a second album, Kinda Kinks, during the first few weeks of 1965. By the first week of March, it was in stores. And the exhausting pace of the sessions — which actually began with Ray Davies quickly penning 10 new tunes for the album — can be heard in the mix, performance and, ultimately, the songs. 

Nobody was really happy with way things turned out, not even Davies, who wrote in the liner notes of the album’s 2011 “Deluxe Edition” reissue, “A bit more care should have been taken with it. I think [producer] Shel Talmy went too far in trying to keep in the rough edges. Some of the double tracking on that is appalling. It had better songs on it than the first album, but it wasn’t executed in the right way. It was just far too rushed.” 

Even though Davies had written, or co-written, all but two of the LP’s songs (“Naggin’ Woman,” a throwaway misogynist blues number, and a barely awake cover of the Motown standard “Dancing in the Street”), most are forgettable. The opening “Look for Me Baby,” the half-ignited rave-up “You Shouldn’t Be Sad” and “Got My Feet on the Ground,” co-written with brother Dave, were quickly discarded by the end of the year, when the Kinks’ third album, The Kink Kontroversy, was released.
Kinda Kinks did feature a couple of keepers, though. “Tired of Waiting for You” was one of Davies’ first successful excursions outside of the garage-rock template, and the band’s highest-charting single — reaching No. 6, a position matched only by 1983′s chart comeback song and runaway MTV hit “Come Dancing.” And the album’s closing track, “Something Better Beginning,” hints at the more pastoral and reflective tone Davies’ songwriting would take over the next few years. But that’s about it. 

Even though Kinda Kinks is kinda unlistenable, Davies was by no means falling off at this point. The 23 additional tracks found on the album’s “Deluxe Edition” include some of his early triumphs: “Everybody’s Gonna Be Happy,” “Set Me Free,” “Who’ll Be the Next in Line,” “See My Friends” and “A Well Respected Man” were all recorded during the period but saved for single or EP releases rather than used as album cuts. 

That’s also how things worked back then. The best material was issued as singles while many lesser tracks recorded during the same sessions would fill out albums’ typical dozen-song playlists. Some groups, like the Beatles, could get away with it; others, like the Kinks, coasted through a few spotty albums before later finding their footing.  

Within the next three years, it was all sorted out. Bands broke up or disappeared. Some reinvented themselves. Some got better. And some, like the Kinks, eased up on their hectic pace and made the best music of their career.

David Bowie before… (via France Inter)

Prior to Bowie, David Robert Jones was called. David Robert Jones . This name slams like a pirate flag, and is reminiscent of Davy Jones, expression for the spirit of the sea. David did not choose the pirate vocation but of rock singer, who has finally not very far. He did not kept his name. Like every legend has an origin, back before David Bowie. 

“When I started, I did not know which direction to go artistically. Some wanted to make me an entertainer, other composer. I did not see any solution adopted. There, I have to say, many people who have influenced me: Elvis Presley, Little Richard, Jacques Brel. Jazz musicians like Charlie Mingus, Eric Dolphy, Charles Lloyd. And of course the musicians of the next decade: The Rolling Stone, The Beatles, Lou Reed, Velvet Underground, the Small Faces, Bob Dylan.”

David Bowie , about his influences and his debut - source "The age of pop music", ed. Ramsay 1982 

David was born on January 8th 1947. The family universe of David, that of his childhood was cradled between the notes that escape the clarinet from his grandfather and jazz records and books of the "beat generation" of his half-brother Terry in which he dedicates a total admiration.  

In adolescence, as obvious, David learned to play an instrument. He chose the saxophone and jazz became his passion. He was 12. After studying at the Technical College of Bromley and a fight that will give him his mysterious look, David finds a job in an advertising agency and plays at night in the clubs of London. After six months, he cannot combine the two, so David Robert Jones decided to devote himself to music. 

We are in the 60's rock with the Beatles and the Rolling Stones, away everything in its path. Jazz is aging and David Robert Jones turns away for this new music that is so intense. He joined the group called King Bees, who signed with Decca and released on June 1, 1964, the title "Liza Jane". The disc is extremely rare and stirs the envy of collectors today. 

But the competition is tough in this England swinging at every street corner and the 45 is a failure. David Robert Jones embarks on another adventure with a group whose name changes depending on the desire but in which one always finds the name of David Jones before the name of this "backing 'band", just to make it clear already, which is the star.

The David Jones and The Lower Third or David Jones and the Buzz   ride in an ambulance and hair so Mod. During the concerts, the group shared the bill with the High Numbers, later The Who. 

David, along with his band, playing the Marquee Club in London (where he met one of his most loyal fans) and was noticed by a publicist, Ken Pitt , who decides to take the artist's career in hand. David has signed to the record company, which also signed the Kinks; Pye . We are in 1965 and it's only been two years since David Jones has launched. The BBC offered him a passage to television... provided that the young man be good enough to cut hair. David refuses and sees the opportunity right under his nose.

At Pye, he recorded his first single when manager Ken Pitt's is warned that a US producer is about to launch a US version of The Beatles, The Monkees, and a member of the group, an Englishman, is called Davy Jones ... 

David is not yet well known enough and feels that this other rocker of the crown, passed under the stars and stripes, could be confusing. It was imperative to change name, and as his first single is not out yet, selects David Bowie. On January 14, 1966, the single comes out - "Can’t help thinking about me" . The introduction is reminiscent of another song from Michel Polnareff release on April 26 of that year: "La poupée qui fait non". But unlike Polnareff, David's song was a commercial failure. Yet patience Bowie is as sharp as the knife that would have inspired his pseudonym and his work will eventually pay. But this is another story ... 

Thank you to Thierry Dupin, music programmer at France Inter and documentaion Musicale de Radio France.

Wilko Johnson tells Q-magazine, “I’m doing another album with The Who’s Roger Daltrey”

In the new, special, issue of Q not only does Wilko Johnson talk about the Album That Changed His Life, but he also answers posers from you the readers in this month’s Cash For Questions interview. 

Along with discussing his recovery from cancer and the fate of his character in Game Of Thrones, he reveals that he and Roger Daltrey will be making a follow-up to their joint album Going Back Home. 

Revealing something “unexpected” about The Who singer, Johnson explains how sessions for their first record together went. 

“Roger was – not nervous – but it had been a long time since he’d done it without The Who,” he notes. “He was often apprehensive about what we were doing. He would often go ‘I can’t do this’ and I found myself sometimes going, ‘Come on, you can!’ I thought this is ridiculous, it’s me sitting in this studio trying to encourage Roger Daltrey [laughs] but we did it!  

“We will be doing another one and I think it might easier this time.”  

Get Q345 now for the full interview, including the chances of a Dr Feelgood reunion, rumours he almost joined The Rolling Stones and of course the album that changed his life.  

Plus he discusses his 2014 Xperia Access Q Awards speech when he first made public how pioneering surgery had saved his life.

u-Discover's The Who Quadrophenia Box-set Competition ends on 6th March

150 Mods ride into town on Scooters for opening of new retro café reports The Bolton News

ONLOOKERS in Westhoughton could be forgiven for thinking they had travelled back in time to the swinging sixties — when the mods and rockers rode into town.  

More than 150 scooter riders descended on Wood Street for the opening of the Retro Mod and Rock Lounge — a new mod-themed cafe.

Mother-of-five Connie Ellison, who opened the cafe at the weekend, said: "It was absolutely fantastic.”  

"I really like the sixties and I love the sixties music too.”  

"My husband's the same, we're scooter mad. The Who, The Jam — all that type of thing.” 

"It was something I decided I wanted to do. I thought why not? I will give it a go.”  

"I didn't realise there were so many people around Westhoughton that are into Northern Soul, The Who and The Jam.”  

"It was just the fact I wanted to do a mod and rock cafe where people can get together, put some records on, listen to some sixties music, have a cup of tea and chill out."  

The cafe is Mrs Ellison's latest venture, following on from her Retro Hair Salon, which opened in November 2013 with a 1950s American diner theme offering pamper parties.  

She wants to drum up more business in Westhoughton and the cafe opening welcomed scooter enthusiasts from afar as Scotland.  

Mrs Ellison, who is married to Kelvin, said: "On Saturday and Sunday, we were really busy.”  

"I'd really just like to say thank you for all the support from Westhoughton and all the scooter clubs that made the day.”  

"There were all different scooter clubs from all around the area."  

The cafe serves light snacks and refreshments and there are also plans to hold barbecues in the summer.