Kids in Glass Houses @ The Sugarmill

Review by Sian Eardley

Photo by Alex Mulliner

Tonight was busy from the get-go, which is not always the case, striking tonight as a special one-off event; celebrating the success of Kids in Glass Houses. You only have to look at the facts to know that they’re doing something right: they’ve recently released second album ‘Dirt’, have featured heavily on Radio One’s airplay, and their ‘Big Weekend’ show in Bangor earlier this year, and if that’s not enough, they made a special stop in Stoke before jet setting off to the likes of Japan and Australia. Oh how we were privileged to welcome the boys from Cardiff; and they’re unlikely to grace us again before they storm the likes of Manchester and Birmingham Academy in November.

The younger generation certainly made up the mass population of the audience – the ‘scene’ fashionable kids, the girls who aspire to the ideals of Hayley Williams and the boys who want to love her; only proven by the vast singing along to the background musac in-between sets. But, that music generation today; that strange musical hybrid of post-emo, stylish punk rock, considered to be a ‘cool’ conception, brings us to today. Gone are the days of the committed sweaty and indie/mod rocker divide; the two have been brought together for this new genetic post/prog emo to the likes of KIGH, but they do pull it off. Though their fans provide an new audience etiquette to cater for (they don’t even say ‘sorry’ when barging past, and yes this might sound like a grumpy granny speaking – but it begs the question: ‘can we have the real music appreciators please?’) – During fellow Welsh support act ‘Town’, the crowd were there just to be ‘scene’ rather than hear what was on offer. However, Town did play up to this with plug, plug, plug and ‘MySpace this and that’ during their average pop-punk set, slightly resembling ‘Futureheads’ vocals, but pushing too hard to have an American polished edge.

To the audience’s defense, they did stop and listen when the tremendous headlining five-some unleashed their jam packed set (note: with no encore), of golden oldies, recent hits and future smashes.

From front to back, and for the entire duration, the now well-behaved crowd never stopped moving for the crowd-surfers to boppers, and arm wavers to head-nodders, with everyone notably singing their heart out to track ‘Sunshine’. This had to be a highlight, with everyone joining in for the ‘Wooooahhhh!’ chorus, and the band turned this lamenting love song into an extraordinary uplifting musical experience for all present.

Like their obvious peers and local comrades: ‘Lostprophets’, their songs cry out for stadium arenas for fans to ‘Ohhhh; to, as they exude immense emotional power. Similar to Lostprophets is their engagement with the audience, like Ian Watkins, they might curse heavily, but nonetheless permeate a confident charisma which you can’t ignore. It was an absolute wonder the place didn’t fall down when ‘Undercover Lover’ came blaring through the speakers, and frankly from the way lead singer Aled Phillips leapt on stage like a rocking Robert Pattinson, which yes made the girls swoon, he absolutely worked it tonight, and it particularly shone through this performance. Everybody in the building was in complete awe.

Tonight the boys and girls were entertained. It was worthy of £11 of anybody’s (pocket) money, as the lads from the valleys delivered the goods hands down, and it was refreshing to see them celebrating their old releases such as ‘Give Me What I Want’ and ‘Saturday’. Fact of the matter is, tonight, you just weren’t human if you weren’t immediately drawn in and bop-bop-bopping, to the ‘oh-oh-ohhhs’. The grand finale: ‘Matters at All’ was the perfect sentiment to the end of the night, with its summery feel much like Lostprophet’s (yes, again!) ‘Last summer’, which saw everyone get on down and bellow their lungs out, whilst their ‘goodnight’ send out went out to the fans following a deafening cheer from a climactic refrain.

In all honesty, I’ve never seen a crowd in The Sugarmill get so worked up. We were blessed with this visit from KIGH, with their infectious pop rock collection and their entertaining interjections; they could definitely rise to the challenge of picking up from where the Prophets lads dropped off at the peak of their career, and by witnessing them tonight, they could go above and beyond. C’est Mangnifique!

The Black Apples: The Black Apples

Review by John West

Images courtesy of The Black Apples and Octopus Records

This local popular vibrant garage blues band will be very familiar amongst the local gigging fraternity across Staffordshire, Cheshire and further afield. The Black Apples are an extremely hard working trio and have developed a bluesy formula which is very much their own. Over the past six years they have been leaving fans and audiences alike gasping for more with their high octane delivery on the live circuit. They soak up their inspiration from the bluesy swamp lands of the Mississippi Delta where the levees break via the garageland’s of Michigan of the late 60s to the infamous sounds pouring from CBGB’s in the mid 70s. Add into the mix by travelling from across the pond to a 60’s London blues scene eventually hitting the 100 club and its punk explosion and beyond, this talented trio are bearing their souls at the crossroads of 21century incendiary blues with their raw power and energy both here in Stoke and further afield. They have been exciting audiences on their very own travelling riverside blues boat trip, you simply just need to get on board if you haven’t already booked your ticket.

Alix, Jamie and Joe are a great bunch of lads very humble and unassuming they love to play and it’s that tightness and precision of their musicianship that’s certainly on display here - the debut album here for Stoke’s very own new label Octopus Records. Octopus are a new company which I believe will specialise in garage, blues, psychedelia, and rock, thus helping to put Stoke further on the musical radar. There is a lot of great talent out there and we certainly need to raise our profile, Stoke has such a vibrant music scene, so lets support it whatever your tastes. This is their first release and what a powerful debut it is - a no holds barred recording of wailing urgent vocals, storming riffs, held together by a driving rhythm section of bass and drums. It certainly delivers and if you’ve seen the boys live this will not leave you disappointed. A blistering seventeen tracks on the CD and thirteen on the limited edition vinyl (300).

Although The Apples released a live EP a while back, which is still available to down load, please check out their site for further information (details below) however this is their first full length studio release. There are live favourites abound contained herein including “Don’t fool me now” “Take me to the station” “ Hypnotize” and “Buy me a ticket”;yes they are all here in their glory. The band fire on all cylinders and do not disappoint on this album, you will all have a favourite I’m sure as they have successfully bought to this record the terrific sound of their live sets. It’s one which they will have you bopping along to and one you need to turn up loud annoying the neighbours with. This is for those fans both older and familiar and those new to the band its a great debut for a new company, so here’s to the future for the Octopus label and Stoke Sounds wishes them success with all future releases.

This is a great first release for them with a mighty fine band too!

The lads have a number of local gigs coming up including the Brown Jug over the August Bank Holiday and a special support at an Octopus Club gig with the legendary Pretty Things at Fat Cat in October. Don’t give the Apples the blues, ust get your self a copy of this album especially the vinyl collectors biscuit and keep local music alive! It’s Stoke stacked lightening indeed, just crank it up and get those feet stomping on the killing floor, get hypnotized as their energetic electric blues hits you from the speakers. Listen and feel it, this is the blues, kicking and screaming in the new decade and beyond. Play it loud!

Listen

www.theblackapples.co.uk

www.octopusrecords.co.uk

Further recommended for your listening pleasure :-

Son House : King of the Delta blues

Blind Willie Johnson : The complete...

John Mayall’s Bluesbreakers with Eric Clapton

MC5 : Kickout the Jams

Rory Gallagher : Big Guns : Best of Rory Gallagher

Dr Feelgood : Down by the Jetty

The Ramones : Anthology

The Control @ The Sugarmill 24th July 2010

Review by Liam Kelly

Photo by Alex Mulliner

Unfortunately for tonight’s large crowd there was to be no support bands to start off the night and something which seemed to dishearten a number of the youngsters here tonight, but with their usual on stage antics, local boys The Control knew exactly how to liven things up. The band brought their usual lively crowd, although it seems that today’s gig-goers seem to be getting much younger, (or that I’m getting older?).

First track of tonight’s set was a new one, ‘Mammoth.’ As usual, The Control write a track which just has that edge with the gritty guitar riffs of Rich Bratt. ‘Crimes of Love, dance and music’ was next on the bill, and frontman Joes demand’s for people to get dancing sent the vast majority of The Sugarmill into a delirium. The hooky chorus of next track ‘Pienki’ was screamed back to Joe by the crowd and bassist Olli Fencott seemed in particular to enjoy this throwing himself around the stage and onto the bass boxes in delight. ‘Whitedogz’ is possibly my favourite track from the local music scene and it’s easy to see why many of tonight’s audience seem to think the same, with the symbol crashing drums of Mickie Davies supporting the booming vocals screamed out by Joe. Arguably Stokes strongest frontman, and most certainly most entertaining he certainly knows how to get a crowd reaction.

Older tracks such as ‘Jackpothead’ and ‘Suzie equals Fags’ always show what The Control are about mixing their post punk genre mixing with a progressive indie rock. The Control have a bit of everything and its clear to see why they are making themselves so popular, mixing sounds of Ska, Indie, Britpop and Punk to create a perfect genre. The Control then treated us to two of their newest tracks. In the chorus of one Joe belts out the line “down with the Potteries”, but with bands who have the potential and promise of these four lads, then maybe Stoke-On-Trent’s music scene is on the up. The penultimate track of the set was ‘Britain’ and with its bassy beginnings and memorable chorus, you are destined to be humming the chorus to yourself for days. Last track of the night was the bands calling card, the unforgettable anthem of ‘Playground Punks.’ It’s rare to be unable to hear the lead singer over a crowd but tonight, everybody in The Sugarmill was yelling back the chorus to Joe and the band. An unforgettable set and the strongest I have seen The Control perform; a band that have so much promise, I expect these boys to put Stokes music scene on the map.

Ray Manzarek and Robby Krieger @ Wolverhampton Civic Hall 18 July 2010

Review by John West

As we take our seats and look around the Civic Hall the audience reflects a varied age range from those who remember the Doors first time round through to the late 70s punk/early 80s alternative crowd – think Stranglers, the Bunnymen, Teardrops and beyond, to much younger fans who maybe are getting into the music of the Doors for the first time. The youngest here is surprisingly about five complete with Morrison t-shirt accompanied by mum and dad – its music for all generations and for the future. Ray Manzarek and Robby Krieger have kept their music alive in various forms over the years, the last outing featured Ian Astbury (the Cult) holding the torch for Mr James Morrison. This time they have an orchestra in tow the Royal Philharmonic Concert orchestra with the former Steelheart vocalist the Croation born Michael Matijevic (who’d previously auditioned for Slash’s Velvet Revolver) stepping into the lizard kings boots. As the orchestra takes their seats, with the strings to the left with brass to the right, someone shouts out for ‘Light my fire’ as they tune up. Ray Manzarek enters the stage to rapturous applause, closely followed by Robby Krieger they wave and position themselves as Manzarek sits at his trusty keyboard, with Krieger plugging in his Gibson SG. A quick queue and they burst into “Love me two times” – the audience rise to their feet to welcome their heroes. The Doors of Perception have been opened at the Civic. Is everybody in?

They plunge into the organ intro ‘Break on through’ with Matijevic delivering a fine vocal performance as it finishes there are chants of ‘Robby Robby’, the guitarist smiles. With yet another guitar change of his customary SG for another SG, he acknowledges the disciples. With ‘Love her madly’ following, things are bought to a more calmer level as ‘Waiting for the sun’ oozes out from this collective of musicians, held wonderfully together by these two “legends” as Krieger using some very effective slide on guitar. As Manzarek performs his master of ceremonies act, conducting his hand assisting the conductor (Brent Havens) signalling to the band and coaxing them through ‘Strange Days’. With Manzarek and Krieger introducing each other ‘Moonlight drive’ segues to ‘Horse Latitudes’ the poetic refrain being handled by the former. At this point he asks the audience to get down - it’s supposed to be a rock n roll show after all, a dash to the front ensues despite initial requests by security for the audience to sit down at the beginning of the gig. They accept the bands request allowing the audience that closer contact to their heroes, much to their appreciation. Manzarek states it’s time to get dark, it’s time to get strange, it’s time to get weird, as the band and orchestra interweave further Doors classics to everyone’s delight, ‘Not to touch the earth’ indeed.

After a short break, which seems to be the norm now with living legends (re: Crosby Stills and Nash review a couple of weeks back ), Ray Manzarek introduces Robby on Spanish guitar after some lovely feather light playing the faithful already anticipating ‘Spanish caravan’ as it flows from the refrain of this brief solo spot. We next head out on our own aural voyage on board the ‘Crystal ship’ to more calm waters which is simply divine. People really are getting strange as Manzarek honky tonks in part the main riff of the song, the audience loves it; he is overwhelmed by the response and thanks them.

Jim Morrison was no stranger to controversy as we all know – constantly challenging society, its’ politics, makeup, authority and control – here RM takes the mantle dedicating ‘Five to one’ to all the warmongers out there urging them to make love not war. Some things never change and maybe we ought to be doing more in today’s troubled world, surely it still makes sense even more so now - 40 plus years on! Their catalogue of music can still have the ability to inspire musicians and the listener generations on. With Manzarek thumping out the main riff on the organ it builds and builds not quite the apocalyptic proportions and menace of the original and “ live” recordings but ballsy all the same.

Its time to get funky and sexy as RM urges us to move into James Brown territory – hitting the keys for ‘Touch Me’ as he grooves the lines, taking over from Matijevic prior to whom I believe seemed to be having throat problems earlier in the set? This doesn’t distract the listener though; they are on fine form tonight as the audience sing along to each song. As the gig draws to a close (there’s a 10pm curfew) RM asks if we can hear rain – queue ‘Riders on the storm’ which is atmospheric and works brilliantly with its orchestral accompaniment – the strings adding an ethereal touch to this classic tune.

Manzarek recalls a trip to Amsterdam in ‘68 where Jim was given a chunk of “hash” by a fan, on top of what he had already consumed that day, rendering him unable to sing that evening way back, therefore he was no stranger to taking the vocal lead for the night. This did not detract from what Matijevic did earlier he did a fine job – leather pants and all, as did the band and orchestra – a great combination and presentation of the music of one of Rock’s most influential bands of all time. The bluesy rocked up feel of ‘Roadhouse blues’ then hits us as everyone laps it up, no one remains seated as we crave more. We get this of course with ‘Light my fire’ as expected, its past 10 and time to finally close the Doors. As Messer’s Manzarek and Krieger bring the evening to its conclusion, having clearly enjoyed themselves, we head out into the night, we got together one more time and as the evening shadows gathered in we headed for the train home on our own moonlight drive.

This is the end!!

Listen (all remastered with bonus tracks)

The Doors

Strange Days

Waiting for the sun

Morrison Hotel

LA Woman

Very best of the Doors

When you’re strange - DVD (new documentary film narrated by Johnny Depp) available August 2010