Song of the Day 27: Emily Capell

We are the mods, we are the mods, we are, we are, okay, you get the gist. Imagine Kate Nash is Doctor Who’s assistant, and they tracked back to Carnaby Street in 1963. If she dressed and performed without raising suspicion that they’re time travellers, you’ve got a general picture of the fantastic Emily Capell.

On one hand, this is fab retrospective meddling, on the other it’s lively and fresh fun, with a beehive hairdo.

There’s nothing here not to like, unless you’re a ret-con rocker and if so, I’ll see you on Brighton beach, pal. All I ask is you aim for the face, so you don’t crease my suit.

And, that’s my song for the day. Very good. Carry on….. oh yeah, nearly forgot to mention, Emily has a live stream coming up Friday 12th March, here; groovy.


Very Terry Edwards

The word “very,” rarely an adjective, as in “it happened in this very house,” or “this is very Terry Edwards,” but commonly worthlessly used as an adverb, as in “it’s very cold today,” or “this is the very best of Terry Edwards.” While the album simplifies it to the ambiguous “Very Terry Edwards,” it’s BandCamp page suggests, “The Very Best of Very Terry Edwards,” which though it’s exactly what it is, it’s also one adverb enough for the most lenient of proof-reader’s red line. Yet, if the usage of very is erm, very worthless, it is the only thing on this album which is.

The multi-instrumentalist, best known for trumpet, flugelhorn, saxophone, guitar and keys, marked his sixtieth birthday last September releasing this three-CD best-of box set, and while I should’ve mentioned it last month, between putting batteries in toys and stuffing myself with pigs in blankets things got tardy. Right now, though, I can think of no better outstanding project to kick off our music reviews for 2021. Reason only partly because it ticks all my personal favourite genre boxes, more so because of the range of said genres is far greater than run-of-the-mill best of compilations.

We need to assess Terry’s biography to understand the reason for this variety. Funky punk and second-gen ska most obvious, as from 1980 he was a founding member of Two-Tone signed band The Higsons, after graduating with a degree in music. But around that time Terry also produced and played on the Yeah Jazz’s debut album, of whom, despite the name, were particularly folk-rock.

Terry in 1984

From here the vastness of Terry’s repertoire blossoms, as session musician for a huge range of acts, from Madness to Nick Cave, PJ Harvey and The Jesus and Mary Chain to, particularly notable, The Blockheads. As well as his solo material, with his band The Scapegoats and a stint with dark punk-blues outfit Gallon Drunk, it’s understandable collating this in one reminiscent anthology is a mammoth task and a melting pot. Which is just what you’re getting for your money, a very, as the grammatical disorderly title suggests, worthy melting pot.

“When the earliest recording here was made the 18-year-old me couldn’t comprehend being 60,” Terry explained, “yet here I am presenting a triple album containing 60 titles recorded between 1979 and 2020, through thick and thin.” Therefore, it must be more tongue-in-cheek than I’d suspect Roger Daltrey’s notion now of My Generation’s lyrics that for the opening track he opted for The Higsons’ “We Will Never Grow Old.”

“You’d expect an overview of my career to have some odd bedfellows and more than its share of quirks and foibles,” he continued, “but it’s been compiled to flow musically rather than have a chronological narrative.”

That said, the first four tunes from his original band follow, with all their fervent rawness. Terry covered his tracks though, “I immediately break my own rules by starting with The Higsons’ earliest release and debut single, but redeem myself by following up with the most recent recordings; two ballads recorded with Paul Cuddeford (Ian Hunter, Holy Holy) in February 2020. There is more method than madness; groups of songs which follow a theme or genre are found together regardless of when they’re from.” Indeed, we’re then treated to three tunes in a matured, mellowing jazz and blues, the latter of which with the vocally perfected Erika Stucky.

Then we’re into rock with The Wolfhounds, and a guitar-twanging Christmas blues song with Robyn Hitchcock, plodding jazz with Knife & Fork, post-punk Big Joan, avant-garde jazz with Spleen and rockabilly styled New York New York. While mostly jazz-related, this first disc graduates through genres with finesse.

Terry is like Georgie Fame with a Mohican, but whatever avenue is explored, you can guarantee quality. The second CD starts with a bang, upbeat mod-jazz with The Scapegoats. There’re more known covers here, sublimely executed Herbie Hancock’s Watermelon Man, a superb solo rendition of The Cure’s Friday I’m in Love, as if Robert Smith wore a Fred Perry, and a hard-rock electronica version of Johnny Kidd’s Shakin all Over with the haunting vocals of Lisa Ronson. Even find an orchestral film score, and a piano solo of the knees-up capital’s favourite, May It’s Because I’m a Londoner.

Yet if both the quantity and quality on offer here is so vast to make me waffle, it doesn’t waiver for the final disc, rather it’s my favourite. A BBC session outtake of a jazzy Voodoo Chile, with altered title to “Child.” Dunno, can’t be a typo, the dedication to attributing to Hendrix’s masterpiece is no easy feat, lest it be known Terry manages it with awesomeness dexterity, with a saxophone!

If the last CD continues with on a jazz tip for two tunes, we’re transported to ska via John Holt’s Ali Baba by Lee Thompson’s Ska Orchestra and other sundry members of Madness, and Totally Wired by Terry’s “Ska All Stars,” and more ska-jazz with Rhoda Dakar. Post-punk follows, featuring The Nightingales with Vic Goddard, Snuff, Glen Matlock and Gallon Drunk. Perhaps my favourite parts being the shouty cover of The Human Leagues’ “Don’t you Want Me Baby,” by Serious Drinking, and the general dilapidation of seriousness with new wave tunes mirroring the unsubtlety of Ian Dury & The Blockheads.

Here’s a jam-packed box-set brimming with variety which flows suitably and makes a definitive portfolio of a particularly prolific and proficient musician. For many it’ll hold fond memories, for younger, who think Kate Nash created the cockney chat-rap, or jazz wasn’t the same until Jamie Cullum came along, it’s a history lesson they’ll never forget!

This 60th birthday, 60 track-strong celebration spans over four decades. A triple CD clamshell boxset with 24-page booklet, but more importantly they say, “Very Terry Edwards is a birthday present to himself as much as anything else,” giving it the impression you’re on a personal journey, like a child sitting on their grandpa’s lap while he recites memoirs, blinking exciting ones!

Buy from Rough Trade: £15.99 or BandCamp: £15 or £8 digital.


Song of the Day 30: Maple Glider (A.K.A. Tori Ziestch) 

Naarm/Melbourne-based singer-songwriter, Maple Glider releasesd a new single today, “Good Thing.” Her striking emotionality is at the centre of her performance, which opens with her light and velvety voice accompanied by a sparsely strummed guitar. She wastes no time in revealing the state of sadness she’s in, offering such tenderness and introspection that the listener … Continue reading “Song of the Day 30: Maple Glider (A.K.A. Tori Ziestch) “

Trowbridge DJ and Producer, Neonian Releases Debut EP

A figure appears through the labyrinth of florescent drapes, strobing with ultra-violet lights. She’s void of expression, hypnotised in her individual realm she perpetually gyrates, wearing a black figure-hugging bodysuit, highly decorated in costume jewellery constructed from glowsticks. It’s not the image families would conceive of when thinking of Longleat, rather a cheeky posse of … Continue reading “Trowbridge DJ and Producer, Neonian Releases Debut EP”

And There it is, Araluen

Ever considered Jolene might’ve been an innocent victim of circumstance? Dolly’s husband was obsessed with her, talked about her in his sleep. But there’s no evidence in the song to suggest she enacted, nothing to say she consciously encouraged it or made the first move. Dolly persecuted her, could’ve been jealously. There’re two sides to … Continue reading “And There it is, Araluen”

Skates & Wagons EP

Fashionably late for the party, this Oxford duo’s self-titled debut EP was released on White Label Records at the beginning of the month; what can I say for an excuse? Glad to catch up though, as Skates & Wagons are well worth it.

There’s retrospective grandeur on offer here; even down to the bracketed song titles, as was common at the time, of these four diligently composed tunes of sixties-fashioned mod psych-pop. It’s as if we’d not progressed from the era of The Kinks or Small Faces, The Spencer Davis Group and The Troggs at all. And to hear this makes one wonder if it was ever progress anyway.

Yeah, the dawn of the beatnik epoch, developed from the blues and soul inspired pop of Merseybeat is formulated, tried and tested, and anyone who mimics it is dependant on the only element left to ensure it’s respectable, the quality. Skates & Wagons set such a benchmark, taking a big chunk of the influence from this aforementioned style, but with a fresh approach rather than a shoddy and aged tribute, paling by comparison to its original.

We’ve seen this youthful blast of retrospection recently with the awesome blues detonation of Little Geneva, least to suggest this is more the pop of the fab decade, it also expands to classic electric rock, and is immediately beguiling via its wonderful musings. Skates & Wagons have long established themselves on the live circuit in Oxfordshire and beyond, but the EP is something precured over time like a fine wine. Initially they started working on it as far back as 2011, and completed it earlier in 2020, a testament to that old adage, you can’t rush art.

Opening borderline glam, Just Because you Can (Doesn’t Mean you Should) is possibly the most progressive, early Genesis fashioned, and vocally there’s harmony parallel to Gabriel and Collins. It’s as if Skates & Wagons regress through time as it goes on. Spin my Wheels is decidedly backdated in sound from the opening song, mid-Kinks period of their ‘66 album, Face-to-Face.

A nuanced approach to sixties-indebted structures, all four songs drip with instant fascination, as if you may’ve heard them on a classic radio show. The third tune is perhaps the most sublime, Tender (is the Night) is affectionate acoustic guitar-led emotive mellowness, to slip into a Who rock opera unnoticed. It’s an epic, seasonal-spanning romance themed masterpiece.

Yet, the final tune, Law As I Am True plays-out with the thump of pre-psychedelia sixties pop, but it’s got the kick of how The Jam re-enacted the sound, and it’s catchy because there’s subtle hints and swirls of the imminent next move to flower-power. Together here’s four memorable tunes which would have undoubtedly sailed to the Top of the Pops during that golden era, yet somehow completely original and uniquely fitting for the now.

If we’ve seen a relived trend with scooterists and mod culture recently, these guys are a hot contender to front such a movement. Though I caution them, there’s often a dispelling, or more, overlooked aspect with the current trend, in the interesting and natural progress to the late-sixties beatnik and flower-power movements, and while there’s nothing so “way-out” as Zappa on offer through Skates & Wagons, it does reflect those initial, optimistic changes of the mid-sixties. And in this notion, is what divides the duo from the bulk standard; yeah, fab, love it!


Mod R&B Legend, Georgie Fame Coming to Devizes!

Update:

Tickets for Friday 8th November are Here!

 

I’ll probably get told off by my mum for adding this photo, but I love it. My parents and friends at a dance in Shoreditch Town Hall, 1964. Dad captioned the bands were Screaming Lord Such and The Rockin’ Berries. How cool those mods looked!

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Zip forward to 2004 and tired of taking my mum to see mod legend, Georgie Fame, my dad dropped us off in Camberley. It was an awesome night, he played a homage to Ray Charles who had passed that week, and told some great stories. One about Mitch Mitchell, the drummer in his band, the Blue Fames. After checking out an American guy in a club nearby their gig in 1966, Mitch ran back to tell the band how awesome he was, and was soon signed to The Jimi Hendrix Experience.

Georgie’s son played guitar at the event, did an amazing solo of Hendrix’s Red House. And of course, Mr Fame, aged sixty-one at the time and still looked cooler than the mods in this photo, played his plethora of hits, “Yeah Yeah,” “Do the Dog,” and “The Ballad of Bonnie & Clyde.” Though I don’t recall my personal favourite, “Somebody Stole my Thunder,” a mod classic which still gets people up today; I know, played at the Scooter Club’s family fun day.

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With my mum, incessantly inquiring if I thought he’d remember a club in the East End he used to play at, regularly in my earlobe becoming somewhat irritating, after the gig and standing waiting for my Dad to pick us up, I noted Georgie gathered with just a handful of people by a car. “I don’t know!” I huffed, pointing the figure of this senior chap out to her, “why don’t you go ask him?!”

My mum quivered like a star-struck teenager, “oh no, I couldn’t possibly do that!”

“Ahk! He’s standing right there!!” But alas, anxiety got the better of her. It pushed into my mind, that we were all young and impressable once, we all idolised heroes. Yet, though I may shudder to recall some of my own lax, eighties idolisations, I have to admit, Georgie Fame would’ve been one cool one to follow, if I lived in that era.

But time is an illusion my friend, for just when you thought we’d seen the end of The Devizes Arts Festival for the year, they today whack us with the announcement Georgie Fame is coming to Devizes on Friday 8th November, playing a one off at the Corn Exchange. I knew this, Margaret whispered her secret some weeks ago, been aching to announce it since!

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I will let you know when tickets are out, but this fantastic news. This Lancashire lad is a legend on the rhythm and blues scene, played alongside rock n roll heroes like Gene Vincent and Eddie Cochran, and an idol to mod/soul aficionados as one of the first British Caucasians to be influenced by ska. Whether you lived through the sixties or not, this is an absolute teaser to forthcoming Arts Festival events, and I thought I was done praising them for the year!


 

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Billy Green 3; Should not be Moved

On my holibobs last week, local Geordie Britpop/mod musician Bill Green of trio Billy Green 3, (not to be confused with the British-Upper Canadian scout who saw victory at the Battle of Stoney Creek, naturally) messaged a YouTube link to his debut single, “I Should be Moved.” Promised to get on it this week, finally made it; procrastination rules, but glad I did.

Impartial towards Britpop, it’s not Marmite, I take it or leave it. In my defence, during the era rave was the thing, Madchester just a slice and not a principally progressive slice when compared with breakbeat. To shock horror of Oasis fans, I sauntered past them on the NME Stage at Glasto 94; never heard of them, never cared to; I was hunting hi-tech party vibes, not a Beatles tribute.

I try to decipher if my appreciation of the genre has matured, or if it’s the forceful sixties-mod element which, while present in Britpop generally, seems particularly prominent in Billy Green 3’s style. The words and riff echo a Britpop classic for catchiness, studio noise and tambourine intro and, especially, the chorus though, rings the simplicity of sixties mod. With the modern component of a perfectly placed sample, the circle is complete, Samuel L Jackson’s one-liner as Pulp Fiction’s Jules Winnfield completes it. “Sounds great, Bill,” I replied after a tinny listen on my phone’s speaker, because it does. Grown on me more, now I’ve got it on loud.

If anything, the magnitude of this slick three-minute ride spurs me bookmark Billy Green’s next local gig, though none listed yet; watch this space. Meanwhile I wanted to gage Billy about what the recording side equates to. “I assume it’s an original song,” I asked, “written by you?” and fired several other minor questions all at once, at least England was one-nil up…. at that point.

“First recording with the new project, me and a young lad called Harvey Schorah on drums, backing Vox and all-round vibes,” Bill replied. “I wrote the words and music, played guitar, bass and sang lead and backing vocals. Martin Spencer [The Badger Set, Potterne] produced. He’s a magician, essentially, he took the song in my head and made it come out of the speakers; just love this creative process in addition to the recent live shows.”

On what this will spur, Billy explained, “second song in mixing as we speak, and then hopefully will work out how to put them out as a mini EP.” Posted on their Facebook page today, we may get a listen to it, Lose Our Way, at 7pm.

Drafting my next question, for the review lead us onto football, I mouthed my thoughts that England are sitting back on a 1-0 and then, oh dear (or words to that effect!)

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“Brilliant,” Billy added, “the review, not the football, they were poor on the first half apart from the penalty, still time though; being a Newcastle fan sometimes optimism is all you have!”

This fell appropriately onto my last question; does Bill think Newcastle had a scene during the Britpop era to rival Manchester?

“Prior to Britpop I think,” He suggested, “later 80s, there was a label called Woosh, my mate’s band, the Nivens were on there and ran on Flexi discs. There’s a retrospective out called C87 which was named after the NMEs C86, but a couple of decades later, they’re on there, so jangly guitar pop; the Nivens actually opened for the Smiths. Club nights at the Broken Doll and the Riverside, basically was my musical apprenticeship, introduced me to so many great bands. Moving into the 90s, there was more of a grunge scene with Cranes etc, now there is a resurgent drone scene with a hotel in Byker putting on Japanese noise artists, it’s a bit bonkers.”

“Bonkers could describe any current pop scene in the UK though,” I scoffed.

“Fair point,” Bill nodded, “Alan McGee doing his bit for guitar bands with the Creation23 label, and This Feeling are putting on some good nights. I work in London a bit, so have been to a few of their club nights. Met up with the now defunct the Shimmer Band from Bristol, who I thought were destined for great things. DMAs came out of that scene, from Australia, and are now heading festivals, think Shame came up through there, my mate’s band Free Money are booked in, they even did the last Lexus ad, which is a bit mad. I guess I’ll always be a fan of the get a group of mates together and play in a garage until someone notices you route.”

Well, that’s been the ethos for many a decade and never did the garage scene of the sixties any harm. Stuff the Simon Cowell karaoke TV show fiasco, Billy Green 3 is archaic in fashion, just enough to know the score, yet fledgling to fit into the burgeoning music scene here; I think “I Should be Moved,” puts a stamp on that; take a listen and decide for yourself.

 

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No Clowning with Six O’clock Circus at The Southgate

So, yeah, broke my 2019 hibernation and ventured out last night. I know right, but Calne-based, Six O’clock Circus blasted an otherwise mild night at the Southgate with some passionately executed mod, punk and indie covers; right up my street and kicking down my door.

 
Loud and proud, regardless of the five-piece squashed into Devizes’ answer to the O2 arena, singing toward the wall, plus having gigged the afternoon in Boughton Gifford, and Friday evening with Devizes-based, Burbank, for a Big Yellow Bus fundraiser at the Bug & Spider, they never waned, pulling a fine ensemble of indie covers out of their bag, for the first half, but not before an introduction of the Kinks and Who.

 
Six O’clock Circus, started at nine o’clock, but despite poor punctuality of their namesake, and lack of clowns, I loved the starter, then it went a bit Britpop; Travis, Stereophonics, James and Shed Seven representations. Yet I nodded through with appreciation, their precision awarded even my non-favs with worthy magnitude. Though I personally like my indie served, as they did towards latter section of the first half, with Primal Scream and the Coral, and overall would favour more mod, of the Jam, which ended the first half, Six O’clock Circus delivered them all feverously, and favourably, with ardent appreciation of their influences.

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A quieter night at this haven for live music allowed me to notice the cloudy cider tariff on the wooden beam, where at least one hairy hippy usually leans, obscuring the menu. So a double-whammy for me, securing a love for the Southgate I’d joyfully shout to the hills and back.

 
Undoubtedly, said cider played it’s part but I supposed the band tightened with every tune. A swap of instruments, promising a “seventies love-song,” they completed by knocking out a genuine “Pretty Vacant” before the break. It was clear Six 0’Clock Circus had no intentions of delivering us a ballad at all, neither attempt something experimental, as the second section banged in with The Buzzcocks’ classic, Ever Fallen in Love, and slipping nicely into London’s Burning by the Clash.

 
So, the evening’s entertainment leaves me now stamping a thoroughly deserved recommendation on Six O’clock Circus, perfect for the thirty-forty-fifty somethings function or pub circuit, and with that said, I’m off to make a bacon butty.

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Six O’clock Circus on Facebook, give em a like!

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Devizes Scooter Club’s Grand BBQ

All images used with kind permission of Ruth Wordly

@ MoongypZy Creative Photography

 

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If last weekend in Devizes belonged to rockers, as the Sports Club shook by the awesome Saddleback Festival, it was small mercies for the Mods this Saturday as Devizes Scooter Club hosted a more moderately proportioned charity BBQ day, which wasn’t without equal summer fun and frolics.

The corner of Hillworth Road and Long Street became a haven for scooter enthusiasts, who’d travelled from far and wide, and local lovers of soul, reggae and ska who gathered outside the Conservative Club to raise some funds for the Devizes and District Opportunity Centre.

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How much was raised at this tender morning moment (at the time of writing this on Sunday) is unconfirmed, majority of organisers I’d wager are taking a fully-earned rest, if not nursing a sore head!

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I’ll let you know the grand total as soon as I get some feedback, but cake stall helper Paula told me she’d sold twice as many as last year’s family fun day, as husband Andy, whose task it was to man the barbeque looked vacantly into space through sheer tiredness. “I reckon he’ll be flipping burgers in his sleep,” I imagined.

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The bar and garden packed out by lunchtime, extending to the car park, which converted into a showroom of lamberttas and vespas, with an added parts stall. As enthusiasts admired each other’s “hairdryers,” their families enjoyed the plethora of side stalls, the hall of bouncy things (castle and a Gladiators-styled battle arena) and the quality music.

Contrary to their name, Swindon’s Daybreakers turned up early afternoon. Thank heavens I figured, lesson learned that day; a cider breakfast does no good when attempting to operate a mixer. Thanks to Tony who danced around me doing all the technical wizardry and gave our musical show a voice.

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By 2pm The Daybreakers were off, with no one willing to stop them they revved through a glut of benchmark early 80s pop, the likes of the Specials and Dexy, to sublime renditions of crusty rock, such as the Levellers. Wherever Cath, Gouldy and gang land there’s guaranteed to be a blinding show and today was no exception.

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An awesome team effort blessed the event with an uncompromising community spirit. From face-painted kids guessing names of teddies, shooting footballs and munching cake, to adults estimating the weight of a ham, shooting down beers and munching burgers, a village fete atmosphere ensued with a retrospective, hedonistic angle, as opposed to being all vicars and teacakes on the lawn.

By late afternoon Chippenham duo, Blondie & Ska had pitched inside and began their dazzling show; a precise Blondie tribute meshed with other two-tone classics in a style as if Debbie Harry would’ve covered them. They made a fantastic sound for just a duo and relished every minute despite fatigue setting in with the punters, who tended to loiter outside to begin with.

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With most exhausted from the day’s affairs already, it took a while for the show to push the audience into gear, hangers-on remained in the shadows of the garden to begin with, or those with families retired home with worn-out youngsters. I thought it a shame the club could’ve shown how we welcome acts as good as Blondie & Ska, but the thought abruptly ceased as the evening took hold and sweltering members graced that dance floor.

I offered a rock steady break for the band, but dancers yearned for some Northern Soul, so that’s what I did. Then Blondie & Ska continued and took us to into to the close. If you need more of these guys, or if you missed this thoroughly enjoyable show, I strongly advise you check out future gigs on their website. Closest to us, is The Wroughton Club on August 11th, The Royal Oak Corsham the day after, and the Gladstone Road Club in Chippenham on October 27th.

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As for the Daybreakers, well they’re never to be missed. Catch them again for an afternoon in Devizes, when they’ll be at Vinyl Realm on August 4th, and check their Facebook page for an extensive gig guide.

Back to the BBQ Day though, it was in observing the quantity of people gathered, and their enjoyment of the day which gave me both enormous optimism for a very successful Scooter Rally next summer, and a pride in our small town’s Scooter Club, where everyone contributed a gallant effort to ensure a grand day out was had by all, most laboured until they dropped, notwithstanding, some money was raised for our preschool for children with disabilities and learning difficulties. So full steam ahead for the Scooter Club now, as tickets for a brilliant sounding, soultastic Motown-eske band, All That Soul, are now on sale at the Cons Club, Jeffersons and Vinyl Realm.

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