Does Pop Music Really Stand The Test of Time? Sixties Tribute Night at Devizes Corn Exchange Could Be Our Only Hope!

All Pop Master T-shirt wearers would like to think it does, but will the music of an era stand the test of time? Make a record, seal the deal, surely? True, your songs will be immortalised, but will they be remembered, or will they sadly be sadly archived, to slowly fade through generation gaps…. unless Ed Sheeran covers one?!?

Growing up in the eighties we ransacked our parent’s records. Ergo, I know my fair share about the music of the sixties, despite only being an itch in that decade. Similarly, my daughter can name a whole list of groups, singers and songs from my era, the eighties, but can she go further back? Can the younger generation even begin to imagine their grans and grandads frolicking at a love-in with eyes the size of saucers and wearing nothing but flowers in their hair, racing helmet-free on motorbikes into the night, drinking whiskey from a bottle until they dropped, then waking up in Mick Jagger’s bed with four others?!

With three teenagers loitering on my sofa I thought I’d get all Tony Blackburn on them, and distract them from TikTok to find out. That’s the knives’ edge I live on in order to provide you with such engaging content! Being there’s a triple headline sixties tribute act bonanza forthcoming at the Devizes Corn Exchange on the 31st October, with tributes to The Beatles, The Rolling Stones and the Who, I thought I’d ask if the Gen Z of my family were remotely aware of any of them, or if they were more Gen Zzzz!

The result, though far from surprising, was a smidgen disheartening. My daughter knew of The Beatles, and named one averagely obscure song which happened to appear in a Marvel movie soundtrack. The boys didn’t have the foggiest, so I wasn’t holding any chances for the others. My daughter’s fella had heard of the term “rolling stone,” but didn’t realise it was a band name. My son shrugged at the lot, and all asked “who?” when I name-dropped The Who; unsure if that was clarification or coincidental!

Incidentally, they all knew the 2010 Maroon 5 song, “Move Like Jagger,” but only my daughter guesstimated Jagger might’ve been the frontman of one of the bands I was referring to!

Without getting any satisfaction, unless I resolve to forcibly thrusting pop history down their throats like it was on the GCSE curriculum, yesterday all my troubles seemed so far away, as it seems all of them will get fooled again, know not of the pinball wizard’s supple wrist, Ruby Tuesday or Lucy in the sky with diamonds, and I wouldn’t even attempt to explain why I’d like to be under the sea in an octopus’s garden in the shade. Where’s Jack Black and his school of rock when you need them?!

Streaming music might affect future generations from becoming aware of music before their time. Without physical copies who knows where this will end, music will be throwaway, and maybe the nineties welcomed that concept in. But everything is online, even if Sgt Pepper might have adverts for Marks & Sparks Food Hall, it has to be worth trying to educate our youth that pop music would sound a whole lot different if it wasn’t for the sixties and bands like The Beatles, The Rolling Stones and The Who!

So, here’s food for thought; though you might presume this Ceres Promotions triple headed sixties tribute show might be something for the Saga holidaymakers, perhaps you should reconsider, and see it more family outing, a vital history field trip?! Musicians of the sixties fired all their guns at once and exploded into space like a true nature’s child, whereas ours are content browsing Instagram with a bag of Haribo. We cannot stand idly by and allow this to happen!

Tickets are HERE fill your boots made for walking, that’s just what they need to do, and march them to the Corn Exchange on Friday 31st October rather than trick or treating, or one of these days these boots are gonna walk all over you!


Black Uhuru UK Tour Cancelled; The Plight of International Touring Post-Brexit

They can get no time to press,
Because of all the distress that the society leads. What I’m a longing for is some happiness,”

Black Uhuru “Happiness.”

Frome’s Cheese & Grain today annouced the booking of The Counterfeit Beatles in November, which is all fine and dandy, but yesterday it sadly had to notify ticket holders for next month’s appearance of legendary reggae band Black Uhuru that the show had been cancelled.

In fact, after numerous postponements, the entite UK leg of the tour has been axed, due to a backlog in visas. The Cheese & Grain expressed their sorrow, explaining they’ve “been assured that the band and their representatives have tried everything in their power to make this work, but unfortunately there is now no option but to cancel this show.”

Kinda reminded me of my favourite upcoming ska band, Girls Go Ska, from Mexico, proudly posting their European tour dates on Facebook, without a single date on England’s green and pleasent land. I commented, “I wish you could come to England.” And though the South America ska scene developed separately from the retrospective niche of Two-Tone here, the girls are fully aware of our nation’s importance within the roots of international ska, and replied with sad emoji, “so do we.”

Now the tour is reality, all I get is fantastic looking video clips from Germany, of crowds enjoying the pinnacle of contemporary South American ska, when I’ve no hope in hell of ever seeing them live.

Not to moan too much about the divided issue, and as much as I enjoy a Beatles tribute, I have to ponder, is this what Brexit Britain has become? Barricaded in from outside influence, regurgitating archived moments of British achievements in the form of tribute acts, much less, extremely unlikely for upcoming UK artists to export their wares in the same method the flagwaving-idolised achievers of yore once did?

Ironic in considering if we had Brexit in the sixties, we wouldn’t have had The Beatles. Derry and the Seniors were doing well in Hamburg for booking agent, Allan Williams, whilst the young skiffle band on his books, who had recently rebranded from The Quarrymen were paltry amateurs, lost amidst the flooded market of the Merseybeat circuit. So Williams sent the young hopefuls on a similar path, to Hamburg, and what came out the other end was the greatest band ever; every gammon wave your union jack now.

Everything about the Beatles was honed and shaped in Germany, from their performance skills, their association with Brian Epstein, and even the famed hair-do. The ability for UK musicians to tour other countries, particularly in Europe was paramount in shaping pop music, and equally, from Buddy Holly to Kraftwerk, the influence of international acts touring the UK.

I have to tip my hat to Frome’s Cheese and Grain, how such an average sized Somerset town can attract the standard of act usually reserved for cities. On Beatles, the venue has built the kind of reputation whereby Paul McCartney will pitstop for an intimate gig on his way to Glastonbury. But for want of an influx of international artists seems reserved for megastars on the Springsteen level, of which you need a stadium-sized venue, and you’d need to morgage your home for a ticket.

Longleat hosted a Diana Ross concert, and a number of other household names this summer, in the kind of conservative thinktank arrangement which took an average three hundred notes off each punter then told them they couldn’t bring in a folding chair. As if anyone who had amassed that kind of wealth to wantingly throw three hundred quid at one gig, and who would be eager to see a heronie of 55 years past would be of a suitable age to stand like a teenager for four hours; you can bet your bottom dollar a few deckchair hire conpanies rubbed their hands together that night. The young get tetchy when being herded like cattle, I can only imagine the disappointment from their elders.

Live music is big business, I get that, the hospitality industry was bought to it’s knees through lockdown, I get that too, but relaying the deficit onto the punter will not bring a stream of genuine fans, it will only bring an inequality culture of those who can afford to will, those who can’t have to suck it up.

But it’s not just about way to go to whack up the price of a Womad ticket, but more about the missed opportunities for amateur and semi-professional artists to export their talent further afield. What’s the point of extending a reputation internationally online, if you cannot follow it up by appearing live without an unaffordable bill, a financial advisor and a year’s worth of paperwork to fill in just to take a tambourine on a continental flight?

And what do we get in return for this supposed will of the people? An oil rig dragged into Weston-super-Mud and decorated with taxpayer’s much needed banknotes to resemble a pathetic play on words, “See Monster.” Yes, I do see a monster, as I swig from my crown embossed pint margo, pointlessly waving my blue pissport; it’s stranded us on this island with a bunch of self-serving, ignorant bastards.

Best we can do right now, is support the little man, to show our love and support to the burgeoning DIY ethos promoting local live music. This is where fervour remains, in the enthusiasm of imending talent, and pray for a better day when the red tape of
welcoming international acts will be cut.