Daniel Kramer Photographs of Bob Dylan – at the British Music Experience

Bringing It All Back Home – Album Cover

Daniel Kramer
Photographs of Bob Dylan
The British Music Experience
12 November 2012  to
3 February 2013

In this notable exhibition, Daniel Kramer documents a period in music and social history when innocence was about to be lost. In the years 1964-5 Bob Dylan moved away from folk music towards rock and pop. As the story unfolds through pictures, we can witness the man turning from lone busker to superstar. Curated by the Los Angeles-based GRAMMY Museum, the exhibition features more than 50 of Kramer’s photographs from his time with Bob Dylan on tour during those years of change.

Kramer’s photographs paint the extraordinary and intimate story of the metamorphosis of folk singer into rock star. This photographic “backstage view” of the singer-songwriter — fragile, almost androgynous, with a determined look in his eyes – features key moments of Dylan’s musical career during one of the most dynamic periods in American history.

Kramer successfully captures the solitary nature of the man – as a craftsman and a performer.  In shots such as ‘Dylan with Upturned Bar Stool’ taken at the Town Hall, Philadelphia (1964) we see the very lonely and intense musician, hard at work.  Excluded from the light. At other times we see the craftsman Dylan. For example, he is pictured back stage with Robbie Robertson and Al Kooper at Forest Hills Stadium, comparing set lists. In the image you can clearly see his handwritten set lists. Dylan’s set includes ‘Like A Rolling Stone’ (C)  ‘It Ain’t Me Babe’ (G)  and ‘Maggie’s Farm’ (D). The chords have been written in too.
The images are not always perfect, by today’s digital (and manipulated) standards. 

The famous Vaseline smeared photo that graces the cover of ‘Bringing It All Back Home’  with Sally Grossman (showing Dylan casually flipping through a glossy story of Jean Harlow) is slightly out of focus, not at all crisp. The mistiness just adds a fragile, almost intangible charm to the piece. It really is like looking back through your own memories

In the set of ‘Bringing It All Back Home’ recording sessions images (1965) Dylan’s face is often obscured by a huge recording microphone. It does not help that he is wearing sunglasses  in the studio. These images suggest more about the difficult nature of the performer as a subject, rather than any inadequacies in the composition. In each image, the real ‘awkward’ Dylan shines through.

In another image, Dylan and Baez are posed by a ‘Protest Sign’. Baez holds three twiggy flowers. The sign boldly reads ‘‘Protest Against the Rising Tide of Conformity’. The image was used for ‘Mama You’ve Been On My Mind.’ At first glance, this perfectly describes everything that you know, or you need to know about Dylan. His love of protest. His way with words. His fight against conformity. It may have been, for Kramer, a split second opportunity – a chance to snap an image that truly defines our thoughts on Dylan – especially at this time of his career. He is about to leave behind his unplugged folk consciousness  (and many of his most loyal fans) to embark on a new electric future.

The words ‘Protest Against the Rising Tide of Conformity’ ring true, and foretell the future of the artist.  But as you read down the ‘Protest Sign’ in the photograph you realize that the true nature of the poster is one of  commercial effort.  It is actually a poster designed to sell London Booth’s Gin.  It is a slice of corporate ‘Madman’ America.  Dylan (and Kramer) use the image successfully by adjusting the true meaning according to their needs. They become an integral part of the of the big corporate advertising mechanism themselves. Cynical ? Maybe. But it is a sure sign (in both meanings)  that, from that moment, Dylan was navigating a more commercial path.

This is an instructive and imperative photo exhibition. It will be of particular interest to all fans of Bob Dylan, or anyone who is interested in rock music photography. Highly recommended.

- © Neil_Mach November 2012 -

Link:

http://www.britishmusicexperience.com/bob-dylan/

DANIEL KRAMER: PHOTOGRAPHS OF BOB DYLAN

Is on at the:
The British Music Experience
Mezzanine Gallery
The O2 Bubble
London SE1
12 November 2012 – 3 February 2013

Tickets can be purchased on line at: http://www.britishmusicexperience.com

Cody ChesnuTT – LANDING ON A HUNDRED

Heralded by a full blown tower of 60’s/ 70’s soul in the Curtis/ Marvin tradition, Thats Still Mama, ‘Landing On A Hundred‘ (Out now), is Cody’s ChesnuTT’s first full album of new material in a decade. Cody performed two emotional one-man shows in London in September, previewing new material, including a headline date at The Jazz Cafe. He is set to return to the UK in March next year with his 9-piece band.

Universally acclaimed for his edgy, sprawling Shortlist Prize nominated 2002 debut, The Headphone Masterpiece, Cody ChesnuTT re-emerges as a soul troubadour whose frank, socially conscious songs, set the bar for what modern soul music can look and sound like: On every level – rhythm, song, subject matter, spirit – Landing On A Hundred delivers massively, it’s message upbeat even as it reflects upon troubled times.

Says Cody “This body of work is extremely meaningful to me – it represents the journey I have been on since I last released an album. Words cannot describe or express how excited I am about this music.”

Opener ‘Till I Met Thee’ shakes it’s mean little hips at you. This song finger-flicks itself into the room. Does a twirl. And smiles sweetly. Cody’s voice is bright moon happy and silver braided. The razzled, sumptuous atmosphere created by the arches of spanning vocals push the ‘Dead Man’ lyrics into the boudoir. And, then, of course, the persistent fingering vibrations will create a familiar tenderness in your under-loins. But you are left wondering at the religious implications. And feeling a bit guilty about yourself.

Ah-ha- ‘I’ve Been Life’ introduces the shtorking bass and tremulous guitar jangles into your life. These swish and rattle around this feverish track. Stroking and tickling you with their purring shenanigans. Cody prowls around this song like a syrupy cat hunting for the cream. Luxurious, sultry and smoother than a waxed bottom on the Posto Dois.

Silky tomfoolery and saggy vocals drawl deeply,  as they soulfully filter through the waxed curtain of the sounds on ‘That’s Still Mama’. It’s enough to make your snow globes itch and burn.

I don’t know ‘What Kind of Cool (Will We Think of Next)’  but it is probably in the form of this song. Soft as a coconut souffle and flimsy as a sno-cone foamball. Horns cradle the cool vocals, adding a touch of spice to the otherwise sweetmeat mix.

“You can follow the wind… follow your skin.” Says Cody but, he implores us,  ‘Don’t Follow Me’. This is feeble advice. You won’t be able to accept it. The song contains a wallowing bass note that gives you the heart-bumps.  And then ‘Everybody’s Brother’ opens up with a nostalgic horn sound (it’s a bit James Bondy.)  And Cody narrates a list of his bad points-  but then tells us triumphantly that he ‘Ain’t Turning Back’. Well, as a confessional there is not much contrition here. But none of us can turn back time. But where there’s a will, there’s a way.

And we all know that love is ‘More than a cheque book… and more than a Wedding Day’. Really, it is not so much of a revelation. But it is probably something she once said. So it needs to repeated back to her. A pleasant  twin-set of jazzy piano and sizzling sax helps to sell this next track.

‘Under The Spell of the Handout’ starkly sets out the ChesnuTT protest stall. Rock ‘n’ roll guitars and a stopgap rhythm is painted black-and-white onto the chalkboard.  Then ‘ Don’t Go The Other Way’ recreates the soul of the seventies. We know you do not want to wake the sleeping beasty.  But those drum crackles and swirls of sound will undoubtedly rouse your reminiscences …  out of their lingering yawns and cosy slumbers.

‘Chip’s Down (In No Landfill)’ begins with a piano piece for simpletons. It’s a classic case of vintage booty. When the chorus ascends into view, it is recognizable and gorgeous. This song is about losing it all. But somehow, that is quite liberating isn’t it? And we are not surprised that they had to sell off all his stuff, because (frankly) if he does not know where it all comes from, what’s the point in  having it? ‘Where Is All The Money Going?’ is the story of our times, though, and a tale for all of us in these days of triple-dip recession. We know where all the money is going though don’t we? It goes into the  fat-cat pockets and multi-national troughs. But where is it all coming from?  Perhaps it just goes round-and-round. Like this track. It ‘s exciting and uneven. It can be a bumpy ride at times.

‘Scroll Call’ completes this album of delights. It has an inherent tension that gnaws at your tops. And the rubber gasped thwackery of Cody’s drifting and chaotically grinning vocals starts doing things with your dainties.  And before you know it, Cody has dropped your unmentionables in the hall, and swanked off into the jazz-light. Just leaving the bridges he has built between you and your own feeble impotence.

You’d better listen to it all over again. Then you might feel better.

-© Neil_Mach November 2012 -

Link:

http://www.facebook.com/iamcodychesnutt
Cody ChesnuTT
Landing On A Hundred
Label: One Little Indian
Catalog Number: TPLP1171

Cellophane Flowers Staring at the World Album Review

 
The Cellophane Flowers songs reflect an eclectic array of influences, from tribal rhythms, alt-rock, tinged with dark ‘80s pop… the band tend to name-check Siouxsie, Sonic Youth, The Stone Roses and Throwing Muses as influences.

The Cellophane Flowers have recently completed the recording of their debut album Staring At World which is released digitally December 3, 2012. The ten tracks of Staring At The World were recorded and produced by David M. Allen. Dave’s extensive discography covers The Cure, Depeche Mode, Human League and The Charlatans. Mastering was Barry Grint (David Bowie, I Blame Coco) Alchemy Studios.
The album is out just in time for Christmas…  We had an early listen:

Opening track ‘Voices’  is like hearing your own inner-workings popping away  … it’s like listening to your own acids boiling …   through the hose of a vacuum cleaner!  Stick one end of the hose to your ear, and the other end to your rumbling stomach. You will reveal echoing, shadowy, radiated sounds.  Syrupy drips gloop and droop down from dainty buds of voice that sprout here-and-there. The beat builds up, bubbling like a rising pudding on the boiler. This is a song that gurgles as it hisses along.

‘The Promise’ has a hearty fruitcake of percussion sounds (Nick Guy: Drums) and plenty of cadential flourishes. A sweet chorus pulls you in close. Maybe for a lingering kiss.

Next track, ‘Pendulum Eyes’ is adorned with diaphanous guitars (Ian Sumner.) The trembling voice is as shy as it is flighty. The 60’s sounding melody feels as light as a honey syllabub slurped in the sun. Yet there is something that does not sniff quite right here. When you scratch below the surface, you realise that the lyrics are dark, yet the sounds lead you astray.

Then  ‘Forever Lost’  is offset by a simply strummed guitar. A solitary lost sheep signals its displeasure through a crack in the clouds. An image of fragmented moments, of desperate loss … and of wasted expectations. This feeling builds up and super-heats, as the song nears it’s end.  Soon, perhaps, you will be released.

‘Tears Of A Clown’ is a faltering teeter down a sentimental road. Glistening guitars spindle out and gird the whittled song-structure, as it shakes precariously in a nervous breeze.

‘Rock N Roll’ has catapulting 50s-style drums and a battery of vaguely glamorous, purring riffs . A jerky rhythm keeps things kicking along. And that voice of Francesca Corradini moon-glows.

‘Belinda’ groans and trembles up to greet you. Pushing deep giant lumpy pillows of sound with it, the gritty voice sounds almost unpleasant – yet fascinating. But this song has darker undercurrents. It is about loss. And coming together after such a loss. Bitter sweet events. It would be easy to get choked in the weeds of guitar. So be careful. Don’t get dragged in.


‘Time’  [“He’s waiting in the wings...”]  So David Bowie sang. And this song seems irresistibly drawn to ‘Prettiest Star’ era Bowie . The sequined, sullen voice recalls the images of burlesque vamp circa 1972. This song feels fancy, glam and pearly.

Then ‘Lucky Day’ has a long, slow rhythm to it. It’s as languorous as hanging out in your slippers and jim-jam bottoms. The wonky-wonky voice seems precariously perched on a bed of powdered sugar,  like some kind of knobbly plastic groom perched on top of an imperious wedding cake. Grand – and unsure – in equal measure.

The album is completed with ‘In A Hole’. Initially written on a ukulele, this was always meant to be a sweet interlude track. Now it is utilised to define the entire album. It describes the timidity and doubt within all of us. Will we ever find our true place in the world?

This album is irresistible, modest and quirky. A fresh look at a colourful world – with just one eye open.

-© Neil_Mach November 2012 -

Link:
http://www.facebook.com/TheCellophaneFlowersUK

To celebrate one week till the release of “Staring At The World”, Cellophane Flowers are offering track  ‘Tears of a Clown’  for FREE download here:

http://soundcloud.com/altpr/the-cellophane-flowers-tears/s-r5hfK

Absolute Radio Abbey Road Studios Acoustic Sessions

Host – Absolute Radio’s Pete Donaldson

Absolute Radio and Abbey Road Studios have joined forces to host a series of acoustic sessions at the world-famous home of the Beatles’ recording.

Born Blonde, Bwani Junction, Iko and Oli Wennink  all played at the historic Abbey Road Studio 3 on Tuesday, November 27. It was the first acoustic session with up-and-coming acts hand-picked by Absolute.

The performance will be transmitted on Absolute Radio’s Sunday Night Music Club hosted by Pete Donaldson, while the sets and exclusive interviews with the proceedings will be available to watch online. [www.absoluteradio.co.uk/onair/sunday-night-music-club]

West London band Born Blonde have previously worked with the Arctic Monkeys and Kasabian.  Bwani Junction supported The Vaccines, and have highlighted the BBC Introducing stage at T in the Park. Bwani Junction have been compared to Vampire Weekend, Big Country and Two Door Cinema Club.

Born Blonde at Abbey Road

The music of Devon band Iko has been used for Twilight the movie. Their song “Heart Of Stone” is featured in “The Twilight Saga: Breaking Dawn Part 2″.

Brixton’s Oli Wennink is a masterful storytelling songwriter, and accomplished pianist.

The acoustic tie-up between Absolute and Abbey Road is based on a relationship built earlier this year for a series of sessions.

These have included performances by Fun, Paul Weller and Alabama Shakes.

Check Absolute Radio here: www.absoluteradio.co.uk/

Links:

www.facebook.com/bornblondeband
www.facebook.com/Bwanijunction
www.facebook.com/oliwennink
www.facebook.com/ikoGB

Slade Live at The Anvil Basingstoke

When I was in school there was only one band that you were proud to say that you had seen play live. It was Slade.

This was before they became a joke. It was before you dared not admit you liked Slade. Before their records were remaindered in Woolies. It was before Noddy left to go to be an actor in The Grimleys.  It was even before Slade became a household name, part of our national heritage and glam-rock heroes. It was before they gave us their Christmas number one. It was when they were known for just one thing – for being the best hard rock act around.

In those days, at school, things were divided into two musical camps: One lot liked hippy stuff. They liked Yes, Pink Floyd and Tyrannosaurus Rex (not T. Rex.)  This lot went around in hippy clothes such as loon pants, cheese-cloth shirts and old trench coats. They said “Peace” a lot. The other camp – the ones that adults called “Skinheads” (point of order – we just called them “Skins”) had short hair, wore boots, and liked Slade. This was before punk. It was before 2-tone. It was long  before ‘Madness.’ The only thing that the skins could call their own kind of music was Dave and Ansell Collins. And Slade.

Slade came out of the Black Country in 1971 with “Get Down and Get With It”. And with it came boot stomping rock ‘n’ roll heaven. That song was originally recorded by Little Richard for the “Okeh Sessions” . And it gave everyone a chance to get their boots on and stamp their feet.

The Slade boys – drummer Don Powell, guitarist Dave Hill, singer Noddy Holder and bassist Jim Lea were raised on fine music – such as John Lee Hooker and Howlin’ Wolf. They had played support slots for bands such as The Yardbirds (fore runners of Led Zeppelin.) In 1971 it was their chance to take centre stage.

Slade made the wearing of Crombie coats, cherry red Doc Martens, and Sta-Prest Levi’s with braces, seem cool and trendy. And even if that conjured up images of skinheads who were more like Dick Emery’s idiot creation  ‘Bovver boy’  (and his even more idiotic his father – played by Roy Kinnear) -  Slade become a cult act, and skinhead rock was real.

Little Richard Get Down and Get With It

But, when Chas Chandler (former manager of Jimi Hendrix), came into possession of the brand, and began to drive the musicians towards success, things began to get out of hand. After the successful – and much-loved single “Coz I Luv You” (written by Lea and Holder) we then got a flurry of misspelled pop songs like “Take Me Bak ‘Ome” and “Look Wot You Dun”. And Slade gradually became a ‘Glam Band’  I always thought that they seemed reluctant to go down the glam-rock path.  Well, except for Dave, that is.  His glitter wig and super-yob guitar can never be forgotten. The story goes that, after an altercation in the dressing room on Top of the Pops – when Jim once again criticised Dave for wearing a tin foil jumpsuit – Dave allegedly responded to the criticism  by saying “You write ‘em Jim,  and I’ll sell em !”

Looking back at the early 1970’s (and in light of the Jimmy Savile allegations) I sometimes get a feeling of nausea – rather than nostalgia about the times. This was the era that brought us Gary Glitter and “Do You Wanna Touch Me? (Oh Yeah)” with the “Do you wanna touch me there, where?” lyric. It was addressed to little girls.  And little boys. And I also remember Sweet’s ‘Little Willy’ (You can’t push Willy round, Willy won’t go.) And just knew that Mary Whitehouse would write in about it.

So when Slade played live at the Anvil Basingstoke this week, it was probably reasonable to exclude “Skweeze Me, Pleeze Me” from the set list. And thinking about this reminds me that my favourite song by Slade was “Gudbuy T ‘Jane” and it was kept from the No 1 slot by the  innuendo laden Chuck Berry hit “My Ding-a-Ling.” (Which Mary did complain about.)

Today, the Slade line-up is:  Vocals and guitar Mal McNulty (previously with Paddy Goes To Holyhead and Sweet) John Berry on bass / backing vocals and violin (he has worked with Mud), and the original band members Don Powell on drums and super-yob Dave Hill on lead guitar.

At the Anvil, the band worked their way through a series of ‘Crazee’  rock numbers – and they had the audience up and dancing almost immediately. Just like the old days.  Everyone was standing. Everyone was stomping . Best songs in the show were, for my money, the excellent “Everyday” (I forgot how good that number was) and the Celtic sounding  song “Run Runaway”.

I missed “Far Far Away” and I really liked “Nobody’s Fool”  back in 1976. But that was forgotten too. But we still got “Mama Weer All Crazee Now”. Thank goodness.

Dave Hill still haunts the stage with that silly smile of his. Trying to boot things. Still being the class clown. And Don still looks as menacing as he ever has been. Mal actually sounds like Noddy. And that must be a hard act to follow. And John played a passable violin solo on “Coz I Luv You” – but it was not as good as Jim Lea. Their performance was exhilarating. Strong, heavy and full of fun. Just like a Slade show should be.
Some of these old bands become shadows of themselves. They sometimes become affectionate cover bands. Of their own music. But Slade have not crumbled. They are still full of energy.  It’s encouraging.  They really know how to perform. And they are loud.   That’s why they brought the house down at the Reading Festival in 1980

And before the curtain call at The Anvil, Dave came out on stage to thank the audience. “It was not a bad year that?” He chirped. “It’s been good hasn’t it?” Everyone agreed and clapped some more. Party hats were rushed on by roadies. And the group got back on stage. And they played “Merry Xmas Everybody”.

Before the concert, I was thinking about that song. And I was hoping that they would not play it. But they did. And do you know what? It brought a tear to my eye.

- © Neil_Mach November 2012 -

Link:
http://www.slade40years.com/

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Stubborn Heart Starting Block Remixes Review

London-based duo Luca Santucci & Ben Fitzgerald aka Stubborn Heart offer indulgent listeners a new post-dubstep era. Their distinguished blend of electronic soul carries with it some jaded relics from a bygone dubstep age, and also incorporates the sounds and the memories from an even more distant past – from Northern soul nights, techno house gatherings, and garage rock weekenders. It’s all here.

The Starting Block Remixes EP by Stubborn Heart is released on  26th November as a 4-Track 12”vinyl or download. [One Little Indian]

The 12” comes with two new re-workings by the duo,  but starts with the original mix of ‘Starting Block’. This is a bubbly bottle of fun. And feels like a disjointed centipede.  All limbs and feet.  A solemn voice spreads out inkily – making its way through the dark thin lighter notes. And all the time a beat gloops on, sputtering and bubbling like a stew pot on the boiler. When the voice goes high and light, the effect is like a firefly spiralling into the moon.

The ‘Something New’ remix has a splatter of syncopated rhythms and a whisper of slyness about it. The bass sputters and rubs its way oppressively out of trouble. Then vocals wheeze against a backdrop of rubbery wuzzes. The tinkle-bell piano adds a sugary chime to the overall tinselly effect. Probably a good choice for the party season.

The ‘128 Yard Dash Mix’ is a collection of home-style ticks and nervous spasms.  The old-school soul charm shines through like a nervous grin through a grubby pub window. And the transparency of the rhythms creates a rustle of pleasure.

‘Clubinstrumental’ wallows and sways. It ‘s like watching a boozy waiter juggling with too many trays. It feels as if it will all fall apart. Especially if you keep staring. So, look no further. Just wait for the main course to be delivered. This track will shake the dust from your boa, and give the heels a ride.

- © Neil_Mach November 2012 -

Link:

http://www.stubbornheart.com/

Club Smith Album Review

The Leeds based four-piece band ‘Club Smith’ – (the band is basically a repackaged version of ‘The Hair’ – circa 2004-2008) release their new album ‘ Appetite for Chivalry’ today. They continue a tour of the UK during the month of November.

The new album starts with the track ‘Mantra’. This contains luminous strings of semi fluid opalescence, that seem to glisten shyly before lusty drums ( Vijay Mistry ) push themselves brazenly forward to take advantage of the space. Sam Robson’s ‘Morrissey’ style vocals are gracious and loquacious, with glowing backing vocals delivered from the other band members (Neil and Lee) and these add warmth and symmetry. Twangs of lusty guitar enfold the verse, and the wandering percussion will keep all heads moving to the dance-floor.

‘No Friends of Mine’ has a rude and fruity guitar accompaniment that squeezes out giant pimples of sound. When this is added to the virile and exciting melody – boosted by the thrusting “So I can look good …” chorus, Club Smith may well remind you of the Kaiser Chiefs. (It’s not a surprising deduction – the band was chosen to support the Kaisers on a recent tour- so the style must have rubbed off. ) In this song, you get a barnstorming anthem of quality and unabashed joy.

‘Beautiful and Useless’ has a fancy pots-and-pans bashing percussion, with some cracking vocal gymnastics. Reflexological guitars place angular pressure on the melody – tenderising the zones and leaving them healed.
‘The System is Flawed’ has a bounteous bass that draws its breath and puffs into your ear. This song blows away the cobwebs with it’s clumpy bumpiness. And it has more sugar-frosting than a packet of magically delicious Lucky Charms. It contains a strange amalgam of ‘80s sounds – ranging from ‘Duran Duran’ patinas, to ‘Tears for Fears’ emotional tension

‘The Green Room’ is another song where the bass plays the part of the plucky hero … arriving on the scene and saving the day. Plunging, thumbing bass lines, and zooming, bruising flumes of sound. But it is the chorus that grabs your ass and directs you onto the dance-floor. Yep, this is one horny swinger of a song. And a playtime hustler. That zinced whistle-stop finale will lush you off your feet.


‘In Arrears’ is a confusion of ideas and daft-as-brainbox sounds. It is ‘s like a bedroom that needs tidying up. It is an over-full sock drawer. And ‘Noncahalant’ has an avalanche of drums and some very sneering vocals. It has a clever chorus that creeps in and surprises you with its insistence.

‘Lament’ limps in, sentimentally and somewhat begrudgingly. A big blousing chorus tries to make amends. But this is one that is strictly for the ladies. Of a certain age.

Then ‘Young Defeatists’ demonstrates Sam’s highly strung vocals – and these are stretched about as tight as a Babestation glamour girl can twist her second thong . That hammering chorus will make you smile, and it will get the crowd clapping merrily along . It’s a party treat, even though it has such an emotionally tense subscript.

‘Appetite for Chivalry’ is a strange collection of sounds and moods. Club Smith doesn’t seem to be able to work out whether they are a girl-friendly eighties Synthpop band or a nineties lads-friendly Post-Britpop stadium band. Either way, they seem slightly anachronistic. But there are moments of genuine perfection in this album, and if you have time to pick over the bones, there are some juicy morsels to find.

Release date – 12th November

- © Neil_Mach November 2012 -

Link:

http://www.facebook.com/clubsmithmusic