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Concert Review: Madness at The Royal Festival Hall, 17 June 2011

Madness 17-06-11 Ticket

Madness, yes they call it madness...

Last night I slummed it, dear reader. Yes, instead of stroking my chin to 20-minute progressive rock epics about starship troopers or killer fish, I was bopping to some two-tone style classics.

It’s hard to review a band with Madness’s pedigree. They are a multi-limbed juggernaut of hits. They cannot be stopped. They will just roll over you like a steam roller, so it is best just to wallow in the nostalgia, enjoy the new stuff and do your best to sing along.

It was my first visit to the RFH since the refurbishment thanks to my self-imposed exile and I was duly impressed with the changes and the comfort of the new seating. Of course, there’s never enough legroom, but what can you do about it? Hire a wheelchair and do a “Lou and Andy” in order to get to the best seats. That has crossed my mind on numerous occasions…

The striking thing about the night was not the band or the music, it was the audience and their complete lack of co-ordination. For I have never witnessed such a shambolic attempt at “dancing” in my life. It was as if five bus loads of lobotomised, highly-sedated, old age pensioners had been shoved into the hall and instructed to “do their stuff”.

Then there was the hooray henry behind me who had been to grammar school, owned all the albums and proceeded to bore his female associate/girlfriend with his knowledge of Ray Davis, Madness, the Meltdown festival and any other subject that might come his way. His mouth was lubricated by a large pinot grigio “I saw the small, and the medium and realised that the large was the only way to go,” he said as his voice seemed to get louder and louder. Throughout the concert he would shout, holler and whistle and generally be the twat of the gig, and I had him behind me. I’d had a couple of gigs like this before, and this is why I prefer to be sober at concerts because if I’d had a few sherberts inside me I think I would have told the toe-rag to shut his pie-hole and enjoy the music. Unfortunately, this would have been accompanied with a threat of violence.

But yes, the audience was predominantly OLD and I kept hearing Pete “It was for research” Townshend’s words “I hope I die before I get old” echoing in my head, which is a bit trite from someone who has just entered middle-age. Fuck me, I’m middle-aged! No-one sent me the manual…

The band were impeccable, thundering through all the hits and were what you expected. I paid for an evening of Madness doing their thing and that’s what I got, and cannot be disappointed with that. Ray Davies actually introduced the band, but it was hard to follow what he was saying because Mr Pinot Grigio behind me was too busy flapping his mouth about the Kinks and Jerry Dammers and whatever.

While many of the audience decided to rise to their feet and jigger about at the very beginning of the concert – much to the consternation of the row of disabled punters whose view was blocked and the families with children who were too small to see and busied themselves trying to move themselves to a better vantage point – I decided to keep my powder dry and only shake my money maker towards the final stage of the concert, when the big hits were out – Our House, Baggy Trousers and It Must Be Love, etc. That way, while the oldsters were all flagging and searching for their cod liver oil tablets, me and the Missus were fresh and bopping like youngsters. Ha, epic win!

The gig was a good evening out and nothing else. For me, there was a distance between the music and myself probably because at the beginning the sound mix was very muddy and it took the sound people three or four songs to get the balance right. Plus, it didn’t help having the hooray behind me playing at being the poshest Madness fan in the hall.

But I heard all the hits, saw the band and even had a dance – so I guess it was a successful evening. As their guitarist said before his attempt at murdering Ray Davies’s “Where Did All the Good Times Go?” – “It’s not like there’s anything good on the telly tonight, is there?”

‘Nuff said!

Google Doesn’t Love Me Anymore

I don’t know what happened. Maybe I didn’t take our relationship seriously. Perhaps I got found out for fooling around with Bing and submitting my website on the sly to Yahoo? Whatever it is, Google has fallen out of love with me and my site. Since 6 June 2011, I’ve noticed a dramatic decrease in traffic from Google to my site. And when I say dramatic, I mean it is like a tap has been turned off. Without making it through a complete month of stats, I would say that it is looking like that I’ve lost about 80% of my casual traffic from Google.

It certainly is a sobering time and while I just run this place for my own amusement, if Google has this much power over my site and for whatever reason decides that my pages are no longer relevant, it makes it pretty pointless in doing anything. That’s how powerful Google has become. I never realised it before this moment, but unless you have a good ranking on Google (and previously I did, obviously) then you are going to hurtle into traffic obscurity pretty darn quickly. Though I do remember a similar thing happening to me back in 2004, but eventually the traffic returned of its own volition.

I’ve updated my sitemaps, emailed the Google people and asked for a reassessment and now I am just sitting here wondering what the heck I can do to get that traffic back on the site.

The weird thing is that is hasn’t stopped the amount of data being downloaded from the site which is still averaging around 20Gb of my music and video files. The more I look at the World Wide Web, the more I realise I know less and less about how it works.

Yes, We Can Copy It From Here

Fly From Here album cover

It's been a decade since the last Yes album!

Apparently, there’s a new Yes album coming out next month. It’s “Fly From Here” and it features a line-up that consists of a singer from a tribute band replacing Jon Anderson and Geoff Downes (he did a stint for one album) who elbowed Oliver Wakeman from the keyboard rack.

I must admit that since the band did away with Jon Anderson after his near-fatal respiratory attack a few years back and his subsequent replacement, the band has kind of fell off my radar. So last night, I came across a story from Rolling Stone about the new album and single that had been released.

When I heard the song I was surprised how good it sounded and thought that maybe I’d got it wrong this time, that my presumptions that a new Yes album would be an utter disappointment.

“This sounds like they’ve harnessed some of the energy from the Drama-era band,” I thought.

And then I started to think it sounded like something else, and eventually found that the band had played this on their Drama tour back in 1980 and then The Buggles had in fact released the song on the “Adventures in Modern Recording” album that I had in my archive.

So I am finding it amusing that a progressive rock band is dedicating half an album to a song that is over 30 years old. But if the idea is a good one, I guess there’s no reason for it to be revived from the archive and dusted off.

And now the band has released some previews for us all to hear:

Fly From Here: Overture by yestheband

Fly From Here part I – We Can Fly (Preview Snippet) by yestheband

Fly From Here part 2 – Sad Night at the Airfield (Preview Snippet) by yestheband

Fly From Here part 3 – Madman at the Screens (Preview Snippet) by yestheband

Fly From Here part 4 – Bumpy Ride (Preview Snippet) by yestheband

Chocolate Fudge Cake

Today I made a chocolate fudge cake to commemorate the Queen’s official birthday… (well, Verity insisted I made the Queen a cake)

Chocolate Fudge Cake

Looks as good as it tastes...

I’ve been putting it off for a long time but I’ve decided to use my Bandcamp profile I set up a few years ago. Today, I uploaded “The Luckiest Man in the World” which you can download for the bargain price of £5. But more importantly, you can listen to the whole thing in fairly decent quality, all the way through. It’s a special set of recordings for me, so please check them out and pass the link on. Click on the big smiling face below to absorb the goodness…

FREE ALBUM DOWNLOAD

…and sure enough, the abyss stared back into me.

REVIEW: Caravan – In the Land of Grey and Pink [40th Anniversary Edition]

In the Land of Grey and Pink

1971 was a good year...

 

 

 

 

 

 

 

 

 

 

 

I came to the Caravan party a little late, discovering their music in July 2000 when I picked up their compilation “Where But for Caravan Would I?” and was immediately a fan. I always say that if I were a contemporary of Caravan, then this would be the band I’d be in. They probably match my level of technical competence – not too flashy, but full of soul and ideas.

With the 40th Anniversary edition of their seminal 1971 album, I shall be talking mainly about the 5.1 Dolby Surround Sound mix that appears on the accompany region-free DVD. Over the years, I have become quite interested in these surround mixes put out by classic bands as they often throw up new auditory experiences for the listener, uncovering instrumentation that’s often been buried in the mix.

The thing about this record is that while Steven Wilson of Porcupine Tree does a sterling job of the mix, there’s not a lot here to impress the listener. The problem with Caravan is that they are not a symphonic band like Genesis or have the power or detail of a King Crimson, so this remix just sits there and does its job nicely.

Granted it’s nice to hear the acoustic guitars of “Golf Girl” and the sub-woofer thump certainly reinforces the mix, with the bass now being a more prominent member of the team, but it’s hard to overly excited by this remix. The last remaster done at the start of the millennium is a good starting point, and the mixes here (and the stereo mix for that matter) doesn’t really bring anything new to the table, but they are obviously cleaner.

Yes, you are getting the ultimate Caravan listening experience, but I would argue that the work here isn’t as radical as what you hear on the Genesis or King Crimson 5.1 surround mixes. That’s because what you hear on a Caravan album is very much a live experience committed to vinyl. There’s no multi-layering of instruments as you’d hear on King Crimson’s “Lizard” for example and you don’t gain any extra “ooomph” either.

While Steven Wilson has done a great job, retaining a lot of the original’s roundness and warmth, it’s not going to blow anyone’s socks off. But maybe it’s because this album was more about the original homespun “vibe” than supersonic, 21st century, clarity? What you do get is good separation of the instruments and for those of you who want to study the record, you are going to be more than satisfied with this.

The DVD also contains two Beat Club appearances by the band, which if you look hard enough are already available to view on YouTube. The quality isn’t bad and certainly makes interesting viewing if you are unfamiliar with the clips.

The packaging is great, but the record company has scrimped by not including a plastic outer slipcase that often comes with these “Deluxe Edition” releases and instead the fold-out four-panel sleeve is initially secured by a seal that needs to be broken to open the case – meaning you can seal it up again. The inner booklet is packed with the usual collection of photos and there are some nice words to read.

The CD side of things sees the album being expanded over two discs. The first disc contains the album with three extra tracks tacked onto the end. I’m one of those weirdos who likes albums to keep their original tracklisting and any extra material to be put on a separate disc. The stereo mix is very clean and there’s some excellent separation on show. Comparing it with the reissue from a decade ago, this version just has the edge in terms of crispness and definition, but there’s really not much in it.

Some of the extra material from this release also appeared on that previously-expanded edition, but whoever compiled this collection has really pulled out the stops and collected enough relevant extra tracks to fill a second CD including five live tracks from various BBC sessions.

The bottom line is that this really is the ultimate edition of this album and represents excellent value if you don’t own “In the Land of Grey and Pink” in any format. If you are not interested in the 5.1 mix or the extra CD, then I am not so sure this is such a good buy, but fans are fans and the MusicBizTM knows that like slavering dogs we will buy our favourite albums again and again and again!

Overall, a positive experience…

And here’s the review I posted on YouTube:

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