Gig Reviews 2020

Photos courtesy of John Bull at Rockrpix.com

Myke Gray + Kim Jennett,

The Howling Tides

Sunday 23rd February 2020

 The Undeworld, Camden

 

Sunday used to be a day of worship. Shops were shut, and it was a day of rest, a day of religious observance and abstinence from work spent at home in the company of loved ones. A day to observe the Sabbath - still my favourite Rock band. But not these days, which is why yours truly braved the potential hell and damnation of my irreverence by travelling to my favourite underground rocking den of iniquity, the Underworld in Camden Town, London NW1. Although no thanks to the striking tube drivers who clearly take their aversion to work on a Sunday more seriously than I do. It may have been the country’s devotion to religious niceties, or the feeling of solidarity with the oppressed workers on the Bakerloo Line, but the small club was somewhat sparse of patrons for the night’s proceedings. Which is a shame because they missed a cracker. Opening the evening were The Howling Tides, a Hard Rock band hailing from the Midlands. Taking influence from legends of Rock, Metal, Blues and beyond, the young quartet have already had some experience, sharing line-ups with the likes of The Dead Daisies, Crazy Town, RavenEye, Bad Touch, and many more.

 

Frontman Rob Baynes looks like a baby Chris Hemsworth (stop swooning ladies) with long blond straggly curls and trim beard to match. Sporting a battered Strat, pumping some rocking vibes through an Orange amp, his strong voice suggests a knowledge of Rock, Blues, Soul and even Gospel. Howling by name and howling by nature. But with the combination of Hayden Kirk’s Melody Maker, replete with P90’s through a Marshal Plexi, the sound is raunchier. Almost thoughtful Punk. And the band are full of attitude as they bounce around the stage lapping up the occasion. Although Rock by nature, tracks like 'Cheap Painkiller', with Luke Lawleys sludgy bass, are Heavy Rock but with a hint of Rap. Younger bands today are clearly influenced by the music of their generation. And the music is fresher and more vibrant for it. With new material due out shortly, we were treated to a new untitled track known simply as '12/8', so named after the time signature. This has a lovely chuggy rhythm from Kirk’s MM, ably measured by Steven ‘Herbie’ Herbert on drums while Baynes takes lead duties with the aid of a wah pedal. Next up, another new track called 'Fortune Never Favours' is an altogether different song as the tempo is slowed and Kirk’s snarling P90’s are almost completely tamed. With soulful vocals, unusual chords and key changes and a change in tempo, it’s in stark contrast to the rest of the set. Kirk’s solo is excellent with some nice feedback tastefully applied. 'Talia' brings us back to chugging aggressive goodness again followed by 'White Crow', which apparently is about Kirk’s father who is ‘a total wreck head'. Sounds painful to me unlike the solo which wasn’t your usual pentatonic perambulation which made a nice change. Closing with the fuzz laden 'He Told Me', with singalong shout out "Your days are numbered" the band showed that their days are indeed clearly numbered. But it looks like that is a very large number. I hope so.

Myke Gray - the founder and songwriter of Skin, Jagged Edge and Red White & Blues - and Kim Jennett are one of those unusual matches that just seems to work. Myke discovered Kim through Facebook, from a humble video of her singing some Blues to an acoustic guitar in a Uni house kitchen. They met up and jammed together and Myke now writes and produces Kim’s solo work. Kim made her name as the whirling dervish that was 'The Voodoo Woman' fronting the sadly defunct Voodoo Blood. So now putting the effervescent songstress in front of the Rock and riff ensemble fronted by Myke, and you get a powerful Rock ensemble. Gray's ensemble sport a subdued black attire whilst the man himself adorns himself in black and white, like a monochrome harlequin. Black and white waistcoat complements odd black and white shoes with contrasting black and white laces. And of course a black and white Les Paul into a pair of Marshal JVM's. But if his appearance is two tone, his sound isn’t. His playing is tasteful, with no gratuitous shredding, yet runs the gamut of Hard Rock to Soul to ballads with equal assurance. Kim, by contrast, is a brilliant dash of colour, with her long black hair, black leather jacket and boots offset by bright red leopard skin trousers - a trademark pattern for the Manchester born lass. And complementing this is strong red eye makeup giving her a demonic look - perhaps a nod to her personal demons which she successfully channels into the powerful force that is her stage persona. Entering the stage to the strains of Queen's 'We Will Rock You', which the small crowd take up in joyous expectation, the stage erupts with the first of many tracks from Myke's repertoire, 'Stand Up For Rock And Roll'. There are no seats at the Underworld so we duly did.  Glenn Quinn on rhythm guitar and Colin Parkinson on bass provide a strong rhythm section, and backing harmonies for a G'n'R style Rock track. Throughout the set the influences are clear. Kim’s leather jacket is discarded as her cavorting performance heats up both her and the audience, helped in no small part by the skimpy black top underneath, intricate tattoos down her right arm, and hugely warming charm.

'Let Me Be The One' again has Kim dancing like a whirling dervisher screaming lyrics whilst we get a battering from Myke's guitar. Kim works the crowd well who are happy to respond. Especially one individual at the front - there's always one - who clearly wants to join the band. But he is no match for the mighty Mancunian. Only short in stature, and with a childlike quality to her voice, this girl is a Spitfire. Mess with her and you are going down in flames like an ME-109. Although on 'Love Like Suicide', the first of many Skin tracks, the tempo slows and her childlike vocal qualities are more evident. Although she displays a childlike vulnerability, the strong woman is never far away.

Back to the rocking again for 'Psycho', although monitor issues cause Myke to vent his spleen at the hapless soundman - front of house the sound was fine. 'House Of Love', a slightly more Pop Skin track sees the issue fixed, so whilst Neil Ogden batters the gold drum kit, Kim wiggles around the stage as a sultry red eyed seductress. Although a demonic one. Rhythm guitarist Quinn swaps his Les Paul, also plugged into matching Marshall JVM's, for a Strat with a hotrails in the bridge, for some Country twang at the intro to 'Stronger'. But it soon turns into a good time old school Rock and Roll number before Myke switches to a Tele (white with a black scratch-plate obviously…) for 'Counts For Nothing', one of his Red White & Blues numbers. Starting with an arpeggio, accompanied solely by Parkinson's bass, the song builds into a Zeppelin like chugging Blues monster which gives Myke the chance to show his wah playing solo skills whilst the demure Kim crouches down to sing provocatively at eye level with the enraptured crowd. The song's growing crescendo ends abruptly to leave Kim to finish off the last few bars with her clear plaintiff voice. The white Tele is swapped for a similarly coloured Flying V for 'Colourblind' with a staccato guitar intro which leads into some choppy Pop Rock whereas 'Take Me Down' is a headbanging chugging Rock riff monster overlaid with Myke's intricate fingerpicking and full band backing on vocals. Kim forays out on to a small balcony to balance precariously above the crowd, posing for photos to a powerful Rock backing. Okay, it’s only 3 feet off the ground but that’s a long way up for some people. And it didn’t stop her jumping into the crowd to Rock along amongst them. Which is slightly ironic when she takes the time to ‘get serious a minute’ before the opening of 'Look But Don’t Touch', a song that highlights her concern about inappropriate unwanted behaviour suffered by younger female fans. The title says it all. Girl Power and #MeToo are finally starting to make a difference but there is still a long way to go. The song itself has a funky ‘Addicted To Love’ style groove. 'Tower Of Strength' sees Myke back on the Tele again for a slower, heavy bass power ballad with Kim alternating between the precarious balcony and the full on Rock with your foot on the monitor pose we all love. Closer 'Shine Your Light' sees the Flying V appear again, with all its Heavy Rock goodness. But the track weaves its way between and Aerosmith 'Sweet Emotion' drone, into quasi-Gospel into full God forsaken Rock. Kim jumps back into crowd for a mosh before ending with unaccompanied vocals. Top stuff.

 

After a very brief sojourn, the band are back for a blistering 4 track encore. 'Tripping' sees a waft of dry ice herald Myke’s Tele create the slow ballad with vocal Harmonies. Subdued and understated almost, his wah solo feels almost sad. 'You Don't Love Me' on the other hand is a squealing guitar 80's vibe rocker. The 80's style solo on the Flying V says it all. Myke takes the time to speak to thank all his band, management, soundmen ("sorry about my behaviour earlier..") and the fans of course, many of whom he picks out form the audience by name. 'I Get Up" sees Myke back on his Black Les Paul, and Quinn on a similar Tokai, giving that twin Rock guitar sound with Myke on vocals. It’s 12 bar Rock and Roll with attitude, a rolling drumbeat and Kim doing a very good Kill Bill Uma Thurman impression. They end with 'Take Me Home', all foot stomping Rock and Roll, with Kim the pouting seductress, the crowd chanting "Rock and Roll" and a no shred solo. Kim dives back into crowd to use the last of her considerably energy to mosh with the fans to the final licks of Myke’s shred finish. High fives all round for a job well done.

 

Back out into the night to face the uncertainties of a journey home, I ponder, as always, the night’s entertainment. It’s been another night of great entertainment, with two great acts. It’s at this time that I realise that my Sunday analogy has another poignant link. Be it churches or gig venues, they are closing at an alarming rate and tonight’s congregation are too small to maintain these venues. Thankfully, whilst our religious attendances are on the decline, the music audiences continue to grow. So please continue to worship your musical gods at your local shrine, and support the divine inspiration our rocking deities give us. I’m heading for a quiet word with my lords on my headphones but hopefully I will see you at a pulpit of power sometime soon. Rock on.

 

Mother

Setlist:

Stand Up for Rock 'n' Roll (Red White & Blues song)

Let Me Be The One

Love Like Suicide  (Skin song)

Psycho

House of Love (Skin song)

Stronger

Counts For Nothing (Red White & Blues song)

Colourblind  (Skin song)

Take Me Down to the River (Skin song)

Look But Don't Touch (Skin song)

Tower of Strength (Skin song)

Shine Your Light (Skin song)

 

Encore:

Tripping  (Skin song)

You Don't Love Me

I Get Up

Take me Home

Photos courtesy of John Bull at Rockrpix.com

Savoy Brown

Beaverwood Club, Chislehurst

14th January 2020

 

The New Year heralds some old time blues down at the local venue tonight. Assuming storm whatevertheycallit doesn’t end civilization as we know it first. But whilst the weather outside is frightful, the music inside is delightful, let it flow, let it flow, let it flow. Snuggled into the small cricket pavilion building are a hundred or so music stalwarts ready to brave whatever is thrown at them.

 

The small stage at one end of the building hosts the solo project of the London-based, Glasgow-born, guitarist Matt Pearce - an original member of the successful hard rock outfit Voodoo Six. Matt Pearce & The Mutiny are a 4 piece with Matt fronting in his black three piece suit, hat and battered Les Paul gold top. Playing through Orange amps the blues hues have that rocky edge. Although the tracks on the new debut album draw from the full range of Matt Pearce’s influences and passions: rock, blues, funk and soul! “These songs have almost written themselves,” Matt confesses, “They are songs that have become very personal to me: As if my inner voice has suddenly become much stronger. It wasn’t as if I stumbled upon these songs by accident: on the contrary, they tracked me down. I can’t stress how uncanny the experience has been.” Still a member of the Voodoo Six, this is Matt’s chance to break away and find his bluesier, groovier side.

 

The short set sees Matt play some serious Gary Moore like blues on his trusty Gibson with Keys bass and drums providing the rhythm and melody. And his Scottish lilt is evident in his strong vocals.  Interlaced with judicious wah, the screaming blues guitar is excellent. For Ordinary Blues he swaps the Gold Top for an Ibanez hollowbody which gives a twangier lilt to his Cry Baby’s sobbing. Title track of the new album Gotta Get Home is a slide and fingerpicking sensation that has southern states blues written all over it whilst new track Got A Thing Going On allows Matt to show his rockier side back on the Gibson again. Closing track Set Me Free, played regularly on Planet Rock radio, morphs into Peter Green’s Oh Well, although with considerably more funk. A tasty end to a delightful first course. Gotta Get Home? Now quite yet, we have main course to come.

In the event that the world was to witness a holocaust tonight, one surefire survivor will be tonight’s headline act Savoy Brown. Frontman Kim Simmonds formed the band in 1965 and is still rocking 55 years on. Now that’s what you call a survivor. And in that time over 60 different musicians have joined him on his journey. Although tonight he is accompanied by just two others – Pat DeSalvo on bass and Garnet Grimm on drums, both of whom have been with the band for over 10 years. But mere striplings compared to Kim.

 

Kim leads the band with his trusty Gibson 335 and Fender DeVille amp. Over his playing career he has played Teles Les Pauls, SG’s and Flying V’s but the hollowbody suits tonight’s bluesier show. Held vertically in the wrinkled septuagenarians firm grasp, white locks flowing, the growl of the humbuckers match the growl of Kim’s voice. The pleasing growl of a seasoned vocalist.  Opening track Guitar Slinger, from his 2017 album Witchy Feelin’ is a template for things to come – up tempo blues guitar slinging. Whilst not flash, Kim certainly knows his licks and can still make the fretboard smoke when he wants to.

 

After regaling us with memories of local haunts that he used to play - memories of 1968 Chislehurst caves and the now sadly defunct Black Prince pub – he launches into an oldie – Train To Nowhere allowing that 335 to really twang whilst Why Did You Hoo Doo Me is an altogether dirtier blues track taken again from the Witchy Feelin’ album. As is Livin’ On the Bayou, a slow Creole minimalist blues track about the Louisiana swamp lands. It has a catchy slow riff which morphs into slow heavy blues and an almost jazz like solo. After a cover of Howling Wolf’s I Ain't Superstitious, we get some material from the new album City Night. It’ not so much a gig as a history lesson. Walkin’ On Hot Stones is an almost sleazy rock track with a beat reminiscent of Bowie’s Jean Jeanie. And some great slide too.

 

I’m Tired is a lighter hearted kinks style track, written back in 1968 by Chris Youldon. It’s a twangy rock guitar groover. Very 68. Psychedelic. No wonder - it has similarities to Shocking Blue’s Venus. Kim now leaves the stage to allow some drum and bass (literally, not the genre) with Pat and Grimm both getting a chance to display their considerable solo skills. But Kim soon returns to launch into the slow w intro to Slow Blues - just Kim – incorporating all the various tones and sounds he can pull form the from Gibsons pickups.As the song blossoms Kim picks up the harmonica for some delicate blues which has the whole audience hushed. Delightful stuff. “Let’s do a boogie!” cries Kim before launching into the boogielicious Cobra. We are back to toe tapping goodness and there’s even a further drum solo from Grimm. Which segways nicely into closing track Hellbound Train with it’s simple metronomic beat that had me away on the footplate of a train going nowhere. The slow blues built to a fine crescendo with the wha pedal mimicking the howling whistle. Rocking stuff.

 

After a brief sojourn the trio are back for a short but mighty encore with the eponymous Sayoy Brown Boogie with a large dollop of Whole Lotta Shakin Goin On thrown in for good measure. Rockin blues is alive and kicking and only 50 odd years in the making. And they said it would never last.

 

As we head back out into the night, I am relieved to see the world is still there despite the weather’s best efforts. But then it could have ended as I was far too absorbed in the music to have noticed otherwise. It was a fine night of classic blues and blues rock. This is what the rock music of today grew from, the ration book generation of rock and roll that rode that Hellbound Train. Is it end of the world stuff? Well ‘Armageddin it’…

 

Mother

Savoy Brown setlist

 

Guitar Slinger

Train To Nowhere

Why Did You Hoo Doo Me

Livin’ On The Bayou

I Ain’t Superstitious

Walkin’ On Hot Stones

I’m Tired

Slow Blues

Cobra

HellBound Train

 

Encore

Savoy Brown Boogie/Whole Lotta Shakin’ Going On

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© 2016 by Mothersruinmusic. Proudly created with Wix.com

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