When the cider starts flowing

I’d quietly started sipping the apple juice in a boogaloo bar on the other side of the street – I guess they were still putting out the chairs in The Red Hedgehog – because I was uptown in Highgate to see the ever wonderful Euros Childs ‘in concert’.  A sudden blast to the end of 2014 – a new long player (well 32 minutes or so) from the man himself and a series of dates to accompany the release of Eillaaig. 

The Boogaloo bar was once the haunt of Shane MacGowan and his brand of roogie boogie - his picture was on the wall – he was by the fire – he wasn’t on fire – I guess that would happen though – accidentally set himself alight – on an any given night.

The cider was strong in there. And when the cider starts flowing there’s only once place we’re going. To see Euros Childs in an intimate venue across the road.

The cider was flowing there too. All bottles from off licences sold at twice the price for a good cause. In fact a heady mix of strong cider and the eternal waft of a lit joss stick greeted my arrival to The Red Hedgehog. For some reason I chose a seat which pretty much meant I was looking at Euros’ back for most of the night. Just like the poster advertising the tour.

It would have felt a little odd to be seated right in front of him. You know Mark Chapman like.

Now - you know my unwavering bias for Euros Childs. So this review of sorts will simple tell you to go see him – buy his new album – and ask him to make another one – so we can all do this again next year.  So here goes – as I said the cider was stronger than me – I hope to recall the night the best I can.

The support act for tonight was Euros Childs – so it was two sets for the price of one. Never knowingly undersold is Euros. So the first set was the new record by. An odyssey (and oracle) of piano and words – like watercolour brushes dipped in water – trails and swirls. The new album -  Eillaaig – which I presumed was welsh – well he’s from another land this man – is actually a made up word – there is no translation there is only it’s fixedness to this album. It doesn’t translate to any world language – but then again Euros seems otherworldly at times – all angles and twitches – spreading utter joy wherever he lands.

This album is other worldly.

The album has this Satie/ repetitive/ Brian Wilson/ Mozart triads (that’s not a gang – I’m talking about the notes) discordant subtlety throughout it – mixed with sentiment and feeling. Of walks and old buildings – wood and smoke – it kind of conjures up the air – you feel like you’re outside when you’re listening on the inside. The piano is taut – crisp like winter mornings – but slowly filling with warmth as your cheeks begin to glow in icy sunshine.  Simple bass notes – holding the ethereal floating top end in place – not letting it drift away.  It’s full of honesty – and reminds me of arriving in halls for ‘singing practice’ dusty floors and piano masters (sorry that makes me sound so public school – it was comprehensive schools in Scunthorpe I’m referencing here – just so you know – I mean it maaaaaaan)

It’s classical in so many ways – possibly conceptual.

The Red Hedgehog was probably the right place to play. It had this awkward honesty about it to – all woollen hats and slight confusion. Euros seated at the far end surrounded by red chairs and candles and general tat – pushed to the back. The majority of the new long player is instrumental – you don’t always needs words. And besides we’d get those in the next half.

Suffice to say – It was great to hear this – without already hearing it first – a bold move on Euros’ part?  Not really – I think his audience – and it’s always growing – this night was sold out after all – I think his audience can take the risk too. You are always pleasantly surprised/ satisfied by his music making and I’ve been playing the album every morning since hearing it that first time.

It is my winter warmer.

So with the album played and hands clapped – Euros departed in readiness for the second set. It was costume changes and roadies testing equipment whilst we waited.

It wasn’t. It was an empty piano and more joss sticks. 

I don’t think there was a costume change – but there was an ‘entrance’. Appearing from the back to rapturous applause Euros was back (and of course my view was his back) to play some more – to put the soul in the rock and roll (or was that Denim?) This wonderful set mixed the old and the new – with his usual humourous insight and meandering tales we are accustomed to as part of the Euros audience – as I said there’s a gentleness to this star performer – that comes out in a humble manner – but he does make me laugh. He could do an ‘in conversation with…’ evening and it would be just as fun. Ok – well nearly as – because when Euros breaks into Ursula’s Crow (can you break into Ursula’s Crow – he’s not Elton John milking the masses?) you remember that it’s the songs that make you sing and grin.

He has that touch – light and airy meets well timed delivery. With a run through of some of the wonders of Situation Comedy (Second Home Blues and Tete-et-Tete)  and Summer Special (That’s Better ) and the majestic Ends (the Open Window, Spin that girl around, Parent’s Place – you can find how that song gets me elsewhere in my writing about Euros) And a thankful  outing for Bread ( I don’t mean we stopped and popped to Gregg’s) all baroque and crust – one day Jonny will release a second album – Euros said so – it might be the Joe Meek one.  There was How Do you Do from Son of Euros, Dust from the Cousins album and a wonderful version of Pretty Ballerina by The Left Banke that nearly rounded off the night. Euros should do a covers album at some point. You know it would be beautiful.  Euros even waited for a member of the audience to get back from the toilet. Well that was me – I told you about all this flowing cider and where it leads. And besides there was only one toilet – the other was screened off – for the rock stars I guess – or possibly because of the plumbing.

Euros finished off the night’s proceedings with a glorious uproarious Poodle Rockin’ finale. And that was it. Huge applause and shuffled chairs. Out into the bracing night air with a (miracle) grin and a wide eyed stare.

I don’t think I can make the later London shows – it feels treacherous – but there are young ones to look after and presents to buy and wrap and turkeys to feed and crackers to stuff or something. You never know – I just might find myself there.

An evening with Euros is somewhat irresistible.

Buy his album.  Buy all his albums. You even get a note from the National Elf himself. And elves like to make us happy at Christmas (or summat like that) 

I haven't got a video of the night - so here's a link to Euros' sound cloud site: 




And a lovely version of The Open Window

Here's a couple of Likely Lads - Grin and hear it (see what I did there?)

Grin and bear it. A smile to fend off the ills of the world.  You get those feelings sometimes as you work through the final days of a long old haul at work – roll on the break. Chin up old man – we’ll see it through.

So here come The Wellgreen to spread their ever changing scene to the masses. It’s a new album see – another long player from the best players. Song number one – Grin and Bear It – sets the tone - like an updated Bay City Rollers with swagger (and there’s nothing wrong with that)  – you can feel yourself transported back to housing estates and blurred photographs of the family – with that boogie woogie backing – a sudden transmission from 1974 – similar to The Beach Boys rocking rocking chugging chugging roll of LA (Light Album) messed with a Wild Honey moment.  I think one the Rollers came from Prestonpans  - the other side of the Scottish tracks from these lads – and I get that sense of concrete and glam(our) melded in this stomping sure fire starter.

Like the opening to a sit-com scheduled just after The Likely Lads – there’s a flutter and smile in it all – I guess the album mines some of those Macca moments that run through With the Beatles right up to his last album – but as always - I can hear those Beach Boys chords and changes playing with my expectations – with fluid bass lines and familiar patterns - this long player feels like I already owned it – and that’s a good thing. The familiar (feel) flows through the nine songs on this lovingly crafted second album. I know my references will be obvious and not the ones that are clearly playing a part in the development of this set of super songs. (But tolerate them if you can) What I love about this album is that I can’t put my finger on the sound. As I said before – it’s the familiar. And that’s comforting.

There’s a whole heap of style – delivered with wit and honesty across this second album. Less sprawling than the final parts of their first. The songs sit well together – it’s a player – you know those days when you’d put a record on – play side one – turn it over and play side two. It has that feel – even down to the CD print (it looks like a record – you see’ll that when you buy it – and you will buy it – come on its Christmas for fuck’s sake – treat a friend – they’ll be your friend for life)

And the second song’s a smasher too – still with the feeling of flares and scuffed  shoes comes Sunday – not quite Monday – but I don’t like Mondays – shall I tell you why – it’s because I like Sunday – here’s the simple soundtrack written in glam high notes and pauses. Saying that, it has a feel of The Who’s  A Quick One – observational and sing-a-long . Quickly followed by gig staple Ants – hemmed into a Merseybeat sound – with sudden stops and descends – Ants scurries around the mind and sticks there – like the wee bastards in the houses. I don’t mean the The Wellgreen are wee bastards - just in case you mis-read me – I also picture them as red ants in the song ( another throwback to my seventies youth) And so to further the journey comes Train Song like a Simon and Garfunkel (with a hint of Freddie of the Dreamers – it’s the simplicity of that Casio beat) coupled with arpeggios courtesy of the MT100. With Marco and Stu lamenting that they just weren’t  born at the right time. Well they were. Because it means we have this music now and not in the past as nostalgia – it sits right here in 2013 as a testament to the fact that they can just write songs that aren’t affected and processed in a bombastic manner to knock the feeling right out of them.

I’ve said it before  - the fragility of The Wellgreen is there in the space and harmony. Which leads aptly into Counting  all these moments - one for the road – in the middle of the album - this isn’t looking back - this is the result of writing beautiful songs in homes late at night and into early mornings – it’s dancing with your partner through the days. It’s looking into eyes and falling in love – its casual glances and shared looks - it’s heartfelt and honest.

Then up pops Remember opening with a Zombies flourish and Hal Blaine snare rolls – coupled with those simple – yet always effective harmonies from Stu and Marco. Oh and how we wish for a harmony in the modern world. I was talking with a friend sometime ago and we were discussing how every boy band of the modern age ( you can define that) has failed to recognise that harmonies are what made the Beatles great – and now they just belt their parts in the same key and inflect everything in the same old fucking  manner (Ladies and gentlemen I give you Take That – I mean come on Gary – have a listen to The Wellgreen) Now with The Wellgreen there’s a measure to the mix  - sound complimenting sound – this is music made to be  played on the radio – you know -  the big radio – all over the country – harmonies like this sound wonderful through small speakers.

As you can see – I’m going track by track – I don’t usually but I wanted to put something down about each one. Because I said before without the writing how would we know – so next up is Impossible Love – mining those country roots all Gene Clark going solo  with The Fanclub for his backing band. It’s melting harmonies time and somewhere in there is a touch of Mike Nesmith going it alone.  I guess the whole album has this emerging seventies sound – a nod to what the sixties produced but taking it somewhere else and of course updating for the now.  Saying that, Summer Rain with its Bacharach moments and the return of the Everly Brothers should be sound tracking an eighties teen coming of age flick. Sublime. There’s music for every decade.

Leading to the finale of On Our Own, this heartfelt tribute to just being in love – you know the feeling – we’ll take the world on – together – just you and me. It has a Wings feel to it – now I’m no Wings fan – I couldn’t name another song other than the hits – but it’s the structure and the tone – lovely. Soaring stuff. 

So The Barne Society have done it again – this ever growing collection of beautiful tunes, wordsmithery and risk all packaged in their unique way. I’m glad The Wellgreen have a new album out. And it is an album. All killer – no filler. So to put it in a most simple way – it’s good that Stu and Marco find time to sing – to write – to record - to release it -  because it pleases other people.

It makes me grin. It will you too. 

This is Summer Rain 'off the new album' in Glasgow - with added guitar

There's also a stream of the whole Barne Society Christmas shindig - but I can't find the link again - so google The Wellgreen, The Barne Society or go to soundcloud and find The Wellgreen, or Marco Rea or Stuart Kidd - basically click stuff and listen - you know it's worth it. (I'll sort the links soon)

I love it when the roogie boogie band comes to town

It had been brewing for weeks - the inevitable time that I'd be back with Euros Childs again - and as it turns out The Wellgreen and Laura J Martin. You know I'd done my research - listening to the new album in the car and watching the last great situation comedy ‘dinnerladies’ on DVD – melding the two together. It had been a new engagement - this Euros Childs’ album - it took a little longer to work with me - possible because the leaked track to Mojo (the music magazine) and the associations with Macca (it was that issue with Paul on the front) and the writing in character - all eleven songs in the vein of.....I mean it's not as if Euros hasn't done a concept album before (although this isn’t a concept album – it’s just a good album)  but I was in that frame of mind - careful rather than simply expecting the goods.

And why should I have it my way - he's the songwriter.

And what a songwriter. He just gets better and better.

So where to begin? At the start I guess. Don't look for the laughs here - oh it's comic - but not necessarily laugh out loud. Originally I was going with my other half - she's had to put up with me since I started extolling the virtues of Chops (the album  - not the meat) way back after a Concretes concert. Instead it was the solitary forty something at the front – I was meant to be meeting a dear friend - except he didn't come - I met another Richard though - he'd been drinking since 12 noon - we shared our ways of the world with a pint in the bar next to the venue. I left him there – he should have come next door for a little bit of Euros but I feel he was already swaying too much for an evening of boogie woogie.

Then I sold my ticket to an entertaining mod with a sideline in insurance. All characters you see.

And our first characters of the night were The Wellgreen. I simply love The Wellgreen –their harmony inflected pop music should be playing out of transistor radios up and down the land. I’m not going to spend too long on this far too brief but absorbing set – it was early doors for these two Scottish lads – but they set the tone for the evening. Soul music. So I just grin throughout. I don’t need to bear it. It’s a pleasure. Opening with the Bacharach meets The Zombies structure of ‘Maybe it’s the pressure of the City Life that’s tearing us apart’ the ever growing crowd (arriving at The Boston Arms) are treated to simplicity served up with a slice of the Scottish Everly brothers. Except things have changed – it might have been that time spent with Errol Brown in the prison cells – but the harmonies are evoking Brian Wilson at his finest. Stu and Marco compliment each other so well – building harmony and melody into clouds of beauty (oh come on – I’m feeling over the top) I know I

reference the sixties when I write about The Wellgreen – but there a modernist slant – as if The La’s had bothered to keep writing tunes. It seems so effortless – but that’s the craft you see – make it seem easy – Cantona style. Suffice to say – I bought their new album. I am getting ready to weave a review into a post – it’s coming soon – so grin and bear with me. I then proceeded to harangue Stuart Kidd and did my best to appear like a stalker for the rest of the night (Brides in the Bath – back home)  He was as affable and interesting as ever  - it turns out The Wellgreen teach music out in the villages up their way – now that’s a music lesson I’d love to be in.

Laura J Martin still has this bewitching effect on audiences – and rightly so – you don’t expect the sounds to emerge from her slight frame all fraught yet formidable. I saw her first at a Jonny concert (oh you know I’m stalking Euros – you just have to accept it) and she blew me away – this repetition in the music  (and we’re never gonna lose it) built from loops of flute and bangs and chants. Well she was at it again on Friday – her set was fierce. I couldn’t quite get the words this time – I think the soundperson couldn’t quite get his and her levels – so we had treble flutes and ever expanding reverb – but her charm and ingenuity shone through a muddied mix. The addition of the bouncy Adam Stearn on bass and Stuart and Marco from The Wellgreen with harmonies and drums and guitar gave her new songs that different dimension. Sublime.  I won’t talk about Kate Bush and all that - but I will say she has this PJ Harvey way about her -you know with a flute – she has this enthralling way of telling a tale. You should buy her record to – you probably did – after the gig – from her – that’s how it works.

Sing and sell. Simple.

Euros’s new long player – and it is a long player all four sides and counting takes a different trajectory to the Summer Special of last year – there’s possibly a more intricate take on the pop song on this album. These are crafted tales of worry, woe, misery, love and bitterness written with a quirk and an aside. You’d cry if you weren’t smiling. And that’s what always comes out in a live performance with Euros manning the helm of the good ship Roogie Boogie – a smile – well a laugh if I’m being honest.

Euros performs with a kind of kinetic energy – all twists and flails – bends and turns. Not exactly a man possessed – more poised than that – but you can tell there’s a music coursing through them there bones. And a humour to. There’s nothing contrived about this band – about this man – no symbolism through sub culture – just good tunes and top times. I mean Marco is wearing shorts – perhaps these final dates had depleted the wardrobe – I don’t know - there might have been a mishap on the A1 or M4?

But it’s never been about fashion.

Euros has probably written some of the finest songs of the decade and for us lucky souls he lifts them from their CD cases into new spaces of sound and fury (signifying everything) Opening with Bore Da – eventually – after Euros was reminded of the actually chords he needed to play and issues with his microphone - you could easily see the connections between these early sounds and styles and this new long player. There’s no pause for breath as we hit Second Home Blues – and characters come alive in The Boston Arms.  All frets, regrets and tete a tetes.  Euros is weaving a picture of a bored Britain through Avon Ladies and second mortgages, motorway services and emerging romances. (It’s all economics to me.)

It’s warm inside and there’s a warmth on the stage and it radiates around. We have smiles on our faces because we are happy – even when he’s singing Brides in the Bath – all howls and menace. I was worried about Brides in the Bath – I couldn’t warm to it on the album – it rankled me for some reason – but here receiving the full strength assault of the band in full swing – all discordant and descending - it made sense to me. A killer tune (aha).

An expectant hush greets Parents’ Place – and I’ve said it before – but it brings me to my knees – slays me every time. Backed by the band and still part of the set  from last year  - you see the tragedy mined on Situation Comedy started a long time back on Ends, or The Miracle Inn and even Bora da – there’s a back catalogue there. If you haven’t got it then order it now – from the National Elf himself.

It’s worth every penny. And it funds the next release.

Cottage industries making worldwide music. It’s how it should be – not tainted by the execs and excess of corporate label management – don’t get me wrong I’d love it if Euros was even more widely known than he is – but there’s an integrity about doing it the way that he does. One rehearsal and then get on the road – no leather jackets and Aerosmith entrances for this band. Just Twitter feeds, photos and thank yous – simple connections in digital times. Although to see the Roogie Boogie band dressed in leather with a firework finale could be something worth saving up for. 

And then with the melancholy high in the room – we get that cheery and cheeky little number – Be Be High and then That’s Better. And it was – Euros Childs is simply on it. And number after pop number gets played. And here I am secretly waiting for Tina Said (I also wanted the first two parts of Miracle Inn – but I kind of knew I wasn’t going to get it) because that’s the one that does it for me on Situation Comedy. That driving melody wedded to a folk tradition that stretches way, way back to when I was younger. When we were younger. It’s another one for my children – we had it on a loop in the days before the concert. I like the fact my children sing Euros Childs numbers and ask about Lou Reed when their mum and I are mouthing disbelief at him dying. They’re not hip kids – they’re just good at listening. Open and honest. Which is what I get from Euros – he looks – he sees the minutiae – the odd glance, a glint in the eye, a beauty in the banal – ‘with her suitcase full she’s out of the door on the B13 to Teddlymore’  (Listen to Avon Lady)

And the set continues to confound and please – new songs and old ones. There was a chance to win a prize – because anything goes at a Euros gig maaaaaaan. And all the while it was leading to a blistering psychedelic romp through ‘Like This Then Try This’. A genuine aural assault. You know it’s going to go off when the Casio is deployed. Three hundred people dressed as cheese all dancing to the rhythm of the beat – you had to be there. If you weren’t – then why not?

Encoring with Spin that Girl Around with extra flute from Laura – this man in the audience is wearing a grin as long as ‘your’ arm and as always I had to buy something.  Having already received my copy of Situation Comedy through the post – you’ll have to decide what I bought by visiting Euros’ site and checking out the back catalogue.

So off I rolled into the cold November night. Happy again. So roll on next year.

I’ll be there. Dressed as cheese. Will you?

There's lots to watch and listen to in this post - Here's Euros from The Boston Arms last Friday, and then Laura J Martin and finally there's a video of Ants from a Glasgow gig by The Wellgreen. (Thanks to Ruth for putting these up amd Mike Watts for the Laura J Martin one and Geomck for The Wellies)

This bird has flown.

I used to ride my bike out and about the sallow streets of Scunthorpe. People to see, places to be – busy busy busy me. There was a sense of freedom in having a set of wheels that could propel you from A to B (then down to Zee). I never progressed to a moped – or a Honda 50cc – it was pedal power. I would cycle out to Normanby Hall up and over that steeltown to pastures new and fresh. Escape the town. Searching for some tranquillity, well some privacy. And when you are young and run free [keep your teeth nice and clean] you feel alright.

You feel that anything just might be possible.

And I’ve been thinking about this green and pleasant land somewhat. England’s dream an all that. Those flashes of countryside and the urge to go running through fields and meadows – all bowlheaded youth and innocence.

You know when I look at this town – brings me right down.

Which brings me to Kes.Most things eventually arrive at that film’s door. It’s why I do what I do I guess.

I can’t exactly pinpoint when I saw this film. I feel I lived it. It felt incredibly alive to me. That opening sequence of shadow and silence – as bags filled with newspapers are shipped round streets by children on bikes and worn out shoes. I used to post the papers. I used to post the letters. Solitary jobs with banal chit chat in between.

I’ve spent my life doing that.

And I mean the chit chat is banal whilst at work. It’s hard to get to know a person when you wear the suit and carry the clipboard. Well ipad these days – we’re all hyperlinked now maaaan.

But back to the film with the bird in.

It’s a film that seeps beneath the skin. All extinguished hope and brutality. And this is where the score is so important. I am fan of the sound in film. The need to guide and explain through timbre and tone. I like its absence and its abundance in the frame – it helps a film if you can feel it to. John Cameron’s pastoral shadings grounded in the blown and plucked instrumentation of a quintet ready to conjure up hope and cheer whilst ultimately pegged to the melancholic and solitary, is both haunting and exhilarating. I wanna be free – free as a bird. This combination of simple instrumentation that documents the countryside and floats on air whilst tethered to that fragile state on land makes my heart bleed.

As I get older – and believe me it seems to becoming thick and fast – swift and sharp I return to that beautiful film and wonderful score. Emma bought it for me. A simple CD of soaring tunes. Untethered in Jarvis Cocker’s words as John Cameron composes and conducts this five piece to flight. English composers need sharing. We don’t share enough of this. This music is not about winning competitions. This is cold houses and bingo callers, booze in pubs and fights and chips. It is not a fairytale. It is music to soundtrack the humdrum – the inevitable - yet it asks us to want that little bit more.

It is socialist in sound – egalitarian in spirit.

I caught a moment of Downton or some other serialised shit that only has the working class as servants. There are no other depictions of them – of us these days. Unless you count the horrorshow of public aping and baiting from Jeremy Kyle to Britain’s got Talent. You see Hines had a care – Loach had this film made. They want us to have a voice even if we fucking choke it ourselves. There’s nothing wrong in being eduated you know. Nothing wrong about that. It gives you some choice – not a great deal – but something better.

There is thought in every moment of this film.

This is not a soundtrack of the time. It resonates now. Thought given to frame and direction as Cameron scores this tragedy from beginning to end. They used a clip from the film in the Olympics they didn’t use Cameron’s score. Missed opportunity – and I thought Cocker was involved.

Having children and being so close to those pit villages when I was younger and swaddled in this industrial life reminds me that choices might have changed for the youth but the class system still fucking grinds you down. And Cameron’s music serves to remind us that we deserve better. There’s nothing wrong in escape – of wanting some beauty in your life. Casper wasn’t looking to tear down this existence – he wasn’t a poster boy for Thatcherism – Casper sought his beauty in nature – in the opposite of the filth – he was still full of fury though.

We’re all full of fury at times. Little fury things.

There’s no real point discussing the film here. You either know it or you don’t. Suffice to say that it’s in most things that I do – the humour, the politics and the style. I once taught a Film Studies class who bought me a signed poster by the cast, Hines and Loach as a leaving present. It wasn’t ironic – they loved Kes too. I want it shown on the BBC on a monthly basis – so it gets stumbled upon by the unassuming. Either that or it goes head to head with the X Factor.

The bird wins every time.

I want my children to have some opportunities. I want them to be able to listen to music like this. I want them to do what they want. I will not let them have their wings clipped.

John Cameron re-wrote Whole Lotta Love too – the TOTP theme tune. That was different from this. But you know there’s a few sides to everyone.

This is from Kes. Listen.