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Rory Chapman

Retro Review - The Maccabees

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Cardiff University - 13/05/2009

HERE’S a question for you: Which band that you like the least have you seen play live the most? For me it’s The Maccabees.

I somehow found myself watching the Brighton five-piece again this week and where previously I was unequivocal – I didn’t like them – their gig at Cardiff Students’ Union has muddied the waters.

Their just-released second album, Wall Of Arms, is a much more powerful rock record than its flat predecessor Colour It In.

That jump in scale and ambition works well on record but in the live arena it illuminates their failings. And Orlando Weeks is a real vacuum on stage.

I liked the White brothers’ contrasting guitar vibes – Felix celebrated like a frustrated frontman while Hugo leered with dangerous eyes at the crowd – as well as Rupert Jarvis’ funked-up bass work and Sam Doyle’s sweetly aggressive drumming.

But while earlier songs such as Toothpaste Kisses are genteel enough to let Weeks’ wet sounds emerge, songs from the second album, played with real gusto, simply overpowered Weeks.

On opener No Kind Words his vocal was beyond apologetic, and was barely audible. 

And the sound isn’t to blame because when he actually leans into his mic properly, he is perfectly audible.

Oddly, it’s the limpness that many of the band’s fans love and girls tend to fall for his soppiness and propensity to make heart shapes with his hands as he introduces love songs, but he occasionally betrays himself with confidence and visibly reins it all in.

The Maccabees are not a bad band; they have a lot of talent and Weeks is key to the writing, but they will remain an unfulfilled promise until their frontman really steps up to the mic.

Retro Review - Wine, Woman and Song

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The Globe, Cardiff - 22/05/2009

THREE of Nashville’s most celebrated singer-songwriters sit alongside each other on the stage, each armed with an acoustic guitar in front of a near sell-out crowd.

The stage backdrop suggests a boudoir and there is an air of easy intimacy throughout the evening as three wine bottles are uncorked and consumed by Matraca Berg, Gretchen Peters and Suzy Bogguss, a trio of friends who have not been corrupted by commercialism, while they chat and sing to each other with the audience almost voyeurs.

Wine, Women and Song is a country-tinged production. Peters sits in the middle and does most of the talking, but each takes it in turn to perform a song with minimal accompaniment from the other two.

This is both a strength and a weakness. The three recorded a six-song EP last October which the current tour is promoting but they are anything but a group and there is little interaction musically, at least until the end when cover versions of Wild Horses and If You Leave Me Now are dusted down.

Though similar, they also have marked differences, Berg more introspective and bluesy, Peters with the earnestness of a folk singer and Bogguss with the lighter touch. 

It makes for a compelling whole. The three have been touring together for two years and, like the best wines, are maturing with age.

Album Cover Maker a Hit From Treorchy

Alex Jenkins (Circa September 1997) with his album cover design for the Prodigy album The Fat of the Land.

Alex Jenkins (Circa September 1997) with his album cover design for the Prodigy album The Fat of the Land.

HIS art work has been on every bus station hoarding, every billboard, every boarded- up house, and on a lot of T-shirts in the last few months, but you won’t know his name.

His designs adorn the album covers of some of the most cutting- edge dance groups and last month global phenomenon  The Prodigy  sported his artwork on their latest album, Fat of the Land.

 Alex Jenkins , a 25-year-old from Treorchy, is the in-house graphic artist for record label XL recordings, and just 18 months ago was plucked from obscurity working for Caerphilly firm Label Image, and thrust into the mass-market, high-volume, in-yer-face world of the music business.

“I suppose every graphic designer dreams of working for a record company, because it allows you to be very creative and you also get to work in the world of music, and get to see your work in record shops, everywhere in fact.

“It is my job to come up with a clear concept that can be used as a branding tool. That is why the crab image works for the album, because it works on billboards, T-shirts, and on the side of buses.”

Jenkins worked very closely with the creative genius of  The Prodigy , Liam Howlett, thrashing out ideas for the albums graphics.

“Liam and I would telephone each other to talk about ideas and to brainstorm for new ones.

But for a last-minute change of heart by Liam Howlett the album cover could have been very different.

“We actually went through with a photo shoot for an album design that was pulled. We had a chunk of kebab meat branded with the record title, Fat of the Land, and arranged a photo shoot in a kebab shop with all the band, but Liam changed his mind.

“I had one night to come up with a completely new design. I had to get that design done even if it meant not sleeping, because we had to get a design off to the licensers in America the very next day.

“I found an image of a small crab, blew it up on the computer and then tweaked the background. It was midnight and I was really tired and at the end of my tether. I thought let’s go for it. I faxed it through to Liam from my desk and fell asleep. Luckily he liked it. It was a much better image.”

Jenkins’s rise has been rapid indeed, graduating recently from Bath University with a First in photography and graphics. As a fledgling designer his idols were Vaughan Oliver of V23, celebrated album cover designer of American indie band the Pixies, and Peter Saville, designer of New Orders album covers. In what must be a pinch-yourself situation Jenkins now shares office space next to Oliver and counts him as a friend.

By TW

The Kinks - That Gig In Cardiff

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A biography into The Kinks revealed, the group’s celebrated career was almost cut short before it had even begun thanks to one tumultuous gig they played in Cardiff in 1965.

The Muswell Hill four-piece were appearing at the city’s now defunct Capital Theatre when simmering tensions within the band shockingly came to the boil in front of thousands of Welsh fans, resulting in drummer Mick Avory hospitalising guitarist Dave Davies and fleeing into the summer night with South Wales police in hot pursuit.

“There’d always been a lot of underlying aggression and friction within The Kinks and, while the most common assumption is that most of it stemmed from Ray and Dave Davies’ sibling rivalry, it was actually Dave and Mick who came to blows most often,” says author Rob Jovanovic, who spent three years compiling interviews with those close to the band for his book, God Save The Kinks .

“In fact, it was at a show in Taunton that one such confrontation turned physical and left Dave with a pair of black eyes.”

And, come the following night’s show in Cardiff, Davies was finding his simmering anger as hard to disguise as his shiners, despite the big pair of dark glasses he’d now taken to wearing on stage.

“There have been so many interpretations of what happened that night and, of the several different people I talked to about it I must have got several different answers,” adds Jovanovic.

“But basically it seems like Dave and Mick had got into another disagreement over each other’s playing style, prompting the former to kick over the drum kit and the latter to subsequently smash him over the head with a drum pedal.

“And, upon seeing Dave lying motionless, Mick hightailed it out of the venue, his frilly shirt and pink hunting jacket flapping in his wake.”

In the chaos which followed an unconscious Davies was rushed to Cardiff Royal Infirmary where he received 16 stitches, while Avory – convinced he’d killed his band mate – went into hiding.

However, all charges against him were dropped.


“That could have been the end of The Kinks right there – it really had a tremendous emotional effect on me,” sighed Ray, 65, who returns to the scene of the crime tonight to play a solo show at St David’s Hall.

“We were just kids, don’t forget – Dave and Mick were just 17 and 19 back then and forever having a go.

“I just guess that on that evening Mick decided to do something about it, and that meant cutting my brother’s head off!”

The story goes that the attack came as a reprisal for the guitarist kicking over the drummer’s kit as revenge for a drunken fight the previous night in Taunton, apparently won by Avory.

Just two numbers into their set at the Capital , Davies apparently goaded him by saying: “Why don’t you get your c*** out and play the snare with it? It’ll probably sound better.”

In the chaos that followed, an unconscious Dave was rushed to Cardiff Royal Infirmary to receive 16 stitches, while Avory fled the venue and into the night – convinced he’d killed his band mate.

“Yeah, the police wanted to do Mick for attempted murder. News At Ten even interviewed him later on that night from a secret location,” recalled Ray, who admitted to carrying on playing “for a few beats” oblivious to what was going on behind him.

“When they finally caught up with and arrested him, Mick tried to deny it all.

“But the cops turned round and said ‘Mr Avory, we’ve got 5,000 witnesses!’.”

Ray’s brother did eventually drop all charges.

Valley Kink


Did you know that Ray Davies of the Kinks has a Rhondda connection?

In a book, by Ray’s brother and band guitarist Dave called Kink. An Autobiography, it states that their paternal grandfather Harry Davies came from Rhondda.

Below is the YouTube interview about the incident

Alan Jones presents THE DEBUTANTES and their “Symphonic Pop” (Exclusive Podcast)

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The debut album by sensational new female pop duo “The Debutantes” is the creation of Alan Jones, a man with his finger firmly on the pulse of today’s music trends and an extensive knowledge of pop history- because he was part of it.

So it’s not surprising that the 14 songs on The Debutantes’s new recording have a definite 60’s ‘vibe’ mixed with a strong 2Ist Century appeal.

Alan Jones has enjoyed a long, colourful career in both music and fashion, having enjoyed success as an original member / sax player with 1960’s chart toppers Amen Corner, famed for classic pop hits “Bend Me, Shape Me”, “High In The Sky”, “(If Paradise Is) Half As Nice” and more, and touring with the likes of Jimi Hendrix and Pink Floyd.

Following the band’s break-up, Alan formed the ‘supergroup’ Judas Jump who were managed by the infamous Don Arden and after that band broke-up, became involved in the world of high-end rock n’ roll fashion, opening a chain of clothing shops in the UK and pioneering the fashion explosion on Melrose Avenue, Los Angeles during the ‘eighties with his shop Let it Rock which catered for a clientele including Michael Jackson, Prince and Bruce Springsteen.

He was also responsible for the career of The LA Guns managing them for five years and orchestrating a deal with Polygram Records with whom they sold one million records of their debut album.

All these experiences have led to Alan creating, writing and recording an album of songs which he describes as ‘Symphonic Pop”, performed by two very talented, beautiful sisters from Cardiff – Victoria & Lavinia George-Veale – collectively known as ‘The Debutantes”.

The album was engineered by Richard Jackson (who co-produced with Alan) and features Victora and Lavinia’s stunning blend of voices combined with John Rea’s lush orchestration. Featuring strong melodies and catchy sixties style ‘hooks’,the album has the feel of Phil Spector’ s “Wall of Sound “mixed with Abba - like vocals. Many of the 14 tracks are potential singles , including a version of the Amen Corner no 1 hit “(If Paradise is ) Half as Nice “ with a cameo vocal from the bands lead singer Andy Fairweather Low.

There’s no doubt that with their debut recording, ‘The Debutantes’ have put the ‘class’ into classic pop!

Keep Cardiff Live was lucky enough to sit down with Alan to talk about his fascinating career in music and his latest project, The Debutantes.

Listen to the podcast

Feature: Phil Campbell - Old Lions Still Roar | Album feature & Podcast

Taken from Nuclear Blast:

»Old Lions Still Roar« will be released in various formats (Slipcase CD, Vinyl, digital). The album will feature 2 different covers - a black and white one (CD Slipcase + digital) and a colored one (vinyl): http://nblast.de/PhilCampbellOLSR

The album will include guest appearances by renowned artists such as Dee Snider, Rob Halford, Alice Cooper among many others.

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»Old Lions Still Roar« tracklist
01. Rocking Chair feat. Leon Stanford
02. Straight Up feat. Rob Halford
03. Faith In Fire feat. Ben Ward
04. Swing It feat. Alice Cooper
05. Left For Dead feat. Nev MacDonald
06. Walk The Talk feat. Danko Jones & Nick Oliveri
07. These Old Boots feat. Dee Snider
08. Dancing Dogs (Love Survives) feat. Whitfield Crane
09. Dead Roses feat. Benji Webbe
10. Tears From A Glass Eye feat. Joe Satriani

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To coincide with the release of his debut solo album, Keep Cardiff Live was lucky enough to sit down with Phil Campbell and son Dane for a short conversation on life and music.

LISTEN TO PODCAST

Feature: Tom Jenkins - Misery in Comfort

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Tom Jenkins cut his teeth as the frontman of Straight Lines, a group of school friends that would go onto play shows round the world, release two albums and tour with the likes of Motörhead and The Presidents of the USA to name a few. After a few years on the road, Jenkins returned to his hill farming roots and worked as a traveling shepherd, ending up in New Zealand. He claims the isolation of the outback lead him to write his debut album.

Mixing his unique experiences and unique voice into beautifully, crafted, melodic songs inspired by Country, Folk, Indie-Pop and Emo it wasn’t long before he caught the attention of American producer Elijah Ford and they set about tracking his debut album in Fort Worth, Texas in November 2018.
Tom Jenkins’ debut album is out now supported by a tour including a live performance at Clwb Ifor Bach on Thursday 14th November 2019.

EVENT

NME Awards and a Series of Unfortunate Events

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By: Kinga Balasz

Social media platforms are bursting with tweets and videos about controversial events that took place on a Wednesday night in London. I bet that after scrolling through Twitter- you already know who Slowthai is. His latest, strongly political album “Nothing Great About Britain”, met huge acclaim within the United Kingdom, as well as outside the borders. He won two nominations for “Best Collaboration” and ironically, “Hero Of The Year”.

Katherine Ryan, who hosted the night alongside Julie Adenuga made a joke about being attracted to the young rapper and invited him on stage, she then continued the banter with the artist until he crossed the line. He hugged her for so long it was uncomfortable for everyone to watch, he then said, "Baby girl, I don't want to have to do this to you right now, but everybody – she needs to understand the levels right now." Looks like 25 year old rapper took jokes too far and too seriously. 

Katherine, who is also a comedian managed to play it off and roast him in response to his creepy behaviour. She finished him with "Thank you for the attention, you are younger than my babysitter" as he was walking off the stage. We stan a powerful woman. 

Slowthai jumped back on the stage, Ryan continued the banter saying "I'm a balls girl – get your balls out." And "I would love you to trim my bush”, which I thought that was unnecessary, and as much as I respect Katherine for playing the role and being so patient with Slowthai, I can’t understand why she would make things worse, especially where he clearly thought they were having a sexual moment. As he was walking of the stage she added "I'm so wet, I'm going to slip off of these stairs."

The crowd was in shock, as you can see on videos everyone was raging with anger. Even Taylor Swift called it “the craziest awards show” she had ever been to, so that really must’ve been crazy. 

When Slowthai collected his award for “Hero Of The Year”, someone in the crowd called him a ‘misogynist’ showing him a middle finger. Young rapper shouted back "I'm misogynistic? I'm misogynistic? F*** off. I stand for equality. I stand for equality. If you can't take a joke, sit down. If you can't take a joke, sit down”. Maybe my sense of humour is bad but I didn’t find him creeping on Katherine ‘funny’. 

He threw his drink and a microphone at the person who he got into an argument with, then literally jumped off the stage to fight him- he was stopped by the security and dragged out of there, so was the other man.

As the awards show continued, Matty Healy of The 1975 during his performance, commented on the whole situation with “Everyone send your thoughts to slowthai, f*** knows where he is but bless the boy.. f****** nighmare”, which I found hilarious. Top quote of the night.  

After the event, Slowthai apologised to Katherine for his “shameful actions” and said “I am not a hero”. 

Disclaimer - This article is the opinion of the writer and not Keep Cardiff Live!