California (he moves about), Manchester (he also moves about), Arizona/Sweden (he moved about a lot)
Thursday, 27 September 2012
Tuesday, 25 September 2012
REVIEW – LET IT BE, PRINCE OF WALES THEATRE, LONDON
It’s not scientific, but the few of these jukebox musicals
that have come my way tend to suggest a conclusion that the presence of this
type of thing has resulted in a lowering of theatrical standards. They draw
audiences, but judging by Let It Be (review here) what ought to be unacceptable
is being allowed through.
Let It Be had its moments, which sweetened what would
otherwise have left a nasty aftertaste. But it wasn’t consistent and took too
many shortcuts. Starting by thinking that replacing harmonica parts with an
off-stage keyboard and no one would care is emblematic of how low the bar is
set.
Shortcuts might be a theme with these shows. Soul Sister (review here) was defined by them, as the portrayal of Tina Turner was so strong there was no need to do much more than rest the entire show on those shoulders. With Backbeat (review here), again being Beatle-driven appeared to be enough. Rock Of Ages The Musical (review here) was silly, but had a good ensemble cast, so hung together, was fun and went some way to grabbing hold of the coat tails of the musical.
Shortcuts might be a theme with these shows. Soul Sister (review here) was defined by them, as the portrayal of Tina Turner was so strong there was no need to do much more than rest the entire show on those shoulders. With Backbeat (review here), again being Beatle-driven appeared to be enough. Rock Of Ages The Musical (review here) was silly, but had a good ensemble cast, so hung together, was fun and went some way to grabbing hold of the coat tails of the musical.
This is the West End,
a showcase to the world – with
what should be world-class stages hosting
world-class shows. It’s not
enough (at least for me) just to see and hear these songs being bashed out. But
perhaps that’s where things are. What a
disappointment.
Then there was Christmas With The Rat Pack Live From Las Vegas (review here), which offered evidence that these things can have the magic theatre is supposed to have.
So it is possible to do it well and with panache. It'd seem that, at least some of the time, those mounting the shows can't be bothered.
So it is possible to do it well and with panache. It'd seem that, at least some of the time, those mounting the shows can't be bothered.
Saturday, 22 September 2012
THE FLOOR – IST FLOOR ON RPM INTERNATIONAL
1st Floor was
Denmark’s Sergeant Pepper. “Turn It On” sang The Floor, and they did. Flowers,
drinking tea, hanging out with Mrs O’Grady and Mr Jones were central to 1st Floor. English psychedelic pop had
found a home in Denmark in 1967. The beautifully and baroquely orchestrated 1st
Floor comes close to The Hollies at their most whimsical and The Kinks at their
most pastoral.
Before 1967, most of The Floor were The Hitmakers, Denmark’s kings of beat pop. The Summer Of Love arrived, they decided a change was needed and the band reconfiguring. A guitarist was added. A new name came. They were helped on their way by producer and songwriter Johnny Reimar, the cream of Copenhagen’s classical musicians and specially written songs. Then, after their only album and a final single in 1968, The Floor were no more.
The first official reissue of this rarity on RPM International is remastered from the original tapes and has been prepared with help from members of the band and Johnny Reimar, who are interviewed for the liner notes. The Floor's only non-album single is included as a bonus.
Release date is 22 October.
Before 1967, most of The Floor were The Hitmakers, Denmark’s kings of beat pop. The Summer Of Love arrived, they decided a change was needed and the band reconfiguring. A guitarist was added. A new name came. They were helped on their way by producer and songwriter Johnny Reimar, the cream of Copenhagen’s classical musicians and specially written songs. Then, after their only album and a final single in 1968, The Floor were no more.
The first official reissue of this rarity on RPM International is remastered from the original tapes and has been prepared with help from members of the band and Johnny Reimar, who are interviewed for the liner notes. The Floor's only non-album single is included as a bonus.
Release date is 22 October.
1. Damned Little Fool
2. Trusting Mr. Jones
3. Nevertheless
4. Hey, Mr. Flowermann
5. In Every Hand
6. Turn It On
7. Mrs. O’Grady
8. Moonbeam
9. A Rainbow Around Us
10. Little Mr. So And So
11. I Think I Can Change You
12. Hush
13. You Ain't Going Nowhere (bonus track, single, Philips PF
355 338, 1968)
14. Open The Door Homer (bonus track, single, Philips PF 355
338, 1968)
Sunday, 16 September 2012
REVIEW – GRIZZLY BEAR: SHIELDS
Great great album. Taking it to new levels. An inversion of
the Animal Collective.
Review here: The Arts Desk Grizzly Bear Shields
Wednesday, 12 September 2012
Tuesday, 11 September 2012
REVIEW – BERLIN MUSIC WEEK / BERLIN FESTIVAL 2012
That airport certainly isn’t a natural venue.
It must be the case that the stages have to be either very
close to the buildings or under roof cover to curb noise spreading beyond the
limits of the site, but it mitigates against good – or even adequate - sound
for most of Berlin Festival.
Beyond what's in the review the overriding impression left
is that of Berlin's size. It’s massive, and no guide book or map brings that
impression across.
Review here: The Arts Desk Berlin Music Week / BerlinFestival
© Sibilla Calzolari |
© Stephan Vlad |
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