Thursday, 27 September 2012

MOJO OCTOBER 2012 REVIEWS - SIX ORGANS OF ADMITTANCE ASCENT, JIM NOIR JIMMY'S SHOW, LEE HAZLEWOOD A HOUSE SAFE FOR TIGERS

California (he moves about), Manchester (he also moves about), Arizona/Sweden (he moved about a lot)



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. 

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. 

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.

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.



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.



© Sibilla Calzolari
© Stephan Vlad