Retro Man Blog: June 2011

Monday, 27 June 2011

The Sonics Live Ray Davies' Meltdown Festival Southbank Centre London June 18th

The Sonics Live at Ray Davies' Meltdown June 2011 - Photo by Steve Worrall

Ray Davies appears on stage to introduce The Sonics, who supported The Kinks on some early North West American dates, it was a nice gesture and testament to the respect the band are now enjoying. Considering The Sonics split in 1966 they left a legacy that has touched generations of garage rockers and it was a rare treat to catch the band live. They only got back together in 2007, fuelled mainly by mounting acclaim from artists such as The Cramps, Fuzztones, White Stripes and Black Keys.

The Sonics Live at Ray Davies' Meltdown June 2011 - Photo by Steve Worrall

Their influence is even more remarkable considering they released only a handful of original songs, but, hey, what original songs they are! Tracks such as “Shot Down”, “Cinderella” and “Boss Hoss” are all played tonight, burning with a visceral energy that would put younger bands to shame.

The Sonics Live at Ray Davies' Meltdown June 2011 - Photo by Steve Worrall

Tonight’s line-up consisted of original members Gerry Roslie on vocals and keyboards, surely one of the most underrated, raw and soulful singers in Rock & Roll. Rob Lind on sax and harp, takes centre stage and to his left founder member, and excellent guitarist, Larry Parypa. They are joined by powerful drummer Ricky Johnson and livewire bassist Freddie Dennis, who the crowd really warmed to with his energy and lung busting vocal contributions.

The Sonics Live at Ray Davies' Meltdown June 2011 - Photo by Steve Worrall

The band has just released a mini-album on The Sonics Recording Co called “8”, and the new tracks performed tonight fitted in seamlessly with the set, “Cheap Shades” and “Don’t Back Down” were particularly memorable.

The Sonics Live at Ray Davies' Meltdown June 2011 - Photo by Steve Worrall

Their reclaiming of the classic “Have Love Will Travel”, probably the band’s signature, proved to be a highlight, but it was the opening chords of “Strychnine” that spurred people to finally abandon their seats and rush to the front of the stage. The crowd went wild and the atmosphere lifted considerably.

The Sonics Live at Ray Davies' Meltdown June 2011 - Photo by Steve Worrall

An awesome version of “Psycho” ended the main set with Gerry Roslie still able to conjure up that awesome raw scream that could send Little Richard and Frank Black scuttling off to find earplugs.

The evening drew to a close with a rousing run through of their first ever single “The Witch”, it’s received by rapturous applause and the band leave the stage obviously touched by the warm reception. They deserve the acclaim, and it’s great to see them relishing the opportunity to play these songs to an eager new audience.

Thursday, 23 June 2011

Ray Davies and a Waterloo Sunset

Ray Davies introduces The Sonics at the Festival Hall June 18th - Photo by Steve Worrall

I took a photo of a beautiful Waterloo Sunset just before The Sonics gig at Ray Davies' Meltdown Festival on Saturday. Then to top it all, Ray came out on stage and introduced The Sonics. I was just preparing the camera but managed to get a couple of shots, a marvellous moment! "Dirty old river, must you keep rolling..."

Monday, 20 June 2011

Wire Live at Ray Davies' Meltdown Festival London June 18th Text by Jim Emery + Photos by Steve Worrall

Always challenging, always unconventional, always oblique. Wire have kept me enthralled for decades and earlier this year after the lead-off track for their vital new album implored “fuck off out of my face” I was theirs once more.

For a band that has performed live art installations and performance pieces where they would be expected to tear through such mini mindfucks as 12XU the anticipation was palpable.

They walked on without spotlights or fanfare and charged straight into ‘Adapt’ from the aforementioned Red Barked Tree. Augmented by guitarist Matt Sims following the departure of Bruce Gilbert, the band ploughed through a succession of songs spanning the decades.

Colin Newman’s guitar seemed like a stranger to him as he kept chopping out the rhythm, it seemed like hard work at times. I think this was mainly due to the metronomic, mellifluous drumming of Robert Grey. Eyes shut during the songs, he keeps time like few contemporaries, the fills are subtle and the experience intense. He introduces each song with the clack of his sticks and doesn't let up, the band revolves around the clockwork genius.

Wearing a Glengarry bonnet with a red bobble atop, bassist Graham Lewis added to the puzzle. His powerful upper body firing rumbling charges from a fretboard that shook the Royal Festival Hall on more than one occasion including a severe lashing of ‘Drill’. Fillings came loose and smiles abounded.

Newman found his confidence after that. He had been rooted to the spot thus far yet during ‘Bad Worn Thing’ he danced around a while, straying from the iPad that he sang the lyrics from all night.

There was an inkling that we weren’t going to be treated to a sulky set list after an enjoyable ‘Kidney Bingos’ and ‘Another The Letter’ mingled effortlessly with the tracks from the latest offering. Even though the setlist was planned it still seemed rather odd to have them play what could have been a hit single ‘Map Ref. 41°N 93°W’ after someone had yelled it out as a request. Was this Wire the friendly post-punksters?

Even more larks were to be had when they came back on for an encore and stunned every fan in the Hall. Are you sitting down? Yes? Good. They played ‘Outdoor Miner’. You heard me. A song they have never performed live but one everyone has always wanted to hear. Why here, why now? I felt so honoured. A smile even broke across Colin’s face. It was a sublime moment.

The finale was the eponymous track from the album that kick-started it all back in 1977. ‘Pink Flag’ with its refrain of ‘how many dead or alive?’ struck an appositely apocalyptic note, determination writ large across all four faces as it descended into a squall of feedback. Grey came to a rest, head bowed, while the others attacked their guitars and pedal boards with gusto. Newman then plugged his guitar lead from the amp into the iPad and continued the maelstrom through a synth app.

The bass thudded, the guitars squealed and conjealed into a cosmic soup that the ears tuned in and out of, picking up different small melodies here and there and then with a ‘thanks’ they were gone.

Perception is a funny old bird. When Colin came back out to help dismantle his effects board I asked for an autograph. Twice, three times I said ‘Colin!’. I thought he was playing up to a moody typecast but the reality was that he just hadn’t heard me. He gladly wandered to the front of the stage, signed some CDs and set lists and even cracked a joke and a smile.

Always challenging, always unconventional, always oblique and still surprising.

--- Jim Emery June 2011 ---

Wire appeared as part of Ray Davies' Meltdown festival at the Southbank Centre