#and synth pop group founded in Birmingham

[k-i-l-l-e-r-b-e-e-6-9]

Duran Duran - Ordinary World

[c-40]

A-T-3 085 The System

Not to be confused with the American synth-pop group The System who did You Are In My System (A-T-2 454.) This The System are from Birmingham, England all members of the Steve Gibbons Band which came out of the second incarnation of Idle Race after Jeff Lynne left - although band leader Bob Lamp went back way further

Professor, what's another name for pirate treasure? A 4-track EP was put out by Music From Memory in 2016 https://music-from-memory.bandcamp.com/album/the-system-ep

from the notes

"A project masterminded by Bob Lamb, a somewhat cult figure in Birmingham's music history; the short lived group released only one album ‘Logic' and a single in 1983 on the somewhat obscure French label ‘Romantic Records’ [owned by Bob Lamb putting out mainly brum acts]. This distinctively forward thinking new wave/synth pop album met with poor distribution and with almost no promotion to speak of at the time and quickly dwindled into obscurity. The albums sense of technological exploration, outstanding production value coupled with the band’s gift of writing deeply emotive, yearning pop tunes, make it sound though perhaps more relevant today than many other far more successful albums of it's time. 

"Whilst the band and the album might have sunk into obscurity, the band were no novices to the music business. In fact the highly regarded producer Bob Lamb had played as a drummer throughout the late sixties and into the late seventies for a number of progressive rock bands. The last of which, The Steve Gibbons Band, found moderate success both at home and in US, even opening up for The Who on their world tours. Having travelled the world as a musician, in 1979 Lamb would set up a 4-track recording and mixing studio in his [Moseley] basement flat to focus on production. In this state of the art Birmingham studio he would work with Duran Duran on their earliest work as well as producing UB40's very first album. With this highly developed sense of production, it was here in Bob Lamb’s studio that the four members of The System set out to make a pop record very much driven by the new possibilities of technology and developments within studio recording."

As well as UB40 and Duran Duran, Bob Lamb also produced the first version of Kiss Me by Tin Tin (A-T-3 024)

Because it's a Sunday lets begin with the ambient workout Pendy! You're In Some Awful Danger

Vampirella

Almost Grown

Find It In Your Eyes a previously unreleased track

[thevampsupdate]

The Vamps announce the release date of 'The Missing You EP’

The Vamps are back and this time they're doing it on their terms, with the release of their Missing You EP. Entirely co-written and co-produced by the band, the EP will be available for pre-order via Virgin EMI UK on April 4th. The EP will be available on all digital streaming and download partners and can be pre-ordered here. Also today, Live Nation and the O2 have announced that The Vamps are the only band to headline for 5 consecutive years. The Vamps were presented with a plaque at Craft London overlooking The O2. The Vamps return to the O2 Arena next month as part of their four corners UK & Ireland Tour. Tickets to The Vamps upcoming UK tour are on sale now at www.livenation.co.uk/artist/the-vamps-tickets.

The four-track EP features Right Now- a collaboration with their friends, Krept & amp; Konan, and this song is available on Spotify and to download now as an instant grat when the EP is preordered on iTunes here. The other tracks featured are title track Missing You, Waves and a special acoustic version of All The Lies (their recent release with Alok and Felix Jaehn).

The EP marks the band, who is now all in their mid-20s, taking charge of the music and creative direction, and showing off their individual talents in songwriting and production.

"We've always been involved in everything we've done, however, we have never sat down together and planned an entire campaign. This time, from photo shoots, music videos, styling to songs, we have each been there every step of the way to ensure everything fits with how we're feeling. We want people to feel like they're part of this EP, and that's why every detail has to be on point. It's been really enjoyable to get involved every step of the way," said, the band.

"Missing you is a song I wrote with a friend of ours called Jordan Riley, he's a producer/writer from Newcastle and a frequent collaborator. We were finishing a song of ours called Hair Too Long, and he started playing this progression on piano, the melody and lyric came pretty quickly. We got another day in at his studio and finished the verse and pre-chorus. The songs about a previous relationship and the struggle to move past it, that feeling of looking for love but not having the closure or just not being over it yet," said Brad Simpson, writer of the lead track 'Missing You'.

"Grime is a genre where you have much more opportunity to say how you feel, there are generally more room for lyrics and the flow is completely different to say a pop/rock song. Right Now is not a collaboration anyone would expect, and the song is all about appreciating life and really living in the moment! I remember we recorded Konan's verse in between two shows, on the night of the Birmingham show I returned to London to record Konan at 3 am and then headed early in the morning to the next show which was in Liverpool. There was a really good vibe working with Krept and Konan," said, Tristan Evans, drummer and producer of 'Right Now'.

'Waves' was written by bassist Connor Ball at home while they had some downtime over the recent Christmas period. "I was really inspired over that time so I just sat down with an electric guitar one day and started jamming the riff! The term Waves in the song is referring to the ups and downs in a relationship that can ultimately bring it to an end. It also talks about feeling a sense of worthlessness and that you're not going to find someone new. One of the lyrics is that even the ghosts in your home want to leave," said, Connor.

The fourth track featured on the EP is a special acoustic version of All the Lies. The original version with Alok and Felix Jaehn was released last month and was added to no less than 29 New Music Friday playlists around the world and is steadily rising up the global streaming charts. This truly international collaboration set the mood with The Vamps' catchy vocal piece and touches of Felix Jaehn's instantly recognisable production style, which solidly builds a tropical pop vibe. The original version of the song can be listened to here.

"Over the years we have enjoyed working on our recording/production skills. We've been keen to produce bits on all our albums but decided to take the step and actually produce something in its entirety: the Missing You EP. We have done an album a year for the last five years too, so wanted to try something slightly different. The EP takes us back to how we started The Vamps: instruments and melody. We haven't used big synths like our previous songs and have focused on lyrics more than ever before," said, James McVey, guitarist, who recently came 5th in 2018 series of ITV's I'm A Celebrity.

"It gave us the chance to experiment and although it's a small batch of songs, it's a very eclectic mix. Working in the dance world, with the Krept and Konan collaboration and then songs like Missing You and Waves, feel very true to where we are at as a four," added Brad.

The Vamps are one of the most successful British bands of the last decade. They have gone onto have huge amounts of global success with over 2 billion streams worldwide. Their first two albums, Meet The Vamps and Wake Up are both certified Gold in the UK.

In 2016 they released All Night, collaboration with Norwegian DJ Matoma, as their first single from their third studio album Night & amp; Day. All Night quickly became their most successful single with 3.5 million sales and 350 million streams on Spotify alone.

In 2017, they scored their first number 1 on the Official UK Albums Chart with Night & amp; Day. They are also a force to be reckoned with on social media, with almost 6 million likes on their Facebook, over 4.09 million followers on Twitter and 2.5 million followers on Instagram.

They have continuously toured since their debut in 2012 and were recently announced as the first band to ever headline London's O2 Arena 5 years in a row. Later this month, they kick off their Four Corners UK & amp; Ireland 2019 Tour at Plymouth's Pavilions on Saturday 27th April. The Vamps are Brad Simpson (Vocals, Guitar), James McVey (Guitar), Connor Ball (Bass) and Tristan Evans (Drums).

One of their recent achievements includes the recently held at London's O2 arena where they were recognised for being the first act in history to play the arena for five consecutive years.

Bottomline Media Pvt. Ltd. Founded by Tanaaz Bhatia has collaborated with Universal Music Group's British music label Virgin EMI Records for strategic alliances in India. Bottomline Media was the first to introduce The Vamps to India and got them on 'The Kapil Sharma Show' as well as on 'The Stage'.

One of the most reputed integrated marketing companies in India, Bottomline Media has also facilitated the band's first ever sold out show at Hard Rock Cafe, Mumbai. In addition to this, the company has curated collaboration between the Vamps and Indian music composer duo Vishal-Shekhar to compose the chartbuster track "Beliya".

In 2018 later that year, Bottomline Media got the Vamps to perform for Global Citizen India for a crowd of over 80,000 people with sold out shows in Mumbai and Pune.

[wherearethegirlbands]

INTERVIEW: GLASS CEILINGS

Tell us about yourselves. How would you describe your style? How did you form as a group?

We are a four piece indie pop band from Birmingham, UK. Lois, Kate and Jay went to school together, and we found Q along the way afterwards. To start with we were playing a lot of covers of Arctic Monkeys, Catfish and the Bottlemen and Two Door Cinema Club. When we started writing together we took a lot of influence from Two Door and Catfish, but as we all progressed we started bringing more synth and pop strains into the tracks to get to the indie-pop, summer vibes that you hear in a lot of our recent releases.

How long were you making music before you got gigs? What was your experience getting gigs like? What venues and promoters would you turn to?

We actually started gigging together before we wrote any music, we started with covers while we were writing in the background. We’d spend hours on end at each other’s houses, back stage and in rehearsal rooms just throwing ideas in and jamming to see what came together. There’s so much more pre-production planning and demos before we get into the studio with any tracks now, but jamming together off an idea that one of us has is definitely the best way to write, for us anyway. Our first gig came from us joining a facebook group for local bands, and from there we’d be looking for gigs with any promoters in that group really, but The Future Sound Project (or Baddies Boogies back then) were always the ones we’d really gravitate to. Venue wise it has to be The Sunflower Lounge and The Hare and Hounds, every gig we’ve done in those venues seems to go off, the atmosphere is just unreal.

What’s the Birmingham music scene like?

The best. Everyone involved is so invested, and it’s not just the bands, it's the venue staff, promoters, photographers, radio presenters etc. There’s group chats between different bands, everyone goes to each other’s gig, it feels like one big family. I don’t think you’d find that anywhere else really.

Do you notice many women on the scene; not just musicians but technicians, promoters and so on? (In other words: Where are the girlbands?)

In Birmingham there are quite a few girls in bands to be honest, but I can’t say we’ve ever seen a female technician now I think about it. You do see female photographers and reps a fair bit though which is nice.

What are you up to at the moment in terms of gigs and releases?

We’ve just released our latest single, ‘I Don’t Mind’, which is our best work to date. We do have another track in the works that we’re really excited about and desperate to continue with after this has all blown over, so watch out for that. Unfortunately, we’ve had all of our upcoming gigs cancelled due to the current situation, but as soon as we get the rescheduled dates confirmed we’ll be plastering them everywhere. The end of this year might see us have a jam in some new cities too...

Why do you follow @wherearethegirlbands?

We try to follow as many blogs as we can really to find new bands, while we’ve been working from home we’ve tried to listen to at least 2 new artists a day. As a band trying to make a name for ourselves it’s easy to understand at this stage how much those extra streams, exposure or playlisting from other people on the scene can help.

Who are you listening to this week?

Candid, Riscas, Akande, Sorry Grace and Sugarthief are a constant soundtrack for us. We’ve got a playlist called ‘The Scene’ on repeat a lot, which is constantly updated with bands we’ve played with in the past and some new discoveries.

[gracebirch]

Two Tribes: Subcultures

Notes from lecture by David Osbaldestin 15.02.18

- Tribes are all associated with fashion and music counter cutlure is about drugs and experimentation, open minded, asking questions about the system - Frankie Says Relax- Two Tribes video, battle of superpowers - Teenagers: were in American first bc they recovered after WW2 first but then came to UK in the 50s- music and fashion orientated, disposable income - Teddy Boys (UK), first subculture, rebelling against parents, about fashion, like American milk bar culture - Beatnik: Alan Ginsberg, Jack Kerouac - Folk - Rockers (UK), motorbikes, Ton-Up, utilitarian, bikes used as weapons, bikes used to be middle class but then they started to buy cars and so there were lots of cheap bikes that the working class started to buy, using images of war, Maltese crosses, swastikas etc, Girl on a Motorcycle- Marianne Faithful - Greasers, led on from Rockers, split into Hippies and Hells Angels, Woodstock- tribal existence, Alamont Rolling Stones last performance for a while, Hells Angels did security- murders, death. Dark side of hippies: Charles Manson - Mods: tailored clothes, mopeds, Italian culture , target symbolism (RAF) battle cry to Rockers, working class teens taking influence from French and Italian films and Italian fashion magazines, Quadrophenia, Battle of Brighton, listened to modern jazz - 90s Britpop, out of austere 80s, branded Britain, tertiary industries (creative), Blur v Oasis, Mods v Rockers - Counter culture in USA: easy rider- Peter Fonda, drugs, experimentation - British Heavy Metal: Black Sabbath, Birmingham, working in heavy metal factories led to their music , death metal, thrash metal, hair metal - Androgyny - Glam rock - Skinhead movement: 50s, working classes, suede heads, (Reeves and Mortimer- Slade sketch), conservatism - Bowie: started as a hippy wearing dresses with long hair- the Man Who Sold the World, then in Space Odyssey he had big curls, Mick Rock photography, he was glam rock, and also protopunk - Protopunk: New York Dolls, Ramones, bands that came out of CBGBs, early 50s rock and roll on distorted synths, political undertones, Crass lived in a commune, marches, protest - UK: Jamaican culture: Rudeboys, Rasta culture - Northern Soulers: B sides of old records, Tainted Love- Soft Cell, brought disco to UK - Punk: Vivienne Westwood’s shop in Chelsea, selling to Punks, Scottish influence, mohawks, tartan, proper punk only lasted for 9 months and people moved on but around Britain it lasted for years, youth culture pushing boundaries, Anarchy - Gay culture: menagerie, many labels within one culture, interesting example of tribalism, adopted the skinhead as a fight back against fascism - New Wave: from USA, Blondie, Ramones, pop based, but had origins in tribes, borrowing from rockers and mods, and a big tie with hip hop, Blondie did one of the first rap singles - Ska: - Early Hip Hop Culture: block parties, led to house parties which led to house music - Goth: Suzie Sue, part of punk movement - New Romantics: Carn and Bell (fashion designers crafted the movement), Duran Duran, Adam Ant, Flock of Seagulls, moved on from punk, flamboyant, Boy George: one of the blitz kids- ultravox etc Zig Zig Sputnik, Network 7 on Channel 4 radical programme that talked about real issues and promoted punk etc, radical journalism with a real edge and gloss, Wham, Madonna, - Rockabilly/Psychabilly - Alternative: The Smiths - Casuals: highest form of violence, football, tribal allegiances to your team, dangerous, Sergio Taschini, working class kids, wearing branded clothes, stealing clothes en masse - Rave: casuals become baggies, became illegal for more than 6 people to meet in an area with repetitive beats! MDMA, Ecstasy, football hooligans lost the violence and found the love - Straight edge: Xs on their hands, no drinking or drugs, Henry Rollins big star of straight edge movement, Raymond Pettybourne - Rap: Public Enemy, fight the power, social change, Malcolm X politics represented - Gangsta rap - Grunge: 90s from USA to Uk, Sub-pop, Sonic Youth, Dinosaur Junior, Mud Honey, had previously given up guitar bands, but grunge bought it back - Emo - Chav Hipster: Ricky Hall, P&Co - Dorothy- posters - Beatles, Disco (Studio 54), EDM, techno (anonymous DJs), vintage, steampunk, skaters, club kids

After this fascinating lecture on tribes, we then in groups looked further into individual tribes and their values etc, out group chose drag queens and their history, values etc, we then had to visualise drag culture as a task over the weekend.

[trevorbailey61]

Susanne Sundfør

Glee Club, Birmingham

Wednesday 14th March 2018

The stage had been erected along one side of the main square in the northern Spanish city of A Coruna. It was still early afternoon but clouds obscured the summer sun and a light drizzle filled the air. A barrier sealed off the area around the stage but neither this, nor the weather, deterred a group of about fifty who had gathered as close as they could to secure the best place for the show that they would still have to wait several hours to see. Their patience was soon rewarded, however, as various members of the band started to saunter out onto the stage, pick up their instruments and begin their soundcheck. Every bang of a drum, strummed chord or snatch of a melody was greeted with loud cheers from this dedicated group, carried over the gap from where they were held so that the musicians smiled and waved in response. A group of backing singers sang into hand held mics but the star himself did not appear, a stand-in took his place so that his entrance later would retain its spectacle. And spectacle it was, as darkness descended, the crowd had grown to fill the square and bright lights picked out the figures as those backing singers now added their voices in tightly choreographed moves always close to the main man. Even though we couldn’t even begin to guess what his songs were about, there was no doubting his stage presence as he reached out to the furthest parts of the vast crowd. They responded to every verse, every chorus, every movement with wild cheers; sang along to every song and took selfies to remind themselves and others that they were there. Whoever this guy was, in one Spanish city at least, he was huge.

Who he was: before wandering into the square that afternoon, I wouldn’t have had a clue and despite being carried along by the enthusiasm of those around me and the show itself, seven months later I can no longer recall his name. The few parts of his biography that remain tell me that although based in Spain, he was originally from Argentina and that his long career had occasionally brought him into contact with artists I have some familiarity with. Outside of that, however, he had written songs, recorded albums and toured without making the slightest ripple outside of those who share the same first language. With a huge potential global audience of Spanish speakers, it may appear that this would be enough but periodic albums where he sings in English suggest that he has tried to broaden this appeal. That these have been met with indifference is a sign of how difficult it is to translate success from one audience to another and as an artist well into his forties, it seems as if he will have to remain content with the passionate Spanish fans who filled the square in A Coruna.

Susan Sundfør is very popular in Norway. Classically trained, she has a keen ear for a range of musical styles that she puts together to produce a sound that is very much her own. Her albums show shifts in form and style to produce wonderfully varied music with just her extraordinary voice to show that they all originated from the same source. Despite continually wrong footing her audience, she has had four number 1 albums in her homeland and has a loyal and devoted following. Like many from the northernmost parts of Europe, she writes and records in English which means that, unlike our Spanish friend, she doesn’t have to balance interesting native speakers with broadening her appeal. Her previous album, “Ten Love Songs” looked as if it would provide the breakthrough; an unexpected leap from her folksy routes, it was her disco album; electronic beats, layers of synths and joyous uplifting melodies that helped to disguise the failed relationships and emotional turmoil found in the words. It was certainly interesting and at times exhilarating but possibly a little knowing in its adoption of the bittersweet norms of Scandi pop. In writing all the songs, playing most of the music and producing the album, Sundfør piled the pressure on herself and at a time she should have been taking the music out to the audience she sought, suffered a nervous breakdown. Whilst this could be seen as a missed opportunity, she could at least draw on the depths into which she fell to make another musical leap to produce the stark and brooding “Music for People in Trouble”, most of which she will perform tonight.

As she tells us, this is her first visit to Birmingham which means that I am probably alone amongst those at the Glee Club in that I have seen her before. This was about three years ago at Latitude, one of the few UK shows she did to promote “Ten Love Songs” and dressed in bright colours and with glitter on her cheeks, she was very much the glam pop princess. In contrast, tonight sees her all in black, an oversize pinstripe jacket covers her dress and she will occasionally wrap herself up by folding her arms and pulling the lapels across her chest; a little insecurity perhaps finding its way into the confidence with which she presents herself. So assured is her English, there is just the slightest hint of an accent, it is a surprise when she slips into her first language to explain some slight adjustments she wants in the sound. She feels the songs can speak for themselves and rather than explain their origin, between them she lightens the mood by reflecting on their recent travels and asking for advice on what to do during the morning they are to spend in Birmingham. When no one in the audience can come up with anything she chides us that we should show more pride in where we live. She does, however, pick up a little Brummie and repeats the words “alroight bab” after they were suggested as an example of the local dialect. Well into her tour now, the atmosphere is relaxed and easy going drawing us in to the sparse and sometimes harrowing songs she is here to perform.

The tone is set with the opener, “Mantra”. Seated, Sundfør accompanies herself on an acoustic guitar, often picking out just single note rather than putting them together to form a chord. Alongside the fearsome power and startling range of her voice, this minimal setting works to such a haunting effect that there is a moment of silence as the last few notes reverberate around the room where the audience take a moment to fully process what they have just heard. Throughout this, the two musicians with whom she shares the stage stare at the keyboards in front of them before adding a few embellishments towards the end. The set rarely strays from this understated sound and as Sundfør seems more than capable of adding the guitar or piano accompaniments, it is tempting to wonder whether she really needed anyone on the stage with her. They do, however, allow her to occasionally add her vocals without also having to accompany herself and provide strings or solos on the flute or bass clarinet as a counter to the devastating vocals. “Mantra” slowly reveals itself, sounding almost optimistic at the start where it is possible to bask in a bright summer’s evening as she sings; “I’m as lucky as the moon: On a starry night in June”. The shift in attention from the imposing disk of the moon to the heavens beyond, however, releases the self doubt that is the main feature of her recent work; “I’m as empty as the Earth; An insignificant birth”.

Whilst gorgeous melodies and lush orchestrations of “Ten Love Songs” helped to disguise the pain in the words, and also invited comparisons with Abba, now, with a greater prominence given to her voice, there is little to sugar coat the message. This painful soul searching is reminiscent of John Grant, a comparison given greater sway as he adds his vocals to the final track on “Music for People in Trouble”. Like Grant, much of Sundfor’s self worth is determined by the actions of others towards her and when they let her down, as inevitably they will, she directs the pain inwards and towards her own frailties. “Undercover” takes a cynical view of the motives of the other; “Don’t trust the ones who love you; Cause if you love them back; They’ll always disappoint you; It’s just a matter of fact” into a fantasy where; “We could live our dreams; we'd sail on golden wings”; the piano accompaniment moving from the minor chords of the reality to the uplifting melody of the fantasy. In just three verses, the slow and haunting “Good Luck, Bad Luck” brutally dissects the superficiality of a former lover; “Freeloader wisdom from the books he never read”. Coming from her excursions into the world’s trouble spots, during her recent sabbatical she visited North Korea and the Amazon rainforest, “The Sound of War” is a stirring description of the bleak landscape left after the killing has finished. Similar in tone to PJ Harvey’s “The Hope Demolition Project”, Sundfør’s clear and ghostly voice perfectly captures the horror of the scene. Possibly the starkest expression of the place in which she finds herself is the crushing “No One Believes in Love Anymore”, performed as the first of two encores. Against the backdrop of a delightful melody, played to stunning effect on the flute, Sundfør finally confronts her inner demons which, in turn, by the end of the song allows her to find some hope as she returns to the moonlit scene of the opening song; “Looking up at the Moon, up at the Moon; We’ll all get there soon, looking up at the Moon”. The theme is developed further in the up tempo “Reincarnation” where she finds the sprit within herself to move on.

“Ten Love Songs” is not ignored completely but the two songs that she draws on, “Silencer” and the final encore “Trust Me”, are those that can be stripped back to the same stark setting. “Trust Me” in particular emerges all the better without the waves of synthesised strings in the background. Her earlier work, however, is a better fit and “Can You Feel the Thunder” and “White Foxes” need little reimagining to find a home. It is one of her earliest songs, however, in “Walls” that has been rearranged most brutally. Accompanying herself at the piano, she has stripped away the rather predictable chords changes and flourishes she originally used to create something far more interesting.

Sometimes musicians need a sudden shift to help define their career and Sundfør has already been through many. The synthesised Abba pop of “Ten Love Songs” was fun but she possibly felt that the spectacle was a distraction fro the songwriting and in taking it all back to its basics, the focus is very much on the songs. They are more than capable of holding the interest without all the embellishments and show a raw emotional heart that can be quite painful. Despite the dark nature of much of the music, the uplifting melodies and her own humour helped to make for an inspiring evening. Tweeting after the concert, one person noted that the music would not seem out of place at Symphony Hall and whilst it is possible to see what he is getting at, it would then have lost much of both its intensity and intimacy, something that helped to make the evening so special. The breakthrough to play a venue that size is probably still some way off although the nearly full Glee Club showed that, unlike our Spanish friend, she is developing a large audience outside her homeland. It will be interesting to see whether her next step will be back to easily accessible pop or something as raw and emotional as where she currently finds herself.

[stevecanmakeanythingnerdy]

RANDOM RECORD WORKOUT SEASON 5 Battle 9 Electric Light Orchestra: Face The Music (Side 2) Vs. Bon Jovi: Slippery When Wet (Side 1) Electric Light Orchestra: Face The Music (side 2) The Electric Light Orchestra (ELO) are an English rock band formed in Birmingham in 1970, by songwriters/multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of Beatlesque pop, classical arrangements, and futuristic iconography. After Wood's departure in 1972, Lynne became the band's leader, arranging and producing every album while writing virtually all of their original material. They dabbled in concept albums like Eldorado, but mainly Were just very good at writing catchy, hook laden rock songs, fleshed out with strings and classical orchestral arrangements overdubbed. When I say very good at, I really mean they basically helped create it entirely, almost as a new genre labeled symphonic pop. Complete art in and of it's own right. Elo wanted to write beatles-esqe pop fused with modern and classical flair. Basically a Beethoven/Beatles mash up. It's pretty brilliant if you ask me. 1975's Face The Music is their 5th studio album. Only four tunes (hey, this was the height of 8 track mania after all) and it starts with "Poker" - an almost punky, chunky number. Cool ass keyboard rips and blips. Slows to a mellow jam. It might actually be my favorite on the side. The next cut is "Strange Magic", which is of course the big hit off the album. If there were such a thing as rock theater, then this would undoubtedly fit the bill. And buried on the B side even. That is the strange part! "Down Home Town" is a partial country twanger. Did Dylan write this?! I can see an influence for sure. Even on later bands like the New Mongrels. Dixie land for synthesizers. "One Summer Dream" is a ballad of standard tempo and containing a little weighty (of the phylum Floyd, Pink) build. It doesn't really pan out though, just plateaus. Overall it's two really great tracks with two mediocre ones. Could be worse. One thing is for sure: ELO is badder ass than you think. I am not sure I can accurately and truly draw comparisons. They are true to their namesake, an electric orchestra with synth bliss. ELO certainly has a flair for the appropriate dramatics. Falsetto vocals never sounded better. Bon Jovi: Slippery When Wet (side 1) Bon Jovi is an American rock band from Sayreville, New Jersey. They formed in 1983 and, really are centered around two anchors. Some fans may disagree, but I say TWO because founding member and namesake John Bongiovi AND lead guitarist (and co-songwriter) Richie Sambora really combine, fairly equally in my eyes to create Bon Jovi's signature sound. Sambora left in 2013' but BJ rocks on, even today. The story really begins in 1986. After two moderately successful albums, the group was about to break big. In early 1986 Bon Jovi moved to Vancouver, Canada to record their third album. The band spent six-months recording the new album. The band decided to name the album "Slippery When Wet" after visiting a strip club in Vancouver. On August 16, 1986, Slippery When Wet was released. The album reached number one in U.S., where it spent 8 weeks at number one on the Billboard 200 album chart. The first two singles from the album, "You Give Love a Bad Name" and "Livin' on a Prayer", both reached number one on the Billboard Hot 100 singles chart. Slippery When Wet was named the top selling album of 1987 by Billboard. "Livin' On A Prayer" won an MTV Video Music Award for Best Stage Performance. For that year at least, you couldn't get away from Bon Jovi even if you wanted to...that is until Geffen unleashed Guns 'n Roses on the world (and thank God for that!) And they kicked them off the charts. Anyhow, Bon Jovi waste no time, starting right off with "Let It Rock". They do exactly that. Boisterous and massive attack keyboard and a calculated intro track. It immediately demonstrates JBJ's vocal range. You get style, solos and hair. Next up is a fan fave, "You Give Love A Bad Name". EVERYONE knows this radio jam. It was practically a theme song of 1987. You are singing it right now, aren't you? Ok, well if you said no, you are lying to yourself and you ARE singing it right now. Who doesn't shout along to the chorus!?!? No one, that's who. As it that were not enough, they keep at it with "Livin' On A Prayer". Another chart buster in the hard luck "Jack and Diane" type story. So much pain in song form. "Social Disease" is actually the only real WTF moment on the album. Obvious filler. Is it possible to earn negative stars??! This tune is just plain corny. "Wanted Dead or Alive" is the other big one. It shows diversity of the band and is actually an excellent example of a great power ballad and story telling song. Sambora really shines bright here. I have a funny/embarrassing story about this song. 100% true, forever (like three years after it's release even) I thought they were saying "Meadow of Life" instead, and it always made me scratch my head why, but I though: "well, he's a cowboy on a steel horse, so I guess they ride through meadows...so yeah." No. Joke. Anyhow, it was a big breakthrough album for the NJ boys. It is riff-centric radio rock and every bit of it great. Super prodced, but it helped make Bon Jovi a household name, and acid washed denim clad teen girls melt in the streets at the mere mention of the name. I first heard of them through my sister, and more specifically the large poster on her bedroom wall. I was still enjoying my Fat Boys records at the time. At least until I heard Guns 'N Roses (#lifechanging). Good news for JBJ fans: On October 5, 2017, Bon Jovi was listed as a nominee for the 2018 Rock and Roll Hall of Fame Inductions... Stay tuned!! So ELO faced the music and burned 136 calories in 18 minutes over 4 songs. They earned 8 out of 12 possible stars. That is a pretty impressive 34 calories burned per song and 7.56 calories per minute. Bon Jovi made me both slippery AND wet (with sweat you pervs) while They burned 175 calories over 23 minutes and 5 songs. They earned 10 out of 15 possible stars. That is 35 calories burned per song and 7.61 calories per minute. Looks like the BJ's win..high fives all around! Listen for yourself! Check out the links: Electric Light Orchestra: "Strange Magic" https://youtu.be/-6f35OusJuI Bon Jovi: "You Give Love a Bad Name" (terribly lip synced but who cares) https://youtu.be/_TxR9nrXrC8 #RANDOMRECORDWORKOUTSEASON5 #RANDOMRECORDWORKOUT

[bigjoesound]

Best of Brighton’s Live Music – April 2017

Here are a few of the shows of audio picture that is live this month.

GRANDADDY Komedia

Shaped using their origins in 1992 in Californian skate punk. Grandaddy (above) may be guitarist’s creation /keyboardist/ singer Lytle. Having been referred to as “indie space rock to neo-psychedelic”, they’ve developed a great deal because the trusting comedic musings of strikes like AM 180. Fresh recording Last-Place arrived on the scene in March and it is their initial LPin 11 years. the songwriting has aged, although Weezer meets Radiohead ; a touch of humor.

Lytle’s songwriting capabilities are proven down in monitors such as the sincere and unforgettable I Don’t Wanna Stay Here Anymoreand also the Beatlesesque The Vessel is Within The Barn. The display claims to be always a trip of fluffy Synth rock moving you back again to the zenith of National Alt-Indie.

HOOKS Rialto Theater

Birmingham-centered all-woman quartet HOOKS return using their decorative mixture of storage that was filthy -place. They’re touring meant for their fresh five-monitor EP Poor Factor,which arrived in March. Earlier this season they worked with the one and only punk expert Iggy Place about the hypnotic spoken-word monitor Aggrophobe

Shaped in 2011 by lead vocalist and musician, Religion Holgate who desired to produce an all-feminine group as a means to “stick a middle-finger up to and including male dominated industry.”You can easily see the motivation in the riot grrrl groups but their impacts are much vaster. Joining aspects of punk krautrock and indie with remarkable songwriting to produce a part – part that is place -punk mix. They mark all of the containers reside, awesome although and outstanding aloof persuasive and lively.

MATERIAL Weds 12 May The Rose Mountain

Five were centered by this Belgium -item aren’t to become perplexed using the ‘70s Ny jazz funk group of the exact same title. Deciding confidently between awesome and severe they’re reviving spruce for that contemporary audience.Taking impact from an eclectic blend including: Aphex Twin, Traveling Lotus and John Coltrane, they began playing within an improv-punk membership in Antwerp and also have invested the final five decades mastering their own audio.

Brushing aspects of spruce, hip-hop backbeat and their audio is extremely varied. But despite their huge musical expertise they’ve a contemporary perspective, adopting all types of audio (they actually protect Cyndi Lauper!). This lot don’t visit the united kingdom frequently so don’t skip your opportunity to capture this excellent group.

HAPPYNESS Wish and Wreck

After discussing their touching fresh keyboard ballad, Through Windows in Feb, the Manchester group are back having a five-day UK visit. Their debut recording, Strange Small Birthday arrived on the scene in 2014 and was a cult favorite. They gained the 2015 NME Honor for Greatest Lyric using the fantastic “I’m sporting Gain Butler’s hair, there’s a scalpless vocalist of the Montreal rock-band somewhere”from the tune Montreal Rock-Band Someplace

These men really are a giant, although some trios may wrestle only a little to complement the audio of the tracks reside. All three-band people create their audio and therefore are recognized for changing functions equally within live and the business. Accepted by table-indie tradition with an audio you’d and everywhere envision arrived straight-out of Florida, their lines that are sluggish might attract followers of Property Macintosh DeMarco and Kurt Disgusting.

KESTON COBBLERS’ MEMBERSHIP Weds 19 May Komedia

The London five-item effectively links the cavernous space between people and place. Having a status for cool and distinctive music movies, their display that is live is of fascinating nothing short. Despite leftover folky in mind they’re not scared to drive the limitations of love that is audio. Advancing from more conventional origins, their audio has developed in to a mixture of melodic people lines and appealing play tunes like Wildfire. There’s a jerk to ‘80s synth-pop in monitors like Oh Excitement.They have now been when compared with each Bellowhead and Mumford & Kids. With the best of songwriting and also extremely appealing tunes, after viewing them perform you’d wrestle to not maintain a great feeling.

THE KING BLUES The Worry

Punk- heroes hailing from London. Having a quest to “combine excellent stone ’n’ move with politics”, their street-wise hip-hop, audio combines ska, punk and spoken expression. Capitalist and correspondent Tariq Ali explained their audio as “rough, revolutionary audio which should unsettle the rulers of the country.” The Master Blues reunited in 2015 stating the uncommon motivation of Donald Cameron’s government, followed closely by the recording Off Using Their Brains, that was originally barred by each Facebook and Apple. The name track’s movie obtained 1 / 4 of the thousand sights over about the first evening alone.

With persistent power that is live, lead vocalist Itch’s capability to move the market displays the kind of Joe Strummer and Sid Bad. Fresh recording The Gospel Realityarrives on Fri 14

ALTHOUGH SHE SLEEPS Concorde 2

This famous Language metalcore group hail of Sheffield in the depths. Their current anthemic simple, Stop Talks functions guest words in the only Oli Sykes (of Carry Me The Skyline.) Developing in 2006 and having been since college in rings they’ve developed created a brother-like and together power reside.

The launch of Stop Talksviews the group moving in a brand new, somewhat governmental and much more adult path. Concert events that are “Our attempt to include unity with everybody. We would like everybody start to become part of anything cool” and to truly have an excellent time claims Loz Taylor, vocalist. Long-awaited next recording, You’re We arrives on Fri 21 April.

JOHN OWEN Komedia

Capture the facebook feeling that is youthful on his topic visit that is Western. Their current EP Available Fingers and Opponentshas obtained substantial compliment and was number 1 within the iTunes Vocalist/Songwriter Graph upon launch.

After four decades building an enormous facebook pursuing up the legendary Fleetwood found him. Audio that is “Dan’s is in the center,” claims Fleetwood. “It is blues that are real and John reaches the brand new influx in English singer’s front talent.” Their EP has got the ideal method of childhood attractiveness real songwriting expertise and wonderful manufacturing. Solitary Moonlight alone is evidence that John may move considerably. The viral ballad Designed To Love You functions gentle crooning words that will create James Bay happy.

REJJIE SNOW Thurs 27 May Concorde 2

Calm English hip hop performer Rejjie Snowfall thinks in “letting the audio talk for itself.” He’s not emerge of nowhere, possibly – his initial EP Rejovich arrived on the scene in 2013 and highlighted numerous visitor shows, such as the amazing Loyle Carner.The 22-year old rapper grew up in Dublin but still retains his house near to his center. Their laid back type of rational hip hop ties in the vein of Sweatshirt and Kendrick-Lamar.

Undoubtedly among the many gifted British artists of the decade, Snowfall isn’t timid to state politics and interpersonal problems such as for instance that of seriously moving fresh solitary Crooked Police. Despite his common achievement his audio stays truthful and unique.

Potential Destinations Brighton Dome

Potential Islands’ new recording The Far Area has gone out this month, following-up to 2014’s massively effective Singles. Penultimate course Shadowsfunctions guest words from Ny punk image, Debbie Harry. Using their mixture of unique synth pop, they’re a of outdoors among a of indie that is secure. However they haven’t emerge of nowhere. Having been for 10 years mastering and sharpening their audio , had decades of visiting and encounter enjoying in most type of group, to reputation from steel.

Vocalist, Samuel deeply speech that is distinctive together with his sincere brooding words carries one to a period that is simpler. This can be a journey of love tunes that are strengthening however psychological that will create the soundtrack that is perfect to some returning-of age film.

ADDITIONAL ENTRIES

DARK SWEETIE Concorde 2

NATHAN FAKE Designs

CARO RUBY Brighton Center

SPLASHH Weds 19 May Designs

CHELSEA WOLFE Weds 19 May The Worry

THE BIG MOON Thurs 20 May The Worry

ALEX VARGAS The Wish & Wreck

BLOOD-SPORT Natural Door Shop

BOUQUETS SHOULD EXPIRE King Albert

BLANCKE MASS Weds 26 May The Worry, May

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