Black and White Boy – The Avenue

Carefully looking to strike a balance between making music recognisably your own and not falling into a repetitive rut must be the curse of the musician, but Andrew Nicol - aka Black and White Boy - is still on that high wire and moving incrementally forward.

With his talents as a songwriter it could very well be an easy transition from doing what he wants to, to doing what the public apparently wants, but it’s to his credit that he refuses to write material by numbers and instead remains true to his melancholic heart.

On this outing there are still the strains of his Finn Brothers influences serving as a foundation, but with the addition of some Springsteen-esque flourishes the songs, while still not moving into party anthem territory, have a certain shading to them that brings in some lighter moments that contrasts well with the lyrical content.

It’s very mature fare and written to appeal to a more contemplative audience.

That being the case there is the possibility that some may miss out on the magic that lies therein if they are looking for a quick hit as it’s not a body of material that is looking to grab at the listener, but instead it’s more about forming a relationship with them.

Easing in and taking root and ultimately settling in for the long haul is probably how it could best be described.

It’s certainly difficult to commit to saying whether this is a brave or foolish approach in an era that seems keen to simply be guided towards a more consumerist take on music.

Undoubtedly much of what is on offer in the mainstream is largely deliberately disposable, but I for one will tip my hat to anyone who considers tilting at windmills as a worthy pursuit.

In short some things are really worth the effort of taking the time to explore and in this instance I would recommend that you set aside the time to get your head wrapped around ‘The Avenue.’

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No Mean City 2014 (Glasgow)

After last years success the team behind No Mean City are not resting on their laurels and an already sterling line up has been secured.

The Felice Brothers - O2 ABC, Thursday 28th August, 7pm

The Felice Brothers started their musical career performing at family barbeques; and have just released their sixth album. 

Described by American Songwriter as "challenging Americana that never takes its audience, or its influences, for granted", 

Favourite Waitress marks the first time the band ever recorded in a proper studio.

Nick Waterhouse  -  King Tut's, Thursday 28th August, 7pm
Californian guitarist Nick Waterhouse is known for a sounds rooted in rhythm & blues, jazz, and soul. 

On his latest record, Holly, "he hones a had-edged sound, full of nimble guitar licks, taut melodies and precise rhythm" (Paste Magazine).

St Paul and the Broken Bones

He cites the movie Chinatown as his main influence for the album, which is an ode to Los Angeles; and dedicated it to screenwriter Robert Towne.

St. Paul & The Broken Bones - Oran Mor, Monday 1st September, 7pm

St. Paul & The Broken Bones is a seven-piece soul band from Alabama who use vintage technology to recreate a 60s sound. 

After taking SXSW 2014 by storm, their debut album Half a City went to No.3 in the iTunes Chart.

Phillip Henry & Hannah Martin plus Sarah Hayes (Admiral Fallow) - O2 ABC2, Monday 1st September, 7pm
Glastonbury regulars Phillip Henry & Hannah Martin are one of the most innovative acts to appear on the folk scene in years; 

and after winning Best Duo at the BBC Folk Awards 2014, they are very hot property.

Willie Watson -  CCA on Friday 5th September, 7pm
Former Old Crow Medicine Show member, Willie Watson was once described as "Bob Dylan without the nasal whine or pretention". 

Although he did grow up listening to the likes of Dylan, it was a Leadbelly album that got him hooked on the folk style; as a result, 

his expert banjo and guitar playing will transport the listener to another time.

Frank O'Hagan plus Les Johnson & The Shiverin' Sheiks -  O2 ABC2, Friday 12th September, 7pm 

A regular at one of Glasgow's oldest pubs The Scotia, Frank O'Hagan has become one of the city's best-loved singers songwriters. 

He recently supported soul legend Mavis Staples.

Robert Altman's Nashville - Glasgow Film Theatre, Tuesday 16th September, 6pm
Incorporating film into the Festival for the first time, there will be a special screening of Nashville (1975) at the GFT on Tuesday 16th September at 6pm. 

Widely considered as some of Robert Altman's best work, the film takes a snapshot of people involved in the country music and gospel business in Nashville, Tennessee.

Natural Child plus Eugene Twist- O2 ABC2, Wednesday 17th September, 7pm
Rascals of the country scene, Natural Child 'Let the Good Times Roll' with comical lyrics, and a fun laid-back stage show. 

Indie Media Mag sums the boys up perfectly: "the three-man band blends country, rock and blues to make an elixir to cure all your musical ales (Sic)".

The Urban Voodoo Machine plus Dirty Diamond and the Gunslinger - O2 ABC2, Saturday 20th September, 7pm
The Urban Voodoo Machine market themselves, accurately, as bourbon soaked gypsy bop 'n' stroll. 

Urban Voodoo Machine

"The London-based nine-piece inhabit a weird, surreal Noo Orleans world where the ghosts of Dr. John, John Lee Hooker and vaudeville orchestras do battle with stomping rockabilly-style swamprock". (Louder Than War)

Christian Bland & the Revelators plus Al Lover -  O2 ABC2, Tuesday 23rd September, 7pm
Christian Bland is best known as the guitarist for The Black Angels (part of No Mean City in 2012) His solo project, 

Christian Bland and The Revelators highlights his signature sound and his contribution to one of modern psych-rock's biggest and best bands.

Chastity Brown -  O2 ABC2, Thursday 25th September, 7pm
The sound of Chastity Brown is a laid-back fusion of soul, jazz, blues and country. She has been compared to the likes of Tracy Chapman and Nina Simone; 

and Penny Black Music dubbed her last album, Back-Road Highways, "THE soul album of the year".

The Dunwells plus City of Lights - O2 ABC2, Saturday 27th September, 7pm
Leeds lads, The Dunwells, describe their sound as a "unique blend of emotionally driven, anthemic rock, featuring four part harmonies". 

Their influences vary from Foy Vance and Crowded House, to Fleet Foxes and Elbow.

In conversation with Jim Dead.

Tell us a bit about yourself Jim.

Early days are always the best place to start.

So when did you first feel drawn to music, and how did that then move on to you creating your own?

I guess it’s an old cliché, but I remember flicking through my parents’ record collection … it was quite an eclectic collection, too. I don’t suppose that I really became immersed in music until my early teens.

Then I was obsessed.

Spending hours putting together mixes for friends, when not sifting through the tapes and LPs that belonged to my parents and liberating the best tracks from their obscure and often disappointing albums.

I was the one in school preaching music. While I was sorta like the weird kid who liked ‘Heavy Metal’, folks were tuning into the mixes I was giving them.

We started hanging out together and eventually we got a band going.

We were dreadful. Couldn’t really play, but we stuck with it and we made quite a noise.

When you did start performing did you have a clear idea of what you were wanting to do, or like so many others has your experience been one that flows and reflects your own personal current tastes? The reason I ask is because I know so many solo artists who initially started off in pop punk acts as teenagers and then as their tastes in music widened they gravitated to more introspective ways to express themselves?

It’s been quite a journey to get to this point. I sang and occasionally played guitar in a fair few rock bands since 1997.

I was influenced by pretty much all of the alternative rock that I had been discovering since Nirvana.

Blind Melon, Screaming Trees, Jane’s Addiction etc.

Among the racks of CDs I had some Rolling Stones, Neil Young, Johnny Cash and Tom Waits and I started paying a great deal of attention to alternative Country around the end of 1998 or so after a friend had introduced me to Whiskeytown’s Strangers Almanac, American Music Club’s Mercury and Richard Buckner’s Bloomed.

Soon after that I was hooked on Joe Henry and soon that became the music I was immersed in.

That was shaping how I wrote songs and I brought that influence in to the bands. Lyrically I began exploring different themes – telling stories … telling my story and such things. It would be fair to say that I started going down a different path.

I wanted to create something dusty. Just strip the songs right back.

So far you have been self releasing your music. How is that? Do you like the level of artistic control it brings you?

How about financially. Does it feel restrictive in a sense?

I really don’t think there is an alternative. It’s a very rewarding process, really. Even if it does have some challenges. Being able to release what I want is, well, pretty nice. I mean, I could sit on the floor in my kitchen and record something.

Water running, some pots clanging and me telling some story and have that on an album and EP without any worry that someone somewhere at a label has decided to make an executive decision and discard it as useless.

It can be a challenge, though.

Especially from a financial point of view, cause I’m not really business minded.

That whole budgeting for recording, printing, the distribution, etc … it’s tough. I don’t think in terms of how many days I need in a studio, I think about how many songs I have. But I’ve been lucky enough to have met folks who have been willing to give their time and talent, too – I don’t reckon Go Tell, Ten Fires and I’m Not Lost would have turned out like they did without others investing in the projects as much as I did.

The last six months has seen you play some solid shows that are drawing some attention your way. Are you pleased about this?

Absolutely, yeah. It’s nice to know that there are people out there who not only appreciate what I’m doing, but actually get it.

They can buy into it.

Maybe it’s because I’ve played the right gigs, I don’t know.

Over the last few years I’ve been lucky enough to meet folks who are passionate about music and they’ve become real supporters of what I’m doing and they’ve been kind enough to write some generous words. I’ll not throw names at you, but these folks know who they are and their words mean a great deal. Cause I know that there’s integrity behind them.

Do you have a loose career plan? I hear people saying things like I am giving it five years and if I get nowhere them I am done. It sounds very much like it's not so much about the music when it is put like that.

I wouldn't say so, no. I haven't thought about making a career as a musician since ... well, I'd say since the early days of being in a band. I think it last crossed my mind in the early 2000s with my old band.

We were very much riding a wave for a while and talking about getting a label, etc. But we recorded an album and I don't think any of us was motivated enough to do anything with it.

Hell, we didn't even take it to sell at gigs.

I wouldn't say that going out on my own has never been about a career though.

I started doing this thing as a way to get stuff out my system and it evolved from that.

I've been lucky enough to stumble into some great opportunities - my songs have found their way into the right circles and at a grassroots level I've picked up some good reviews and supporters along the way - but, it's exhausting trying to make people listen.

I know that's an issue for a lot of musicians I know.

Maybe because of what we do? I don't know.

It's difficult to gain an audience. Don't get me wrong, I like to play these songs, but I can't always rely on friends to come support me all the time ...

So, while I don't have a career plan, I guess I kinda have something. I'll continue to write and record, but I think I need to think long and hard about removing myself from playing to an audience.

Have you any plans for touring? Does the idea of slinging your guitar on your back and heading out into the world sound appealing?

It's something I thought about, yeah ... and I was very close to putting it together last year.

half did.

Some emails to venues down south went unanswered and I kept looking at other venues.

Then other things cropped up and I started writing and recording what eventually became I'm Not Lost.

Right now what do you think about the musical landscape locally? There's been a great deal of discussions among artists and those who work in venues about how tough things are getting. Do you agree that live music is becoming an increasingly hard sell, and if so what are your thoughts?

I don't know. I've never been convinced that Glasgow had a great live music scene.

Let's be honest, there's this great tradition of having live music in pretty much every possible nook and cranny within the city, but whether people are actually interested enough to listen is another matter.

Most of the time there's a chance that the music just aint that good.

Does that constitute what's always considered as a vibrant musical landscape?

Don't get me wrong, I've heard a load of good bands and solo folks and some of my favourite acts are indies.

There's also a few great nights out there that you know you can rely on for a solid line-up.

But I don't think the landscape is in good shape.

It needs a shake.

I don't have the answers. I have ideas. But I've seen a few folks try to create something unique and see it crumble because there's too many free mediocre nights out there.

Nights where you can hear Paul Weller off-cuts, Wonderwall or Brown Eyed Girl.

Website - http://www.jimdead.com/

Merch - Music - http://jimdead.bandcamp.com/

In conversation with The Ballachulish Hellhounds

Is it a source of pride that very rarely anyone manages to spell the bands name correctly? Is there any weird and wonderful versions that you read and wonder how they could get it so wrong?

Ah, the name.

Its a double edged sword sometimes.

On the one hand we're not too precious about folk getting it right, particularly if they've made the effort to come and see us play.

It's a memorable name, if a little hard to pronounce for some people.

I do get a wee bit annoyed when someone’s booked us and they cant be arsed spelling it right on a poster or promo. We live in a world of 'copy and paste' so there's no excuse really.

On the other hand we got booked to play the Grand Ole Opry in Glasgow a couple of years ago and the promoter had us down as The BallaHELLISH HOLEhounds. That tickled us, even thought about changing it permanently, for about ten seconds...

I hear you received an interview request due to the band being young and up and coming. Do you want to share with us when you actually formed?

Yeah, that was funny and a bit sad really. Symptomatic of the lazy amateurs running about today’s music scene, but that’s another conversation altogether.

We actually played our first gig in 1989 as a psychedelic blues rock band, complete with a harmonica playing army deserter as our front man (seriously!) and a drum machine.

We played like that for a couple of years, then life got in the way.

Myself and Zander met up in Glasgow 7-8 years ago and started jamming again, played a few gigs as a duo and discovered that folk seemed to like what we were about. The turning point was getting booking for The Wickerman Festival in 2007, things seemed to take off after that.

Since then, we played the length and breadth of the UK, put out 2 well received albums and an EP and amassed over 300 gigs and counting.

So it's been a rapid ascendency in popularity for you all?

You could say we're an overnight success, if a night lasted 25 years...

To be serious though you guys have been pushing a hard bluegrass sound for a while now.

Do you feel that sometimes the americana/folk scene can be accused of being a bit clean and your sound could be described as a tad more authentic, as apart from it having a frayed blue collar there's a great deal of dirt under its nails?

We're kinda outsiders on the scene, but that’s ok with us, we like it that way.

It can be too 'clean' as you suggest, our roots are in noisy rock and punk, so I think that comes across in our live shows. Sometimes I think you can give roots music too much respect, we like to mix it up and play it with a bit of edge, particularly at our live shows.

We have more of an 'up and at em' approach, which isn’t really how a lot of UK Americana bands do it.

We're the real deal though, anyone that comes to see the Hellhounds will know they've been to see a band that’s honest about what they do, hopefully they'll think we can play a bit as well and come back for more.

Where we come from in the Highlands, Kinlochleven and Glencoe, used to have an Aluminium factory right smack in the middle of the mountains, so we grew up in a curiously odd place. Heavy industry and everything that comes with that, set to a back drop of mountains and a small village lifestyle.

I worked for ten years there stacking Aluminium ingots and working shifts, my collars are still frayed and blue and I can still remember the dirt and the grime from working there, Zander was the same. I think has given us a good work ethic along with a bit of a fuck you to the man attitude. Nothing worse than some middle class boy or girl singing about 'working on the rail-road' 'drinking moonshine' or how bad it is in jail.

I usually find it pretty crass and think to myself “if that fella/lady ever seen a hard days work, then My name is Johnny Cash....”

What do you think about the rise in popularity of roots music over the last few years? Pros and cons?

Personally, I think its great.

As with any genre, if you stick to playing well and honestly, you last the course. We play what we like and if folk like it, that's grand. We've been doing it for a few years now and it comes and goes. The first wave in recent years was when the soundtracks for O Brother Where Art Thou and Brokeback Mountain came out.

That piqued some interest.

If I'm being honest, I don’t really see any cons, anything that can get folk listening to some music they might not have discovered otherwise is fine with me.

Any genre specific music always attracts scensters, Americana music isn’t any different.

If it means they buy a tickets to see us and maybe even a CD, that's cool. Although, I’m a wee bit pissed off about the amount of checked shirts on the go these days,

I used to wear them because they were cheap, now every fuckers got one...

You are a self released band. Is that through choice or necessity?

Its a bit of both really. There's another band on our label called Dixie Fried, I've played in bands and been friends with their drummer John Murphy for years. Both of us have been working in and around music for a while running gigs and helping our other bands. We decided that the best way to go was to set up our own wee label called Big Rock Candy Records and self release our own music.

Its been a good learning experience, but very worthwhile.

There's 4 acts on the label now and we wont have any more than that on it. The best thing is that we have complete control over what we do. Everyone involved in the label does a proper shift when they have to, its a pretty good collective of like minded people. It goes back to the work ethos I spoke about earlier, there's far too many really talented folk that aren’t prepared to put in the extra work to get themselves to the next stage.

We have the label at a level we're comfortable with, playing music is our priority, but running our own label makes us to push ourselves a bit more.

And apart from anything else, being in control of our own destiny has made us find out more about the pond we swim in. I’m sure you won't be surprised about the amount of musicians that don’t actually have a clue how the business works.

We're no experts, but we have a bit of a clue...

You played recently as part of the No Mean City festival in Glasgow. It was a far reaching run of dates and you played the opening night. How did that go?

That was a great gig for us, although I’ve played there in a couple of other bands, this was the first time The Hellhounds had played the ABC and to be playing as part of No Mean City was great.

We got a cracking reception, always nice to be invited to these sort of things.

We played King Tuts for the first time this year as well, never too old and all that...

While some acts seem to be rooted to one geographical location you appear to do as many gigs in the north of Scotland as you do on the west coast if not more. Are the audiences quite different as I have this idea in my head that the further north we go the more they would get what you guys are all about. Is that a fair view?

That's true to a certain extent. When we play up north folk seem to be right up for the night out and usually get right on board with the craic.

That’s not to say we don't enjoy playing in our home town (Glasgow), there are just far more opportunities for a band like us to actually get paid and looked after by travelling to far flung places outside our comfort zone.

Definitely sharpens your tools by hitting the road, that's for sure.

We're a bit old school in our approach, we sell most of our CD's at gigs, so it makes good sense to play in as many different places as we can.

I get bored really quickly playing the same venues in Glasgow, in fact over the last 2-3 years, we've only played 2 or 3 gigs a year in Glasgow.

Festivals. Of course I was there at Eden this year and I had a ball, as you all obviously did to, as we bumped into each other often enough in ongoing degrees of intoxication. Was that one of your favourites and what others did you play and how did they measure up to it?

Eden was great! That was our 3rd year in a row there, top festival and always a grand gig for us. Proper party people.

This year we also played Belladrum amongst others, headlining The Potting Shed Stage for the 2nd time, that’s a right home gig for us and always a good weekend.

The crowds there are mental, in a good way.

Probably, playing festivals is when we really thrive. We can play a 45-60min set and really go for it. Not forgetting we're usually playing to a crowd that in the most part, haven't heard us before.

That's a challenge we like, bringing a bit of mayhem to the uninitiated, always fun.

And finally what's next for the band. Have you more recording plans, live dates, supports?

Well. We've just finished a run a dates from April-September which included a pile of festivals, King Tuts, No Mean City and a whole heap of places in between including our first gig in Mull, which was a lot of fun.

At the moment we have a couple of gigs in November and that's us for the live stuff for the year, unless we get a decent offer for something good.

In 2014 we're celebrating 25 years of The Ballachulish Hellhounds, so we're making plans for that.

I can say, there will be an album simply called The Ballachulish Hellhounds with all original songs. Along with a big party in Glasgow and one in the Highlands.

I cant say much more than that at the minute, but if you follow us on Facebook, that's the place to watch. We also have our website www.thehellhounds.co.uk where you can keep up to speed with any news and stream all our music to.

http://theballachulishhellhounds.bandcamp.com/

Jim Dead - I'm not lost

Jim Dead has the American folk blues.

It's not that he's depressed thinking about our colonial cousins, but instead that he's picked up on the country trails, the swirling mud of the Mississippi, and the vast expanse of the desert skies and can't shake it.

That he has written this album under the slate grey, and often rain dispensing, clouds of the west of Scotland is as impressive as it is strange.

He hasn't just been able to mentally transport himself to the other side of the world to write his music either, because now that it has been birthed he is also looking to give you a ticket so that you can join him on his journey.

All you have to do is close your eyes and listen.

Then as if by magic you are there with him.

A stranger in a strange land emulating their customs to such a degree that you can't see where the join is in the fabric.

Quite simply put 'I'm not lost' is on par with anything that comes out of the states with the authentic tag attached to it.

While the genre itself has spread far and wide, and it isn't unusual for artists from all over the world to dip their toe into the americana sound, it is maybe still that wee bit rare for it to be done in this apparently effortless fashion.

Rock solid from start to finish.

A Celtic Connections star in waiting for sure.

Jim Dead Website.

Sam Doores, Riley Downing and the Tumbleweeds – Holy Cross Blues

I have no idea what authentic means. Well that's not strictly true. Of course I know what it means, but what I'm really getting at is that when people bandy the term about I don't really get what 'they' mean.

If it's the fifties and an artist uses the technology and instruments available to him or her to record a handful of songs, then why is that strictly authentic while someone doing likewise in the present using the same technology and such, is described as 'sounding' authentic?

If it's the same process, the same approach and the same final outcome, then what is there to hang your hat on to claim a difference?

Maybe it's a pedantic point, but also maybe worth mentioning as this takes me to the debut album from Sam Doores, Riley Downing and the Tumbleweeds, a release that can't seem to shake the 'sounding authentic' tag.

I've got news for people.

It sounds authentic because it is.

Between them the band stir a pot pourri of influences and embrace their love for country, the blues and American folk music as each floats to the surface.

There's something quite magical about it all.

I can never really describe what the attraction to me is when people get together and make music that I feel this comfortable with.

I've used the term aural alchemy before, and that's exactly what I hear.

Individual musicians taking a little bit of this and a little bit of that and weaving gold out of it.

This doesn't so much sound as if it is from another time, but more so from outside time.

When music is played so well, and with this amount of heartfelt passion, then it really does transcend when it was recorded, and this is an album that does that with a great deal of aplomb.

I sincerely do hope that Sam Doores does manage to get back to the UK in 2013 with the rest of his band mates by his side this time.

If they do I'll be front and centre to experience this in all its glory.

Buy it here (European CD release coming soon)

Facebook link

Jon Snodgrass/Cory Branan/Roscoe Vacant and the Gantin Screichs - 08/06/12 - The Bay (Glasgow)

With the Olympic torch passing close by the streets are heavy with police motorbikes and riot vans.

The pavements are less busy with spectators.

It's getting late, and for many people all they are thinking about is getting home from work.

It's very obvious that the auspicious honour of bearing the torch doesn't have the same attraction when it slips down streets that aren't media hot spots.

There's no kids chasing the torch bearer, no pavements full of cheering supporters gurning and waving at the cameras, and instead there's just small pockets of what I presume are family and friends looking on.

No one seems to care that much about it at all.

Meanwhile mere yards away Roscoe Vacant, with three of his four Gantin' Scriechs, took to the stage in The Bay.

The setting isn't strange, but I'm feeling a bit discombobulated as the band are playing in front of windows where the days fading light is their backdrop.

This throws me a little as I'm used to seeing them perform in bars late at nights and in subterranean clubs that have never seen natural light.

Yet in some way it felt that the setting was adding a little frisson to proceedings.

Maybe a bit of Dylan Thomas as Roscoe and his band were unwittingly standing up to 'Rage, rage against the dying of the light'.

A modern day poet in his lyrical stance, Roscoe Vacant, is the sharp edge to social commentary, a folk punk with a a fistful of passionate songs to sing in a take no prisoners manner.

He's a mix of Robert Burns, the two Woody's, Strummer and Guthrie, and the product of a straight talking mining community that has shaped his views on everything that you could care to mention.

If you want a rant about the sectarian divide that blights the west coast of Scotland then he's the man to give you it.

Similarly if you want to address the failings of the unions over the last twenty odd years then he will also happily ring a song out about that to.

Some have claimed him to be an acquired taste, but with a bit of effort the rewards to listening to him are untold.

With his last album it could comfortably sit between the Pixies and the Pogues and you can't say that about many people.

Within the confines of the Bay it was refreshing to see the crowd watch the band with an open mind, and to go on and willingly show their appreciation of what they are doing.

After the set I was speaking to Roscoe who said that he felt happy with the performance, and from an artist is hyper self critical that was saying something.

I sincerely hope that this is the beginning of a run of gigs where he finds an audience who can tune into what he is doing.

The majority of people there were however attending the show to see Jon Snodgrass, and if I was to hazard a guess as to why then I'd lay money on it being down to the split 10”/Download that he did with Frank Turner.

The amount of Turner t-shirts and the regularity that his name trips from peoples lips make it a tad obvious.

Regardless of their reasons for making the effort to show up for the gig they were keen to be entertained as when both Jon and Cory wandered through the crowd to take their places behind the microphones the buzz was palpable.

I'd previously heard both while trawling the internet, and kicking about somewhere is a few Drag the River albums, but until now I had seen neither live.

My ignorance to what they do on stage actually extended to the point that I was under the impression that they were going to play separate sets, and maybe at some point of the night perform some songs together from their split release from 2009.

Instead they simply hung about on stage shoulder to shoulder and comfortably eased into songs as the mood took them.

It's a communal performance with each of them accompanying the other as required.

Jon would add some vocals and guitar to one of Cory's songs and likewise Cory would do the same for Jon.

It's an approach that could lend itself to being disjointed and problematic, but in this case it flowed rather naturally, and I presume that ease is rooted in the artistic relationship that the two men have.

For myself I was more impressed when Cory Branan took the lead, but that's not to say that Jon Snodgrass is a lesser talent, but more so an expression of my own personal tastes.

Both are of course exceptionally talented individuals.

It's just that the gruff tones of Cory's voice ticks more of the boxes for me.

Musically Jon is an extension of Drag the River minus the vocals of Chad Price.

There's no great leap in a different direction, and instead he's still meandering down the path without any distractions from forks in the road that are there.

Fans of the band would not be disappointed with the performance, and anyone being introduced to what Jon does should have been suitably impressed.

However for me it was Cory who stole the show.

He's the raconteur of the two and comes across like an amalgamation of every blue collar troubadour you could care to name.

It's entirely possible that I'm holding the minority view in my preference for Cory over Jon because as said the crowd was in the main there to see Jon play, but in all honestly there's a small voice whispering away in my ear that this was only down to the 'Turner' influence, and if Jon hadn't released that split with him then there would have been far fewer people willing to dip their toe in and sample what was on offer.

Regardless of that I sincerely hope that they liked what they seen in its totality, and will now use the experience as a catalyst for action and begin to keep an ear out for artists of a similar ilk.

Full kudos has to go to promoter 'Punk Rock Rammy' for making this gig a reality.

Well played.

Keep up to date with Punk Rock Rammy gigs here.

Hurray for the Riff Raff/The Dirt/Matt Scott/Little Fire - The Bay - 30/18/12 (Glasgow)

It gives me a great deal of pleasure to announce that itsaXXXXthing is once again going to be dipping its toe into the shark infested pool more commonly known as promoting, and I will be putting on the utterly fantastic Hurray for the Riff Raff from New Orleans in Glasgow.If you haven't heard of them just yet, then don't worry. You soon will.
With an album that The Times and Mojo are heaping praise on, and plenty of live performances that are leaving audiences gape jawed in wonderment at the talents on display, I fully expect that by the close of this year their star will be on the rise and the name of the band will rest easily on the lips of many. Watch the footage below and I won't really have to say anything else about them, as that will say far more than I could about just how special this band are.

Oh. I was just asked what the Alabama Shakes connection is.

It's that the Alabama Shakes guitarist produced the current album Look Out Mamma.

Review of Look Out Mama

In support are three acts who I personally feel no shame in saying that I am a fan off.

Little Fire who has played with everyone from The Secret Sisters to JLS, and has a gig coming up with the legendary Joan Armatrading very graciously accepted the offer to play, and I am sure that the music fans of Glasgow will be as impressed with his music as I am.

Matt Scott is a personal friend, but our friendship has nothing to do with his name being added to the bill. 

Instead he is there because he has an uncanny knack of blowing an audience away.

Raised on classic rock music he has grown into a young man who has learned his craft at the feat of varied artist such as Bob Dylan, Tom Waits, Frankie Miller and others who would be credited as poetic geniuses as well as accomplished musicians. 

Last, but it is obligatory to mention, by no means least is The Dirt.

With his deep vocal range Graeme Dirt is the Johnny to Jen Dirt's June, but don't expect a jolly rendition of 'Jackson' from this pair as their hearts are of a more darker hu,e and they delve into the anti-populist genre of the murder ballad with a great deal of aplomb.

As of an hour ago when The Dirt confirmed and the whole line up was secured I felt a chill of excitement run up and down my spine. This is going to be a great gig. I can feel it in my bones.

If I wasn't putting it on I would be attending it anyway.

As for the venue itself. This will be the first time that I will have used The Bay in Glasgow and I am looking forward to working with them on this as their ethical approach to hosting bands is something that I admire.

All in this has been a good day. I hope you can all join me on the night as the entertainment will be of the highest standard, and coupled with very reasonable drink prices and the allure of food I reckon this gig will cover the needs of most music lovers looking for a special night out on the town.

JLP Project

Last post of the week here and after all the oldies here is something old, new, borrowed and probably blue.
Here's how the story goes.
Old demos and fragments of songs are dusted off and given a kick in the ass by the likes of Nick Cave, Debbie Harry, The Raveonettes, Mark Lanegan and others.
It's a homage of sorts. Sometimes it works and sometimes it doesn't.
23/01/10 A retraction on my comment above.
Now that I've been living with this I've gotta say that it does in fact work. It just took a while for it to click, but now that it has, well wow. That all. Wow.
http://rapidshare.com/files/338987767/JLPSessProj.rar