Runaway Phoenix

What would you do if Alice Cooper was your father?
Apart from lounge poolside at his gaff topping up a tan while sipping on tequila and using his name to get cameos in some horror films that is.
Would you pursue a career as a rock vocalist?
Personally I wouldn't as no matter what you do and how good you are at it the shadow of Alice will forever hang over you.
Every single note that comes from your throat will be compared to the talents of the patriarch of the family, every song written will be placed side by side with a classic Cooper track and rag dolled as it falls short of matching it.
However Dash Cooper either doesn't give a shit and isn't shy on promoting himself off the back of his fathers endeavours, or has a misguided opinion of his own talents, as here he is in all his glory fronting Runaway Phoenix.
It's not actually that bad if you are into eighties styled rock metal, and without the Cooper connection some lukewarm praise could be offered, but as mentioned you just can't get away from the Coop.
I can hear Dash in my head saying that he only wants his band to be reviewed for their own efforts and that it is wholly unfair to forever judge his talents against his fathers, but if that was true then why carry the surname around with him, why mention who his father is on every press release. and most importantly why have him guesting on a song?
I would think that this is one for the Coop completists, as without his contribution there's not a lot going on that holds my attention.
Unless there's a revival of the harder edged hair metal scene then Runaway Phoenix could very well be destined for the bargain bins.
In fact even if there was then they would probably still be floating at the bottom of the three for a dollar bin.
I can't help thinking that Dash Cooper is the George W Bush of the rock scene.

In conversation with 4 Past Midnight

Mainy - So that's you guys back in the saddle again? How long has that been since you and Fred have shared a stage as 4PM?

Peter – Yeah, back in the saddle for more mayhem, torture and mental abuse. You would think by now we would know better. I suppose we're gluttons for punishment as they say.
It's been a while since Fred and me shared a stage. Probably 2006.
It's good to be back together. It works.

Mainy - What was it that acted as the catalyst for this reformation?

Peter – Well I'd sworn to myself that I was never doing it again. It was always two steps forward and three back.
We were always falling out with each other, falling out with people from outside the band, dealing with the general hassles that every band has to deal with and I'd got to the stage that I was tired of it.
I left it behind me, but people kept asking when we were playing again and telling me they missed the band so in hindsight I've got to say that the well meaning pressure from them kept the band lurking about in my head.
The real catalyst, the thing that was the tipping point, was when I was sitting in the car outside the supermarket waiting for my wife to come back and I found a copy of 'guilty as charged' and slipped it on.
I honestly hadn't listened to it in over two years, but when it was on I got that buzz and started thinking 'damn, that's a good set of songs right there.'
From that moment I started thinking about the good times and tucking all the negative crap to the back of my mind.
There was only one problem though. Fred and myself hadn't spoken in about six years after a major fallout and when I think about 4pm it's always Fred and me in the band.
If the band was going to get back together then it had to have us at the core.
So as I had already been thinking of getting in touch him and trying to mend some fences and maybe this was the time to kill two birds with one stone.
In all honesty I didn't even know if he would speak to me, but then coincidently a few days later my wife was on msn and spoke to Fred and told him that I was looking to get back in touch.
A week later we met up in the Solid Rock in Glasgow and that was that. We simply put the past behind us and 4pm as a band were back for about the 1000th time.
Fred and me have a sort of musical soul mate thing going on. We love and hate each other, sometimes at the same time. It can be frosty, but most times we get on great as we know each other inside and out.

Mainy - You want to introduce the new guys to us?

Peter - Yeah ...we have two new recruits who have really opened the sound of the band up. We have Brian Cartwrite on lead guitar and the duel guitar sound between Fred and Brian now sounds really powerful. Stevie Goldsack is playing bass for us. He's rock solid.

Mainy - Instead of sneaking in the back door you have a comeback gig sorted in Glasgow and are returning with a bit of a bang. I mean it couldn't be described as dipping your toe in to see how the water feels. It's more a cannonball into the deep end.
So do you want to fill us in on when, where and who is playing at it?

Peter - Yea , We have never been a band that just sits back. It's never really been our style. If we go for it then it has to be full throttle. Anything less than 100% doesn't cut it with us and I suppose we wouldn't have it any other way. Full throttle or not at all. That could be our motto.
The reunion gig is at the Classic Grand Saturday April 7th.
It's Sandie Noone who is promoting it so we are in safe hands. She's managed to get it as an over fourteens show to. It's a top venue a capacity of 400, but what the hell, if you're going to put on a reunion gig then you have to go for it.
The supports are top drawer Glasgow acts. We've got Hateful who really don't need an introduction. I've always thought that they were one of the best live acts that we have who were only matched by The Red Eyes.......and we are really pleased to say that we have them to.
So there you have it. A night of premier Punk rock and roll. If I wasn't in the band I would be in the audience....enough said

Mainy - From a previous discussion we had I know that the band is keen to draw the attention of a younger crowd and aren't just looking to ride the nostalgia train, but how are you going to do that?

The thing with the younger folks is that they want to see live music but most of the gigs are 18+ and they cant get in.
They have the hunger, the passion and want to get right in there and participate, but they are locked out.
It's something that does my head in. The music should be for everyone. So we are trying. Along with Sandie, to address that.
We are going to be passing out flyers and free CDs to them.
We know money is tight for them, and everyone else. So it's mutually beneficial to get them onside with us. They get a CD and we get an expanded audience.
Hopefully they can appreciate what we are about and go home, listen to the CD, check us out online and then make the effort to come to the gig.
They will be made welcome.
They're the next generation who will carry the torch. Full respect to them.
To disregard them is ageist in itself. I remember being their age and I don't think things have changes as much as the media want us to believe.
Feral kids? Give me a break. They're us thirty years ago.

Mainy - As a band you always had a problem with the exclusive attitude that often rears it's ugly head in the punk scene. Have you seen much evidence of that sort of crap this time?

Peter – So far I've not witnessed much of anything because we have not been gigging yet , but I'm sure it will raise its ugly head at some point, Unfortunately it always does.
Hopefully I'm wrong. In fact I sincerely hope I am and it might be different this time around.
Hell, we're all middle aged men now. Surely we can all act like it.

Mainy - Obviously at the moment you will be concentrating on the comeback show, but what do you have planned for after that.
More gigs? New material?

Peter – Yeah, we're going to record a new album right now. It's set for release around November this year on STP Records. Stu has always been good to us and he has a solid roster of acts. It's cool that we are doing it with him.
We've a few other gigs lined up and hopefully more to add shortly. A two week tour around November time is also being talked about, and hopefully The Angst from Florida will be doing it with us.

Mainy - The last tour of the USA sort of broke the back of that line up.
Would you try it again or are you more of the attitude that if they want you then they can do the running?

Peter - No no. I want to break it on some level there. We have fans dotted all over the states and I hope to get 4PM back stateside in 2013 and play to them.
It's a hard place to tour and takes a hell of a lot of organizing, a lot of money to fall back on and a lot of miles to be eaten up on the road, but I believe we can get it done.
We also want to get ourselves over to Germany, France and more mainland European countries. Ireland is a place we want to play to.

Mainy - I see that a few people have been asking if you are playing the Rebellion festival this year. At the moment it seems to be in the hands of the bookers so is it looking promising.

Peter - Rebellion is one of those hit and miss affairs.
You either get on the bill or you don't. Darren Russel gets bombarded with bands like us wanting to play it and I think it comes down to support from fans. He's a business man with a passion for punk. If there's enough people ask for a band then that raises his awareness of them and increases the chances of being booked.,
Basically if he is inundated with requests asking for you to play then your chances of appearing improve.
At the moment there's still a lot of people who are unaware that we are back and that maybe isn't helping us.
I've sent shit loads of emails to Darren with no success as of yet, but I'm a needle in a hatstack.
How many emails do you think he gets a day?
So just need to wait it out and fingers crossed that we can get get squeezed on at some point.

Mainy - I was looking at the line up. Rancid will obviously be a big draw, but what do you think about Johnny 'panto dame' Lydon appearing with PiL? He's the punk who hates punk so in his usual contrary manner this could be right up his street.

Peter - I seen PiL had been added to the bill. I've never been a fan and only liked a few songs, but he will put on a good show and I doubt anyone will be moaning about a real live Pistol on the bill.
I can't imagine him watching any of the other acts though ...can you?

Mainy - You've been involved with the US label Working Class Records and they've got your albums up for download globally. How did that come about? Has it gave the material a new lease of life?

Peter - I'd been sending out emails to record labels, trying to get someone to reissue the 'trials and tribulations' and 'guilty as charged' albums as limited vinyl releases as I've always wanted to see our releases in a vinyl format,
But anyway, WCR was one of the labels I Had sent this email too and they responded with 'we dont do vinyl, but we can help getting your releases going on the digital market and give your previously released last two albums the reissue treatment.'
I thought what the hell. Nothing ventured nothing gained as it were.
So that's how it came about. I'm not a lover of downloads as you know as I prefer a physical product, but it's 2012 and you just have to accept that there are a lot of people who do like downloads.
The time is probably right to venture down that road with 4PMs material.
Who knows. If sales go well maybe someone will want to licence a vinylrelease.
Also in the pipeline on WCR is a proper CD and digital download release of Punkology : The Collection 1989-2002 album that we did that that features all our demos & rarities.
Originally that was a purely DIY release.
I'm personally rather excited about those two albums as they have never been properly pressed on CD. We only ever burned cdr copies to sell at gigs. Not really the same as a properly pressed cd with proper cover and so on. It's been a long time coming.

Mainy - and lastly. I was looking at your latest promo photographs and mate....The Rock......c'mon. If you want a loan of a t-shirt with a good punk band on it just say.

Peter – Ha. Fuck you. Brian the lead guitarist had said ...no band shirts to be wore in the pics ...So all I had was one with my favourite wrestler on it THE ROCK ....at least its different if not Electrifying. You're a fud. LOL.

Templeton Pek - Slow Down For Nothing

As a band Templeton Pek are starting to cement a well deserved reputation for never resting on their laurels.
It's laudable that with each release they've managed to move that little bit forward into uncharted sonic territories while maintaining a connection with their punk roots.
This ability to expand on what they do while keeping their fan base happy is going to be the thing that ensures them a place in this game for the long haul.
If any evidence of their ongoing musical maturity is required then look no further than their latest release on People like you records 'Slow down for nothing'.
It's five tracks of solid intent.
It would seem that the tour supports with Rise Against and The Blackout - and being featured on festival bills across the globe - has seen them pay their dues and now they are giving all indications that they are ready to step up
This is the sound of a band flexing their muscles and making a grab for the headlining position.
If they can follow this with an album that's imbued with the same controlled aggression then give it a year and they will have the melodic hardcore loving kids baying their name at the moon.

For Jacob. A Fundraising gig in aid of Sands. A message from Laura.

I'd like to invite you all to join me in raising money and awareness for Sands in memory of my son, Jacob, who died shortly after birth on 25th November 2011.

Tickets for this fundraising gig cost £5 and all money from ticket sales will be going to the charity, Sands, with tickets available from Su Casa in the Lorne Arcade, Ayr and Harleys in Ayr. Tickets will also be available on the door on the day so don't worry if you can't get in to buy one beforehand. There shall be plenty of great acts playing with something to suit every taste!

If your not able to make it along, you can still donate online at:

http://www.justgiving.com/Jacob-Raymond-Gordon-McIlloney

Today seventeen babies will die in the UK as the result of stillbirth or neonatal death. At Sands, they aim to raise awareness of this shocking statistic and help the research that is required to drive down this number. To have a look at the work they do check out:

www.why17.org

Bring as many friends and family as you can and lets have a great day in memory of a very special little boy!

Hope to see you all there!

Laura x

Line up : Brown Bear and the Bandits, Tragic O'Hara, Duffys Gypsy Band, Sixmilewide, Alan Frew, Scott Nicol, Starsigns and Calendars, Russian Ninjas, Melisa Kelly and the Harmless Thieves, The Risk, The Helms, Grant Collfield, Calum Muir, James Fole, Martin McLaughlan and more tbc.

Epic Problem – Epic Problem EP

This three track debut from these Mancunian no frills punk rockers certainly shakes the cobwebs away.
Gruff and to the point they may be, but unlike the many bands of their ilk who rise and fall with alarming regularity they know how to temper the aggression with enough melody to avoid the many pitfalls that bog down their peers.
There's a solid grounding in the sound of the second wave of the UK punk scene, but a more worldly spin that incorporates some ska influences and the attitudes of say the Californian bands like Operation Ivy who melded hardcore, ska and punk together to devastating effect.
They could have had the running order as Short, Sharp and Shock on this.
As debuts go its to the point and will certainly send a few shock waves out across the underground punk scene, and maybe even further afield.
It's going to be interesting to see if the guys can carry off a full length album and maintain the quality.
Everything across the three tracks here indicates that they can, so remember 'Epic Problem' and keep an eye out for them returning to the fray with more than an EP.

https://www.facebook.com/pages/Epic-problem/218013441556498

The Secret Sisters - Oran Mor - 23/01/12 (Glasgow)

Muscle Shoals, Alabama carries its legendary status in the world of music with relative ease.
Whether it's within country music, rock and roll, the blues or more contemporary sounds you will find the fingerprints of that Southern city all over popular music.
Bob Dylan, Aretha Franklin, Paul Simon, The Rolling Stones, Rod Stewart, The Allman Brothers, Lynyrd Skynyrd and many more have all made the pilgrimage to either Muscle Shoals itself, or the the studio that was relocated to the neighbouring city of Sheffield, and successfully managed to imbue their material with some of the magic that the area possesses.
Due to this patronage people with an interest in the history of the development of popular music have turned their attention on Muscle Shoals and tried to explain why one place could have such a profound influence globally.
It has been the subject of essays and books, but for me the attention to detail seems to often miss the point.
Sam Philips claimed that the WLAY radio station that aired out of Muscle Shoals with a mix of black and white artists was an influence on Sun Records, and there in that one comment it says it all.
This melting pot of cultural influences and musical alchemy was the catalyst that sent a shock wave across the world as Sam Philips, amongst others, aided the cultural birth of rock and roll.
So is it any wonder that as the years past that artists from across the world, who had gained a certain degree of success, would then use their money to make a trip to the crucible where much of what they were influenced by had originated from.
It seems over simplistic when I put it like that, but does it have to be any more than just what it is?
Now here we are in 2012 and the latest act to push Muscle Shoals back into the collective consciousness of the world is not one making a trip to the area, but instead one who actually originates from the city.
The name of the band is The Secret Sisters.
Real life siblings who sound like the Yin to the Everly Brothers Yang, and last night I had the great pleasure of seeing them perform a set as part of the annual Celtic Connections festival that Glasgow hosts.
Now this is where it gets difficult.
How can you describe an experience that was so gut wrenchingly beautiful?
Can you imagine cold crystal clear water tumbling untainted down a mountainside that's bathed in sunlight?
That's what Laura and Lydia Rogers sound like.
There's something organically perfect about how they harmonize with each other.
Not perfect in a sterile way as we hear so often from the mainstream pop divas, but instead perfect in an ongoing living, breathing and evolving manner.
It's a tactile performance and they carry the audience with them from beginning to end.
I don't think I'd be upsetting too many people if I said that country music is so often seen as a guilty pleasure, but that seems to be because over the years it has become a self perpetuating parody of itself.
Yet when you go back to the roots then there's nothing to be found that should elicit feelings of shame for liking it, and it's that sort of country music that The Secret Sisters deal in.
Real roots music.
A style that has heart and soul and speaks to you regardless of whether you were born in the shadow of an Appalachian mountain or a tenement flat in Glasgow.
As the majority of their début album is made up of covers it's no surprise that the live set mirrors that, but to claim that they are a covers band seems to be wilfully missing the point.
What the sisters do is similar to what Jack and Meg of the White Stripes did with the blues.
They create a bridge from the present into the past that allows them to take us back to the roots of something that is rarely heard now unless it's accompanied by the crack and pop of the needle in the groove.
It's hauntingly beautiful at times, and as an introduction to them the very strong set of covers and originals could be considered as a strong statement of intent that leaves no one unaware of where they are coming from, or where they are going.
This is a country act and they're not going to apologise for expressing themselves as such.
During the show the ghosts of Bill Monroe, Hank Williams are conjured up and George Jones is honoured with a rendition of Why Baby Why, and then there's more, so much more.
The whole performance is faultlessly evocative and the mix of material indicates that when The Secret Sisters get around to releasing their second album – an album that will comprise completely of original tracks - they will be able to cement their reputation as musicians that can stand proudly next to their heroes of yesteryear.
When they next visit Glasgow I would have to whole heartedly say that everyone should grab a ticket and experience them singing to you, but only after I've bought mine.
They have the voices of honky tonk angels, and while that may sound clichéd I'm sure anyone being newly introduced to them will forgive me for dishing out such a hackneyed plaudit.

The gig that wasn't to be.

Unfortunately I've had to cancel this gig.
The situation is that there are still ongoing issues with red tape and the venue (Jollys) may or may not be open for the 29th.
On that basis, and that alone, and with only one week to go it would be unfair to continue promoting a gig that may not actually happen.
Especially as none of the acts are from Kilmarnock and one is travelling from as far away as Manchester.
Sadly I will not be rescheduling and in all honesty I'll not be looking to promote any further gigs in Kilmarnock.
Sorry.
It feels like the end of something.
Kelly and myself have only ever dabbled in promoting and never ever made one penny from it.
We either broke even or made a loss.
The latter being the norm.
I really wish this gig could have happened as it's a solid line up.
Dave Sharp is a legend in my opinion.
From his days in the Alarm to playing with Dylan and ultimately doing his own thing he has never failed to entertain me.
On a personal note he is also a real gent and a man who lives and breaths what he does.
It's with pride that I call him friend.
Similar could be said about Tragic O'Hara.
The first time I seen him play a set I thought he was good, but failed to understand why friends were raving about him.
My lack of appreciation was firmly knocked into touch the second time I caught him perform though.
Everything clicked into place and I had my road to Damascus moment.
In recent months he has been securing increasingly high profile support slots and with his next album we may very well see him reap the rewards that he is most certainly due.
This gig was also going to be the Kilmarnock début for both Melisa Kelly and the band Fole.
Melisa is a young woman from Ayr who has rock and roll diva stamped all over her.
When she opens her mouth to sing the hair rises on the back of the audiences neck.
She doesn't just sing the notes, but emotes them.
You feel that it is a real performance.
There's no auto tuning, no fake persona. Just a raw talent that, similar to the greats like Janis Joplin and Billie Holiday, refuses to be diluted.
I was really pleased that I was in the position to bring her to Kilmarnock and the icing on the cake was that I would be doing the same for Fole.
Since initially seeing their singer do a solo set I've been impressed with every subsequent performance.
Well crafted songs passionately delivered will always find an appreciative audience and this is why they are going from strength to strength.
I honestly couldn't have had a better line up to kick the year off with.
As I'll no longer be promoting any gigs in Kilmarnock I'd like to say thank you to all the bands and artists who have played for Kelly and myself.
Each and every single one of you has brought something unique to the town and it is greatly appreciated.
Not just by me, but by all who support live original music.
The Hangmen from Newcastle, Promises from Holland, The Hyperjax from Manchester, Devilish Presley from London, Jinx Lennon from Ireland, Mike Peters from Wales, Dave Sharp from Manchester, Glen Matlock and the Philistines from London.
All the Glaswegians, Tragic City Thieves, Filthy Little Secret, The Girobabies, The Zips, The Snipes, Chris Devotion, Variety Suite, Jon Zip and Alan Bishop.
The east coasters Billy Liar, Emma Forman and Homesick Aldo.
And all the Ayrshire acts.
Cal Murray, Roscoe Vacant solo and with his Gantin Screichs, The Hold Up, Zoe Lewis, Little Fire, Tragic OHara, Matt Scott, Colin Hunter, Junkmans Choir, Ross Gilchrist, Anna Sweeney, The Japanese Mafia, The Parrafins and Ari of Rose Parade.
I doff my cap to you all, and if there is anyone I have managed to miss then it's not intentional and I will be more than happy to add you to the roll call of honour..
In closing I would also like to take this opportunity to add a big thank you to Chris Mooney, Stuart Dudgeon and Scott Lyle for all the help and support that they have provided over the last few years.
None of the gigs would have been possible without them.

Jimmy Cliff - Sacred Fire

Tim Armstrong could be to reggae music what Rick Rubin is to country.
The man who could give it a real shot in the arm by reviving the careers of yesterdays heroes.
That's not to say that Jimmy Cliff needed that shot in the arm, or that he is even one of yesterdays heroes, but the collaboration between Tim as producer and Cliff as artists does serve to bring him to a new audience in a rather grand style and could open the doors for others to follow.
Across the breadth of the ep it's got a solid punk vibe that Jimmy Cliff manages to comfortably wrap his trademarked tones around .
Guns of Brixton is reverentially treated and will warm the cockles of any Clash fans heart and the cheeky inclusion of Tim's very own Ruby Soho sits very nicely next to it.
The only original song, 'Ship is Sailing' occupies the central ground and offers a hint that the forthcoming full length album could well be the must have grab of 2012.
The inclusion of Dylan's 'Hard rain's a-gonna fall' might seem to be the odd one out when considered without hearing it, but once the beat gets going the flow continues with nary a ripple.
Closing with a reprise of Guns of Brixton done in a dub stylee could attract accusations of it being used a as bit of filler. But it's nothing of the sort and as a stand alone track is as strong as anything else already heard.
In fact it might not be a bad idea to add a full length dub version of the album to the album proper when it comes out and call it a special edition.
I doubt anyone is going to be disappointed with this.

Brown Bear and the Bandits

2011 was the year that seen Ayrshire band Brown Bear and the Bandits cement a reputation for being the act that local music fans had to see.
From pubs to clubs they raised the roof and as the year ended they found themselves in the enviable position of being the name on everyone's lips as the act that was going to break through.
So it was no surprise to see them mentioned by BBC Radio Scotland as one of thirty five bands to watch out for in 2012.
All this without even having a debut album out to.
So it is with great pleasure that they are here answering a few questions for the blog.

Mainy - So tell us a little about the band?
How did you guys meet, what's the origins of the name?

Matt - Me and Stuart have known each other since childhood.
It wasn't until we met Kay at the same time that we become closer. That was in our old band One Man Town.
After that we stuck together and then became Brown Bear & The Bandits.
As for the name, well I had been kicking it around for years and thinking of doing a blues project under that name and then when we were thinking of something suitable I suggested it,.
We felt it suited us, fun, upbeat and we all felt we could see it on a headline poster!
Kay - I’ve known the guys for a few years now.
We all used to play in a band called One Man Town. Then when that was over we didn’t want to stop playing together so thought, why not start something new?
The reception we’ve had since deciding to do this has been so overwhelming.
I’s hard to believe it has only been seven months!
Stuart - Myself and Matt met when we were about six when I won an award at a club and he pushed me off a stage.
We've been close ever since.
I met Kay about 5 years ago in One Man Town that the others mentioned.

Truth or Dare by brownbearandthebandits

Mainy - With most bands there's a point when it moves from mates messing about to that moment when everything clicks and they realize that they are making music of your own rather than emulating a sound.
Do you guys all share a moment like that, or did you all reach it at different times?

Matt - For me it was back at the beginning when we started to notice the same people come back to gigs and posting on facebook and realised we were actually gaining fans and it wasn't just friends coming to see us play.
That's when we realised that it was going well and people were liking what we were doing. Our first few times at Su Casa also made us aware that our music was coming into its own
Kay - King Tuts for me. That gig was just amazing. I thought I got it before then, but once it was all over and we had a chance to take it all in, wow. We’re just so lucky to have all the support we do. We couldn’t do it without you all!
Stuart - I think we got the mates messing about out of our systems in previous bands. We've all been playing in Glasgow and locally for years at this point starting in our early teens and after a gig I think it was at Bloc during the summer we all sort of agreed that we had something we were all really happy with and decided this is what we wanted to do with our lives.

Mainy - There's also that first time when you can see that what you are doing is resonating with an audience.
When was the first time you felt that connection?

Matt - Definitely King Tuts.
To have fans from all over in one place for the same reason and knowing the words to our songs was an amazing feeling.
Getting a wee chant after the set didn't go a miss either!
Kay - For me, it would have to be when we went back and played Su Casa in Ayr last November. The night was in full swing by the time we came on, and it felt like the roof could cave in at any moment it was so busy. Some people knew every single word to the songs. It was fantastic!
Stuart - I would say the first time we played Su Casa was it for me. I was used to crap reactions in my old bands and it becomes the status quo after a few years of hearing no cheers, but at Su Casa the reaction was mind blowing and they really took to us which was really touching.
The Tall Ships in Greenock is another milestone that comes to mind.

Mainy - Everyone has different perceptions of what you sound like, but how would you describe it yourselves?

Matt - So far people have struggled to pigeon hole us and agree what our genre is…. I'd like for it to stay that way
Kay - We can’t really be pigeonholed. Our music reflects so many different genres.
Pop/celtic/rock/country… We are not folk!
Stuart - I find it hard to describe us. Lots of people say folk, celtic etc. Our influences are so wide that many genres shine through. There are definitely aspects of those genres but the three of us are so diverse in our listening tastes that I feel rock, country and many others come through, especially as we write together more and more each of our influences shine through. A song written solely by Matt can sound very different from a collaborative effort.


Mainy - So who was it that influenced you all, and that doesn't have to be specifically other musicians?

Matt - My biggest influences are Ray Charles & Stevie Wonder, but mostly Ray Charles!
I think he was a true genius and truly innovative for his time! "I've got a woman" for me is one of the greatest songs that has ever been released!
Kay - My biggest influence has probably been my big sister. She is also a drummer and has been all over the world with her band, The Hedrons. Hopefully one day that will be us!
Stuart - Personally the people who influence me the most are Jimmy 'The Rev' Sullivan, Danny Elfman, Queen, Slash and Mike Patton.
Nobody who sounds remotely like what we do.
Film music and grand sounding songs are what inspire me.

War of Loves by brownbearandthebandits

Mainy - There's been much talk about an 'Ayrshire scene'. Do you think there are pros and cons to being attached to a scene, and what would they be?


Kay - why limit yourself to a scene? The world is your oyster, so get your bib on and tuck in!
Matt - I think there are pro's and cons to scenes. Ayrshire has made us very welcome and we have made some great friends, notably Jamie McGeechan, but I wouldn't count us as part of a scene were just making music because that's what we love to do and we will play wherever people will have us.
We live in the furthest away part of Ayrshire and Kay in Inverclyde and as she said the worlds your oyster. Don't limit yourself!
Stuart - There definitely is a scene and as we played more in Ayrshire we began to ingratiate into it to a certain point but long term I think being part of a scene can pigeon hole you and restrict your creative output.
A scene will only like a certain type of music by definition and that can limit what you can play but scenes also offer an artist support system where people help each other out which is really important.

Mainy - You're currently recording. How is that going and what are your expectations of the new material?

Matt - Its great fun and I am really enjoying being back in a studio. As for the new material it is greatly refreshing for us and more and more we feel we are defining our own sound! Can't wait for you all to hear it!
Kay -: It’s going great so far. Feels good to be back recording and we can’t wait to get it out there!
Stuart -: Were doing some familiar favourites like Truth or Dare for example, which is getting re-recorded.
We are recording one new song which is tentatively titled 'The Chase' which I personally believe is the best thing we've ever done. On a musical level it's a bit of a step up I'd say as is much of the new material, not to say that the older stuff is simple but I'd say the new stuff has more of a band identity to it.
I can hear where everybody has contributed and it's an exciting development.

New Years Revolution - Matt Scott, Lynnie Carson, Johnny Barr, Dani Camacho - King Tuts (11/01/12)

This month the infamous King Tuts Wah Wah Hut are hosting their annual New Years Revolution festival where they promote the 'who to watch' talent for the forthcoming year.
On the bill for the Wednesday night was our local hero Matt Scott joined by Lynnie Carson, Johnny Rab, and late addition to the line up Dani Camacho who also comes from deepest darkest Ayrshire.
Dani was the opening act and this time instead of a strict solo outing he was joined by the Banner brothers who were providing a rhythm section to accompany him.
It's difficult to ascertain if this was beneficial to the set though.
From the start the impression that I was getting was of watching a band finding its feet.
As one song drifted into the next it felt like we were watching a practice session being played out in public, a tentative jam session to see where the common ground was and designed to highlight the direction they could go as a unit.
Unfortunately that's not what people want to spend their hard earned cash on when they shell out for a night of entertainment.
In hindsight I'm sure Dani himself will be picking apart his performance and in the cold light of day considering that the gig was about ten solid practice sessions short of being revealed to the public.
There's a great deal of work needing to be done to flesh out the material.
For instance Mik Banner was under used and apart from playing bass he could have been providing backing, or even duel vocals, but that's the sort of thing that would have possibly been incorporated organically if Dani had the opportunity of time to construct a solid well rehearsed set.
That he didn't have the time and went ahead with the set is something that he may sadly live to regret as many members of an audience give a band one chance and one chance only.
I can understand the dilemma that he had though.
No one gets anywhere unless they are out there playing, and when the offer came in his head must have been full of 'should I or shouldn't I' and then he has considered that winging it and hoping for the best was a better opportunity for him and his band mates than not playing at all.
It makes sense, but only when everything clicks into place and the band play a blinder, and unfortunately that didn't happen.
It's a truism that everyone has less than impressive outings on stage though.
The real measure of a performer is how they come back from them.
It's now time for Dani to sit down and plan his return to the fray.
Next was Johnny Barr, who I was coming to blind. Not one note had I heard, nor any whispers of what to expect.
Initially he was alone on stage and playing impressively like a young John Butler.
It's very obvious from the outset that he's a talented musician and then when he sings it is just as obvious that he has the full package going on.
The songs are well constructed, the musicianship faultless and he carries his stage presence with casual effortlessness.
You would think that things couldn't get any better, but they do when his band join him.
This was one of those rare moments when everything simply works.
Often enough I have seen technically gifted musicians playing together and been left completely cold as their no heart or soul in what they are doing.
This wasn't the case here though.
Johnny Barr and his band provided King Tuts with a genre hopping performance that reminded me of why I love live music so much.
It's because every once in a while if you are lucky you manage to be in the right place at the right time and find yourself blown away by the talent on display.
I still know virtually nothing about them, but I will be changing that sooner rather than later.
An exceptional band and one to definitely look out for in 2012.
Next was our very own Matt Scott and this is where I run into a bit of a problem.
What can I say that I haven't already?
I have a similar problem with the bands Tragic City Thieves and Filthy Little Secret.
After a period of time you simply run out of superlative praise to throw at them, and I'm now at that stage with Matt.
From opening the set with a raunchy take on Roadhouse Blues, that probably wrong footed much of the audience who were wondering why on earth anyone would start a set with a cover, he then moved on into his own material, and then within the context of the set the opening and closing of it with another cover - Drunken Nights In The City - made complete sense.
By having two classic songs bookending the performance Matt actually highlights how strong his own material is as it occupies the middle ground without their being any noticeable dip in quality at all.
Next stop for Matt is a set in Inverness this coming Sunday (15/1/12) in a venue called Hootenanny.
So if you are in the area then do yourself a favour and give your ears a treat.
Headliner of the evening was Lynnie Carson who I unfortunately had to duck out on midway through her performance, but what I did see what suitably impressive.
The first song had her vocals very low in the mix, but that was quickly sorted and once the balance was found, the band, and Lynnie, showed themselves to be deserving of the reputation they have.
It's really just a modern take on soft rock with a bit of a country influence layered into the melting pot.
Lynnie's vocals aren't far off sounding like a young Stevie Nicks, but while some may consider that to sound a tad too middle of the road the reality of the live performance would dispel any thoughts that the band peddle a style that is rooted completely in the past.
If the opportunity arises I'll definitely be taking it to see them again, and a second bite at them will allow me to comment further.
Thank to Kelly, John, Ann, Pauline, Taf, Claire and Hoogs for the excellent company that was on par with the artists performing.
(Photograph of Matt Scott by Euan Main. All rights reserved by Euan Main/Matt Scott)