The Archivist Volume 2: Peter Gabriel - Peter Gabriel (car)

I could have picked several of Peter Gabriel's album to include in the blog - and I may return to him later - but the one Peter Gabriel album I keep returning to is his 1977 debut solo album - Peter Gabriel - also know as Car or just 1.

Peter left Genesis after The Lamb Lies Down On Broadway tour in 1974/5. 

Apparently the writing was on the wall throughout the recording process of Lamb as it became obvious that it was very much Gabriel's project - a similar situation to that of Roger Waters in Pink Floyd with The Wall and also other factors.

As the major lyricist and very much the visual centrepiece of the band, Peter was seen as the artistic driving force behind Genesis.

So, it came as no surprise that Peter chose Bob Ezrin as producer. Bob is the man behind such albums as Destroyer by Kiss, Berlin by Lou Reed & 6 of Alice Copper's classic 1970s output.

 You can see the attraction of Bob to Peter and Peter to Bob. It's a very dramatic album with multiple variations of music contained within it.

I would call it Grandiose. 

And this is what I love about Peter's debut, the variety of the songs he presents. Never again would Peter achieve such variation - because from his second album to the present day Peter has chosen a Sound or Mood which represented his vision on every later album.

(Let's call it Car) opens with the very odd sounding Moribund the Burgemeister. It's opening drum pattern points to many of Peter's future works. But it's as bold an opening to an album, especially a debut, as you'll ever hear. In fact, if it had appeared on The Lamb, you wouldn't have looked twice with it's strange sounding noises and vocals.

I remember first hearing the second track and first single from the album, Solsbury Hill and absolutely loving it from the first time I heard it back in 1977. I loved it's pastoral feel and acoustic based drive. Again we hear the almost african inspired rhythms. It is obviously autobiographical in nature regarding his departure from Genesis and was the first Gabriel music that people had heard since his departure. The single was a big hit for Peter and he still performs it to this day. He has to!!

The second single to be released from the album is the outright rock song Modern Love - you can almost hear Alice Cooper singing this song - very much a Bob Ezrin production. You can imagine the record company executives in the background shouting that this song must be a single.

And who the hell would expect a barber's shop quartet version opening of a song called Excuse Me. It's very much Music Hall and very English - just adding to the oddness with Banjo, whistles & tuba. By now you have no idea where this album is going to go next.

Humdrum is more like the Gabriel we know these days but with many dramatic variations within one song - everything but the kitchen sink is thrown in there. While listening to these songs on the album it brings to mind The Beatles' Let It Be - not for the songs but for it's Phil Spector production - many felt it was over produced but the quality of the songs is undeniable. I would love to hear a stripped down version of this album - but then it wouldn't be the album I love.

This would have been the end of side 1

Side 2 opened up with a bang with the uptempo Slowburn - again another song that has been 'Cooperised' to the hilt by the production - but one which in another form could easily have come from The Lamb Lies Down On Broadway - apart from Solsbury Hill, this is my favorite song on the album.

Waiting For The Big One is a big, bluesy song that to me is the one glaring misstep on the album. I can see why Peter would have wanted it on there, he has a strong, blusey voice - but if it were me in the production chair, it would have gone. But you can't have a go at the boy for trying.

I said the album was dramatic and next up is the epitome of Drama on the album, the over the top Down The Dolce Vita - complete with Wagnerian orchestral flourishes and over the top guitar histrionics - remember, this album came out the same year as A Bat Out Of Hell and this track has a very similar feel. 

The final track is the epic Here Comes The Flood. Peter himself has said that he believes this song to be over-produced. But bear in mind the context of the whole album - it's all out drama - and I think the song fits in well with the whole album, especially as a closer, but I can see his point. He performs this track these days with just a piano accompaniment and you can still feel it's power.

The album is very much an album of it's time but it's sheer bravura and creativity are enough to carry it though. As a first solo album it is a brave attempt to show that he could move on from Genesis. It's not perfect by any stretch of the imagination - it could have done with a toned down production - but hey, this was the 1970s where anything goes, if only today's artists could be as brave.

Peter's next album (Scratch), produced by King Crimson's Robert Fripp was a tough listen and contained no major hit singles but by the time his third album (Melt) was released, people had become accustomed to his vision and Melt became the biggest album of his career up to that point on it's release, spawning the huge single Games Without Frontiers - and he continues to push the boundaries to this day. 

But he still plays Solsbury Hill.

http://petergabriel.com/latest/

Live in 2014: Danny & The Champions Of The World - The Moon Club, Cardiff - Thursday 2nd October 2014

Tonight was the second night of the tour that sees Danny & The Champions of the World return to Wales to promote their new live album, Live Champs.

First up as support are husband & wife duo Trevor Moss & Hannah Lou. They played a lovely, delicate set which was the perfect understated starter before the high octane performance of The Champs that was come.

Trevor & Hannah Lou sang perfect harmonies designed to soothe the savage beast (or Cardiff crowd). Trevor even managed to speak a few words of Welsh, a brave attempt. But they were warmly received and I for one would like to see a full set in their own setting.

Danny & the boys have just returned from Nashville, where they played two showcase performances. They were very well received over there and the extra confidence that this must have given them showed in tonight's performance.

They were on blistering form tonight and they proved once again that they are probably the best live band around in the UK at the moment. The Moon Club was packed, they were even standing on the stairs and they witnessed a band on the top of their game.

In Danny George Wilson, the band have one of the most honest and endearing front men in music. His enthusiasm & Joie De Vivre shine throughout the performance. And his humour gets genuine spontaneous applause throughout the 1 hour 40 minute show.

The show is heavily built around his breakthrough album Stay True, which for me was one of the albums of 2013. From the opening song, (Never stop building) That Old Space Rocket the band had the audience in their pocket.

But the band still give the crowd the old favourites such as Henry The Van, which encourages some excellent crowd participation of the singing variety.

The band are out promoting their new live album, Live Champs (of which more will appear on the blog) and follows the album pretty closely in terms of performance. They were selling the album on the merch stand and they were flying out. I've had mine for a few weeks and it's brilliant.

Free Jazz Jeff

The time just flew as the band played one great song after another. 

Live, The Champs extend some of the songs and give them an extra dimension. Danny said that after the tour they were going straight back into the studio - it has to be Bass player Chris Clarke's Reservoir Studio which is gaining an excellent reputation in both sound and quality - to work on the next album. This news brought a huge cheer.

Danny catching the Cardiff Clap (you had to be there)

In Australian Paul Lush, the band have an excellent guitarist who excels throughout the show. Never flashy, he just gets on with playing. The band reminds me somewhat of Springsteen's E Street Band, technically excellent and obviously a very tight unit but no one ever tries to steal the show. It's all about the music and that's as it should be.

The boys kept a huge surprise until the end of the set where they played two new songs, tentatively titled Clear Water and Words On The Wind. And I am SO pleased to report that they were both excellent and bode well for the next album.

The set ended with a rousting Restless Feet and to a huge response of More, More!

The band even managed to come back and sneak in a great version of the title track from Stay True.

If there's a better live band around at the moment, I haven't heard about them. 

This is a band just about to take the next huge step in an already excellent career. Catch them before they get even bigger.

Twitter - @Dannythechamp

@TM&HL

http://www.dannyandthechamps.com/

http://trevormossandhannahlou.com/

Live In 2014: First Aid Kit at The Colston Hall, Bristol on Friday 19th September

It was across the Severn Bridge yet again on a hot and sultry September evening for my first gig by First Aid Kit. And what an evening it would be.

The support artist for the evening was Manchester based singer/songwriter Jo Rose.

He has just released his debut album on download (on cd at the gigs) called Spurs.

Tonight it was just Jo and his guitar. On the album, the sound is enhanced by other musicians.

I've been listening to the album on Spotify for a few weeks and I've enjoyed it immensely. Tonight had a different vibe with the songs stripped right back but still as good.

Jo is an enchanting young fella and his songs are likewise with a sharper edge than you may think.

Jo engaged well with the Bristol crowd and had quite an applause following his set. He's one to watch.

Then came the Soderberg sisters from Stockholm, Sweden. Klara on guitar, Johanna on keyboards - First Aid Kit.

I had no idea what to expect, trying to keep away from youtube videos etc, not to spoil the show.

But I must admit, they blew me away.

With just the girls plus the excellent Melvin Duffy on Pedal Steel, Mandolin & Telecaster and a Swedish drummer who's name I couldn't catch.

The girl's latest album is called Stay Gold and the theme was the basis of their stage set and clothing. And it really looked stunning in it's simplicity.

They opened the show with the title track, Stay Gold. A mix of folk and country with a contemporary twist. The album is excellent and is the basis for the majority of the show.

What surprised me over the full length of the show was how upbeat the performance is. I wasn't expecting this as the albums are somewhat wistful and gentle but the new treatments of the songs worked well in the live format.

The girls have those superb harmonies that only siblings can have - think a female version of The Everly Brothers.

Next up was the delicate Blue from their previous album, The Lion's Roar.

I have included the set list at the bottom of the page - suffice to say there were a few surprises. Firstly there was a lovely acapella version by the two girls of Ghost Town from The Big Black & The Blue album which just brought the house down.

There was dancing, there was singing and so many smiling faces you could have lit up Bristol.

Another highlight was a storming version of the Jack White song Love Interruption. Together with strobes, electric guitar and genuinely rocking out  by the band.

It was amazing the sound that was created with such a small amount of instrumentation. On the musical side, Melvin Duffy stole the show with his mandolin & pedal steel guitar producing some wonderful sounds to accompany the sisters' soaring harmonies.

The ladies ended the set with the title track of The Lion's Roar which again was performed with a tremendous energy as opposed to the atmospherics of the album version.

The band then came back for a three song encore ending with Emmylou - which the crowd had been calling for all night.

It was a brilliant show - something I wasn't expecting. Full of energy and superb musicianship. The vocal harmonies were spellbinding on and the choice of songs the best they could have chosen for these live shows.

It was one of the best gigs I've seen all year.

Would I see them again - you bet your bottom Krona I would.

Come to Wales, ladies. We'd love to see you.

Twitter - @FirstAidKitBand

http://www.thisisfirstaidkit.com/

@jothomasrose

https://www.facebook.com/jothomasrose

Albums of 2014: John Fullbright - Songs

'The South Western Jackson Browne'

I hate to compare musicians to other musicians but sometimes it's just inevitable. 

Last year, John Fullbright quietly released one of the albums of the year with 'From The Ground Up'

The young man from Oklahoma produced a debut of sublime songs and played the majority of the instruments himself including guitars, piano & organ. The album garnered much critical acclaim and gained some heavyweight fans including Whispering Bob Harris who featured many of the songs from the album on his radio shows. And it resulted in a Grammy nomination.

So, I was as surprised as the rest of the music fraternity when John announced he had album number 2 ready to go midway through 2014. Was it a case of having too many songs from the Ground album or was he riding the surge of creativity? Thankfully, it's the latter.

I've made the comparison with Jackson Browne and I think it's a good one. If you look at Jackson's first few album, you have the same kind of wistful observations - a young man so cynical and seemingly downtrodden but always with hope in his eyes and his soul. It's captured perfectly with the song The One That Lives Too Far. Close your eyes and you can almost hear Jackson Browne singing it.

Having toured both the US and Europe extensively in support of his debut album, it's evident that John has honed his skills and his voice is even stronger on this album.

John keeps to the same template of using the acoustic guitar and piano to build his songs.

The production keeps the album simple and lets the songs breathe. When the song requires just a guitar or piano, that's exactly what it gets. When it requires a broader palette, then John expands his sound with electric guitar, organ and keyboards.

photo courtesy of The Standard

The album's second track, When You're Here is an almost gospel tinged piano ballad that would not seem out of place on a Jackson Browne, Neil Young or even Elton John album. The piano rises and falls and is joined by some beautiful Wurlitzer and subtle electric guitar. It really IS that good. It proves that John is not just a troubled troubadour peddling his wares - there is depth to this man.

photo courtesy of Folkradio.co.uk

There are two longer songs on the album which sum up the whole approach and strength of this sophomore album from John. The first is All That You Know. It's just John and a rather lovely electric piano motif, the song is almost Hymnic. If you heard it in a church service, you wouldn't be surprised but it has such a quiet strength and power it just captivates right from the start.

photo courtesy of MPR/ Nate Ryan

The other blockbuster track on the album is the 7.33 minute High Road. It's John at his absolute best singing about love and redemption - it's Springsteenesque in it's intensity and highlight's John's pleading, almost breaking vocals. It's probably the best vocal performance on the whole album. 

The album finishes with just John on his piano.

I don't want to give too much away to take away from the joys of this album. Suffice to say that if you bought From The Ground Up then you've probably already got this album but if you haven't, then go out now and invest in one of the best talents to come out from America for a long time.

Twitter - @johnrfullbright

http://www.johnfullbrightmusic.com/

The Archivist: ABBA - Arrival

I know what you're thinking? Why is an Americana, Folk, Prog loving roughneck picking an album by those Swedish Mega Purveyors of Pop to grace The Archivist section of my blog?

Simple - next to The Beatles, ABBA are probably the best writers of a perfect pop song.

Back in 1976, the teenage Macwood was already a fan of the Super Swedes.

They had already released 3 hit albums and had 5 hit singles in the UK before Arrival really sealed the deal.

The album opens with the non-single and now very non pc 'When I Kissed The Teacher' - and it's a killer track.

As with most ABBA albums, there is a mixture of awful bubblegum pop and some of the best songwriting ever to be released on an adoring public.

Arrival contains some of ABBA's best singles. Back when ABBA were starting to get huge - the release of EVERY single was an event. You had to be there at the time to realise what a big deal it was - the radio built up the release for months before the event - playing snippets from the song.

It was from this album that indications of the boys Bjorn & Benny's musical future really started to blossom. They were born to write musicals and it is an enigma that they haven't done more work in this field. Songs such as My Love, My Life can easily be the stuff of musicals. 

It also contains an instrumental title track. Covered by Mike Oldfield, no less.

And, it contains one of the more identifiable songs ever released. A song which has grown to be almost as big as the band. And I dare you not to sing along. The staple of every Wedding Disco since 1976.

So, go out and get a copy - don't feel the shame - just accept the fact that it is probably one of the most imperfect pop albums ever to hit the turntable.

http://www.abbasite.com/

Indispensible: Adam Wilson presents The Quiet Revolution

It's been a long, long time since I found a radio show that I wanted to listen to every day/week/month etc.

A few months ago, one of my favourite artists, Paul McClure, posted on social media that he would be appearing on the show called The Quiet Revolution. It was on a station fairly close to Paul's residence called Harborough FM. The show was presented by Adam Wilson.

I thought that Paul would get the usual couple of tracks to play and a few minutes of on air time. But to my delight, Paul was on for most of the show. He participated in the tracks that were played and played quite a few tracks from his latest album, Smiling From The Floor Up.

But what surprised me even more was Adam knew his music. Radio presenters these days rarely care about the music - with the exception of people like Whispering Bob Harris who actively participate in all aspects of promoting quality music.

Adam is cut from the same cloth as Bob. OK, he may not be on a national radio station but people who like the music that I do should be listening to The Quiet Revolution.

It is broadcast on alternate Tuesdays - the next show will be broadcast on Tuesday 9th September 2014 - between 10pm - 12am.

You can tell from the shows that Adam really loves his music - he gives information about the artists and mentions reviews of the latest albums. He loves discovering new music and sharing them with his audience.

He plays a mixture of Americana, Folk, Blues & World Music and as the title suggests, of the quieter moments.

Here are just some of the artists who were played on Adam's Show.

Paul McClure - Long Gone Out Of Here

Jones - Phil The Hat

Kenneth J Nash - The Way That She Moved

Dan Whitehouse - The Painter

Gretchen Peters - Blackbirds

Kris Delmhorst - Bees

Emily Barker - Nostalgia

Following his show, Adam lists the music he has played and attaches links to artists if you want to investigate further. I've bought quite a few artists after hearing them on The Quiet Revolution.

This blog is all about the music, and Adam plays music that I like. And if you're reading this blog, then you should check him out.

I live in Wales, so I use my Tune In radio app to sit in comfort and let the sounds wash over me - you can do this or listen online through the Harborough FM website.

So go on, check him out on April 21st at 10pm and every other Tuesday after that.

And if you like what you hear - support him (he's a nice guy) and drop him a line. Or visit the link below to see what he has played on earlier shows.

Tell him Macwood sent you.

Twitter - @awquietrevhfm 

http://www.adamwilsonsquietrevolution.net/

Albums Of 2014: IQ - The Road Of Bones

Anyone who has read deeper into this blog will know that I'm partial to a bit of Prog Rock. 

This year I became reacquainted with a band who have been making quality Prog for 30+years.

The band is IQ.

While I was having a pre-gig drink at The Duke Of Wellington in Cardiff city centre prior to the Rick Wakeman Journey concert earlier in the year - my gigging Padwan, Craig and I, got talking to some Norwegian fans who had a couple of days before seen the IQ Launch gig for their new album. They raved about it saying how good it was and how it was the best thing IQ had released in years. So when I got home I ordered the CD.

Formed back in 1981 by guitarist Mike Holmes & Keyboard player Martin Orford the band have released 11 Studio albums plus other live and compilation albums and have been producing quality music from day one.

Back in January 2013 - the band took the opportunity to re-release a 30th anniversary version of their debut album Tales From The Lush Attic. It proved to be a remarkable version, like a Renaissance masterpiece being restored & cleaned and presented like the day it was produced.

This is a short video of the Anniversary version - just click on the link.

Tales From The Lush Attic

https://www.youtube.com/watch?v=3IfAkvwkK4s

Initially owing a lot to Gabriel-era Genesis in their stage work, the band then released their second album The Wake - judged by many fans to be their best early work.

Photo Courtesy of Progshine.net

I then lost track of the band until their 1997 album Subterranea, a classic double Prog outing.

Like most classic Prog outfits, the band have had their fair share of personnel changes and their last album was 2009s Frequency.

But, this year, they have come back with the almost original line up - only difference now being the  latest replacement of original Keyboard player Orford with Neil Durant.

The  almost original IQ are back with a new album The Road Of Bones - and by God it's a beauty.

Firstly, lets's kick off by saying that if you find yourself interested, make sure you get the 2 disc version. 

The Road Of Bones has been released in differing formats and for the couple of pounds difference, the 2 disc version gives you an whole albums worth of extra material, all of which is worthy of inclusion on the 1 disc release.

There's even a 3 disc vinyl release coming up for those who want an even more inclusive experience.

http://gep.co.uk/store/index.php?main_page=product_info&cPath=49&products_id=144

Here's a video of guitarist/producer Michael Holmes talking about The Road Of Bones.

The 7.24 minute album opener, From The Outside In, sets the tone for the rest of the album with dynamic guitars and keyboards set to a pounding bass & drum with the vocals of Peter Nicholls soaring and swooping over the change in tempo and typical Prog musical palette. They sound like a heavier version of Lamb-era Genesis on this track.

Indeed, the whole album is probably IQ's heaviest set but it adds more drama and dynamics to their sound. I can't wait to hear this album on vinyl - and yes, it's on order.

The next track is the majestic title track, The Road Of Bones - it's 8 minutes of cinematic Prog about a serial killer in a USA Midwestern town.  If this sounds kind of out there, you're right, it's about the road that the killer builds with the bones of his victims but the track is superb. Peter Nicholls doesn't write lyrics about Prog staples such as Elves and Dragons.

photo courtesy of The Progmeister

Next up on this 5 track album is the 19 minute Without Walls. Being the centrepiece of the album, you would expect it to be Epic. And it is. Starting off as a quiet, almost ballad-like piece of music, it soon breaks into a different beast altogether, with some blistering heavier guitar work, before it heads off into many different paths and sounds - being intense and delicate in the same song - exactly like a good Prog classic should, before the Genesis-like resolution which sounds as if it could have come from Wind & Wuthering.

After the drama of Without Walls we are treated to a lovely song called Oceans, which is IQ at their most tender but halfway through the drama returns again as Peter Nicholls raises the bar on his vocal performance and gives some beautiful soaring vocals before the peace returns again.

photo courtesy of 

http://progmeister.com/

The album closes with another epic, Until The End - here's a very short clip.

As I said earlier, you should really be buying the 2 Disc version. This includes tracks which really do not fit in with the dark feel of the initial album. But the quality is just as good as Disc 1.

It starts with Knucklehead. Which was due to go onto the album until the very last minute and has a militaristic beat which sounds like a march. It's dense and heavy, you can see why it could have fit easily onto the Disc 1.

1312 Overture is a Mellotron driven instrumental piece which chugs along nicely and has lots of keyboard sounds and textures to listen decipher .

The 12 minute Constellations is the next track up and begins with some keyboard and rhythmic interplay which cuts across your speakers with swathes of Mellotron adding the dramatic Prog effect. It is very Genesis of the Wind & Wuthering era - it is probably the most tuneful song on both Discs and is lighter in feel, which is probably why it didn't make it onto the initial album.  But is no less dramatic and moving.

The more delicate moments continue with the next track, Fall & Rise, which has some lovely keyboard and acoustic guitar touches within it's 7 minutes.

The driving rhythms last throughout the next track, Ten Million Demons with it's sound affected vocals and keyboard heavy structure.

Disc 2 ends with the 11 minute Hardcore which is more in keeping with the music on Disc 2 with it's sweeping delicate themes and acoustic guitar passages.

If you feel that you've neglected some Prog Rock leanings in the past, or if you feel you'd like to see what the generation of bands that followed YES, GENESIS etc have achieved, then this may well be the album that reignites your interest in the genre. It's Prog at its very best - so go and invest - but make sure you get the 2 Disc version - It's Worth It.

By the way - Prog is made for headphones - so get yourself a decent pair and let the music take you far, far away.

Twitter - @IQHLive

http://www.iq-hq.co.uk/