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KINDRED SPIRIT — Elemental

The West London UK based five-piece band KINDRED SPIRIT — headed up by talented song-smith and singer/guitarist Elaine Samuels — have two excellent, classically trained lead players in their Folk Rock/Prog Rock line-up. Their wizard of the perfect fifths is Martin Ash (violin and viola) while their magical floutist is Catherine Cooper (flute and saxophone.) The band was formed in the late 1990s by Elaine, and now has Mike Hislop (bass) alongside Aleem Saleh or Les Binks (the Legendary Judas Priest percussionist) on drums.

We have been fans of this band for a long while (certainly, since the days of Annie Parker, Gavin Jones and Alan Barwise) and we have been enjoying their polished & meticulously presented songs since before their happy (and well deserved) recognition on the UK “Prog crcuit”. We are especially pleased to be able to review their 2019 album: “Elemental.”

Kindred Spirit Elemental Album Cover
This “protest album” has a boiling, flaming, fuming, globe on the cover…

Rain-forests once covered 14% of the earth’s land surface; now they cover only 6% and experts calculate the last remaining rain-forests will have been exhausted in 40 years. Thus, this “protest album” has a boiling, flaming, fuming, globe on the cover (also identifying, maybe, the different elemental properties of each individual band member) … and starts with “No Smoke Without Fire” and a somber ch-chang from acoustic guitar. The smouldering flute seethes fermented smoke into the melancholic blue atmosphere until an angelic vocal harmony arrives, perhaps to lift us from the fire and into an eternal firmament.

This song metamorphoses around a motif that’s very probably Ray Thomas inspired — it might almost have been found on In Search of the Lost Chord it’s that nostalgic — and into something far more radical and Jefferson Airplanish. Are we to blame for this scorching world? Do we care, while we rest in our nylons, the electric lights ablaze, with central heating exploding in our faces, while we hear the words : “Did you start the fire? Were you the one?” Ending deforestation is the probably the best opportunity we have to stabilize our damned climate, save wildlife species and protect our planet. But are you playing your part? * *

Elaine Samuels Kindred Spirit Photo Neil Mach
Elaine’s voice is benevolent & crystalline…

The softly pattering rhythms on “Pandora’s Box” — with its serpentine coils of flute and descending stepping-stones of chorus — are merciful, but instructive. Elaine’s voice is benevolent and crystalline. The legend says that Pandora (the figure of Eve, she, the first human woman) opened a jar containing disease, death and evil. When she realized what she had done, she attempted to close the container, but it was too late… everything bad had spread into the world, except one thing: hope.

The intro of “Beyond The Ninth Wave” is reminiscent of Uriah Heep‘s “Lady In Black” but then becomes much more intricate in nature, with a voice that ranges from soubrette to half soprano. The composition is hypnotic, fluid and sinuously sweet. And then the entire thing evolves into an expressive dance.

Over-population and “industrial greed” are issues close to Elaine’s heart. So, “Don’t Have More Than Two” is a significant moment on this album: and this is where Martin’s violin is allowed a reign of free-fire to make circles, snakes and spirals, before an insistent chorus breaks out. This chorus is given extra gravitas by Molly Larder and Skye with Bethany, Keira and Grace and other friends of the band.

Martin Ash Kindred Spirit Photo Neil Mach
Martin’s violin is allowed a reign of free-fire to make circles, snakes and spirals…

Daemons” is ever-fermenting and promiscuously potent and the most properly prog-rock track in substance. Although, possibly, the highest mark of the album is the percussive: “Red Red Rose” with a melancholic, melodic edge that corresponds to the band’s former haunting composition, “Run Red” — though the new track comes with wind-milling fiddle-play and consistent voices that hint of the price of devilry and the coming purification.

Elemental” is an ingenious and advanced folk-rock album with several well-favored songs and a lot of creative and wonderfully accomplished musical ornaments. Written for a species that is about to be lost in the fires.

Is it too late to save our planet? Play your part. **

Album launch: Saturday 2nd November ALL HALLOWS CHURCH HALL, Twickenham
Link: www.kindredspirtband.co.uk

Words & Pictures: Neil Mach

** Small scale deforestation was practiced by society for tens of thousands of years, and before the beginnings of civilization. With the advent of agriculture, larger areas were deforested, and fire has been the main tool for clearing land for crops for at least 7,000 years. In other words, the scorching of the earth has been going on for as long as man has existed. While the politics behind deforestation and land clearance is complicated (subsistence farming is responsible for 48% of deforestation) wildfire arson, “reckless burning” and habitat fragmentation for profit is always unacceptable HOW TO HELP? Support organizations fighting deforestation, use recycled products, reduce your meat consumption, raise awareness, and please plant a tree.

HAIRSPRAY — The Magna Carta Arts Centre

The successful Broadway musical HAIRSPRAY — with music by Marc Shaiman, the lyrics of Scott Wittman and Marc Shaiman, and book by Mark O’Donnell and Thomas Meehan — came to the Magna Carta Arts Centre this week.

It was presented by The Performance Academy. The dance school that was established more than 35 years ago as the Lynne Davis dance school. In 2001, Lynne’s daughter, Annelly [James] took over the school and it became officially known as “The Performance Academy.” The show was directed by the talented local actor TJ Lloyd with lighting by Andy James, sound by Dave Gates and stage management by Nigel Martin.

We saw the show at the exceptional Magna Carta theater on Thursday.

The story follows the curvy teenager Tracy Turnblad’s dream to dance on The Corny Collins Show, and is based on the true history of the “Buddy Deane Show” broadcast by WJZ-TV Baltimore, and taken off-air mid-season due to problems relating to integrating black and white dancers. The theatrical show addresses issues of size and racism, as well as focusing on the love-life of adolescents and living in the big city in the 1960s.

Liezel Abrahams played the upbeat, pollyannaish principal female Tracey with style and gusto. The drag-role of mother Edna was played by George Hedges in the show we saw, and we thought George perfectly captured the part’s self-effacing and diffident nature. Callum Reynolds as the optimistic joke-store Dad/Husband was also noteworthy.

With an ensemble of more than forty talented showsters, often all on stage at the same time, this presentation was a hugely exciting event from start to finish. The cast handled the numbers with aplomb, style and spirit.

impressive drama, extravagant costumes, enthusiastic dances & sincere vocal performances…

Villainess Velma (played by Neve Crossley) and daughter Amber (played by the Cilla-esque Fay Etson on Thursday) had some of the most ambitious songs to perform … but they pulled them off successfully. Aaron Hutton — wearing his Dad’s drapes & drainpipes as Corny Collins and Daniel Hann (Link Larkin) played the dapper male heart-throbs.

Worthy of special mention were: the the mega-talented and much-in-demand Helen Roper (who played by Penny Pingleton in the show we saw on Thursday with dynamic and zippy energy.) We were also captivated by the prepossessing Kola-Olukotan girls: Aliyyah (Motormouth) Ameerah (a member of the singing group “The Dynamites” alongside Leah Warmington and Katerina Saragoudas) and little dancer  Aishah (ensemble).

The show was full of impressive drama, extravagant costumes, enthusiastic dances and sincere vocal performances.

The Magna Carta Hairspray Show was exhilarating from start to finish with enthusiastic support from all … and let’s not forget: You can’t stop the beat once it starts!

Tickets are still available for Hairspray The Broadway Musical at the Magna Carta Arts Centre Friday 22nd and Saturday 23rd February (inc matinée on Sat.)

ACM Skunk Anansie Scholarship 2018

The Academy of Contemporary Music (ACM) together with the iconic band SKUNK ANANSIE has announced that NICOLE CANNONIER is the exclusive winner of their 2018 Scholarship.

Since Skin has just received the Music Week Women In Music Award for Inspirational Artist,it is fitting that she transmits her legacy to Nicole, who now begins her own musical journey into the industry via the reputable ACM.

Nicole Cannonier – “I felt to overwhelmed…”

Nicole said: “I didn’t expect to win the Scholarship, I just thought I’d enter it. When I found out that I’d won it was like oh my gosh – I felt to overwhelmed – I didn’t expect it, it was a good feeling. I just feel so grateful.

Worth £27,000, the Skunk Anansie Scholarship is exclusively ran by ACM as part of its £130,000 Scholarship programme.

Awarded based on talent, passion, dedication and commitment to building a long-lasting and sustainable career in the creative industries, Skunk Anansie chose Nicole because of the pure drive displayed in her application.

Skin said: “For me, Nicole’s video really stood out because especially in this industry nowadays, you have to have everything – all of it put together, very good visuals and a musical viewpoint of your whole career. For me what stood out was how fresh and contemporary she was and I thought she was a really good representation of what I think is really cool in the music industry right now. The styling of the video was great, the lighting, the imagery, and the angles.”

Known for its unique approach to education in the creative industries, ACM promotes a “learn by doing” ethos with valuable links to real-world industry professionals and impressive state-of-the-art facilities.

ACM is thrilled that Nicole will be joining its London campus to study vocals at degree level, and hope to be able to support her as she embarks on her career in the creative industries.

Ace, Director of Creative Industry Development at ACM and guitarist in Skunk Anansie said: “I’m really excited to start working with Nicole at ACM, her application was outstanding – it’s great to see such passion, dedication and talent! Our Scholarship is now in its third year and it’s fantastic to partner with ACM on this to give back to the next generation of the creative industries and champion new talent. We are also super proud of Skin for winning the Music Week, Women In Music award for Inspirational Artist – I know she is going to be such a good role model not only to Nicole but all of our student body at ACM.

Link: https://www.acm.ac.uk/

ACM SUMMER LIVE 2018

ACM Summer Live is back…

Taking place over four days, ACM Summer Live will showcase all the phenomenal talent that ACM has to offer, including shows from the most exciting emerging musical talent in the country…

With a strong learning by doing ethos at the core of its values, ACM is pleased to offer the immersive learning experience of Summer Live to its students. From the Technical Services students responsible for the stage, sound and production, to the artists, songwriters, bands and producers performing — all ACM students are encouraged to participate in Summer Live and learn in the environment of the famous Electric Theatre in Guildford, Surrey.

And compared by presenters from the local radio station Eagle Radio, this event will celebrate the work done by ACM students, in all disciplines.

Kieron Pepper, Head of Artist Development and Creative Output and Drummer for The Prodigy (1997-2007) said:

I’m incredibly proud to work alongside the talented student bands and artists to put on our annual Summer Live showcase. I honestly believe that they are the future of the music industry and I can’t wait for the amazing performances that will be happening at The Electric Theatre between 17th and 20th of July.

ACM acts across the four days of festivities include: Bruch, Dwara, Conan Mac, Biloxxi, Luna, Hadron Sounds Orchestra, Eva-Lina, King Kuda, Neon Islands, Chinchilla, ESP, ACM Synth Jam, Nikoda, Rodsuit, Pablo, Loxdown, Casey Lake, The Straights, People In Museums, Hunting Maiko, Sunfall, Gatvol, Shortround, Bloodrush, Dom Robson Toll, Alex Parsi, Dennis Penny Toure, Beatroot, Laeli, Bethany Davey, Nàynë, Another Round, Sophie Celeste, Dark Revelations, Simple Fiction, Bethia, Equilibrium, Tara Flanagan, Ricky Gabriel, Soul Workshop, Becky Barnett, Emma Rosso, Jessica Newson, Leadmetoland, Maisy Joan, Tom Gortler, James Collins, Electron Choir, Claudia Kate, Mica Jane, Number 38, Indigo Kids, Mountfield, Betsa, Downtown Roundabout, Cheri Lyn, Central Avenue.

Link: https://www.facebook.com/acmuk/

 

ACM Opens Flagship Recording Studio in Guildford

The Executive Chairman of the ACADEMY OF CONTEMPORARY MUSIC (ACM) in Surrey UK — Kainne Clements — today opened a new state-of-the-art recording facility on its Guildford campus.

Ribbon-cutting by Executive Chairman of the ACADEMY OF CONTEMPORARY MUSIC

The new Rodboro Studio will be used by ACM’s world-class tutors for lectures, workshops and master-classes, such as their annual Audio Production Event (APE).

When the studio isn’t used by teaching staff, all ACM Guildford students will have the opportunity to reserve the space. The facility will be open to students 5 days a week and until midnight. Staff will be available to support students.

After the ribbon-cutting ceremony, visitors at the event saw the first-ever audio production made at the studio — a song recorded by the 4-piece Guildford band KISSED AND CROWNED who made an inaugural recording in the live room with members of the ACM ELECTRON CHOIR under the direction of Kaya Herstad Carney.

The first-ever audio production, a song recorded by the 4-piece band KISSED AND CROWNED [Kyle Elliott] shown here with Electron Choir… image @neilmach 2018 ©
The Grammy Award-winning Liam Nolan engineered the recording.

The Guildford studio reflects the quality of the largest studio installation in Europe: The Metropolis Studios based in Chiswick, London. Kainne Clements is also co-owner of Metropolis.

Sound engineer Liam Nolan [Adele, Jess Glynne, Calvin Harris] gave a demonstration of the new facilities and said: “It’s a great space, great gear, great microphones, great desk — very similar to what we have at Metropolis — and it’s going to be a fantastic new studio for the students to use...”

ACM has been building sustainable and long-lasting careers for students in all corners of the creative industries since 1995. With a pioneering approach to education, ACM’s “Learning by doing” mantra enables a totally immersive experience for students and ensures they are connected directly with the industry through dedicated workshops and teaching in a real-world setting.

Facilities such as the new flagship studio in Surrey, along with the real-world experience offered by its Industry Link department, mean that ACM students receive an unparalleled learning experience. The ACM aims to increase the number of students from 1800 to 2000 students during 2018.

Words & Pictures: @neilmach 2018 ©

Links:

https://www.facebook.com/acmuk/
https://www.facebook.com/KissedandCrownedOfficial/
https://www.facebook.com/ACMelectron/

Control Room ACM – with Grammy Award-winning engineer Liam Nolan. Photo Credit: @neilmach 2018 ©

WILLY FINLAYSON AND THE HURTERS

Last night at the wonderful Staines Riverside Club we witnessed rare magic when WILLY FINLAYSON AND THE HURTERS came to town bringing their smooth quality rock and soft ‘n’ soulful covers.

The last time we saw Willy in Staines was with his band project HALF MEAL TICKET, then with Steve Simpson (now in retirement) and Dean Barnes (much missed.)

Edinburgh born Willy is a talented guitarist, composer and extraordinary vocalist and he fronted Bees Make Honey (1974 ) and later the famous country rock band Meal Ticket. They provided the theme for the brilliant play-for-today “Dominick Hide”.

Willy Finlayson – Carnation-cream and tobacco voice…

In staines The Hurters played songs like the award-winning “She Will Be Loved” [Maroon 5] with its insistent chorus.

These were emotionally rendered, and even at times perhaps overwrought. Though Willy’s smouldering carnation-cream and tobacco voice helped  alleviate any anguish.

Classy blues numbers, such as “Crazy ‘Bout An Automobile (Every Woman I Know)” (Ry Cooder, 1980) had good rebound and veritable trim.

And for the many upbeat numbers (Bruce Springsteen is a favourite songwriter) Willy provided eloquent slur to go with that amazing golden brogue.

Dave Colquhoun – bullets of masculinity and power…

The great revelation of the night was the “new” guitarist Dave Colquhoun.

Dave is actually an experienced session man, currently with Rick Wakeman’s band.

He has his own band projects and previously worked with Go West, Paul Young, Belinda Carlisle, T’pau, Bananarama and, of course, Bucks Fizz.

Dave added bullets of masculinity and power to ballads such as “Hungry Heart” or dark twists of sadness or tiny bee stings of articulation… In other words, he provided nuance and fragrance to every soulful song. Such was his impressive play that he earned  several bravos of his own during the evening.

Tempo was provided by acclaimed blues bassist Malcolm Hoskins who was a firm and steadfast rhythmic-energy maker.

Towards the end of the evening we were treated to a few songs from “surprise guest” LIZA MARSHALL.

Her husky chocolate-syrup voice always wins applause, and her smooth song-choice included the singalong gospel number “People Get Ready” [Curtis Mayfield 1965.] This allowed Dave to express his more imaginative and jazzy side.

As usual, a very fine evening of quality musical entertainment in Staines.

Words & Images: @neilmach 2017 ©

Link: http://www.willyfinlayson.com/

STACEY CRONIN + Asylum Affair at Staines Riverside Club

It’s been a while since the “Harlech Hurricane” sashayed her stuff on the Staines stage, accompanied by her conspicuously talented bandmates.

But this week we again enjoyed the power and potency of Asylum Affair with Stacey Cronin on lead vocals as they played their evocative power-ballads to an eager crowd at Staines pre-eminent music venue, the Riverside Club.

The line-up included John Lawrence (guitar) Gar Lando (drums) Colin Payne (bass guitar) and “the claw”     aka Mark ‘Wilko’ Wilkinson who recently “broke his arm” so couldn’t provide us with any sax on the evening but nevertheless still wizzed the keyboards.

The eighties make you feel nostalgic just thinking about them — and the charm of songs from that era live on in our hearts. Who does not love Belinda Carlisle, Whitesnake, Foreigner and The Bangles?

Songs are accompanied by sensitive organ ripples, flexible bass waves and foamy ridges of guitar…@neilmach 2017 ©

So Stacey sings lusty songs about breaking up and/or uncontrollable longing and all her hearty canzones are  accompanied by sensitive organ ripples, flexible bass waves and foamy ridges of guitar.

Some songs have been removed from the set-list since the last time we saw the band play in Staines…

However many of our favorites, such as “Love Is a Battlefield” (Holly Knight with Mike Chapman and made famous by Pat Benatar) have survived the cull and demonstrate the extraordinary power and finesse of Stacey. She has a distinctively soft, warm and raspy voice of sandalwood & bourbon whiskey.

A new number is “Stop!” the Sam Brown song (Brown, Sutton, and Brody 1988) brought with it with layers of sentiment. This was overwrought, almost highly-strung — and had a sense of neurosis surrounding it. The performance at Staines was so frenzied and nuanced that it left Stacey exhausted. She collapsed in a corner to recover while the band played a musical number.

Their old bossa nova piece “Parisienne Walkways” has been replaced with another number that allows the band to show off their expertise and effectiveness. It’s been traded for the funkier “Let’s Dance” (Bowie, 1983) with John pulling-off the Stevie Ray Vaughan solo at the end with flair and confidence.

the band showed off their expertise and effectiveness…
Here John Lawrence w Colin Payne @neilmach 2017 ©

Soon after “Alone” – the ‘Heart’ chart hit – written by Billy Steinberg and Tom Kelly – Stacey announced that “We’ll play the ‘other’ Heart song too…” — thus neatly summarizing the Wilson sisters career.

So the band lunged into the next head rush song with enthusiasm. We were reminded of the low tones of Grace Slick (perhaps not surprising, since the Starship’s trooper was known for contributing to Heart’s recordings) and also the flavor of Steve Nicks

Never Tear Us Apart” (INXS 1988) was another superlative addition to the repertoire, with drama and passion in each corner and layer-upon-layer of ritzy synth.

Stacey Cronin and Asylum Affair at Staines Riverside Club @neilmach 2017 ©

Perhaps most enjoyed were the Fleetwood Mac songs, and especially “The Chain” from Rumours (1977) with its well-known instrumental section associated with Formula One.   And “Rhiannon” a first-half closer — taken from the predecessor album, Fleetwood Mac (1975.)

Purple Rain” (Prince, 1984) in the second half – also gave room for John’s extended solo.

And this time the ‘Giant of the Bass’ Colin stayed in his seat (he’s still recovering from a medical procedure, we wish him a full recovery) but managed to provide undoubted fervour and gusto to the rhythms along with the über-talented Gar Lando on drums.

This was a dazzling and magnificent concert with Stacey as radiant and charming as always and the band playing at its very best.

Intoxication and rhapsody in every heartbeat.

Words & Images: @neilmach 2017 ©
Link: https://www.facebook.com/asylumaffair/

JAZZ KNIGHTS ORCHESTRA — STAINES

Drummer Cliff Longhurst has played with Matt Monro, Frankie Laine, Bert Weedon , Anne Shelton, Helen Shapiro, Nat Gonnella, Tony Hatch and Jackie Trent (among many others) and has toured with Herb Miller (Glen’s brother) — in addition to working as musical director for several well-known television shows. His JAZZ KNIGHTS ORCHESTRA came to Staines this week to put on a fantastic spectacle at the famous Riverside Club.

The orchestra delivered power and determination as they put on an extraordinary performance that rewarded us with the sounds & moods of Woody Herman’s big band era — the 1930s and 1940s.

A golden syrup of sax – Photo Credit: @neilmach 2017 ©

Starting with a complicated arrangement of “The Good Earth” composed by jazz trumpeter Neal Hefti, we were treated to a golden syrup of sax and beautifully chromatic trumpet — the ambitious number was endowed with attitude, passion and enormous scope.

Herman’s “The Preacher” was a cluster of sound textures with an excellent solo by Nick Charles.

Richard Rodgers’ “Sound of Music” found on Herman’s “My Kind of Broadway” was a first-class re-telling with zestful vibraphone and potent walking bass.

Rattling rhythms from Longhurst himself – @neilmach 2017 ©

The 15-piece Jazz Knights also treated the audience in Staines to lighter pop numbers such as “Killing Me Softly” [Charles Fox] and “Light My Fire” [the Doors] and a wondrous version of the Beatle’s “Hey Jude.”

The stand-out number was, perhaps, the band’s touching rendition of Sid Tepper and Roy C. Bennett’s romantic “Red Roses for a Blue Lady” made famous by singer Vic Dana. This nostalgic piece had a full-on big-band ‘feel’ with rattling rhythms from Longhurst himself and some articulate trumpet.

This was a joyful evening of swing-era jazz, a little bebop, gentle fusion and sophisticated pop — brilliantly polished, propellant and propulsive — yet relaxed in all the right places.

Thanks again to the Staines Riverside Club for hosting another unforgettable evening.

Words & Images : @neilmach 2017 ©

Link: http://www.jazzknightsorchestra.com/

MOODY MAAS + GLEN — Live in Staines

This week MOODY, MAAS and GLEN played a tasty selection of emotionally soul-stirring songs from their recent album Black & Chrome live in Staines, Surrey.

We went along to see.

Black & Chrome – Ali Maas & Micky Moody

The collaboration of Ali Maas and Micky Moody started in 2014 as a songwriting project that quickly developed into some excellent album work. Another album is on the way.

Their musical union results from a shared admiration for blues, soul, Americana, palpitating rhythms and captivating melodies.

Aside from his well-documented time with Whitesnake, Micky Moody was also a member of Juicy Lucy, Roger Chapman and the Shortlist, Snakecharmer and others.

Ali Maas was lead singer and writer for critically acclaimed band McQueen.

Their highly accomplished studio band comprised of a group of luminous musicians that included the amazing drummer Jimmy Copley, who sadly died this month.

The British harmonica player Alan Glen — who was a member of Nine Below Zero (1991-1995) as well as The Yardbirds — was also involved.

Their pruned-back live-show boasts that same trio — Moody, Maas and Glen. We saw their concert at the Staines Riverside Club on May 18th. Other dates have also been announced.

Ali Maas- Frequent cloud-bursting highs…

Ali Maas took centre stage at the Riverside, with the master-musicians at the flank.

Her vocal style was reminiscent of Alannah Myles with many velvety, sorrowful layers and frequent cloud-bursting highs. The light accompaniment from Moody & Glen reminded us of stripped-back Fleetwood Mac.

Moody, who told the audience he suffered from bad back, “caused by a dishwasher incident...” created delicate and fanciful guitar notes.

In particular, his slide guitar-work was skilful. And even though there was no drummer on stage, he frequently provided percussion through clever touches and slaps of the guitar body and picking the strings.

Glen played electric rhythm guitar for the most part, often adding rich and expressive lyrical moments to songs with his blues harp or providing intense emotions via those howling solos.

The show began with the magnificently melancholic “A Change In Everything” with thoughtful contemplations behind every loose-toned reflection and haunting lyrics like, “Sometimes we are better off alone...”

And then we enjoyed “Woman Be Wise” with those warning words: “Don’t Advertise Your Man…

Ali Maas suggested she suffered from “fried egg” after a cold — although her vocal was rich and satisfying, and did not seem fatigued or overly mucoid. Moody remained perched on his stool for the duration — maybe his back felt a little sore.

Excellent covers included the excellent “In My Girlish Days” [Memphis Minnie] and the syncopated standard “San Francisco Bay Blues” [Jesse Fuller] made famous by Eric Clapton, Bob Dylan and more.

Dusty’s “Son of a Preacher Man” went down particularly well with the Staines crowd. The interpretation by this talented trio was lunar and majestic.

The soft-shoe number “Emotional Powder Keg Blues” was apparently written by Ali when she was going through what she described as a “bunny-boiler phase…

This number had pat-a-cake rhythms and expressive guitar-lines provided by Alan Glen.

Towards the finale we had “Big Mama” Thornton’s 12-bar blues song “Hound Dog” that has been recorded over 250 times and is one of the world’s best ever sellers…

The MOODY, MAAS and GLEN rendition had all the impudence & euphoria we appreciated in the original.

This was a thoroughly pleasurable evening filled with artistry and flair.

Words & Pictures: @neilmach 2017 ©
You can read a recent interview with MAAS & MOODY here: https://rawramp.me/maas-and-moody
Black & Chrome by Ali Maas & Micky Moody ‎is OUT NOW via Armadillo Music
Link: https://www.mickymoody.com

Moody, Maas & Glen – expressive lyrical moments…

STAINES LAMMAS BRASS BAND — Springtime Spectacular

This Sunday the STAINES LAMMAS BRASS BAND hosted a superb “Springtime Spectacular” concert of popular songs at the ancient St Mary’s Church in Staines.

We went along to see the show.

Our favourite was probably Ramin Djawadi’s theme from the HBO’s television series “Game of Thrones…”

 

 

 

 

 

 

 

 

After an excellent introduction — “The March of the Peers” [ by Arthur Sullivan, from Iolanthe] with skilfully interpreted passages and perfectly controlled rhythms, the band was presented by the experienced musical director conductor / garrulous musical director Lee Woodward who was appointed MD of the Staines Lammas band in 2014.

Lee introduced us next to an overture by Austrian composer Franz von Suppé, “Morning, Noon, and Night in Vienna.” The piece incorporated a pensive solo that overflowed with emotion.

After that, we enjoyed another eloquent solo, this time featuring Steve Burgess [ the principal cornet player.] Steve also plays with Alder Valley brass and the Freedom Brass Quintet. The poignant number was Dvořák’sRusalka’s Song to the Moon.”

This is about a water nymph who falls in love with a prince …” Lee told us before the start. “But, of course this is an opera. So, as you can imagine, it doesn’t end well …

Modern numbers in the entertaining programme included “Baggy Trousers”

Modern numbers in the entertaining programme included “Baggy Trousers” by Madness [arr Alan Fernie.]

And Hans Zimmer’s Pirates of the Caribbean: Dead Man’s Chest.

Our favourite, though, was probably Ramin Djawadi’s theme from the HBO tv series “Game of Thrones.”

The band managed to perfectly convey the expectations of the show, all those dead-reckonings and impressive crownings.

Bohemian Rhapsody” by Freddie Mercury [arr. Darrol Barry] was magnificent and perhaps we don’t entirely realize what an incredible achievement this piece of music this is until it’s heard performed this way.

And just before the interval we enjoyed a little game of “guessing the melody” when the band played “The Lone A-ranger” by Philip R. Buttall.

Many thanks to Staines Lammas Band for offering us a very pleasant afternoon of masterful music. And also thanks to the Reverend and staff at the Church of St Mary’s for making us feel welcome.

The next Staines Lammas Brass Band concert is on Sunday 25th June 11.00 at the Staines Upon Thames Day, Thames Street.

Also see them perform on July 9 at the Staines Lammas Park, at 2 pm.

Words & Pictures: @neilmach 2017 ©
Link: http://www.staineslammasband.co.uk/