Artist: Family Force 5
Album: Dance or Die
Label: Transparent Media Group
Released: Out Now
Reviewed by: Andy C

This Atlanta 5-some have been around since 2001, however this is the first time that I have had the pleasure to listen to the band, and those first impressions are good. It is a tough mix to try and do what these fellas are doing without being branded as a 1 trick pony, but with such a wide range of things going on and what seems like all the genres of rap, post-hardcore, punk rock, alternative, electronica and nu metal thrown in to one big melting pot it surprisingly keeps the album fresh throughout.

Track 1 kicks in with the bands first single from the album ‘Dance or Die’, at first the track sounds like it wouldn’t sound out of place on any Eurythmics or Pet Shop Boys album, its not until the big beats and stabbing guitars come in that you know what the band are all about. Track 2 arrives with the build up that you can sense something big is coming, it does with a Nine Inch Nails type riff that
is a certain face melter when the volume is cranked up. Track 3 ‘Rip It Up’ continues to bring the beats, big guitar and 80’s electro feel and big chorus that will stick in your mind for the rest of the day.

It’s not until we hit track 4 that the album finally takes a breather with a track that sounds like something Timberland would churn out in a couple of minutes and have a hit on his hands. We soon get back to the sound that makes the album what it is with track 5, ‘Fever’ which brings back the beat that even Justin Timberlake would have been proud. Anyone who doesn’t dance along to the lyrics ‘I think my bodies in shock, I just don’t know what to do, I feel my temperature rising, past a hundred and two!’ certainly has their music bone missing.

Track 6 opens with a Killers feel and never really gets going like the other tracks, unlike track 7
‘D-I-E 4 Y-O-U’, the opening section is an instant face melter with an energetic feel throughout, it’s not until the end of the track that the band open a riff that would instantly have you moshing around the living room, even if you were on your own. Track 8 seems to be the token love song, that does sound slightly out of place on this album, again track 9 is in the same vein, but is slightly improved due to the pop punk feel of it.

Track 10 is again an aggressive mix of pop, rock, punk and electro that the album is built on, the final track ‘Radiator’ is much of the same but overall, at just over 40 minutes, the album has such a wide mix of genres applied that it will apply to the masses and hopefully bring them all together as only music can.

With 2 sold out UK shows and recent shows at the Reading & Leeds festivals, you will certainly be hearing more of these guys soon.

(9/10)

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What: Elton John
Where: The Royal Albert Hall, London
When: 22nd September
Reviewed by: Roger Goodgroves

A couple of months ago I wrote a stinging review of Madonna’s gig at the O2 where I compared her and Elton John for their money grabbing, over priced and seen too often tours.

Last night’s gig is where I eat my words (well some of them at least!).

For a start we are in The Royal Albert Hall and not the mega hollow, O2 aircraft hanger. As a result this is and feels like an intimate gig.

Tonight Elton is not in it for the money. In fact he’s giving it all away! This special gig is to raise money for the Royal Academy of Music. Elton studied there before rising to international super stardom. This isn’t the first time he’s raised money for them and that in itself has to be applauded.

Elton managed to keep a straight face whilst saying “I never thought I’d be doing a concert to buy a new organ”. Considering Elton has been fighting the onset of age related impact for many years this is certainly not a given fact.

The other complaint I made against Madonna was the high ticket prices. These were no exception, but this time the money was not only going to a great cause but also Elton (or his wise management) added in some seats starting at £35.

Kicking off the show were members of the Academy itself. They performed (very admirably) a host of “show” related numbers including Elton’s own Circle of Life (from The Lion King) and Solidarity (From Billy Elliot).

An anti-climax in the evening was Elton’s support on his forthcoming tour, Teddy Thompson. There was nothing wrong with what Teddy did, however one man and an acoustic guitar following a zillion” piece orchestra and a Football Cop sized chorus was never going to be easy.

The Royal Albert Hall is my favourite gig venue. There are none of the “protection” crowd barriers at the front of the stage that separate the gig goer from artist. In fact being a horseshoe shape, the wing seats are almost on the stage as can be seen by my photos.

I have seen Elton a couple of times before but never in such an intimate setting. In fact being only about 15 feet away was somewhat bizarre as when he walked on stage (to no fanfare) it felt somewhat odd, almost like he was invading my space or I was a voyeur in his.

This was no greatest hits outing and I am not nearly fan enough to get the full benefit. There were many obscure and seldom played songs filling tonight’s set list. This is not to say it wasn’t enjoyable however I can well imagine that if I was a real fan I would have been in rapture.

Elton sat alone with piano not even centre stage. It almost felt like he was hugging his normal left of stage position as some form of security blanket. Here he was isolated and alone spilling his heart out with many songs of an intense nature. For almost two hours he played alone, his beautiful melodies bringing extra life to the finely crafted lyrics of Bernie Taupin. His stubby fingers defying logic and fully mastering the grand piano in front of him. He is a wonderful musician and undoubted star, however his insecurities surfaced at the end of each song as he rose to take the adulation of the crowd looking like he needed the exchange of energy to power him through the next track.

This was billed as a concert of Elton John and Ray Cooper playing together for the first time since 1995. I was beginning to despair that the vast array of percussion instruments hiding in the shadows behind Elton’s piano would never see the light of day. Eventually my rising disappointment was satisfied. The superb Ray Cooper quietly stepped up to the stage. If you missed his entrance you couldn’t miss his presence. The pounding of the kettle drums announced and continued to herald his arrival. Ray can be subtle and yet in many ways dominating as he adds texture to Elton’s song delivery with his own inimitable flair. All in all a value packed evening that whilst not raising the crowd into dancing in their seats certainly left them feeling fulfilled and having felt like they had been part of something special.

Whilst the afore mentioned Madonna seemed to be “working to rule” with her time keeping and no encore “going through the motions” routine; Elton was onstage for almost three hours. The normal Royal Albert Hall eleven O clock curfew came and went and a few people crept away reluctantly to relieve baby-sitters or to catch the last bus home. OK in reality, judging by the A,B,C1 clientele more like they’d booked the limo ride home assuming a certain finish time and didn’t want to put too much upon the “help”.

My video from the performance can be found below:

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Artist: Apple Rabbits
Album: Kilburn State
Label: Infernal Machine Recordings
Released: Out Now
Reviewed by: Harriet Feilding

Kilburn State is the third album by apple rabbits following the beautiful debut album “King Of Anglia” and the now deleted “Ghost Of The Underground”. Jay Fisher of apple rabbits has managed to make an album that whilst electronically even experimentally led still gives us great songs and arrangements making it one of the most interesting yet listenable albums I have heard this year. Starting of with the choral “faces in the wallpaper”, to “Rosena”, which sounds like the Soundtrack to a soviet made cartoon and “Metrodomedary” a beguiling track reminiscent of a dubbed Severed heads.

This album really is full of surprises. For those who love great songs “I could not care Less” and the haunting- country style single “Yeah” are sure to please. Finally just when you thought you had the whole Shebang worked out, Mr Fisher finishes on a track called “Thank You Mr Hosono”, which pays tribute to Haruomi Hosono “Video Game Music. This third album does not disappoint, in-fact to my mind it his best work to date. It is difficult to think what he will come up with next.

(9/10)

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What: Rockwell
Where: O2 Arena, London
When: 11th September
Reviewed by: Roger Goodgroves

No, Rockwell of the 1980s hit is not trying to sell out the O2 Arena! Mind you there would have been something slightly ironic about it if he were. This September date was nestled in amongst the 50 dates that Michael Jackson was going to be dominating the schedule with his massive residency.

Why ironic, well Rockwell is the son of Berry Gordy Jnr (and was signed to his Motown label) and Michael Jackson sang on the chorus of Rockwell’s one hit wonder “Somebody’s Watching Me”.

This particular Rockwell is the name given to an event in aide of the Nordoff-Robbins music charity. This year’s gig looked to unite a variety of musicians with unique collaborations. The gig didn’t sell that well despite the line up of artists and some front block tickets were being sold the day before the event at £10 each. A real bargain as you will see from the list of artists.

Duets:
Lulu with Dan Gillespie (The Feeling)
Dan Gillespie (The Feeling) with Beverley Knight
Gaz Coombes and Danny Goffey (Supergrass now Hot Rats) with Johnny Borrell (Razorlight) performing Elvis Costello’s “Pump it up”
Gabriella Cilmi / Ronan Keating (Boyzone)
David Gray with Escala (Britain’s got talent (The ones that play strings and look like they came out of a Robert Palmer video))
Joss Stone with Tom Jones
The whole cast perform The Beatles’ let it be.

Each of the main artists did a further couple of numbers in addition to the duets which created a very varied and interesting night’s entertainment. This was good and bad. If you didn’t like the artist you didn’t have to wait too long before the next one. On the other hand sometimes you didn’t feel satisfied with what you were served.

The one act who didn’t duet with anybody was Robert Plant. Instead he did some very unusual arrangements of Led Zeppelin songs Black Dog and Whole Lotta Love. He was joined on stage by a collection of African musicians including riti player Juldeh Camara (a riti is a a one string fiddle). The African arrangements as bizarre as it may seem worked. Hearing the one stringed riti doing a “guitar” solo was enthralling. A short clip from “Black Dog” can be viewed below:

The house band were present through most of the set and included Mike Rutherford (Genesis and Mike and the Mechanics).

Rockwell set out to be a collection of unique duets and certainly achieved that. The one disappointment for me was the closing number “Let it be”. I’m used to a variety of artists coming together for the final number where they take it in turns to sing a line or two. What I don’t expect though is for them to sound so much like amateurs. This was perhaps down to the “clever” idea of allowing the audience to vote for what they wanted to be the final number. Perhaps O2 can take a leaf out of Orange’s support for the cinema and “Don’t let a mobile ruin your movie”

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What: Ray Lamontagne
Where: Usher Hall, Edinburgh
When: 9th September
Reviewed by: Lynsey Ure

This was Ray Lamontagne’s fourth visit to the Edinburgh in recent years, this time in a bid to promote his third album, ‘Gossip in The Grain‘, and boy, he didn’t disappoint. Bringing with him support from Ethan Johns and Josh Ritter to wet the audience appetites before he graces the stage.

Ray Lamontagne is certainly not a man of many words, the shy and retiring singer is about as well known for his lack of between-song banter as his gorgeous songs. But as refreshing as the newly refurbished Usher Hall and to great surprise Ray proceeded to embark in a lengthy and witty conversation with his adoring audience.

“New Hampshire!” a female shouts out indicating she is from his neck of the woods.

“New Hampshire, Huh?” he replies, “Its the Black Sheep of New England. Crazy Drivers there - they never use their turn signals.” As the lady makes a cry of acknowledgement he continues ” Yeah, see, I’ve driven behind you,” he laughs
“What are you doing here?”

“What are you doing here?” the shouter slams back, “What does it look like?“ he blushes, “ I came to see you” was her reply sending the audience into fits of laughter. As another punter exclaims “I’m from Virginia.” Lamontagne looks on in disbelief

“Well, you got me there,” he smiled, barely believing he was actually conversing from the stage, for once.

Lamontagne brings with him his usual backing band of female bassist, a drummer who quiet frankly looked like he was itching to be let off the leash and a pedal steel player. They open with ‘Meg White’ and followed with incredible track after track. Mixing new songs ‘Sarah’ and ‘Let it Be Me’ with some old familiars like ‘Shelter’, ‘Empty’ and ‘Hold Me in Your Arms’ all flowing so naturally together.
Rockier tracks in the shape of ‘Hey Me Hey Mama‘, and a tune thrusted out via a distorted-sounding harmonica, indicated Lamontagne can still write a good, old-fashioned toe-tapper when he wants to.

As his band departed from the stage Lamontagne delivers ‘Winter Birds’ a song filled with every cliché that a singer can write when it comes to love and leaving no doubt in our heads that ladies are his first love. As he pours his soul into the performance the audience lap up every word that flows from his lips.

Ray winds down with one of his finest ballads, the hauntingly brilliant Jolene. Then, with coy wave and a shy thank you, Lamontagne bowed out, ensuring that he left the stage to a standing ovation.

(9.5/10)

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Artist: Liam Frost
Album: We Ain’t Got Money, Honey, But We Got Rain
Label: Emperor Jones
Released: 28th September
Reviewed by: Lynsey Ure

Liam Frost shot to the attention of many after the release of his debut album ‘Show Me How The Spectres Dance’. With songs filled with heartache and melancholy, the singer and his band ‘The Slowdown Family’ spent his time sharing stages with many fellow Mancunians such as Elbow, Badly Dawn Boy and Stephen Fretwell. As he came back down to earth and the dust settled on the whirlwind of his debut, it became time to focus on the all so difficult second album. The trauma of being dropped from his existing label Lavolta was quickly over shadowed with the realisation this was his time to write the album he wanted to write and work with the people he wanted too! Freedom! The birth of ‘We Ain’t Got Money, Honey, But We Got Rain’ came and proved well worth the wait.

Debut single and set pleaser for some time now ‘Held Tightly in Your Fist’ is the raucous opener that is needed to show exactly how this album is going to differ from his debut. His declarations of love in the lyrics fit perfectly with swirling piano and delightful harmonies. The line that stands out and lets the listener know where they are from the start is ‘Lend Me Your Ears/I’ll Sell You Something That You’ll Swear You’ve Heard Before’, as Frost brings in so many elements from classic pop songs that have you toes tapping and singing along whole heartedly.

Two Hearts is saturated with beats, rifts and vocals that attracted fans to his music in the first place, with similarities to ‘This City is at Standstill’ the track has a clap along and sing along section that will defiantly be a live favourite.

If any tune is going to give Liam chart success its defiantly the fun and exciting ‘Your Hand In Mine’ with the quiet frankly magnificent Martha Wainright! Vocally who would have thought this would be such a fascinating and intriguing match, Martha’s strong and dominating vocal allows Liam to show more subtle harmonies which prove difficult when your predominately in lead vocals. The song really brings out the best in both.

‘Leading Lights and Luminaries’ has a lovely romantic and chilled out vibe as the end of the album approaches with the ditty ‘Orchestra of Love’ filled with swing and big band sounds.

Liam is a Mancunian treasure and is an artist to be encourages and supported fully, lets hope album number three comes around on an easier level.

(8/10)

For more Liam Frost visit Myspace

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