Silverhead and Michael Des Barres – Scenester Reviews

Silverhead (Purple 001)
16 and Savaged (Purple 002)
Live At The Rainbow (Purple 003)

Three LPs of work by one of the glam rock period’s great forgotten bands, Silverhead, and its singer, later turned actor, Michael Des Barres, is surely one of the year’s most unexpected re-releases. Purple Records have done the honours, and included a wealth of bonus material in amongst the original music and artwork.

‘Silverhead’ appeared in 1972, at the height of the Glam Rock period, its cover styled in Art Deco interlocking frames and featuring singer Michael Des Barres in voluminous baggy trousers, his face a scary clown mask, his hands conjuring 7’’ records out of the air, and arranging them in an elegant arc to complete
the arabesque.


Musically, it’s easily the best of these three LPs, opening with ‘Long Legged Lisa’, with its slow, choppy intro lick and salacious lyric. The slide guitar work is classy, but the band knew which way the wind was blowing in rock, and kept to the glam/trash model as far as they could. With its cast of character like ‘Sharp Shootin’ Sheila and the aforementioned Lisa, it’s hard to say whether this was all inspired by Marc Bolan, Muddy Waters or John Gay, but it’s good, trashy fun, so who’s bothered?

‘Underneath The Light’s steady rocker is brought to life with a good, tight lick and Michael’s in fine voice, with some capable screaming guitar riffs thrown in for good measure. ‘Ace Supreme’s exciting riff masks some horribly clichéd lyrics, but that was far from being a crime in the glam 70’s.

‘Johnny’ sees the acoustic guitar getting an airing, in a rather half-hearted lament that was an obvious play for a US FM audience. ‘In Your Eyes’ sticks with the mawkish sentiment, and rather shows up the limitations of Michael’s voice in this piano-led number. Such material would be best left to the expert in this field; your Elton John.

Happily, this introspective section is over with, and it’s back what Silverhead do best; the great, throwaway scuzzy rock of ‘Rolling With My Baby’. It’s a shame to follow this up with ‘Wounded Heart’, the band taking a walk on the Gospel side, and to no great effect. No matter, ‘Sold Me Down The River’ sees them back on the wrong/right side of the road again, with a classic turnaround for the traditionalists out there.

‘Rock ‘N’ Roll Band’ is surely to be regarded as Silverhead’s fighting song, a plea to be taken seriously, at a time when many lesser bands were achieving greater, often undeserved success. The short, sharp ‘Silver Boogie’ has a charm to it that puts you in mind of ‘The Girl Can’t Help It’, and is a fairly unique way to close this debut LP.

Bonus tracks have more going for them than most CD fillers; ‘Ace Supreme’s thunderous echoing sound shows what a great live prospect they were, and ‘Rock ‘N’ Roll Band’ in the live arena is a revelation; great, scorching hot guitar licks pepper the lengthy take, and again the powerful sound showing evidence of no mean ability. The clearly audible female laughter suggests a surreptitious recording, somewhere in the audience, and all of Michael’s various attempts to fire up the crowd are there for posterity.

‘Sold Me Down The River’ has more desperate jollying up to its live outing, to little effect, and then we’re into the 7’’ versions of ‘Ace Supreme’ – a potent start-up, the homoerotic tale worked well, ‘Oh No No No’s tepid rocker and ‘Rolling With My Baby’s well produced, tighter sound, surely hinting at great things
to come.


‘16 and Savaged’, their second LP was released in 1973, and sporting the sort of cover image that would be unlikely to go down well in today’s more sensitive times. The LP’s nine tracks have been expanded to include live and unreleased material, more than doubling the musical content.

‘Hello New York’s guitar skids the LP into action, in a sub-Alice Cooper piece of jet-rock, and lets it settle in our brains by following it with a slow roller, ‘More Than Your Mouth Can Hold’ (ermm…) the US style vocal delivery perfect for this type of unashamedly dirty rocker. ‘Only You’ follows hot on its heels, some fine bluesy guitars leading up to a grand swell that reminds this listener of Humble Pie at their raunchiest.

‘Bright Light’ opens well with a swaggering guitar lick and rocks steadily throughout, but the shouted vocal turns out too jokey to carry what’s otherwise a good, steady roller. The generic 70’s stomper ‘Heavy Hammer’ doesn’t do what it says on the tin, but the wild ‘Cartoon Princess’ more than makes up for it. The talking guitar intro, topped off with ‘yacking’ vocal and punctuated with a neat bass turnaround keeps the momentum up, until the long lead out.

Sticking to what they know best, ‘Rock Out Claudette Rock Out’s title tells you all you need to know about this generic rocker, and it’s a shame that the chorus is as weak, with such a great title as this. The unfortunately named ‘This Ain’t A Parody’ sounds exactly like one, a slow blues with a predictable ‘crone’ voice, typical of many rock songs of the era. Closing track ’16 And Savaged’s powerful drum battery and slick guitar lick perfectly complement Michael’s performance as, at last, he lets his voice rip, in obvious 7’’ single material.

This is where the official LP ends, but the reissue extends to double the tracks, starting with a somewhat homoerotic tribute to the even then, much eulogised James Dean. It possesses some gritty guitar, a throaty vocal but cliché’d lyrics are all too evident. We continue in this vein with ‘Marilyn’, a standard rocker but with little else to recommend it.

Two Michael des Barres’ solo outings, and a change of pace in ‘Leon’, with its starry, Disney-fied opening, a little reminiscent of Elton John’s output of the time, it’s a gloomy tale of receiving news of a friend’s death in Amsterdam. The welcome bluesy rocker, ‘New Moon Tonight’, has the makings of a single in it, with a good, clean vocal sound and tidy backing. A brace of live tracks from the band follow, with an echoey sound that suggest ill-attended gigs in large, impersonal halls; either that, or the Nazareth/Uriah Heep headliner fans shoved off to the bar whilst Silverhead strutted their stuff. No matter; their guitars are strong, Michael’s vocal is helped by the weird acoustics, and the band play like their lives depended on it.


‘Live At The Rainbow London’ credited to ‘Michael Des Barres – Silverhead’ has only one cover version, the pugnacious, fuzzy closer of ‘Roll Over Beethoven’, but there are riffs aplenty before we get there. ‘Hello New York’s hard, rocking guitars complement Michael’s harsh delivery well, into the steady chugger, ‘James Dean’, the voice far better than on record, and buoyed up by good guitar work. ‘Sold Me Down The River’ creeps in, Michael’s Jaggerisms well to the fore, and the song ends with a mild-dare I say it?-mellow ‘Man Of The World’-style riff.

‘Rock Out Claudette Rock Out’ is prefaced by a long and predictably lecherous explanation of the song’s genesis, doing nothing to help what is basically a reliable rocker of a song, followed by the slow lament ‘Only You’. ‘Ace Supreme’ turns up like the proverbial bad penny, fouling the air with its twin exhausts, and ‘Rolling With My Baby’s piercing guitar uproar rolls along well, but the strain on Michael’s voice is all too evident here. ‘Will You Finance My Rock And Roll Band’ has some excellent staccato guitar, and may well be Silverhead’s finest hour.

The second half, recorded at the Paris Theatre, London, opens with the great, driving ‘Hello New York’, tightly delivered, the announcer leaving us to wonder how Silverhead were ever placed on the same bill as Peel-endorsed, jaws harp enthusiast hippie duo, Medicine Head. ‘Rock Out Claudette Rock Out’ works tolerably well, but ‘Rolling With My Baby’ has the sort of chops we all came for, a standout live track. ‘Bright Light’ sticks to the template, closing with ’16 And Savaged’, given pepped up guitars and powerful drums to great success with the crowd, and the very old fashioned BBC announcer’s voice kept in, just for the hell of it. It’s not over; an alternative, highly aggressive take of ‘James Dean’ hints ta what might have been and the classic rocker, ‘Roll Over Beethoven’ putting the tin hat on it.

Why Silverhead didn’t become stars, is a little beyond me. They had the look, the star quality and the chops, as the live LPs attest. What may have been their Achilles heel, was how they sounded in the studio. Compare and contrast their Live At The Rainbow (where they supported the mighty Nazareth) to the sound of ’16 and Savaged’; the latter is a pale shadow of their live thunder. Perhaps their sound just couldn’t be captured in the antiseptic confines of a studio. BUY HERE!


Scenester lives in London and Brighton, as time allows. Enjoys music, film, television, books, design and anything else which won’t leave well alone. Old enough to know better.

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September 22, 2016 By : Category : Front page Glam Live Music Reviews Tags:, , , ,
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The Fall @ Under The Bridge

The Fall @ Under The Bridge – 11th June 2014

Under The Bridge (or to be precise, under Chelsea FC’s East Stand) is the chosen venue for Mark E Smith and the latest and arguably the most settled incarnation of The Fall to unleash their uncompromising and abrasive brand of Rock n Roll to a fanatical crowd who clearly can’t get enough of the enigmatic ‘Hip Priest’ and the latest line up of this ever prolific band.

The Fall in its various guises and under the leadership of the dissident MES have released an incredible 30 studio albums. Their longevity and freshness in sound is arguably down to MES’s squad rotation policy, which must be the envy of any premier league manager. Smith’s policy of firing followed by hiring has allowed The Fall to continuously evolve and remain contemporary, and to keep producing interesting and sometimes inconsistent new music for their devoted fan base. This is quite refreshing in an age when so many bands whose talents have long since gone resort to the easy bet of releasing reissues, greatest hits and box sets.

In musical terms nostalgia means nothing to MES and The Fall have no reason to plunder their back catalogue to please their fans. Thankfully they made no apologies for playing by and large their later out put last night, which consists of material drawn from their latest album Re-Mit and EP The Remainderer.

It would be fair to assume that a career spanning 30 albums Fall devotes would be in for a long night. However, this show was a surprisingly short affair that just shaded the 60-minute mark. The crowd was treated to a blisteringly loud set by a tight and focused band despite the incoherent and shambling appearance of MES.

MES is an oddly charismatic front man and it is hard to take your eyes off him, as you never quite know what he is going to do on stage. Tonight was no exception and despite his nonchalant and contrary stage presence he still managed to create near hysteria, with the heaving crowd at the front to such an extent that some fans even jumped on stage only to be greeted by over zealous bouncers, and an indifferent leader.

His antics on stage almost diverted everyone’s attention away from the band, as he casually sauntered around the stage, knocking the drums over, turning up the speakers, and even allowing a fan to gate crash the stage and take over on vocal duties. It would be fair to say that MES is not the greatest traditional vocalist you will ever hear, and last night this was apparent as he slurred and barked his way through the songs. However, a lack of melody does not matter with such a strong stage presence and watching him walk round the stage and doing his best to interrupt the flow of the band was compelling evidence that there is no one in music quite like Mark E Smith.

The Fall had 2 drummers on stage last night and the band were aggressively loud. Smith’s wife Elena Poulou is a long term Fall member and her work on the synth was impressive despite hubby Smith’s attempts of trying to distort the noise of the synth by turning the speaker behind his wife up full blast. It was a wonder how the band managed to put up with Smith’s antics on stage; however, they were completely unfazed and delivered a deafeningly accomplished performance.

Songs from the new EP The Remainder featured heavily and Amorator! Mister Rode, Remembrance R and Remainderer were all well received, however, the biggest cheer came when the band played Psykick Dancehall. As brilliant as this tune is it has to be said it was not delivered particularly well last night and it felt like the band was going to grind to a halt at any moment. Psykick Dancehall sounded out of place to some extent amongst all the later out put by The Fall, and it more than justifies Smith’s decision of opting to play the latest material instead of the tried and tested method of rolling out the classics from a bygone era.

The Fall are often unlikely to win many new fans from their live performances let alone their recently recorded output, but their hard core following were more than satisfied with what they witnessed last night. The gig felt a little too short at 60 minutes, however, is it not better to leave the crowd wanting more? Smith is still a strangely compelling frontman and comes across as a disheveled and uninterested performer, which for some strange reason makes him an even more alluring character, and even after all these years in The Fall, Smith is still engaging, witty, provocative and brilliantly outspoken.

Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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June 18, 2014 By : Category : Features Front page Gigs Live Music Reviews Tags:, , ,
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The Polyphonic Spree @ The Clapham Grand

The Polyphonic Spree & MT Clapham Grand – 6th June 2014

Braving a trek south on the Northern Line and a rampaging army of One Direction fans heading for home, your pal Scenester found himself moved by the sprawling, symphonic band from Dallas, Texas and their like-minded friends.

Support band M.T., a Scooby gang of rock/pop mismatches provided able support, their light, synth/guitar-driven sound a perfect, wistful backdrop for their wiry, jump suited glam-rock singer to flex his vocal chords around.

FM radio-friendly, totally unpretentious DJ sets kept the positive vibe going, all Beach Boys and ELO and REM, and nobody even tried to be cooler than thou when slices of manicured pop like ‘Mr Blue Sky’ and ‘Hooked On A Feeling’ drifted out of the PA system.

An unalloyed atmosphere of peace, love and purposeful foolishness was formally ushered in by their resident Town Crier, a man whose lengthy forked beard earned him a round of applause by itself. After the solemn ceremony of cutting the graffiti’d stage banner in two was over, Dallas’ finest were revealed in their matching flared zipper coats, somewhere between monk’s habits and alien hippy blousons. The Spree’s unabashed mixing of amplified rock instruments with viola, brass and choral singing , and a quartet of Cottingley fairy-like back-up singers completed the least conventional band you are likely to see this summer.

Taking their lead from the pure, blissful pop of the late 1960’s/early 1970’s, their set kept heading up, up, upward, higher and higher, winner’s chords all the way, as they built on every song, without any concession to rest or release.

‘You Don’t Know Me’, a handclap and synth, stamping rhythmic self-improvement chant showed its strength here, and ‘Light and Day’ had a roomful of eager singers-along to swell it up, more chorus than verse and all the better for it. ‘Soldier Girl’s lyric may be a little insubstantial, but the churning, ramshackle rhythm is enough to transform the Grand’s horseshoe ground floor into a sea of bobbing heads.

Their full throttle, breathless take on Wings’ ‘Live And Let Die’ shows just how much audacity they have, and they don’t disappoint with their huge, roof-rattling treatment of this personal best (?) for post-Beatles Paul. Audience members not quite the full-on crazies typical of, say, a Flaming Lips revue, we did at least score one punter wearing a pantomime horse head, and a somewhat optimistic bloke on the balcony flashing banner messages of undying love to ‘Brunette Black Boots Singer’ in the eerie green light of his mobile phone.

Showcasing songs from their new LP, ‘Yes It’s True’, and plenty of favourites from their relatively short career, the southerners’ wild, expanding psyche-pop lunacy blasted away a week’s worth of minor grumbles and frustrations and sent us out into the night with a laugh and a smile at the sheer joy-filled ridiculousness of it all. Photos by: Erol Birsen © all rights reserved 2014



Scenester lives in London and Brighton, as time allows. Enjoys music, film, television, books, design and anything else which won’t leave well alone. Old enough to know better.

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June 17, 2014 By : Category : Features Gigs Live Music Pop Reviews Tags:, , ,
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The Primitives @ the 100 Club

The Primitives @ the 100 Club – September 2013

Last night saw Indie darlings ‘The Primitives’ celebrate the 25th Anniversary of their acclaimed debut album ‘Lovely’ at the 100 Club. Cherry Red Records have added this Indie pop gem to their mightily impressive back catalogue, and the newly expanded reissue of ‘Lovely’ comes as a 2-CD set, which features the original album and a bonus disc that brings together most of the bands B sides and other rare tracks from that 2 year period. ‘The Primitives’ went from being an Indie guitar band that was loosely tied to the C86 scene to chart superstars thanks to the success of the hit single ‘Crash’, and the subsequent album ‘Lovely’, which debuted at number 6 and stayed in the charts for 10 weeks in the summer of 1988.

It is hard to believe that 25 years have passed since the release of this enduringly popular album, and just one listen to this record will surely have even those with out any sense of melody at least wriggling their toes to such songs as ‘Spacehead’ ‘Thru The Flowers’ ‘Stop Killing Me’ and ‘Dreamwalk Baby’. This album fizzes from start to finish with shimmering jangly guitars, Tracey Tracey’s sweet vocals, and a really catchy guitar sound that makes this listener think of an electric saw melodically cutting through a sheet of hardboard.

‘The Primitives’ are going through a new phase of popularity since coming back onto our radars after a period of some 18 years. However, the band was reunited by tragedy when their original bass player Steve Dullaghan died unexpectedly in 2009. But for ‘The Primitives’ and their devoted fans something good came out of this loss, and over the past 4 years fans have been treated to a series of live shows, and a first album from the band in 20 years. ‘Echoes and Rhymes’, which saw ‘The Primitives’ record a covers album of girl fronted obscure pop gems from the 1960s, and their infectious sunshine pop is all over this album to such an extent that they virtually make the songs their own.

After witnessing ‘The Primitives’ for the first time ever at the ‘Scared To Get Happy: A Story of Indie Pop’ launch night back in June, it was hard to believe that they had ever been away as they played brilliantly to a rapturous audience. I was wondering if ‘The Primitives’ could top that performance at the 100 Club, and I felt privileged to be among this sell-out crowd last night. ‘One of the great things about watching a band at the 100 Club is just how intimate this venue is, and being so close to the stage and the band makes a gig even more special. The anticipation of seeing ‘The Primitives’ made me quite forget that there was another legend in attendance last night. Erstwhile drummer of ‘The Smiths’ Mike Joyce who was supposed to be playing a DJ set. Whoever the DJ was he deserves some credit for priming the audience with plenty of anthemic punk and new wave gems, which set us up nicely for the arrival of ‘The Primitives’.

The anticipation of the 100 Club audience could be felt, and it was exciting to say the least to be witnessing ‘The Primitives’ this close up. However, no ‘Primitives’ gig would be complete without ‘The Flower Man’, who stood rooted to his usual spot right at the front of the stage in front of Tracey Tracey’s microphone. I witnessed this scenario back in June, when ‘The Flower Man’ presented Tracey Tracey with a rather lavish bouquet at the end of the show, and surely Interflora’s best customer would be armed with another bunch of flowers this time. However, if he did present any flowers to Tracey Tracey then I sadly missed it this time, due to the heaving and swaying crowd.

‘The Primitives’ jostled through the crowd and took to the stage to a rapturous reception, and just blasted through a set, which included the entire ‘Lovely’ album. Every time the ‘The Primitives’ launched into a song, the crowd came surging forward time and again, with fans literally falling on the stage, to the amused concern of Tracey Tracey who politely tried to get the audience to move back a little. However those were her only words to fall on deaf ears, as the fans took no notice of her light hearted please for calm. It is easy to see why people could not stand still for a single minute, as ‘The Primitives’ have such an impressive back catalogue of airy and brilliantly melodic songs, which were played to stunning effect last night.

However, the gig was not without its odd moments. At regular periods during the show the lights kept coming on, which is always an indication that the night is over and it did make me think back to the times when I used to stagger out of the 100 Club after the Northern Soul all-nighters. The problem with the lights was not without its plus points as it made taking a couple of pictures slightly easier. This was a euphoric performance and the audience would not let ‘The Primitives’ finish, and they managed an encore to the delight of everyone, including ‘The Flower Man’. I can only assume that if he did bring a bunch of flowers then they would have been well and truly destroyed by the crowd.

I am always skeptical when bands reform and most reunions fall flat, and it usually ends up with bands doing badly what they used to be so good at. However, the same cannot be said of ‘The Primitives’, who clearly enjoy being on stage together. Their welcome return to the stage and the recording studio could not have come any sooner. ‘’The Primitives’ youthful vigour still shines through, and last night’s show absolutely bristled with energy and fizz. They are simply a band that no one could get tired of seeing live.

After the gig had finished I had the good fortune of meeting Tracey Tracey and Paul Court. They were so down to earth, and unaffected by their status as Indie pop darlings, and they happily had photos taken, and signed records and t-shirts for the fans. However, the night was not without calamity, as I staggered up to Tracey Tracey who graciously posed for a photo with me, which I subsequently deleted by mistake and I am still trying to come to terms with it today. I told her how much I used to love ‘The Primitives’ in 1988 (and still do), and I cheekily asked her how she managed to look so young, in which she smiled, shrugged her shoulders and I blushed like a naughty schoolboy.

The night was fully made perfect by an excellent DJ set from none other than Smiths’ legend Mike Joyce who kept the buzz and atmosphere spot on. Does it get much better?

Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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September 29, 2015 By : Category : Features Front page Gigs Indie Live Music Reviews Tags:, , , , ,
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Scared To Get Happy: A Story Of Indie Pop 1980-1989

Event: Saturday 22nd June, 2013 @ 229 The Venue, 229 Great Portland Street, London, W1W 5PN

7.00pm to 7.30pm – THE WOLFHOUNDS
7.45pm to 8.15pm – MIGHTY MIGHTY
8.30pm to 9.15pm – BRILLIANT CORNERS
9.30pm to 10.15pm – BMX BANDITS
10.30pm to 11.15pm – THE PRIMITIVES

7.00pm to 7.45pm – YEAH YEAH NOH
8.00pm to 8.45pm – 14 ICED BEARS
9.00pm to 9.45pm – BLUE ORCHIDS
10.00pm to 10.45pm – POPGUNS
11.00pm to 11.45pm – JUNE BRIDES

Now in its 35th year Cherry Red Records (along with Rough Trade) can lay claim to be one of the longest and most successful independent records labels in the UK. Co-founders Lain MacNay and Richard Jones started the label in 1978, in order to release singles by Punk band ‘The Tights’. Lain MacNay initially operated Cherry Red Records as something of a ‘hobby’ from his Wimbledon home, and today Cherry Red Records has an enormous and mightily impressive back catalogue, and they claim to release up to an astonishing ‘50 albums a month’.

On the 24th June comes the release of the eagerly anticipated ‘Scared To Get Happy: A Story of Indie Pop 1980-1989’. This mammoth 5 album box set contains some 127 tracks by Indie bands that enjoyed limited success to those that eventually went on to become household names in the 1990s. According to the Cherry Red Records website, the inspiration for the ‘Scared To Get Happy’ box set came in the form of the ‘Nuggets: Original Artifacts From The First Psychedelic Era 1965-1968’. Both of these compilations focus on somewhat obscure and neglected bands, and ‘Scared To Get Happy’ like ‘Nuggets’ serves as an intriguing and essential guide for those curious enough to see beyond the smattering of famous names that litter the ‘Scared To Get Happy’ compilation. You can grab a copy HERE!

Last night saw Cherry Red Records launch the ‘Scared To Get Happy’ compilation in fine style at London’s ‘The Venue’ on Great Portland Street. With 10 bands split evenly between 2 rooms, it left the audience a little spoilt for choice. However, ‘Mighty Mighty’ was an easy choice for this particular audience member, and somehow this Birmingham 5 piece were bizarrely under my radar until last week. Their set consisted of ‘Maisonette’, ‘Settle Down’ (where Hugh Harkin sank to his knees and implored the audience of 30 and 40 something’s to do just that), ‘Is There Anyone Out There?’ ‘Built like A Car’ and their hilarious debut single ‘Everybody Knows A Monkey’. At one point in the set Hugh Harkin calls out for Bridget Duffy to join them on stage. The ex ‘Sea Urchins’ band member was nowhere to be seen, or did she hide when her name was announced? Many of us also know Bridget from her shop ‘What The Butler Wore’ which has been catering for my own and other like minded ‘Dedicated Followers Of Fashion’ sartorial needs since 1995. This impressive set was backed by singing fans at the front of the stage while holding their beers aloft. If you want to know what all the fuss is about, then you can view the YouTube clips attached here or catch a glimpse of their classic amusing videos to ‘Maisonette’ and ‘Built Like A Car’.

The Brilliant Corners’ were afforded the luxury of an extra 15 minutes, and an ensemble containing at least 6 members (starting to get beery eyed at this point) saunter onto the stage with Dan Pacini brandishing a trumpet and Davey Woodward a taped up acoustic guitar. ‘The Brilliant Corners’ story dates back to 1983 and they decided to reform to celebrate their 30th anniversary by playing at the ‘Scared To Get Happy’ launch party. They appear slightly fey especially with the introduction of Amelia Fletcher to sing ‘Why Do You Have To Go Out With Him’. Other songs included the slightly silly and amusing ‘Brian Rix’ and ‘Teenage’, which Davey Woodward awkwardly introduced and pondered the merits of singing such a song considering the age of him and most of the audience. However, this did not matter at all as the song was received rapturously. Seeing ‘The Brilliant Corners’ on stage made me think that the so-called under appreciated Indie Pop scene of the 1980s does indeed have a lasting legacy, which can be seen in Bands like ‘Belle and Sebastian’ and more recent Indie upstarts like ‘The Pains of Being Pure At Heart.’

‘The Brilliant Corners’ really did grab my attention to the extent that I missed the start of the “Blue Orchids’ in room one.  This post punk band featured ex ‘Fall’ members Martin Bramah and Una Baines, and my introduction to the Blue Orchids came in the form of a live appearance at the nearby ‘Social’ a few months ago.  What made that particular gig so compelling was the chaotic performance from an inebriated and out of tune frontman Martin Bramah. Last night I was expecting something similar and to my surprise this was a much more sedate, and sullen performance from Bramah and the rest of the “Blue Orchids’. The ‘Blue Orchids’ did step up a gear towards the end with tracks like ‘Work’ and the brilliant ‘Disney Boys’. ‘The Fall’ may release about 40 albums a year, but can they really claim to have done a 45rpm as brilliant as ‘Disney Boys’ coupled with ‘The Flood’?

Now it was back into room 2 to see the already started ‘BMX Bandits’ who hail from ‘Bellshill’ North Lanarkshire, Scotland. This was another band I was eager to see, and it was such a shame that their set partially clashed with the tail end of the ‘Blue Orchids’. The song I was most looking forward to the ‘BMX Bandits’ performing was ‘Serious Drugs’. Sadly I missed it and in fairness it did not really matter as they performed such a sweet and plaintive set that I quite forgot that Duglas T Stewart the long haired, and bearded front man could have been a member of ZZ Top, as opposed to being a member of a band that plays such fragile and wistful Indie Pop as the absolutely charming ‘So Many Colours’ ‘I Wanna Fall In Love’ ‘Girl At The Bus Stop’ and ‘Disco Girl’.

Now the moment I had been looking forward to was the appearance of ‘The Primitives’ and the ‘Lovely’ Tracy Tracy. They came on to a rousing reception and ripped through a set of songs that had enough hooks to hang all your coats and hats on! ‘The Primitives’ brilliantly played so many catchy tunes including ‘Stop Killing Me’ ‘Thru The Flowers’ ‘Really Stupid’ and the massive 1988 hit ‘Crash’, that it was rather difficult for anyone to remain dead still. The most impressive thing about ‘The Primitives’ unlike other bands that reform, was that it never at all felt purely nostalgic. They still retain their youthful vigour and sounded so fresh and relevant after all these years, that it makes the mind boggle why they ever split up in the first place. One side splittingly funny moment came at the end of the gig, when a fan brandishing a bunch of flowers produced them with a flourish and handed them to Tracy Tracy who accepted them without even a hint of surprise, which suggests that this has become something of a routine for both fan and singer alike.

* Editor says: ‘Apologies to any bands that were missed this time around, one set of Eyeplug reviewers got stranded on their way to the show, so LongJohn did an even more super solid job splitting his timings wherever he could! Big Thanks to all at Cherry Red!

Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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June 16, 2015 By : Category : Front page Gigs Indie Live Music Pop Reviews Tags:, , , , , ,
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The Chapman Family at Surya Bar 20/2/13

Torn between watching the Brit Awards on the idiot box, and a night at Surya with The Chapman Family, it doesn’t take a genius to figure out which one I chose.

Kings Cross’ dubious reputation has still not entirely been killed off by the appearance of health clubs, glass mini-skyscrapers and smart bars like this one, and the cramped basement with the tiny stage proved to be the perfect venue to hear Stockton’s finest.

I hesitate to describe music in terms which would have sounded oafish even a few years ago, but there’s no denying the film soundtrack quality to their work. This time, it’s more a measure of the versatility, rather than the disconnectedness of the music, as the response from this small but energised crowd proved.

With their rhythms held down just below eruption’s point, and Kingsley’s pugnacious presence delivering heartfelt, angry lyrics about the wretched state out country is in, they recall the heady, politicised days of the 80’s, with even more to be furious about.

In an age when most bands are settling for the second-best of familiar rock riffing or quirkiness for its own worthless sake, it makes a welcome change to hear a tight, torrid set of rock anthems, atmospheric soundscapes and vocals that went from low whispers to full throated howls, all performed new minted and bristling with rage.


Scenester lives in London and Brighton, as time allows. Enjoys music, film, television, books, design and anything else which won’t leave well alone. Old enough to know better.

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June 5, 2015 By : Category : Front page Gigs Indie Live Music Pop Reviews Tags:,
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Andrew Crayford Teenage Cancer Trust Fundraiser Review

Andrew Crayford & The Kosmos, Bluebird Parade, Teenage Cancer Trust Fundraiser – Inspiral, Camden, London

Review by Michelle Oldman

It’s a Saturday night in Camden, and the usual hordes of bright young things have been slightly dampened by the torrential downpours of a British ‘Summer’. A wide ranging audience has braved the rain to pack themselves into this informal venue, a perfect backdrop for the sounds on offer, and the friend who invited me insists I will be pleasantly surprised. Tonight, Andrew Crayford, singer-songwriter, guitarist and frontman of his band The Kosmos convinced myself and the crowd in every sense.

I am informed by two nice ladies with a donation bucket the event is a fundraiser for the Teenage Cancer Trust, and that Andrew Crayford has performed at previous fundraisers for the charity, having recorded ‘Message To You Rudy’ for the ‘Specialized’ CD compilation (released March 2012).

The DJ is playing a heady mix of ska and Northern Soul, and there is a tangible sense of relaxed euphoria amongst the audience, quite unlike any other gig I have ever attended. I buy myself a London-priced draught beer and attempt to ‘skank’ as the first band Bluebird Parade take to the stage.

Bluebird Parade play an indefinable blend of earthy, jazzy-blues, fronted by Ming Nagel on lead vocals and a tight band including Jon Read (The Specials) on acoustic guitar. The set worked well in this intimate venue, and I particularly enjoyed the understated vocal confidence of Ming Nagel, who is obviously a seasoned performer. The band played song after song of melodic, laid back, well structured tunes, captivating the audience for their 45 minute set.

After a brief interlude the DJ announces Andrew Crayford & The Kosmos, who launch into the first track ‘Vampires’, an acerbic take on the darker side of Camden’s nocturnal hedonism. With its Clash-like riffs and wry lyrics, both myself and the audience are immediately hooked, and I am more than pleasantly surprised. This was swiftly followed by ‘Dumbed Down’, an uplifting jangly guitar, Byrds-like piece of powerpop portraying the descent of a modern world obsessed with celebrity culture. ‘Deluded’ came next, a self confessed autobiographical number that somehow fuses a simple Ramones type rock n roll riff, with the honest self observation of Morrissey.

The volume of people entering the venue from the street now steadily increasing, I found myself being nudged further towards the back. Nevertheless, the next offering ‘So In Love’ Crayford announces is to be remixed by U.S based Grammy award winner James ‘Bonzai’ Caruso, and we are not disappointed. This is bewitching, Beatles inspired perfect pop oozes quality, with probably the most contagious hook-lines I’ve ever come I’ve never heard of these guys? Anyway…

Up next came ‘Too Hot To Handle’ in which Andrew Crayford showcased his vocal dexterity, executing the song with conviction, and a hint of palpable vulnerability. Stefan Hale’s mesmeric drum intro to the next track ‘Comedown’ is punctuated skillfully by the lead guitar of Jon Hughes, and the driving funk-rock bass-line of David Oyedele, a fast, furious and unabashed explosion of classic rock. With Jamie Metcalfe on fiddle mirroring Crayford’s distinctive vocals, my fellow revellers and I are left enthused by the sheer eclectic nature of this performance… whatever could be next?

The suspense was soon abated as the band demonstrated with ‘In Between’ an inimitable depth of quality songs, as the majority of the audience break into frenzied dance or pogo across the dance-floor.

For the finale Andrew Crayford invites Bluebird Parade to join him onstage for a rendition of the ska and Specials classic ‘Message To You Rudy’. I am impressed by Crayford’s rich tenor vocal staying true to the Dandy Livingstone original, complemented brilliantly by Jon Read’s horn improvisation. The audience lap it up and again erupt into frenetic dance, appreciative to the last of a most enthralling end to the set…

The seduction complete, the climax heady but premature… I am left breathless and sated, but wanting much much more..

Andrew Crayford & The Kosmos will be performing at The Specials Hyde Park pre-gig party, Sunday Aug 12th

12 Bar Club, Denmark Street, London WC2. 12.00 – 6pm, Free Entry.


Facebook – The Kosmos


Boo Eyeplug acts as webmaster/designer for the Eyeplug site. Not the most social of creatures and with several personality issues, and rather exotic, eccentric tastes for obscure ‘cultish’ stuff which makes his ramblings seem even more sweetly abstract and often annoying.

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June 5, 2015 By : Category : Front page Live Music Reviews Tags:, , , , ,
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We Can Elude Control (Throbbing Gristle)

We Can Elude Control – De La Warr Pavilion Bexhill on Sea Sat 9/6/12


It’s always an adventure to visit Bexhill’s De La Warr Pavilion, and this time, put to highly appropriate use. In among Cerith Wyn Evans’ shimmering light sculptures, the festival of electronic / industrial music attracted a small but dedicated crowd of enthusiasts, some with children in tow, to what felt like the last town in England. Gazing out to sea, the Royal Sovereign Light Tower seven miles away in the English Channel, the feeling of isolation seemed apposite to the music of Evol et al showcased today.

Your friend Scenester’s favourite music is a long way from this computer generated sound, and I admit to finding little to enjoy in the seemingly endless sets of pounding, buzzing electronic noise, accompanied by fuzzy, spidery visuals, reminiscent of dragging a magnet across a computer monitor. My opinion wasn’t shared by the skaters, shine heads and post Goths who made up the majority of the audience. They clapped, and some even danced, to the passages of white noise, stereo ping pong matches and symphonies for power drills that passed for music here.

The citizens of Bexhill on Sea, taking the air, walking their dogs and enjoying the bright sunlight of this June afternoon seemed completely oblivious to the plodding, metronomic beats that gave the De La Warr Pavilion an extraordinary heartbeat today, as no-one appeared to wander in to investigate.

It was with some relief and affection that I saw the approaching figures of Chris Carter and Cosey Fanni Tutti take the stage of the auditorium, with only a large projection screen and a wide table filled with computers to accompany them. In their sensible clothes, they cut fairly anonymous figures, and I couldn’t banish the image of them from my mind, as two Treasury ministers about to expound on quantitive easing.

Their set was comprised of working mixes of ‘Desertshore’, Throbbing Gristle’s final LP, which will get a release in its own right on Industrial Records in October 2012. With recorded vocals by, amongst others, Blixa Bargeld, Marc Almond and Cosey herself, the music soothed in its adherence to more conventional ideas about rhythm and melody. With peaceful landscapes projected onto the screen and beautiful Arabic scale sounds; this could have been a particularly louche meditation hour at a mind/body/spirit festival. Chris and Cosey reminded us how emotional and involving electronic music can be, in the right hands.




Scenester lives in London and Brighton, as time allows. Enjoys music, film, television, books, design and anything else which won’t leave well alone. Old enough to know better.

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June 5, 2015 By : Category : Cult Culture Events Front page Icons Industrial Live Media Reviews Tags:, , ,
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The Electric Stars live at 100 Club

Wandering up Oxford Street to the 100 Club, the infamous illuminated sign was sadly switched off, but upon entering the venue, the lights were most definitely on. The venue was quickly filling up and the DJ was clearly enjoying himself on the decks that he didn’t notice The Electric Stars’ vocalist/songwriter Jason Edge and lead guitarist/music collaborator, Andy Bee take to the stage.  John Hellier, owner of ‘Wapping Wharf’, enthusiastically introduced the band and we were treated to ‘136’ which provided a glorious intro as the rest of the band strolled on stage to take their places, with Damian Lawson on rhythm guitar, Keith (Keef) Whitehead on bass guitar and French Jonny on drums.

Jason didn’t waste any time in dancing around the stage like a kitsch fire cracker, connecting to each band member who immediately sparked off each other with a surging musical chemistry while Jonny rumbled a drumming earthquake. The energy was set as the crowd gathered while these Salford lads geared up for some serious rock and roll.

The lyrics Beautiful music for beautiful people not only ended the opening song but set the pace for 30 minutes of wild, energetic musicianship perfectly in keeping with their obvious passion for the venue. We southerners are a discerning lot, but we’re honest. We may not jump and down or clap along very much, but we rock inside, and if we go to the bar and stay there, the act has lost us, but no chance with this band, no one wanted to miss a second of their mesmerising set.

Next up was ‘Between the Streets and the Stars’, a catchy tune with a groovy intro as Jason prowled the stage, making eye contact with the crowd who were rapidly expanding. The Electric Stars have an immediately identifiable style and the kind of measured confidence seen only in those who know instinctively they’re doing it right. Andy provided spine-tingling slide guitar, reminiscent of old school masterful chording, while Keith and Damian played with a great fluidity and resonance, neatly displaying how light-fingered and dextrous they can be with airy chords effortlessly spilling forth.

Jason introduced a backdrop to each song, he explained that ‘Blind’ is about “Love coming back to bite you in the ass”.  His dynamics swung him from a soft, almost confidential voice to punchy, strong tones, sometimes in the same sentence as he invited us in to a world of his own design, re-living every moment of every experience he sung about, literally feeling his way through his lyrics. Andy and Damian cranked out those interlocking riffs, chugs and wails while the crowd’s buzz did the rest.  The extended closure of the song was one of those ‘trip and run’ moments where the crowd cheered and applauded, then abruptly stopped as they realised there was more to come, they weren’t complaining.

‘Who’s Gonna Satisfy Me?took the pace back up with the audible magic of Jason’s vocals and vintage stylee percussion while the sexy riffs formed a bewitching union. The slide guitar scorchers, lurching drums and concentrated bass were all beautifully slotted together in a care-free fashion that displayed a keen sense of drama. Jason knocked over his mic stand as he manically caressed the stage with every stride, Andy moved aside as he wryly smiled and rolled his eyes up to Hendrix on a cloud. This band was having fun and their excitement was palpable.

‘Stardustgave us thought-provoking lyrical complexity mixed with Jason’s perfectly pitched voice, piercing through the other instruments to deliver his inimitable tone and coolness. We delighted in frenetic rhythm and bass guitar work with pulsating drums while Andy effortlessly stroked his guitar like a piece of silk. It’s wonderful music for mind and body. Their outrageously tight spontaneity never lets up. They know all the old rules but they’ve invented a couple of new ones too, which makes the game so much more interesting.


‘I Want You’ is one of the current singles from their EP on Detour Records and another tune that sticks in your head. Andy coaxed, cajoled and lived every sound he created, his notes suspended in mid-air before spinning into a pysch cartwheel. Damian played beguiling melodic rhythm guitar with Keith on staggering bass which gave a perfect union while Andy flicked styles from Page to wah-wah wipeout or zig-zagging between the Beatles and T. Rex in one verse. Jonny gave 100% on the kit. A total natural, the rhythm poured straight out onto the skins. Jason brought to mind the balls in a pinball machine, as he bounced around the stage with a fabulous eye-popping velocity. A breath-taking and exciting performance, the set was over all too soon.

As one guitar-hero said on the night “I wouldn’t like to follow them”. DC Fontana headlined and had a tough crowd to please after the previous set, but there was great north and south support for all bands including The Latter Day Saints who went on first.

The Electric Stars have panache and style and are gorgeously infectious. They’re at once commanding and sensitive, carefree and hip. They pack so much power and electric purity into their live performance that it isn’t possible, practical or indeed worthwhile to compare them with anybody else. Though, their influences are clear and commendable. They deserve to headline with a full set, and I suggest they get used to the motorways; they’ll be using them a lot from now on.

Go to their official website for further info:

Current singles on Detour Records:

‘I Want You’ – Official video
‘Stoned Again’ – Official video

Photo stills by Jim Jennings

Michelle ‘MimiVonTussle’

A child of the 50s, remembers the 60s, partied in the 70s and was hung-over in the 80s. Used to sit in David Bowie’s garden, Biba’s shop window and leaned on the jukebox in SEX, stood up occasionally. Raised in Fulham by very cool parents and a stone’s throw from The Nashville, The Greyhound, Hammersmith Odeon and Kings Road. Still mourns the Speakeasy and Wardour Street’s Marquee plus other deceased London music venues and greasy spoons. Worked for Mary Quant in the 70s and enjoyed the social scene that went with it. Was surrounded by punk squats in the mid-70s and hung out at Beggar’s Banquet basement studio watching bands drink and rehearse while avoiding electrocution. Went to Lindsay Kemp’s mime classes with punk goddess Jordan, we were both rubbish. Grew up with Paul Cook and got hit over the head by Sid’s guitar at the Speakeasy. Saw many iconic gigs back in the day including New York Dolls at Biba’s Rainbow Room and Ziggy Stardust’s farewell show at Hammersmith. Lived in NY & LA in ’79, mainly went to gigs and posed in a leather jacket. Worked in live events production for The Hippodrome in the 80s and produced and directed fringe theatre while working in film and TV in the 90s. Still dabbles in publicity work and writes scripts which gather dust. Works at Ealing Studios and recently formed a film production company. Always listening to music and reads constantly, re-learning guitar and loves all things creative. Still writes with pen and paper. Started to talk to people at bus stops.

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June 5, 2015 By : Category : Front page Live Modernist Music Reviews Tags:, , ,
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Seven Go Psycho In Cornwall

WWJD/The Eyelids: Friday 27 May, Penzance, Studio Bar

If you’ve not been before, the Studio Bar’s not so easy to find. It’s basically a blue/grey door, next to a patch of ‘urban art’ round the back of Bread Street. But there’s a pub down the road that serves generous rum and coke – my tip is to sit outside and wait for the Eyelids to go past, then follow them.

Once inside, it’s evident that the venue has recently undergone something of a refurbishment, with patches of new plaster still drying on the ceiling. Still, both bands blasting through their soundchecks proved sufficient heat to bake that nicely. The temperature levels increased as the venue filled, and reached boiling point as the Eyelids opened up tonight’s double-header, belting through a set that seemed to shoot by in the blink of an eye, but still included around a dozen laboratory fresh examples of splicing psychobilly DNA to helixes of coruscating garage rock.

Undaunted by the necessity of some running repairs on a stricken double bass, the Eyelids’ titanic rhythm section of Michelle and Louise lock together to provide a geologically solid foundation for Gary’s Soviet valve fuelled guitar frenzy and Kelly’s black freighter grounding siren song. As Gary pitches his not-inconsiderable woo at all-comers, bladders fill and one stricken thrill-seeker hobbles toward the target of her desire, borne upon aluminium crutches. Some fancy footwork averts a disastrous tangle of surgical appliance, mic stand and double bass, and our intrepid invader lurches on toward the venue’s ladies’ khazi, handily placed behind the stage.

Louise's mighty bass paw

As the Eyelids’ set reaches its vertex with a monumental rendering of crowd favourite ‘Burke The Butcher’, some manic frugging breaks out around of the room. The quartet return to perform an encore that speaks directly to the people who live in our heads and leaves all panting for yet more Eyelid frenzy. But not this night – that’ll have to wait ‘til Sunday.

What Would Jesus Drive blast into action as the witching hour draws near, set opener ‘Masquerade’ detonating like a sonic stick grenade in the confined space. Many here, catching the band for the first time, are unaware that the group are short on personnel; Gemma – sadly stricken – is absent. Ignorance, in this context, is bliss – as the remaining trio add an extra dimension to their trademark punktronic sound, established across three EPs and one mighty debut album.

Tighter than the proverbial ant’s foreskin, the Jesuses’ combination of Amy’s booming bass, Tim’s Saturn V guitar, and John’s electronic alchemy pushes superheated waves of air across the room, forcing their infectious sound into every corner via a series of devastating sonic bursts. It’s fortunate that the Studio Bar hadn’t had time to paint their newly plastered ceiling, or WWJD would have stripped that shit straight offa there with sheer, visceral energy.

It’s a set peppered with highlights – the storming, psychotic ‘Transylvania Time’; the kitchen sink domestic incident ‘Girls Are In Charge’, and the megalithic ‘Your Awful Kids’ all heave and shudder their way into the collective consciousness, before – all too soon – we’ve reached the anthemic finale of ‘Fragile Mansions’. Then, after some efficient car park limbo involving a chain, almost a dozen people and a small car, both bands are depart into the night, leaving naught but trace echoes and spent bodies as their calling cards.

WWJD/Nick Skuse/We’re Still Breathing/Petite Debauche/Pete Clogg: Saturday, 28 May, Wall Farm, Tishfest

With the Jesi off to perform at a (Nuremberg) rally for VW Beetle owners in Plymouth, the rest of us are left to wander through the bleary morning mist for this year’s Tishfest. Yesterday’s warm sunshine, has given way to grey skies and intermittent drizzle that would dampen the spirits of less hardy festival-goers. But not here, and not today – fuelled by a veritable smorgasbord of tasty home-cooked tucker and fortified by all manner of home brewed brown booze, the attendees are strewn across the site engaging in all manner of activities laid on by our hosts.

After some early hassles with the generator, a jam jar full of precious petrol gets us underway with Pete Clogg’s acoustic folk stylings, which demonstrated not only his mastery of the form, but also his command of the French language. His well-received set is followed by Petite Debauche, whose languid reflective sound is more suited to hot, endless sojourns spent in some kind of mythic glade, than the damp froideur of this particular Saturday afternoon. The gathering crowd needs warming up, rather than chilling out, and as polite applause gives way to spreading indifference, the quartet’s lengthy set sadly seemed like an increasingly evident matter of wrong band/wrong day.

The afternoon wore on and We’re Still Breathing picked up the baton to provide some much-needed light relief via a series of eclectic 80s cover versions, delivered in deadly deadpan style. Hits such as the Cure’s ‘Love Cats’, Depeche Mode’s ‘Just Can’t Get Enough’ and a faithfully Germanic rendering of Nina’s ’99 Red Balloons’ lifted spirits and drew smiles. They are followed by Nick Skuse – perhaps best known as lead guitarist in local legends Elephanthead (who were unable to appear on account of several of their number either being incarcerated or in rehab). Undaunted, Skuse seized the opportunity for sedition, reversing the accepted norm by heckling his audience, and after rattling through some engaging solo material, was joined on stage by a backing band for a muscular twelve-bar workout.

WWJD kick out the jams (and other preserves) at Wall Farm

As twilight fell and the wailing and gnashing of teeth from a group of sporting enthusiasts viewing the death of Manchester United echoed through the darkening air, What Would Jesus Drive arrived fresh from a mid-afternoon appearance at the Volksfest and a medieval banquet. Scarcely pausing to set aside their horns of mead, the trio rook the stage and quite simply detonated. A shorter set (due to local restrictions) than the previous night’s created a pied-piper like effect, as festival goers converged on the stage from all corners of the camp to catch the group on scintillating form. Surly youths dropped their i-Phones and began to dance, and the sense of joy bounced from band to crowd and back again, culminating in a transcendent penultimate ‘Fragile Mansions’ and a fun filled four-letter free encore. It’s not easy to blow the roof off at an open air gig, but WWJD managed it tonight.

The Eyelids/WWJD: Sunday, 29 May, Live Bar, Truro

Tonight’s gig at the tiny Live Bar was a celebratory affair, as both bands let their hair down to party with one another and the cognoscenti who had turned out to catch the second show of their titanic team up. This time around, the Jesuses opened up and despite John needing to nursemaid a sampler that seemed bent on making noises like a strangled Clanger at every opportunity, the trio belted through a set – that on account to repeated hearings across the weekend – was beginning to sound like some perfect rendering of the Hit Parade from some advanced technocracy. Like The Eyelids, WWJD possess an abundance of unstoppably groovable numbers that work their way into your Fissure of Rolando and stick there. Glowing.

The Eyelids - You'll always want more

Sunday night licensing laws ate perniciously into the time available for both bands’ sets, so there was no time for any of Gary’s trenchant observations and essentially libellous anecdotes. Instead, the Eyelids crashed through a fat-free set, cherry picking several of their most riotous numbers and culminating in an encore of their (criminally as-yet-unreleased) classic, ‘We Always Want More’.

It’s rare to see a genuinely great band these days, rarer still to catch two, together, twice. But that’s the way it is. EYEPLUG can only recommend that you check out both bands’ sites for future gigs, and haul your asses out to see them at the first opportunity. You’ll thank us. These are bands that will leave an impression on your hearts, minds and, quite possibly, the front of your house.               

 What Would Jesus Drive:

The Eyelids:

Eye See Sound:

June 5, 2015 By : Category : Live Reviews Tags:, , , ,
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