JerichoHill neatly side step the usual criticisms that are aimed at the majority of
tribute bands by not playing strictly by the rule book. Their punk attitude
approach to the music of Johnny Cash has seen them grace the stages of the
world famous Rebellion festival in Blackpool to that of Belladrum near Inverness. And regardless of the stage they are playing
the accolades just keep coming in. Punk crowds, indie rock crowds. They get it.
Not easily pigeon-holed you get the impression that they like it that way, and in fact prefer to live up to the Chaos for Cash play on McLaren's words.
It's certainly the case when they playfully run through a cover of Atomic by
Blondie as a well deserved encore to their set in the Bellfield Tavern, but you
never really know what you will get from them and therein lies the appeal.
Missing their first set I arrived in time to enjoy all of
the second which started with Delias Gone, and then rattled through other Cash
highlights such as Cry Cry Cry, Ring of Fire, a rousing rendition of Jackson
and more.
My late appearance was unavoidable, but given the slightest window of
opportunity I would have been there from the start because sometimes you have
to be good to yourself, and giving yourself a night with Jericho Hill is always
thoroughly recommended.
To quote Johnny himself "the beast in me is caged by
frail and fragile bars" and that sums up a Jericho Hill performance far
better than I could.
Imagine if Hanoi Rocks took their cue from The Small Faces
and The Who rather than from The New York Dolls, The Rolling Stones, and other
such rockers.
Well imagine no more because Last Great Dreamers are writing the music you can
hear in your head.
There's something quintessentially English about them. Like Gary Holton with
The Heavy Metal Kids they have that cheeky chappy a nods as good as a wink
shtick sorted out, but there's far more going on than a punk rock Oliver Twist
story.
It's as if someone has thrown a handful of the mod revival bands into the
Hydron Collider and seen what happens when you smash them into the UK's trashy
glam rock acts that spawned from punk.
And the fusion ultimately works too.
It's rock and roll dark matter created that will suck us all in and turn us
inside out.
Now how good does that sound?
Well now consider that these words just aren't covering it. They don't come
close. It's actually better than that.
The terrace stomp of the seventies, the summer of love, the sunset strip,
Camden Market and a soupçon of Soho. It's all
there. From the sixties through to now, and even a taste of Britpop to flavour
it further.
It's a heady mix of a trip of an album, and you can even dance to the fucker.
Some, make that most, probably aren’t aware that there is a Facebook
group connected to the blog. Or it would be more accurate to say that there is
a group connected to the Facebook page that is connected to this blog.
But this post isn’t about promoting that. It’s about some of
the content. Recently some regular posters, and myself, indulged in the
nominating each other, to post their “ten favourite albums”, but instead of having
them left bereft of comments we wanted something said to accompany them.
It could be anything.
The reason it was a favourite album, a memory associated
with it. Literally anything that felt comfortable could be added.
Then from that it was decided that we would share them on
here.
First up to feature is Jimbo MacKellar. Ex guitar hero of
bands such as Fire Exit and Media Whores, the latter who were nominated for a
Mercury Music Award, and who is currently fronting everywhere.
So now that the an explanation and a short introduction has been made, here are the albums
that he revisits frequently, and some notes to go with them.
Enjoy
#1. Devo- Duty Now For The Future.
Jimbo - Devo's second album, produced by Ken Scott (The Rise And Fall Of Ziggy
Stardust). Featuring their trademark polyrhythms, industrial guitars, and
synth, this is a slightly more polished set of compositions than their debut.
Res Droogs - More polished as said, and more radio friendly too, but it is unmistakably Devo. There are few like them, and that's a positive. They broke the mould with Devo for sure.
Have New Traditionalists on us to listen to too
#2. David Bowie- Aladdin Sane.
Jimbo - Written during an American tour, this is a tour de force by a road hardened
band using a unique palette of rock guitar, jazz piano and avant-garde sax and
synth.
Res Droogs - The boss man in our opinion. There's not a month that passes without some Bowie being played in Res Droogs towers, but we didn't go for Aladdin Sane.
Not that we couldn't have. It was there as a contender, but after much deliberation and hand wringing we finally settled on another of his albums.
You will just have to wait and see what one it was.
#3- The Cardigans- Super Extra Gravity.
Jimbo - An unusual choice, but it's an album that has a great overall production and no
weak tracks.
Res Droogs - While being a sort of casual fan of the Cardigans it has to be said that we are not that familiar over all with their back catalogue.
So, like you readers, this is our introduction to Super Extra Gravity too.
#4. AliceCooper-School's
Out.
Jimbo - This was the first album that I had bought that received adult respect.
I was at school camp and I put this on. My music teacher at the time was very
impressed by the homage to Dave Brubeck that is Blue Turk. He told me later
that he bought the album subsequently.
This is another album with a unique sound.
Res Droogs - A classic. No matter how you want to frame it. Like it, or loathe it, you can't ignore it.
#5. Funkadelic- One Nation Under A Groove.
Jimbo - This album always brought a smile to my face. I used to love it when my pals
rolled their eyes and said "I don't like disco music"...
Res Droogs - It's always funny when the years roll past and an album that you were belittled for having a connection with becomes one of those that features on "must have" lists in pretty much every magazine, and then gets cited as being a huge influence on so many artists.
Warms the cockles of the heart to be right.
#6. Eno- Here Come The Warm Jets.
Jimbo - A very important one for me. It introduced me to another galaxy where music
wasn't polished, or tidy or self-reverential.
It's also a hell of a lot of fun.
Res Droogs - And again no complaints here. We know that for a certain age group Eno is someone that we are all well aware of , but for some of the younger whippersnappers who haven't delved far enough back to cover this then we recommend that you do.
#7. John Lennon- Plastic Ono Band.
Jimbo - Lennon's first conventional post Beatle album is fascinating as he applies his
melodic genius to rock music. With the help of Ringo and Klaus Voorman he
knocks Spector's wall of sound down and replaces it with something a little
more exposed. Lyrically he exorcises a few demons from his childhood and career.
Res Droogs - If it only featured Mother it would be enough, but Working Class hero, God. We are spoiled for choice here.
#8. T-Rex- Electric Warrior.
Jimbo - The album that kicked off Glam Rock is actually a sassy, funky concoction of runic lyrics and hip cultural references. This is a great production job by Tony Visconti that uses his trademark pallette of backwards sounds and unusual instrumentation.
Res Droogs - We will not hear a band word about Marc Bolan around these here parts. Love love love a bit of Bolan Boogie.
Wrap yer ears around this.
#9. Sparks- Indiscreet.
Jimbo - A truly unique band, Sparks were simultaneously unmistakable in their core style, yet totally chameleonic in their genre hopping ability.
This collaboration with Tony Visconti crosses styles, decades, takes you from the 20s to the future in a series of witty short stories with tight arrangements and zero fucks given.
There is no single track that sums up this LP, you just have to listen to it all.
Res Droogs - We've been on a bit of a Sparks kick just recently. Mainly in prep for going to see them for the first time. We can't wait.
#10. XTC- Skylarking.
Jimbo - Ending this list on a high note. Andy Partridge's vision for "lost 60s classic", realised in the Dukes Of Stratosphear project, bore fruit for XTC in this sumptuous album.
The whole band rises to the challenge here, bringing subtlety and power by turns to Todd Rundgren's authentic production. This is a rare gem, and one to keep in rotation.
Res Droogs - One to revisit and re-acquaint ourselves with.
First single from "Victories" the fifth album from Eureka Machines.
Four down and no weak links on show, no cracks. Just killing it release after release.
Wrap your ears around their back catalogue on Spotify and then head over to their website and buy the physical copies.
That's not a suggestion. It's an order. Everyone need the Eureka Machines in their life.
Last year it was The Main Grains
with the Drama Club Rejects that rolled into town. Between them they tattooed an
indelible memory in my head.
And now on this outing they are
back to open for another band that similarly impressed when I seen them on the Edinburgh date of their
Heavy Heart tour in 2017. They would be the mighty Ryan Hamilton and his Traitors.
It was a cold day in Glasgow, but these two
acts could easily heat up a cold day in hell on a solo jaunt, so we gleefully went in with high expectations
for the show they were doing together, and we were not disappointed.
The Main Grains.
The Main Grains are heavily tapping
into something that gets the primal blood pumping hot and fast through the
veins.
It's difficult to put your finger on what it is though. When you break things
down you might find yourself with all the parts, but in the process lose sight
of why it all works so well.
The best bands, or the best in my opinion, all had this sum of its parts
element. The Ramones, The Cramps, The Damned, AC/DC, The Rolling Stones,
Motorhead, The Stooges etcetera.
You don't look too closely at it what's going on with them. Instead you simply stand
back and let yourself be swept away with what they can do.
Thrashing drums, guitars chugging, or howling away, the bass underpinning it
all. They are all creators of an aural drug that is highly addictive. And now
so are The Main Grains.
Guitar rock and roll crack
anybody?
What do we want to call it
though? Good time rock and roll?
Is that enough?
I suppose it will have to do. It falls short, underplays the power, the
passion, but what else fits?
They can certainly offer the soundtrack for a party. Not a cheese and wine gathering.
The sort of party where casual nudity and vomiting in the bathtub will probably
feature, or in short the best sort of parties that we all remember from misspent
youth years.
It’s not a stretch to say that as a whole the band have positioned themselves
to be ready to accept the baton from legends such as The Ramones, Stiff Little
Fingers, and such and run with it.
Not a bad place to be really.
This is the third Main Grains show I've attended, and the best. They aren't
content with getting incrementally better. They want to, need to, make the huge
leaps, and they are doing just that with style.
My only concern is that with a tour of the UK
and Australia
coming up for Danny with The Wildhearts that it will possibly slow the momentum
that the Main Grains are garnering, but apparently there are plans afoot to
ensure that we don't forget about them.
I'm looking forward to these plans being revealed.
Ryan Hamilton & The Traitors.
Last year Ryan Hamilton rocketed
to the top of my "new favourite artist" list, and then stayed there.
Late to the party I might have been, but damn I'm enjoying playing catch up.
From his solo releases, to that with The Traitors, to his recent country
collaboration with Tony Wright of Terrorvision, I don't think there's been one
misstep made.
In fact I'd go as far as to say that I've yet to hear one song from him that I
would consider falls below a quality bar that he has set very high for himself.
How many artists could you say that about? Not one weak song!
Even his podcast "Lost the plotcast" is in my opinion essential
listening.
You just have to get on board with everything he is doing.
On stage is where everything Ryan
does makes complete sense though.
He, and his band, are born to perform. The live environment is where it's
at.
There's something familial about the experience. We are all in it together from
the first note to the last, and that's a good feeling to spread about.
It's the sort of foundation that great things can be built on. You could
imagine him a few years down the line playing a larger venue and reminiscing
about playing club venues in Glasgow,
and pretty much everyone who was there in Stereo would be standing front and
centre and reliving the memory with him.
Like the Marines, Ryan probably isn't going to leave anyone behind.
There's something special about that, but I guess you had to be there to
understand what I’m trying to convey.
Thankfully the upside is that you can be the next time he is in town.
It's not an exclusive party.
Everyone is invited. So if you like your rock with a country twang, like your
power pop bands too, then Ryan has his pen in hand and will tick all those
boxes for you.
Highlight of the set wasn’t
actually one of his songs, but a cover of Tom Petty that ended the night on a
high. Similar to what was said about the Main Grains being positioned to take
ownership of a baton Ryan is equally standing there with his hand out and ready
to run too.
If you want to get in early and
be able to crow about seeing these guys in clubs before everyone else picks up
on them then now is the time.
What is it with the old guard relentlessly
releasing albums that would shame the wannabe punk stars of today?
For a genre that lays so much stock
in short sharp burst of teenage rebellion it seems to me that in the last year
or two it is the veterans of the scene that are using their life experiences,
and the influences they have garnered through the years, to create music that
is far more passionate and relevant that anything that they have done that precedes
it.
That’s not to say that previous endeavours
were lacking in anything, but that they all seem to have reached a point of
maturity where the musicianship, song writing and live performances, are
peaking.
That’s certainly what it sounds
like when you slip the latest from Crimedesk into the stereo.
Like many of their punk peers in
Scotland they are growing old disgracefully on the surface, but underneath the nihilistic
veneer are showing themselves to be able to write and release nuanced songs
that don’t lack in any artistry.
Yeah okay. They do feature a song
about a Manky Hoor, but it is very clearly tongue in cheek and designed to
raise a chuckle rather than any offence.
It’s possibly time for another
Scottish punk compilation to be released. Maybe over-time.
If someone does do one then
Crimedesk must surely have earned a spot on it.
It gives us the distinct pleasure to feature Ryan and the Traitors (Again). Without gilding the lily we can hand on heart can say that he is one of our favourite artists.
One who jumped to the toppermost of the poppermost for us on hearing him midway through 2017. Embarrassingly so, we are a tad evangelical in spreading the word. Give us the slightest encouragement and we will drop his name into pretty much any music conversation we have.
If you haven't heard Ryan Hamilton & the Traitors, or any of his collaborations and solo work, then do something about that now. You will not be sorry.
It's not long until your UK dates with The Main Grains. Does
it feel good to be getting back on the road?
Ryan - Yeah it does! We've worked REALLY hard to gain our reputation as a great
live band. It's important to me, and I LOVE playing shows and being on the road
We often hear that there's a different vibe to how audiences react depending on
what country it is. How does the UK feel in comparisons to others?
And do you feel there's even a difference across the UK too?
People in the UK
sing along louder, drink more... and just seem to have a better time! Haha.
Seriously though. There's this extra cheerful, extra fun, extra "ohmygod
we're at a concert!" thing that happens in the UK. I love it. The only difference
is, some cities in the UK
go even crazier than others. But it is ALWAYS a good time on tour in the UK.
I love America,
but it's way more chilled out to tour over here.
You could be described as the new breed of artist. One who has taken the
independence angle to heart. It's not that this is in itself a unique approach,
but you self release, tour book, promote yourself, and in short cover as many
of the bases as you possibly can that would have previously been the
responsibility of a label/management team.
Tell us about the pros from your perspective, and the cons of working like this?
I could spend an hour talking about the cons of working with labels and
managers... but I'll save you that hour. Haha. In today's world, we have the
freedom, and the tools, to do what we want. Sky's the limit! You're really only
limited by your work ethic and your imagination!... and money. That's the one
place where the big, bad, major labels stay ahead of us independents.
They have lots and lots of money to spend.
People don't realize that all the radio play, all the magazine interviews and
ads... it's all PAID FOR. So much money is spent on acts like Ed Sheeran etc...
it's nearly impossible to compete. Somebody like that also has a huge team of
people to pay, and take care of. They also have a long list of people to answer
to and obey. It may sound crazy, but I prefer being a medium sized successful
independent artist. I'm in it for the music. Not the money.
Are you one of those people who believe that you make your own luck? From the
outside some may consider that you are in an enviable position just now, but
might not appreciate that you have committed so much time and effort to get
this far. So what is considered luck is really a relentless drive to create,
and get what you create out there. Is that possibly under appreciated?
This is what I believe. I believe you have to work as hard as you have to...
relentlessly. You can absolutely get there with a talent, and A LOT of hard
work... and any "luck" that happens is an added bonus. I will say
though; it's usually some random, "lucky", out of nowhere thing that
results in the extra big breaks.
As we are now onto talking about the perception of luck do
you want to let us in on how the album with Tony Wright came about? Pull back
the curtain. Obviously it wasn't just luck.
I don't know if I would call it luck, but it was super coincidental. We were
both working with super talented producer & friend, Dave Draper. Tony with
Terrorvison and me with the Traitors. Really just through the buzz we have
going on in the UK,
and a couple of conversations with Dave, Tony decided to check us out. Before I
knew it, we had emailed back and forth a few times, and were recording a song
together. It's strange, actually. I can't remember exactly how we got from
there to here. But I'm really glad we did. Love that dude. Got a feeling we're
gonna be friends for a very long time. We made an amazing album together, too.
Pretty much as an aside I've got to say that your cover of Wild Horses blew me
away. Similar to how Johnny Cash took Hurt away from Trent Reznor I'd say the
Stones should just accept it belongs to you now. That being said, what's the
track on the album that you are most proud of?
Haha. Awww, man... that's very high praise. Thank you very much. I think the
track I'm most proud of is WhiskeyRiver. We tacked that
tune differently than anyone ever has. It's so simple... but so pure. I love
the whole vibe of that tune.
Will there be any live dates to promote the album?
There will, indeed. In June. That's all I can say, for now.
Jumping away from the Grand Ol' Otley to go back to your Traitors material I
had noticed that you had an offer from a label and decided to keep going as it
is just now. Personally I would say you made the right decision, but what would
they have to offer for you to be interested in signing on the dotted line?
Yeah, it's been tough. We started getting some interest from
"industry" types... and labels. I was excited at first, but it left a
really bad taste in my mouth. If we ever partner with a label, I want to do
exactly that, PARTNER. I don't wanna talk too much shit about the label folks.
Because I know how lucky we are to even be in a position where people like that
are paying attention. So, I'll just say this: Currently, we wouldn't change a
thing. We are in control of our own destiny, and things couldn't be going any
better :-)
You've been honest on your podcast about being burnt before, and expressed a
less than enthusiastic opinion on the music business in general. Have you got a
once bitten, twice shy, attitude about that old style of approach to artists by
labels and such?
Yeah I do! Haha. Again, as much as I'd like to, I don't wanna talk too much
shit about labels or past experiences. I have definitely learned better.
There's no way I would have rejected an offer 10 years ago. Very happy to be in
a place now where I know when I'm getting screwed or manipulated. I try not to
be jaded. But I'm a product of my own experience.
And to tie that in with your equally honest revelations
about your own mental health do you think the business side the mainstream
labels promote are mentally unhealthy and just add an unjustifiable mental
strain on artists?
100%. Can't tell you how many friends I've seen get pushed to their limits. It
is SO unhealthy. Especially when you suffer from real Mental Health issues.
It's an issue that is clearly very important to me. There's so much more that
can be done to educate people on the issue. I will always do my part to do just
that. That goes for the folks in this business of music too. Sometimes the most
creative people suffer the most.
On a lighter subject I heard you mention how you lived in a tiny home for a
period. I love the whole idea of them, but I would need two. One for my record
collection. What attracted you to living in one, and was it a positive
experience?
Haha. I hear THAT! Holly (my wife) and I, our decision was primarily
financially driven. We built our Tiny House on the base of an old travel
trailer and lived in it for just over a year. I was essentially starting over
in the music business, and need to find a way to survive financially WITHOUT going
back and getting a "real job". I worked my ass off for the 8-10
months it took to build it. You learn A LOT living so minimally. Parts of it I
loved, parts of it I really loathed. I am forever grateful though that Holly
and I have that experience together. We now own about an acre of land, and have
a new house we lovingly refer to as "The Medium House". The Tiny
House has been converted into a studio... and sits just behind the new house.
Back to the music now. You often speak about the authentic rock and rollers,
and I think I recall you saying that you don't consider that they exist now. Or
can't exist.
Now I'm happy for you to say I have got that wrong, but do you really think we
won't see a Keith Richards, or the likes, again?
I'd say I know a few authentic rockers who just don't have a band, or any
artistic talent, but they do tick the rest of the boxes. Swashbuckling heroes
of the gutter. Even if that's only at the weekends. ;)
Isn't it maybe just a matter of the times, and not a paucity of rebel rousers?
You know, I wonder about that all the time. Are the last of the real rock n
rollers gonna die and go away forever? It appears to be so. But, I'd be super
happy to get proven wrong. For now though, it appears I am correct.
