Levon Helm: May 26, 1940 – April 19, 2012

Way back in the late 80s, as an impressionable fifteen year old, I saw Martin Scorsese’s movie ‘The Last Waltz’ for the first time.  The film documented the star-studded final fling for The Band, showing them playing alongside a whole bunch of famous friends.  I have to be honest, initially I only recorded it since Eric Clapton was featured and I was a huge fan at that time.

I enjoyed the previously unseen Clapton footage, but as the years passed, I began to enjoy other aspects of the movie far more, opening my ears to the work of Neil Young, Joni Mitchell, Van Morrison and Bob Dylan – all of whom I knew before, but never really knew.  And then there was the wonderfully eccentric Dr John, Mac Rebennack, bringing New Orleans style to the stage as only he can.  Yes, this was a wonderful movie indeed.

Between the guest stars, that movie bought The Band into my teenage world.  For that, I’m eternally grateful.  In the late 1960’s, as their closest contemporaries were experimenting with mind bending sounds and substances, The Band were different: at a life-changing time, as other musicians pushed forward, The Band donned facial hair and great coats and made music that, too, harked back to the past: music with strong elements of folk, of country and of blues; music which often had strong story-telling elements at its core.

While The Band’s chief songwriter, Jaime ‘Robbie’ Robertson has often been praised for his gift as both song writer and arranger, in terms of stage presence and performance, The Band had a stronger figure.  Drummer Levon Helm just oozed charm.  He may not have written much material – contributing just three numbers to The Band’s 1970s catalogue – but his laid back drumming style, and equally laid back voice were absolutely essential to what made The Band’s sound so captivating.  Helm knew he didn’t need to be flashy to create magic behind the kit – his solid grooves and Southern vocals were just perfect.

While later incarnations of The Band during the 90s never quite captured the gloriousness of the original line up, Helm could always be relied upon for his unmatchable style to hold everything together, like a true professional.  His solo works in the late 2000’s and beyond have been critically acclaimed, with his 2009 release ‘Electric Dirt’ winning a Grammy Award for Best Americana Album in 2010.  Despite high praise, it will always be for The Band he’ll be best remembered.  Scorsese’s ‘The Last Waltz’ is a near perfect representation of the man’s charm, talent and his love of playing music. While he’ll never be replaced, let’s be thankful he left so many great recordings behind, and   thanks to having an old heart when they were first recorded, most of The Band’s recordings are truly timeless.   Just as I embraced the music Levon Helm helped make for the generation before mine, let us hope that future generations will also understand what made it – and continues to make it – so special.

Goodbye Levon.  Wherever you are, may Spike Jones be on the box.

Epica announce US tour dates

Dutch symphonic prog band Epica have announced a string of North American tour dates for this coming winter.

The dates mark the band’s first visit to the US since the arrival of new bassist Rob van der Loo (ex-Delain) and span a whole month between the end of October and end of November.

The confirmed dates are as follows:

Oct. 23 – Howard Theater – Washington DC
Oct. 25 – Trocadero Theater – Philadelphia, PA
Oct. 26 – Irving Plaza- New York, NY
Oct. 27 – The Palladium – Worcester, MA
Oct. 29 – Imperial – Quebec City, QC
Oct. 30 – Metropolis – Montreal, QC
Oct. 31 – The Opera House – Toronto, ON
Nov. 02 – [to be announced] – Cleveland, OH
Nov. 03 – Altar Bar – Pittsburgh, PA
Nov. 04 – Mojoes – Joliet, IL – TBD
Nov. 05 – Station 4 – St. Paul, MN
Nov. 07 – Bluebird Theater – Denver, CO
Nov. 08 – The Complex – Salt Lake City, UT
Nov. 10 – Rickshaw Theater – Vancouver, BC
Nov. 11 – El Corazon – Seattle, WA
Nov. 12 – Hawthorne Theater – Portland, OR
Nov. 14 – The Grand Ballroom at the Regency Center – San Francisco, CA
Nov. 15 – House of Blues – San Diego, CA
Nov. 16 – House of Blues Sunset Strip – West Hollywood, CA
Nov. 17 – The Marquee – Tempe, AZ
Nov. 19 – Trees – Dallas, TX
Nov. 20 – Scout Bar – Houston, TX
Nov. 21 – Backstage Live – San Antonio, TX
Nov. 23 – Headliner’s Music Hall – Louisville, KY
Nov. 24 – Soundstage – Baltimore, MD

First ever full-length Ronnie Montrose live DVD to be released in May

Following his suicide in March, the ongoing musical legacy of much loved guitarist Ronnie Montrose is to be celebrated with the release of his first ever full length live DVD.

Recorded just a few short week’s before Ronnie’s death, ‘Live at The Uptown’ was recorded was recorded in Napa, California on January 27th.

The DVD will be released on May 1st and available only from the Montrose website.  The release comes in a standard edition, or a strictly limited edition with 12.5″ x 19″ three colour poster.

Dokken’s Jeff Pilson to produce next Benedictum album

It has been announced that Dokken bassist Jeff Pilson will sit in the producer’s chair during the sessions for the next Benedictum album.

Pilson previously worked with the American power metal band on their ‘Uncreation’ and ‘Seasons of Tragedy’ albums, released in 2006 and 2008 respectively.

The next album will be the first to feature new drummer Rikard Stjernkvist, previously of Jag Panzer fame.

Read a review of Benedictum’s 2011 release ‘Dominion’ here.

REAL GONE GOES OUT: The Jägermeister Music Tour – Brixton Academy, London 13/04/12

Who could resist a potentially superb gig for the princely sum of £5? £5 for a gig at the Brixton Academy? We certainly couldn’t, and on Friday 13th April 2012, Real Gone and friends found themselves at the last night Jägermeister Music Tour – a big showcase for four British bands, headlined by the mighty Skindred.

First on the bill were a gothy, alternative metal band called The Defiled.  Those who read Kerrang! may have been told that The Defiled represent “the saviours of the UK metal scene”.  If you’re stupid enough to believe that, that’s fine, but frankly, what a half empty Brixton Academy witnessed on this night was an embarrassment: not only an embarrassment to metal, but an embarrassment to the world of live performance.

Within few bars of their opening song, The Defiled adopted the sound of a juggernaut, over which their frontman Stitch D sang badly.  During the band’s quieter moments it was obvious he had no real voice at all.  The keyboard player, meanwhile, made a spectacle of himself by throwing his keyboard into the air and then failing to catch it upon return, which caused amusement.  Despite failing to complete this act the first time, he attempted it at various other points during the set with equally disastrous results.   The other key moment of The Defiled stage act appeared to include two women appearing in long coats and hats, walking about suspiciously prior to shedding their costumes and swaggering about in skimpy outfits. Forget the angle-grinder…the women then pretend to staple each other’s tits with staple guns! This would be an unnecessary embarrassment alone, but that’s topped by them pretending to cut the guitarists throat with a child’s plastic toy sword and tearing the top from a sachet of ketchup.  Oh dear…talk about the Poundland equivalent of the Circus of Horrors.
With the set pulling to a close, Stitch D shouted “BUY OUR FUCKING T SHIRTS, ‘CAUSE WE’RE FUCKED!”.  Such banter.

It’s not that Real Gone are anti metal, aggression, or extreme riffing of any kind – quite the opposite since Lamb of God are a favourite – but The Defiled were bad.  Frankly, embarrassingly bad.

The Black Spiders fared much better, getting the by now swelling crowd on their side with a combination of chunky riffs and banter.  Granted, vocalist Pete Spiby wheeled out a few clichéd remarks, but as far as up and coming frontmen are concerned, he has enough chat and charm to get an audience on side when it comes to participation.   Working through some of the best cuts from their 2011 album ‘Sons of the North’ – including ‘Stay Down’, ‘Wolves’ and ‘KISS Tried To Kill Me’ – The Black Spiders had plenty of old school chops in the live setting. On the basis of this short set – just seven songs – they’re more than enjoyable should you also catch them in a support slot yourself, or maybe even at one of their own more intimate shows.  If the soundman hadn’t have given them so much muddy bottom end, they could have been even better.

The first big draw of the evening: a 55 minute set from Irish rockers Therapy?…and any chance to see Therapy? is always welcome.  Kicking off with a rousing rendition of ‘Teethgrinder’, Therapy?’s set hit the mark from the off.  Since Therapy?’ and their soundman have far more experienced than either of the preceding bands, Neil Cooper’s groove-laden and uber-fast drumming had just the required amount of edge, while the buzzing guitars made the track sound as vibrant as it did two decades ago (Christ, doesn’t that make you feel old?!).  The three-man band (plus extra bod on second guitar lurking in the shadows just off stage left), looked slightly lost on the larger Brixton stage and while the performance didn’t necessarily have the outright ferocity as their Sonisphere 2010 set in a small tent, the choice of setlist couldn’t be faulted.  The familiar were more than represented with solid renditions of ‘Die Laughing’, ‘Screamager’ and ‘Nowhere’, while the band’s more recent material – including ‘Living In The Shadow of a Terrible Thing’ and ‘Get Your Dead Hand Off My Shoulder’ sounded rather beefy.  The latter, in particular, coming across far more menacingly than it does on record.

The evening ended with a full length set from Newport’s ragga-metal heroes Skindred.  Anyone who has seen this band previously will know they’re in for a treat, and this performance proved no exception.  From almost the moment Benji Webbe stepped on stage, he had the audience in the palm of his hand, willing to participate in whatever crazy things took his fancy.  Aside from obvious audience splitting and call and response singing, he also insisted the audience growled like dogs!  Splitting the audience into “contestants” and “gladiators” also may have confused younger audience members…  With regards to set, the band tore through various high points from their back catalogue – ‘Roots Rock Riot’, ‘Nobody’, ‘Cut Dem’, the awesome ‘Doom Riff’ and more – making the ninety minutes flash by.

Any chance to see Skindred on form should always be taken – especially if you’ve never had the pleasure – but for £5 and the inclusion of Therapy? on the same bill, this particular evening seemed like an almost once-in-a-lifetime gig opportunity.  A shame about The Defiled, but at least they weren’t on for long and provided (unintentional) hilarity…and their mums are probably dead proud.

April 2012

[Watch a lengthy interview with Therapy? here].