You may have noticed that the posts for the Month Ahead for gigs in Manchester for BOTH October and November AND the review of Forever Heavenly with Edwyn Collins at the Deaf Institute are no longer on this blog.They were removed, without any prior notice, by Blogger after they received a DMCA notice
The DMCA is a United States copyright law that provides guidelines for online service provider liability in case of copyright infringement. We are in the process of removing from our servers the links that allegedly infringe upon the copyrights of others. If we did not do so, we would be subject to a claim of copyright infringement, regardless of its merits. See http://www.educause.edu/Browse/645?PARENT_ID=254 for more information about the DMCA, and see http://www.google.com/dmca.html for the process that Blogger requires in order to make a DMCA complaint.
OK so if I was infringing someone's copyright what's my complaint?
Well, several really:
1. MY copyright has been infringed. It may not have been very good writing/reviewing but all the text and photographs taken by me (to which I own the copyright) have been deleted. Without notice.
2. I'm a fan. The purpose of writing here is to share my love of music. I have lost count of the number of times I have been turned on to new music, emerging bands and established artists by bloggers. What is particularlry galling is that some record labels will be PAYING people to do this work. And here is me doing this in my own time and at my own cost.
3. Ethical Posting. What I post is time-limited, low quality mp3s, always with a DIRECT link to buy the CD (I'm still old skool in this respect) from an internet seller like Amazon or the artist's record label direct. It takes time to put these links in; it would be so easy not to bother. And this site carries a disclaimer but more importantly ENCOURAGEMENT to buy the song/album/gig ticket.
So what's my recourse?
Well none. Blogger gives a blanket statement about their helplessness (although they don't seem to be that helpless about allowing bigotry, hate, fundamentalism and pornography on blogs). There is a suggested counter-claim route but (and this is the sinister part) that will have to wait several weeks before it can be initiated because YOU ARE NOT TOLD who is issuing these DCMA notices. They will eventually be published on Chilling Effects but to date I am still in the dark as to who complained, who issued these notices.
So to repeat some comments on this site: if anyone believes their copyright is being infringed PLEASE CONTACT ME and I will rememdy the situation.
I'm not a crusader but frankly I'm pissed off. When I find out which (I'm assuming) major record label has done this it's a safe bet to say I will not be buying any music from them ever again nor will I ever write about their artists. Now it might be a bit extreme to suggest this is THE DEATH OF THE MUSIC INDUSTRY but when the majors start to alienate fans in a climate where their revenues are falling already and they don't know how to respond (see here) ... well let's see what happens next.
In the meantime, I received this email from Jack at Alcopop Records:
Hiya
Hope all's well. Noticed your post reffing Stars and Sons, so I thought I'd drop you a quick email to let you know that this Monday 17th November we're releasing the limited edition (to 500) 7" 'In the Ocean' from the awesome Stars & Sons - and wondered if you might be interested in posting a bit about them, or this MP3 piano version (please feel free to make downloadable if you like) of the A-side that will remain otherwise unreleased?
Below is the press release for the 7", and the MP3 and video link. Thanks lots – and take care!
Jack PoP
Myspace - www.myspace.com/starsandsonsuk
Alcopop website - www.ilovealcopop.co.uk
In the Ocean Piano version MP3 - http://www.bsmrocks.com/alcopop/starsandsons-intheocean-piano.mp3
Thank you Jack. This goes a long way to restore my faith in parts of the music industry. You may not realise it or you may not feel this, but to me and many other people you and similarly-minded labels are THE FUTURE OF THE RECORD INDUSTRY. More strength to your arm and long way you continue. I know what I will be buying this Monday coming...
More thoughts from David Byrne on the future of the music industry here. And some more links to other enlightened labels and artists making free MP3s available:
Domino Records: a remix of James Yorkston's Tortoise Regrets Hare here.
Anti Records: a ten artist sampler including songs from Nick Cave, Jolie Holland, Mavis Staples, Tim Fite, Man Man and Islands here.
Darren Hayman: three advance songs from his new album Pram Town here
Secretly Canadian: a six track EP of live songs from Danielson from 1999-2006 here
The six piece (two guitars, bass, electric piano, drums plus trumpet/percussion) gave a fairly faithful rendition of songs from across all their albums but showed real care and attention to the sound and the sequencing of the songs as on record. Both slower and faster songs used intricate instrumentation to give them a real depth but with an added urgency and spark live.
Will Sheff at times reminded me of Colin Meloy at his declamatory best, the un-showy showman-songwriter wagging his finger at the crowd or waving his arm as he delivered these mini-melodramas. Other than Will the band were largely immobile (although drummer Travis was singing and smiling along to everything) but this doesn't suggest a lack of passion - both the brooding, reflective ballads and the raucous rock numbers had bags of the stuff. And when they delivered the sparse and atmospheric A Stone with just Will on acoustic guitar with delicate and minimal accompaniment from electric guitar and trumpet it was heart-stopping. One of my gigs of the year: when can we do this again?
Now this WAS a top ten 
Surprised (especially given the previous night's early doors timing) to arrive in time to see the first support 
To reach the end was almost a relief in some ways - it was so hot, so frenetic that I was glad of a short respite before the encores. The usual madness ensued with the closing song: the bear appeared, Noble and Phil launched themselves from the stage and crowd-surfed and the whole place rocked with delight. So shame to then take a direct hit from Noble on this second jump whilst I was looking away. It was an almighty thwack that had me reeling and meant I had to duck out from the front for the last few minutes to rest my head and neck against a wall.
Damn these Sunday night curfews. I got to The Ritz at 7.25 or so convinced I would be in time to see opening act 
Disappointment turned to happiness though because the second part of his support slot was provided by The Modern Ovans, the Jonathan Richman tribute band Matt is part and which includes Hamilton (bass) and Noble (drums) from BSP. They played a brief four-song set (Buzz Buzz Buzz, Corner Store, Abominable Snowman In the Market, Morning of Our Lives) to a rather sparse crowd: "we're more of an after-midnight kinda band" explained Matt.
I have a soft spot for The Ritz. I do not have the long history or romantic attachment that some do but it does have a special atmosphere all of its own. Tonight though some of its faults were showing: most of the draught beers were off leaving us with the nasty fizzy Fosters and then there was the cavernous sound to compete with. Cavernous sound and 
The summary of the BSP set was good but not great , marred by the iffy sound. There was little atmosphere for the most part I felt on stage or in the crowd - despite some enthusiastic flag-waving (crowd) and the re-appearance of swathes of foliage and heron and owl as stage decoration.
The first five songs should have been a joyous opening salvo but were defeated by the really poor sound mix (where were the drums?! where were most other instruments other than a prominent bass line? Or had our ears been shredded by Film School?) and a mixed ages crowd that gave those songs a bit of a lukewarm reception. The moment were it did come right was The Great Skua, a soaring instrumental accompanied by video footage of, well, sea-birds. And some fish. It sounds terrible but the wisest words of the evening were spoken at this point: "there's not many bands who could drop that in mid-set and not just get away with it but make it a high point".
Things did pick up with a furious closing Apologies For Insect Life and then the two encores (but the 'easy, easy' chant of No Lucifer really is the least interesting part of the song) but all a bit too late. The usual chaos the closing song featured a reappearance of Ursine Ultra the giant bear (if you have to ask, you won't get it) and some impressive stage-diving from guitarist Noble. At the Ritz there is a deep channel between the (high) stage and the crowd. Probably a gap of seven feet - with a solid chest-height metal barrier in front of the crowd. Noble donned flying helmet and made as though he as going to run up. Surely he wouldn't? Yes he did - not once but twice.
Mr P took a different view of the evening - "definitely a top ten BSP gig" - but his view was swayed by some enthusiastic, early doors, alfresco drinking. Sorry to report more soberly: it was "bottom ten" on my scorecard.
Adrian (Galway native, sometime Dublin resident, well-travelled - see his own biog 
Musicals based on band's band catalogue are two-a-penny at the moment (Queen, Take That and Madness all recently 'celebrated' in the West End) spawned by the global dominance of Mamma Mia. So Eric's could be a venture to be approached with trepidation. But I am hugely relieved to report that not only does it capture the spirit of the club and the era, it manages to incorporate the music of bands associated with Eric's into an original story without cliche and without cringe.
And there was some great music in the show. It was a shock to hear 
I bought this without hearing it. I knew Claudia Brucken from 
I Can't Escape From You is very 1988, especially in this 12" version. It's a epic, grandiose slice of synth-pop, complete with long piano intro ('an overture' no less), string section and drama provided by synths, synths and more synths, all topped off with Claudia in full diva mode (operatic rather than Maria Carey). It's camp, arty and great fun. For several months I played the A-side morning, noon and night but failed to win over further friends to its charms. As did 
Curiously despite falling head over heels for the song, I never went on to buy the album it came from (now re-issued in triple CD format!?). This may be to do with the B-sides. I'm sure another reason for buying this was the idea of Claudia covering The Smiths. But it doesn't really work. It's a car-crash of piano balladry, swing and torch song with Claudia veering from deadpan to anguished squeal - often in the same breath. And the scat backing vocals from "Casbah" are just plain annoying. But you may think differently ...
So about 8.20pm The Wave Pictures wander on stage, tip leads out of plastic bags, plug in, turn and face the audience and start playing. If you've heard their lo-fi, keep-the-mistakes-in recordings, it's not a surprise to see this casual approach. But it doesn't prepare you for just how tight the three piece are live.
They play a set that almost deliberately avoids the current album for the most part. They throw in some new songs, old songs, B-sides, a Jonathan Richman cover and also have drummer Jonny sing Now We Are Pregnant. Again it's misleading to think this is self-indulgent or a challenge to the (largely youthful) audience: utter joy to hear songs this good, played so well. I could listen to a whole evening of this.
There were some false starts, duff sound and general untidiness over the next few songs but this was just 'settling in'. Over nearly 90 minutes we got the full range of Jeffrey's output: acoustic humourous songs of rejection and failure, full-band rockin' songs of rejection and failure, Modern Lovers-style wig-outs, Crass covers (great to hear the 20-something crowd singing anarchist chants) and the comic-book interludes. Especially the second one of these: "my World History of Communism Volume 5: Korea". In four minutes of hand-drawn cartoons and rhyming couplet narrative I learnt more about Korea than all my years of reading and listening to the news have amassed: particularly how the two Superpowers divided the country along the 38th Parallel in the late 1940s and installed their own puppet regimes. Inspired.
A three piece on record, FR are bolstered to a four piece on tour with Scott on guitars/vocals; Billy on guitar/bass/keyboards; Grant on drums and (Billy 2?) on guitar/keyboards. So this meant on the opening couple of songs you had three guitars and drums. Great stuff.
I saw lead singer Scott standing at the side of stage just before their set, with stern expression and intense, staring eyes. Was this existential angst? Nerves? Or just taking a breather? Possibly the latter because on stage, in between songs, he was genial and good-humoured, thanking everyone several times for turning up, apologising for "being so shit" when they appeared in April. However live they lose the warm-natured approach to add a bit of ferocity to the rancour and self-loathing of songs like Fast Blood and The Modern Leper.
A relatively brief set (just under an hour) that took in most of second album The Midnight Organ Fight, they kept up an absorbing level of intensity even in slower songs like Floating On The Forth (claiming tonight they had never played it live before?). The set finished with a (failed) segue into an acoustic performance of Poke from Scott standing alone on the cabinets in front of the stage. It might not have been 'electric' but it was as gripping as the other performances, with the sing-a-long from the crowd seeming to add rather than take away from its power. The band then returned to the stage to finish with Keep Yourself Warm - the bleakest anthem to sexual desperation I think I have ever heard but one of their finest moments.
The Set List: