Even after 40 odd years we still come back for more; refusal to grow up or just an appreciation of good music well played?
Whatever the reason it was Steve Hackett time at Gateshead's attractive Sage complex. Slight aura of school assembly about the venue but once you notice the Tshirts, grey hair etc, you know that you are on safe ground. Even saw a Moribund the Burgermeister shirt which brought a chuckle to my features. Bumped in to an old school/college mate; we didn't quite manage a chat and the intended interval meet never materialised.
Our party of two were effectively in the Stalls, at the back with a sloping floor leading directly to the stage (it helps all of us who have " a 4ft restriction on humanoid height" placed upon them).
Informed by post, Steve was to play two sets without a support band - solo stuff to start and Genesis Revisited in the second half with a 15 interval in between.
Unfortunately he started with my favourite track, Spectral Mornings, doing it justice but it's such a rousing piece of work, I always think it's more suited to encores or at least later in the show. With a new album and gold Les Paul in tow, he played various tracks from Wolflight, the most accomplished being Love song for a Vampire. A lot of these tracks were accompanied by some smart harmonies from Steve, Roger King, Gary O'Toole, Rob Townsend and the bass player who's name escapes me. They drifted between a sort of Gerry Rafferty type background vocal to almost Crosby,Stills and Nash. This was somewhat spoiled when Nad Sylvan got in on the act moving from lead vocal to harmonies. 'Everyday' allowed Steve to spread his wings as did Star of Sirius. As I recall Icarus Ascending and Tower struck down just about ended part one - the whole first half went off very well.
Short break for calls of nature and mobile and we are back in our seat to hear Foxtrot material Get 'em out by Friday and Can-utility and the Coastliners open proceedings to great applause. Off the top of my head we were blessed with marvellous renditions of Musical Box, The Lamb lies down on Broadway, Cinema Show, the acoustic After the Ordeal from Selling England ending with an encore of Clocks and a magnificent Firth of Fifth. Good value, 7.30 till 10.30. They don't write stuff like this anymore. Shame.
Sunday, 18 October 2015
Thursday, 23 July 2015
July blues
Uncomfortable week at the Cinema.
Something told me I had to seek out the documentary on Amy Winehouse and Love & Mercy, a dual portrait of Brian Wilson from two eras of his life.
I always felt that I would be most uncomfortable about the Amy biog, so I visited the Empire Cinema first, mid afternoon. It meant I was making most use of my day bus pass and filling out an already busy day.
The film had been filtered into one of the Empire's Studio cinema, which tends to mean either limited interest or coming to the end of it's popular run. Four rows of seats & a screen probably too close for my liking.
Family footage, audio recordings and inserts of pertinent locations in the Amy story made up the core of the documentary. It was easy to fall in love with her youthful exuberance but by the time we had got to her dependence on booze instead of drugs, I found myself losing interest. Her mother seemed to play little part in proceedings and her taxi driving father was portrayed as something of an opportunist in making a dollar at Amy's expense. Some lovely footage of an awkward meet with Tony Bennett in the studio as she came across one of her idols and her initial enjoyment at just singing, were outweighed by her decline on stage as her predictions of not wanting fame & what goes with it, came to fruition. If it wasn't for that voice, I don't think I would watched much more but something tells me that I maybe researching adversity.
The following day I took the opportunity to see Love & Mercy at my beloved Tyneside Cinema. My sister was good enough to go with me & yet I feared for her enjoyment. Brian Wilson was portrayed by two actors, one of which was John Cusack(no doubt adding some box office appeal to the picture) Early recordings through to Pet Sounds & Smile were handled by an actor new to me, Paul Dano
Very good; struggling with an aggressive father and the demands of the band to return to the successful surfing sound that had served them so well up to now. Enter the sycophants who tell him to pursue his dreams & by the way, here's some stuff to ease the pain. The intertwined second portion of the film is John Cusack in the clutches of one Eugene Landy, played wonderfully by Paul Giamatti, whilst trying to establish a relationship with Melissa, a former model turned car salesperson that would ultimately set him free. The pain & the hurt seemed never ending & I couldn't help compare & contrast with my current situation. I came preciously close to walking out, such was the awkward nature of the journey. It is a commendable film, how accurate I don't know, but its uncomfortable entertainment, if that's not a misnomer.
Something told me I had to seek out the documentary on Amy Winehouse and Love & Mercy, a dual portrait of Brian Wilson from two eras of his life.
I always felt that I would be most uncomfortable about the Amy biog, so I visited the Empire Cinema first, mid afternoon. It meant I was making most use of my day bus pass and filling out an already busy day.
The film had been filtered into one of the Empire's Studio cinema, which tends to mean either limited interest or coming to the end of it's popular run. Four rows of seats & a screen probably too close for my liking.
Family footage, audio recordings and inserts of pertinent locations in the Amy story made up the core of the documentary. It was easy to fall in love with her youthful exuberance but by the time we had got to her dependence on booze instead of drugs, I found myself losing interest. Her mother seemed to play little part in proceedings and her taxi driving father was portrayed as something of an opportunist in making a dollar at Amy's expense. Some lovely footage of an awkward meet with Tony Bennett in the studio as she came across one of her idols and her initial enjoyment at just singing, were outweighed by her decline on stage as her predictions of not wanting fame & what goes with it, came to fruition. If it wasn't for that voice, I don't think I would watched much more but something tells me that I maybe researching adversity.
The following day I took the opportunity to see Love & Mercy at my beloved Tyneside Cinema. My sister was good enough to go with me & yet I feared for her enjoyment. Brian Wilson was portrayed by two actors, one of which was John Cusack(no doubt adding some box office appeal to the picture) Early recordings through to Pet Sounds & Smile were handled by an actor new to me, Paul Dano
Very good; struggling with an aggressive father and the demands of the band to return to the successful surfing sound that had served them so well up to now. Enter the sycophants who tell him to pursue his dreams & by the way, here's some stuff to ease the pain. The intertwined second portion of the film is John Cusack in the clutches of one Eugene Landy, played wonderfully by Paul Giamatti, whilst trying to establish a relationship with Melissa, a former model turned car salesperson that would ultimately set him free. The pain & the hurt seemed never ending & I couldn't help compare & contrast with my current situation. I came preciously close to walking out, such was the awkward nature of the journey. It is a commendable film, how accurate I don't know, but its uncomfortable entertainment, if that's not a misnomer.
Subscribe to:
Comments (Atom)