The CLUAS Archive: 1998 - 2011

Entries for November 2007

09

Review Snapshot: The balladeering Dubliner distinguishes himself from the singer-songer crowd with a second fine album of charming melodies, intriguing lyrics and a sincere, likeable approach to songwriting that's worthy of the Salmon Of Knowledge (ask your primary school teacher).

The CLUAS Verdict? 8 out of 10

Full Review:
Mumblin Deaf Ro Herring and the BrineRonan Hession's nom de rock suggests that he's some sort of gnarled old Delta bluesman, when in actual fact Mumblin' Deaf Ro writes acoustic pop tunes. "So far, so what?" says you - Ireland is fairly well stocked with singer-songers; no fear of a sudden shortage. And if you should lose one, well... the next one will do just as well; they tend to be interchangeable. Can Hession be any different to the mass of Tanglewood-bashers in Eire?

"Yes" is the answer to that, thank God. Mumblin' Deaf Ro's 2003 debut, 'Senor My Friend...', received enthusiastic notices (the CLUAS review prominent among them) for its witty, catchy and thoughtful songs. The album made Hession something of a cult figure, and its follow-up should consolidate that - 'The Herring And The Brine' is a fine record.

For many, Hession will be an acquired taste. His style is that of a balladeering minstrel - simple tunes arranged sparingly, sung with the plain, innocent voice of a poor Dickensian orphan. Opening track 'The Drowning Man', for instance, is not so much sung as recited sing-song-style like a primary school poem.

The simple, naive delivery is in contrast to the craft and complexity of his lyrics. Characters (a doubting clergyman, a Central American ex-president, a fish-packing "reformed rake") tell their sories and reveal their thoughts and fears. This may all sound pretentious to some, and Hession certainly risks Julian Gough-style smug showing-off. But Mumblin' Deaf Ro never falls into that trap - his lyrics wear their learning with good humour and genuine sincerity.

One example will suffice. Even from its title 'What's To Be Done With El Salvador?' looks like trouble and when Hession (as the deposed president) sings "Don't let the country that I loved but let down / Fall into pieces / Splinter in the hands of a confederation" it all sounds clumsy and forced. Then the song changes up a gear and floors you with the catchiest economic dissertation this side of David McWilliams: "If you don't protect the currency / The people can't live / But the foreign trade suffers / And the country goes adrift". All served on a lovely little melody. It's thrilling stuff, and this album is full of such charming moments.

"All very well for the words, like", says you again, "but what about the choons, man?" Well, fortunately Hession crafts melodies that are just as lilting and likeable as his lyrics. Admittedly his voice is a wee bit limited in range, which probably holds him back from writing stronger hooks. That said, the voice he has is perfectly suited to the intimate, conversational stories he tells. And the arrangements are fresh and lively, shown to the best effect by Peter Sisk's fine production job.

'The Herring And The Brine' is a charming and accomplished acoustic pop album, and Mumblin' Deaf Ro has a refreshingly good-humoured and thoughtful approach to making music. He may yet make Irish singer-songers respectable again.

 Aidan Curran


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09

A review of the album La Radiolina by Manu Chao

Review Snapshot: A stonking new album from the multi-million selling music revolutionary, Manu Chao.

The Cluas Verdict? 8 out of 10

Full Review:
Manu Chao - La Radiolina'La Radiolina' is Manu Chao's first studio album in 6 years (and is my first experience of this French-Spanish performer). The record is the follow-up to Chao's three million-selling 'Roxima Estacion: Esperenza'. Chao grew up in Paris but now lives in Barcelona. Fronting anarchic genre-bending Mano Negra (Black Hand) until the band split in 1995, Chao has been travelling the world releasing the odd album to support his travel bug.

Over the course of 21 songs (stuffed into 52 minutes of solidly infectious music), Chao sings in (to my ears) four different languages and numerous styles. Of course, the flamenco styling of Latin music is to the fore, but 'Rainin in Paradize' is a full-on rock song with a lovely fluid guitar motif and driving drums (a la Tom Petty's 'Runnin' Down a Dream'). And it's just great. Especially his lyric rhyming 'atrocity', 'hypocrisy', 'democracy' and 'crazy' - imagine a serious political song sung by Manuel from Fawlty Towers. But in a good way!

 

But there is much more here. Evocative reggae (reminiscent of Exodus era Marley), sparse ballads, Calexico-style desert folk mixed in with some strident political sloganeering makes for an indulgent treat. I love the Mariachi guitar and trumpet on songs like the melancholy 'Mala Fama' and the more exuberant 'La Vida Tombola'. Indeed, like many of the tracks, it fades out after less than two minutes. Manu's tunes never out-stay their welcome. Most of the time this works, but sometimes the album feels like the listener is surfing the radio dial, dipping in and out of the tunes on offer. Maybe this is deliberate, hence the album name?

 

Manu Chao was a hero of the sadly departed Joe Strummer and the reggae stylings, mad laughter and Man-of-the-People rants are very reminiscent of the Clash. In recent years, both men became firm friends and I can imagine they had a shared view of the world. This album can't fail to enhance Manu Chao's reputation. 'La Radiolina' will make you pine for the rapidly disappearing summer season (at least for you guys north of the equator).

Stephen McNulty

 To buy a new or (very reasonably priced) 2nd hand copy of this album on Amazon just click here.


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07

Thomas TruaxLast night your blogger went to the Flèche d'Or in Paris to see New York singer-songer Thomas Truax. Nothing strange in that, says you.

Well, in fact, everything about this man is bizarre. First, his music is of a genre he calls 'steampunk'. Furthermore, he plays his steampunk on the most unlikeliest contraptions - instruments that he made himself.

For instance, there's the Hornicator - a gramophone horn fitted up with a microphone and the type of sound-making gadgets you'd find in a Christmas cracker or a Kinder egg. There's also the Sister Spinster, a sort of spinning-wheel drum machine. Then there's the Stringaling, which (as the name suggests) is a roll of string with a tom-tom, ventilation tube and lots more little gadgets attached. (He also plays a rather conventional steel guitar - but with the spinning blades of a little plastic fan.)

And the man himself has the lanky, wild-eyed look of David Byrne or Kramer from 'Seinfeld'. Between songs he reaches for another queer instrument and continues talking to the audience even when he's away from the microphone and no one can hear him.  His performance sometimes stretches 'quirky' into 'irritating' - during 'Full Moon Over Wowtown' he does the tired old down-from-the-stage, play-in-the-audience, run-around-the-room routine. God punishes him by having him miss a step and fall on his arse.

Thomas Truax with his Hornicator (Sister Spinster in background)But, for the most part, Truax is highly entertaining. His instruments are genuinely fascinating in their ingenuity and intricacy; more importantly, they sound fresh and intriguing. As for his songs, some are a bit too self-consciously oddball ('The Butterfly And The Entomologist' drags on and gets boring) but plenty others are catchy, witty and a little bit scary in their skewed world-view. We're reluctant to used that much-abused word 'genius', but there's certainly something special about this man: he reminds us a little of our beloved Jonathan Richman.

Truax toured around Ireland earlier this year, as support to Duke Special (who also played in Paris last night) - did any of our readers see these shows? The American, resident in England, has no concerts upcoming in Ireland, unfortunately - and without the visual impact of his instruments, his recordings just don't capture the essence of his act.

You can listen to some Truax tracks on his MySpace page, and you can find out more about his music and inventions on his website. Here's the video for our favourite song of his last night, 'Prove It To My Daughter'. Chapeau to Louisa and Céline for bringing your blogger along to see him:


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06

So I thought, what a minute, why don't I just stick my albums of the year up on the blog when I do them? So that is what I am going to do. Once I get a minute to myself in the next couple of weeks.Oh, an another thing they will be in order of merit. The basic criteria will be that they were released in the last year and I have played them in the car on surf trips, other than that, eh, they are music.


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06
 
While in Salvador’s Café, a great hangout in Kunming, I met the Tribal Moons an American-British-Chinese-Irish quartet playing gigs around southern China. The band is fronted by the garrulous John 'Nevada' Lundemo from Reno, Nevada, – “some people call me 'jeronimo,' that was my stage name for years while playing in and around Reno and Lake Tahoe, and up and down the Sierra Nevada mountains in Nevada.
 
He plays rhythm guitar, harmonica, percussion and sing. From Ireland, bandmate Mark Corry plays slide guitar. Londoner James Martin plays lead guitar and harmonica. The band’s Chinese member is drummer Ma Tu, a Kunming native. Like the two Europeans in the group he’s versatile: all three take turns at bass, drums and join with Lundemo on vocals. 
 
John told me about the band’s gigs and plans for a sunny winter in Thailand the Philippines. Given that he’s a better story teller than me, below I’ll run a transcript of our chat:
 
“Over Halloween the band played in Kunming on Tuesday and Wednesday nights. We opened for Brandon Thomas, from Texas, an extremely wonderful blues-rocker and guitarist currently on a 16 city tour in China, playing our own show at the Halfway House Club on Thursday night, which really went well and was packed. The band then played two Halloween performances on Friday and Saturday nights at the Dragonfly in Dali, Yunnan.
 
We met last summer, in July, in Dali, where my wife Caroline (a university English teacher, and from Australia) and I got married. Caroline has been acting and has become our manager and chief 'organizer' and there are so many things we just couldn't do without her! All of our four children and friends and familes from the USA and Australia came for the wedding; we needed a band for the wedding party and dance, and some friends brought Mark, who was living and playing in Dali, and James, our friend of 4 years from central China, who had been teaching and playing music in Xiamen in eastern China, together. We met Ma Tu in Kunming and soon the four of us had settled into Ma Tu's studio and began rehearsing.
 
We play original music, in a variety of styles: blues, rock, reggae, country, and some jazz-oriented or jazz-flavored songs. We also do some covers of famous blues musicians, such as Muddy Waters and Howlin' Wolf and Robert Johnson; and old rock 'n roll songs by the Kinks, Beatles, Rolling Stones, Santana; and country songs by Johnny Cash, Merle Haggard and Hank Williams... just to name a few famous people and bands we like. But we choose what we personally like, and don't do the cover versions exactly, but rather, do our own 'take' or concept of the basic song. It works out quite well. I write many of the songs for the band and have been writing music and playing in bands all of my life. Now Mark, James and Ma Tu are also contributing songs they have written and also their specially selected cover tunes.
 
Our lucky break came when I had submitted my own personal resume and Youtube videos of some of my songs, and a background of the band to the promoters of the Lijiang Music Festival. I wasn't sure, nor were we at all convinced the Tribal Moons would be selected to play. We worked hard and our performances in Kunming prior to Lijiang, and then at the festival, and then through jamming and playing at the after-hour parties and bars in Lijiang during the festival, and meeting people and promoters and agents, our band began to get some notice and now more and more gigs and opportunities are coming out way. Since the festival we've had to make a few changes in our lives: Mark has moved from Dali to Kunming and is living with James, Caroline and I and James are all university English teachers, so we have had to make some band decisions around our teaching schedules. We have really began to 'switch around' with all of us playing various instruments to build exciting and interesting sets of our music, and finally, we're making some future plans.
 
I guess our next thoughts have to do with playing the holiday and shows that come up around the Christmas and holiday-New Year seasons. But beyond that we are now developing the itinerary and schedule to get all of us to the Philippine islands, and then on to Thailand for the months of January and February. We have some connections in both countries and are now looking at some resorts and clubs in the warmer climates and scheduling what we can. It will be a perfect time to take a winter break and 'go south' while at the same time keeping us together on the road for a couple of months where we can really work hard on the music and polish our sets. We have dozens and dozens of good original songs and we want to present a variety of sets we can keep in a constant evolving cycle so when we play two or three nights in a row we can keep things exciting and interesting for the audiences.
 
Beyond that, we'll see. Of course, we must get into the studio and record some CDs to take along with us, or maybe we'll face that recording thing in the spring. We are in no rush and at the present just enjoying playing together. I've played with a lot of musicians in my life, but these three young men are about as easy to work with and get along with as I've ever wanted. We enjoy each other's company, we're good friends, and we have loads of laughs. I have a lot of band and music experience behind me, so they look to me for some direction -- but really, Mark and James are very creative and accomplished writers and musicians and when we all are together, there is a wealth of musical knowledge to draw on, talk about and everyone contributes.
 
This week the band is resting, rehearsing, and preparing for the Kunming Outdoor Music Festival which will be held about 45 minutes from Kunming on Saturday November 10th. There won't be as many bands performing as at the huge Lijiang Music Festival, but still, lots of local bands, some foreign and most Chinese. All types of music will be represented -- from rock to punk to metal, to..well, us!"


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05

DionysosYour blogger generally has a backlog of CDs to listen to, and is usually quite methodical about it - new music to the bottom of the pile, the back of the line, while the older stuff gets played first. It's our token attempt at being professional.

However, today the new album by French band Dionysos (right), 'La Mécanique Du Coeur', got to skip the queue, slip inside the velvet rope, step in ahead of the ordinaries.

Eric CantonaWhy? Well, it's not every record that features Le Roi himself, Eric Cantona. And there he is on the very last track, 'Epilogue'. Our heart skipped a beat; we skipped right to the end of the album...

Alas, Eric doesn't sing on this track; his contribution is spoken word. 'La Mécanique Du Coeur' is based on a novel by Dionysos singer Mathias Malzieu that tells the story of a dreamy romance in a dark, nightmarish world (similar to Tim Burton's 'The Nightmare Before Christmas'). Cantona's role is merely as storyteller, to wrap up the tale in the manner of his other profession: actor (he's been getting positive reviews recently for his performance in crime flick 'Le Deuxième Souffle').

Anyway, the album is a fine one - dreamy, imaginative cabaret-pop (that's cabaret like Kurt Weill, not cabaret like Sonny Knowles) that fans of Regina Spektor, Rufus Wainwright or Duke Special would like. Malzieu's voice is a bit thin for the topsy-turvy melodies he crafts, but it's his collaborators who make this record special. Apart from Eric, there are impressive turns by French chanteuse Olivia Ruiz (Malzieu's partner), venerable actor Jean Rochefort, and the marvellous Emily Loizeau (yes, we're raving about her again, we know. We can't help it).

You can listen to some extracts from 'La Mécanique Du Coeur' on its dedicated MySpace page. This promo for the album will give you an idea of what it sounds like:


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05
Before most shops were stuffed with generic local guitars – my first one was an RMB300 (EUR30) Starsun made in Fujian province in the deep south. Thick neck and head, strings far off the frets - but fine for a beginner. Since then (2003) a lot of the large international marques like Gibson and Yamaha have stared building guitars here. Now you walk into an instrument store and get the best brands for a fraction of EU/US costs because low labour costs allow the big brands to sell guitars locally while exporting the majority to international markets.
 
On a trip to the southeastly city of Suzhou the other day I acted on a good tip off from a local musician. The best instruments store in town, the Blues Music Store, is run by a local blues musicians who knows his stuff, I was told. When I found the small, crammed store I also found he spoke the truth. Proprietor Robin Cao, a pony tailed blues funk enthusiast and band member took me through his guitars and his dozens of real and photo-shopped photos of him and famous guitarists. Cao's infectious knowledge (the shopkeepers I bought the Starsun off, in a state-run department store, didn’t have a clue) meant I ended up trying out a dozen guitars and nearly buying one.
 
A Gibson Les Paul at the Blues Music Store in Suzhou costs RMB2,000. It looks like the real thing but it’s not quite. Some enterprising hands at Gibson’s factory in China have been siphoning off guitar bodies. Cheaper, Chinese pick ups are later added and the guitar sold locally. "But you'd never tell the difference," said Cao, whose Blues Music Store located just off the Shi Quan Lu entertainment strip gets business off the sizeable tourist hordes who come to visit Suzhou's famous gardens (it's only 40 minutes from Shanghai to here on a new bullet train serving the region).
 
The real Gibsons are shipped out of China and often come back in as imports, says Cao. An imported “real” Gibson Les Paul retails for RMB11,000 at his store. Gibson in 2002 chose Qingdao on China’s east coast as the location for its first foreign factory – and the first company-owned plant producing Epiphone guitars.
 
Yamaha acoustic guitars sell  for RMB900 at Blues Music. They're not fakes, rather “produced in China to Yamaha specifications” according to the label. That means outsourced to a Korean company who build the guitars at a factory in Dalian and Qingdao, two cities in Shandong province within easy flying district of Korea and Japan. The brand has an edge in China, says Cao, because Yamaha motorcycles are known and admired here.
 
Chinese music shop owners like Cao are getting a lot more sophisticated too. That’s maybe down to more gigging opportunities. Many of Cao's Beijing counterparts also run instrument shops to supplement gigs they play at the bars that have sprung up in Chinese cities. Their methods often differ however. Yesterday I took an Epiphone Les Paul (Chinese made, RMB2,500) to a place on Xinjiekou, a street in Beijing’s old low rise quarter. To change the strings the technician took a pliars and cut the strings just above the guitar bridge. Messy, though he got the strings on in 20 minutes and charged me RMB10 - a euro - for the job.

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04
Neil Young 'Live At Massey Hall'
Review Snapshot: The second disc to be released from his Archives file, this live set, captured in front of an adoring crowd in Toronto in 1971, shows Neil Young on top of his game. With a set conta...

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04

The ARIAs are the Australian equivalent of the BRITs - when all the great and good in the Australian music industry indulge in a night of backslapping and self-aggrandising. I watched the show principally because the legend that is Nick Cave got inducted into the ARIA Hall of Fame. But, unexpectedly, the highlight of the evening didn't involve the long-haired Grinderman. The organisers of the BRITs tend to throw a strange collaboration into the mix - remember Tom Jones and Robbie Williams, or Bjork and PJ Harvey, surely one of the more bizarre and well worth another look. Well the ARIAs chucked hippy John Butler and country singer Keith Urban together for a "jam". And it was surprisingly wonderful.

 I reviewed the John Butler Trio's latest record, Grand National, a few months ago and it really is a bit of a stinker. He lived down to his reputation when he accepted the award of Best Independent Release and launched into the kind of left-wing agenda driven speech that even Michael Moore might have baulked at. Keith Urban, a bona fide country superstar here in Oz (as well as being the hubby of one Nicole Kidman), also received an award for Best Country Album. I refuse to listen to the record because of its name - Love, Pain and the Whole Crazy Thing. Jeez...

So when they came together, I really didn't expect much. How was I to know that Urban was an incendiary guitar player and that Butler could put aside the politics and thrash out a great tune? It really is well worth a listen - make sure to hang around for the last couple of minutes.

 

 


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03
Animal Collective 'Strawberry Jam'
A review of the album 'Strawberry Jam' by Animal Collective Review Snapshot: The Animal Collective- they'll always call a spade a frog. "Strawberry Jam" is a collection of le...

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Nuggets from our archive

2003 - Witnness 2003, a comprehensive review by Brian Kelly of the 2 days of what transpired to be the last ever Witnness festival (in 2004 it was rebranded as Oxegen when Heineken stepped into the sponsor shoes).