VAN HALEN – STAPLES CENTRE -LOS ANGELES 20/11/07

by Guest – Angie Daly

I HEARD YOU MISSED US – WE’RE BAAAACK!!

In the pitch darkness, the resonant wail of a single screeching, grinding guitar fills every inch of the huge auditorium and 15,000+ voices are heard to cry out in triumph and euphoria! As the lights wash the stage and the familiar opening riff to You Really Got Me Now explodes in, Van Halen, the greatest rock party band the world has ever known, kicked firmly into gear to a roaring welcome, in their home town of Los Angeles. This is no ordinary gig by no ordinary band. The world has waited 22 years for this tour as the Toastmaster General of the Immoral Majority, Diamond David Lee Roth re-joins forces with one of the greatest rock guitar innovators and virtuoso musicians of his time, Edward Van Halen. Joining them in this new Van Halen (mark IV?) is the elder of the Van Halen brothers, Alex, an often overlooked master of his instrument and legend amongst drummers. Finally, replacing original band member Michael Anthony on bass guitar, (whose departure caused great upset amongst the hardcore fan base, me included) the new generation of Van Halen, Eddie’s son Wolfgang.

They couldn’t have chosen a better track to open with. YRGM captured the mood from the start, sizzling and sexy and led the way to an evening of the best of the original Van Halen six pack. Roth easily had the capacity filled Staples Centre in the palm of his hand, as he slickly grooved his way through a mouthwatering set, I’m The One, Dance The Night Away, Beautiful Girls, Mean Street, Atomic Punk, flourishing his trade mark toothy smile and flaunting his still trim, athletic frame encased in his matador glitzy jackets and leather pants! Pure Dave, pure shmaltz! The fans loved it. His one liner, famed from US Fest back in 1983, “Look at all the people here tonight!” brought a roar from the crowd that seemed to last for ages. One point to note is Dave’s singing voice is better now that it has been in a long time. Whether he’s had voice coaching, I don’t know, but he hit the notes every time and yes, he did remember the words.

There had been a lot of debate over the inclusion of Wolfgang, just 16 years old in March and whether it would work. Well, he’s not Michael Anthony for sure, but he is a chip off the old block and yes, the lad can play… as if by birthright and instinct. Right now, all Wolfie needs is lots of gigs to gain his confidence, and he’s certainly getting them. From seeing videos of the first couple of shows of the tour, he has loosened up a lot and moving all over the stage, his special moment coming when he ran to the top of the stage set, raised his base and to a solo spotlight, began that thumping opening to Running With The Devil. It’s especially poignant to see him interacting happily with Dave but most of all with his Dad. Wolfie gets a big thumbs up. The best is yet to come for him.

Set wise, time moved too fast as favourites such as The Cradle Will Rock, Hot For Teacher “I heard you missed us, we’re back!!!!) , Jamie’s Cryin, Ice Cream Man and Panama seemed to fly by, the throng singing their hearts out and the band playing like they were in their twenties once more. Solo time, and Alex Van Halen proved once again he is a rock and roll machine. One of the highlights of the evening was listening to a guy who is a muso’s muso. Always at the top of his game, the ground shook under your feet as he hammered like a madman, his skills on show and to be envied by many.

Edward Van Halen! Everyone has had their opinion of Eddie over the years. No-one ever said he was an angel. Far from it. From the death of his friend and manager Ed Leffler back in the early nineties, Ed seemed to go on a downward slide. In the last ten years he has fought and beaten cancer, had a hip replacement, lost both parents, suffered the breakdown of his long term marriage and had continued to battle his alcohol addiction. I honestly believe that when they toured in 2004 with Sammy Hagar, that would be the last we ever saw of him. So it was with a grateful heart and a contented smile, I watched in almost tearful awe as the master craftsman proved he still has it in buckets the size of a small continent! Edward was flying. His playing was tight and most of all, that trademark grin was back!! He was loving it! A happy Eddie is an on fire Eddie and he spun his magic that night, sliding across the stage, joking with Dave and Wolfie and best of all, the flying Eddie jumps were back! His desire to move with ease was however, continually interrupted by the wire he has been using on this tour. In fact, he hasn’t used a wireless unit since 1994, insisting that he loses tone via that unit. Edward, in balance, it would be worth it not to have to see you yanking at the darn thing constantly… get rid of the cable!! His own solo was beautiful blend of snippets of 316, Cathedral, Little Guitars until those well worn fingers seemed to blur across the fretboard as he kicked into Eruption to finish off, all accompanied by a superb light show and flickering lasers. His ovation was well deserved before moving smoothly into their final number with that classic, timeless opening riff to Ain’t Talkin Bout Love.

As an encore we were treated to an instrumental, 1984 from the same album as Dave stood waving a giant red flag and finally, one of the most well know keyboard introductions in the rock world, led Van Halen to end a fantastic evening with of course, Jump! It was a special moment, of glittery tickertape, inflatable phallic microphones and a crowd that had the whole of this giant arena vibrating.

It was the night a lot of people, me included, had prayed for, for a very very long time. The chemistry is still there, the show still highly entertaining, the music still outstanding!

Long live the Mighty Van Halen!

Ed Graham sells Gold Disc

Ed is selling his gold disc for Permission to Land on ebay

There will apparently be more to follow!

Anders L.A. – ‘In Unison’

By Lucie.

The last time I reviewed Anders’ music, he was a child. Two years later, he’s still a child, but with an increasingly and impressively adult view on the world; you feel it in his music, and In Unison is the most grown-up melodic mission he’s ever been on.

I’m put in mind of another newish (but like Anders, having steadily worked on his craft for a fair few years now) young artist by the name of Streebeck – indeed, Anders’ debut album feels very similar to Streebeck’s Without a Baedeker, that delicate balance of songs on happiness and on loss, with the two themes occasionally merging.

Anders’ themes are more heartfelt than ever, his voice having settled in his tender years to suit the mood of this beautiful record and its nine poetic tracks. The rough edges of his previous EP’s have been smoothed and, such is the faith in this aural collection, it’s now available to buy on iTunes.

‘You Should Smile More’ was instantly my favourite track – I’m always swayed by the bounciest song first. The subject matter (the title says it all) is simple, yet something nobody else has written about before. This is Anders’ strength, discovering new themes (generally various branches of the feelings that come with love), surprising when love is the most well-worn musical subject of all; it’s astounding to find that somebody is finding new ways of exploring it.

I’m loving ‘Under The Sun’, ‘The Hard Goodbye’, and ‘You’re Always There’ too, songs that span emotion, as the entire record does. The album sounds effortless and clean yet deep and soul-searching, an odd and enticing mix that surely is the stuff that makes the best records. Anders rules, forevz.

www.myspace.com/andersla

Karaoke For Beginners – 8.8.09

giginthepark, Halesworth, Suffolk

Back in the Park again. Another hot sunny afternoon, and I love this event. It rocks! A little shopping in the town yields a pair of gold lamé lined purple velvet knee boots, and meeting the rudest second hand bookshop employee you’ll ever come across. DON’T go in there.

Ahem. Anyway… although I come every year, when I can, this year I came to see this band. Ed Graham back on stage after illness and his departure from Stone Gods is not something to be missed if you can get there. Sadly missed the first ever gig, but very pleased to make this one. MySpace provided plenty of idea of what to expect.

It was, in the way of GITP, a very short set, but there was plenty I liked. This is  rather more my bag of stuff than most.  Fields of the Nephilim versus The Cramps,  a dash or three of humour and a bloody good rocking dark sound. Ben’s voice gives Carl’s a good drubbing.  Tbh, this ain’t a band who are going to be seen at their best at 5.45 on a sunny afternoon, in full daylight. They need dark places. And dry ice, though there was a puff of smoke that surprised everyone (FOTN in mind, a bag of flour was also called for, but that’s just my 80’s goff thing and not a dig).  They also need a crowd! They’re a getdown/get sweaty and dirty in the pit sort of band, and THAT, I like.

It can’t have  been their best gig, and too short. I want to see them again, indoors, in a place where sweat runs down the walls and the crowd are UP. Natural habitat.

Ed fans – He’s looking well and drumming like a good ‘un.

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Streebeck – ‘Catch As Catch Can’

By Lucie Walker.

If there’s one current band that understands the meaning of evolution, it’s Streebeck. ‘Catch As Catch Can’ is startlingly different to the simplistic ‘Without A Baedeker’ in many ways, yet it’s clearly the same creators behind it, with a new attitude.

The most notable difference is the layering of music, mostly absent from the debut, with a full deck of instruments and instrumentalists – it’s immediately obvious that Streebeck is now a band rather than simply Lawrence Mackrell and his acoustic.

I’ll admit that it was live solo Mackrell that charmed me enough to buy the first album, but it only took one listen of ‘Catch As Catch Can’ to prove that the right decisions have been made for the development of Streebeck. It pleased me to hear that the raw lyrical emotions remain (my favourite line from ‘Long Goodbye’ being “I wish you’d shut your mouth, I’ve heard this all so many times”) against the backdrop of warm melodies, but it’s all one large developing step forwards – an inspired move.

The opening ‘Southlands’ is positively epic in feel compared to any of the first record, bright and much heavier than we’re used to. This, along with the similarly upbeat ‘Evening Train’ and the heart-wrenching ‘September’, are my favourite tracks from ‘Catch…’, the former two utilising the Travis-esque way of pairing pained lyrics with buoyant music – a style I have a soft spot for and one that was used to great effect in ‘Without A Baedeker’. It certainly makes for far more enjoyable listening than certain other recent artists and bands of a similar (but depressing) ilk.

‘Whilst You Lay Sleeping’ and ‘Giving Up And Selling Out’ are both further proof of how musically rich this album is, while ‘We’ll Always Have New York’ and ‘Birds’ are intensely reminiscent of the first album, maintaining a smart balance that gently introduces the fan to the new twist, and gives the new listener a treat.

This album is musical development at its finest, and it seems as if Streebeck is very aware of it. Mackrell and co have found their feet on the back of the confidence that the release of ‘Without A Baedeker’ has provided. ‘Catch As Catch Can’ is impressively fresh, complete with the feel of summer within the music, made to be enjoyed – so enjoy it.

www.streebeck.com