Together Again

Nicky texted me on Monday to say “Guess which two brothers are about to reunite and gig together?” It was a good one, I laughed a little bit. Nicky was obviously referring to the fact that he and I are going to do a wedding gig for our mate Nat O’Brien in October. I’ll drive, Nicky can kip at my house. On Sunday afternoon we might even try and squeeze in an Ofay gig at the Bridge or somewhere else in Burnley. Drink a couple of pints and inflict the music people didn’t even know they didn’t want to hear on them. Now I’m writing it out it sounds like a pretty perfect weekend.

I’m aware of the other reunion that was announced this week and have been for a while. I’ve seen all sorts of informed speculation about why Oasis are getting back together, about money, about divorces, about burying hatchets and family. There’s one reason that it’s happening that I haven’t seen mentioned anywhere but that I think is the most important of all. It’s that throughout his comeback solo career Liam has been so good that they just couldn’t ignore him anymore. From the way his rejuvenated voice sounded to the way the albums were written and produced, to the sound, look and feel of the increasingly enormous and complicated live shows it has been a perfect seven and a half year whirlwind full of excellent tactical decisions and perfect execution. We as a live band were a small part of that but we did our job well, when we were thrown the ball we didn’t drop it, or worse try and do some fancy trick or run away with it. We blended together well and we were consistent throughout. I’ll have more to say about us as a band and a group of friends when the dust has finally settled. We’re all genuinely happy for Liam, now it’s time for us to take a bow and leave the stage. If this were the movie of our lives this scene would follow our performance in Malta in a few weeks, I’d be Kermit. Obviously this isn’t the movie of our lives, it is our lives. I’m not Kermit and we’ll undoubtedly get arseholed instead of doing a big musical number together. Stick to what you’re good at.

I think you’re probably starting to realise that I can soundtrack my life and everyone else’s with Muppet moments. Therefore the Gallaghers can whistle this little belter to themselves as they warm up for what will surely be a most memorable summer for them.

Also Together Again…

After writing just the other week about the massive impact Gillian Welch’s album at the start of the new century had on us all I was thrilled to see that there was a new one out. This is the second one that her and David Rawlings have released billed as a duo, the first being the covers album All The Good Times released in 2020, but unbelievably it’s the 10th they’ve recorded together. Maybe it isn’t unbelievable Madden, it’s been a quarter of a century. You’re just astonished at the speed with which the sand of your life is slipping through your shaking fingers. Anyway, the main difference when they share double billing is some sharing of lead vocal duties. Welch sings the majority but you get songs like the second track What We Had where they’re singing a true call and response duet. Rawlings also sings the lead on the tragically beautiful Hashtag:

“You laughed and said the news’d be bad,

if I ever saw your name with a hashtag,

Singers like you and I

Are only news when we die”

I’m always wary of songs with modern cultural references in them, particularly on a rootsy as fuck country album, but that lyric swung me round effortlessly. It’s novel that the guy in this duo has the slightly frailer more delicate voice where the woman has the deeper and richer one. Their closeness in quality is way more important and interesting than this distinction but it’s an interesting one. Anyway, a few listens in and I love this new album. I probably won’t listen to it as much as I did Time (The Revelator) as times are different, modern life is rubbish etc. etc. etc., but you know what? I’m going to try. So why don’t you too?

Rhapsody

I’ve been enjoying this album a lot this week, I’ll give anything on Colemine Records a shot as they brought me the Delvon Lamarr Organ Trio, The Monophonics and Black Market Brass. I got drawn into this one by seeing that Eli “the Paperboy” Reed had produced it. He caught the eyes of Nicky and me when he showed up on Live From Daryl’s House, which used to be the thing we all wanted to do with our lives. Eli was the slightly dorky looking kid with a voice like a biblical storm who clearly put the shits up Daryl. It’s worth a revisit.

I should get back into Live From Daryl’s House actually, I think it’s still going.

Anyway, this album isn’t Eli, he just produced it. The Harlem Gospel Travelers are a trio drawing on a tradition that dates back to the 60s of gospel groups incorporating soul and funk elements into their worship songs. I honestly find it a little jarring to hear a super sexy groove like that on track three God’s Love and then get a load of lyrics about God or Jesus but to be fair that’s my problem as a stuck up, secular cynic. Soul music comes from church originally, Ray Charles took gospel out of church and made it sexy, they just want to take it back there, This is impeccably played and beautifully sung, lots of Impressions style falsettos and harmonies and obviously they have me every time I hear the organ. Get involved.