I know it is obscenely late to still be harping on about the events of 2014 (I mean, all music that happened before 31st December DIES on January 5the each year, every music-blog reader/writer knows that), but January was such a slog I literally haven’t had a chance to finish the few meagre paragraphs that comprise this post, that I was meaning to post just after completing the ‘records of the year’ run-down last month.

Before getting my shit together to move on to some actual 2015 listening then (to be honest, I usually find myself just listening to compilations and old records for the first grim few months of each year these days), time to finally close the bloody curtain on ’14 with some quick round-ups of other music stuff that pleased me during the year.

1. Live.

Amid a pretty wide variety of truly great live music I witnessed last year, the couple that stand out most strongly in my mind (not including the gig I attended in Japan, various performances by friends’ bands, my band’s own little tour etc), were, perhaps significantly, those relating to the Southern US garage-punk scene – a keen remember that those guys, collectively speaking, can still be untouchable in terms of live rock n’ roll, even they’ve arguably been slacking off a little on the “making awesome records” front in recent years.

#1 gig of 2014 then, to my surprise as much as anyone’s, was Jack Oblivian playing backed up by Memphis band The Sheiks, in a spacious and sparsely-attended Bethnal Green Working Men’s Club on an inauspicious Sunday night. What can I tell you – the group were, as the phrase goes, ‘cooking’, all ragged and good-humoured after a grueling European tour, and when they finished their allotted set and no curfew was called, they continued cooking, eventually playing for something like two hours, as the remaining attendees, last train home long abandoned, danced on past midnight. And when I say ‘danced’, I don’t mean “moshed” or "threw themselves about like drunken monkeys", I mean the people were actually dancing, to live rock n’ roll played by a well-lubricated band with a bag full of half-remembered r’n’b covers and very little idea what they’re gonna do next. If only that could happen every weekend. A really special evening.

Nearly as good were Tennessee band Natural Child, playing at the functional but always slightly dispiriting Shacklewell Arms. To keep it brief, going to this gig wasn’t my call, and I found myself feeling rather suspicious of the crowd, suspicious of the support acts, suspicious of the general vibe, suspicious of what I knew of the headliners via some quick googling. Then Natural Child walked on-stage and within ten seconds I was comfortable as a baby with a fresh bottle. What a fucking great band. If you follow my path of googling, you may find yourself unconvinced by copious weed-championing, dirty joke lyrics, some of the worst record covers of all time and a new album that sounds a little bit too much like The Eagles for comfort, but believe me – see ’em live and it will all make sense. These guys play like they were born with rock n’ roll in their bones – zero pretense, a warm, welcoming groove and a wicked good sense of humour too. Heroes to a man. (Intermittent testament to this greatness can found on their ‘1971’ LP from a couple of years back.)

Third best night out of the year was Shonen Knife, playing a short notice end-of-tour set at Café Oto. I’ve seen Shonen Knife quite a few times over the years, but this was by far the best. With the small venue, party atmos and fans-only crowd, the band seemed really comfortable, and happy to play whatever songs they felt like playing, dragging out some deep cuts and album tracks rather than relying on the same old fan favourites. The current line-up play magnificently, belting it out with the kind of world-beating, hyper-efficient positivity that does the stereotypical view of their country proud, and being able to stand right in front of them as they did so was a joy. The unusually varied set-list made for a great showcase of the strength & breadth of Naoko’s song-writing over the years, and anyone who has (perhaps understandably) written them off as a novelty cakes n’ kittens twee band really needs to check their head and hope they one day catch a set as good as this one.

Fourth best gig of the year was finally seeing Bong, playing at… what’s the name of that goth/metal pub, on a side street by Camden station..? I’ve forgotten. Seemed like a thoroughly decent place to watch bands and drink beer, anyway. I had taken some out some money with the expectation of buying a pile of obscure merch from the band, but as said merch was not forthcoming, there was only one solution: a quadruple whisky to sip as I stood front of the stage watching the band set up, and things went just swimmingly. Having built these guys up to the level of galaxy-bestriding gods in my mind, it was quite humbling to just see some young-ish, soft-spoken blokes from Newcastle quietly setting up their not-quite-as-elaborate-as-you-might-expect gear, but when they finally began…. the even-more-colossally-world-destroying-than-you-might-imagine maelstrom did the business. (Said business being an out-of-body noise-worshipping nirvana that no mere blended whisky could account for.)

Fifth and sixth best gigs of the year were the Static Shock events I wrote about here, with particular reference to the mighty Rakta (sorry – channelling Mary Anne Hobbs a bit there), and coming in at seven is the Makoto Kawabata & J. Francois Pauvros set I wrote about here. Catching Pelt in St Pancras Old Church a few months back made for an oft-challenging but ultimately rewarding number eight, pushing perennial number # 1 live act Chain & The Gang into a shocking NINTH place, even in view of them playing on the same bill as Comet Gain. Tenth? I dunno, my memory is all out at this point, but I’ve probably forgotten at least a few great things, so if you went to something unspeakably awesome and saw me there standing watching it, maybe write it in this space: _________________.



2. Comps & Reissues.

Here is a list of my eleven favourite reissues and compilations of old music from 2014. Really top year for this kinda stuff, and sadly I didn’t have the times or funds to check out even a fraction of the releases I would have liked to. I wish I’d found the time to write about all of the records below, because they are awesome, but those I did manage to squeeze out some words on are duly linked.




3. Old Records.



So, that’s it – END. 2014 is ovah! Look out for more scintillating, red hot coverage of 2015’s verdant musical marshland here whenever I can be bothered.

Labels: best of 2014, Bong, Jack Oblivian, live reviews, Natural Child, Pointless Lists Week, Shonen Knife

Holiday.


I'll be back in a few weeks.

In the mean time, please enjoy these golden hits from the land of the rising sun.

Labels: announcements, holidays, Japan, Les Rallizes Denudes, Meiko Kaji, Melt Banana, Morita Doji, Nagisa Ni Te, Shonen Knife, Teengenerate, The Comes, The Jacks, The Stalin

Blah, Blah, Blah.

So I was going to wait until we got a decision on who's in charge of the country before writing a new post, but I'm bored now.

So, seriously, how great are Shonen Knife?

The chorus of that song has been playing in my head continuously since I watched the video three days ago, which really shouldn't come as a surprise, given my history.

When I saw Shonen Knife at The Windmill last year, they played a new song about barnacles. Yeah, that's right, barnacles.

Naoko said that she admired the tenacity of barnacles in clinging on to rocks and so forth. The song went;

"Barnacle
HEY!
Barnacle
HEY!
This is a song about the barnacle!"

Shonen Knife are fucking brilliant.

I suppose at this point I could heave in some unwieldy metaphor comparing Gordon Brown to a great big barnacle or something, but... let's just not.

Labels: politics, Shonen Knife, spacefiller, The Ramones, videos