Remember The Face: Steve Marriott

Today is a poignant landmark for admirers of one of the UK’s most charismatic and distinctive rock frontman, as it’s exactly 25 years since we lost Steve Marriott. The former leader of the Small Faces and Humble Pie died in a house fire on 20th April, 1991, at the cruelly young age of 44.
Thankfully, Steve’s achievements as a true figurehead of pop and rock music, especially in the 1960s and ’70s, are now widely acknowledged. His talents are currently being celebrated at London’s Vaults Theatre, in the highly recommended musical All Or Nothing The Mod Musical, which brings the Small Faces‘ story vividly to life.

Marriott, was from Manor Park in east London, was a born performer, starting his first band at the age of 12 and starring on the West End stage in Lionel Bart’s hit production of Oliver! at just 13 years old. Further stage roles followed, but as All Or Nothing documents, his heart was always in music.

His dreams came true when the Small Faces, formed in 1965, made it big and enjoyed several years of hit singles and increasingly influential and experimental albums. Marriott’s wanderlust and disillusionment with the business of music led him to leave the band and form Humble Pie.

Humble Pie

There, he developed a creative partnership with a new group of like-minded players, including Peter Frampton. “It was the best band you could ever be in as far as I was concerned,” said Frampton, “because you’ve got my idol there. Steve would open his mouth and gold came out.”

Marriott fronted Humble Pie from 1969 to 1975, and briefly in a reunited version in the early 1980s. He also made some notable albums in his own name, including the 1976 solo debut Marriott. 1990’s Marriott & Band included versions of his treasured Small Faces songs ‘All Or Nothing’ and ‘What’cha Gonna Do About It.’

Shortly before the end of his life, Marriott was interviewed by Paul Sexton, and reflected with quiet satisfaction on his career. “I was seduced at 18,” he said, “and it was quite good but it paled very quickly. I realised it had nothing to do with music and everything to do with the shape of your bum…what’s been has gone, and I’m very proud of it.

“I’ve got what I wanted, which is just enough money to live on, in no great style but a nice way, and to have some respect from other musicians and play the pubs and clubs, where the music’s still real.”

Humble Pie’s “Up Our Sleeve: Official Bootleg Box Set Vol 3” is latest recorded testament to what this band did best; playing bluesy, gutsy, soulful hard rock, live on stage. Drawn from a variety of audience recordings that have previously only been available as “under the counter” pirate releases, this is an honest and raw tribute to a classic and much missed super-group on the 1970s, released in conjunction with Pie founder member and drummer, Jerry Shirley.

Originally emerging from the remnants of 1960s beat heroes The Small Faces, Humble Pie formed in 1969 when mercurial guitarist and vocalist Steve Marriott joined forces with The Herd’s Peter Frampton, joined by drummer Jerry Shirley and bassist Greg Ridley. After two albums for Andrew Loog Oldham’s Immediate label, Humble Pie switched to A&M records, and began their ascent to conquering the theatres and then arenas of North America, culminating in 1972’s double live “Performance: Rockin’ The Filmore”.

Peter Frampton left shortly after to pursue a successful solo career, replaced by Clem Clempson. It was this line-up that is captured across these 5 discs. .Spread across CDs 1 & 2, The Pie were promoting their latest studio record “Smokin'” when they hit Gaelic Park, in Riverdale, NY on 22nd August 1972, from which ‘Hot ‘N’ Nasty’, ‘I Wonder’ and their cover of Eddie Cochran’s ‘C’mon Everybody’ were taken.

Also featured are ‘Hallelujah (I Love Her So)’, ‘I Don’t Need No Doctor’, ‘Four Day Creep’ and ‘Rollin’ Stone’ from the previous year’s “Performance: Rockin’ The Filmore”. .Recorded three days later, CD 3 features a similar set, as well as their take on the Stones ‘Honky Tonk Women’ plus ‘Up Our Sleeve’, both of which would feature on 1973’s “Eat It”. .By the time they hit Boston’s Music Hall on 10th April 1973 featured on CD 4, Humble Pie had been joined by the Blackberries, Venetta Fields, Clydie King & Billie Barnum. Promoting the new double LP “Eat It”, the set includes band original ‘Up Our Sleeve’.

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The Vaselines formed in Glasgow, Scotland in 1986. Following the release of two EPs, Son of a Gun and Dying for It, and the first and only full-length album, Dum-Dum, in 1989, the band split up. Kurt Cobain of Nirvana was a big fan of the band, and covered three of their songs: “Molly’s Lips”, “Son of a Gun” and “Jesus Wants Me for a Sunbeam”. He also named his daughter after McKee.

Following a post-Vaselines break, she began making music with Vaselines bass player James Seenan, writing material of a more-mellow flavour. These songs were released under the name Suckle, initially coming out on 4AD Records offshoot Detox Artefacts. This coincided with a John Peel session.

Against Nurture, the only Suckle long player, was released in 2000 on Chemikal Underground.

On 10th April 2006, Frances McKee released her first solo album, “Sunny Moon”.

In the summer of 2006, Frances McKee and Eugene Kelly took to the stage together for the first time since 1990, to perform a set of The Vaselines songs, as part of a joint tour to promote their individual solo albums. This led to The Vaselines reforming on 24 April 2008 for a charity show for the Malawi Orphan Support group at Glasgow’s MONO venue.

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Since 2008, The Vaselines have continued to perform around the world, with members of Belle & Sebastian supporting their live set. On 5th May 2009, Sub Pop released Enter the Vaselines. A deluxe-edition reissue of the 1992 Sub Pop release, it includes remastered versions of the band’s two EPs, album, as well as demos and live recordings from 1986 and 1988.

The Vaseline’s most recent album, V for Vaselines, was self-released in 2014 on the band’s own label, Rosary Music, in order to maintain creative control.

BullMoose, punk rock kiddies from Augusta GA, are your new favourite band today. I heard ‘Deadbeat Millenial’ – a perfect, banging anthem for the enfranchised youth. These BullMooses have thoroughly checked their millennial privilege and are responding in the correct medium: sarcastic punk.

Loving frontwoman Marisa Williams’ hard-hitting vocals (and superb SCREAMING!). And guitarist Dave “Dave” Knight can shred like a motherfucker – the solo on this balances just perfectly on that edge between a brief flash of genius and bourgeois showmanship.

BullMoose is a female-fronted prog punk/stoner metal group from the semi-deep south of Augusta, GA. Imagine if Queens of the Stone-age got married to System of a Down, had an affair with Primus, got divorced, and then got re-married to the Distillers. That’s us. Our current lineup is Mar Williams on vocals and bass, Dave Knight on guitar, Jarrett Thompson on drums, & sometimes Hugo Flores on guitar.

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Presenting “SOB Machine” off our EP, Hot Garbage.

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Directed by Samuel Taylor, Crows have shared their new video for ‘Wednesday’s Child’, a track taken from their debut album ‘Silver Tongues’, which was released last month.

“After seeing Crows live a few years back, I was instantly taken in by their live show that even those who have witnessed can barely describe,” states Taylor. “My closest approximation was possession. If as the band and the audience had been taken by the devil and formed one screaming organism. Quite a Tuesday night, but it was clear, once it came time to do a vid for the guys (especially with a track written about the Salem Witch Trials) that this first and visceral experience was going to lead the story.”

‘Wednesday’s Child’ from our debut album, ‘Silver Tongues’, out now on Balley Records.

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Fishing For Fishies

The King Gizzard’s fourteenth album since their 2012 debut – and their first following the release of five vastly different albums in 2017 – “Fishing For Fishies” is a blues-infused blast of sonic boogie that struts and shimmies through several moods and terrains.

From the soft shuffle outback country of the opening title track through the sunny easy listening of ‘The Bird Song’ (think the lysergically-soaked laurel canyon circa 1973) and on through the party funk of ‘plastic boogie’ (which somehow summons the spirit of Stevie Wonder’s Innervisions) the road-trucking, doors-like highway rock of ‘The Cruel Millennial’ and ‘Real’s Not Real’ – what the carpenters might have sounded like had they existed entirely on vegemite and weed – it’s a dizzying, dazzling display which addresses a number of pertinent environmental issues along the way. “we tried to make a blues record,” says frontman Stu Mackenzie. “a blues-boogie-shuffle-kinda-thing, but the songs kept fighting it – or maybe it was us fighting them. ultimately though we let the songs guide us this time; we let them have their own personalities and forge their own path. paths of light, paths of darkness. this is a collection of songs that went on wild journeys of transformation.”

Created by Jason Galea

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The Tallest Man On Earth, aka Swedish songwriter Kristian Matsson, is something of a musical treasure now; ten years on from his acclaimed debut album “Shallow Grave”, he is thoroughly established as one of the alternative scenes big hitters. It’s been four years since we last heard an album from Kristian, as he’s focused on various other projects, all that’s set to change in June with the release of a new album, “I Love You. It’s A Fever Dream”.

Ahead of that release, this week saw a brand new The Tallest Man On Earth single, “I’m A Stranger Now”, and it is every bit as charming as we’ve come to expect. For the most part it’s just Kristian’s passionate vocal delivery and rapid fire acoustic guitar work, the devil though is in the detail. I’m A Stranger Now is a beautifully textural piece, it swells and woozes on gorgeous pulses of piano, and lifts with additional guitars and other stringed instruments, then as it draws to a close the whole thing drops to the most intimate moment of serene calmness, “now so deep into the forest with my Swedish little heart I am nowhere near your sunset it’s so quiet after all and I’m a stranger now, I’m a stranger now”. Beguiling, beautiful and quietly pushing boundaries, it’s everything you could want from the return of The Tallest Man On Earth.

“I’m A Stranger Now” is from The Tallest Man On Earth’s forthcoming album ‘I Love You. It’s A Fever Dream.’ out in April

“I’m A Stranger Now” is from The Tallest Man On Earth’s forthcoming album ‘I Love You. It’s A Fever Dream.’ out in April.

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The Dolly Rocker Movement formed in late 2002 in the inner surrounds of Sydney, Australia. They are influenced by late 60´s garage, psychedelia and West coast folk. The charismatic band leader Daniel Poulter writes beautiful and well-crafted songs and beneath the psychedelic and colourful surface The Dolly Rocker Movement is simply a great pop band with a destinctive sound of their own.

In 2006 they released not one, but two critically acclaimed contemporary psychedelic masterpieces. The first, Electric Sunshine, illustrated the chemically enhanced blend of folk, garage and country that characterised the band’s early set. The follow-up album, Purple Journey Into the Mod Machine, adopted as its thematic premise a journey through space and time with even more impressive songs as the result.

Our Days Mind the Tyme owes it’s genesis to the psychedelic 60s, and the influence of Sky Saxon, Arthur Lee and Syd Barrett, yet sparkles as bright, and fresh as the morning sun. From the baroque pop of “A Sound for Two”, to the tight garage licks of “My Heavenly Way” and “Sold for Sinners”, to the billowing pop elegance of “The Only One” and “The Ecstacy Once Told”, this is an album touched by the hand of spiritual enlightenment.

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This album is just amazing, really good psychedelic vibes! All songs are great! And the homage to “The Ecstasy of Gold” by Ennio Morricone on the track: “The Ecstacy Once Told” is just phenomenal!

Originally released March 30th, 2009

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The Newcastle based French punk-pop duo the Noise & the Naive were formed in 2017.A six-track blast of glorious, wilful discordant noise from The Noise & The Naïve, two piece who describe themselves as “power pop”,
With acknowledged influences that include Shonen Knife, Yeah Yeah Yeahs and The White Stripes, Anne (drums, lead vocals) and Pauline (guitar, backing vocals) have forged their own unique take on the Riot grrrl aesthetic and gained a reputation for fire-cracking live sets that has led to gig invitations from events such as Hit The North, Evolution Emerging and Loud Women.

“Damned” with its “porn loving masturbators… sodomites, and lesbians” lyric is never going to gain much radio play, but beneath this is a stripped bare guitar and vocal tirade brimming with barely subdued rage. The Jon Spencer tinged “Mus Muscles” was released in February as a download only and shows the full range of Anne (drums, lead vocals) and Pauline (guitar, backing vocals), as they take a punk-blues riff and mangle it gleefully through Riot grrrl, the ensuing racket is a joy to behold, as is “Eggshell Milkshake” which has elements of mid 80’s Death to Trad Rock, rushing drums, shrieked vocals, its taut yet slack at the same moment, a fizzing ball of energy that precedes “10, 000 Men” with heavy cranked guitar riff, hammering drums, shimmering cymbals, odd breakdowns and switching timescales… this is a strange yet welcome voodoo.
“Abby” sounds like a Nightingales out take that was then put through The Noise & The Naïve mincer, before shouldering in some distorted noise ahead of remembering to jet off on a space rock trip to distant frazzled stars; the real curveball is closer “Seek Solace” which Anne wrote following the suicide of her brother, her anguish is palpable throughout the vocal, matched by tensile guitar slashing; there is both melancholy and welcome danger here.
Band Members
Pauline (guitars) and Anne (drums, vocals)

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Image  —  Posted: April 20, 2019 in FESTIVALS, MUSIC
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