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College Tribune | October 14th 2008
MUSIC
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Reiding the rhythm Legendary jazz percussionist Steve Reid, a man of immense energy and spirit, shoots the breeze with Bryan Dunleavy Steve Reid is, beyond doubt, a jazz hero. He has played with artists as diverse as James Brown to Miles Davis right through to Chaka Khan in a career that started in the late 50’s. Yet he remains unknown to the masses. This is unquestionably due to the fact that he refuses to stand still. It is this particular quality which saw him record with an ensemble consisting of local African musicians as well as English electronic virtuoso Kieran Ebdon (Four Tet) in Dakar in 2007. “Its all good when your playing in New York or London, but you can’t forget the others.” For Steve, working with indigenous musicians cuts out the middle man. Roots are deeply ingrained in his musical makeup. He names his desire to change direction as the yin to the prolific yang - in other words, why he‘s produced a relatively small number of records. His next project is a planned Latin drumming escapade. He is, however, currently touring with the Dakar project. West Africa, which he defines as the “origin of all world rhythms”, has been a regular haunt of his for many years. The last time he visited the area was during the Vietnam War, and on his return home he received a four-year sentence for dodging the draft. “The Quaker religious group gave me some drums there and we turned it into a positive experience.” In fact, his positive outlook on life without doubt transcends into the music and, regardless of genre, he states that all his music has medicinal properties. “The people deserve it, the extremists in religion and politics are taking over.” He describes his live
show as a giving-and-receiving experience. “We give love and spiritual vibes to the people for looking beyond television and radio and seeking out new music….also we want them dancing; this isn’t an intellectual exercise, this is about fun, about something they can follow and understand.” Steve expresses his concerns about the commercialism evident in modern music: “Less and less importance is given to the music - today people are more concerned with becoming a star than being a good musician. Stand up for what you do and don’t follow the money. I’m pre- all that. I’m preinternet, pre-mobile, pre-digital.” He asserts that he is not a technophobe, in fact praising the internet as a bastion of creativity. He does however regard the live show in higher esteem. In his quest to spread music Steve Reid has travelled every corner of the globe; “I could maybe have been famous if I stayed on the Motown and pop scene but I didn’t, I believe in the little guy,
“I believe in the little guy, I believe the good guys will always win” I believe the good guys will always win.” The Dakar record itself is a rhythmic adventure. The melodies and the harmonies are generated from the drum rhythms laid down by Steve and Senegalese djembe player Marmadue Sah. “It’s difficult for the non-percussionists in the band, but these guys can pick a hair off the ground, and anyway life is a groove, absolutely everything has a rhythm.” The other members of the group are all in their late twenties and early thirties. Steve recognises the benefits of playing with younger guys. “Sometimes they want to learn and
sometimes they don’t, so in effect I‘m passing on my exploits and at the same time picking up new ones ...If I was playing now what I played thirty years ago it wouldn’t be challenging or satisfying, fortunately many young people are pushing forward the boundaries of the so called jazz music”. However, he adds jokingly that the only reason he’s been leading his current band for seven years is because all his contemporaries are gone. Before any poignancy can take hold though, he follows the statement with an idiosyncratically heart warming, yet bowelshockingly deep African -American laugh. Long may his joyful vigor continue.
» The Steve Reid Ensemble featuring Four Tet play The Button Factory on October 26th
THE GASLIGHT ANTHEM
AC/DC
THE ‘59 SOUND
IF YOU WANT BLOOD, YOU’VE GOT IT
Following the success of Hot Fuss, the Killers went all megalomaniac and decided that they were the best band in the world. Searching for a sound big enough to fit the title, they decided to copy Born To Run-era Springsteen and all of a sudden the Boss was resurrected from Dad’s CD rack. Now every band has its influences but the Gaslight Anthem reek of Springsteen, and with lead-singer Brian Fallon sounding like a more manly Brandon Flowers, they bear a kind of skewed resemblance to the Killers. Think Sam’s Town, only with basic punk rock arrangements and no synthesiser. As for the Springsteen checklist, it’s all here; soaring choruses, simple chord progressions, songs about running away... The album is populated by tough ‘heart of gold’ wanderers all full of that vague ‘American Dream’ of yearning for something better; be it freedom, love, Saturday night... It’s a familiar
formula, and while it allows easy access to the characters’ world it sometimes feels like the songs are written about archetypes as opposed to real people. Bands like No Age and Titus Andronicus are doing far more interesting things with punk rock at the minute but these guys are good at what they do, however limited their ambition. If you like your rawk big and easy then this might be for you. DIARMUID LAFFAN
★★★★★
What happened this week forty years ago? The answer from most people would be… not much! One thing that springs to mind is the explosion of Australian rock legends AC/DC onto American and European turf, sporting their latest gut-wrenching, adrenaline filled, high voltage album, If You Want Blood, You’ve Got It. This was the Aussie boys’ ninth record to be released, and became an immediate hit. It captures an electrifying performance one night during the Powerage Tour, recorded live in Glasgow seven months prior to its release. The album celebrates the unique blend of the pure and perverse sound AC/DC are famous for, and places you straight in the middle of this in-theflesh unholy union, and promises some serious headbanging. The image on the cover says it all. As live albums go, it definitely deserves a tip-of-the-cap; showcasing gritty, raw lyrics about problem children, bad boy rockers, and groupies sang over three simple chords played loud, proud and with little restraint… and this is all present from the word go. The opening track Riff Raff takes you front and centre at the concert as guitarist, Angus Young, plays the opening strains
RELEASED: OCTOBER 13TH 1978 while the increasingly rowdy audience claps in unison to then be met by the track’s powered up 50’s-style boogie beat and rhythm. The song is turned up another notch by the energetic - and groggy - vocals of Bon Scott, which in turn seal the deal. Keeping the level of manic euphoria up, they jump straight into Hell Ain’t A Bad Place To Be, a song about the joys of an unbalanced relationship, and how it sucks, coupled with a simple - and catchy - main riff. The Jack cools things down by introducing some blues into the equation. In saying this, Scott’s little sing-along just revs the listeners up for more. Other tracks that are a must listen are the cheeky Problem Child, that makes you want to give two fingers to anyone who stands in the way of you doing what you want. Whole Lotta Rosie shows us a ballsy AC/DC with
its chunky memorable riff, and lyrics telling all about sex with a nineteen stone woman while the crowd chant “Angus”. The iconic Let There Be Rock shows us that these boys from down under can really bring the house down, using preachy lyrics and massive, fiveminute, electrifying solos. If You Want Blood, You’ve Got It is an impressive album that takes hits from pervious albums, such as Let There Be Rock and Dirty Deeds Done Dirt Cheap, and builds on them, making them louder and more powerful. It is the sound of AC/DC, and their fans, living in the moment of high-voltage rock’n’roll. It is definitely a worthy addition to anyone’s collection, as it is one of the greatest live albums ever made and proves that they were - and are the loudest and dirtiest band alive. SIMON KEATING