From: owner-avalon-digest@smoe.org (avalon-digest) To: avalon-digest@smoe.org Subject: avalon-digest V12 #498 Reply-To: avalon@smoe.org Sender: owner-avalon-digest@smoe.org Errors-To: owner-avalon-digest@smoe.org Precedence: bulk avalon-digest Friday, November 21 2008 Volume 12 : Number 498 Today's Subjects: ----------------- [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cacophony and real-life relics ... ["Iv] Re: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cacophony and real-life relics ... ["Alan He] Re: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cacophony and real-life relics ... [] Fw: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cacophony and real-life relics ... ["andy ] Re: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cacophony and real-life relics ... [] Re: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cac... [LeeSullivanar] To leave the list, mail majordomo@smoe.org with: unsubscribe avalon-digest ---------------------------------------------------------------------- Date: Thu, 20 Nov 2008 12:20:58 -0000 From: "Ivor Canning" Subject: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cacophony and real-life relics ... Now see, I remember Andy and the Metaphors when they were playing provincial gigs to a handful of enthusiastic diehards in Bristol. I also remember saying that they'd go far but that they needed a more sympathetic setting than the draughty barn of the Carling Academy. Well, I'm glad to report that The Pigalle, in Piccadilly (a stone's throw from where the first Roxy Music album was recorded, at Command Studios- as Andy himself mentioned during the evening) was exactly the kind of venue I had been hoping for and they acquitted themselves superbly. First off, the setting is one of restrained opulence - not too flashy, nor tacky, but modern and comfortable, with a warm ambience. Think Ronnie Scott's but more relaxing. Secondly. the supper club seating gets you close to the action on the low stage - but not embarrassingly so. Thirdly, the wine flows like the conversation, full-bodied and convivial - almost embarrassingly so. As Simon Puxley so nearly wrote 'Is this a gig or a dinner party ?' The stage is thus set for an evening of enchantment and wonder at the feet of The Emperor himself. In this he is aided and abetted by Julia Thornton (whose stunning classical harp is now a main instrument centre stage, both musically and visually) the great Paul Thompson (who still moves air like no-one else - viscerally and with a consummate ease that belies his impeccable timing), the superb Heather Mills on keyboards and occasional vocals and Mr TJ Allen on guitar and devices. Oh and a mysterious bald bassist whom I didn't recognise, of which more later . So, there we were (me, Jocelyn, Reecey, J O'B and Martino) nattering excitedly and exchanging knowing smiles and words of encouragement with Julia and Paul, waiting for the show to start. In the absence of a support act, Martino Yarwood kept us entertained by producing a natty pair of Eric Morecambe spectacles and regaling us all with his impersonations of Donald Pleasance, Gerry Anderson and, not least, Alan Carr (sometimes all at once .) He them launched into a spirited defence of punk which all but collapsed under cross-examination, when he confessed to owning several albums of an iconic progressive rock persuasion (indeed, the phrase 'wig-out' was heard). Could the evening possibly get any better ? Well, yes, actually, it did. The food duly arrived and very nice it was too (in my case, mushroom potage with truffle oil and gnocchi with butternut squash, since you ask) but sure enough, just as the puddings appeared (chocolate opera cake - no, I don't know why it's called that either!), the band started up. A few drifting, ethereal notes and we're into a languid instrumental rendition of 'Love Is The Drug', so wonderfully re-made and re-modelled (think absinthe rather than pina colada) that hardly anyone in the audience recognised it until the chorus. Then my particular favourite by this band, a stunning version of 'Three Coins In the Fountain' all brutal stomp and swagger, tempered by the gentle chorus with its upward harp glissandi - the overall effect is rather like an inside-out 'Bitter Sweet'. A fairly straight cover (unusually for The Metaphors) of 'All Tomorrow's Parties' followed, with Heather Mills making a wonderfully English Nico, complete with Biba style glittery highlights. Throughout the evening, sheets of noise were ably generated by TJ Allen who shared his stage space with a VCS3 synthesizer and a number of guitars, mainly Fenders. Most of the evening though, he seemed glued to his vintage Gibson ES 335 - more often than not, drawing a violin bow across it, or crouched intently over his delay pedal to create and mould the resulting oscillating feedback. The biggest surprise of the evening for me though, was Andy introducing the bassist as none other than . Gary Tibbs ! Even though I'd seen him on the recent documentary, I didn't recognise him at all in person. I have to say he's never been my favourite Roxy player but he did a sterling job that night. Other musical highlights ? Well, 'Bitter-Sweet' itself is a joy and an achingly sweeping, cinematic rendition of 'Waterloo Sunset' continues to delight me the more I hear it. 'Tara' with Julia's harp prominently featured brings a freshness to an old favourite and the final encore 'New York, New York' breathes so much modern bounce into the Bernstein Broadway tune, that a few jiving couples ventured gamely into the space in front of the stage to recreate VE-Day just for us. But for me, the nostalgia of 'The Loyang Tractor Factory' and of course 'The Pride And the Pain' gets me misty-eyed every time. Silly but it's true. But the best thing of all ? I get to hear it all again next week, same time, same place (why does that seem familiar ?) Regards, Ivor ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Thu, 20 Nov 2008 07:37:45 -0500 From: "Alan Heaton" Subject: Re: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cacophony and real-life relics ... Hi, Ivor! Wow - thanks for the excellent and thorough review! I have been very curious to know what seeing Andy Mackay and the Metaphors in person is like, and now I feel like I know. Sounds like a wonderful show - it would be fantastic if this group persisted. And what a cool bonus that Gary Tibbs was part of the band - splendid. Cheers, and thanks again! Alan On 11/20/08, Ivor Canning wrote: > > Now see, I remember Andy and the Metaphors when they were playing > provincial gigs to a handful of enthusiastic diehards in Bristol. I also > remember saying that they'd go far but that they needed a more sympathetic > setting than the draughty barn of the Carling Academy. Well, I'm glad to > report that The Pigalle, in Piccadilly (a stone's throw from where the first > Roxy Music album was recorded, at Command Studios- as Andy himself mentioned > during the evening) was exactly the kind of venue I had been hoping for and > they acquitted themselves superbly. > > > > First off, the setting is one of restrained opulence - not too flashy, nor > tacky, but modern and comfortable, with a warm ambience. Think Ronnie > Scott's but more relaxing. Secondly. the supper club seating gets you close > to the action on the low stage - but not embarrassingly so. Thirdly, the > wine flows like the conversation, full-bodied and convivial - almost > embarrassingly so. As Simon Puxley so nearly wrote 'Is this a gig or a > dinner party ?' > > > > The stage is thus set for an evening of enchantment and wonder at the feet > of The Emperor himself. In this he is aided and abetted by Julia Thornton > (whose stunning classical harp is now a main instrument centre stage, both > musically and visually) the great Paul Thompson (who still moves air like > no-one else - viscerally and with a consummate ease that belies his > impeccable timing), the superb Heather Mills on keyboards and occasional > vocals and Mr TJ Allen on guitar and devices. Oh and a mysterious bald > bassist whom I didn't recognise, of which more later . > > > > So, there we were (me, Jocelyn, Reecey, J O'B and Martino) nattering > excitedly and exchanging knowing smiles and words of encouragement with > Julia and Paul, waiting for the show to start. In the absence of a support > act, Martino Yarwood kept us entertained by producing a natty pair of Eric > Morecambe spectacles and regaling us all with his impersonations of Donald > Pleasance, Gerry Anderson and, not least, Alan Carr (sometimes all at once > .) He them launched into a spirited defence of punk which all but collapsed > under cross-examination, when he confessed to owning several albums of an > iconic progressive rock persuasion (indeed, the phrase 'wig-out' was heard). > > > > Could the evening possibly get any better ? Well, yes, actually, it did. > > > > The food duly arrived and very nice it was too (in my case, mushroom potage > with truffle oil and gnocchi with butternut squash, since you ask) but sure > enough, just as the puddings appeared (chocolate opera cake - no, I don't > know why it's called that either!), the band started up. > > > > A few drifting, ethereal notes and we're into a languid instrumental > rendition of 'Love Is The Drug', so wonderfully re-made and re-modelled > (think absinthe rather than pina colada) that hardly anyone in the audience > recognised it until the chorus. Then my particular favourite by this band, > a stunning version of 'Three Coins In the Fountain' all brutal stomp and > swagger, tempered by the gentle chorus with its upward harp glissandi - the > overall effect is rather like an inside-out 'Bitter Sweet'. > > > > A fairly straight cover (unusually for The Metaphors) of 'All Tomorrow's > Parties' followed, with Heather Mills making a wonderfully English Nico, > complete with Biba style glittery highlights. > > > > Throughout the evening, sheets of noise were ably generated by TJ Allen who > shared his stage space with a VCS3 synthesizer and a number of guitars, > mainly Fenders. Most of the evening though, he seemed glued to his vintage > Gibson ES 335 - more often than not, drawing a violin bow across it, or > crouched intently over his delay pedal to create and mould the resulting > oscillating feedback. > > > > The biggest surprise of the evening for me though, was Andy introducing the > bassist as none other than . Gary Tibbs ! Even though I'd seen him on the > recent documentary, I didn't recognise him at all in person. I have to say > he's never been my favourite Roxy player but he did a sterling job that > night. > > > > Other musical highlights ? Well, 'Bitter-Sweet' itself is a joy and an > achingly sweeping, cinematic rendition of 'Waterloo Sunset' continues to > delight me the more I hear it. 'Tara' with Julia's harp prominently > featured brings a freshness to an old favourite and the final encore 'New > York, New York' breathes so much modern bounce into the Bernstein Broadway > tune, that a few jiving couples ventured gamely into the space in front of > the stage to recreate VE-Day just for us. > > > > But for me, the nostalgia of 'The Loyang Tractor Factory' and of course > 'The Pride And the Pain' gets me misty-eyed every time. Silly but it's > true. > > > > But the best thing of all ? > > > > I get to hear it all again next week, same time, same place (why does that > seem familiar ?) > > > > Regards, > > > > Ivor > > > ___________________________________________________________________________ > To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Thu, 20 Nov 2008 12:08:02 -0500 From: jocelynfiske@aol.com Subject: Re: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cacophony and real-life relics ... Thank God Ivor can remember most of this evening as old age, late nights mid-week, pure euphoria and a dribble of Malbec appears to have got the better of mine and Reecey's memories. I went so far as to offer up that it was the most exciting Roxy related gig I had seen since 2001. But then?I have a habit of over-enthusing generally. Maybe I should get out more...no, hang on a mo,?maybe I should stay in more. Anyway, it was wonderful. The Pigalle is a proper supper cabaret club like the ones that were frequented by the Krays in the 60's and I have observed on previous visits, turns into something of an Eastern European brothel come the early, early hours. Perched to the side of stage right, we were in the perfect position for visitors to?flutter to our table throughout the evening. TGPT mentioned how nervous he was before going on - a very complex set and technical problems with the rehearsal probably to blame.?The set was fantastic with an almost unrecognisable LITD suiting the more jazzy venue. I'm with Ive on Three Coins in the Fountain being a fave. TGPT's drumming scares the bejeezus out of me and Andy's introing?squawking oboe conjures up a very dark sci-fi War of the Worlds moment in my head (what was in that Malbec?) before drifting into the sultry second phase. We all prod at our Opera cake as Martino wonders if it's a safe point to visit the little boy's room and I?reassure him that The Pride and the Pain surely wasn't on for a good while yet. Oh dear, this is why I don't bet. The ethereal strains of TPATP echo out and finish almost on the?very beat of Martino returning to the table and missing history being made. I was distracted?like a small child?with a?glittery object by T J Allen's fiddling with pedals and laptop on the floor - they certainly produced some weird and wonderful textures.?The?Velvet Underground moment was a highlight too as was the good stab at Bitter Sweet. The real surprises were The Loyang Tractor Factory and Gary 'I'd never pick him out of a police line-up' Tibbs appearing on bass, or Oi Tibbsy as he became known?by the end of the set. He's just packed in playing with The Fixx after 6 years and was now back in the country looking for a band.? And the Emperor was, well....majestic. I feel privileged that I can hear and see this all over again next week, because all too soon it was finished. We've popped in a request for Your Application's failed and The Numberer, but I'd also like A Four Legged Friend. Which were?all met with a look that screamed not a hope in Hades. At least we didn't mention Beauty Queen. As Ivor has said, with Phil and Andy both producing such interesting new material, it kind of makes the waiting for the next?Roxy album much more bearable. Anyone without a ticket for next Tuesday, I strongly advise you get yours?NOW!?? Jocelyn >Subject: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cacophony and real-life relics ... Now see, I remember Andy and the Metaphors when they were playing provincial gigs to a handful of enthusiastic diehards in Bristol.?? ________________________________________________________________________ AOL Email goes Mobile! You can now read your AOL Emails whilst on the move. Sign up for a free AOL Email account with unlimited storage today. ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Thu, 20 Nov 2008 20:03:06 -1200 From: "andy harrison" Subject: Fw: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cacophony and real-life relics ... Anyone seen this little gem before?? http://uk.youtube.com/watch?v=y3-Zr7KdbXs > > > ________________________________________________________________________ > AOL Email goes Mobile! You can now read your AOL Emails whilst on the > move. Sign up for a free AOL Email account with unlimited storage today. > > > ___________________________________________________________________________ > To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon > > > > -- > No virus found in this incoming message. > Checked by AVG. > Version: 7.5.549 / Virus Database: 270.9.8/1801 - Release Date: 20/11/2008 > 09:11 ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Thu, 20 Nov 2008 21:57:54 -0000 From: "Ivor Canning" Subject: Re: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cacophony and real-life relics ... Another Andy writes: > Anyone seen this little gem before?? > http://uk.youtube.com/watch?v=y3-Zr7KdbXs Ah, yes, wonderful stuff. Now a bit of detective work just now has yielded up the following, based on my identification of the guitarist as good old Ian Bairnson (mainstay of Pilot, and The Alan Parsons Project, amongst many others) and a vaguely familiar conductor, Eberhard Schoener. The footage apparently comes from a marathon 6 hour long 'Rock & Classic' concert at Munich's Circus Krone Building on 12th November, broadcast to some 16 countries. It featured quite an array of artists including Gary Brooker, Darryl Way and Mel Collins (duetting with Andy on 'The Inexorable Sequence'). There's a full description here: http://www.procolharum.com/99/hb_rmc1.htm Ain't the internet a wonderful thing ? Regards, Ivor n.p. Neil Ardley 'Kaleidoscope Of Rainbows' ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Thu, 20 Nov 2008 17:35:39 EST From: LeeSullivanart@aol.com Subject: Re: [AVALON] piccadilly, 2008: taking a turn off Main Street, away from cac... In a message dated 20/11/2008 21:59:55 GMT Standard Time, i.canning@sky.com Another Andy writes: > Anyone seen this little gem before?? > http://uk.youtube.com/watch?v=y3-Zr7KdbXs Ah, yes, wonderful stuff. Now a bit of detective work just now has yielded up the following, based on my identification of the guitarist as good old Ian Bairnson (mainstay of Pilot, and The Alan Parsons Project, amongst many others) and a vaguely familiar conductor, Eberhard Schoener. The footage apparently comes from a marathon 6 hour long 'Rock & Classic' concert at Munich's Circus Krone Building on 12th November, broadcast to some 16 countries. It featured quite an array of artists including Gary Brooker, Darryl Way and Mel Collins (duetting with Andy on 'The Inexorable Sequence'). There's a full description here: http://www.procolharum.com/99/hb_rmc1.htm Ain't the internet a wonderful thing ? Regards, Ivor Ah - very interesting to get the source - but an even fuller description would include The Loyang Tractor Factory, during which Andy's oboe reed produced some unexpected variations on the tune. Just like mine does. Lee S ____________________________________________ Easily distracted? Displacement activity a problem? Me too. Going to: _www.leesullivan.co.uk_ (http://www.leesullivan.co.uk/) and _www.roxymagic.co.uk_ (http://www.roxymagic.co.uk/) won't help either. ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ End of avalon-digest V12 #498 ***************************** ======================================================================== For further info, mail majordomo@smoe.org with: info avalon-digest