Immersed 2021: A personal perspective

As a lover of music and the arts, one of the hardest parts of the Covid-19 pandemic for me, has been not being able to feel in touch with myself musically.

Any music fan will understand the huge difference there is between simply listening to music through your headphones, compared to being completely immersed at a live event.

Nothing compares to the buzz you get from attending a performance of your favourite artist, alongside the atmosphere from the crowd, mixed with the energy and power that live events hold. There’s nothing quite like it.

When I heard that there was an opportunity to be an interviewer for the ‘Immersed Festival 2021’ I couldn’t have put myself forward quicker.

The thought of simply being around live music again after such a long time, and for such an amazing cause, was thrilling. I couldn’t wait, even though it was technically a job, I couldn’t help but be overwhelmed with excitement.

I felt honoured and blessed to be one of the only people in the worlds current climate, who was going to get the opportunity to witness a live music event again. 

To add even more so to my over-excitement, the fact that the music and interviews were going to be held at one of my favourite venues in Cardiff was the greatest bonus I could ask for.

Being your typical music loving Cardiff student, The Tramshed holds a very special place in my heart. Ive spent countless nights (and early hours of the morning) there, attending live music events, raves and many other amazing evenings.

Every memory I have of The Tramshed is a happy one, and revisiting there as an interviewer this month was no exception. 

As I walked through the back fire door on the morning of the pre show recording, I was instantly overwhelmed with emotion as I heard the painfully yet beautifully loud music bouncing from every corner of the room.

Hearing music at such a loud volume in itself made me reminisce on the amazing feelings I used to get when waiting outside of a rave, when you would hear the music inside getting louder and louder the closer you got to the front of the queue, and bursting with excitement to get in and start dancing. 

I had the exact same feeling this time. I was supposed to go straight to the interview room to prepare for the bands once their performances had finished but I physically couldn't, I wasn’t going to let this rare opportunity slip by me. I quickly walked - as professionally as I could - to the upstairs balcony whilst trying to keep my composure.

The heavy metal band ‘Excursia’ where mid way through their set. Even though I was the only person on the balcony the smile on my face could have been seen from the opposite end of the building. I could feel the vibration you get in your chest when music is exceedingly loud, I could hear the ringing in my ears and most importantly I could see how much fun the band themselves where having and how happy they were to simply get the chance to perform again after such a long time. 

Not only was I blown away by the musicians themselves but the technological aspects of the event where just as inspiring. The lighting and sound effects alone were executed perfectly and it genuinely felt like I was at a live event.

The recording of the acts was done very precisely in order to conjure up the same feelings I was getting from being there in person, to the audience at home. 

When it finally came to the interviews I was once again feeling very grateful to be in the presence of such outstanding musicians. The interviews themselves were very insightful and interesting and sometimes upsetting, when it came to hearing how much the artists had been effected by the pandemic.

However what I enjoyed the most was hearing their responses when I asked them what it felt like to perform again. Every single one of my interviewees faces was plastered with the biggest smile as soon as I asked this question. To see and hear how much those mere 15 minutes meant to them was inspiring in itself. 

Revisiting the Tramshed that day was one of the best days ive had during this chaotic year. It really made me re evaluate my attitude towards the sadness and anger I had surrounding the events of the pandemic.

In these unprecedented times it is important we don’t loose sight of what’s important to us as humans. Some people say that ‘music makes the world go round’ I never really used to understand this saying or consider its importance, but after that one great day at the Tramshed, talking to inspiring musicians and seeing how much that small reminder of reality was for them, made me reevaluate this statement and the meaning it held, I now believe hole-heartedly in the power that music has to offer. Music really does make the world go round. 

Niamh Colclough

Burlesque....a hidden gem

Back in the day (kids ask your parents) the Top Rank Suite on Cardiff’s Queen Street held what was called Implosion evening. I’m sure there are more knowledgable people out there who remember these nights but in my fading memory, it featured up and coming bands plus a rather uninspiring disco in comparison.
Fortunately, for a rabid music fan, tickets to this regular evening came free via a school mate who’s mum worked at the Top Rank (also a good source for undersubscribed gigs at the Capitol Theatre ! ).
The reason I mention this evening was because of one band I saw there in the mid-seventies called Burlesque.
I’d never heard of them before so it was an absolute pleasure to witness one of the best live performances I’d ever seen, a performance that had me scouring the bargain bins at Spillers Records for their debut album Acupuncture.
Concerned that the album would hardly do justice to their live act, it was a delight to find the album was a ‘live’ recording, something never heard of for a new, upcoming band.
Described as ‘Art Rock’ there were elements of Roxy Music, a quirky intelligence of a 10cc, plus some quality musicianship.
Led by the dapper Ian Trimmer on vocals and saxophones and the crazy Billy Jenkins on guitar, it was an eclectic, jazz-fused riot of a gig which the album manages to portray beautifully.
The band were a odd-looking bunch. Trimmer very Ferry-like, Jenkins, a bundle of manic energy akin to a Wilko Johnson on steroids.
There was a Welsh connection to the band in the shape of keyboardist Steve Parr. Born in Cardiff and looking very much like a refugee from Steely Dan, a teenage Parr was the relief keyboard player for Shakin Stevens and the Sunsets before moving to London to join Burlesque and today, a respected producer, film composer and engineer.
Named as the band most likely to succeed in 1977 by Melody Maker, it was a kiss of death for the band that fizzled out after just two albums, the second named just Burlesque and sadly not a patch on the first, but a grower all the same.
Acupuncture kicks off with ‘Elsie Petunia’ a bouncy tune highlighted by some buzz saw guitar and a lovely gentle refrain that kick starts another frantic guitar burst.
Next up is the excellent ‘Lana Turner’ a swinging homage to the film star with a saucy sax intro that carries the song along with its dubious lyrical content.
‘Cold War Romance’ follows and is just what the title describes with ‘Hymie Blows It’ an apt description of the next song , a sax-driven instrumental again featuring Jenkins on fuzz guitar, all done at breakneck speed that leads faultlessly in to the album’s title track ‘Acupuncture’ a fitting end to side one.
Side two starts well with a rather shouty ‘Where Did You Get’ and ‘Drabola’ before reaching the stand out track of the second side ‘CND 63’ a slight tongue-in-cheek pastiche of beat poets and ban the bomb before ending with the hardly charming ‘Love it to Death’.
They may not be everyone’s cup of tea but worth searching out if looking for something a little different.
I’m sure you’ll not be disappointed.

Tony Woolway

New Release Today-UK Exclusive!

Our Friend and Ex Cardiff Student Justin Ripassa releases his new single today.

The single is gaining air play in his native Netherlands and the UK.

Check it out!

The LA's

Released October 1990, The LA’s one and only album initially crept under my radar.
The Liverpool band, signed to the Go! Discs in 1987, had released two unsuccessful singles and recorded with a number of producers before Steve Lillywhite and Mark Wallis picked up the reins to complete the album with re-mixes and re-recordings.
The band and in particular Lee Mavers hated the finished recording yet it went on to be highly acclaimed getting excellent reviews and decent sales.
By the time I caught up with the them Lillywhite’s remix of their second single “There She Goes” had finally broken into the UK charts. A terrific song with a wonderful hook of a chorus that was very reminiscent for me of The Move and the heady, hippy days of the late Sixties.
Lee Mavers reputation for perfection was legend with a story that he turned down using an authentic Sixties mixing desk because of the lack of any Sixties dust on the consule.
Despite his and the bands reservations about the album it’s quite rightly regarded as a classic and to my mind, one of my favourite debut albums ever.
Opening with “Son Of A Gun” a perfect opener if ever there was one. Jangly acoustic guitars and Maver’s distinctive almost growling vocals topped of with some really neat backing vocals, a feature of most of the album.
Any song on this album could be a single most evident in the songs “I Can’t Sleep”, the folksy “Doledrum” and “Way Out” it’s a perfect album of songs, most of whom rarely reach the 3 minute mark and a tribute to the band’s obvious pop sensibilities.
Elements of The Doors, XTC, and a host of Sixties bands could be used to liken the band to, but in my mind they’re quite unique and this, their debut, a must- have album for anyone’s collection.
Luckily enough to catch them live at the Cardiff Students Union, they proved to be a powerful unit and just as good live. Confident and with a bit of a swagger they were excellent.
It does seem a shame that their moment in the limelight was a short one, but the beauty is, a truly remarkable album in many ways.

Tony Woolway

Bowie...Five Years Stuck On My Eyes

The Mural is just around the corner from The Brixton Academy, It had become a shrine and was Packed with Visitors.

Simply could not let the day go by without a few personal thoughts about David Bowie Five years on from his passing.

Without finding the music of Bowie at a young age, like many, Probably things may have been very different for me.

In 2017 I attended The Brixton Accademy gig to Celebrate Bowies Music. The members of the final Bowie Band Line up Performed with many Guests who had Been Influenced by the man as an artist or Friend.

I have Included a couple of Photos from the event…Not great quality but all taken on my phone whilst the sold out venue Rocked and sang every word.

I was also very fortunate to see Holy Holy, With Woody Woodmansey from the original Spiders From Mars Band and Tony Visconti on Bass, Visconti had played Bass on Bowies Earlier work and of course produced him and became a close friend.

I have Included a few Photos of That Gig Too.

Why Mention these two gigs? Well they are just a part of my Bowie Journey from the age of ten till he passed away, many memories of his music inspiring and interweaving in my life.

Most Importantly he was the Icon for “it’s ok to be different”

A truely unique Artist.

We would Love to hear ‘Your” Bowie stories.

Please email us at Infocardifflive@gmail.com

The Bar Wallsat Brixton was coverered in Photos of Many greats that had played there. Bowies 97 Performance.

Taken at The Hard Rock Cafe Marble Arch.

All Photos © Keepcardifflive.

The Doors Debut Album

54 years on and the Doors still light my fire

This week marks 54 years since the Doors released their self-titled debut album.

The Doors were formed in Los Angeles, California in 1965 and were an essential piece in the 1960s counterculture puzzle. The band’s lineup consisted of Jim Morrison (vocals), Robby Kriger (Guitar), Ray Manzarek (Keyboard) and John Densmore (Drums).

American audiences had not seen a front man quite like Jim Morrison before, and in truth, many people were not ready for him. Morrison’s on-stage performances sparked controversy and the Doors were the first and only group, to be banned from playing on the iconic Ed Sullivan show, after just one appearance.

The psychedelic rock album, ‘the Doors’, was released by the band on January 4th 1967 and it received very positive reviews upon its release. One such review described the record as a crossover between the Beach boys and the Rolling stones.

Despite the album’s overall positive reception, the album’s first single, ‘break on through (to the other side)’ was unsuccessful. In contrast the album’s second single, light my fire, was quite the opposite. The song climbed to No.1 on the US billboard hot 100 chart. However, the album was not as successful over the pond, as it was here in Britain.

When I first listened to this album, I must admit I thought it was a bit weird. But the more I listened, the more it grew on me. I had not listened to many songs like ‘Soul kitchen’ or ‘Twentieth Century Fox’ before I heard this album, and in truth, I have not heard many songs like them since.

The final song on the record, ‘The End’ can only be described as bizarre. Some reviews even describe it as scary and disturbing. With an almost 12-minute run time you almost feel like you have been on a journey when the song comes to an end.

In my opinion the album has its own unique psychedelic style. The keyboard instrumentals from Ray Manzarek set this record apart from other legendary 60s psychedelic bands, like Cream and the Jimi Hendrix experience.

The Doors followed up their debut album with Strange days in September of the same year.

Around four years after the release of the first album, Jim Morrison died, whilst living in a rented apartment in Paris. His death was mysterious, as the cause of death remains undetermined, because no autopsy was performed on his body.

Morrison was buried in the city of love, his grave (or the Tombe De Jim Morrison), can be found at the Père-Lachaise cemetery.

The band continued without Morrison and released two albums as a three piece but eventually called it a day in 1973. However, they did reunite briefly a few years later in the late 70s.

Joe Strong

The Doors has been inducted into the Grammy Hall of Fame; "Light My Fire" was also inducted into the Grammy Hall of Fame. It has been reissued several times on CD, including a 1999 remaster in “96/24 bit advanced resolution”, a 2007 remixed ”40th Anniversary new mix” and a 2017 new remaster in stereo and mono – "50th Anniversary Deluxe Edition." In 2015 the Library of Congress selected The Doors for inclusion in the National Recording Registry based on its cultural, artistic or historical significance.

The Clash

Simonon’s Fender Precision Bass Shattered on Stage, Famously Photographed by Pennie Smith and used as The London Calling album cover Photo Copyright KCL©

The 15th of December was Paul Simonon’s 65th Birthday….41 years ago the album London Calling was released this week….40 years ago the album Sandanista! was released this week.

KCL get two view points on “The only Band that matters” The Clash.

The Old

March 18th 1977 The Clash released their first single White Riot, I for one and I suspect many others never looked at music the same again. as a 16 year old living in a time of great change and disillusionment,The Clash spoke to me as a Teenager venting anger,dissafection and oppression amongst other themes.

I was fortunate to see The Clash on The London Calling Tour at Sophia Gardens in Cardiff.

The Clash inspired me to pick up a Guitar and play, voice oppinion and be heard.

London Calling I still Believe to be a classic, the combination of styles were educating and a progression from the Punk Roots, not for some the change, but for me inovative and captavating.

Sandinista! a Triple album of Indulgence, Experimentation and Crossover… Massively Underated and heavily Critisised, has I believe stood the test of time and shown how some of their ideas were so ahead of the game.

They had their faults, but no one band spoke to me the way The Clash did…. The only Band that Mattered still do.

Photo Copyright KCL©

And the New

Here is a very interesting Piece written by Joe Strong, a student at USW Cardiff Atrium Journalism Course reflecting on The Clash.

He discovered The Clash like me as a Teenager

The Clash 40 years on 

By Joe Strong 

This week marks the 41st anniversary of one of the most important punk rock albums of all time, London calling, the third studio album by the Clash.

Joe Strummer (lead vocals and guitar), Mick Jones (lead guitar) , Paul Simonon (bass guitar) and Topper Headon (drums), released London calling on the 14th December 1979. 

London calling, the record’s lead single, was a massive hit and other iconic songs on the record like Death or glory, the guns of Brixton, and brand-new Cadillac, helped the album sell five million copies worldwide. 

The iconic cover of the album is also what made London calling so special. The picture of Paul Simonon smashing his bass guitar against the stage floor, is an image that became synonymous with the punk rock movement of the 70s and 80s. 

Around the same time a year after London calling, the group released Sandinista! The clash’s fourth album which turned 40 last Saturday.

Unlike London calling, this record received mixed reviews but was praised for its unique style. Sandinista! does not sound like your typical punk rock album, which in my opinion makes it a special record. 

Sandinista’s lead single, the magnificent Seven, is a funky hit, that is certainly underrated. Other hidden gems on the album include, the leader, something about England and Let’s go crazy. 

Persoanlly, for me, this year marks three years since I first discovered the Clash. 

I first listened to them when I was around seventeen. The song on the extended version of the album, Train in vain (stand by me), quickly became one of my favourite songs at the time, and it still is to this day. 

The London band’s cover of, I fought the law and Rock the Casbah, also quickly became favourites of mine. 

I was amazed to discover that, lead singer, Joe Strummer lived in Newport, which is only 10 minutes down the road from my hometown of Cwmbran. This just fascinated me and my love for the band is something that has stuck with me over the last three years. 

London Calling an Exhibition of all things Clash was held in London 2019 at The London Museum.

Here are some Photographs taken on My visit

TC

All Photos Copyright KCL©.

Thalia Ellice Richardson

Covid-19: From a musicians perspective 

An insight to the life of an  up-and-coming artist during the largest pandemic in history 

This time last year life looked a whole lot different for a local Cardiff musician. Thalia Ellice Richardson is an up-and-coming, multitalented musician whose life is based around her passion for music. Before Covid-19 came about, Richardson was finally getting her feet into the Cardiff music scene but due to the events of 2020 this has become a much harder task. After a year of ups and down she speaks to us about how the pandemic has effected her as a musician. 

“I feel like music is one of those things that’s kind of woven into the fabric of my being than something that I've ever grown into.” Thalia Ellice Richardson 

Born in Falmouth, Thalia found her home here in Cardiff, due to the cities vibrant music scene and opportunities that came along with it. Prior to Covid-19 Thalia was immersing herself entirely into the music scene and was starting her professional music career. “I would say prior to covid was what I would say was the start of what I would actually say was my music career, because I've always been involved in music in my life. Ive always been singing and stuff like that, but about a year ago now (so were talking 2019) is when I decided I actually wanted to start pushing my music and making this something that I actually wanted to give a go and try in my life.” 

Even before the pandemic hit, Richardson knew of the difficulties the music industry came with but had the passion and desire to push through these. Richardson said: “I think in this life you need to be more than just passionate to actually make it. You have to have that actual want to go out there and that passion and that had brewed in my at that point, so I was starting to get quite active about a year ago in the local arts community.”

Aside from studying biomedical science at the university of Cardiff, the 23 year old musician was spending her days performing at local shows, open mic nights and eventually it got to a point before lockdown where she was paying for her living expenses off the money she made gigging at professional events and music nights. Covid-19 has understandably effected this, however Richardson says the pandemic has given her a “new perspective” on her music career. 

Richardson is a performer, she doesn’t just create great music, but she is the music in itself. Her fans are fans of her as a whole not just of her music. Richardson said: “Obviously as much as I want to be out there - and I love the energy of being in the community and getting that energy back from people as you’re performing and you’re putting it out there and you’ve got the crowd, I love that -  But the longevity of my sound is what I actually need to be putting my energy into” 

Thalia has now been spending her time in and out of lockdowns focussing more on recording music, writing new tracks, creating albums and getting her music out on platforms for her listeners. She said the endless hours of free time during lockdown has allowed her to work on creating beautifully mastered tracks. Aside from this, the pandemic has also enabled Richardson to correspond with people she may not have necessarily come across without the pandemic hitting. She said; “Its (Covid-19) opened up so many avenues, I started to communicate with producers from all over the world. I had people sending me beats from here, there, wherever. I had artists getting in contact with me, collaborating with people from all over the world just through the internet which is a fabulous medium that in reality I don’t need to be in the same space as you to make a song with you and that’s great, Im glad that I got that opportunity.” 

The pandemic has acted as somewhat of a catalyst for Richardsons music career,  with her saying; “Im a bit like a diamond you know. If you put me under pressure I'm going to shine. And I like those sorts of situations because that’s when I'm like ‘Right okay, what am I going to do about this now? Right I'm stuck in my house, what am I going to do about this?’ And I think I'm glad I took that approach to things.” The consequences of the lockdown have forced her music to blossom, and since coming out of isolation she has found herself with a brilliant team working alongside her to help her create the music she has desired to make for such a longer time.

Although Richardson herself has benefited from the pandemic, many other musicians, sadly, aren’t feeling the same way. Some musicians rely entirely on performing as their main source of income, and with the pandemic meaning music events and performances coming to a temporary close, many musicians are worried about what the future now holds for them. When asked her opinions on the future for musicians as a whole, Richardson said; “As far as the sense of having music as a viable career, as too make you enough money to live or anything, it becomes a lot more difficult if you’re taking out performing. Because performing is a huge part of the revenue that most artists make, it's the tours, it's the ticket sales, it’s the this and the that, that’s what’s making you money. So streams might make you a penny here and a penny there but it's not really the same thing.”

However music comes from the soul, and a virus shouldn’t take away from that. Richardson continued; “ I think I did music for the love of music and I think that’s the same with a lot of people. So I don’t think these times are going to be stopping artists, I think that artists are sensitive souls and we actually need to make this art and communicate it through these times.” 

As with every industry at the moment, the arts community - specifically focusing on music - can come together and use this as a force for change and the chance for artists to create musical masterpieces they’ve yet to focus on. Richardson believes this could be one of the best things to happen for the arts community. “ I think this is actually going to be one of the best things for the arts because when you think about everybody actually engaging on their phones and all of that, when their stuck at home on the internet, this is a brilliant time for people to be releasing music, this is a brilliant time for artists to be getting Involved in the scene. And this is a brilliant time to just open opportunities in this new digital age because we might as well utilise the tools that are put before us, We are living in these times after all.” 

Written by Niamh Colclough 

- Richardson, alongside many other local Cardiff musicians is using these troubling times to showcase her incredible music to the world. Go and check her out: instagram @ellicedabeast