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
