Classic Album Reviews: 'The La's' by The La's

The eccentric and intricate musicianship of an elusive frontman makes 'The La's' one of the most intriguing albums of the late 20th century.

After numerous line-up changes, a multitude of different producers and years of recording; Lee Mavers' brainchild is a magical masterpiece that stands the test of time and should be revered as one of the best records of the 1990s.

However, Mavers' pedantic nature was simultaneously a blessing and a curse. His erratic persona being what pushed The La's into the limelight whilst also being the catalyst for their eventual downfall.

Stories of the Liverpool-born musician's eccentricities would later become folklore in the indie music scene. Rumours of tuning his guitar to the hum of a fridge and refusing to use a soundboard at the famous 'Abbey Road Studios' due it not being covered in genuine sixties' dust cement Mavers as being one of the most interesting musicians in the UK indie scene.

The album itself instantly grabs the listeners attention with the opening track 'Son of A Gun', that has a guitar riff that is as complex as it is infectious. The lyricism could possibly be an almost autobiographical piece from Mavers, with 'a man who's at loggersheads with his past all the time' and who was 'burnt by the 20th century'.

The single 'Feelin' brings a rockabilly style sound to the album that will undoubtedly bring anyone out of a bad mood but also not overstaying it's welcome with the track lasting just under two minutes.

Most tracks on this record are rather brisk, pop infused classics that are bound to get stuck in your head. Songs such as 'Way Out' and 'Failure' tackle heavy topics such as the ending of a relationship with a significant other and being alienated from family members but do so in a way that is easily accessible to listen to and process.

Lead single 'There She Goes' is an everlasting classic that fully deserves all the praise that it gets. The original release of the song was not successful with it peaking at 59 in charts before being re-released in 1990 where it reached number 13.

Mavers would showcase his versatility throughout the record, going back to basics with tracks such as 'Doledrum' and 'Liberty Ship' that both emulate a skiffle sound which was a genre that originated in the band's home city of Liverpool.

'Timeless Melody' oozes with nostalgia and shines above almost every other song on the album. Mavers possibly reminiscing on the music he listened to in his adolescence and his lifelong mission to replicate it.

The closing track 'Looking Glass' is an earnest masterpiece that is an unstoppable, emotional rollercoaster for the entirety of it's run-time. The track overall is possibly an honest self reflection on his weathered outlook on the world with themes of child-like loneliness and isolation being touched upon. Bass guitarist John Power would eventually take inspiration from this song, naming his band 'Cast' after the last lyric uttered by Mavers.

The album is an absolute masterpiece but could potentially leave listeners with a bitter taste in their mouth with Mavers never building upon this beautifully-crafted record. Mavers would eventually disown the album, with the only other snippets of his genius being a number of bootlegs that were released throughout the 1990s.

The lack of content leaves us with one of the biggest questions in music. What if The La's were able to build upon their eponymous debut album and release another?

Rating: 10/10

Preview - John Cooper Clarke - Caerphilly’s Workman’s Hall on 24 March

‘I WANNA BE YOURS’ UK TOUR - A SPECIAL WARM-UP GIG FOR THE LAUGHARNE WEEKEND 2023

‘I Wanna Be Yours’ is the latest tour from the legendary Dr John Cooper Clarke. Also known as the Bard of Salford, Clarke is a phenomenon: Poet Laureate of Punk, rock star, fashion icon, TV and radio presenter, social and cultural commentator – he’s one of Britain’s most beloved and influential writers and performers.

John’s new show is a breathtaking showcase of poetry and spoken work, sharing stories from his incredible life and hugely successful career. JCC will take you on an incredible journey with pieces from the new book as well as his usual musings, off the wall chat, riffs, gags and wicked humour.

The new book follows on from John's poetry collection, ‘The Luckiest Guy Alive’, published in Autumn 2018, one of the best-selling poetry collections of the year selling over 25,000 copies in three months.

John’s memoir, entitled ‘I Wanna Be Yours’, was recently released in the UK by Picador. The book explores his extraordinary life, filled with remarkable personalities: from Nico to Chuck Berry; Bernard Manning to Linton Kwesi Johnson; Elvis Costello to Gregory Corso; Mark E. Smith to Gil Scott Heron and Joe Strummer and on to more recent fans and collaborators like Alex Turner, Plan B and Guy Garvey. Interspersed with stories of his rock and roll and performing career, John also reveals his mind-boggling encyclopaedic take on popular culture over the centuries: from Baudelaire and Edgar Allan Poe, to Pop Art, pop music, the movies, fashion, football and show business – with more than a few laughs along the way.

John Cooper Clarke shot to prominence in the 1970s as the original ‘people’s poet’, and since then his career has spanned cultures, audiences, art forms and continents.

His influence can be heard within the keen social observations of the Arctic Monkeys and Plan B. These collaborations mean that John has been involved in 2 recent global number 1 albums - with The Arctic Monkeys putting one of John's best loved poems, “I Wanna Be Yours”, to music on their critically acclaimed AM Album.

A Tale Of Two Cities - Lust For Life/London Calling - Review

Images Copyright Tony Woolway

Lust For Life - Bristol Exchange, London Calling - The Globe, Cardiff

A Tale Of Two Cities. Two gigs, one week, the first over the bridge at Bristol’s Exchange for Lust For Life, a group put together by Iggy Pop and Bowie guitarist Kevin Armstrong to celebrate Iggy Pop’s iconic Lust For Life album released in 1977 and produced by David Bowie.

What was intriguing about the gig, the first night of their short U.K. was the line-up that featured such rock luminaries as former Sex Pistol and Iggy sideman Glen Matlock on bass and Blondie’s powerhouse of a drummer Clem Burke alongside the aforementioned Armstrong. On keyboards was Florence Sabeva, who tours with Heaven 17 and Luis Correia on guitar with vocals by broadcaster and occasional Pet Shop Boys collaborator Katie Puckrik.

Opening with the title track Lust For Life the band punched their way through the entire album at blistering pace halted only for Clem Burke to holler for the stage lights to be turned up as “I haven’t travelled 7,000 miles to play in the fucking dark,”.

The evening provided some real ‘pinch me’ moments with “The Passenger” in particular causing goosebumps whilst the choice of songs that followed the full album featured songs that some of the band had played on like Blondie’s “Rip Her To Shreds” plus other classics from the Iggy Pop collection with “Night Clubbing” and Stooges “ I Wanna Be Your Dog”.

Focal point of the evening, was Puckrik who was quite superb in the Iggy role bounding around and bursting with enthusiasm that proved contagious.

As if all the above wasn’t enough the encore provided a true moment of pleasure as Matlock took over the vocals as the band powered through their version of the Sex Pistols “Pretty Vacant” followed by The Stooges “Search And Destroy,” a quite stunning finish for a exceptional evening at a great venue.

Next up…. London Calling at. The Globe, Cardiff

Another great venue and another nostalgic evening with Bristol band, London Calling, the premier Clash tribute band playing the group’s debut album, also released in 1977, and rightly considered a classic, in its entirety.

The opening drum intro to “Janie Jones” set the tone for a quite brilliant set as the band, resplendently dressed in their punk era attire recreated the early days of Punk with lead singer and Strummer doppelgänger Reg Shaw spitting out vocals to a very enthusiastic crowd who were soon bouncing in unison.

There was certainly no let up in the pace with the only breath being taken was during the bands version of the reggae classic “Police and Thieves.” whilst Dave Devonaid aka Mick Jones stepped up to provide able vocal support and a real Mick Jones sound alike.

Other Clash classics “Tommy Gun” “Safe European Home and “White Man In Hammersmith Palais” sent fans home happy but exhausted such was the pace and the power.

Tony Woolway

Dry Cleaning/DEHD – Tramshed Cardiff - 28/02/2023

Dry Cleaning are a post-punk band from South London made of four, vocalist (Florence Shaw), guitarist (Tom Dowse), bassist (Lewis Maynard), and drummer (Nick Buxton). Their first album ‘NewLong Leg’ was released in 2021 amidst one of the many lockdowns as a result of COVID-19.

The group were quick to gain popularity as they soared to the top of the UK charts and were named Rough Trade’s album of the year. Roughly two years later the four-piece have celebrated the release of their second album ‘Stumpwork’ by embarking on a worldwide tour.

For the first time since Green Man Festival 2022, they have returned to Wales to bring those with a love of art-rock and experimental lyricism together once again, this time at Tramshed, a music and arts venue in Cardiff.

As the doors opened at 7pm, fans gradually started to fill the venue. Prior to their set, there were two opening acts. The first to take the stage was Thus Love, an alternative trio made up of lead singer and guitarist (Echo Marshall), drummer (Lu Racine), and bassist (Nathaniel Van Osdol).

They played multiple songs from their album ‘Memorial’ as well as their new single ‘Centerfield’, followed by a performance by DEHD. The three-piece indie rock band from Chicago played songs from their new album ‘Blue Skies’, including their hit song ‘Bad Love’, which has amassed over four million plays on Spotify.

The quartet played ‘Stumpwork’ in its entirety, opening with ‘Kwenchy Kups’, a song with buoyant and airy instrumentals paired with optimistic spoken-word lyrics inspired by the sights of Bristol.

The upbeat nature of the song made it the perfect choice to open with as it energised the crowd in preparation for what was going to be a fairly long set. The energy remained high throughout the show as they proceeded to play ‘Viking Hair’, a song released as part of an earlier EP in 2019.

It was clear that this was a fan favourite as the crowd were quick to sing along.

In addition to the music itself, the performance was also captivating visually. Florence Shaw combined unusual facial expressions with eccentric hand movements and a lack of eye contact to create a unique atmosphere on stage.

I found this aspect of the performance particularly interesting, primarily because it reinforces the art-rock elements present within the group’s work. Personally, I think that her approach was refreshing as it differentiated from the standard formula vocalists usually go by when performing and the unconventional way she performs paired perfectly with the absurdity of some of their lyrics.

As the night came to an end, fans were still wanting more. ‘Scratchcard Lanyard’ and ‘Anna CallsFrom the Arctic’ were played as the encore, ensuring fans of the band left the venue on a high note.

Dry Cleaning are continuing their world tour and will be heading to Europe this spring.

Gracie Abrams - Good Riddance - Album Review

Dreamy vocals, acoustic guitar, and devastatingly honest storytelling make this the perfect heartbreak album, but maybe not in the way that you would expect. 

Gracie Abrams’ debut album Good Riddance tells the story of a breakup from the perspective of the person who left. The opening track ‘Best’ sets the tone for an album that will have you reaching for a box of tissues and your favorite old blanket. The song is packed with intricate details that make you feel as if you are experiencing everything with her, especially in the long, cathartic bridge. The line ‘I was never the best to you’ is the first of many occasions throughout this album that we hear the 23-year-old singer take responsibility for the destruction of the relationship.

‘I know it won't work’ continues the themes of lyrical vulnerability and honesty. The singer describes wanting her partner to move on as she knows that she is not good for them while struggling to move on herself. This is best portrayed in the breathtaking line: ‘I’m your ghost right now, your house is haunted’. After just two tracks, it is easy to sense a theme of a woman in her twenties trying to figure out what to let go of and what to hold onto and finding herself in the process.

‘I’m a rollercoaster, you’re a dead end street’ is the opening line to the third track ‘Full Machine’, and sums the song up perfectly. The feelings of sadness and distress are evident in her soft voice and this only intensifies a couple of tracks later as she sings the song's title ‘I should hate you’ with a shaky voice. 

Almost every song on this album is telling the same story: A good relationship that fell apart because she did not feel the same anymore. It would have been interesting to hear more variation in the storytelling as she is phenomenal at it and songs like ‘Amelie’ and ‘The Blue’ that stray from the main topic really shine and stand out, but I can appreciate that this album feels like a snapshot of a very specific time in her life and she keeps your attention throughout with her devastating honesty.

Aaron Dessner has displayed his incredible skill for producing music of this genre in the past, including working with Taylor Swift to produce her sister albums Folklore and Evermore, and I could not imagine a better fit for the album. Each song feels like a haunting lullaby that makes you want to curl up and listen to it on a rainy day.

Things start to look up towards the end of the album, starting with the song ‘Difficult’ which displays a more upbeat production as she sings about growing up and moving on but still fighting the temptation to go back to what she knows she should let go of. The following track ‘This is what the drugs are for’ mixes a darker sound with Gracie's raw vocals and an overall theme of getting used to something but not getting over it. The production begins to feel lighter towards the end of the song which could represent her finally beginning to heal.

In an album filled with sadness and self-reflection, the songwriter gives listeners one shining moment of joy with ‘The Blue’, a song made up of the sweetest soft vocals, bright production, and hope. This track is about finally being ready to fall in love again and ignoring feelings of doubt, like when she questions ‘what if you’re my weakness?’. 

The final track ‘Right now’ serves a sense of closure that feels needed at the end of this album. The sound of the piano and the cozy production make this song feel almost nostalgic, which fits flawlessly with the song's themes of feeling homesick and the loss that comes with getting older and moving away from your family. After listening to Gracie’s frustration with finding herself throughout this album, ending with the line ‘I feel like myself right now’ feels like the perfect comfort. 

Native Harrow - Acapela - 26/2/23

Native Harrow are a married duo who preform folk rock music. Originally from the USA they have now moved to Brighton in the UK and are currently on their ‘Old Kind of Magic’ tour. With lead vocals from Devin Tuel and her husband and backup singer, bassist and pianist, Stephen Harms. The pair worked amazingly together, with undeniable chemistry on stage. 

They performed songs from all their 5 albums, on the small stage in Acapella Studios, in Cardiff. A venue Devin described herself as ‘cosy and intimate’. And with around just 10-12 tables of two it was the perfect, and relaxed venue for Devin’s strong vocals to fill. 

The concert began at 8pm and they started with the song ‘A song for Joan’, followed by the title of their new album, ‘Old Kind of Magic.’ These were beautifully sung and accompanied perfectly by the instruments. As the room was so silent, you could hear a penny drop as the audience grasped on to every enchanting lyric Devin sang and note Stephen played. 

The breaks between songs were filled with stories romanticising the smallest things, such as seagulls and charity shopping… But also, things such as, falling in love, missing out on things from being on tour and the personal experience they had moving, not just a new city, but a whole new country. Which is what their next songs were about, ‘Turn Turn’ and ‘We can’t go on like this’. 

I really enjoyed listening to the singing but also to the stories that came with the songs. It gave a different dimension to the song and understanding what the lyrics meant made the audience feel more connected to the music, which was a super unique experience. 

‘Happier now’, ‘Shake’ and my favourite from the album, ‘Used to be Free’ was also performed in their magical set. And again, each song came with a story. Towards the end of the set the duo started to play louder and said, “we can’t play pretty songs all the time!” And the audience roared, ‘more, more, more’ before they sang a final two songs. Continuing with the two final songs, ‘I was told’ and ‘Heart of Love.’ 

This was probably one of my favourite concerts and I think everyone else in there would agree as the atmosphere was unbeatable and as we left everyone was staying how impressed and brilliant the duo was and I couldn’t agree more. And when they left the stage they said, “hopefully we will be soon, thanks for having us!” And I hope they are!

You can catch them on the rest of their tour dates, in London, Exeter or Brighton, and I fully recommend. So, go get your tickets! 

Spacey - Jane 12/2/23 - SWX

The Australian band of four, ‘Spacey Jane’ took to the stage in Bristol’s popular venue, SWX. They sang a collection of songs, which were mostly from their album ‘Here Comes Everybody.’ And I think this was one of my favourite concerts I have ever been too!

The venue was great, really accessible and the fans quickly flooded in, excitedly waiting for Spacey Jane. But before they came on stage at 9, the support act ‘Dolores Forever’ (Julia and Hannah) sang a few of their songs from their album ‘Baby Teeth’. This included, ‘Funeral’, ‘Conversations with strangers’ and ‘Party in my Mind.’ I really enjoyed their set as they sang upbeat and catchy indie/alternative songs, which I have actually had on repeat since the concert! They then thanked the fans and ran off stage, leaving us with what seemed like an impossibly long wait for Spacey Jane.

But as soon as it was 9pm, the crowd started to go crazy as Caleb Harper (lead singer), Ashton Hardman – Le Cornu (lead guitarist), Kieran Lane (Drummer) and Peppa Lane (bass guitar and back-up vocals) took to the stage. The energy they brought to the stage was immaculate and everyone in the audience was so in awe of the talent before them as we sang along to every word Caleb Harper, the lead singer sang to us. 

They started of their set with ‘Lunchtime’, ‘Skin’ and my favourite, ‘Sitting up’. ‘Lunchtime’ definitely got the audience’s attention as it is upbeat and got the crowd moving, a perfect song to start on. And ‘Sitting up’ brought us back down, as it is more relaxing, but still brilliant live! So, this combination of songs was a good taste into what their set was going to include. And it didn’t certainly disappoint! 

And neither did their stage presence or relationship with the audience. “We love you Bristol and we are so glad to be back.” Caleb said in his Aussie accent. As the crowd repeatedly shouted, “We love you!!!” throughout the performance. It was a great atmosphere.

They then continued to sing, ‘Yet’ ‘Saw teeth’, ‘Weightless’ and ‘Pulling through.’ The vocals and instruments all sounded great together, and their chemistry as a band was clear to see as they worked so good on stage. And I can say I have never seen a man with more energy or jump so high. Ashton Hardman really put his heart and soul into the performance and put on an incredible show. Peppa did an impressive solo as well and Kieran smashed it on the drums!

They then continued to sing, ‘Thrills’, ‘Headcold’ and ‘Lots of nothing.’ Said goodbye to the fans and ran off stage. But then chants began of ‘more, more, more’ and out they came again to sing ‘Hardlight’ and ‘Booster seat’ which is their most popular song, so I am glad they came back to sing it! 

I was gutted to see them leave the stage because this was such amazing performance and experience, which I would recommend to anyone. I had a great night and hope they come back to the UK ASAP! Or I might have to go to Australia… 

Spacey Jane are an Australian indie rock band from Fremantle, which formed in 2016. The group consists of Ashton Hardman-Le Cornu, Caleb Harper, Kieran Lama and, since 2019, Peppa Lane. 

Paramore - This Is Why - Album Review

This Is Why is an authentic portrayal of the life of a millennial post-lockdown, trying to heal and being faced with the boredom that comes with growing up and getting better.

As opposed to the band’s previous album After Laughter, which was full of joyful sounds and aesthetics to juxtapose the more gloomy lyrics, This Is Why displays the band going back to their roots of unapologetic angst. 

Vocalist Hayley Williams, 34, frequently uses monotone talk-singing throughout this album to depict the melancholia that is laced throughout the record. Unfortunately, this often leaves little room for the singer to fully display the impressive vocal range that we know she has. 

The album kicks off with a strong introduction from Zac Farro on the drums, who continues to shine throughout every track on this reasonably drum-heavy album. The title track eases you in with light vocals from Hayley and a catchy chorus. Beginning the album with the line “If you have an opinion, maybe you should shove it, or maybe you could scream it” gives listeners the immediate impression that the band has something important to say on this record, ensuring they have your undivided attention from the get-go. 

Just as you are beginning to theorize what kinds of political messages and realisations may be scattered throughout the album based on the lyrics of the first track, you are hit with The News. This song describes the feeling of wanting to stay informed in world events but feeling exhausted by the endless tragedies. The repetition of “a war” in the first verse replicates how it can feel sometimes to watch the news and keep up-to-date with world events. Many different bands, and artists in general, have taken a more political route in recent years. It feels as if many just do it to remain “relevant” and to appear in touch with the general public, and few do it simply because it is something that they are genuinely passionate about. I believe Paramore to be one of the latter few, but this song was lacking in any hard-hitting messages that we have not already heard plenty of times at this point and I would have liked to see them push it a bit further.

Running Out Of Time depicts the feeling of anxiety that comes with comparing your own progress and achievements with others who seem as if they are far ahead of you, both in the lyrics and in the music itself. The quick-tempo drumbeat is reminiscent of a heartbeat speeding up and the low vocals in the verses build further on this feeling of anxiety. The lyricism on this track in particular is an excellent example of the band’s talent for bringing humour and sarcasm into the more gloomy topics.

In comparison, the repetitive chorus in C’est Comme Ça leaves much to be desired, but this may well be an intentional choice to represent how repetitive a mundane life can feel. The track makes up for it with a strong drumbeat and a catchy riff and the fact that it is likely the most relatable song on the album, as many people have found post-lockdown that healing can unfortunately be incredibly boring.

Once we approach the second half of the album, we finally get to hear Hayley flex her phenomenal vocal ability, with her angelic falsetto sound in Liar and the way she floats between highs and lows with ease on Thick Skull. This later part of the record feels overall vulnerable, with more personal details of the complexity of self-healing rather than the more general world issues that are discussed in the earlier half. 

Thick Skull is a slow yet raw and emotional ending for the album. If you were hoping to come out of This Is Why with any sense of comfort or closure, you will likely be disappointed. The song appears to describe a person with a need to try and fix the people around them whilst continuously making the same mistakes in their own life. 

Although we end on a low note, sometimes it is enough comfort to know that others are experiencing similar struggles to you. This Is Why is an album filled with unease and anxiety, which is exactly what many of us need right now.

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