Memorable Gigs Of The 1980s (Part One)

Mark King of Level 42, Hammersmith Odeon, 13th November 1985

The London live music scene was buoyant in the 1980s. There was a gig on pretty much every corner. You could see a Goth band, a pub-rock band, a reggae band, a psychobilly band, a soul band – sometimes all on the same bill.

Places like The Rock Garden in Covent Garden, Swan and King’s Head in Fulham, Clarendon in Hammersmith, Red Lion in Brentford, Astoria in Soho and Mean Fiddler in Harlesden are quite understandably still revered by music fans of a certain age.

There were brilliant nightclubs too: The Bat Cave, Dingwalls, Wag, Blitz, Limelight, Marquee. Let’s be thankful a handful of legendary venues from that era survive (The Half Moon in Putney, Ronnie Scott’s, Roundhouse, Scala, Borderline) and long may they last.

Here are a few gigs that still loom large (all in London unless otherwise stated). I hope they spark some memories of your own. Eagle-eyed readers will notice that I pretty much camped out at the Hammersmith Odeon in the late ’80s – well, it was my local, and it seemed like almost everyone came through that brilliant venue…

9. Frank Zappa @ Wembley Arena, 18th April 1988

Yes yes yes, Frank was in town for the first time in four years. I was a new fan and very excited to see him live. His guitar was insanely loud and very trebly. The reggae version of ‘Stairway To Heaven’ was particularly memorable. Lots of onstage banter and political rhetoric. Lots of old-school hippies in the stalls. What a treat.

8. The New York Jazz Explosion (Roy Ayers/Tom Browne/Lonnie Liston Smith/Jean Carn) @ Hammersmith Odeon, 24th February 1985

I’d never heard of any of these guys when my dad offered me a ticket but I’m bloody glad I went. Lonnie started the show with some prime, instrumental, Rhodes-driven jazz/funk, then Roy played some old favourites and quite a lot from his In The Dark album. I don’t remember much about Jean or Tom but Roy blew me away (I’ve seen him at least five times since). The Odeon was packed and a very raucous crowd made a lot of noise in those glorious days when almost every famous US soul star played there. A real eye-opener.

7. David Sylvian @ Hammersmith Odeon, 30th May 1988

It was pretty much the first sight of David since Japan’s split and there was a genuinely exciting atmosphere in the old venue. Lots of screaming girls and a large Goth contingent. An unsmiling, slight and pale Sylvian silenced them by playing keys for the first few ethereal instrumentals (with hindsight, very reminiscent of Bowie’s ‘Stage’ tour a decade earlier). Fantastic band: David Torn, Mark Isham, Steve Jansen, Ian Maidman, Richard Barbieri. An excellent-quality bootleg has appeared on YouTube, probably frustrating David no end:

6. Art Blakey @ Ronnie Scott’s, 26th January 1989

Ronnie’s hosted a lot of the bona fide jazz greats in those days. My dad took me to a see a fair few but catching Bu was a revelation. His sheer presence was memorable and his press rolls made the walls of the club shake. The suited-and-booted band, including top-notch Brit pianist Julian Joseph, were excellent too.

5. It Bites @ Brunel University, March 1988

My schoolmate Nigel had played me this band’s debut The Big Lad In The Windmill and I was becoming a massive fan when we got a lift out to darkest North-West London just before the release of their second album Once Around The World. They played in the low-ceilinged students union bar and it became one of the most outstanding pop gigs I saw in the ’80s. A terrifyingly tight band – ‘coming at you like a f***in’ juggernaut’ as singer/guitarist Francis Dunnery said recently – with humour and chops. And a cracking version of ‘New York, New York’ in the middle of ‘Once Around The World’ to boot.

4. Level 42 @ Hammersmith Odeon, 13th November 1985

They were finally making the big pop breakthrough with World Machine but still had one foot in their jazz/funk ‘roots’ – this era was an exciting mix of both approaches. These boys were going places, but were still quite naughty/rough’n’ready with it. Sadly it was the peak of the original four-piece band, but another brilliant, noisy, sweaty night at the Odeon.

3. John Scofield @ Half Moon Theatre, Docklands Festival, Sept 1988?

This was in makeshift venue in the back-end of nowhere in Thatcher’s huge Docklands development. It was a long car ride from West London into a strange wasteland. I had wanted to see this band since Blue Matter had come out and accordingly watched drummer Dennis Chambers like a hawk throughout. From memory, he in turn eyeballed me throughout. His playing was pretty mindblowing from 10 yards away.

2. Wendy & Lisa @ Town & Country Club, 25th April 1989

It was a hot, sweaty night at the T&C, and the nearest to seeing Prince in such a small venue (which does a great disservice to Wendy and Lisa’s excellent playing and songwriting, but there you go). There was a genuine star quality to the (almost all-female) band and a very cool clientele – everyone was clocking a peak-fame Sinead O’Connor at the bar. The gig delivered the promise of summer and some cracking music too.

1. Animal Logic @ Town & Country Club, 25th May 1989

Back in the late ’80s, you only really gleaned info about musicians from magazines. When Rhythm – the now-defunkt UK monthly – printed that Stewart Copeland and Stanley Clarke were doing a gig in North London, we just had to be there. It was a surprise to say the least. There had literally been no sign of Copeland since The Police and the crowd seemed to be entirely composed of their fans – a huge roar erupted when Stewart’s kit was rolled onto the stage. Unfortunately the songs weren’t great but the atmosphere was.

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John Scofield’s Blue Matter: 30 Years On

scofieldGramavision Records, released February 1987

Bought: HMV Oxford Street 1987

9/10

Occasionally a musician appears out of nowhere, ‘fully-formed’, or at least it can seem that way during one’s formative years. In my lifetime, there have been a few: Lewis Taylor, Omar Hakim, Trilok Gurtu, and probably a few more. Drummer Dennis Chambers, who plays brilliantly throughout Blue Matter, would definitely be one too.

My muso schoolmate Jem Godfrey had lent me John Scofield’s superb Still Warm album sometime around 1986. Before then, I knew John’s playing mainly from Miles Davis’s Star People, one of my mid-’80s favourites. So when the Steve Swallow-produced Blue Matter dropped in early ’87, I was primed and ready – and instantly gripped.

john-scofield-blue-matter_b

The presence of Hiram Bullock‘s rhythm guitar on three tracks gives a good indication of Scofield’s approach on this album – it’s R’n’B/funk-based jazz/rock, with great grooves, neat chord changes and no gratuitious displays of instrumental technique for technique’s sake – though Scofield and Chambers were of course quite capable of some serious chops, evident on the killin’ ‘Trim’.

The dynamic title track is clearly influenced by Miles/Marcus Miller’s ‘Tutu’ with its half-time groove, walking synth bass and enigmatic chords, but Chambers’ brilliant contribution (closely monitored by the excellent Gary Grainger on bass) transforms it into something totally new.

In the first minute of the tune, he achieves a novel ‘bouncing ball’ snare drum effect and then unleashes some of the most kick-ass kick-drum playing in music history. Chambers had already turned some heads playing with George Clinton, but, even if he had never picked up the sticks again after 1987, ‘Blue Matter’ would probably have put him right up in the drum pantheon.

‘Heaven Hill’ – named for Sco’s favourite brand of bourbon? – a slow blues with surprising chord changes and tasty gospel-tinged piano playing by Mitch Forman, influenced a whole host of ‘fusion’ guitarist/composers such as Robben Ford, Scott Henderson and Frank Gambale (compare it to Henderson’s ‘Slidin’ Into Charlisa’). ‘Now She’s Blonde’, ‘Time Marches On’, ‘The Nag’ and ‘So You Say’ manage to be both funky and catchy while retaining enough harmonic interest and ‘dirt’ to go way beyond the smooth jazz tag.

The Blue Matter band got quite a live following around this time, with good reason. They were somewhat of an antidote to the Chick Corea Elektric Bands and Al Di Meolas of this world, as musically jaw-dropping as those artists were/are. Scofield himself acknowledged as much during an interview with Howard Mandel in 1988: ‘What I hate about fusion music is the gymnastics. We are often playing to audiences who want to hear fast and loud and I have to watch myself. I’ve never been that good at doing fast stuff. Luckily, it doesn’t come easy to me. Now, Dennis Chambers is a chops phenomenon. On his solos, he destroys the drums. But he also has inbred musicianship, so it’s exciting and not so calculated…’

Marc Johnson’s Bass Desires: Second Sight

marc johnson

Released October 1987

Bought: Virgin Records Oxford Street, November 1987?

8/10

In rock, the two-guitar setup is standard. But in jazz and fusion, not so standard. Since 1987, there have been a number of two-guitar celebrity summits (such as Scofield/Metheny, Scofield/Frisell, Stern/Eric Johnson, Carlton/Ritenour etc) but ex-Bill Evans bassist Marc Johnson’s superb ECM solo albums, ’85’s Bass Desires and Second Sight, both featuring John Scofield and Bill Frisell, quite possibly started off the recent trend.

Marc Johnson

Marc Johnson

1987’s Second Sight was considered somewhat of a disappointment on its original release, but for me this is the superior album of the two. I was a major Scofield fan when I bought it in ’87 but didn’t know Frisell’s name at all. I’m really glad it was this album which revealed his incredible playing to me.

Some of the interplay between Frisell and Scofield is nothing less than miraculous, although one could hardly think of two more different guitarists in approach. They leave each other space to play and at times even inadvertently double parts.

John Scofield, Bill Frisell

The ever-reliable Peter Erskine slightly overplayed on the Bass Desires album but here expertly marshals the material without ever being overbearing, and the compositions are so fresh, memorable and catchy.

Only the opening ‘Crossing The Corpus Callosum’ sounds like a studio jam session, but this is no ordinary jam; Scofield’s emotive bluesy cries dissolve into a fantastically-eerie Frisell ambient soundscape, leading the track inexplicably into David Lynch territory.

‘Small Hands’ and ‘Hymn For Her’ are shimmering, moving ballads, with the guitarists’ approaches meshing beautifully. ‘Sweet Soul’ is a soulful slow swinger full of fantastic Scofield soloing. ‘1951’ is a superb Frisell composition evoking Thelonious Monk’s best work. ‘Thrill Seekers’ simply swings like hell and features a classic Frisell fuzzbox solo. ‘Twister’ is great fun, Scofield’s affectionate ode to surf rock with some very funky bass and guitar interplay and a short drum solo almost as memorable as Ringo’s on Abbey Road.

As far as I know, the band toured Europe but never the UK. Would love to have seen them. The performance below is really special. No wonder Frisell is grinning like a Cheshire cat throughout.