11 March 2012 would have been the author Douglas Adams’ 60th Birthday. To celebrate this event, Douglas’s family and friends decided to hold a “virtual birthday party” in London, at the Hammersmith Apollo (formerly Odeon) which turned out to be a stunning, star-studded event with chat, comedy and music filling the evening. Our review of the evening can be found here (https://www.brain-damage.co.uk/archive/david-gilmour-performs-at-the-douglas-adams-60th-birthday.html). The event was staged in aid of Save The Rhino International. For the musical part of the evening, there was quite the house band. Robbie McIntosh on guitar and vocals, Gary Brooker on keyboards and vocals, Jodi Linscott on percussion, Wix Wickens on keyboards, Margo Buchanan on vocals and guitar, backed by Dave Bronze on bass, and Paul Beavis on drums. Joining them later in the set was David Gilmour, who sang Wish You Were Here, which he played an acoustic guitar on, followed by Chuck Berry’s Too Much Monkey Business with the Black Strat fired up, which he also used on the finale of A Whiter Shade Of Pale. The show was filmed, but never released. However, one decade on, and to coincide with what would have been Douglas’s 70th birthday, permission has been granted to release that stunning finale, which you can see here:
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NEW MUSIC: SWiiMS – Let You Down
Canadian dream-pop band SWiiMS release brand new single “Let You Down” from the Through Waves EP. Last time I wrote about SWiiMS on Turtle Tempo (see the “Fill Me Up” article here), I wasn’t quite sure how to pin down their sound, so came up with the less-than-catchy ‘newbritdreamgaze’ as a solution. Now, upon hearing …
The post NEW MUSIC: SWiiMS – Let You Down appeared first on Turtle Tempo.
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Us + Them, Delicate Sound and the Saucers’ Roundhouse releases reviewed
One of Brain Damage’s regular correspondents is Heather Fenton, a frequent visitor to the site. She had the opportunity over the Christmas period to watch three of the biggest releases that came out during 2020 – the Roger Waters Us + Them live recording, the Restored.Re-edited.Remixed version of Pink Floyd’s Delicate Sound of Thunder, and Nick Mason’s Saucerful Of Secrets Live At The Roundhouse. Here, she compares and contrasts these markedly different releases. Which one comes out as her favourite? Read on to find out… I finally got round to watching and listening to all the CDs/DVDs and this is what I thought. Going back first to October, and Roger Waters Us + Them (https://www.brain-damage.co.uk/latest/roger-waters-us-them-2cd-3lp-dvd-and-blu-ray-announced.html). Having been to the live show at Manchester which was fantastic, then seeing the cinema showing in 2019 which left us feeling depressed, I said I would not get the DVD but of course I did. With Roger the live show is a spectacle and the atmosphere lifts the audience, but when its just you and the screen it lacks the lightness. Don’t get me wrong, it was still very good but even revisiting Dark Side and all he is now very removed from Pink Floyd, which is what he wanted. The interpretation is all his but even a lot of the old favourites are more of a cover version (not tribute band) and come across hard especially when interspersed with his own more recent compositions. You would not want to play this every night! Pink Floyd’s Delicate Sound of Thunder (https://www.brain-damage.co.uk/latest/the-restored.-re-edited.-remixed.-delicate-sound-of-thunder-being-rel.html) though was everything we have come to expect. The sound quality was greatly enhanced and as for the visual definition, it’s now so sharp and the colours very vivid – almost iridescent – in Time. A joy to watch and an excellent worthy addition to the collection, and maybe one day Venice will follow suit. But although Delicate Sound Of Thunder was excellent, a higher accolade would have to go to Nick Mason’s Saucerful Of Secrets Live At The Roundhouse (https://www.brain-damage.co.uk/latest/nick-masons-saucerful-of-secrets-live-at-the-roundhouse-2lp-2cd-dvd-blu-ray-ci-2.html). This leaves you with a real “feel-good factor”. Light hearted, beautifully put together, lovely interviews throughout with the band members, and fascinating how they all got together. The songs and music are perfectly executed. Bet Gary Kemp never though he would perform Vegetable Man, and the split of Atom Heart Mother was inspiring. This is the one you can play over and over again and although there’s not the visual spectacle of the other two, it allows you just to watch the action and really enjoy the performances. Well done Nick and the band! Thanks for sharing your thoughts, Heather! We always welcome contributions from our visitors – if you’ve got anything you want to share with the wider community, please get in touch!
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Nick Mason’s Saucerful of Secrets: Beacon Theatre, New York City, April 18th, 2019
As the Saucerful of Secrets approach the end of their North American tour, the band plays a more relaxed yet tighter sounding set… and host a special guest. Saucerful of Secrets has finally arrived in New York City and, as guitarist Lee Harris reminds us, it has been 13 years since Nicholas Berkeley Mason has pounded the skins in Gotham. As far as when he played here with Pink Floyd the first time, even Harris and Mason debate this on stage. All that matters to the crowd though, is that an actual member of Pink Floyd is here to play classic Pink Floyd, digging deep into the Syd Barrett era, and with a cast of musicians supporting Mason that even a former member of Pink Floyd swears sounds better than the original – but more on that later. As Mason says: this is not a tribute band but the real thing: Nick Mason’s Saucerful of Secrets. Although the set list for the Saucerful of Secrets shows hasn’t really changed much since the first handful of pub shows in London last May, each venue and each audience impart a unique vibe. The band feeds off of that. This evening, the set kicks off as usual: with Interstellar Overdrive and Astronomy Domine. The two songs drench the audience in a sonic atmosphere The Beacon Theatre has served well over many years. The audience responds in kind: clapping, singing, and swaying to every note blissfully. But by the time the band starts playing Lucifer Sam, something takes over (considering the title, that might spook you out… but it’s a totally benign possession): they sound simultaneously relaxed and tight, their performance flowing through an undercurrent of muscle memory and collegial comfort while the smallest ad libs and accents on specific parts of the song begin to shape the performance into its uniqueness. Venues serve as different vessels for sound in such diverse ways too… during Lucifer Sam it’s hard to ignore Dom Beken’s keyboards: they really fill this theatre and weave the rest of the show together in a magical way that only the Beacon can afford to.
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