Showing posts with label Big Country. Show all posts
Showing posts with label Big Country. Show all posts

Wednesday, August 3, 2022

Thunder & Lightning: Thunderclap Newman

 

Thunderclap Newman: Something In The Air
[purchase

I suggested this theme during a summer thunderstorm, but when I started brainstorming ideas for a post, the band Thunderclap Newman jumped into my brain and wouldn’t leave, so there are no (other) storm references here. 

Like most people, I bet, I could name exactly one song by Thunderclap Newman, the wonderful “Something In The Air,” but no others. I’ve mentioned before the “classic rock radio” syndrome (although I’ve never called it that), where bands are remembered only for a handful of songs—or even in this case, for one song—and the rest of their discography gets forgotten. I’m sure you have your favorites, and I’ve even used “Something In The Air” as an example in an earlier post. I also knew that Pete Townshend produced their album, and that he played on it, under a pseudonym, although I didn’t know what that was (Bijou Drains). But that’s pretty much it. 

The band was assembled by Townshend in 1969 as a vehicle to support the songwriting and other talents of John “Speedy” Keen, who wrote “Something In The Air.” It was an unlikely crew: Keen, who had been a friend of Townshend's and a driver for the Who, had written “Armenia City in the Sky,” the opening track on The Who Sell Out. Townsend enlisted Andrew “Thunderclap” Newman, a postal worker and piano player, and 15-year-old guitarist Jimmy “No Nickname” McCulloch. They met at Townshend’s home studio, and the four recorded a single, with Townshend producing. 

It was a big hit in England, was in a couple of movie soundtracks, and was a minor success in the US, initially. Followup singles were less popular, but the success of “Something” led to the band having to do live performances, augmented by a drummer and bass player who was not Pete Townshend. The band’s album, Hollywood Dream, was released in 1970, to excellent reviews, but only modest sales. After some more touring, the band broke up in the spring of 1971. As Wikipedia noted, “The members of the band had little in common. In a 1972 NME interview, Newman said that he got on with Keen's music but not with Keen personally, while the exact opposite was true with regard to McCulloch.” 

Apparently, Hollywood Dreams is now considered a forgotten classic, with Allmusic stating, “So many bands have been hauled out of obscurity to be tagged the greatest secret you've never been told. Thunderclap Newman are one of the few who actually deserve that epithet.” I admit to only sampling a few tracks, and I have trouble getting past Keen’s reedy voice and the excessive music hall influences, but maybe it takes a few solid listens before the genius is revealed. And that’s why I’ve perpetuated the “classic rock radio syndrome” here, focusing on the one song we all know. 

McCullough went on to play with John Mayall, Stone the Crows, and, most famously, Wings, but died from heroin-induced cardiac arrest in 1979 at the age of 26. Keen’s solo career went nowhere, and became a producer, helming Johnny Thunders and the Heartbreakers’ debut, L.A.M.F. and Motõrhead’s first album (and appears on one of that band’s live albums) and was a session musician before leaving the music industry. Keen died of a heart attack in 2002 at the age of 56. 

Newman recorded an unsuccessful solo album and was a studio musician before retiring until 2002, when he formed the Thunderclap Newman Band, which toured until it disbanded in 2010. Newman formed a new band (which included Pete Townshend’s nephew Josh and the former drummer of Big Country), billed simply as Thunderclap Newman. In 2010 this group released an album, Beyond Hollywood, and toured from 2010-2012, with their last gig at the Isle of Wight Festival. Newman died in 2016 at the age of 73. 

And I’ve made you wait to the end to know why Andy Newman was known as “Thunderclap”—it was a nickname he received in school because of his playing technique.

Saturday, June 15, 2019

SAME NAME/DIFFERENT ARTIST: BOBBY VALENTINO

Woah, this might cause some ruffles, SMM being often/usually/mostly a rap and hip-hop free zone, with the name above capable of causing resonating ripples of fear amongst our faithful readership. (Hi, Mom!) Panic not, whilst I have heard of the Bobby Valentino, mainly through search engine malarkey, I am unfamiliar with his body of work. And I am told body is the correct word. In the plural. O, go on, then....... 


I refer to the other Bobby Valentino. I dare say you may have seen him, on videos, perhaps more often than necessarily known who he is. A staple on the UK scene for 30 odd years, he has popped up on many a bands output, whenever violin is required to give some additional flavour. Thus, if you remember the the Bluebells, Style Council, Big Country and the Christians, whenever you hear fiddle, chances are it's him. He has also appeared with artists as diverse as Tom Petty and Mark Knopfler. The brother of notable arranger and member of the Art of Noise, Ann Dudley, he is probably best known for his part in the UK top 10 single, 'Young at Heart', by the Bluebells, from which he belatedly received a writing credit, having successfully convinced a judge of the integral part of his violin part. Used extensively in a VW worldwide advert, which gave an even more successful return hit, this income has probably kept him in 'tache wax and hair oil ever since.        

                                     

Yes, it is also his distinctive appearance, a Clark Gable lookalike, that has arguably as much kept him in the limelight as his playing, although, to be fair, he is no slouch, able also on guitar and mandolin, posessing a  delightful baritone croon. I have caught a fair amount of his lesser known and more full-time musical activities, being an acknowledged fan of pedal-steel maestro and maverick, B.J. Cole. Valentino and Cole have had a long running involvement together, first as members of Hank Wangford, the singing gynaecologist's band(s), secondly in their own intermittent country-rock band, Los Pistoleros, with ex-Graham Parker and the Rumour guitarist, Martin Belmont. They are an absolute hoot live, and still  gig from time to time, other commitments willing. Valentino has also made a trio of solo recordings, or perhaps the same one thrice, as many of the songs are duplicated across each of them, as well as on Pistoleros recordings. I'll forgive him for this as I am a fan. He has also been a longterm occasional member of another favourite band of mine, The Men They Couldn't Hang, featured here. In fact, I have just bought a ticket for a duo gig, Valentino with Phil 'Swill' Odgers, one of the lead singers/writers of said band.


As an afterword, perhaps buoyed by his earlier success, he took the Bobby Valentino I haven't discussed to court, enforcing the once named Bobby Williams to change his stage name to Bobby V. (I wonder what this fella would have had to say about that?)

You're in the groove, Jackson, is his best record!

Sunday, July 4, 2010

New York/ Joni Covers: Woodstock, Redux



I just posted four versions of Woodstock for our Summertime theme, just over a week ago, and here I am again. What gives? Well, Woodstock is in New York, and it is one of Joni Mitchell’s signature tunes. But more than that, these two versions add something to the conversation. Each one finds something in the song that the versions I previously posted did not. That’s because Joni Mitchell’s writing is that rich.

Richard Thompson: Woodstock

[unavailable for purchase]

Richard Thompson should need no introduction, but he gets one here. This one comes from a Joni Mitchell tribute concert originally presented on TNT, and I must thank FiL for sending it to me. Thompson plays the song solo, with only his guitar playing for accompaniment. He replaces Mitchell’s parts with an instrumental line that is pure Richard Thompson. Thompson always sings with at least a hint of sorrow in his voice. His Woodstock presents the idealism of Mitchell’s original as a memory of something that was noble, but didn’t pan out.

Big Country: Woodstock

[unavailable for purchase]

Big Country’s Woodstock comes from a radio station performance. In the way of these things, the band plays acoustic, with bongos instead of drums. Here, the idealism of the song is intact. This one seems to me to exemplify the communal spirit of both the song and the festival. There is an almost naïve quality to this performance that perfectly suits the song.