Filling the Airwaves: Volume Nine

"Here I come, I’m comin’ to get ya". And
get us he did. Way back in 1967, you would struggle to go anywhere without hearing those lyrics seeping through many a stereo. Why? Because Jimi Hendirx was taking the world on with his debut studio album, Are You Experienced.

For me, Hendrix was the greatest rock instrumentalist of the Sixties. I know there is an age-old argument that compares the American with Eric Clapton. However, in my opinion they’re different. Hendrix’s take on playing the guitar was much rawer than Clapton’s. His direct assault contrasted roughly with the meticulous virtuosity of Eric Clapton. Think of it as Hendrix being the owner of an old Mustang, whilst Clapton owns a new Mercedes; they’ll both hit 180mph, however the Mustang will make a lot more noise whilst doing so. Hendrix’s rough edges expresses far more than his awesome dexterity. He played with a fresh sound that transcended organic formalities.

His debut album, Are You Experienced, showcased Hendrix as the wizard that he was. It’s clearly displays Jimi’s ability to take R&B based grooves, chuck them in a blender with distortion and psychedelic noises, and then take the results and play the most amazing feedback-laden guitar over the top. And this was the catalyst that made him the international star that is still is today.

Are You Experienced is home to some of Hendix's biggest songs. Fire, Foxy Lady and Purple Haze all found a place on the American's debut album. These tracks, along with the rest of the album, are considered timeless. Jimi's overt, untarnished sexuality oozes out across each song, and his guitar solo sizzle and snap like popcorn in a microwave.

At the time when Are You Experienced was released, Jimi's vocal delivery was totally alien to what the tame Motown croonings we were used to. His approach was fresh. The subject matter in which he sang about couldn't be further from what the mainstream had every experienced before. Let's be honest, he's hardly describing the feeling that he gets from watching his favourite football team score a touchdown when he screams, "'excuse me while I kiss the sky" down the microphone.

In order to get through the day after you wake in the morning, you have to inhale and exhale oxygen. This is a fact. If Cristiano Ronaldo and I were to have a competition to touch the highest point on a wall by standing on our wallets, he would win. That again, is a fact. Jimi Hendrix's debut album , Are You Experienced, has shaped the way in which people play the guitar and write music today. This again is an undeniable, indisputable, unarguable FACT.

Are You Experienced has been written into the history books as one of the greatest albums ever. It' was ahead of it's time in so many different ways. Here you had a man who had charisma by the bucket load, and could actually communicate with people through the guitar. Hendrix shook the world into shape in a massive, massive way. He was a pioneer that’s still recognised today, alongside Clapton, as the greatest guitarist that ever lived.

So in answer to Jimi's original question, am I experienced enough? Most definitely not. But he is. And although he wasn't with us for long, I'm glad that he got the opportunity to show everyone just how experienced he actually was.

The Jimi Hendrix Experience

Are You Experienced

Filling the Airwaves: Volume Eight

In theory, if you were going to place monkeys in the arctic, you wouldn't expect them to last very long. Monkeys have evolved to swing from trees in hot climates, rather than be able to survive in minus conditions. So, if you take this theory into practice, it's surprising that the Arctic Monkeys have survived as long as they have. However, if you listen to the music, it's not. Since they first hit us with "I Bet That You Look Good On The Dancefloor" back in 2005, the Sheffield quartet have grown into more than just mere Moneys. They're now more resemble the love child of a Grizzly Bear and Gorillas - big and powerful. And nothing demonstrates this more than their latest album, Humbug.

In comparison to the Arctic Monkeys previous records, Humbug is like the big older brother that can drink, drive, get credit, stay out after midnight and only visits home mum to do his washing. Whilst Favourite Worst Nightmare and Whatever People Say I am, That's What I'm Not are like the problematic young ones of the household. They're incredibly intelligent, but prefer ditching school in favour of chasing girls and causing trouble.

Whilst the Arctics third long-player does reminisce about it's younger childhood days in the form of tracks like "Potion Approaching", Humbug's maturity as an album sees them slow things down. Turner has put aside thinking about the sheer dancefloor impact, and concentrated more on the content of the record. Each individual sound has been carefully constructed and intertwined with lyrics to give the album a complete journey feeling. Alex Turner's talent as a songwriter is well documented. However, some of the wordsmithery on Humbug is absolutely unbelievable. Even though many thought it wouldn't be possible, but Turner is pushing even more boundaries with his lyrics; and it's exciting to be a witness of it.

Along with maturity often comes darkness, and this is certainly the case with Humbug. From start to finish, the Arctic's latest album is a more sinister than it's predecessors. There aren't as many big sing-a-long choruses as the first two LP's. These have been replaced with more educated vocals that are delivered with great confidence and charisma. Turner has continued his vocal style from him side project, The Last Shadow Puppets. Through his time with Miles Kane, Turner's voice seemed to have grown in stature and assurance. He has replicated this on Humbug giving the album a much deeper feel.

For me, this is Arctic Monkeys strongest record to date. It's showcases them at the best of their ability. However, you still get the feeling that there is more to come from the these Sheffield lads. And with their track record to date, I'm not sure there is anyone that would suggest otherwise.

Arctic Monkeys

Humbug

Filling the Airwaves: Volume Seven

All good things have got to start somewhere. Roses start as seeds, butterflies are born as caterpillars, and KFC's Popcorn chicken begins life even more mutated than as it appears in your variety box. And the UK rock & roll outfit, The Jam, are absolutely no different to anything else. Way back in 1974, when Weller was a mere 15 years old, The Jam were just some normal lads from Surrey trying to make it in the big world of music. However, it wasn't really happening. The band were coving American artists like Chuck Berry and Little Richard. This carried on until Weller heard My Generation by The Who. It was here that Weller became obsessed with Mod music and the lifestyle that went with it.

Fast forward 3 years to 1977 and after the release of their debut album, In the City, The Jam were officially born. Now, there are few bands in British music history that are held on a pedestal quite as high as The Jam. They almost single handedly saved Mod culture and are regarded as one of rock & roll's all time shinning lights. They laid the foundations for Britpop, and still to this day sell have people walking up and down Carnaby Street trying to look like them.

In The City summed the attitude of the late seventies perfectly. It was raw, young and aggressive. From start to finish Weller delivers a vocal tirade that has been washed up in a sea of spikey fast paced guitar riffs. This is then intertwined with Foxton's bouncy basslines, and drums provided by Buckler that make you want to grab anything that's in close vicinity and smash it rhythmically against a hard surface.

This album opened up the door for The Jam. And the threesome subsequently ripped it off its hinges making it unable to close again. In The City contained the hit single of the same name, In The City. It also was home for two covers, Slow Down, and the Batman Theme. Now, I've never understood why the Batman Theme appears on this album. I know The Who covered it a few years prior, but I just don't understand it. Maybe it was a personal joke between the two bands? It's a little like The Rolling Stones releasing a new album now, and then throwing the theme tune to Supermarket Sweep in the middle. “Next time you hear that beep”... You get my point.

However, taking that one song out of the picture, In The City is a classic album. There is absolutely no denying that. As a complete LP, it supplies the necessary tools for nonconformist youth culture to both engage and enjoy. In The City delivers on so many levels. The music is believable. To the naked and untrained ear, it sounds as it would do live. The music creates a very visual image of young Jam bursting into the studio, hitting the record button and thrashing their way through a live set. And for me, it sounds as fresh now as it did then. This is real music for real people.

The Jam

In The City

Filling the Airwaves: Volume Six

Legends are called legends for a reason. As much as you love your mate Dave for pulling the local barmaid after drinking twelve pints of Stella and three Apple Sours, he's not a legend. Nor is your mate Jonny. It doesn't matter that he can fit more Jaffa Cakes in his mouth than anyone else; he's not a legend either. Your mate Smithy; yep, you guessed it. Just because he's shagged both the Routledge twins, doesn't make him a legend.

You have to earn your place on the mantle piece of legends, it's not just given to you. To disguise yourself as a birthday card to get up there won't work. It's takes years of dedication. For me, the epitome of the word legend is John Peel. The man did more for breaking new bands and supporting established ones than anyone could ever dream of. And it's this week that the whole music industry come together to commiserate the tragic lost of one of the nations best love broadcasters.

Peel died on October 25th 2004. And to celebrate his life, Universal have release another installment of The Peel Sessions. This time around we're treated to the Mercury Rev's live performance from way back in 1999. The band went into see Mr Peel in order to promote 'Deserter's Songs'. The album was subsequently named by NME as their album of the year. This live session saw them recorded a ten minute version of The Funny Bird / Tonight It Shows, alongside covers of Lennon's 'I Don't Wanna Die' and 'Observatory Crest'.

The album brings together the bands complete Peel Session for the first time. For me, it recreates the same emotions that I used to get from sitting round my radio listening to Peel first time round. It sounds raw, fresh and most importantly, Peel like. The artwork contains sleeve notes from Mercury Rev's Jonathan Donahue. He talks about his relationship with Peel, and what it was like to record one of the legendary Peel Sessions.

This album is more about emotion and feeling, rather than content. However, don't get this twisted, Mercury Rev produce a strong performance. Peel's setup provides a perfect platform for their psychedelic rock sound. However, for me, this just brings back the warm memory of the late great John Peel.

Mercury Rev

John Peel Sessions

Check back tomorrow for an exclusive interview with...

Filling the Airwaves: Volume Five

In my opinion, anywhere past the Watford Gap is north. Everytime I venture past that service station I start to feel dizzy, I get a big homesick, and then find myself running back to London gasping to inhale some smog. However, if you are actually born t'up north, then you probably feel the same about coming down here.

That's why, in a weird way, it seems like people from their own specific regions stick together wherever possible. And the (not so) new Cribs album is no exception. I understand that this has been out for a little while now, but I've only just given it the light of day. And that in itself should be a criminal offense.

For those of you out there that can count, and congratulations if you're one of those select people that can, you would have noticed that there's an additional band member to The Cribs last album. That's because they have recruited a fellow northerner in the shape of former Smiths lead guitarist, Johnny Marr.

For those of you who don't know who Johnny Marr is; go to your kitchen, put your oven onto gas mark six, open the door and place your head inside. Then repeatedly slam the door onto your to the top part of you cranium for two minutes and forty two seconds. That is the same amount of time that it takes The Smiths classic record Charming Man to start and finish. Once you've done that, please feel free to come back and carry on reading.

Jonny Marr, just like the original members of The Cribs, is a northern boy. And like I stated previously, regions like to stick together. And after hearing this album, it's pretty obvious to see why.

Ignore The Ignorant not only welcomes Marr, but it also swings open the doors open to Nick Launay, an English native Hollywood based producer. Launay is no newcomer to the world of music production. If you look in the record sleeves for bands such as Supergrass, Arcade Fire, Yeah Yeah Yeahs and INXS, you'll find his name. Launay's understanding of what makes a great album mixed with Marr's skill, experience and knowledge of rock & roll, has enabled the Cribs to produce an album that is worthy of any record collection.

As a complete album, Ignore The Ignorant touches on most aspects of indie music. It has the ability to be dark, aggressive and and a little sarcastic. In my opinion, Men's Needs, Women's Needs, Whatever didn't really push them a great deal from The New Fellas. However, I believe that Ignore The Ignorant is the album that can take them to wherever they want to be. The long and short of it is; this album can only be a good thing.

The Cribs

Ignore The Ignorant

Filling the Airwaves: Volume Four

The grey wolf is the largest wild member of the Canidae family. It's an ice age survivor originating during the Late Pleistocene around 300,000 years ago. That basically means that the wolf is one tough mother f&%ker. With this in mind, it's pretty obvious to me that the only real wolf like member of Australian rock outfit, Wolfmother, is Andrew Stockdale.

You see, Stockdale is a survivor. He's the only original member left in the band. Both Chris Ross and Myles Heskett left last year citing "irrecincilable personal and musical differences". Determined not to turn all jack it all in and start a new career writing music for Ozzy sitcoms, Stockdale made like a grey wolf would, and started recruiting replacements.

So why all the hard work? Surely Stockdale could just start another band under a different moniker? Well, apparently not. The lead singer had a vision when starting Wolfmother back in 2000. And that vision was to release one album in eight years. It was to release two in nine. He's now done that. With his new band mates in place, Wolfmother have given birth to their latest album, 'Cosmic Egg'.

In the majority, 'Cosmic Egg' picks up from where the last album left off. Although it does maintain the psychedelic sounds that initially drew them comparisons with the likes of Led Zeppelin, 'Cosmic Egg' provides far more guitar solos and big drums than it's predecessor. By packaging all these noises together, there is no hiding away from the fact that this is a massive sounding rock album.

The band themselves describe this record as “the sound of the Wolfmother world being rethunk and cracked wide open, with a sprawling, jubilant galaxy of musical and metaphysical harmony spilling forth". Now, I'm sure what the hell that means. However, what I do know is that this is a solid record that will prove to the music world that, just like the grey wolf, they are survivors and deserve to be here.

Wolfmother

Cosmic Egg

Filling the Airwaves: Volume Three

I like Wednesdays. To be fair, I would probably like them more if I was a customer of the mobile operator, Orange. As if I was, I would be able to go to my local cinema, with my supersized popcorn in hand, and take full advantage of the now legendary, Orange Wednesdays. Nonetheless, as I’m a customer of O2, the real reason that I love Wednesdays is because it's the day that I typically come to a decision of whether I like an album after its release on the Monday. And this Wednesday is no different.

Even after playing Mumford & Sons debut album on repeat for 12 hours, the last thing I felt like doing was sighing. I’ve been looking forward to the release of their debut since seeing them tour earlier in the year with The Maccabees; and ‘Sign No More’ does everything but disappoint.

Picture the scene; it’s a hot summer’s day and you’re travelling cross country on a train. You’re sitting in the window seat staring out into nothingness. You haven’t passed any sign of busy town life for hours. Your eyes are set on the odd cow, a few horses and mass upon mass of rolling green countryside. The sun is beating down on your face through the glass whilst Mumford & Sons carve a perfect folk driven soundtrack that sets the tone of the journey perfectly, whilst delivering the ultimate feel good factor.

I understand this all sounds pretty deep; however, ‘Sigh No More’ is a very visual album. It’s a record that lets you forget and think. The softy played instruments marry the vocals of Marcus Mumford perfectly. A high percentage of new music that I’ve listened to recently has missed the mark as a result of production. However, Markus Dravs has created a feeling with this album that helps it achieve exactly what it set out to do. It’s not overproduced, and it’s not underproduced. Without sounding cliché, he’s hit the nail right on the head.

So, in cutting a massively long story short; out of all the new albums that have found their way onto the shelves of various record shops this week, this supplies the best in audio satisfaction…

Mumford & Sons

Sign No More