Shindig! issue 31 (Bespoke Print)
That any act, no matter how fleeting their success, should be thought of as a one-hit wonder, is a cruel misrepresentation of their legacy. In SHOCKING BLUE’s case it’s verging on the criminal.
There’s no getting around the fact that ‘Venus’ – their global smash hit from 1969 – remains the song with which they’ll forever be mostly closely associated, despite it having suffered via overexposure in countless movies, TV
commercials and adverts, and in the hands of any number of clueless interpreters.
But if you’re under the impression that ‘Venus’ represents Shocking Blue’s creative apex, or that the band itself is merely some kind of kitsch footnote in the story of late ’60s/early ’70s pop, then it’s time for you to listen up, and listen up good. BRIAN GREENE will be shocking you
THE ROLLING STONES
KRIS NEEDS is on the home run as THE ROLLING STONES get higher and record Their Satanic Majesties Request, Brian Jones faces his demons and Keef discovers the open G from old blues records and re-invents the Stones in the image we know ’em and love ’em to this day
IAIN MATTHEWS was in the original line up of Fairport Convention, adding his wonderfully sweet vocals to the group’s very own version of Californian folk-rock. After splitting from them during the making of their third album, Matthews continued refining the American songbook, releasing three fine albums as Matthews Southern Comfort, one with Plainsong and two solo. Now he’s back, picking up from where he left off in the early ’70s.
KINGSLEY ABBOTT joins the dots
JELLYFISH burst onto the early ’90s music scene in a riot of ’60s and ’70s pop classicism, technicolour tunesmithery and cartoonish imagery that alienated as many listeners as it engrossed.
Three frantic years and two explosive albums later they were no more.
On the 20th anniversary of their acknowledged masterpiece, Spilt Milk, CHRIS TWOMEY talks to the major players
THE BEVIS FROND
Let’s fast forward from our usual ’60s malarkey for a moment and delve into the deepest, darkest depths of the ’80s. Not a decade readily associated with Shindig!-friendly gems, one major exception – and an album that stands up alongside its earlier counterparts in terms of atmosphere, songwriting and aura – is Triptych by THE BEVIS FROND. This “band” is essentially an outlet for the talents of Nick Saloman, who kindly gave AUSTIN MATTHEWS the inside track on the creation of this early pinnacle
On hiatus from his drumming duties with The Coral, IAN SKELLY swoops from the heavens to speak with TOM SANDFORD about his darkly mystical psych gem, Cut From A Star
The Greg Foat Group
THOMAS PATTERSON meets pianist Greg Foat, the UK jazz talent who wigs out over kaleidoscopic cinematic vibes
ASHLEY NORRIS discovers Northern England’s sunniest sounds
RICHARD THOMPSON • THE BEE GEES • JEFFERSON AIRPLANE
AND MUCH MORE!
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