Review by Ade Macrow
Performance date: Sept. 10, 2010
The sense of anticipation was palpable, as all around people were excitedly speculating as to what the slightly slimmed-down, Mutterless seven-piece version of Stackridge would sound like at this, their self-proclaimed ‘warm up gig’ for the next phase of their revived career? How would they cope with Mutter’s flute? (Strangely, his malfunctioning castanets – no, that’s not a West Country euphemism! – weren’t discussed). What new material would be played? What disgusting garment would Glenn sport on stage?
All these questions and more were answered at what was officially The Stackridge Friends, Fans and Followers Gig, where all those who had donated to the Van Fund the previous year were given freed admittance, with cut-price tickets on sale for other Zorganites and ‘Ridge fans.
Taking stage at approximately 9.20, the band began with that old favourite, THE LAST PLIMSOLL and this was given a typically hearty, no-frills approach before the first of the evening’s two new songs, DUMMIES, appeared. This was a mid-paced, reflective piece although, from my vantage point right at the back behind the merch stall, it was difficult to make out too many of the words. This is a Davis/Warren number, although Wee Jim disputed his input and later told me it was principally Andy’s composition. Be interesting to see what the compositional credits read like, should it make it out in officially recorded form.
RED SQUIRREL was announced by Crun as CRIMSON RATS UP A TREE, suggesting he’d not be The Squirrel Lovers’ Association’s biggest ally. Even at this stage, it was evident the entire band were cooking and – with no disrespect whatsoever to the singularly almighty talents and personality of Mr Michael Slater – such was the band’s energy, verve and sheer joie de vivre, that his absence was barely noticed. Not a sentence anyone perhaps thought could be truthfully typed but tribute to how on form all seven remaining members were.
A typically moving EVERBODY’S GOT TO LEARN SOMETIME was followed by the welcome reinstatement of SOMETHING ABOUT THE BEATLES, with noticeably beefed-up violin, guitar and percussion, before that slow-burner LOST AND FOUND followed.
Then came SLOW TRAIN, with the vocal debut of Handsome Ed, to replace Mutter’s vocal parts. Which would have worked beautifully, had James not tended to sing many of Eddie’s parts, just before The Adonis was about to vocalise them himself! The look on his face each time was truly priceless. As Ed remarked in mock indignation after the gig “I dunno. Spend all my time learning the words, so I’m lyric perfect and then get them taken away from me….”.
High spirits were evident throughout, which complemented, not comprised, the staggeringly high level of misicianship. E might equal mc squared but fun and laughter plus professionalism and incredible ability equal a sublime
audio-visual treat. And that’s the only equation that interests me.
James tried to encourage Ed to sing another song, solo this time, announcing, “Eddie will now sing MACARTHUR PARK”. But he didn’t and the band kicked into the perennial showstopper, SYRACUSE THE ELEPHANT, with the keeper again being of the female variety. Clare added another sublime violin solo at the appropriate juncture.
SEEK AND YOU WILL FIND was re-instated and this CSN-style song saw Mr Warren singing with no lyrical flubs and Eddie sitting astride and beating his cojon. (And no, Majorie, THAT’s not a West Country euphemism, either!). Crun joked that Eddie was sitting on his commode.
THE DAY THE WORLD STOPPED TURNING was as epic (ERIC THE EPIC) as ever. How eleven minutes can pass so quickly only testifies as to how the song’s intricacies draw you, the enthralled listener, in.
Mention must be made of Glenn Tommey’s flute-playing throughout the gig and his vile shirt. Even with the pre-gig warning, the latter was a hideous sight. Glad I was at the back: from near the stage, it must have been truly abominable. Which latter word couldn’t be applied to Glenn’s puffing into the magic stick. Is there no end to this man’s talents? If only he could learn to dress decently and negotiate a stage without hurting himself, he’d be genuinely superhuman.
Sarah had also added more bounce than seen of late and her keyboard and violin playing and, especially, her vocalising all came through very clearly, serving only to again underline what a crucial part of the ‘team’ the Gashead Goddess is. As for Andy, the words Guitar Hero Personified are brief but say it all. We bow down before him.
The second of the new songs, the jaunty BESIDE THE SEA then debuted. This, principally Slater-penned song was known about in April but this was the first public airing and very good it seemed too. Again, apologies for vagueness but it was difficult to hear it clearly at the back and I also had to serve two people in the utter darkness during this song, trying to take money, locate t-shirt sizes and so on. Sure SEA will soon become a big favourite, judging from the crowd response at the close of the number.
THE LONG DARK RIVER and THE ROAD TO VENEZUELA (“whore” version, as per usual this year) made a fine, meaty pair to lead to the conclusion of the set proper, another driving BOOTS ‘N’ SHOES.
Was there an encore? Of course there was. Two, in fact. SLARK, with Glenn’s uncanny replication oif Mutter’s flutework and then a necessarily harmonica-free DORA, THE FEMALE EXPLORER. A rollicking, completely appropriate way to end a very very fine evening indeed. If youngsters now seem to get A* grades for turning up, Stackridge merited an ‘A* to the power of a trillion’.
As always, huge thanks to Mr Michael J, Tobin and to Dave Tommey for his splendid work at the soundboard. There was no introductory film or back-projections at the Club but the gig didn’t need them. The bonhomie,
musicianship and joy was enough and anything else would have detracted from the music.