Spinning Platters

 Setting the scene

I expect not many people in the Bay Area have heard of Merthyr Tydfil, a small post-industrial coal town in South Wales in the United Kingdom (pronounced Merther Tidvil).

Merthyr has had a bad rap since the mines closed down in the early 1980’s. It was inevitably seen by the media as an unemployment blackspot, a metaphor or even metonym for decades of economic privation, recession and post-industrial abandonment. Of course, proud local communities are complex and rich, and often subvert the media representations.

The point being that Merthyr and towns like it have a thriving music and arts scene. It’s produced a new generation of  talented semi-pro and pro musicians, who I’ve had the pleasure to get to know a little through their various bands and musical projects, like the wonderfully named The Algal Bloom.

A couple of weeks ago, I went to see this informal collective’s latest offering, a tribute to The Band’s farewell concert The Last Waltz, released on vinyl in 1978. Called The Band and All the Fellas, the members are in their twenties,  so weren’t even a twinkle in their parent’s eyes in ‘78. I was intrigued to see what they’d make of an album that’s firmly located and lauded in the rock and roll firmament.

Owain Hughes is the band’s leader and had the idea of getting 12 or so musicians together to reinterpret some of the songs.  Owain is what you’d call a prodigy, a Merthyr Mozart if you will (though he comes from Aberfan, nearby).  I first saw him at a local gig in Cardiff, to mark David Bowie’s death. He plays guitar and keyboards with a level of skill, energy and maturity that belie his youthful looks.  His influences range from Frank Zappa to Rory Gallagher.

The show (selected highlights)

Up On Cripple Creek: one of The Band’s most famous foot-stompers, and a great opener. I was a tad worried about how anyone could do justice to the Arkansas drawl that was unique to Levon Helm’s lead vocals. I needn’t have been. Vocalist Mitchell Minney took the song by the scruff of the neck and made it his own, using a half-Merthyr, half-Blues Delta style, complete with yodelling, and supplemented by the invisible vibes of a cowboy hat. The band were solid, loud  with two keyboard players adding depth, and some nice nods to Garth Hudson’s organ sound. Good start, boys.

Who Do You Love?: how does anyone try to reproduce Ronnie Hawkins’ rumbling, screaming performance of this Bo Diddley-beat classic? You get a slightly bonkers Phil Harrington to do his own barnstorming, lung-bursting and very funny version. Lovely tight back-up from the band, too. That warmed up the audience nicely.

Such a Night: this is where things began to get really interesting. It would have been easier and safer to give Dr John’s classic song and vocal role to a bear-like geezer from downtown Barry Island. Instead, it was offered to be-hatted Bella Collins, a great local blues chanteuse. It was an enchanting performance, subverting the somewhat unreconstructed gender politics of the lyrics. The introduction of a horn section, complete with tootling clarinet, trombone wah-wahs and Voodoo piano playing making it a moment to remember.

Caravan: Van Morrison’s intricate and vocally complex musical gem is one hell of a challenge for any singer to emulate. It was handed to  Leila Dee to take on, and she won it in spades. Aretha Franklin is her hero, and it shows. A tremendous, gutsy performance that thrilled, and again put some beautiful vocals centre stage.

Baby Don’t You Do It: a glorious horn section, stabbing; a rock solid rhythm section, in the pocket with the bass growling; backing vocalists, singing and laughing;  the lead singer, gesticulating and conducting; a sax player, blowing. A tight ending. Robbie and Levon would have been proud.

You probably won’t ever get to see this band, or hear them, although they are set to tour The First Waltz in Wales. But for me, that doesn’t really matter. I wanted to review this show to put on record a tiny but joyfully significant moment in the musical cosmos. It’s why live music matters, and why old music can jump generations and still thrill and be meaningful. A moment worth marking, and I can’t wait to see them again.

 

The band

Owain Hughes – keys/Sam Willams – bass/Sam Andrews – guitar/Ross Hicks – keys/Lee Davies – drums/Daniel Newbury – sax/clarinet/Ben Williams-Stacey – Trombone & Euphonium/Ollie Whyatt – trumpet/Morgan Rees – trumpet/Mitchell Minney -vocals/Leila Dee – vocals/Bella Collins – vocals/Isabelle Roberts – vocals/Rhiannon Hughes – vocals

Guests: Phil Harrington – vocals/Jonathan Roden – guitar

(Thanks to the band and supporters for the photos)