XOM and the question of music

In Review: XOM’s Rockyoke

About 400 years ago, when I was an undergraduate, it was my pleasure to make the acquaintance of John Sloboda, professor of psychology with a particular interest in the psychology of music. For Professor Sloboda, music is “a way of defining community”:

My eyes were really opened to this when I went to Ireland for the first time a few years ago; in any pub or village hall you see people of all ages and ability making music together…in England we are deprived of something by the lack of a folk tradition in our society; the closest people seem to get to music here is karaoke!

https://web.archive.org/web/20060412171023/http://www.oxfordmuse.com/selfportrait/portrait57.htm

Part One: 30 August 2018, The Prince of Wales, Moseley

Late summer last, I was finishing off a short but demanding course in adult education while simultaneously bailed on a GBH charge, pending trial. My choir attendance had rather dropped off the agenda, and with my voice stressed from all the screaming, I was looking for somewhere to warm up it up again. Drinking at my local, I noticed an intriguing poster advertising ‘a night of sing-a-long fun featuring the very best in rock’n’roll anthems’, raising money for St Basils, a charity that works with homeless young people. The gig, apparently chaired by a band called XOM, gloried in the name RockyOke.

When the poster came up in conversation with a close friend, who expressed interest, naturally we made arrangements, and then forgot all about it. But as fate would have it, returning from a botanical excursion one afternoon, I bumped into another close friend, and into the Prince of Wales we shot. On ordering my pint I heard an unmistakable melody floating in: the opening riff from Pink Floyd’s ‘Wish You Were Here’. This struck me very deeply, and following the sound into the beer-yard, we came face-to-face with XOM.

Imagine my delight, and curiosity. Cinderella shall go to the ball! A sound-checking band, including one or two faces I recognised, rehearsing some of my favourite tunes of yesteryear. Lyrics sheets printed up and distributed around the yard. A mutual friend sat on a stool. The sun shone. The very gig I thought with which to warm my voice, and reconnect with community at this stressful time, despite my forgetfulness, had me blown in on the steel breeze.

In my own assault on the rhythm part of that intro, I’ve used the following sounds behind it, both licensed for use with Attribution: FM radio tuning by MrAuralization — https://freesound.org/s/269701/ – and Forest Nov NL 1pm 181107_1297.flac by klankbeeld — https://freesound.org/s/448280/

Maria, in charge of the venue, was checking decibels. Gentrification’s wave sometimes breaks, finding tension and conflict as new residents complain of noise from established music venues. Caveat emptor, a principle with which we are all familiar, sometimes seems in abeyance when considering new build flats next to musical venues, being ‘far from the whole position‘, giving residents an advantage in pursuing noise complaints, potentially affecting the music venue, and its musicians and audience, adversely. This came up last decade: when new build flats went up near the venerable Spotted Dog of Digbeth. One complaint, if I recall correctly, had a significant knock-on effect for their musical events, and the issue of new build flats next to established music venues, and the potential power imbalance, became a live one for all of us who, like Professor Sloboda, care about live music and its role in our society. The life of and around the pub made a great show of support for their side. Similarly, the Prince of Wales had made the issue public, perhaps wary of similar sonic trigger-dramas, and were keen to ensure decibels were monitored, and below certain limits. One sensed a little extra tension in the sound check, but the band’s sense of discipline and camaraderie in the face of modern Britain was immediately obvious.

And anyway, I’d been heartened by news earlier in the year of movement on this issue, after lobbying, in part by local councils presumably fed up of having to mediate such tedium. There was in 2018 a drift towards common sense from central government, on this issue at least, with reference to the perhaps less familiar principle of agente mutationem which, if applied in such cases ought to protect a venue from noise complaints, giving the new arrival the responsibility to mitigate any problems. This article on local.gov.uk covers the basics and provides links for further reading. But in short:


Jonathan Sandilands, maestro of the whole affair, later told me of the genesis of the idea. Inspired by a sing-along event staged by Moselele, Moseley’s premier Ukelele meetup, at the Prince of Wales, as well as previous charity gigs at the venue, Jon put forward the notion of a sing-a-long rock anthems gig.

Continue reading “XOM and the question of music”

XOM and the question of music, part 2

In Review: XOM’s Rock ‘N’ Roll Sing-along

Part Two: The Greatest Gift
British Oak, Stirchley: 20th December 2018

Christmas comes but once a year, and as Christopher Hitchens remarked, you can’t get away from it then, like a one-party state, with its regulation songs, symbols and, ‘sickly Santa Claus obsequies’. Contrary to popular belief, even suicide rates decline in midwinter’s icy grip of good cheer, by order.

Having successfully batted away that pesky GBH charge, and completed my teaching qualification, I’d been looking forward to a pleasantly healing and productive autumn.

Yeah right. Turned out to be yet more unrelenting trauma, topped and tailed with all sorts of tiring idiots making outrageous and unacceptable demands on my liberties. Professionally it was full to the brim with “thoughtful and insightful work” writing and designing, as well as various interviewing and speaking engagements. And with my principle antagonist somewhat chastened I did get some peace and quiet, some rest, until Xmas, and was able to put more time into my stringed, percussive, and choral pursuits. So it turned out to be a musical fall, bound for winter’s ground cushioned by the comfy chair of XOM’s Xmas sing-a-long.

Earlier in the year I’d been asked to write some site-specific verse to be performed at one of Birmingham’s Oak trees, and came up with a serviceable enough piece of work that referenced the British Oak, Stirchley, a pub which turned out to be the venue for this event. I like Stirchley, and have been touting it as ‘the next Moseley’ for about eight years, so it was good to venture there with some good friends.

Once again, lyrics sheets for these classic rock ‘n’ roll anthems were distributed around the yard, singing along being encouraged. The songs for this gig danced around the decades, and seem thematically well sequenced:

  • Live and Let Die (by Wings) – the most rock and roll of all the Bond themes
  • Vertigo (by U2)
  • Are you gonna go my way (Kravitz) – as we discussed last week: ubiquitous, but fun and gutsy
  • You really got me (the Kinks; XOM add a note that they’re essentially doing the Van Halen verison
  • Just (Radiohead): written by Thom Yorke, supposedly about ‘a narcissistic friend’ (we’ve all been there), and apparently a competitive bid by Yorke to ‘fit the most chords into a song’)
  • Whole lot of Rosie (ACDC): I always enjoy a bit of AC/DC
  • Jump (van Halen)
  • Smoke on the Water (Deep Purple) – lovely tune,really good to hear this one
  • Another Brick in the Wall p2 (Pink Floyd)

Intermission

  • We will Rock You (Queen)
  • We Are the Champions (Queen)
  • Here I go again on my Own (Whitesnake) – last week I noted the interesting history of this song. Originally recorded in 1982, there’s the line ‘like a hobo I was born to walk alone’, but this was later changed to ‘drifter’ in the 1987 version, apparently to avoid the word being misheard as ‘homo’. I thought this was a terribly interesting moment of queer history, and wonder what it would be like to, as it were, reinsert the hobo into the lyric.
  • Don’t stop Believing (Journey)
  • Final Countdown (by Europe), a song which I suppose can’t be avoided in current political circumstances
  • Champagne Supernova (Oasis)
  • Smells like Teen Spirit (Nirvana)
  • With a little help from my Friends (The Beatles/Joe Cocker version) – Joe Cocker
  • Living on a Prayer – Bon Jovi
  • Bohemian Rhapsody (Queen) the third Queen number of the set, this again rather ubiquitous number has in some ways been a victim of it’s own success, its passage into jokey culture maybe masking something of how innovative and special it really is. One wonders, idly, what more could be done with this song.
  • Wish you were Here (Pink Floyd) – always good to hear
  • Here it is Merry Christmas (Slade)
  • Do they know it’s Christmas (Band Aid)

The band performed with their usual energy and passion. Once again, as Gary performed his vocal and keyboard duties, Jon Sandilands encouraged us to sing, Banks and Smalls on the rhythm section keeping us in time.

Ace rhythm guitarist Iain Davies, I believe the latest addition to the band, emerged somewhat into the light. Jon introduced him in his capacity as a vocalist, and as someone with more to contribute to the band. To be honest he seemed a little unsure of himself, but he acquitted himself with skill and grace, and this reviewer always appreciates a Monty Python reference.

Since this gig fell on Winter Solstice Eve, Solstice Bells by Jethro Tull, in contrast to either the Slade or Band Aid numbers, would have delighted me. As it was, that Geldof/Ure charity smash ‘Do They Know It’s Christmas’ sounded the clanging chimes of doom, or possibly last orders, and by this point however I don’t think anybody cared whether it was Christmas or not, let alone whether people in Africa were aware of it, or the possibility of snow in that rather large and varied continent.

XOM’s custom of reprising a song from the set, as an encore chosen by audience voice speaks to that great sense of participation that marks XOM out from the crowd. The popular vote, Live and Let Die by Wings, rounded off Solstice Eve with a flourish. Jon said it was a strange encore, and now I come to think of it there did seem to be a rather charged atmosphere, as the very sun came to the beginning of that three day standstill, nights at their very longest before the creeping dawn of Christmas Day.

Ring out, ye solstice bells. I emerged from the gig energised and ready to take on Christmas. I found it a lovely way to spend Solstice Eve, and choir the following day was all the sweeter for it.

XOM and the question of music, part 3

In Review: XOM’s classic Rockyoke

Part Three: Another Overload
The Boar’s Head, Kidderminster, 23 March 2019

Kidderminster, described by Pevsner, the art and architecture historian, as “uncommonly devoid of visual pleasure and architectural interest”, can claim some musical heritage as part of the Midlands scene. Robert Plant played some of his early gigs here, while attending King Edwards Grammar School in nearby Stourbridge, and went on to buy a farm just outside the town. Stan Webb, front man of the blues band Chicken Shack, and rhythm and blues singer Mike Sanchez, both lived in Kiddie – as it’s known locally – as well as Ewan Pearson and the late Tony De Vit, prominent producer-DJs.

Enhancing, or by no means disgracing this history, XOM made their Spring 2019 sing-along appearance at The Boar’s Head, a Kidderminster pub which has distinguished itself as a live music venue and art gallery.

I’d last encountered the band for their Stirchley Christmas Sing-along, at the end of a stressful year. This spring event found me in a happier place. I had just finished a rewarding, but rather exhausting stint performing in Birmingham Opera Company’s acclaimed production of Shostakovich’s Lady Macbeth of Mtsensk. With my birthday coming up, I was sorely in need of a knees-up, and where better than a town seven country miles from my birthplace?

I encountered the band in the beer-garden, and was warmly welcomed, with the caveat that the sound-check had been problematic. As the band took the stage, Mr Sandilands warned us to expect high volume.

They began reprising the encore from winter’s solstice, Linda and Paul McCartney’s Live & Let Die (probably not my favourite Bond theme but certainly one of the better movies), followed by U2’s Vertigo. If these were intended as two belting crowd-pleasers, they were followed with two perhaps lesser known songs.

XOM performed Queen’s Now I’m Here, written by Brian May. It was originally released after Queen’s breakout ‘power pop’ hit Killer Queen. Freddie Mercury felt Now I’m Here

was just to show people we can still do rock ‘n’ roll – we haven’t forgotten our rock ‘n’ roll roots. It’s nice […] I enjoyed doing that on stage

Freddie Mercury,1976 (cited on Queenpedia)

By this point I was dancing my heart out. In the opera I’d had a chance to try out what I hesitate to call pole dancing (see video), but the Boars Head venue had these pillars that seemed ideal for developing that particular art. And so the next song, Elbow’s Mirrorball, had me using them to help me dance in the most seductively responsive way I could muster.

I was not familiar, or even aware of Elbow and their music until this point, which reiterates the point I made in my first review:

good artists lead and educate an audience as much as merely entertain

https://words.korvin.org/2019/xom-and-the-question-of-music/

So it was good to see XOM continue to vary and diversify their set. This to me unknown, ethereal song captured me, so beautifully played and sung.

Continue reading “XOM and the question of music, part 3”