Derek “The Draw” Hussey (vocals)
Chaz Jankel (guitar, keyboards, backing vocals)
Norman Watt-Roy (bass, backing vocals)
Johnny Turnbull (guitar, backing vocals)
Gilad Atzmon (saxophone)
John Roberts (drums)
Seamus Beaghan (keyboards)
Eva Black (support):
Sam Norfolk (vocals, guitar)
Dave Warren (guitar)
Olly Simmonds (drums)
Kev Goff (bass)
112-114 Magdalen Street
After the less-than-enjoyable experience that was Chase and Status the previous week, I was delighted to have found my musical gate of golden light in the form of the phenomenon that is The Blockheads. On this evening, the consistently excellent Epic Studios played host to a night of excellent music, performed (yes, performed) by proper musicians who were playing proper instruments. No backing tracks, tape sync or computers, actual live performance.
So, here we go.
The support were a local outfit called Eva Black. And mighty fine they were too, playing some excellent alternative rock to get things warmed up, a good tight, polished and clearly well-rehearsed set. Sam Norfolk did an excellent job on lead vocals with some very strong guitar work from Dave Warren. Checking out their Facebook page, they do seem to be regular performers in and around the area, so if you get a chance to see them, do so, I don’t think you’ll be disappointed.
And so to our main act. The Blockheads.
Mistakenly, when you talk about The Blockheads, the first thing you kind of think of is Ian Dury and quite likely, “Hit Me With Your Rhythm Stick”. That’s great as far as it goes, and whilst Ian Dury was, without any doubt, one of the finest lyricists of his time, his “sound” was that of The Blockheads. And this evening’s performance sealed the deal for me on that one. Personal opinion, but there you go.
It all kicks off when Derek “The Draw” Hussey walks up to the mic, and says “we are The Blockheads and we sound like this……” and we get to hear exactly what The Blockheads sound like – slick, professional and tight. I’ll confess that I’ve never seen The Blockheads live, with or without Ian Dury, but loved the music and have all the albums (including their very latest one “Same Horse Different Jockey” released in 2013 – get it!!!), so this evening was a real icing on the cake experience for me.
Did it matter that Ian Dury wasn’t front-manning it all? No. “The Draw” is about as good as it gets for a band of The Blockheads stature and prowess. He didn’t try to be Ian Dury, he didn’t try to sing like Ian Dury and he didn’t try to make you think he was trying be or trying to sound like Ian Dury. He looked and sounded the part of the perfect front-man for a band of this nature, presenting the persona of a retired hippy wide-boy with long silver hair and beard to match, Ray-Ban style sunglasses (later changed to a circle-rimmed pair with laser etched peace symbols), the gravelly London twang and perhaps the only truly discernible nod to Mr. Dury, was a white scarf that he hung over the mic stand. I’ve seen him described as Cockney Kris Kristofferson, and yeah, not far wrong. He performed the set with very apparent ease, a wonderfully dry/wry sense of humour and consummate professionalism. This is all adds up to the fact that Mr. Hussey has seriously filled the shoes of the afore-mentioned Mr. Dury, and it shouldn’t really come as any surprise because the gentlemen were good friends and The Draw was Ian’s minder.
We were treated a nicely balanced mixture of newer material (demonstrating The Draw’s more than very acceptable wordsmith skills) and the “classic” songs. Every song was performed with utmost skill, performance and style, all members of the band really giving it their all, not least Norman Watt-Roy, a man who gave his bass guitar more life and character than I’ve ever seen in a bassist and gave pure performance throughout with no let up. These truly are group of proper musicians, performing a solid fusion of pop, funk, jazz and good old rock ‘n’ roll music that has unquestionably stood the test of time, all of which was genuinely appreciated by the audience, particularly when legendary songs such as “Billiericay Dickie”, “Wake Up And Make Love With Me” and “Clever Trevor” were played. Newer songs such as “Look the Other Way”, “Boys Will Be Boys” and “Undercover” fitted in seamlessly with the likes of “Plaistow Patricia”, “The Inbetweenies” and “I Want To be Straight”.
So, highlights. Tough one as there were so many, but of course we have to look to the more iconic tracks such as “What A Waste” and the dual personalitied “Sweet Gene Vincent” which brought the roof down. “Sex and Drugs and Rock ‘n’ Roll” and “Reasons To Be Cheerful part 3” never sounded better, as though they were written for live performance alone – sterling vocal work by The Draw on these two. The number that closed the evening was “Blockheads” and again, it gained a whole new lease of life live. But the one song that really stood out for me was “Hit Me With Your Rhythm Stick”. Okay okay, beat me with it now for being so passé, the thing is I really don’t care so get over it, because this song really showed everything that is so fantastic about The Blockheads from the voice of The Draw, the keyboard work of Seamus Beaghan and the guitaristings of Messrs Jankel and Turnbull to the insanely brilliant and frenetic bassings of Norman Watt-Roy and sax work of Gilad Atzmon, at one point the latter was playing two saxes!!!
All in all, a great gig, in a great venue. One slightly dour note was that the promoters had booked The Blockheads into three venues in as many days in less than a 30 mile radius which hit audience numbers markedly – in my opinion that’s bad. Bad for the venues, bad for the band and bad for audiences, perhaps a little more thought should have been applied which would have seen better attendances. However, the sound of Epic Studios was once again fantastic and walking around talking to people, that seemed to be the consensus of opinion with many stating that it would be great to see a continuation of the big name acts using Epic Studios. I echo that completely.
Concert Images (courtesy of Neil Fellowes Photography):