 |
|
Hi, you're in the Archives, April 2006 - Part 2 |
|
|
|
|
 |
|
|
| April
30, 2006 |
|
 |
| TASTING
- THREE INDIE MORTLACHS |
Mortlach
10 yo (40%, MacMalt, 180 bottles,
circa 2005) 
‘Satisfaction – no collection
!’ is what they wrote on the
bottle. That’s funny, but I’m
not too sure anybody would have thought
about collecting young indie Mortlachs,
especially at 40% ;-) Colour: gold.
Nose: fresh, clean and light, starting
on orange cake and honey, developing
on lapsang souchong tea and toasted
bread and getting then a tad farmy
and feinty. Smokier than expected.
Uncomplicated but balanced and enjoyable.
A perfect breakfast malt? Mouth: sweet,
light, rounded but not dull, lacking
just a little body. Notes of spearmint,
herbal tea, plums, cake again, light
breakfast honey. Quite malty as well,
too bad it gets a little sluggish
after a while. The finish isn’t
too long and a tad too cardboardy
but the whole is rather good –
but don’t try it if you’re
in the mood for oomph. 78
points. |
| Mortlach
12 yo (40%, McNeill, 30 bottles, circa
2005)
Colour: gold. Nose: a little discreeter,
yet maybe a tad fruitier and more
feinty but otherwise it’s quite
similar, i.e. very enjoyable. For
a double breakfast? Mouth: roughly
the same profile as the MacMalt –
well, more than roughly, actually.
Very, very similar, with maybe a little
more body. Just a little. 79
points. |
| Mortlach
12 yo (46%, Craigellachie Hotel, circa
2005)
Colour: straw. Nose: certainly livelier
and maltier, with quite some smoke,
smoked tea, caramel, resins and dried
fruits. Something slightly meaty and
mineral at the same time, also grassy
(newly cut grass, raw asparagus).
Whiffs of mint and aniseed. Mouth:
sweet, full-bodied, balanced and compact.
Starts on Grand-Marnier liqueur, orange
marmalade, liquorice, candy sugar…
Goes on with herbal tea and earl grey,
plum jam, light caramel. Hints of
ripe bananas. Uncomplicated again
but quite oomphy and flawless, with
a medium long but sweet, creamy and
satisfying finish. A tad MOTR but
highly sippable. 83 points. |
 |
MUSIC
– Recommended
listening - It's Sunday, we go classical.
Do they have hits in classical music?
Sure, for instance la
Callas singing Bizet's
Carmen.mp3
(Act I - that must have been in
1961 in Paris, with the French National
Radio Orchestra). Maybe it got a
little kitsch now but it will put
you in a good mood straight off. |
|
|
| April
29, 2006 |
|
|
| TASTING
- TWO PORT ELLENS - OR ONLY ONE? |
 |
Port
Ellen 22 yo (56.1%, Whisky-Doris,
2006)
It seems this one’s been sold
out within a few days. Sorry, I’m
late… Colour: Cognac. Nose:
extremely toffeeish at first nosing,
very ‘oloroso’ but the
peat and the sherry blend directly
– and perfectly – here,
creating kind of another dimension.
Something like a smoked chocolate
(does that exist?) Very, very little
rubber or sulphur this time. Develops
on (smoked) Smyrna raisins, (smoked)
praline, (smoked) strawberry jam,
(smoked) balsamic vinegar… |
| Absolutely
brilliant! Keeps developing on dried
Chinese mushrooms, dried beef (from
the Grisons), dried seaweed (nori
but also kelp), with all the ‘coastal
cavalry’ behind it (sea air,
iodine etc.) Very special and very
perfect. Mouth: it’s a bit more
classical now, maybe a tad more ‘peat
+ sherry’ instead of that third
dimension I was talking about regarding
the nose. The wine is still very present,
making this Port Ellen taste a little
bit like a finishing (but one that
worked excellently). Notes of caramel,
toffee, coffee, mulberry jam…
Quite some spices as well (clove)
and, maybe, something rubbery now.
The middle isn’t extremely bold
in fact but the finish is rather long,
quite big, balanced, peaty and jammy…
Lots of pleasure in this one! And
the nose was totally stunning. 92
points. |
Port
Ellen 23 yo 1982 (56.1%, Jumping Jack
for Whisky Plus, 130 bottles)
Colour: cognac again. Nose: very,
very similar. Maybe a tad stonier
but that could come from less breathing.
Hey, could it be the same whisky under
another label? Mouth: yes, it’s
almost the same whisky. Maybe a little
more oomph, with something slightly
wilder and rougher but otherwise the
profile is exactly the same. Maybe
they shared a cask – or it was
two consecutive casks? (with the same
ABV). Right, same rating here (of
course): 92 points. |
|
MUSIC
– Recommended
listening: Michelle
Shocked and her beautiful
voice doing Black
widow.mp3 (from her 1988 album
Short, Sharp, Shocked - remember
'Anchorage'?). Please, please, buy
Michelle Shocked's music. |
 |
|
|
| April
28, 2006 |
|
|
| TASTING
- TWO INDIE 1992 LAGAVULINS |
 |
Vanilla
Sky (Lagavulin) 13 yo 1992/2006 (53.6%,
The Whisky Fair, bourbon hogshead
#5341)
It’s always very interesting
to be able to taste a Lagavulin single
cask, as the owner doesn’t bottle
any. Colour: straw. Nose: very smoky
and quite austere at first nosing,
probably less sweet and ‘polished’
than any of the OB’s (the 12yo’s
included). Develops on bold notes
of cider apples, with something slightly
perfumy in the background (musk?)
and quite some almond milk. |
| A
very ‘serious’ Lagavulin,
controlled and wild at the same time.
Notes of Belgian beer (hey, Orval
freaks!), wet stones, getting then
quite camphory and resinous (maybe
a tad soapy), with also something
animal (dog). Very good, probably
the most ‘unsweet’ Lagavulin
I ever had. Mouth: it’s sweeter
now, closer to the 12yo OB’s…
A certain narrowness but also a great
compactness. Notes of Campari, pepper,
bitter oranges, lemon sweets…
Goes on with hints of kummel and cloves,
smoked tea, verbena tea… Maybe
a little mint as well. The finish
is long, leaving a very persistent
earthiness on your tongue and quite
some pepper and bitter almonds as
well. And a little salt. And a little
liquorice. It’s still a bit
rough but an excellent example of
a ‘raw’ Lagavulin with
little wood influence (was I supposed
to get vanilla, by the way?). 90
points. |
Breath
of Islay (Lagavulin) 12 yo 1992/2005
(57.2%, Adelphi, cask #4345)
Colour: straw – yellow. Nose:
powerful but a little sweeter than
the ‘Vanilla Sky’ at first
nosing (notes of orange juice, rubbed
orange zest), yet rougher and sharper.
It’s more on stones, aspirin,
ginger tonic… Develops on wet
hay, moss, pine needles (again these
superb resinous notes), almond milk…
But no cider apples or beer this time.
It’ll be hard to decide between
these two Lagavulins by other names…
Mouth: wow, this one is punchy to
say the least! Lots of peat, something
very earthy and rooty (gentian spirit),
smoked tea, moderately sugared marzipan
(the good one), pepper… Really
invading! Goes on with a little curry,
green tea, lots of crystallized orange
zests and marmalade (truckloads, in
fact)… It’s not overly
complex but so satisfying… And
the finish is very long again, perhaps
more coating and smokier than the
Vanilla Sky’s… Anyway,
this one is just as classy –
and very, very peaty. 90 points. |
|
MUSIC
– Recommended
listening: after Patti Smith a few
days ago, let's have a little Talking
Heads. They're doing
Give
Me Back My Name.mp3 (from the
fab Little Creatures, 1985)... The
'intellectual' side of the eighties...
Btw, did you know David Byrne was
born in Dumbarton, Scotland? |
 |
|
|
| April
27, 2006 |
|
|
| TASTING
- THREE INDIE HIGHLAND PARKS (at 46%...) |
 |
| Highland
Park 16 yo (46%, McNeill, 30 bottles,
circa 2005)
No vintage on this one, and no explanation
about the low number of bottles –
as shared cask, I guess. Colour: white
wine. Nose: rather fragrant at first
nosing, a typical un-sherried Highland
Park that smells much younger than
16yo. Whiffs of smoke and quite some
flowers, apples and pears, something
resinous, marzipan, hints of heather
and wet stone… Gets then a little
grainy and mashy, on porridge and
mashed potatoes… The whole is
rather nice but again, seems to lack
a little ageing. Mouth: very sweet,
with a nice mouth feel. Quite some
pink pineapple, fresh walnuts, quince
jelly. Gets quite waxy and even resinous.
Goes on with apple pie, acacia honey,
fresh almonds… I like this palate
much better than the nose, in fact.
Almost excellent, a very good surprise!
And the finish is long, compact, extremely
well balanced, on orange marmalade
and wax. Again, a great palate. Too
bad there was only 30 bottles. 87
points. |
| Highland
Park 15 yo 1990/2005 (46%, The Alchemist)
Colour: white wine. Nose: a little
sharper and more austere, grassier
but more elegant. Quite smoky and
very heathery. Cider apples, newly
cut grass, a little paraffin. Gets
beautifully perfumy after a while,
with something that reminds me of
L’Air du Temps de Nina Ricci.
Clean and elegant, I like it. Mouth:
a very ‘natural’ palate,
again more austere than the McNeill’s,
waxier and much grassier. Even more
fresh walnuts and almonds, also marzipan,
green tea, butter caramel... Goes
on with liquorice, orange marmalade…
Really full-bodied, at that. Maybe
a tad less balanced than the McNeill’s…
The finish is quite as long but more
on milk caramel (Werther’s Original)…
Another very good Highland Park –
and God knows indie HP’s aren’t
always ‘top notch’. 87
points. |
| Highland
Park 11 yo 1990 (46%, First Spirits,
France)
Colour: pale gold. Nose: this one
is much fruitier, with quite some
freshly squeezed oranges, tangerines
and a little passion fruit, getting
then quite mashy, almost feinty again
(hints of muesli, yoghurt, cider and
beer). Rather nice but far from being
as elegant s the Alchemist’s.
Mouth: we’re in simpler territories
here. Grassier, getting a little bitter,
with notes of ginger and quite some
peat. A certain acridness (lemon zest)
but it’s still rather good whisky,
probably a little oomphier than both
the McNeill’s and the Alchemist’s.
The finish is longer as well, more
nervous, mostly on bitter oranges.
Another one that’s quite good,
even if simpler. 84 points. |
| PETE
McPEAT AND JACK WASHBACK |
 |
MUSIC
– JAZZ - Very
strongly recommended listening -
do you need to make up with 'modern'
jazz? Then have a try at the amazing
new trio Third
Impulse playing Sheba's
Hesitation.mp3. So excellent
and growing so funny after Darren
Johnston's introduction on the trumpet!
(I know he's not exactly Clifford
Brown's reincarnation but he's really
excellent, what do you think Peter?)
Anyway, please Third Impulse's music! |
|
|
| April
26, 2006 |
|
|
| TASTING
- TWO NORTH PORTS |
North
Port 35 yo 1966/2001 (50%, Douglas
Laing OMC, 138 bottles)
Colour: gold – amber. Nose:
a very aromatic start, on lots of
fruit jams (apricot, plums, melon),
getting then very camphory and minty.
Very nervous considering its age.
Goes on with quite some wax polish,
old wardrobe, old books, while remaining
very fresh and lively. Hints of Virginia
tobacco, leather, crystallized oranges,
pistachio and olive oil… Gets
rather maritime after that, mostly
on seaweed. |
 |
| Hints
of diesel oil, linseed oil, a little
turpentine, smoked tea. I like it
a lot – and there seems to be
a little peat in there. Very elegant,
at that. Mouth: powerful and creamy,
with a rather salty attack. Quite
some tannins as expected but this
one is far from having gone over the
hill. It develops on apricot pie and
jam, fudge, roasted peanuts, nougat
and gets then very spicy with the
usual ‘woody cavalry’:
nutmeg, white pepper, cinnamon, ginger…
It starts to get a little too drying
after a while, though, and especially
the finish is quite woody. But it’s
a very good old whisky nevertheless.
86 points. |
North
Port 25 yo 1981/2006 (56.1%, The Whisky
Fair, sherry wood, 120 bottles)
Colour: just the same, gold-amber.
Nose: even more oomph but it’s
also much more chocolaty at first
nosing, with different kinds of fruits:
raspberries, strawberries. Bold notes
of pineapple and coconut liqueurs,
raspberry eau-de-vie, Grand-Marnier…
Probably less classical than the 35yo,
with something that reminds me of
Ben Nevis. Again something maritime
in the background, even if it’s
discreeter here. Quite some apples
as well – and apple liqueur
(like Saurer Apfel but much better),
then coffee liqueur, Guinness, brownies,
rum… This one doesn’t
keep quiet, but it’s also a
little less elegant than its older
sibling – on the nose. Mouth:
very, very close to the 35 yo now,
but it’s less tannic (although
it’s still a bit drying) and
has a thicker mouth feel. Lots of
fruit jams and white pepper, plums,
spices (see above), vanilla fudge…
Quite hot, in fact… Goes on
with dark rum, ‘arranged’
rum (with bananas), dried coconut…
A tropical North Port? Lots of body
and lots of presence – it still
doesn’t keep quiet and keeps
improving, getting rounder and more
balanced after a while. Great. The
finish is rather long, sweet and fruity,
mainly on fruit eau-de-vie (tutti
frutti), pineapples and rum…
Pina Colada? Anyway, it’s excellent,
no doubt. 89 points. |
 |
CRAZY
ADS - SPANISH SOUL?
I
was in Madrid last week, were I
found this amazing old ad (well,
a postcard actually) for Vargas
anisettes and liqueurs. It is well
known that the Spanish soul can
be very 'dark' but this is profoundly
tenebrous, to say the least... Now,
the artwork in itself is really
stunning, but I'd really love to
know what they had in mind when
they came up with this strange theme...
Gloomy thoughts? Or was some kind
of temperance league behind it? |
|
|
| April
25, 2006 |
|
|
| MUSIC
AND WHISKY INTERVIEW - JUDGE SMITH |
| It’s
not precisely because of the rock
opera ‘The fall of the House
of Usher’ he composed with ex-Van
der Graaf Generator bandmate Peter
Hammill that I decided to interview
Judge Smith (note to newbies, Usher
was also a pioneering whisky blending
house) but rather because of his stunning
recent works such as ‘Curly's
Airships’, an amazing epic ‘songstory’
that blends rock, English chanson,
tango, marching bands, Indian music,
1920’s dance music and many
other ‘colours’. As somebody
put it, it’s ‘probably
one of the largest and most ambitious
single pieces of rock music ever recorded’
and I’d add that for once, it’s
not just balance sheet ambition. Dadaist
ambition? |
 |
Whiskyfun:
Judge, tell us briefly about what
you do, music-wise.
Judge
Smith: My principal
interest is in telling stories using
words and music. As for the music
itself, I think of it as rock music,
but some people might not agree with
me, as it often doesn’t sound
much like rock music’s supposed
to sound. It’s generally agreed
that the stuff I do is pretty unusual;
it also seems to come out very English,
and not very American.
My background is in the underground
music scene of the late Sixties. I
co-founded the band Van Der Graaf
Generator, and one of the things we
were interested in at the time was
breaking away from the three-minute
song-about-lurve format, and standard
song structures (verse / chorus /
verse / chorus / middle 8 / verse
/ chorus / chorus). I’ve still
written plenty of songs like that
over the years (and years - I’m
pretty old) but I’ve always
had an ongoing ambition to paint with
the music on a bigger canvas.
I’ve tried writing stage musicals
(several of those), operas, cantata
and song-cycle, with different degrees
of success, but now I think I have
finally developed a form and a technique
that allows me to tell real stories
with real music in a seamless and
integrated way. I call it Songstory.
I have three Songstories at different
stages of completion at the moment,
but the only example that is actually
finished and available is CURLY’S
AIRSHIPS. This is an epic work about
the R.101 airship disaster of 1930.
It’s a double CD involving eighteen
featured performers, among whom are
three other original members of Van
der Graaf Generator: Hugh Banton,
David Jackson and respected solo artist
Peter Hammill. Also participating
are singer Arthur Brown (of The Crazy
World), Pete Brown (of Battered Ornaments
and Piblokto), Paul Roberts (of The
Stranglers), John Ellis, (formerly
of The Vibrators and The Stranglers),
plus a 1920’s dance band, a
classical Tenor, an Indian music ensemble
and several cathedral organs.
It was six years in the making and
is probably one of the largest and
most ambitious single pieces of rock
music ever recorded. It’s got
its own web site at http://www.curlysairships.com
and the work tells the true story
of the bizarre events which led to
the destruction of the world’s
biggest airship, the giant dirigible
R.101, on its maiden voyage to India.
It’s a tale of the incompetence
and arrogance of government bureaucrats,
the ruthless ambition of a powerful
politician and the moral cowardice
of his juniors; a story of inexplicable
psychic phenomena, the thoughtless
bravery of 1920s aviators and the
extraordinary spell cast by the gigantic
machines they flew: the giant airships,
the most surreal and dreamlike means
of transport ever devised. |
WF:
Which other musicians
are you playing with?
Judge:
In the last two or three years
I’ve got back into occasional
gigging, after barely performing in
public for twenty years. As a result
of this, I became interested in the
possibilities of the small group,
‘unplugged’ format, and
last year I released an album of my
songs, THE FULL ENGLISH accompanied
(mainly) by John Ellis on guitar and
Michael Ward-Bergeman on piano, organ
and accordion. These are two terrific
musicians, and the album, despite
not being in my beloved Songstory
format, is one of the best things
I’ve ever done.
THE FULL ENGLISH was released by an
Italian record label, Labour Of Love
Records, who have also just released
a really great DVD of a very special
concert I did at Guastala last year.
JUDGE SMITH – LIVE IN ITALY,
2005 also features John and Michael,
augmented by respected Italian drummer
Gigi Cavalli Cocchi and Marco Olivotto
on bass. These guys make some great
music out of my songs, and the old
boy capering around at the front doesn’t
disgrace himself too much either.
You can see an extract, get other
free downloads, and lots and lots
more info about Judgestuff in general,
at judge-smith.com. |
WF:
And
which
are your other favourite artistes?
Judge:
There are so many. Where
to start, and how to finish? Little
Richard, Conlon Nancarrow, Taraf de
Haidouks, Roland Kirk, Oysterband,
Vivaldi, Sex Pistols…. I could
go on (and on). In terms of influence
on my own work, however, I would have
to say Frank Zappa and Peter Hammill,
though my stuff doesn’t sound
anything like theirs (or anything
much like the abovementioned worthies,
either.) |
WF:
Which
are your current projects?
Judge:
I have just completed
a Songstory for me to perform with
an Alpine Choir from the Italian Dolomites.
It’s called THE CLIMBER, and
I sing the part of a British mountaineer
getting into trouble on the mountains
about fifty years ago. It’s
about a culture clash between visitors
and locals, and the choir will be
singing lyrics translated into their
own mountain dialect, while I sing
in English. The choir are extraordinary,
with a completely unique and beautiful
sound. It’s a very exciting
project for me, but it probably won’t
be recorded until next year some time.
Now I’m just starting the next
thing; a sort of companion piece set
in Spain, working with a flamenco
guitarist. I need to keep busy. There’s
a lot of music I want to do before
I get too decrepit.
Through the Internet, a few more people
are finally finding out about my work
and getting interested in what I do.
There is even an active Judge Smith
Yahoo! Discussion Group. This is an
open group, currently with over 300
posted messages. It’s completely
independent, and has no connection
with any record company, or with me
(I'm not even a signed-up member.)
However, it's full of lively comment
and debate, and I can recommend a
visit to anyone interested in my stuff.
|
WF:
When did you start enjoying whisk(e)y?
Are there any musical memories you
particularly associate with that moment?
Judge:
For about twenty years
I drank increasingly large amounts
of ordinary supermarket blended whisky,
or ‘cooking scotch’ as
I called it. I have a slightly sweet
tooth, and I’m sorry to have
to admit that I drank it with a mixer.
However, rather than ginger ale or
coke, I always took it with tonic
(no ice). To my taste, a good quality
tonic water with quinine is a great
partner for whisky; it makes an astringent,
slightly bitter and most refreshing
tipple. I was always very surprised
that no one else seemed to drink it
except me.
However, in the end, I found I liked
it rather too much, and these days
I stick to wine, unless someone sticks
a glass of malt in my hand. |
WF:
What’s your most memorable whisky?
Judge:
Someone gave me a dram
of something quite extraordinary once.
Can’t remember what it was called;
‘The Auld Glen McSporan Special
Tartan Reserve’ or something
like that? Sorry. But it was thick
and almost sweet, and drinking it
was like…was like?…like
maybe Milla Jovovich slipping down
your throat wearing velvet pyjamas. |
WF:
Do you have one,
or several favourite whiskies?
Judge:
As regards proper malt
whisky, not the very dry, strong-tasting
types. Something smooth and mild and
paid for by someone else. (Cheap?
I’m not cheap. I’m just
a musician.) |
WF:
Are there whiskies
you don’t like?
Judge:
Whisky mixed with water. |
WF:
By the way, music
and whisky are often though of as
being male preserves. Should girls
play guitars, should girls drink whisky?
Judge:
Female rock musicians
are a wonderful thing. Every band
would benefit from having a girl member.
Their playing has an entirely different
vibe, and they always bring something
new and special to the music. They
can rock just as hard as men but they
are a genuinely civilizing and uplifting
influence. (Also girls playing rock’n’roll
just look so damn cute.)
Whisky-drinking women, in my experience,
are women of character, with minds
of their own, and a lot of fun, unless
they are too-much-whisky-drinking
women, who can be as much of a bore
as too-much-whisky-drinking men. |
| TASTING
- ANOTHER TWO GLENROTHES |
 |
Glenrothes
1986/2005 (46%, Helen Arthur, Plain
Oak, 600 bottles)
Colour: straw – white wine.
Nose: a very discreet start, with
just a little alcohol and a few feinty
notes. Let’s give this one a
little time… Ah, yes, it does
sort of take off after ten minutes
or so, on pear juice and cider, with
whiffs of wood smoke, porridge and
tea. Still not much happening, I must
say. Not exactly dull but as close
to new make as it can get. Incredible
considering it’s almost 20 years
old… |
| Right,
it does keep improving a bit with
time: a little vanilla, green bananas,
grass… But it gets also quite
beer-ish. Not too bad in fact, but
rather uninteresting. Mouth: sweet
and rather malty attack, getting quite
sugary (fructose, light breakfast
honey) but with an almost nonexistent
middle. Strange! Not much happening
in there, I’m afraid…
Just a little sugar and alcohol remaining
on your palate (but almost nothing
on the tongue). And the finish is
short and, well, sugary. Well, it’s
not especially flawed but there’s
no pleasure here. Too bad. 70
points. |
| Glenrothes
36 yo 1969/2006 (51.8%, Duncan Taylor,
cask #12885)
We had the 34 yo 1968/2003 at 40.3%
(90 points) and the 36 yo 1968/2005
at 57.2%, (93 points) just a few days
ago so I have high expectations…
Colour: gold – amber. Nose:
very, very aromatic and hugely fruity,
on ripe apricots, quinces and melons,
plums, honey and fudge… Almost
a fruit bomb, really in the Balvenie
or Bruichladdich stable (as opposed
to the tropical fruits one can find
in old Bowmores, Lochsides, Clynelishes
etc.). It gets then sort of winey
(sweet white wine) and also slightly
cardboardy. Goes on with roasted nuts,
praline crème, chocolate…
Probably a little less complex than
its two previously bottled siblings
but also compacter. Mouth: extremely
rich and creamy, with quite some lemon
and orange juice that keep the whole
very lively, almost youthful. Very
little tannins at this stage, which
is great news. Develops on quince
jelly, marzipan, light toffee, cappuccino,
Irish coffee (or Scottish coffee?)…
And the we start to get the oak’s
influence with the nutmeg, vanillin,
cinnamon, white pepper, ginger…
Again, it’s not exactly complex
but incredibly drinkable considering
its age. Now, it does get frankly
oaky toward the rather long finish,
with the fruit drying out (except
the quince) and being replaced with
cardboardy and slightly chalky notes,
but the whole is still an excellent
and tireless old malt. 90
points. |
|
|
| April
24, 2006 |
|
|
CONCERT
REVIEW by Nick Morgan
CHRISTY
MOORE with DECLAN SINNOTT Barbican,
London, April 17th 2006 |
| |
| Declan
Sinnott (left) and Christy Moore
(right) |
Well
it’s the Barbican, but not as
we usually know it. Few are the Guardian
hugging high-brows or the blue-rinsed
patrons of the arts. In fact it’s
a bit more like a rugby match at Lansdowne
Road – glasses and bottles fill
every available surface, even lined
up along the top of the men’s
urinals, which are also doing mighty
service to the bladders of the thirst
quenched crowd. Of course it’s
a high day and bank holiday –
our first one of the year, and as
historians will surmise, it’s
also an anniversary of some appropriate
note. But it’s principally a
rare solo appearance in London by
Irish folk legend Christy
Moore, whom we were privileged
to see in the same venue last year
performing with the simply wonderful
Planxty, accompanied tonight by long-time
collaborator and one time Horslips
and Moving Hearts guitarist, Declan
Sinnott.
Moore’s particular legend combines
wild rock and roll excess, a voice
of remarkably fragile beauty, sometime
outstanding songwriting, a deep respect
for the traditional canon, an ability
to make other performers’ deeply
personal songs his own, humour, dark
depression, and a commitment to a
variety of political causes, (starting
at home with the Irish Republican
movement but moving to support for
the oppressed and victims of injustice
around the world) for whom he has
become something of a global voice,
albeit always on his own terms. He’s
fiercely passionate, I would suspect
surprisingly vulnerable and self critical,
has something of the perfectionist
about him, wears his heart on his
sleeve, and has a very short tolerance
of audiences who choose to participate
unasked. “There you are thinking,
what a big moody old bollocks that
he is, not wanting us to clap”
he chides himself, having brought
an over excited audience to heel with
a single menacing glance. In fact
(Billy Bragg please note) he doesn’t
say much at all during this song packed
two and a quarter hours, choosing
to let his music do the talking, which
it does with considerable eloquence. |
| Now
if you weren’t there, rather
than bother reading this you could
buy a copy of his latest double CD,
Live from Dublin 2006. Though remarkably
only about half of the twenty eight
songs that we get are among the thirty
on that two disc set. That in itself
says something about the huge repertoire
of material that Moore has collected
over the years. Quite how he puts
the set together I can’t imagine,
let alone understand how he remembers
all the words (“If I get the
first line it’ll be ok”,
he tells us, “the first is the
important one”). |
 |
| But
it has to be observed that by the
time he’s finished there aren’t
many Irish or British institutions
that haven’t taken a good knocking
(he breaks into the Irish equivalent
of a talking blues in the middle of
the apparently harmless ‘Don’t
forget your shovel if you want to
go to work’ and turns the shovel
into a Kalashnikov to spray hot lead
at leading politicians in both countries,
and Serge’s beloved Charles
and Camilla) along with the United
States (you should listen, Serge,
to his version of Morrissey’s
‘America you are not the world’,
I think you would enjoy it). He has
a moving reflection on the recent
past in his own country, ‘Smoke
and strong whiskey’ (“It's
Easter again, and we cannot forget,
our brothers and sisters and all that
was said, so practise your pipes,
stand proud in the wet, for the eyes
of the world are upon you”).The
Church gets a beating up in Joni Mitchell’s
‘Magdalene Laundry’; wife
beaters get some of their own treatment
in ‘A stitch in time’;
privilege, corrupt legal systems and
the Freemasons are the targets of
Dylan’s ‘Hattie Carroll’,
and Capitalism takes a bit of a poke
in ‘Ordinary Man’. And
a number of songs dwell on the not
always easy experience of the Irish
Diaspora – in the USA (‘City
of Chicago’) and in London (‘Missing
you’), not that Moore seems
to be unhappy to be here. His version
of Ewan McColl’s ‘Sweet
Thames flow softly’ exudes a
deep affection for the dear old Smoke. |
| And
these and other songs of commitment
were mixed with some heart achingly
touching love songs, tales of tragedy,
and just plain nonsense. ‘North
and south of the river’ (co-written
with Bono and The Edge), ‘Song
of the wandering Aengus’ (“music
written by Judy Collins, Yates out
of Sligo wrote the words”),
‘Nancy Spain’ and Richard
Thompson’s ‘Beeswing’
provides some of the love interest.
‘The two Conneeleys’ and
‘Cry like a man’ some
of the tragedy, the crowd pleasing
‘Lisdoonvarna’ and the
thoroughly mad ‘Sixteen fishermen
raving’ the nonsense. |
|
|
|
 |
|
|
| | | |
