on 2 September 2013
For what it's worth, the following is a review of the July gig of The Temperance Movement in Exeter where amongst other comments I observe how much I'd like to hear a live recording [as I'm sure many have felt lucky enough to see them live]. And now we have one - only three tracks, including 'Chinese Lanterns', but getting there:
There's a scene in the recent Eagles documentary where a key point in the band's rise to stardom is plotted as the moment producer Glyn Jones heard them singing a cappella harmony and decided that this was the sound to define them as a band. Up to that point he hadn't been overly keen on their rock aspirations, and the fact they never became an ostensibly rock band is apparently a fact Glenn Frey and Don Henley rue to this day.
At tonight's outstanding The Temperance Movement gig at the Cavern , Exeter, there was a moment where the band went `off mic' to sing their song 'Chinese Lanterns' and the five part [with one guitar] a cappella harmony was as exquisite as anything the Eagles can do, and yet this occurred within the context of the band's absolutely stonking rock-core performance. Indeed, the band happily cited influences such as Little Feet, The Allman Brothers and The Rolling Stones - and my goodness they have the credentials and talent to write and perform songs bearing those influences with panache - and yet I also heard the harmonies of the Eagles and America to name but two obvious echoes.
I had wondered before hearing them live if there would be a guitar focus too. Their excellent EP 'Pride' obviously features the fine work of Luke Potashnick and Paul Sayer, but not the kind of soloing you might get played live. I'm still buzzing with the delight to observe that the band's individual and dual guitar work is stunning. There was plenty of slide as well as sharp playing from both, but on the slow number 'Smouldering', Luke and Paul played an extended and deeply layered guitar duet that reminded of the very best of the past when such breaks were expected as well as lauded from the great rock bands of the 60s/70s.
Fronted by Glaswegian `spokesperson' [his jest], but more importantly exceptional vocalist Phil Campbell, The Temperance Movement played a stunning set in, as Paul rightly described it, the `classic' small but atmospheric Cavern venue where such a performance resonates because of that size but also the history and vibe inherent in such an environment. Campbell's singing is itself `classic' when heard on record/cd, but he can certainly deliver and sustain this live, moving effortlessly and emotively between ballads and rock stormers. Nick Fyffe's bass and Damon Wilson's drumming are integral parts of the consummate tightness of the band as a whole, and as already stated, all members can and do contribute beautiful vocal harmonising.
They certainly deserve their own much bigger stardom and success in the near future. With their first album due out in September, and the continued support of Planet Rock, one would hope this will happen. I certainly feel the retro-rock tag is inappropriate for The Temperance Movement who displayed for me in this gig more breadth and sense of self than that label can embrace. As I said, the band seems content with and enthused by the influences that shape their sound, accepting the lineage and its roots.
And if I could exploit that sense of being rooted, to a degree, in the past, I'd urge them to bring out a live album as soon as possible! Having invoked The Allman Brothers Band who brought out At Filmore East three years into their career, perhaps TTM could resurrect this once quite common tradition from rock's heyday. I'd certainly love to have a recording of tonight's gig or similar as it was one of the best I have attended in a long time of enjoying live music.
on 15 September 2013
If you've experienced this band live and enjoyed their 'Pride' E.P.; this 'Live-takes In a studio' E.P. will keep you happy while you wait for their debut album. It has a slightly different version of 'Only Friend' from 'Pride', bundled with a gloriously frantic version of 'Midnight Black' and a seductively sensitive take of 'Chinese Lanterns'.
All these tracks are gonna be available on the debut album, but these versions are worth grabbing for their immediate live-ish feel.
Many shallow people may say that this bluesy-rock stuff has all been done before, but who cares when these young guys do it so well right now? Afterall, classic orchestral and folk music keep on being played and re-interpreted long after the original formats were perfected, so why not rock? All Music is about enjoyment & entertainment, and these fine musicians obviously enjoy what they do and want to entertain you. Have fun,....