[ October 23, 2004 ]
This is Hull: Adelphi in Spotlight
Adelphi in Spotlight
23 October 2004
h.jones@hdmp.co.uk
Courtesy of Gina Dipper
A Book documenting 20 years of struggle for a Hull music venue went on sale today.
The Adelphi Club in De Grey Street this month celebrates two decades of existence and 200 tributes have been collated in One Man And His Bog to mark the occasion.
The book has been produced by Adelphi stalwarts, writer Ian Smith and designer Chris Dimmack, to gather support for the club's impending fight against a change in licensing laws that may threaten the venue.
With testimonials from the likes of Radiohead and Paul Heaton, of the Housemartins and Beautiful South fame, as well club regulars, it highlights the importance of the Adelphi on the local, national and international music scene.
Two CDs featuring 39 tracks of club favourites, including three previously unreleased demo tracks by the Housemartins, are included.
Mr Heaton's entry emphasises the influence owner Paul Jackson had on his rise to fame.
Twenty years ago today, the Housemartins were an unknown group when they performed at the Adelphi. They later signed for Go! Discs on the same stage.
Mr Heaton writes: "In America, they walk and talk like their heroes. Other parts of the world name streets after their stars.
"Hull City Council should make the Adelphi a grade one listed building and erect a statue of Paul in Newland Avenue.''
Radiohead bassist Colin Greenwood lamented the fact his band could no longer take the stage at the tiny club.
Two-thousand copies of the book have been produced, funded by three Adelphi goers, who wish to remain anonymous.
The books producers say their arduous 14-week effort to create the document was driven by their love of the Adelphi.
Dr Smith said: "The Adelphi is my life. I estimate I have spent £60,000 in there over the years.
"I could have had a Ferrari but I'm sure it has been invested wisely."
Mr Dimmack, who first visited the Adelphi in his teens, said tonight's launch would be a coming together of the clans.
"The Adelphi has a place in a lot of hearts. It is one big family," he said.
His thoughts are echoed by Mr Jackson in one of his book entries: "It's a place where people enjoy themselves - a place where they are inspired by what they see and feel."
One Man And His Bog - the title refers to the Adelphi's place on the club circuit for unknown acts - is dedicated to Mr Jackson's father Alan, who died in Hull of MRSA in June.
The book, priced at £15, will be on sale at the club, in HMV and by visiting www.theadelphi.com
Delores / Link to Here
[ October 18, 2004 ]
Musikexpress: Golddiggas
Musikexpress
Golddiggas, Headnodders & Pholk Songs
18.10.2004
by OLIVER GÖTZ
Courtesy of M. Rahm
3.5 out of 5
Popklassische Coverversionen ungewöhnlicher Auswahl mit einem Schmelz, dem nichts und keiner auskommt.
"You're The One That I Want" - schon in der Version von John Travolta und Olivia Newton-John erzeugt diese schmierige Anschmachtung Schauer ohne Wohligkeit. Der Autor dieser Zeilen muss jedoch dabei auch noch an die damals hinterdrein albernde Helga Feddersen/Didi Hallervorden - Produktion "Die Wanne ist voll" denken. Und da geht diel Lampe dann ganz aus.
So muss die neue, Platte von The Beautiful South mit zwölf Coverversionen wohl ihre Qualitäten besitzen, schließlich lässt man den Finger dann doch, von der Stopp-Taste, obwohl sich die Musiker eingangs genau daran versuchen: "You're The One That I Want" die Schaurigkeit nehmen. Es gelingt: Nicht zu dicke Streicher ziehen das Lied zärtlich hin zum Moll, Paul Heaton und Alison Wheeler tragen die Zeilen über den zwanghaften Drang zur Zweisamkeit in nicht unangenehmem Pathos vor, die, verhaltenen ",Huh-huh-huhs" des Refrains ziert ein einfühlsamen Blechgebläse. Und auch im Folgenden beweisen The Beautiful South, dass sie noch vor hausgemachter Popzauber entfachende Süß- bis Zartbitterholzraspler vor allem erstklassige popklassische Interpreten sind: "Livin' Thing" vom Electric Light Orchestra gelingt wirklich hinreißend mit Country- und Harfenpicking.
Auch "This Will Be Our Year" von den Zombies und "Don't Fear The Reaper" des Blue Öyster Cults (ernsthaft: als federnder Latinoswing) bekommen Glanz und Esprit. Was The Beautiful South schließlich mit weitaus obskureren Stücken wie "Don't Stop, Moving" von S Club 7 und "This Old Skin" der Hippie-Combo The Heppelbaums veranstalten, aber auch mit von Schlüsselmeistern des guten Geschmacks argusäugig bewachten Pop-Kulturschätzen von Will Nelson („Valentine“), Rufus Wainwright („Rebel Prince"] und den Ramones (Tatsache: "Blitzkrieg Bop", äußerst lieblich), kann man sich theoretisch vorstellen. Doch hier geht es nicht um schnöde Theorie, sondern um einen beherzten Griff in die Pralinenschachtel tel.
Delores / Link to Here
Netzeitung: Zu viele Popsongs sind einfach nur da
Netzeitung.de
Zu viele Popsongs sind einfach nur da
18. Okt 2004
Mit Alison Wheeler sprach Sophie Albers
Courtesy of Arne Fleissner
Die Band The Beautiful South hat ihr neues Album «Golddiggas» veröffentlicht. Die Netzeitung sprach mit Sängerin Alison Wheeler über Coverversionen, den schnellen Weg zum Ruhm und große Stimmen.
Seit zwei Jahren singt Alison Wheeler bereits mit The Beautiful South. Das neue Album «Golddiggas, Headnodders & Pholk Songs» ist ihr zweites mit der Band und besteht erstmals nur aus Cover-Versionen - vom Lushs «Ciao» bis John Travoltas und Olivia Newton-Johns Duett «You're the one that I want» aus dem Film «Grease». Nach dem Weggang von Sängerin Jacqueline Abbott hatte Ex-Housemartin Dave Hemingway Wheeler entdeckt, als er für ein Solo-Projekt Gospelsänger suchte. «Ich habe nicht eine Sekunde gezögert», sagt Wheeler. Dann habe es allerdings eineinhalb Jahre gedauert, bis der Anruf kam.
Netzeitung: Wie fühlt es sich an, Olivia Newton-John zu singen?
Alison Wheeler: Großartig. Als ich klein war und den Film gesehen habe, fand ich den Song unglaublich toll. Heute ist es lustig, die Reaktionen auf den Song zu sehen. Die Leute erkennen ihn in unserer Version nicht gleich. Vielen gefällt sie dann aber sogar besser als das Original.
Netzeitung: Haben Sie das Original oft gehört?
Wheeler: Nein, gar nicht. Wir haben versucht, uns so weit wie möglich vom originalen Sound zu entfernen, sonst wäre es ja nur nachgeäfft.
Netzeitung: Was bedeuten Ihnen Cover-Versionen?
Wheeler: Zuerst war ich skeptisch, ein ganzes Album nur mit Cover-Versionen aufzunehmen. Aber dann haben die sechs Monate im Studio großen Spaß gemacht. Außerdem ist es die Möglichkeit, mit Songs zu arbeiten, die einen stark beeinflusst haben.
Netzeitung: Gibt es den perfekten Popsong?
Wheeler: Das ist sehr individuell. Ich denke, in der Musik geht es um Eskapimus. Ein guter Popsong muss Emotionen transportieren: Liebe, Hass, Wut, Glück - was auch immer. Es gibt leider viele Songs, die einfach nur da sind, die einen nicht berühren.
Netzeitung: Ist die elaborierte Popmusik, für die auch Beautiful South steht, am Aussterben?
Wheeler: Es gibt nicht mehr viele Bands, in denen eine weibliche und eine männliche Stimme zusammen singen... aber ich hoffe, es gibt noch einen Markt dafür [lacht]. Ich glaube fest an das Klischee, dass sich gute Musik durchsetzt.
Netzeitung: Also ist Musik, die Institutionen wie «Pop Idol» entspringt, keine Konkurrenz?
Wheeler: Hm, ich denke im Musikgeschäft gibt es genug Platz für beide...
Netzeitung: Viele hoffen auf ein baldiges Ende der Casting-Shows...
Wheeler: Wenn es doch hilft, dass ein großes Talent Gehör findet... Natürlich wird die Sache zur Zeit übertrieben. Mit der Zeit wird aber einfach das Interesse daran abnehmen. Wenn man es genau nimmt, ist dieser Wettkampf doch nicht neu, früher waren nur eben keine Kameras dabei.
Netzeitung: Würden Sie, wenn Sie heute 15 wären, daran teilnehmen?
Wheeler: Ich war immer sehr scharf darauf, aufzutreten... Aber ich weiß nicht. Man sollte es nur tun, wenn man sehr genau weiß, was man da tut. Man wird ja ziemlich herumgestoßen. Jemand mit Talent sollte auch andere Dinge versuchen. Viele denken, die Castingshows seien der schnelle Weg zum Ruhm, das sind sie aber nicht.
Netzeitung: Was sieht Ihre musikalische Agenda aus?
Wheeler: Da ich selbst Sängerin bin, habe ich immer gerne anderen Sängerinnen zu gehört. Viele Leute mögen Celine Dion oder Whitney Huston nicht, aber dann hört man ihnen doch zu, weil sie eben so großartige Stimmen haben. Ich habe viel R'n'B gehört, aber eigentlich bin ein typischer Pop-Fan. Lange Zeit war Madonna mein großes Idol, ich höre aber genauso gerne Jewel oder Barbra Streisand. Ich habe keinen festen Stil.
Netzeitung: Sie haben Jura und Japanisch studiert. War das aus heutiger Sicht umsonst?
Wheeler: Ganz am Anfang habe ich als Sängerin mal einen Vertrag vorgelegt bekommen, da habe ich meinen Rotstift rausgeholt und das Ding bearbeitet. Ich sollte denen mein Leben verkaufen! Da hat es was gebracht, Jura studiert zu haben. [lacht] Nein, aber im Ernst. Vor meinem Studium war mein Plan, eine mächtige fiese Frau zu werden, wie Alexis im «Denver Clan». Ich wollte einen einflussreichen Job. In den ersten Semestern habe ich aber Musik gemacht und plötzlich gemerkt, dass ich das wirklich machen will. Ohne das Studium hätte ich es vielleicht gar nicht gemerkt.
Netzeitung: «Golddiggas» ist das elfte Album von Beautiful South. Glauben Sie, das geht einfach immer so weiter? Die Band gibt es schon 15 Jahre.
Wheeler: Ich hoffe doch! Paul [Heaton] sagt immer, dass er aufhören wird, wenn es keinen Spaß mehr macht. Ich hoffe, das passiert nicht so bald, und was danach kommt, weiß ich nicht. Andererseits: Ich bin eine 32 Jahre junge Frau.
Netzeitung: Ich dachte, das wäre für den Musikmarkt schon alt.
Wheeler: Auf dem allgemeinen Musikmarkt ist das sicher so, aber Sheryl Crow hatte in dem Alter glaube ich überhaupt erst ihren ersten Hit. Ich denke, man muss sich einen Namen gemacht haben, bevor man nicht mehr wegen seiner Stimme, sondern wegen seines Alters beurteilt wird.
Delores / Link to Here
[ October 17, 2004 ]
The Observer: Backbeat Q&A
The Observer
Backbeat | Q&A
October 17, 2004
by Lauren Laverne
Courtesy of Gina Dipper
Radio and TV presenter Lauren Laverne quizzes Paul Heaton of the Beautiful South about the band's new album of cover versions, his long-standing interest in the minutiae of crisps and what it was like to work in accounts with Daphne
Lauren Laverne: Paul Heaton, what is your favourite colour? No, that's not my first question! Right, OK. Your new album, Gold Diggas, Head Nodders & Pholk Songs, is a collection of covers. Who would you most like to cover one of your songs?
Paul Heaton: No one, really. I always think when I write a song, 'So and so could do that. Could do a better version.' And then I start getting possessive about it. I always thought 'Old Red Eyes' could be sung well by Chris Rea but as soon as it came to recording it, I thought, 'I want that really.'
LL: Are the songs you cover all ones you love, or is there an element of irony in the selection? I'm thinking of S Club 7's 'Don't Stop Movin", specifically.
PH: Well, we did that live, and did it a lot more upbeat, and then when we came to recording it we'd already got bored of playing it the S Club way...
LL: I've read that you and Dave Rotheray are the second most successful British songwriting duo of all-time, after Lennon and McCartney. I note you haven't covered a Beatles song on the album.
PH: I don't own any Beatles records. I don't mind the odd song, but I'm not a fan.
LL: Is that just because they're number one in the songwriters' list?
PH: No, no! I don't think we're number two, I don't know where we are in it. I think we're number three now that one of the Gibb brothers has died. Because they were talking about duos, weren't they? Now he's gone, the Bee Gees are a duo.
LL: What was the last band you saw?
PH: A Girl Called Eddy, on Monday. They're going to be our support on the tour we're going to do in November and December. But I am actually a fan.
LL: Have you ever seen your tribute band, the Beautiful Southmartins?
PH: No, I haven't. We've got another one too, the Beautiful Couch. They're meant to be good.
LL Now, how is Hull's showbiz scene, Paul? Does Dan from Big Brother cut your hair?
PH: I don't like it in Hull any more. I live in Manchester now, but I've heard Hull's thriving.
LL: I remember once playing a terrible gig in Leeds. At the end I said 'See you in Hell!' and walked off, and then these two girls came backstage and went, 'Did you say see you in Hell, or see you in Hull? 'Cos we're from Hull, and if you played, we'll come and see you.' Right: if you really had to have worked for a living, what would you have done?
PH: When I was young, I wanted to do market research, and make loads of lists about different interests. I did work in an office for a couple of years, in accounts. I've got a massive book of quotes that everybody who walked into my office said between 1979 and 1982. I've still got it now.
LL: Can you remember any of the best ones?
PH: A lot of comments from Daphne, who worked in accounts with me, about her hamster. She thought it was dying.
LL: Hamsters are always dying though, they only last about six months or so.
PH: They're shit. Don't buy hamsters, buy guinea pigs. I've written a full book, actually, about a bloke who moves from New York to Bristol, who keeps a guinea pig.
LL: As fan of the list, does it please you that your album Carry On Up The Charts ranks as the third fastest selling British album ever? Do you like facts like that?
PH: No, because there was a time in politics when the Conservative government hijacked lists - they took lists away from the ordinary person and bent the figures. You know, seasonally adjusted them. And about five years after that, record companies started doing the same. If their album wasn't the number one bestselling album of all-time, they'd say it was the fastest-selling. They would say this is the fastest-selling album by a man in a white jacket on the cover holding a banana, or whatever. It made me very sad.
LL: Do you still collect crisp packets? And where do you stand on Snack-a-jacks, if so?
PH: Well said. They're not a crisp, are they? Cheesy comestibles are comestibles to me, still, and a crisp is a crisp. Where do you draw the line? The master of cheesy comestibles was Smiths, of course. 121 King's Road, Reading, Berkshire RG12. Square crisps, Frazzles, Quavers, they were all Smiths. All taken over by Walkers! Smiths took over Tudor and Walkers took over Smiths. But Tudor Spring Onion remain the ultimate bag.
Delores / Link to Here
[ October 2, 2004 ]
Teletext: Paul Heaton Interview
Teletext C4 | p.353
Beautiful Songs for Whoever
Paul Heaton Interview
Courtesy of Darren Leathley
October 02, 2004
Covers albums? The last refuge of the scoundrel and the woefully lazy artist unwilling, or simply unable, to write an album's worth of new material. Try telling The Beautiful South, whose new opus Golddiggas, Headnoddas and Pholk Songs reinterprets standards and obscurities to often moving effect. It's a surprising and spectacular piece of work, so we asked singer Paul Heaton why he immersed himself in the music of John Travolta, ELO and, well, S Club 7.
A large constituency of music lovers is of the opinion that covers albums are usually an indulgence or a total waste of time. Paul Heaton is among them.
"They often tend to be a bit rubbish, don't they?" he agrees. "It had never occured to me to do one before we had the idea of making this one. I'm not sure exactly at what stage of a band's career they're supposed to do one, but I hope we've come at these songs from a different angle."
The Beautiful South's excellent covers album opens with a sublimely melancholy version of Olivia Newton-John and John Travolta's camp meisterwerk You're The One That I Want from 1978 movie Grease.
"I didn't like the song back then as I was getting into punk and was blind to everything else," says Paul Heaton. I never even saw Grease as I'd never have dared ask a young lady to a film. I don't think I saw a movie from Chitty Chitty Bang Bang to Free Willy."
The first single from The Beautiful South's new covers album is an engaging take on Livin' Thing by much-maligned Brummie '70s rockers the Electric Light Orchestra.
"ELO were a bit like Beautiful South in that nobody would ever admit to being into them, but everyone secretly liked at least one song," muses Paul Heaton. "They looked odd and weren't a band to write on your leather jacket, but they wrote some very good songs."
Amongst covers of The Ramones, Zombies and Willie Nelson, Beautiful South fans may be surprised by a downtempo take on S Club 7's Don't Stop Moving.
"I've always liked the song and we have played a more upbeat version of it live for years," says Paul Heaton. "Can I imagine starting a group called Beautiful South Juniors? I can't see much future in a bunch of 14-year-olds with a dour outlook on life, can you? But maybe we can be S Club Seniors."
Among the gems unearthed by Beautiful South on their covers album is Stone In Love With You by '70s Philadelphia soul merchants the Stylistics.
"They were the first band that I ever saw live," recalls Paul Heaton. "My mum took me to see them at Fairfield Halls in Croydon when I was 14. But it's always hard singing falsetto. You have to get the key right. Too high and you sound like Minnie Mouse; too low, and it's Kermit the frog..."
Golddiggas, Headnoddas and Pholk Songs is an object lesson in making a classy, creative covers album. But which songs would Paul Heaton never attempt?
"The best two ways for us to kill off The Beautiful South would be to black up like The Black & White Minstel Show or sing all Elvis songs," he reckons. "So if we decide to destory the band, maybe we should cover Jailhouse Rock, followed by My Way. And chuck in a bit of Vanilla Ice. That should do it."
After the deeply enjoyable diversion of their covers album, Paul Heaton says The Beautiful South will work on a record of new material next year.
"We're touring the covers from the end of November, then it's definitely time to start writing again," he says. "I've written the lyrics already. Why? Because my partner is going to have our second baby in a week-and-a-half's time so I thought it made sense to get them down before the bedlam arrives..."
Delores / Link to Here
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