The Possibles

The Possibles (from left to right): Jamie McClelland, Sam Cooper, Callum Hughes, Davie Moore and Mark McCullogh

Progress – a word which would aptly describe the rise of local band, The Possibles. A dogged determinism has made it possible for this Liverpool quintet to finally get out there and get their names heard. And now with the release of an EP on the horizon, the band’s future is beginning to look a lot brighter. However, the band has certainly had to work hard to finally reap the fruits of their labour and to get their foot on the ladder of Liverpool’s expansive and richly talented music circuit...

Almost three years ago, the band’s lead singer, Davie Moore, set up another group called the Electro Peaches, along with current Possibles bassist, Mark McCullough, and current drummer, Callum Hughes. After months of practise and a couple of gigs, the band was nowhere near to heading towards the right direction. This realisation was swiftly followed by the leaving of both of the band’s guitarists, Mark Anderson and Aidan Smith.

This experience served as a cruel reality check that breaking into the music scene and getting onto the circuit is a lot harder than it seems. However, it also served as a learning curve – a blow which prompted the remaining band members to do something which would change things for the better.

Moore, McCullough and Hughes were forced to go to the drawing board and to rethink their plans to make a band that was worthy of stepping onto the music scene. The trio became more mature and serious in their approach towards music, ditching covers such as their version of Lady Gaga’s “Bad Romance” – songs which the Electro Peaches would play more for fun, rather than with the intention of actually going somewhere.

Instead, the band would now focus their attention on making more of their own music. They started their new era by hiring influential guitarist, Sam Cooper, and renaming the band “The Possibles” – something which would serve as a reminder to the band that if they persevered and tried hard enough, then it would indeed be possible to eventually get onto the music scene.

The hiring of Cooper obviously put the band in good stead on their mission towards improving. He is equipped with an electric guitar style which compliments both the lyrics and vocals of lead singer, Davie Moore. And with McCullough’s bass and Hughes’ drums contributing towards this new sound, the band was soon making music reminiscent of their Manchester heroes, Joy Division.

After recording several demos, the band soon realised that whilst they had greatly improved, there was still something missing – something which could contribute towards the instrumental mix of the band, and which could aid with the assisting of creating a more complimentary sound. Step in keyboard player, Jamie McClelland.

This introduction of a new member was definitely intended to act as a key catalyst in creating a sound and style similar to that of the band’s inspirations – a style now becoming more similar to Joy Division than ever before. Of course, the band are their own band, but this is a parallel which many people can’t help but draw when they hear the music of The Possibles.

Whilst they are not yet signed, they have performed a string of gigs, with more soon beckoning. What’s more is the fact that the band has recorded an EP and has also released a music video of their very own “Saviour”, gaining over 700 hits on Youtube within the space of two weeks.

“Saviour” is just one of a few songs that will be available on the EP, but it is an undisputed gem which captures the sound of the band just beautifully. A solo drum introduction, followed by a catchy bass-line is then added to in sublime force by Cooper’s lead guitar and McClelland’s keyboards, with Moore’s vocals eventually coming in. The song reaches its full potential every time it kicks into the powerful and pacey chorus, which is a stark contrast to the reserved form the song takes in its verses leading up to the chorus. The sound and style which this particular song creates brings to attention a reminder of another once-famous and successful Liverpool band, Space, who are perhaps most famous for their single, “The Female of the Species”.

Speaking about the music video, keyboardist, Jamie McClelland, said, “Every time someone says that they have seen our music video, it means the world to me. That someone has taken three minutes or so out of their lives just to give us a listen”.

Amongst other songs by the band are the tracks, “Black Cloud”, “Cold War” and “Last To Survive” – all three of which encapsulate different aspects of the band’s style, and will hopefully appear on the new EP.

Not wanting to give too much away, McClelland continued, “The EP is getting launched in April and it will be available to purchase at the gig we are doing of that same month”.

The band are headlining at the Bumper nightclub on Hardman Street in Liverpool’s city centre on Saturday 28^th April. They have already played a few gigs at the Shipping Forecast, which is not too far situated from Bumper, whilst they are also currently being touted to act as main support for signed acts that are coming over to play at Liverpool’s O2 Academy.

The band has also gained valuable air-time on radio stations. Commenting upon this, McClelland said, “We’ve already been played on air in Canada, whilst we are due to be played on radio stations in Wales and LA in about two weeks time.

“For the time being, we are not signed and we are therefore are own managers – although, we are hoping that when we get down to work properly, management will come along.

“We’ve got far better songs in the making. We’ve been working on two new ones – one of which is an opener which will blow minds”.

Considering the band are not under any management and are not signed, they are on the right track towards spreading their fan-base. The combination of air-time on various radio stations (both local and across the border) along with a released music video and a EP which is guaranteed to be released in April has made sure that the band will certainly be heard. But will they be gigging outside of Liverpool?

“For the time being, no unfortunately” McClelland commented. “It’s hard for us to get outside the city at the moment due to our other work commitments and the whole money issue”.

However, if the band continues to practice hard, make music and get a run of live gigs across Liverpool, then it may only be a matter of time before they are picked up by a manager or a talent scout. This would mean that they will be given valuable direction, as well as funding to get them out of the city and across the UK to be heard by many others and to hopefully spread their fan-base.

Whilst The Possibles are a band which is still a work in progress, they are doing everything in their power to get themselves heard. Their dogged determination has seen them come this far. Only time will tell to see if they have more determination left in their locker to help climb a few more feet up the music ladder.

I, for one, would not bet against it.

*To find out more about The Possibles, like their band page on Facebook, or visit their MySpace page at www.myspace.com/thepossiblesuk

The Cavern Club: Small place, big history

The old entrance to the original Cavern Club

In Liverpool’s Matthew Street, there lies a small venue with a history which stands at epic proportion in comparison. It is a venue which has played host to many of the greatest bands and musicians which have graced our planet. A venue which has created many happy memories for many different people. And despite having to be rebuilt and restructured, having gone from sweet highs to turbulent lows, the venue sits proud once again, allowing for it to create many more happy memories in the process. This venue is, of course, none other than the world famous Cavern Club.

Original owner, Alan Synter, opened the club on 16^th January 1957 at 10 Matthew Street, with the intention of creating England’s most successful jazz venue outside of London. Synter’s inspiration came from the Parisian jazz club, La Caveau De La Huchette, which is also why the club is aptly named the “Cavern”.

Despite serving primarily as a jazz club, Synter agreed to allow skiffle group, the Quarrymen, to perform there in August 1957. It was John Lennon’s first appearance at the club, and despite being told not to, Lennon and the rest of the band started to perform rock music to which Synter reacted angrily by saying, “cut out the rock”. Five months later in the January of the following year, the band returned, with a certain Paul McCartney making his debut for the band. It is also widely thought that Richard Starkey’s (more famously known as Ringo Starr) debut preceded that of both Lennon and McCartney’s, as he was alleged to have played in the July of 1957 with the Eddie Clayton Skiffle Group. Starkey would later return to the venue with his new band, Rory Storm and the Hurricanes, in the November of 1959.

It was Rory Storm and the Hurricanes who opened the first ever advertised beat night session on 25^th May 1960 at the Cavern Club, which was now under the new ownership of Ray McFall. This was to be the beginning of a whole new era which typified the sound of the city of Liverpool, and would later become known as “Merseybeat”. Acts such as Liverpool’s very own Gerry and the Pacemakers and The Searchers, as well as other British acts such as Herman’s Hermits and The Zombies were all affiliated with this revolutionary music scene. And, of course, Merseybeat’s most famous musicians were none other than The Beatles.

The Beatles played 292 gigs at the Cavern

It was in February of 1961 that The Beatles played the first of 292 gigs at the Cavern Club, creating a relationship with the music venue which has become synonymous as time has elapsed and history has developed. Later on in the November of the same year, local businessman Brian Epstein discovered The Beatles for the first time, and immediately offered them his services as a manager, to which the band accepted. By the June of the following year, Epstein had secured the band a record deal with Parlophone Records. Unfortunately for the band’s drummer, Pete Best, he would play his last ever gig with The Beatles at the Cavern on 15^th August 1962, having been replaced by Ringo Starr.

Starr made his first Cavern appearance with the band just four days later. Three days after that, Granada TV filmed a Beatles lunchtime performance in which the band covered Richard Barrett’s “Some Other Guy” and Little Willie Littlefield’s “Kansas City”. During this old footage, the crowd can be heard chanting “We want Pete”, as his dismissal from the band was still fresh in the minds of many of the fans.

Almost a year later, on 3^rd August 1963, The Beatles would play their last ever gig at the Cavern. By the following year, the band had smashed their way through the American music scene through a craze which became widely known as “Beatlemania”. Their success and their famous affiliation with the Cavern meant that a whole host of artists – both British and American – would visit the venue to play gigs in the future.

Amongst such famous visiting music acts were Chuck Berry, Wilson Pickett, Ben E. King, Stevie Wonder, Queen, The Kinks, The Animals, Elton John, The Rolling Stones and The Who – and that is just to name a few!

In the midst of such legendary artists visiting, the venue would close down for a short while in February of 1966, when Ray McFall was pronounced bankrupt. The Cavern would eventually be taken over by Alf Geoghegan and Joe Davey, who developed the club by extending it and introducing a new entrance, as well as a souvenir shop, a boutique, and a ground floor coffee lounge and eatery – all of these additions acted as extras to the original basement vaults were musicians played their shows. Harold Wilson, who was none other than the British Prime Minister at the time, would officially reopen The Cavern on 23^rd July 1966.

However, the world famous club would again change hands in 1970, when Harry Waterman and Roy Adams took over. Whilst the club still continued to thrive off its success, welcoming more and more famed musicians as time went by, British Rail eventually took ownership of it and planned to knock it down during construction of the city’s underground rail loop. The original Cavern Club would eventually close on 27^th May 1973, with the venue now moving to the opposite side of Matthew Street.

The new venue would remain as the Cavern Club until 1976, when it then changed its name to Revolution – however, after just one month, the venue would close and would later reopen as Eric’s, which has since became famous in its own right for holding links with Liverpool artists such as Echo and the Bunnymen, the Lightning Seeds, Frankie Goes to Hollywood and Siouxsie and the Banshees.

Five years later, in 1981, plans were revealed to excavate the buried remains of the Cavern Club cellar and reopen it in its original form. However, it was eventually announced that this would not be possible, as it would be far too unsafe due to the damage which had been caused during demolition of the club’s ground floor in 1973. Instead, the Cavern Club would be redeveloped through an authentic reconstruction, adopting a Beatles theme and eventually opening in 1984 after being leased to former Liverpool FC player, Tommy Smith, and his business partner, George Downey.

Whilst The Beatles flavour that the club adopted worked well, the ownership switched hands again a year later and the club would take on a modern disco theme. This proved to be less successful, and it led to another shift in ownership just eighteen months later. James McVitie would take over the club in February 1987 and soon had it thriving off success once again. However, this success would prove to be short-lived, as the club was again closed two years later in 1989, having lost its license due to an assault which had happened on one of the club’s customers.

The new build of the Cavern

The club had endured its toughest, most chaotic period and did not reopen until two years later in 1991, when Cavern City Tours took over. Thankfully, ever since this takeover, the club has endured a more fluid period of success than on previous occasions and still remains open today.

Highlights since the club’s reopening include its hosting of the first ever Matthew Street Festival in 1993, which has gone on to become Europe’s biggest free outdoor music festival ever since. The venue also played host to a Paul McCartney gig in 1999, where he not only promoted his album Run Devil, Run, but also created a sense of nostalgia in the process, rolling back the years to the times of when The Beatles were the club’s signature act.

Also, since the Cavern’s reopening in 1991, the venue has played host to music acts such as Oasis, Donovan, Bo Diddley, Lonnie Donergan, Embrace, KT Tunstall, Travis, The Coral and Arctic Monkeys – again, just to name a few!

In 2007, as part of the club’s 50^th anniversary celebrations, an album was released entitled The Cavern: The Most Famous Club in the World. The album features tracks from artists that have played at the Cavern Club – both at the old build and the new build. It is a 3-disc compilation album containing 50 tracks from 50 artists – all of which peaked as number one singles. Interestingly enough, it was the first ever known compilation album to feature a Beatles track – the track in question being the band’s first number one single, “Please, Please Me”.



The cover to an album which was released as part of a 50th anniversary celebration of the Cavern's opening

Having looked back at the huge history of this small club in Matthew Street, it is safe to say that the Cavern Club has had its fair share of highs, as well as its fair share of lows. However, one thing is for certain: it will always be famous for all of the right reasons. The Beatles’ world famous affiliation with the place gives it a reputation which is both glowing and untouchable. Respected artists from across the entire music industry continue to come from all over the world to play there in order to gain that wonderful sense of nostalgia, whilst it also remains a hot-spot for millions of tourists. There is no arguing that the Cavern truly is “the most famous club in the world”.

*Historical facts are supplied courtesy of visit www.cavernclub.org – visit this website to learn more about the club’s history and to also find information about up-and-coming events and gigs

Last Days of Disco

It’s just getting on for 6 o’clock in the evening and Last Days of Disco are preparing for band practice. I’m greeted within a relaxed atmosphere which shows that the band members are just as much good friends as they are colleagues. A pre-practice conversation consists of the horrifically brisk weather outside, South African accents and the prospect of a hard-earned beer after practice is through and finished. Before you know it, the equipment is set up and there is a strong sense that it is time to get to work. Lead singer, Ben, yells out the word “Ready?” to which the rest of the band then respond to by slowly building into their very own “We Start Fires”. Each stroke of a chord, each playing of a note, each beat of the drum and each song lyric that is sang all come together and gather pace. The song then bursts into the chorus - Last Days of Disco are here, and they are knocking down the door on the way to becoming a major success....

The band, who are based here in Liverpool, are currently preparing for a series of shows – one of which is certainly the gig of their life. With the prospect of a record deal looming large, the band is playing a show in The Bull & Gate music bar in London on 6th February in front of a special visitor from the Sony record company. This is certainly as big as it gets for an unsigned band, and it is something which has massive potential to be the ultimate making of Last Days of Disco.

Having been a long term admirer of the band, ever since lead singer and rhythm guitarist, Ben Weighill, and lead guitarist, Matt Chambers, moved from their hometown of Chesterfield to Liverpool, there is certainly a clear observation and recognition that the band has continued to progress and to make huge strides to becoming what they ultimately want to be – a signed band that makes their own music and plays to masses of adoring fans. With the welcome addition of management now behind them, this is certainly an achievable goal for Last Days of Disco.

When Weighill and Chambers first arrived to Liverpool, there was a clear potential from the off that the band could become something big. Now that they have added Liverpool bassist Eddie Wynne, as well as Clevedon drummer James Kelly to the line up, that potential has been bolstered from something which could have been big to something colossal.

They have switched from initially being a predominantly acoustic band to now being a powerful, electric band – a switch in style which Chambers believes is “much better”. Both Wynne and Kelly provide a powerful engine within their bass and drum playing which drives the songs, whilst also allowing the rhythm of the music to flow better and giving Chambers complete freedom to shred his lead guitar over Weighill’s rhythm guitar. All of these different elements and styles of play combine beautifully to create a sublime sound within Last Days of Disco’s music.

What’s more is the fact that the band has become more sophisticated in selecting songs for their set-lists now. This is something which Weighill feels is owed largely to the new support of management.

Commenting upon whether or not the management has had an influence over the songs which get played, Weighill said, “Yes it has, because Neil (the band’s manager) has told us which singles he feels will impress the most”.

Before the switch-over from acoustic to electric, there were a whole host of self-written songs which Weighill and Chambers used to play. Some of the songs have been removed due to their acoustic content, whilst others have been removed due to what Chambers and Wynne both describe as “a different direction”.

The manner in which the band can afford to discard certain songs from set-lists (songs such as “Mock the Mocha”, “Freedom is Slavery’” and “Last Lost Love” – all of which have the potential to get released at least onto an EP or an album) just goes to show the abundance of quality and depth within their song-writing skills. This is a firm statement that as time progresses, so do Last Days of Disco.

The band also used to play a small range of quirky and exciting covers within their previous set-lists – amongst which were Jamie T’s “Stella” and Vampire Weekend’s “A-punk”. However, they no longer perform them either.

Asked upon why the band no longer plays cover versions, Chambers firmly commented, “Because we are going to be our band and not a covers band”.

The assertive nature in which Chambers replied to that question just goes to show the confidence that the band has been allowed to gain through the addition of new members, as well as the switch in style of play and the support of new management. The band is thriving and there is a strong sense that they know what they have to do in order to make it.

It is evident in the way they practice. Outside of it, they are four friends who indulge in their fair share of banter. But once they are in there, they are passionate, professional and focused. Every now and again, there is a laugh and a joke in between, but make no mistake, this is a band that is ready to work for what they want to achieve.

Being there in practice, and being allowed the pleasure of sitting in and observing them, I quickly became drawn in and fascinated by the prospect of this set-list which the band feels will serve them best on their quest to spread their fan-base and to hopefully gain that record deal which they so richly deserve.

After breaking in the practice by starting with the quirky, upbeat and catchy “We Start Fires” and the heartfelt “All We Need”, I felt warm and tingly. I felt joy at the way in which the songs made me feel, whilst I also felt joy at the prospect at what this band can

become. It was a nice feeling to have, but that feeling was about to change…

No sooner had those opening two songs been played, when the band then burst into the much heavier, much more powerful “Last Dance”, which transformed my slow, trance-like sway into furious head-thrashing. The structure of Weighill’s rhythm, Wynne’s bass and Kelly’s drums all combine to provide the perfect engine for the song, and to also allow Chamber’s to let roar with the song’s strong and effective riff. The aggressive and somewhat shouty repetition of the words “regret it” within the lyrics of the song stuck with me hours after the practice had finished – the repetition of these words and the fact that Chambers’ backing vocals combine well with Weighill’s lead vocals gave the song a real sense of purpose, and made it stand out even more. But the manner in which those words were delivered, along with the rest of the song as a whole, proved how diverse Last Days of Disco are within their range of songs. The fact that they can go from something as quirky and upbeat as the chorus of ‘We Start Fires’ to this raw display of sheer power and aggression in ‘Last Dance’ shows that the band certainly isn’t a one-trick pony.

As the climax of ‘Last Dance’ comes to an end, the band then build into a link, which keeps a strong sense of momentum and then ultimately becomes the start of a clear signature tune of theirs – the utterly mesmerising ‘Circles’. Having heard most of the band’s music from past and present, I would make the personal observation that this is the archetype of the band’s overall sound and style. The song tells the story of how a relationship reaches that tedious and repetitive phase that a romance often evolves into when it is coming to an end – the lyrics “It seems like we are walking round in circles again / The finish line’s always inside but I can’t reach the end” sum up the message which the song ultimately conveys. All of the lyrics within the song contribute towards a romantic, raconteur-style which Last Days of Disco often reach when they write their songs. On a couple of occasions throughout the song, there is a break down into a slower and heavier bridge before building back into the chorus. The harmonies of the backing vocals within this bridge combine well to compliment Weighill’s lead, whilst also complimenting the entire nature of the song. Whilst the chorus and bridge are catchy enough to get any crowd singing along, the climax to the song is what is sure to have everybody jumping up and down and absolutely going for it. The repetition of the words “Does he love her / And does she love him?” leaves the story of the song on a cliff-hanger, whilst also providing audiences with a style reminiscent to the early-day Arctic Monkeys, who were experts at getting audiences to hark back from the stands and terraces.

The band then finish their practice of the set-list with “Trigger Finger” and “If I leave” – the latter of which is a song that has clearly been written with the intention of blowing people’s heads off. Chambers’ lead guitar during “If I leave” resembles elements of solo work which come together to sound like a classic rock song in the Guns ‘N’ Roses

type of mould. In gigs of the past, the band have more often than not finished their set-lists with “Circles” – however, the tactical shift of finishing with ‘”If I leave” has clearly been included to end the set-list on a high which will have audiences still rocking when they are on their way out of music venues in the future.

With the visit of a Sony Columbia Records talent scout on the horizon and the prospect of this set-list being played out live in front of him, Last Days of Disco’s chances are looking pretty good.

Upon this subject-matter, Weighill said, “The guy from Sony has heard “(We Start) Fires” and “Last Lost Love” and he already likes us”.

He continued, “If we live up to his expectations live, then hopefully, it won’t be long before we are rubbing shoulders with Beyonce and Bruce Springsteen”.

Whilst Weighill made this statement in a tongue-in-cheek manner, it is still pretty clear to see that the band is setting its sights as high as possible. And what’s more is the fact that the band are confident that this pivotal and decisive gig will go down well.

Weighill further continued, “The good thing is that we’ll have a good sound man. The sound man who does the Gorrillaz is doing our sound for this gig, which is a major step-up from what we have been used to in the past”.

Such a statement is yet another sign of how much Last Days of Disco have progressed. Whilst they have played on in past gigs with a normal standard of sound technique and management, they are now finding themselves presented with this opportunity to work with the best in the business.

This premise of “best in the business” transfers over in all matters associated with the band. As well as working with publishers and management, the band has also been given the opportunity to work with a song-writer who has previously worked with nineties girl group All Saints and the legendary Tom Jones.

“He (the song-writer) hasn’t wrote any songs for us, but he advises us on different parts and gets really excited over other parts too” Weighill commented.

He’s not the only one who is really excited…

Having been given this wonderful opportunity to have an exclusive peek into the band’s practice and to speak with them all on a one-to-one basis, I would make the overall observation that this band is constantly making strides into the right direction. The shift in instrumental style and the support of both publishers and management has got the band thinking in a more mature manner and making the right decisions. The reworking of set-lists is constantly evolving due to the fact that the band is very active when it comes to writing new material – therefore, meaning that they are allowed the freedom to rework set-lists based on the strength of new songs.

Taking all of these factors into consideration, one thing is for certain…Last Days of Disco are certainly heading on the right path towards glory.

*To find out more about Last Days of Disco, like their Facebook page or follow them on Twitter via @ldod_official. Or if you are interested in listening to some recorded demos from the band, then visit their MySpace page on www.myspace.com/ldodband

George Harrison - Ten years on, Liverpool remembers

November 29^th 2011 marked the tenth anniversary of the death of a legend. To many he was an unsung musician and more importantly, a wonderful human being. Whilst many remember him as the “quiet Beatle”, the musical legacy that George Harrison has left behind speaks major volumes for a man who may not have embraced the limelight as much as his fellow band members. Although he didn’t bask in being the centre of attention as much as the other three lads who shook the world, George Harrison was still every inch the music icon.

As the youngest member of the band which would go on to become one of music’s greatest success stories, Harrison shouldered a great deal of responsibility in his role as lead guitarist. The manner in which he undertook this role and the skill in which he demonstrated through his lead suggested that he was mature beyond his years. However, his cheeky smile, along with his shy and reserved manner, was a reminder to the viewing public that Harrison was merely a boy when The Beatles first came to prominence.

Whilst he may have only been 18 years of age by the time The Beatles burst onto the scene and became famous, Harrison’s life had already been eventful, joining the band at the age of 14 and gaining fan-bases in the German city of Hamburg, as well as his home city, Liverpool. It was in the Liverpool music venue, The Cavern, where The Beatles were spotted by Brian Epstein. He would later become the band’s manager, and would project them onto the popular music scene. The band would eventually reach global recognition and Harrison’s life was about to become even more eventful.

The Beatles would go on a whirlwind of a journey during their successful yet sometimes controversial reign – both musically and physically. They smashed their way to the top of the British music scene by 1963, and embarked upon an era which was famously named “Beatlemania” during the years of ’64 and ’65, in which they not only cracked the American music market, but also dominated it.

Throughout their reign together as a signed band, The Beatles reached 17 UK number ones and 20 US number ones. The band also starred in films together, with A Hard Day’s Night and Help! both being well-received amongst audiences and critics.

Although the band stopped touring in the year of 1966 – performing their last gig at Candlestick Park in San Francisco – they continued to make music together up until the release of their final album, Let It Be, in 1970.

During his time with The Beatles, Harrison wrote several successful songs – amongst which, “Taxman”, “Within You, Without You”, “While My Guitar Gently Weeps”, “Here Comes The Sun” and “I Me Mine” (which he later used as the name of his autobiography in 1980) are counted as his best.

Harrison also shared experiences with the band which largely contributed to his being. The Beatles were of course renowned for taking LSD and later openly sharing their “acid-trip” experiences within interviews.

In The Beatles Anthology, Harrison explained that the first time that The Beatles took LSD was “sometime in 1965, between albums and tours”, and that it was “an accident”. In a quirky little anecdote which he christened “the dental experience”, Harrison went on to say that him and his fellow Beatles “were the innocent victims of the wicked dentist”, whom they had met and had dinner with a few times. However, whilst initially making it sound as if he and the rest of the band were objects of victimisation, Harrison later went on to say that LSD was “fantastic” and that it had gave him “the most incredible feeling”. Stories such as this give you a sense that Harrison and his fellow Beatles were all free birds who wanted to both feel and share experiences with each other.

During his time with The Beatles, Harrison later embraced Indian culture and mysticism, introducing it to the rest of the band. He had met the Maharishi in London during the year of 1967, and had expressed an interest in transitional meditation – however, plans to attend a 10-day seminar with the rest of The Beatles were curtailed, due to the death of Brian Epstein. The Beatles did, however, revive their interest when they visited India the following year of 1968. It was there that The Beatles attended a transitional meditation class, which particularly had a profound effect on Harrison, as spirituality and meditation both became prominent features during the rest of his life.

Whilst all four of The Beatles possessed different qualities within aspects of their personality which enhanced their popularity amongst the masses, the deep and mysterious aspects of Harrison’s personality conveyed an almost ethereal and spiritual persona – not only to general public perception, but also to people who actually knew him. Many would argue that his experience of spirituality and meditation indeed enhanced this persona of his.

Whilst many daub Harrison as the “quiet Beatle”, due to this somewhat reserved and mysterious persona of his, he still had a profound effect and influence over other people. He was renowned for taking interests in things and befriending people as a result of that – he not only did this through his appreciation for the transitional meditation of Indian mysticism, but he also did it when he embraced elements of the Indian music style and incorporated it within some of his own music.

It was the Indian musician, Ravi Shankar, who introduced Harrison to the Indian stringed instrument of the sitar. Harrison would go on to use the sitar in several Beatles’ tracks – most famously in his own song “Within You, Without You” from the Sgt. Pepper album. Harrison also showed his appreciation of Indian culture when he later wrote and released his solo song, “My Sweet Lord”, in praise of the Hindu god, Krishna.

“My Sweet Lord” was, of course, just one of many songs that Harrison released after his time with The Beatles. Other solo hits included “What is Life?”, “Give Me Love (Give Me Peace on Earth)”, “You” and Harrison’s cover of the James Ray song “Got My Mind Set on You”.  Harrison also famously collaborated with his own super-group, The Traveling Wilburys (with whom he featured alongside with Jeff Lynne, Bob Dylan, Tom Petty and Roy Orbison) – the bands most famous hit being “Handle With Care”.

Outside of music, Harrison worked as a film impresario and producer, when he set up his own production company, HandMade Films. Although the company was initially set up just to raise and provide the funding for the Monty Python film, “Life of Brian”, it continued to thrive when Harrison bought the rights to “The Long Good Friday” and successfully put it into production. Other successful films that Harrison helped to fund and produce include “Time Bandits” and “Withnail and I”.

Within his personal life, Harrison married twice – first to model, Pattie Boyd, during the years of 1966 and 1974, and later to record company secretary, Olivia Trinidad Arias, from 1978 up until his death in 2001. His first marriage ended when Boyd pursued a romance with Harrison’s close friend and fellow musician, Eric Clapton – although many would see this as the ultimate act of portrayal, Harrison still remained friends with both Boyd and Clapton. His later marriage to Olivia was much more successful, lasting for 23 years up until Harrison’s death and spawning Harrison’s one and only child – his son Dhani, who followed in his father’s footsteps and became a musician.

In 1999, Harrison was attacked with a knife at his home by Michael Abram – an intruder who claimed that he was possessed by Harrison. After confronting Abram and receiving several stab wounds as a result of his approach, Harrison was saved when his wife, Olivia, struck the intruder several times with a lamp. In Martin Scorsese’s documentary film, “George Harrison: Living in the Material World”, Olivia recalls that Harrison claimed that he was “preparing his spirit” and was ready to “accept death” during the moments in which he was being attacked.

Although Harrison survived the attack and overcame his various wounds and injuries, he was tragically diagnosed with lung cancer just two years later. The cancer spread to his brain and his condition rapidly deteriorated, causing his death on 29^th November 2001. He was 58 years old.

Whilst this article merely serves as an account of key moments in Harrison’s life, it comes nowhere near to covering the constant whirlwind of events and the journey through life that he endured. There are so many moments that contributed towards Harrison’s life and being that it could arguably take years to tell his story.

One thing can certainly be derived: George Harrison was a wonderful spirit – a beautiful soul with a host of talent, whose influence will live long in the memory and will affect many for years to come. Ten years on, Liverpool remembers one of its most famous and influential sons, along with the rest of the world.

Rest in Peace, George Harrison.

*If you want to discover more about George Harrison’s intriguing and adventurous story, then watch the documentary film, George Harrison: Living in the Material World – available to purchase online and in most film and music outlets

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Noel Gallagher - Riding Solo & Flying High

He is a stalwart of modern era rock. One half of a bittersweet brotherhood famed for their rock ‘n’ roll antics and infamous bust-ups. Some would even go as far as calling him a “genius”. Whilst he was the never the lead singer of his former band, Oasis, Noel Gallagher is still viewed by many as the true leader of the band. This is perhaps due to the reams upon reams of classic songs that he wrote and contributed to the band – making them the true kings of the “Brit-Pop” era in the process.

Although he is unmistakably a Mancunian – and perhaps someone who should be famed as rivalling Liverpudlians, due to his home roots – Noel Gallagher is a musician who actually has strong links to the city of Liverpool.

During the recording of their first album, Definitely Maybe, which would go on to become a catalyst in the history of British rock, Oasis visited the city of Liverpool to record their debut single ‘Supersonic’ – a track with which Noel claims that the band “hit the ground running” in the ‘Lock the Box’ interview that was included in a special box-set edition of the compilation album, Stop the Clocks. You could even go as far as to say that the video for the single – which was shot on a rooftop – perhaps pays homage to The Beatles’ famous Abbey Road rooftop performance.

But then again, that wouldn’t be much of a surprise. It is clear to see for all that Gallagher and his brother, Liam, take great inspiration from The Beatles. This inspiration has been made prominent through a variety of different elements. The style of music that Oasis adhered to during their 18-year reign not only resembles The Beatles, but sometimes gets so close that it is frightening – tracks such as ‘All Around the World’, ‘Songbird’, ‘Let There Be Love’ and ‘I’m Outta Time’ are just a few examples which support this statement.

Even the swagger of Noel Gallagher resembles the cock-sureness and charisma which all four of The Beatles seemed to possess when they were in their prime as a unit. You even think “Beatles” when considering the many hairstyles that Noel has sported over the years – the many spaceship-sized sunglasses, the many clichéd leather jackets.

And Noel’s association with Liverpool doesn’t stop there. On their last British tour in 2008, Oasis kick-started their campaign with a double date in the Liverpool Echo Arena. Noel said himself whilst onstage at the first of the two gigs that “It’s quite fitting that our first gig back should be in Liverpool”.

This is a statement which could perhaps hark back to the historical context of the recording of the debut single which would put Oasis on the path towards dizzying heights of fame (as mentioned earlier, ‘Supersonic’ was recorded in Liverpool). Or the statement could perhaps be viewed as one owing to the city of Liverpool and the inspiration that their greatest talent – and arguably the world’s greatest ever band – shed upon Oasis.

If it has not been made evident through Noel’s style of song-writing, or through the style of his many different visual appearances over the years, then the amount of Beatles’ covers that he has played will be enough to unearth the inspiration and the profound effect that The Beatles have had on Noel.

During his music career, Noel has covered Beatles’ classics such as ‘Strawberry Fields Forever’ and ‘Help!’, whilst also famously collaborating with The Stereophonics’ Kelly Jones on the Revolver track, ‘I’m Only Sleeping’. Gallagher has also collaborated with “The Modfather” himself, Paul Weller, on ‘All You Need is Love’ during a live performance at the Royal Albert Hall for his Teenage Cancer Trust charity album, The Dreams We Have as Children. In 2007, Gallagher also covered ‘Within You, Without You’ with his then fellow members of Oasis, as part of a 40 year anniversary for the Sgt. Pepper Lonely Hearts Club Band album.

Whilst those above mentioned are only a few of the Beatles’ covers Noel has performed during his music career, Oasis’ version of ‘I am the Walrus’ is arguably the best of the bunch. The track featured on Oasis’ fourth studio album, The Masterplan, which primarily comprises of B-sides from past Oasis tracks preceding the album itself. “Version” would definitely be the best word to describe the track, as it much more than just a cover. The riff of Noel’s guitar on the track is certainly a lot heavier than the guitar featured on the original version. Oasis’ version also has a quicker tempo, which is amplified by the aggressiveness of Liam’s vocals. Noel even added an extra riff on the end of the track, making it three minutes longer than the original.

Sources close to the band say that Oasis were performing this Beatles’ classic live in Manchester even before they were famous – liner notes on the sleeve of The Masterplan album also make the same observation. It is certainly a track that Noel has held dear to his heart for a number of years, as it was included as recently as 2008 on the Oasis set-list as an encore for the band’s Liverpool date of the Dig Out Your Soul tour – this, as we know, was the last tour that the band ever embarked upon before Oasis officially split during the August of the following year.

Upon the band’s split in 2009, Noel issued a statement via the band’s official website, saying “with some sadness and great relief...I quit Oasis tonight. People will write and say what they like, but I simply could not go on working with Liam a day longer”. This statement, for Oasis fans, would mark the end of an era.

However, with every end comes a beginning.

Noel’s now former band mates have decided to continue without him, and now perform under the new name of Beady Eye. Since their shift away from Noel, the band have been a relative success, with their debut album, Different Gear, Still Speeding, peaking at number 3 in the UK charts.

As for Noel himself, well…he’s managed just fine. After deciding to enter the big old world on his own two feet at the ripe old age of 44, he is now riding solo. His debut album, Noel Gallagher’s High Flying Birds, was released in October 2011 and reached the top of the UK charts at number 1.

With the album spawning hits such as ‘The Death of You and Me’ and ‘If I Had a Gun’, there is hardly any wonder why the album reached number 1, and it is very much clear to see that Noel still has plenty to offer. Make no mistake, both of these songs reek of Noel Gallagher. But they reek in a good way. They reek in the sense that with every stroke of a chord and every strain of a vocal, there is still a rock star existing within the whole icon that he has become.

The roots of this menacing Manchester boy are still visible for all to see. The passion to write and perform to the best of his ability is still there. And with a solo album tour on the cards, there is no doubt that we will be seeing plenty of Noel Gallagher in the foreseeable future.

As for beyond that, there is a sneaking sense that he will still be making and releasing music, simply because it is in his blood. Only time will tell what the Manchester master will produce. As for now, we must do as the reserved Noel has seemed to do for his entire music career, and just sit back and enjoy the ride.

*Noel performs in Liverpool Echo Arena on 6^th September 2012.


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The City of Music

Liverpool is a city with a rich history. It is a city which is proud of its own heritage. It is also home to a host of monumental buildings such as the Neoclassical-style St. George’s Hall and the famous Royal Liver Building. The city is also the proud home of two of England’s most successful football clubs – Liverpool and Everton. Compatriots of the city, who are also known as “Scousers”, are famed for their unique accents and their quirky banter. It is a city which is a whirlwind of activity – wherever you go in Liverpool, there always seems to be something going on. And then there is just the small matter of the city’s musical history…

Before the swinging era of the 1960s occurred, the city welcomed many different immigrants and cultures from around the world – all of which would introduce their different music styles, and would combine to shape and influence some of the best music produced in history.

During a foreword for Paul Du Noyer’s book, Liverpool: Wondrous Place, the great Sir Paul McCartney reflects upon his past in music and how the city of Liverpool was a big part of it. McCartney claims that “the big factor about Liverpool was it being a port”.

“There was a massive amount of music to be heard. So, with all these influences, from your home, the radio, the sailors and the immigrants, Liverpool was a huge melting pot of music. And we took what we liked from all that.”

This account, contributed to by none other than a member of one of the world’s, if not, the world’s most famous and successful band, amplifies Liverpool’s heritage as a music city. Long before The Beatles had put the city of Liverpool on the global map, people were drawing influences from the different cultures which were coming into the city, as well as drawing influences from their own homes and the radio.

The fact that Sir Paul describes the city as a “huge melting pot of music” from which he and the rest of The Beatles drew influence from just goes to show the scale and the depth of the musical knowledge and know-how which the city housed back then. That knowledge has since erupted into a mass of various Liverpool music artists, and it continues to develop today.

Whilst The Beatles were undoubtedly the city’s biggest success, other music acts such as Lita Roza, Frankie Vaughan, Michael Holliday and Gerry and The Pacemakers preceded them in reaching number one in the UK music charts. Billy Fury, The Searchers and Cilla Black were also prominent music acts coming out of Liverpool in the sixties, whilst comedian Ken Dodd even managed to obtain a number one single with his song, ‘Tears’.

However, it was The Beatles who put Liverpool on the musical map in the sixties and since then, it has continued to live up to its reputation as a music city, producing a diverse range of music acts in the process.

Amongst such music acts were the soul band The Real Thing, who gained international recognition in 1976 with their disco classic, ‘You to Me Are Everything’.

The 1980s then saw the emergence of Liverpool dance-pop groups such as Frankie Goes to Hollywood and Dead or Alive. Interestingly, Frankie Goes to Hollywood were only the second act ever in history to reach number one in the UK charts with their first three singles – the first act being none other than fellow Scousers, Gerry and The Pacemakers. The eighties also gave rise to fellow Liverpool bands Echo and The Bunnymen and A Flock of Seagulls.

Then came the 1990s, with Liverpool bands such as The Lightning Seeds, The La’s, Space and Cast all contributing towards the era which would eventually go on to be famously known as “Britpop”. The Lightning Seeds famously wrote and collaborated with the comic duo, Baddiel and Skinner, on the number one single, ‘Three Lions on the Shirt” – a song which was written for the England national football team for the Euro ’96 tournament. The song swept the nation and was used again two years later in the 1998 World Cup, reclaiming the number one spot in the UK music charts.

And now into the 21^st century, the city continues to produce talent, with bands such as The Coral, The Zutons and The Wombats producing successful chart hits. Whilst The Zutons had relative success with their hit single ‘Valerie’, reaching number nine in the UK music charts in 2006, the late Amy Winehouse famously took the song and made it her own the following year when she collaborated with Mark Ronson.

Looking back at Liverpool’s musical heritage, it is evident that music is just something which remains in the city’s blood. So much so that Liverpool has been named “World Capital City of Pop” by Guinness World Records, having produced 56 number one singles to this current day – more than any other city in the world.

The city still remains an attraction for tourists, with “The Beatles Story Exhibition” and the new rebuild of the famous Cavern Club being big attractions for music fans, as well as the world renowned Matthew Street Festival. The city is also host to a number of music venues, including The Royal Philharmonic Hall and the 11,000-seater Liverpool Echo Arena, which was opened in 2008 as part of the city’s celebration as the Capital of Culture.

Whilst it would be rash to say that the city of Liverpool would be nothing without its music, due to other factors contributing to the city’s history, it would be fair to say that the music is the heartbeat of the city – boosting the city’s profile and helping it to thrive off its success.