The live show coverage continues in full force here at DaveCromwellWrites. With the first half of this year favoring live performances over new recorded works, that pattern continues here once again. Returning to a venue last visited at the end of 2024, two favorite bands now appeared there for the first time. Having experienced these artists spectacular live shows multiple times at other storied locales, the opportunity now presented itself once more in a unique and well-respected arena.
It was just over a year ago when a show at the House Of Blues in Orlando, FL dubbed “The Goth Prom” was attended. Performing that night (and seeing for the first time) were two of the best Tribute bands on tour. Both Lovesong-The Cure Tribute and Strangelove-The Depeche Mode Experience put on dazzling shows of exceptional interpretation at the highest level. In the 12 months plus that followed, more Lovesong shows would be attended at a number of nearby popular Orlando-area venues. Thrilled to see that *both* bands would be performing together again on June 19th at The Plaza Live made attendance there a must.
Opening the show was the band we've become quite familiar with over the last year. Having caught multiple shows by them all over the Orlando area, Lovesong The Cure Tribute present a stunningly accurate re-creation of that English Goth bands entire catalog of music.
They kicked the night off with one of their most recognizable songs "Just Like Heaven," much to the packed crowds delight.
That was followed by the equally beloved "Inbetween Days" - the whole show was pretty much one Cure hit after another.
With the fan favorite "Pictures Of You" serving as further evidence.
Deeper tracks began to emerge, with the still wildly popular "The Walk"
The moody and mysterious "Fascination Street"
Quirky/cute pop of "Let's Go To Bed"
Trippy fever dream "A Forrest"
Heartfelt angst with "A Night Like This"
An anticipated show highlight was the visually stimulating fire-on-screen projections for "Burn." Robert Smith and peak-era drummer Boris Williams wrote and recorded the track specifically for the 1994 film "The Crow."
Another expected moment was the band playing their namesake composition "Lovesong," which comes complete with romantic video screen images of Robert Smith and his wife Mary.
That was followed by the creepy-cool spider musings of "Lullaby"
Since it was a Friday night, it could have been more appropriate to hear them play "Friday I'm In Love"
They closed out their show with The Cure's first hit and probably most know song "Boys Don't Cry."
There are a number of opportunities to catch Lovesong live in the days ahead.
Getting a second opportunity to see and hear Strangelove-The Depeche Mode Experience on this their 40 years of Black Celebration 2026 World Tour was a thrill once again. With a few back-end personnel changes this time around, there was no loss of quality in both sound and overall performance. Front men Brent and Leo still carry the show, with rock solid drummer Chris (a more live upgrade over electronic beats) and new keyboardist/harmony vocals Kaleb all contribute to a show that the one and only OG Martin Gore says is “such fine detail that's it's scary.”
The show opened with "A Question Of Time," the third single and sixth track on Black Celebration. The visuals of various clocks on the projection screen behind them set the tone for all that followed.
That was followed by "World In My Eyes," an instantly recognizable and wildly popular DM single from their seventh studio album, 1990's Violator.
"Get The Balance Right" was next, delivering a perfect rendition of this 1983 single (and first with Alan Wilder as an official member).
The sometimes maligned "People Are People" from 1984 was delivered with precision. A chart topper at the time, both Martin Gore and Dave Gahan thought the song was ultimately "too commercial" and stopped playing it live in their shows.
Less pop and more in line with darker themes saw the band perform 1985 single "Shake The Disease." Brent leading the audience with his "understand me" vocal is a particularly sublime moment.
Returning to Black Celebration, the moody lead single from that album "Stripped" was played. Sometimes confused with sexual connotations, it's more about stripping away all of your trappings.
A brilliant version of "Halo" from 1990's Violator album.
Brent really puts all his heart and emotion into the tender relationship ballad "A Question Of Lust."
Going back to the early days, 1981's "Just Can't Get Enough" was DM's only 3rd single (and first release in the US), and one of the few to be written by soon-to-be-leaving the band Vince Clarke.
Another early gem, 1983's "Everything Counts" is still so relevant with it's satirical critique of corporate greed.
Since this day was actually Brent's (a/k/a "Counterfeit Martin") Birthday, the guys from Lovesong (and his own band) came out and presented him with a birthday cake, and an audience serenade to him.
The always popular "Policy of Truth" from 1990 album Violator was another show highlight.
As was the deep groove "It's No Good" from 1997's Ultra.
It's always a celebration (black or otherwise) when the tribute band plays their namesake song, as was the case here with "Strangelove."
"Behind The Wheel" is another deep dive into the bands catalogue, from their 1987 album Music for the Masses.
Moving ahead two decades, "Suffer Well" is from their 2005 eleventh studio album Playing the Angel. It was their first single written by Dave Gahan, and first single not written by Martin Gore since the above mentioned "Just Can't Get Enough."
Dipping back into the Ultra catalog, the fourth and final single from that album "Useless" is always a crowd pleaser.
As is the bands most successful worldwide hit "Enjoy The Silence." The Violator track because their highest-charting US single, and has since amassed over a billion streams.
That is rivaled by the other huge Violator single "Personal Jesus." The first release to enter the US Top 40 since 1984's "People Are People," it was also their first gold-certified single in the US.
Closing out the show was live show crowd pleaser "Never Let Me Down Again." A fitting end to a satisfying 20 song concert, leaving everyone buzzed by the incredible audio and visual experience.
A hand signed setlist always a treasured keepsake.
Pre and Post Show chit chat were the order of the day, engaging with our favorite usher Natalie (we see her at Hard Rock Live all the time as well) and of course two of the Strangelove superstars.
Lovesong's Nick Bomleny is always great to catch-up with.
All the fun of the fair.
Recognition for the positive Florida turnout.
The tour rolls on throughout the summer.
Including a number of dates continuing "Love Is Strange" with Lovesong.
Leaving the busy place you’ve called home all your adult life for less-stressful pastures is a choice as well as an adjustment. For this writer, people and bands that were seen there regularly are now hoped they’ll come to your new locale. The good news is a number of them have, and the opportunity to catch their shows again has not been wasted. When a new album offers fresh source material along with an appearance, a deep-dive-analysis is the only way forward. As is often the case, some of these shows also introduce performances by artists previously unheard in the live environment.
Beloved and long-time adored band The Raveonettes have been doing a live show retrospective of all their albums since 2024, their first proper tour in a decade. Feeling a bit of FOMO as they played city after city, it was exiting news indeed when they announced a Florida date for April 1, 2026. Arranging for a modest road trip, the trek was made from Orlando to Ft. Lauderdale to experience once again the dazzling sights and sounds of this glorious band.
The location was venerable Ft. Lauderdale. Florida venue Culture Room.
On arrival a lengthy cue was already waiting to get in.
Entry didn't take long, and after opening act Astari Nite (more about them later) The Raveonettes were on stage.
Opening the show with "Blackest" from their most recent album “Pe'ahi II,” it's descending “detective story” guitar melody is instantly recognizable. That suddenly drops out leaving behind changeover “ooohs” and a stark rendition of the songs lyrics. “When I rise on my wave - the moon shows her face. A lonely dot at sea - a lonely girl coming straight at me.”
Immediately following that was another track from the same album (it would eventually be discovered that the entire setlist would be blocks of songs from one album, before moving on to another) and a personal fave track "Killer." It's chorus hooks you in immediately with the battle-scarred relationship lines “Kill for love, and make it so I don't care. Most of the time, I felt so alone.”
On more from that same album with the forward charging rocker "Speed." True to the song title, it’s fast paced, tasty guitar lick driven.
Choosing to play only one song from their 2003 debut full-length studio album, Chain Gang of Love, they went with the albums most recognizable track "That Great Love Sound."
Moving to their 2005 album Pretty in Black, first up was single "Love In A Trashcan."
Followed by "Red Tan" from that same album.
As well as "You Say You Lie."
Pivoting to their 2002 debut mini-album Whip It On, "Attack of the Ghost Riders" was up first.
Followed by "Veronica Fever"
As well as the blistering "My Tornado"
With "Cops on our Tail" as a fourth entry from that record.
Shifting focus to their 2007 album Lust Lust Lust, "Hallucinations" was first up from that heady period.
Followed by "Dead Sound"
Then it was on to their 2014 seventh studio album Pe'ahi with "Endless Sleeper." Fuzzy bass, shuffling percussion and deep twang guitar figures alternate between dense layers and open spaces. Lyrically, its one part songwriter Sune Rose Wagner recapping a near death experience from drowning while surfing a number of years back. Sudden bursts of quick flashing pulses match the tracks violent sonic outbursts, which in turn perfectly underscore appearances of tranquility abruptly exploding into violence.
Followed by "Sisters" from that same album, with it's frenzied guitar destructiveness and sonic landscape of beautify mayhem.
Breaking the album block cycle, they dipped back into Pe'ahi II, for a brilliant rendition of "Strange" with its familiar Every Brothers-style blended vocals. Then a cover of the 1967 Velvet Underground classic "Venus In Furs."
Perennial pre-encore show ender (and Lust Lust Lust album opener) "Aly, Walk With Me" is always a high point of every show.
For the encore Sharin took the spotlight singing lead vocals on their 2010/2013 Dr. Martens commissioned cover of The Stone Roses "I Wanna Be Adored."
Along with Sune handing his guitar to drummer Jakob to throttle, while he went solo on the mic for the 2011 album Raven In The Grave classic “Recharge & Revolt”
Show complete, the backstage shenanigans came fast and furious.
It's always a pleasure catching up with these amazing musicians and great people.
Looking forward to future shows down the road in sunny FLA.
Opening the show was alternative/dark wave band Astari Nite.
Originating out of the Miami, Fla alternative scene, frontman Mychael Ghost provides a visual center and primary focus on the songs he writes and performs.
Accompanied by a solid guitarist and multi-layered keyboard player, the electronic trio filled this venue with a captivating sound and light show.
“Your perfect light – makes me shine" Mychael sings.
"I always wanted you"
"Bowie In Daydreams"
Cathedral lighting and atmosphere further enhances the power of each song performed.
The aura is dramatic with touches of goth-rock melancholy.
"Unisex Games" - vocals draw from Bowie influence in both tone and diction. Early Peter Murphy (in Bauhaus days) is another point of reference.
Meeting the artist post show is always a rewarding experience.
There was a period of time in the year 2019 when this site covered live shows by the electro-art collective A Place Both Wonderful and Strange seemingly ever other month. The history goes back even further with a detailed album review in 2018 and very first live show personally attended in 2017. Along the way the band members took a hiatus from apbwas to do other things, including their wildly popular ADVENTURE[s] Robyn Party, acting, art projects and living their lives. After this writer moved to Florida, it was a pleasure to catch up with Russ and Laura in 2024 for their appearance at Crux in Orlando. Now back again for another Crux/Orlando show, the band also has a brand new album “Matter and Desire.” A deep dive analysis on all of this commences below.
Finding inspiration from Andreas Weber’s book “Matter and Desire: An Erotic Ecology,” the band completed their unfinished songs (some 8 years in the making) that focus on “the moment before something changes forever.” Opening track “Intro444” combines ominous background sounds with spoken word lines (delivered by guest vocalist Devery) that state “I have a theory” morphing into “I HAD a theory.” The swirling, pulsing ambiance progresses mysteriously as vocal declarations float in and out “you have to honor me” and “in this house – renewal – creation.” It’s tense film-score sensations as voices continue with statements “to crawl, to walk, to run.”
Follow-up cut “Shedding Velvet” emerges via percolating machine-driven synth arpeggios that have been the staple of club music since forever. A solid 4-on-the-floor beat powers underneath orchestral melodies floating above. The rhythm is quick and motorik with synth stabs and ghostly voices adding depth during both it’s quieter and more frantic passages.
Third entry “Crying In An Uber” leans on world music percussion to establish it’s rhythmic base. Vocals are purposely buried deep into the mix, serving as one more ambient element, rather than direct storytelling. Liner notes, however indicate someone is witnessing “an apocalypse happen” (watching nuclear destruction coming this way?!) which would be more than enough to make anyone cry. Cryptic clearly-heard vocal inclusions such as “a light at the end of a tunnel” add more questions than answers to the heavily percussive outro.
“A Map For Birds (Behind The Glass)” is a hypnotic deep space meditation that seduces the listener into a trance-like state. As the lengthy (over 5 minute) recording evolves, hard-slap percussion, throbbing sonics and female vocals are interwoven for otherworldly effect. Liner notes indicate they’ve been developing this one in their live shows “for what feels like a decade,” before finally being able to “capture it on record.”
Featured track “It's Not That Bad, Muffin” also comes accompanied by an Official Music Video. Depicting a “Groundhog Day” scenario where Russ repeatedly wakes up at 7 am and goes about his daily routine. Against a heavy synth-stab and trip-hop percussion beat, the image of someone stalking him (Laura) appears, cut in with bloody drops in the snow. As the music rises in intensity, with higher-pitch synth notes cutting through, Laura’s murderous voice drifts in and out with dramatic audio quick stops. Russ ultimately stops in to a bar to get a drink. When the bartender steps away, menacing Laura takes his place, forcing him to make a run for it. However, there’s no escape from “murdering” Laura, who ultimately takes the 7 am wake-up place as the videos final scene.
Check out this deliciously macabre video here:
A majestic orchestral intro is first heard on the ultimately Lynchian rendition of 17th century Irish Gaelic poem “Táim SÃnte Ar Do Thuama.” Numerous artists have covered this authorship-lost-to-time piece with it’s more recognized anglicized title “I Am Stretched On Your Grave.” For this version, Laura is tasked with an unsettling vocal rendition, with low-end percussion and layered sonics.
Penultimate cut “Vegetation” rises out of a pulsating electronic backwash, with Laura commencing another spoken-word segment. Much like the dense thickets of its title subject matter, additional audio layers roll in and further obscure ones ability to traverse and cut through. With a subtle jungle thump emerging, Russ now joins the fray with more intense shouted vocals.
Final entry “Dissociation (A Map For Birds)” serves up an alternate dub mix of previous (behind the glass) version. With less background activity, emphasis is placed the voices recorded, rising up (and then out) of the mix. A more playful audio trip, it serves as a perfect closer to this overall fascinating collected recordings.
In addition to this wonderful album's debut (both studio version and live renditions) were many curious sights encountered in this arty village and gallery/bar.
On arrival a majestic and relaxed cat was spotted, seemingly owning the streets outside.
It was soon discovered this was Lulu, the "mayor" of the venue and neighborhood.
With honors this regal individual so obviously deserves.
Being an art space, a variety of vintage photos (1921!) and paintings adorn the walls.
The night's theme was a Twin Peaks Costume Contents and the participants did an amazing job.
Out front with the best David Lynchian band there is.
Thanks for never forgetting to come to Florida!
“Matter and Desire” is on the Re:Mission Entertainment label and can be ordered here.
The evolution of how we use Social Media to connect with others over the last decade has been a curious one. For those of us who are musically driven, the early aughts gave us MySpace as a place to interact. That morphed over to YouTube, Facebook (still hanging in there as far as topic specific groups go) and ultimately over to Instagram. Although aware now of other emerging platforms, for this writer - FB and IG for the most part remain more than sufficient. Not particularly interested in perfecting “dance moves” or being a product-hawking “influencer,” most of the new “take silly videos of yourself” outlets are of little interest. What does that have to do with this sites current crop of music reviews? Quite simply, you never know who you will eventually run into again a decade later. With that cryptic aside, we now commence with the March 2021 DCW Feature.
It's easy to see the appeal of Queens, NY-based edgy power-pop duo Yo Kinky. Having only established themselves a year ago, the duo of Laura Wight and Tom Unish have created an enticing five song EP that is accompanied by a number of attractive, cleverly realized videos. While guitars, keyboards and drum machines provide the musical foundation for each excellent song, it is the confident intelligence, charm and determined energy of front-woman Laura that sets them apart from many other male/female duos.
However the recorded music is more than just an individuals stylistic image, as EP opening track “Wire” attests to. With a minimal percussive beat setting things in motion, an angular, descending guitar progression takes over with rich tonal quality. Laura immediately establishes a distinct personality with soft-to-forceful vocal phrasings (often within one line) while busier bass-guitar patterns emerge underneath (“anyone can tell I'm in love with you.”) Bubbling keyboard effects soon join in adding one more sonic element. Repeating the same lines throughout a song can become static if the vocalist lacks expression. Fortunately that is not the case with Laura who finds multiple ways to recite them (“the last thing I wanna do is fight with you,”) capping it all off with the universal “Ooh, Ooh, Oooh!” A brand new video for this song has just emerged and can be viewed via this link.
First single and video “Someone I used to know” shows the band putting their best foot forward in every way. Kicking off with long-view nighttime city lights, buzzing synth-bass and drums have a near-techno-house feel. Quick cuts to a glamorous face, form-fitting gloves and jacket (with punk-rock skull and crossbones pattern) has the voluminously coiffed Laura delivering come-hither lines while strutting seductively-fun down the street. With each line carefully delivered “I know you, and I are gonna have a rad time - Full of bad taste, of neat humor - We'll kick the rat race, enjoy the rumors”- credit goes to the performer and director for this perfect synchronicity. As deep tom-tom drums lead into the title-line chorus, an amusing (to me, anyway) overlay of Tom's head provides a “gazey” background vocal face while Laura continues the flirtatious pull with lines “all there's left is you” (pointing her blue-leathered glove right at you).
All of the lyrics and vocal line deliveries are most-enticing, coming on with a street-smart lingo and attitude. However, this writer is particularly fond of the line “I'm a glutton for typeface boys and girls.” Two minutes in (on this three-and-a-quarter minute song) Tom gets his “rock star” moment, standing solo in the street with guitar in hand, dropping that heavy hook riff. The final near-rap-like boastful lyric “I've heard the gunshots right below my window panes-I've always spit out: one day I'll make it rain” sound more believable coming from the casually-confident person delivering them. One video commenter said Laura reminded them of Anna Kendrick, and I can see that. Big personality and pretty face in a diminutive frame. We all have our points of reference. Since I'm presently binge-watching every season of “The Americans” (a show I continually planned to see but conflicts always prevented it), I can see similarities with Keri Russell – a much younger version.
Check out this super cool video here:
At under two minutes long, “Lonely Love” gets to the point right away in classic punk-rock fashion. Hard charging distorted electric guitar with pummel thumping drums and bass set the way for Laura's crisp vocals over top. Laying out a story where rhyming couplets “the might is right” are paired with “the dark goes light” soon spins into a double-time prison yarn (didn't see that coming). With mentions of “sing sing,” “rikers” and potential breakouts, images from Escape At Dannemora come flooding back into view.
Another track benefitting from an accompanying video release is the bouncy guitar-driven “Resistance.” Chiming, indie-clean chords are matched against machine-driven trap-drumset approximations and appropriately synched bass (sounding like – well, a complete three piece rock band). The sweetly alluring (and frankly, dazzling) smile of Laura (not to mention those cheekbones) come presented in three distinct visual scenarios. The first has her sat at kitchen table wearing a robe and character defining wig (wavy and pyramid shaped) from decades ago. Next is a more modern style – almost go-go-girl-like with white lacy dress and long straight hair – but she's trapped in a box inside a dirty warehouse. Last shows the time-honored 'damsel-in-distress' – tied to railroad tracks – with 1920's-era fingerwave hairstyle – bringing to mind the look in Miss Fisher's Murder Mysteries.
A subtle buzzing synth joins in behind they lyrics “Everybody's just around the corner now. Everything I need is just a short walk down the street.” A this point the scenarios begin to change, becoming more distressed. We see the 'go-go-girl' is chained at the ankles with water slowly filling the container she's trapped in. Morning coffee and cigarette robe-woman now has flames coming up from underneath – cleverly recreating that popular “this is fine” meme. Damsel on the tracks is already “in distress,” but we get to see more close-ups of that pretty screen-icon face and listen to the sweet vocals. But what is the song actually about? “Sight got back, I feel different, a flicker in the distance. More like you, more like him, more home- sans resistance,” is how the minor-key hook-chorus goes. So - “sans” resistance- that is to say - “no” resistance. As Laura let's loose with impressive vocal range “Oooooh's,” Tom unleashes more aggressive, harsher-toned guitar lines. Clever use of cardboard train coming at the damsel, and all three victims meet their demise (burn, drown and presumably run over by a train) – that is until the coda image of robed breakfast woman lighting up her cigarette from the burning flower on her table.
Watch the whole fun video and listen to the equally great tune here:
Final track “Stretch” kicks off with an angular percussive pattern favoring altered snare and tom-tom tones (oddly bringing to mind Mick Fleetwood's bizarro marching band thumping on the Fmac track “Tusk”). Choppy FX's-free electric guitar and bass engage in a descending progression before Laura commences her extremely-wordy vocal presentation. Morphing between a friendly-sneer street-lingo style and longer held notes, the effect bears similarities to Lene Lovich's delivery on her late 70's/early 80's era alterna-hit “Lucky Number.”
Telling a tale about coming-of-age females growing up in LA, (hitchhiking, etc) – that scene from “One Upon A Time In Hollywood” where Brad Pitt's “Cliff Booth” eventually gives some flirty and forward jailbait a ride to the Spahn Movie Ranch comes to mind. The chorus is one of those “number count” songs where “30 40 50 60 70 80 90” are recited in succession, followed by “Ain’t no way the best year got behind me.” Twisty synth tones join the fray, adding an element of chaos to it all. The second verse acts as one of those “travel log” segments where every notable neighborhood in the area (and eventually other global cites) are mentioned. The songtitle eventually reveals itself with the summation line “You’re gonna bend, you’ll fold, you’ll stretch.”
Find out about everything this band has to offer via their LinkTree here.
A much needed (now more than ever) new organization called Freedom Of Creativity has connected this website with an excellent band out of Austin, Texas – The Dizzy Bangers. Fronted by guitarist and vocalist Jimi Dharma (surely a relative of Blue Oyster Cult's Buck Dharma) the music combines rock and roll with grunge, blues and psychedelica.
One of their recent releases “Under The Sorrow” comes complete with an impressive live-in-the-studio video that is enhanced by animated effects. An initial chugging chord progression is soon joined by bassist and drummer, quickly establishing the off-to-the-races “kick-ass” sound. The visual enhancements are immediate, taking live action players and morphing them in and out of a cartoon-like sheen. Jimi comes into focus, looking somewhat like a bearded Joe Satriani. In between the head-bobbing (and band jumping) hooky signature riff, crystalline vocals lay out an intelligent lyrical storyline. Referencing songtitle in the chorus, Jimi concludes with “I'll be with you at that moment we say – goodbye.”
All three musicians are impressive with chops galore, and who doesn't love a 5 string bass. Drums are delivered with that four-way independence and simultaneous synchronicity of a seasoned pro. Very cool angular guitar line serve as interludes and bridges to subsequent sections. Jimi ultimately lets rip with a killer guitar solo at the songs midpoint, putting just the right amount of emphasis on it, without excessive “J Mascis levels” of noodlery (which would have been ok too!). With that penultimate hooky chorus embedding itself firmly in your head by this point, super slo-mo effects are applied onto the developing cartoon-anime bandmembers.
Following the success of last years pandemic influenced single “Quarantine Dreams” and subsequent full album release “Masterforce,” the self-described “high gloss rock duo” Turbo Goth have now recently dropped an exciting new track “Crystal Eyes.” Simply speaking the title out loud could easily have you pronouncing it as “Crystallize,” which turns out to be just that after listening in full.
Clocking in at a no-excess only one-minute-and-a-half, the song gets right to the point with Sarah's softly appealing vocals kicking in right away. “If you're waiting for a sign – it ain't that hard to find” she states, as pulsing keyboards and hip-hop percussion create a positive bubbling backbeat. As “it ain't that hard to find” becomes a repeated echo line, alternating imagery of a vinyl record playing is spliced against walking footprints and brief glimpses of the bandmembers.
Delicate vocals continue with the lyrics “within you is Divine – quit wasting your time” as beautiful images of nature (sunsets, sky, sea, birds) are cut together with a protagonist slowly being revealed wearing a spacesuit.
As we get closer looks at the “astronaut” exploring the new landscape they (obviously) have just landed on, the vocal cadence quickens with the lyrics “falling out of control? Getting all mixed up in the fear? Let me take you back to all that's now and here.” Subtle effects and harmonizing are added to each successive line as they emerge. A slight sonic change occurs at this point as darker outer space imagery is joined with (also darker) “inner space” fish-in-tank, with lyrics “hold on to – uninterrupted cosmic – vibration.” A purple color walkway then appears with the lines “you already know: where you will take yourself” - as the backing track momentarily drops out to add emphasis on that last line. “I'm ready to go – if you want to take me too,” continue the lyrics.
Another cadence shift happens with the vocals and lines “and we won't forget what's real – we'll know to turn our sights” (complete with green-hued “office desk” imagery (stapler, paper clips, pencils and computer keyboard) “onto the light.” Vocal overlays commence “with good vibration” now alternating over “onto the light,” and that word “crystallize” making an appearance.
Check out this enchanting song and video here:
Previous Turbo Goth Features can be found on DaveCromwellWriteshere, here and here.
Not that long ago, when meeting in person was still a thing.
Find out everything else about Turbo Goth at their Official Website.
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Entering the DCWrites sphere via the most advantageous way (a direct message notify), Rob Clarke and The Wooltones hail from the UK Liverpool suburban village of Woolton. Among other things, the area is noteworthy for John Lennon's childhood home as well as he and Paul McCartney's first meeting place. Rob Clarke incorporates elements of this history into his music, along with a variety of other influences as well. On the bands latest album “Putting The L in Wootones,” a heady mixture of 60's psych, UK/Mersey and American West Coast vibes permeate the album's eclectic tracks.
The album's introductory track “Big Big Bad Bad John,” also comes along with a video treatment presenting numerous famous John's as possible songtitle reference. The descriptive accompanying text states “down in the swamps . . . lived a man they called John . . . Big Big Bad Bad John – but, which John?" Clips of JFK, John Lee Hooker, John Wayne, John Bonham, King John (or maybe that's John The Baptist), Johnny Rotten and the one any only Mr. Lennon himself are all shown in quick succession. The associated instrumental groove is a stomping, bluesy, acid-rock progression, with longer-held psychedelic guitar riffs capped off by a bold guitar-bass+drums accent finish. Coming to a full stop to deliver the lyrics (the way Led Zepplin's “Black Dog” does) the lyrics go “Big bad John, he's been gone too long. Sing 'wah-diddy' with his glasses on. Many things have come and gone – dead and gone but the beat goes on.”
A variety of cool clips from films and live musical performances roll by with a new series of John's including Travolta, Cochran, Voight, Cash, Fogarty, Gielgud, Doe, Southside, Wesley Harding, Elton, Depp, McEnroe, Cleese, Deacon, LBJ and a few assorted English Footballers and Politicians who are unknown to this writer. However, feel free to pick out the one's YOU can spot that were missed here. Meanwhile, the song continues to stomp along like some deep American South jungle-blues with tribal tom-toms, wailing harmonica and chanting vocals.
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
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