Skip to main content

1990s

Cabaret Voltaire, Edinburgh
4 stars
Like those saved in the Velvet Underground song, 1990’s singer Jackie McKeown’s life was clearly saved by rock and roll. This can be the only explanation for what looks like a Damascene conversion from the wonky DIY indie of the then John McKeown and bassist Jamie McMorrow’s long lost outfit The Yummy Fair, a band whose alumni included future Franz Ferdinand members Alex Kapranos (then Huntly) and Paul Thomson, to the strung-out boy’s own boogie of 1990s. It’s as if drummer Michael McGaughrin injected the spirit of his old band, V-Twin, into McKeown before joining the party.

With Bernard Butler produced debut album Cookies just released by Rough Trade, this free warm-up show for competition winners from the forthcoming Rock Ness festival’s website shows off 1990s as a far smarter proposition than such implied excesses suggest. The opening Cult Status is one great big Glasgow band in-joke, Arcade Precinct is Lou Reed’s Vicious re-imagined by Jonathan Richman for a Gregory’s Girl remake, while See You At The Lights continues Glasgow’s love affair with Big Star in a spikier, less cosy fashion.

For all the trio’s world-weary sass and knowing strut, McKeown and co have a big bag of wit to accompany McKeown’s down-home and dirty guitar. It’s as if the decade they named themselves after was spent getting loaded, as was de rigeur back then, except 1990s took notes along with everything else. Yet for all their retro-styled cheek and a groovy frug through rock’s back pages that comes on like a beer-soaked soundtrack to Life On Mars, 1990s are a band on serious form. Cult status may be a life-saver yet.

The Herald, May 26th 2007

ends

Comments

Popular posts from this blog

Myra Mcfadyen - An Obituary

Myra McFadyen – Actress   Born January 12th 1956; died October 18th 2024   Myra McFadyen, who has died aged 68, was an actress who brought a mercurial mix of lightness and depth to her work on stage and screen. Playwright and artistic director of the Royal Lyceum Theatre, Edinburgh, David Greig, called McFadyen “an utterly transformative, shamanic actor who could change a room and command an audience with a blink”. Citizens’ Theatre artistic director Dominic Hill described McFadyen’s portrayal of Puck in his 2019 production of A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre in London as “funny, mischievous and ultimately heartbreaking.”   For many, McFadyen will be most recognisable from Mamma Mia!, the smash hit musical based around ABBA songs. McFadyen spent two years on the West End in Phyllida Lloyd’s original 1999 stage production, and was in both film offshoots. Other big screen turns included Rob Roy (1995) and Our Ladies (2019), both directed by Mi...

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Billy Elliot The Musical

Edinburgh Playhouse Five stars A big National Coal Board sign looms large at the opening of Lee Hall and Elton John's decade-old musical stage version of Hall and director Stephen Daldry's hit turn of the century film. In a tale of one little boy's liberation as a dancer against the backdrop of the 1980s miners strike, however, the Durham Miners banner and the 'Save Our Community' sash held aloft matter more. It is this call to arms that forms the heart of Daldry's production, as Billy becomes a potty-mouthed beacon of hope in a situation where picket line, thin blue line and chorus line rub uneasily up against each other. Given such a context, there is bound to be some pretty grown-up stuff going on here, be it the institutionalised homophobia in Billy's village, the class war going on within it, or Billy's grieving for his dead mother that drives his every move. And, as so magnificently choreographed by Peter Darling, what moves they are. Watch...