Goblin to perform Dawn Of The Dead


29TH OCTOBER 2015, 7:30PM


£20.00 + B/FEE

‘When there’s no more room in hell, the dead will walk the earth…’ 


Lunar Festival and The Electric Cinema are teaming up on Thursday 29th October to present a very special cinematic event, as Claudio Simonetti’s Goblin arrive in Birmingham to perform a live soundtrack alongside a screening of George Romero’s original 1978 horror masterpiece Dawn Of The Dead. Read more Goblin to perform Dawn Of The Dead


The Hollies: The Twilight Years from Dylan to disco

BOBBY ELLIOTT recounts to IMOGEN HARRISON about how ’60s veterans found adapting to The Bay City Rollers, disco and heavy drinking managers a challenge.  



After 11 frustratingly tumultuous months in the studio, in December 1976, The Hollies released their fifteenth studio LP, Russian Roulette.

“It was a gamble” claimed lead singer Allan Clarke when reflecting on the inspiration behind the album’s utterly un-Hollies-like title. “[We were] experimenting with different sounds and different ways of writing songs’.” Unfortunately for Clarke and the rest of the group (at the time, consisting of originals Tony Hicks and Bobby Elliott on lead guitar and drums, as well as fellow Mancunian bassist Bernie Calvert and Liverpudlian Terry Sylvester on rhythm guitar), it was a gamble that didn’t necessarily pay off; similarly to the group’s previous four studio efforts, the album received little promotion from the record label, and as a result, didn’t even scratch the lower echelons of the charts. With the exception of a surprisingly successful live LP in March ’77 (Hollies Live Hits, that climbed to number four in the UK charts and was named as “the greatest live album of the ‘60s and ‘70s”), this was a pattern that the group would see continue until after Clarke’s departure in ’99, as they released LP after LP, but to no mainstream avail. Read more The Hollies: The Twilight Years from Dylan to disco


Miley Cyrus & Her Dead Petz

You what? Miley in Shindig! Well, yes. The one time Hannah Montana has been getting very “off it” with The Flaming Lips and a host of fried guests including Ariel Pink. This is the result. 

Miley Cyrus & Her Dead Petz
Smily Miley Inc.



It’d be easy to write off Miley Cyrus. She’s a former child star known primarily for scandalous behavior. How could anyone possibly take her music seriously? Admittedly, I didn’t until Cyrus and a friend visited the shop where I work. I watched as they spent 45 minutes pouring over every record in the place. In the end, Miley walked away with an impressive stack of vinyl, including copies of White Light/White Heat, Unknown Pleasures and The Madcap Laughs. I wondered at the time, will these records rub off on her music? Now that I’ve heard Miley Cyrus & Her Dead Petz I’m certain they have. Actually, I believe Wayne Coyne of The Flaming Lips has probably had the biggest influence on Cyrus’ new music. His freaky presence is all over the new album.

The very idea of Miley and Wayne working together entices me. Both seem so adventurous and freaky, what could they possibly achieve together? I’m pleased to say, Miley Cyrus & Her Dead Petz is a powerful declaration of personal independence and artistic ambition. At 23 years of age there hasn’t been enough time for Cyrus to grasp or assimilate much of rock’s rich tapestry, yet by aligning herself with Coyne she’s tapped directly into The Flaming Lips’ sense of limitless musical possibilities. On the album there’s a feeling the songs are being created spontaneously, yet once they sink in its obvious craft is involved. The lyrics often seem like random streams of thought, but they add up to something meaningful, or at least it feels that way, which is important. Stylistically, there are no boundaries, and of course, this makes it difficult to characterize the music. “Psychedelic” is the word that keeps coming to my mind, but I’m not sure some Shindiggers will hear it that way. For many of you (but not all) it won’t be possible to transcend the retrogressive aesthetic. That’s too bad, really, because Miley Cyrus & Her Dead Petz is definitely a trip worth taking.

Ric Menck

Stream the album here


David Gilmour – The Royal Albert Hall

Old Floyd man still has it.

London Royal Albert Hall 23/09/15


Many moons ago a work colleague of mine took pride in the fact that, not only had his father been to see a Syd Barrett-fronted Pink Floyd, but that he’d managed to get a significant section of the audience to do the conga to ‘Interstellar Overdrive’.  The thought of this happening is a funny one whichever way you look at it but especially that cataclysmic music of the outer space and inner mind was able to move an audience in a provincial town of North-Western England (where the sights and sounds of London were as alien to them as could be) to their feet and not to the exit door.  However, it’s unlikely that anyone will leave early tonight either; this is the first return of David Gilmour to this venue (and to touring itself) since 2006 and anticipation levels are pretty high amongst the punters attending to say the least.

Starting with an opening pairing of ‘5AM’ and the title track to new album Rattle That Lock, Gilmour’s distinctive laconic approach to his guitar playing is instantly evident – why play a dozen notes when you can make one note sing? His sound is instantly recognisable to even the most casual Floyd listener but by third song ‘Faces Of Stone’, there’s a slight concern that he’s going the way of other similarly ageing guitar veterans and sliding down into snoozefest territory until the “big ones” are pulled out of the bag.

No fear of that tonight though as he immediately follows it by playing a wonderful version of  Pink Floyd’s ‘Wish You Were Here’ with ex-Roxy Music’s Phil Manzanera ably assisting on acoustic too; their interplay agleam with the glory and pain of the song’s subject matter. He then introduces “a couple of pals” in the form of David Crosby and Graham Nash to sing their beatific backing vocals on ‘A Boat Lies Waiting’  – interestingly boats, sailing and the sea seem to be a common motif in Gilmour’s latter day songs, as illustrated by recent Floyd swansong release ‘The Endless River’.

‘The Blue’ allows Gilmour the use of an octave pedal, enabling him to extend the range of notes beyond the confines of the frets on his guitar yet still maintain the lyrical quality that he’s renowned for.  It’s the very definition of a soaring guitar solo and he makes it look so easy too!  Things shift up a gear with a groovesome ‘Money’ and ‘Us And Them’ back to back; the latter giving a definite tug on the heart strings and tear ducts of those who have grown up listening to ‘The Dark Side Of The Moon’.

The first set is concluded with ‘High Hopes’ and, as much as it elicits similar emotions as the best of Pink Floyd it seems that, despite Gilmour’s razor-sharp guitar lines and voice doing justice to the songs, we’re to be denied the verve and innovation of early Floyd numbers. That is until the second set opens with the familiar strains of Syd Barrett penned ‘Astronomy Domine’.  Suddenly, the synapses are snapped into life and the light show is truly a wonder to behold. From the ‘Mr Screen’ backdrop come images evoking lava lamp stylings before the venue is awash with eyeball-shredding colours that dazzle and daze. Nothing short of a stroboscopic-like delight!

‘Shine On You Crazy Diamond’ is a fitting follow-up, featuring the tease of an intro to full effect, whilst ‘Fat Old Sun is as wonderfully soporific as ever.  However, the following series of solo songs threatens to bring back the fear of Floyd-lite territory. (’The Girl In The Yellow Dress’ in particular being a little too French café jazz-lite) until ‘Sorrow’ and it’s thunderous guitar introduction blows any such concerns away and suddenly it seems that Gilmour has rediscovered the muse, grappling and squeezing his guitar until it bends to his will.

He follows with ‘Run Like Hell’ and, again, the lights accompanying it are incandescent – the entire band wearing shades to cope – and then it happens. One solitary figure is driven to rise from his seat and stomp down the aisle of the entirely seated floor, arms aloft and willing others to join him which they promptly do until the entire audience is compelled to stand up and do the same, creating an impromptu communal headrush of joy and celebration.  

A double whammy encore of ‘Time/Breathe (Reprise)’ and a scintillating ‘Comfortably Numb’ bring the gig to a close with Gilmour’s exiting grin seeming to say – yes, he’s still got it and that he still likes giving it to ‘em too!

Marc Le Breton


The Monkees & The Polyphonic Spree – The Moseley Folk Festival

Our fave US ’60s TV pop stars two men down and people in white robes stun folkies and hipsters alike

Moseley Folk Festival, Moseley Park, Birmingham, 06/09/2015



The final day of the tenth Moseley Folk Festival saw glorious, late summer weather and a spectacle of equally dazzling music – some of it definitely folk, some stretching the definition to the limit.

At the less folky end of the spectrum was that jubilant troupe of Dallas pop rockers, The Polyphonic Spree, whose numerous members filled the stage in white choir robes to share their joyous symphonic rock. This helped the sun-drenched, well-chilled crowds prepare their ears for the headlining act … The Monkees.

Now, I suppose you could argue that The Monkees’ music is so much a part of popular culture that it has become a kind of folk music. Hits like ‘Last Train to Clarkesville’, ‘Steppin’ Stone’, ‘Pleasant Valley Sunday’, ‘A Little Bit Me, A Little Bit You’ and ‘I’m a Believer’ had the enraptured audience joining in. Footage from the original The Monkees TV series was projected at the back of the stage while Micky Dolenz and Peter Tork impressed us with their exuberance (not bad for a couple of septuagenarians) and their musicianship (not bad for artists who were famously said not to have played their own instruments.) Micky sang in his distinctive and still powerful voice and played some rhythm guitar, his drumming duties taken care of by Peter’s son, while Peter sang and switched between guitar and keyboards.

A kettledrum was provided for Micky to play on his ‘Randy Scouse Git (Alternate Title)’ while Peter’s songwriting and guitar skills were showcased on several numbers including his ‘For Pete’s Sake’ (which some will remember as the old end credits music from the TV show) with its message of love, peace and freedom.

Perhaps The Monkees’ songbook has passed into folk memory. A rerun of the series in the ’80s might account for some of it, as not everyone enjoying the performance in Moseley was old enough to remember the original airings but, regardless of age, everyone seemed to know all the lyrics. Micky joked, “You may know this one, but please don’t join in … it puts me off,” before launching into ‘Daydream Believer’. Of course, everybody joined in.

In an unexpected climax to the evening the numerous members of The Polyphonic Spree were invited back on stage to join in a rendition of the theme from The Monkees’ 1968 psychedelic film Head, ‘The Porpoise Song,’ with its fitting if bizarre refrain: “but the porpoise is laughing, goodbye, goodbye, goodbye …”

Tony Gillam