Rating: 4.5 out of 5 stars

Dire Straits are a band who were at their best when they focused on elegance, atmosphere and imagery. London music pubs, sweeping northern moors, youth-filled dance halls, rum soaked detectives and forlorn lovers are frequented in some of their most loved songs. All these characters are are present on this excellent reissue of their definitive live record, which maintains the charm of the original, while adding additional clarity and depth. The same unfortunately, can not be said of the accompanying DVD, which displays an energetic band at their peak with an enthusiastic audience, still shows trails of the grain that discloses the age more so than any of the clothing on stage.

Prior to their later super-stardom, Alchemy finds Mark Knopfler and company extending and improving the recorded versions of their early material. Four of the songs exceed ten minutes, thanks to extended introductions and improvised solos. These grand ideals are not always a universal success – signature song Sultans of Swing looses its raw rock and roll appeal thanks to overzealous organ work and arena sized drums. The occasional throw away tracks – such as Expresso Love – still maintain a certain quality but do not bring anything additional to the record. Throughout listening to the album, it becomes apparent which way the band were progressing as, Brothers In Arms is clearly sign posted all over the songs.

Besides the predictable guitar genius of Knopfler, the outstanding musical work on this record can be found within the piano-organ-synthesiser work of Alan Clarke. His contributions are superb – the tasteful additions help to fill out the space left by the minimal guitar as well as transporting the listener to the remote haven of musical nirvana – the introductions to Tunnel of Love and Going Home (Theme from Local Hero) take you places you never thought Dire Straits could.

For those who dismiss Dire Straits as bourgeois father rock, Alchemy is the definitive response that shows they can be as hard rocking, experimental, free flowing, jazz influenced and as rock and roll as you could get.

RunKeeper Pro (£5.99) – For the past month and a half, I’ve entered into a fitness routine. A mixture of encouragement from friends and self-drive have helped me into a routine of two miles runs, three times a week and I simply would not have made it without RunKeeper. Being able to track my progress makes it a vasty more satisfying process, giving one tangible results for their efforts. The application does have the occasional problem of losing track of the users’ current location but apart from this, RunKeeper is the most useful and well-constructed application I have purchased. The Pro version brings iPod integration and audio updates into the equation, both of which help make running more enjoyable. Improving your fitness regime is one of the most common New Years’ Resolutions, so what better way to start than with RunKeeper. Check out my public profile to see my progress so far.

Facebook (Free) – From the outside world, it is easy to underestimate how important Facebook is those of my generation. Every social event I have attended over the past year has either been organised or advertised through Facebook. Photos are shared and tagged like no one’s business and communications between friends away from home has become much more frequent and consistent. Having the ability to access Facebook on the move makes life much easier too. The second iteration of the application gives users access to nearly every function of the full website – groups, pages, photos, status updates, wall posts, notifications – anything you’d like! The rumours of Facebook charging for use of their service continue but for the moment, the official Facebook application for iPhone is all you could want.

Simplenote (£1.19) – The built-in note application has several flaws, the most notable being you can not synchronise notes back to your desktop. Notes scribed on the phone become an untouchable island. For a small fee, Simplenote provides fast, clean, synchronised notes for iPhone. I truly love applications that fulfil tasks with simplicity and Simplenote is one of these. Combined with the web interface and JustNotes on the desktop, this solution makes up for Apple’s lack of a decent application.

Shazam (Free) – Although the free version no longer offers unlimited tagging, Shazam is one of those applications you can use to impress your friends with your iPhone. By simply pointing your device towards music, Shazam will almost certainly return the track details of what you are hearing. It is ideal for those moments in the pub when you hear that tune, but can not remember for the life of you what it is. Thanks to Shazam, I have tagged Material Girl, Why?, Paparazzi, Assassin Of Love, Turn On Tune In Cop Out, Pick A Bale Of Cotton and Smalltown Boy from concerts, shops, pubs and even the gym. Well worth an install, if not just to impress your friends.

Tube Deluxe (£0.59) – Although I do not reside in London or even the South of England, my trips to the big smoke become ever more frequent with each passing year. I decided to invest in Tube Deluxe to help navigate the convoluted underground railway network known as the London Underground. Tube Deluxe removes the needing for those pesky paper handouts, as the application will provide up-to-the-minute service information, location of your nearest station, route planning, an interactive version of the map you can browse through and station information. For the low cost, even occasional travellers will find it useful.

Honourable mentions must go to Dropbox (instant access to online file storage), Tweetie 2 (simply the best Twitter client around), eBay (trying to bid on a 1968 Hofner bass guitar in a nightclub sums it up) and Remote (for controlling your AirTunes or iTunes over wireless internet).

So that concludes my short list of recommended applications. There are a few games and a few utilities I could mention but it seems unnecessary. For any reader, all of these require a cursory glance to see whether their entertain your fancy.

SITTING IN THE STANDS of the sports arena, the atmosphere emanating from the eleven thousand people present was electric. Arctic Monkeys have a certain prestige among the residents of the North East. The songs from their first two albums have become local anthems and this transpires to be the reason the audience shelled out their pennies.

The music started with a crawl, rather than a bang. Traditional red stage curtains revealed the band in full swing with The Jeweller’s Hands, from their hotly-debated album Humbug. Immediately noticeable was the lighting and stage set. Video screens, impressive lighting, smoke machines and strobes show, they haven’t taken this change upwards to arenas too lightly. Brainstorm kicked in soon after and it was easy to tell where their true talents lie. Following some well received cuts from their first album, the first epic moment came with I Bet You Look Good On The Dancefloor. It was at this moment the vibrations from the standing pit at the front shook throughout the whole arena.

Soon after, we are traveled back to the slower world of Humbug. The three most accessible songs – Potion Approaching, My Propeller and Crying Lightning followed. The latter two tracks almost had the crowd singing and jumped along as well as any track from their latter works. The show started to loose a little direction, with one new cut following another and no one sure of whether to jump, sing or stare. When The Sun Goes Down came soon after and a beautiful mass sing along ensued. The encore of Fluorescent Adolescent and 505 brought the show to an end with 505 ending where they began – moody and atmospheric.


Regardless of whether you appreciate their new sound or direction, it was a fantastic show. With the young and energetic audience loving every moment, their enjoyment was infectious. The band nearly fell into the trap musicians teeter over by playing too many new and unknown tracks. Where Sheffield’s favourite musicians head next is anyone’s guess, but for now, they can still provide an excellent evening of rock and roll that highlights both where they can excel.

Originally published in Palatinate Issue 713

NEWCASTLE CITY HALL is a comforting place to spend a cold Monday evening in October. Unlike the intense atmosphere of the Newcastle Academy or the soullessness of the Metro Radio Arena, the City Hall has a rich history with everyone from the Rolling Stones to Genesis having trod the boards here.

On the 27th October, it was time for one of England’s newest song writing partnerships to take their turn – The Last Shadow Puppets. With a maximum capacity of only 2,000 people, the City Hall was sold out for months prior to the event and expectations were running high for the show. It is rare for young bands to grace this venue – most will head to the Academy or simply miss out Newcastle all together – The Police, AC/DC, Coldplay and Oasis have all forgotten our favourite northern town on their recent hikes around England. Entering the grand foyer, the assembled were comprised of ‘indie kids’ and university students like myself, with the odd older person scattered here and there. The appeal of the Puppets seems to be as broad as the Arctic Monkeys before them. Alex Turner, front man and lead guitarist met Miles Kane of The Rascals on the Monkey’s last tour and the two instantly connected. Miles can be heard on the album closer 505 and has performed it several times with the band, including their bombastic set at Glastonbury 2007.

Over the course of the next few months, an album of orchestral rock music was crafted with the help of James Ford (of Simian Mobile Disco fame) and became a hit when released in April 2008. A gap ensued before their acoustic performance at Glastonbury, followed by full orchestral sets for the Leeds-Reading festivals. The Puppets have taken their show on a whistle-stop tour around England, before heading off to America to close this chapter of the story.

The last night of their UK tour began with a support set from Ipso Facto at 8:00pm. A four-piece all female act from Essex, all the members have an uncanny resemblance to Uma Thurman and managed to match the style of the evening with an off-key fusion of surf, punk and power-pop music.
Their sound and style have a resemblance to the Go-Go’s, one of the first all-female groups that wrote, produced and managed their own careers.
Ipso Facto played to a half-empty hall with an upbeat feeling and surpassed my personal expectations, as well as many of those in the audience. After a prompt 30 minute change over set, the 16 piece orchestra mounted the stage to begin their fanfare that signalled the commencement of the show.

Unusually for rock and roll, the show started more or less on time and the core Last Shadow Puppets arrived on stage, Budweisers in hand – Stephen Fretwell, James Ford, Miles Kane and Alex Turner and kicked off the show.
Beginning with In My Room, it was one of the most Bond-esque tracks (a constant theme running throughout the evening) that instantly brought the entire audience of all ages to their feet. A brooding and atmospheric song, it soon swept into the title track of the album The Age Of The Understatement. With a galloping beat, it has gone through a fantastic live transformation to become one of the obvious highlights of the musical year. Gaining one of the best responses from the audience, it was a brilliant example of the symbiosis of the core band and their orchestra.

One of the fascinating sights was the two young gentleman leading the music ensemble in such a joyful and professional way – two people who are only three years older than you and I. After wandering through the waltzy Calm Like You and string-driven Black Plant we arrived at the first surprises in the evening with Gas Dance, a non-album track in a more sinister mood that was followed by Hang The Cyst, bringing a slightly subdued atmosphere.

With a complete change of direction, Alex queried if anyone liked a certain Liverpool band that was around many years ago. The Puppets battled into I Want You (She’s So Heavy) with a version rivalling the one you know and love from Abbey Road without help from the orchestra. No doubt a future collaboration of Beatles inspired pop would be another hit, as they managed to pull off one of the hardest bands to cover.

Adding the relaxed atmosphere in the evening, Stephen Fretwell’s skills on the bass guitar were showcased proving him to be a competent member of the touring band with a solid low end. The next cover was Paris Summer, a classic collaboration of Nancy Sinatra and Lee Hazelwood. Taking the female vocal role was the lead signer from Ipso Facto, still dressed and styled in her band’s uniformed way. Mournfully discussing their final performance, the band launched into a wistful story of floating down the Seine, cobbled streets and pavement cafes. Minutes later, it was back to the Shadow Puppets – another Bond-styled tune of I Don’t Like You Any More, dripping into The Chamber but managing to bounce back with the simple yet effective Time Has Come to wave goodbye to the assembled youth.

The Meeting Place became the send off the tight and well-rehearsed orchestra deserved. When the band wandered off, the yelling and floor stomping began until it became a fever pitch. Crawling back onto the stage like the troop of Rugrats, the band returned for another cover and a final send off. Miles managed to break one of the lights with his body crawling antics without any of the band noticing – they were all having such a good time.

Memories from the songbook of Leonard Cohen transformed Alex Turner into an evening singer with a tight fitted black suit. Then Standing Next To Me finally took both the band and orchestra on a final train ride home.
Throughout the evening, the entire assembly of band, orchestra, crew and audience had a fantastic time. A slightly sophisticated evening, it managed to keep that air of occasion and was still a rock concert. The orchestra looked on with fondness as the combo of Alex and Miles belted their way through the rock numbers, while the audience jigged up and down to the bouncer tunes, mainly gazing in awe at the two heroes.

Alex Turner earned many of the wolf whistles and cheers from the assembled females, while Miles entertained himself with his beer. Although the word banter is far too overused, it must be said that it was fantastic banter backwards and forwards with the Puppets and audience – discussing their album and the songs to stripping in Glasgow to The Smiths.

One of the questions I wanted this gig to answer was – is the Last Shadow Puppets an equal partnership or simply an outlet for Turner? After seeing one of the most alive, energetic and sonically enormous gigs of my life, I can say that both frontmen are equal in their contributions. Especially after listening to the debut album of the Rascals (Rascalize), the rhythmic structures came from his camp with little of the Arctic Monkeys to be heard. The Last Shadow Puppets reinvigorated my hope and passion for modern music, providing something alternative to post-punk-indie-rock that may never be seen again.

Flying off to America to showcase their wares, I can only hope that the partnership will continue in the future, when Alex and Miles take the next vacation from their day jobs.

Originally published in Palatinate Issue 700

BACK IN 1995, my father purchased Don’t Look Back In Anger on at the tender age of six. How much has changed in those years; since reaching their musical and commercial magnus opus with (What’s the Story) Morning Glory, Oasis have drifted from their projected path. Be Here Now was simply too long and not interesting enough, Standing On The Shoulders of Giants saw the band splinter with the old guard leaving, Heathen Chemistry saw the band scaling back to basics and Don’t Believe The Truth was their most successful album in years.

Anticipation has been running high for Dig Out Your Soul. Their first release in over two years, the Gallagher brothers have been proclaiming this as their finest in years, and a return to grandure. This may a common sales tactic but Noel and Liam have a point this time. Unlike their past few releases, the album is heavy with Liam’s classic Manchester drawl and luscious grooves. Most of Dig Out Your Soul has distinct influences of Led Zeppelin and The Who. The powerful drumming on Zeppelin classics like Whole Lotta Love and Kashmir can be spotted on Falling Down. Not surprisingly, it would not be Oasis without borrowing a few ideas. I’m Outta Time is their most Lennon-esque composition yet and The Turning has a great similarity to Cliff Richard’s 1976 hit Devil Woman, this must be a new low! The cover is has come from the hands of Peter Blake, designer of the legendary Sgt Peppers Lonely Hearts Club Band cover.

Radio 1 have been pumping out the lead single The Shock of the Lightening recently and this is one of the least impressive tracks. It’s stereotypically Oasis and doesn’t showcase their new sonic explorations. Bag It Up prepares you for the rest of the album, with a much better lift off. It is ironic that the brilliant rhythm section found here has been broken apart before the album was even released. Zak Starkey (son of Ringo) has filled the drumming position with Oasis since 2004, splitting his time with Tho Who and Oasis, drumming My Generation with both bands. However, after a disagreement with Noel, the position of drummer has changed again.

Oasis have spent the past ten years proving they are the world’s biggest and best rock and roll band and Dig Out Your Soul is their true return to form. Nothing of the grandure of Champagne Supernova or Live Forever can be found inside. However, in the Oasis catalogue, it rates higher than all their albums since (What’s The Story) Morning Glory. It is a reminder that they are one of the last true English Rock and Roll bands that provide fantastic guitar driven music. Oasis are back and Dig Out Your Soul is their long due return to form.

Originally published in Palatinate Issue 699