It’s Miller time…
Frankie Miller’s Fullhouse, The Sharpeez, Andrew Robert Eustace
Oran Mor, Glasgow, 6th March 2019
Frankie Miller’s Fullhouse, The Sharpeez, Andrew Robert Eustace
Oran Mor, Glasgow, 6th March 2019
There’s a county blues, Mississippi Delta and bluegrass air about the songwriting style of big-voiced Scottish blues singer and guitarist Andrew Robert Eustace.
He’s also a man who can command quite the presence in both full band and solo acoustic forms, the latter on show tonight at the Oran Mor as an acoustic appetiser for the Maximum RnB course and Miller Time drinks-in-the-celebrational-air that would follow.
Those country, Delta and bluegrass traits were front and centre on 'The Man' and 'Broken Down and Beat' (from 2017 debut album Stories) but Andrew Robert Eustace’s genuine passion for those authentic blues genres puts him an album cut or five above the pastiche or in homage to the style norm, proven by the quality of the two new numbers performed, 'Blues Kind' and 'Don't Cry One Tear.'
(Both songs will appear on forthcoming album Different Sides; an apt title, given it will feature both full band and acoustic).
Finishing with a vibrant acoustic cover of 'Crossroads,' the still forming crowd (the numbers started to swell as Andrew Robert Eustace brought his set to a close – ah, the early start/ club curfew curse) gave Eustace hearty and appreciative applause.
Well, those down the front and within the comfort of the all seated sides did, not those engaged in the sadly inevitable and noisy feedback chat coming from the bar at the back (ah, the bar drinkers/ loud talkers curse; where would so many club gigs be without ‘em... a damn site better off, that’s where. Cheers, boys).
If there should be any still questioning why The Sharpeez are advertised as "Maximum RnB" that was answered as soon as the quartet (the riff 'n' rhythm twin guitar attack of vocalist Bill Mead and nifty slide player Loz Netto in the company of Scottish bassist Fergie Fulton and been-there-drummed-that rock sticksman Clive Edwards) plugged in, cranked up and delivered a primarily up-tempo, bristling, ear catching and full sounding set of originals.
Comparisons to Dr Feelgood (and the Rolling Stones, when their rock starts to roll, take a bow 'Jackie D') are certainly valid but there’s also a Rory Gallagher-esque blues vein running through many of the high-calibre songs delivered by the equally high-calibre band ('Automatic Mode,' lead off track from latest and best album Wild One, is a rhythm and bluesy rockin’ case in point).
The band are also capable of dropping the gears and producing a melodically flowing change of pace or two, the title track of Wild One being a fine example.
On any other rock/ blues club night The Sharpeez headlining with able support from local boy Andrew Robert Eustace might well have been enough to keep the crowd entertained and sent home happy but an opportunity to get stuck in to a set of Frankie Miller songs – in Glasgow – was always going to put even the likes of The Sharpeez and Mr. Eustace in to second and third place.
It wasn’t a full house for the band of that same name but given it was another dreich (best and most descriptive Scottish word ever) night, weather wise, it was gratifying to see a packed if not sold-out Oran Mor for ex Frankie Miller alumni and Scottish singer Gregor McGregor, bringing to live life a set of songs that are as revered in these here parts as the man himself.
As just about every rock fan worth his blues-soul salt knows, Frankie Miller’s devastating but fortunately not life ending brain haemorrhage in 1994 put paid to any further recording, performing or acting.
But his songs are still as alive and well today as the great Scot himself is, delivered by a band – Ray Minhinnett (guitar, slide, vocals), Steve Simpson (guitars, vocals), Gregor McGregor (lead vocals), Terry "Tex" Comer (bass, vocals), Andy Golden (drums) – that love the songs as much as the fans.
Nor can you go wrong with a set that opens with the rock 'n' feel good number 'Be Good to Yourself' and continues through a host of classic Frankie Miller cuts including 'Down the Honkytonk' and obligatory sing-a-long brace of 'Darlin’' and 'Fool For You Baby' as well as a crowd demanded second encore that led to an impromptu rendition of Miller’s famous cover of Dougie MacLean’s Scottish anthem, 'Caledonia.'
There were also a couple of songs from recent album Frankie Miller’s Double Take (a beautifully conceived double albums worth of remastered Frankie Miller demos and rarities featuring the voice of Miller in new vocal duet with Willie Nelson, Rod Stewart and a host of other major names), including the bass pulsing 'Blackmail,' which Miller originally recorded with Joe Walsh shortly before his illness.
On the night it was about the aforementioned songs and all the others performed, and not the band, but kudos to Gregor McGregor for doing such a great, not stand-up but sit-down (due an injury) job of delivering them with that Frankie soul twist, if not that Frankie voice (but then no-one sang like Frankie Miller).
Which leads to the only failing of a great three act night of live music.
With the greatest of respect to greatly respected musicians, it was evident that while the songs that have been played before were tight and tidy enough, the numbers new to the set and this line-up were lacking serious rehearsal time (the band hadn’t played live since last September and had little preparation).
Such when to come in/ what to play instances probably weren't a problem for the plastic glasses held high, sing-a-long to every word Frankie faithful in attendance (and to be fair Tex Comer’s solid and sinewy bass lines and Ray Minhinnett’s slide work were worth the admission fee on their own), but it did lead to a quip from one audience member within my earshot of "it’s not every day you’re at a gig where the audience know the songs better than the band do" only to be countered by said punter’s pal "aye, but you just know that after half-a-dozen or so gigs this is a band who will have it locked down."
The good news is he’s absolutely right.
Because this is a band, in the not-too-distant gigging future, that could well be revealing a Fullhouse of Frankie Miller aces and king sized performances.
Ross Muir
FabricationsHQ
He’s also a man who can command quite the presence in both full band and solo acoustic forms, the latter on show tonight at the Oran Mor as an acoustic appetiser for the Maximum RnB course and Miller Time drinks-in-the-celebrational-air that would follow.
Those country, Delta and bluegrass traits were front and centre on 'The Man' and 'Broken Down and Beat' (from 2017 debut album Stories) but Andrew Robert Eustace’s genuine passion for those authentic blues genres puts him an album cut or five above the pastiche or in homage to the style norm, proven by the quality of the two new numbers performed, 'Blues Kind' and 'Don't Cry One Tear.'
(Both songs will appear on forthcoming album Different Sides; an apt title, given it will feature both full band and acoustic).
Finishing with a vibrant acoustic cover of 'Crossroads,' the still forming crowd (the numbers started to swell as Andrew Robert Eustace brought his set to a close – ah, the early start/ club curfew curse) gave Eustace hearty and appreciative applause.
Well, those down the front and within the comfort of the all seated sides did, not those engaged in the sadly inevitable and noisy feedback chat coming from the bar at the back (ah, the bar drinkers/ loud talkers curse; where would so many club gigs be without ‘em... a damn site better off, that’s where. Cheers, boys).
If there should be any still questioning why The Sharpeez are advertised as "Maximum RnB" that was answered as soon as the quartet (the riff 'n' rhythm twin guitar attack of vocalist Bill Mead and nifty slide player Loz Netto in the company of Scottish bassist Fergie Fulton and been-there-drummed-that rock sticksman Clive Edwards) plugged in, cranked up and delivered a primarily up-tempo, bristling, ear catching and full sounding set of originals.
Comparisons to Dr Feelgood (and the Rolling Stones, when their rock starts to roll, take a bow 'Jackie D') are certainly valid but there’s also a Rory Gallagher-esque blues vein running through many of the high-calibre songs delivered by the equally high-calibre band ('Automatic Mode,' lead off track from latest and best album Wild One, is a rhythm and bluesy rockin’ case in point).
The band are also capable of dropping the gears and producing a melodically flowing change of pace or two, the title track of Wild One being a fine example.
On any other rock/ blues club night The Sharpeez headlining with able support from local boy Andrew Robert Eustace might well have been enough to keep the crowd entertained and sent home happy but an opportunity to get stuck in to a set of Frankie Miller songs – in Glasgow – was always going to put even the likes of The Sharpeez and Mr. Eustace in to second and third place.
It wasn’t a full house for the band of that same name but given it was another dreich (best and most descriptive Scottish word ever) night, weather wise, it was gratifying to see a packed if not sold-out Oran Mor for ex Frankie Miller alumni and Scottish singer Gregor McGregor, bringing to live life a set of songs that are as revered in these here parts as the man himself.
As just about every rock fan worth his blues-soul salt knows, Frankie Miller’s devastating but fortunately not life ending brain haemorrhage in 1994 put paid to any further recording, performing or acting.
But his songs are still as alive and well today as the great Scot himself is, delivered by a band – Ray Minhinnett (guitar, slide, vocals), Steve Simpson (guitars, vocals), Gregor McGregor (lead vocals), Terry "Tex" Comer (bass, vocals), Andy Golden (drums) – that love the songs as much as the fans.
Nor can you go wrong with a set that opens with the rock 'n' feel good number 'Be Good to Yourself' and continues through a host of classic Frankie Miller cuts including 'Down the Honkytonk' and obligatory sing-a-long brace of 'Darlin’' and 'Fool For You Baby' as well as a crowd demanded second encore that led to an impromptu rendition of Miller’s famous cover of Dougie MacLean’s Scottish anthem, 'Caledonia.'
There were also a couple of songs from recent album Frankie Miller’s Double Take (a beautifully conceived double albums worth of remastered Frankie Miller demos and rarities featuring the voice of Miller in new vocal duet with Willie Nelson, Rod Stewart and a host of other major names), including the bass pulsing 'Blackmail,' which Miller originally recorded with Joe Walsh shortly before his illness.
On the night it was about the aforementioned songs and all the others performed, and not the band, but kudos to Gregor McGregor for doing such a great, not stand-up but sit-down (due an injury) job of delivering them with that Frankie soul twist, if not that Frankie voice (but then no-one sang like Frankie Miller).
Which leads to the only failing of a great three act night of live music.
With the greatest of respect to greatly respected musicians, it was evident that while the songs that have been played before were tight and tidy enough, the numbers new to the set and this line-up were lacking serious rehearsal time (the band hadn’t played live since last September and had little preparation).
Such when to come in/ what to play instances probably weren't a problem for the plastic glasses held high, sing-a-long to every word Frankie faithful in attendance (and to be fair Tex Comer’s solid and sinewy bass lines and Ray Minhinnett’s slide work were worth the admission fee on their own), but it did lead to a quip from one audience member within my earshot of "it’s not every day you’re at a gig where the audience know the songs better than the band do" only to be countered by said punter’s pal "aye, but you just know that after half-a-dozen or so gigs this is a band who will have it locked down."
The good news is he’s absolutely right.
Because this is a band, in the not-too-distant gigging future, that could well be revealing a Fullhouse of Frankie Miller aces and king sized performances.
Ross Muir
FabricationsHQ