Small but perfectly (per)formed
John Verity Band – Cottiers, Glasgow, 8th June 2017
John Verity Band – Cottiers, Glasgow, 8th June 2017
"Sign up to my religion!" sung John Verity on the chorus of the title track of his latest blues based release (and best to date); it was also one of many highlights across a nineteen song, one hour fifty minute show at Cottiers Theatre in Glasgow, part of the extensive My Religion tour schedule.
Bolstered by a great sound on the night and a tight rhythm section pairing of bassist John Gordon and drummer Liam Gray (John Verity swaps and interchanges between half a dozen rhythm section musicians, based on location and availability) the good news was Cottiers played host to an excellent show.
The the bad luck and trouble-some news was Cottiers also played host to one of the smallest crowds John Verity has ever had the misfortune to play in front of ("you're small, but perfectly formed!")
The reason so few blues fans did sign up are many and varied, but the fact John Verity hadn’t played Glasgow for longer than any of us care to remember has to be acknowledged as a factor, as does the fact Cottiers is an out-of-town-centre gig, it was on a school night (an absolute club-gig killer in these here parts), had zero local mainstream media coverage (a sadly recurring theme for blues and blues rock club gigs in Glasgow) and was fated to fall on the same night as Pollling for the snap-called General Election (the Mother Theresa of all political backfires – how’s yer "strong and stable" looking now, Mrs May?).
The upshot was the vast majority of Glasgow’s blues rock fans missed a belter of a show which, I’m delighted to report, was far better attended at the busier Edinburgh and Inverness gigs the following nights.
Hitting his blues stride early with the earthy tones of his favoured Fret-King signature Corona JV to the fore (Robin Trower is the undisputed Godfather of tone but John Verity is quite the Tone Hound, as the title of his 2014 solo album attests) the band opened the set with a salvo of blues standards.
The distinct twelve-bar blues of 'Help Me' allowed John Gordon and Liam Gray to establish a solid, mid-tempo groove before the pace was slowed for the Otis Rush classic 'Double Trouble,' John Verity spraying tasty notes across the spacey, rhythmic backing supplied by Messrs Gordon and Gray; things then loosened up for a boogie-fun rendition of 'Looking Back.'
Anyone thinking this was going to be a covers fest, however, were mistaken.
As much as John Verity loves to play some of his favourite blues numbers within any set he performs, he has plenty of top-notch material of his own to draw from, such as found on My Religion; the end results are shows (or, as performed at Cottiers, two sets with a short intermission) that are a 50-50 split between covers and originals.
The aforementioned My Religion was well catered for with four original numbers aired, including the smooth blues and melodic licks of 'Hope For the Best' (lyrically, John Verity’s method statement) and 'The Devil’s Music' a 70s rock throwback that should, quite frankly, be a staple of the rock radio airwaves.
Of the four covers recorded for My Religion, 'Cocaine' was the one chosen to feature on the night.
Stylistically closer to Eric Clapton’s famous rendition than the JJ Cale original, John Verity’s more rock orientated voice, his chunky guitar solo and the hefty beats laid down by Liam Gray made for a seriously beefy take of the classic number.
The second set opened with the funky melodic blues 'Nothing's Changed' from Tone Hound but ended as the show had started, with three covers.
Argent’s 'Hold Your Head Up' (a nod to John Verity's time in the band) and a full-bhuna rendition of 'Purple Haze' (complete with John Verity’s take on the 'Star Spangled Banner,' here more 'Blues Spangled Banner') put the Power in power trio while the delicate, take-it-down interpretation of 'Need Your Love so Bad' was a fitting finale to a quieter show, audience-wise, than could ever have been expected.
Outside of the obvious enjoyment of a great show and great performances, from a personal point of view it was great to catch up with John Verity and his wife Carole, the fourth member of the band and John’s right hand gal in all things John Verity Band.
It was also a pleasure to meet, and shoot the breeze with, John Gordon (an unassuming gentleman with a knack for making you unaware of just how much presence he has, much like his bass playing) and spend some time with Liam Gray, a young man whose enthusiasm, passion for learning his craft (he readily admits to still serving his apprenticeship) and total disdain for the glossy, commercial side of the music industry made for great conversational company.
Indeed if Liam and King King drummer Wayne Proctor (if there’s a better groove drummer in the UK blues or rock scene right now please point him out, because I’ve not seen or heard him) ever get together over a ginger beer to discuss drums, rhythm, musicianship and craft, I’m selling tickets for it.
But not in Glasgow at an out-of-town venue on a school night when election votes are being counted.
Ross Muir
FabricationsHQ
Photo 'poster' credit: Laurence Harvey
Bolstered by a great sound on the night and a tight rhythm section pairing of bassist John Gordon and drummer Liam Gray (John Verity swaps and interchanges between half a dozen rhythm section musicians, based on location and availability) the good news was Cottiers played host to an excellent show.
The the bad luck and trouble-some news was Cottiers also played host to one of the smallest crowds John Verity has ever had the misfortune to play in front of ("you're small, but perfectly formed!")
The reason so few blues fans did sign up are many and varied, but the fact John Verity hadn’t played Glasgow for longer than any of us care to remember has to be acknowledged as a factor, as does the fact Cottiers is an out-of-town-centre gig, it was on a school night (an absolute club-gig killer in these here parts), had zero local mainstream media coverage (a sadly recurring theme for blues and blues rock club gigs in Glasgow) and was fated to fall on the same night as Pollling for the snap-called General Election (the Mother Theresa of all political backfires – how’s yer "strong and stable" looking now, Mrs May?).
The upshot was the vast majority of Glasgow’s blues rock fans missed a belter of a show which, I’m delighted to report, was far better attended at the busier Edinburgh and Inverness gigs the following nights.
Hitting his blues stride early with the earthy tones of his favoured Fret-King signature Corona JV to the fore (Robin Trower is the undisputed Godfather of tone but John Verity is quite the Tone Hound, as the title of his 2014 solo album attests) the band opened the set with a salvo of blues standards.
The distinct twelve-bar blues of 'Help Me' allowed John Gordon and Liam Gray to establish a solid, mid-tempo groove before the pace was slowed for the Otis Rush classic 'Double Trouble,' John Verity spraying tasty notes across the spacey, rhythmic backing supplied by Messrs Gordon and Gray; things then loosened up for a boogie-fun rendition of 'Looking Back.'
Anyone thinking this was going to be a covers fest, however, were mistaken.
As much as John Verity loves to play some of his favourite blues numbers within any set he performs, he has plenty of top-notch material of his own to draw from, such as found on My Religion; the end results are shows (or, as performed at Cottiers, two sets with a short intermission) that are a 50-50 split between covers and originals.
The aforementioned My Religion was well catered for with four original numbers aired, including the smooth blues and melodic licks of 'Hope For the Best' (lyrically, John Verity’s method statement) and 'The Devil’s Music' a 70s rock throwback that should, quite frankly, be a staple of the rock radio airwaves.
Of the four covers recorded for My Religion, 'Cocaine' was the one chosen to feature on the night.
Stylistically closer to Eric Clapton’s famous rendition than the JJ Cale original, John Verity’s more rock orientated voice, his chunky guitar solo and the hefty beats laid down by Liam Gray made for a seriously beefy take of the classic number.
The second set opened with the funky melodic blues 'Nothing's Changed' from Tone Hound but ended as the show had started, with three covers.
Argent’s 'Hold Your Head Up' (a nod to John Verity's time in the band) and a full-bhuna rendition of 'Purple Haze' (complete with John Verity’s take on the 'Star Spangled Banner,' here more 'Blues Spangled Banner') put the Power in power trio while the delicate, take-it-down interpretation of 'Need Your Love so Bad' was a fitting finale to a quieter show, audience-wise, than could ever have been expected.
Outside of the obvious enjoyment of a great show and great performances, from a personal point of view it was great to catch up with John Verity and his wife Carole, the fourth member of the band and John’s right hand gal in all things John Verity Band.
It was also a pleasure to meet, and shoot the breeze with, John Gordon (an unassuming gentleman with a knack for making you unaware of just how much presence he has, much like his bass playing) and spend some time with Liam Gray, a young man whose enthusiasm, passion for learning his craft (he readily admits to still serving his apprenticeship) and total disdain for the glossy, commercial side of the music industry made for great conversational company.
Indeed if Liam and King King drummer Wayne Proctor (if there’s a better groove drummer in the UK blues or rock scene right now please point him out, because I’ve not seen or heard him) ever get together over a ginger beer to discuss drums, rhythm, musicianship and craft, I’m selling tickets for it.
But not in Glasgow at an out-of-town venue on a school night when election votes are being counted.
Ross Muir
FabricationsHQ
Photo 'poster' credit: Laurence Harvey
