The Jazz Butcher
Find: Containing:

Details

Date: Friday, July 2nd 2004 1088726400 (22 years 24 days ago)
Venue: The Labour Club (Website)
Event: Masters of Budvar present
Location: 95-97 Charles St Northampton England NN1 3BG
Admission: free
⭐ With
Performers
Pat Fish Solo ( guitar, vocals )
Map

Announcement

Friday 2nd July sees a long, cool draught of electro-acoustic intoxicants across three distinct genres.

Our headliner - and this is a bit of a coup for us - is Ramon de Juan. Raised in Benidorm's infamous nightclub district, Ramon moved to the UK during the eighties, where he became involved in the electro scene and developed an irrational fondness for Adam and the Ants. Later, inspired by the Stone Roses and Throwing Muses, Ramon picked up a guitar and started writing songs.

Today he plays hypnotically beautiful music with shimmering, clean guitars and atmospheric keyboard washes. Signed to the painfully cool Fishsoup Records (run by Bic Hayes, the "other" Pet Shop Boys guitarist), Ramon has recently completed his first album with ace producer Choque Hosein of Black Star Liner at the controls. For fans of modern European songwriting and ambient chill-out alike.

For a sneak preview, try to imagine a blissed-out Curtis E. Johnson crossed with the most extravagantly melancholic moments of early Roxy Music; it might give you a bit of a headache, but you won't be far off the mark. Gorgeous, at any rate, and worth seeing before the Meeja get ahold of him and drive him up out of our price range!

Supporting Ramon will be Northampton's own Spittle Rattle. SpitRat mainman Michael Holloway is a veteran of the wild scene down at Slurps in the nineties and is widely admired around town as a master of cracked folk-blues ballads. He has also played in Germany, Switzerland and France. Accompanying himself on guitar and backed up by Paul Williams (Ubu Swirl) on bass, he delivers a set of depth, intensity and granite-black gallows humour. Fans of Jeff Buckley, Nick Cave, PJ Harvey, Nick Drake, the Velvets and Spiritualised should make this a date. As should you.

Opening the bill is Pat Fish (The Jazz Butcher/Wilson) continuing his bizarre project of revising his back catalogue in a psychedelic karaoke style. Something like an older version of Simple Kid - without the charm, but with more software and a busload of larcenous beats. With each and every one of his Masters of Budvar sets specially and exclusively devised for that night only, a couple of ill-advised cover versions do tend to turn up during programming, so expect big dumb songs and big dumb surprises.

And there it is. Entry is free. The first act will be on at about 9:00 o'clock. We have cheap beer, pretty lights and a lovely PA. For we are Masters of Budvar, doing it for love.

Excerpts from a review of Ramon de Juan's first EP written by Sam Saunders, Leeds Music Scene It is an exquisite piece of work.

It's so much more than just mood music. Soft and emotionally fragile might not be your thing. But you have to stand back and admit the guy can write and perform a song that tells a delicate story. You'd burst yourself with joy if you could sing such a song to your loved one.

There are some distant FX guitar touches and the lightest of electronic suggestions. It fades deliciously away, leaving a nostalgic and lonesome feeling as piano notes fall like gentle touches of silk. It is beautiful.

It isn't rock and roll, but it could save your love life.

Four and a half stars


Credit: Pat Fish

πŸ“ Pat Says

Great night at the Labour Club again last night. Ramon turned up with his dad, fresh off the plane from Espain. He's a recording artist too: his "Muchas Gracias, Ingleses" is a must-hear classic. Full report to follow. --- The ill-advised "Bath 0' Bacon" presentation went off ever so well, all things considered. The JB Theme I played fairly straight, except for some digital sheep muscling in there for a minute. At the end, people cheered, something which they rarely do when confronted with a Fishy solo performance. I figured it was just making them feel young again for a minute. I certainly felt as though I was about nine, and demonstrated same by playing Chinatown. The flutes remain, underpinned by a horrid, lurching techno beat. There are now detectives involved, and a guitar solo that sounds suspiciously like The Cure (cf Fern Schnell Gut). Then I played Sex Engine Thing. Some fool of a journalist had quoted it recently in The Times, and this disorienting experience meant that it had been on my mind of late. Like I told 'em when I wrote this at the age of 23, I always envisaged it being sung by some stout middle-aged geezer - and behold, the time has come. I'm still fairly sure that the growling bass synthesiser loop is a semitone out of tune with the proper bass, but I can't get anybody to agree with me. I don't suppose they're fussed. When you're looking at some portly old bastard yelling about UFOs and sex monsters from another planet, over some cheesy plastic digital funk backing track, the niceties of the tuning probably don't rate all that highly on the scale of things to complain about.

More cheering. Bloody hell. Girls Who Keep Goldfish in the style of The Streets. Bouncy, flangey, echoey fickle garage drums fizzing around the edges and some of the cheesiest synth string parts ever perpetrated in the name of entertainment. A couple of covers to close: Todd's "Just One Victory", dedicated to the Czech Republic football side (it didn't work: Daily Mirror headline after the dour, mechanical Greeks had scraped a win: ACROPOLIS NOW!) and yet another rendition of "Tread Water". I really just wanted to do it again to get it right after the Rushden fiasco. Get back on the horse, as Dubya might have it. It's not becoming my theme tune. It's not. Look, I've already got one. I just played it twenty minutes ago. No, I know it's not much of a theme tune. What can I tell you? It was written by a giant idiot.

Anyway, no mistakes to speak of at all. Stayed in tune, didn't forget any words, played all the right notes - all that shit. Lovely punters shouting at me. Nice set, in a really stupid sort of way.

SpitRat had trouble getting their sound right. Eventually I was sent for and hauled out of the garden to go and...well...turn it up, basically. They just don't make as much noise as most musicians. Once they were rendered (more or less) audible, things looked up for them. I thought that the second half of their set was particularly fine.

Ramon de Juan was a revelation, just one man and his guitar against the Labour Club. He has the most assured and luxurious guitar sound and his voice immediately commands attention. The songs are deceptively simple, packed with melody. Clever guitar parts, interesting tunings, outrageous covers of "California Dreaming" and "Hallelujah". I really didn't think that "Hallelujah" had a great deal left to offer after so many different cover versions, but I was wrong. Ramon played it in a way that made it sound completely fresh but left you wondering why it hadn't always been played that way. Now there is a man in control of his material. He went down an absolute storm, I'm happy to say: encores and everything from an audience who had known nothing of him just 60 minutes before. He came, he saw, he can come back whenever he likes. Source: Pat Letter: 2004-07 2004-07-15 (Thursday, 15th of July 2004 - 22 years 11 days ago)
Credit: Pat Fish

🎼 Played

Set 1
1. Jazz Butcher Theme (Steam Train From Hell)
2. Chinatown
3. Sex Engine
4. Girls Who Keep Goldfish
5. Just One Victory (Todd Rundgren)
6. Tread Water (De La Soul)
Visitor Feedback
No comments yet for this page [Add your own]