BIG PINK CAKE RECORDS NIGHT. OCTOBER 15TH.

BIG PINK CAKE RECORDS NIGHT. THE CROFT, BRISTOL. OCT 15TH

I arrive just in time to catch the last two songs by The Fireworks. It sounds to me like they've swallowed an instruction manual on 'How To Be A C86 Shambling Band', which is fair enough if that's what floats your boat. It also sounds like they have some good tunes, the only thing letting them down is the drumming. It's half-hearted and quite pathetic. Drums were built to be hit, but the drummer seems more happy to rest the sticks gently on the skins while rolling her eyes to the heavens, as if it's really just a bit, oh, you know... all just too much effort. Pull your socks up dear, you're letting the side down. The Sunny Street up next and the room is starting to fill up. Playing tonight as a three piece, they have a collection of beatiful songs that wouldn't have sounded out of place on Sarah Records. (somewhere between Brighter and The Field Mice)  I'm enjoying this lots! They even play a song that's currently on some annoying TV advert (What Is Love?)  but their version is actually really rather good. But there's a few people at the back doing their best to spoil it by talking loudly, which seems every rude when there are people on a stage playing quietly. If you want to talk and not watch and listen, go somewhere else and do it! Jonny Colins is up next. He used to be in second wave of twee bands, 60's obsessives; Modesty Blaise. I was never really a fan. I heard 'Christina Terrace' once and thought it was a piss poor Mersey Beat rip off. I'm sure in their heads they thought it was up there with The Beatles. In reality, it was closer to Freddie & The Dreamers. Wearing a real nasty snake skin suit, Jonny leads us through a handful of unmemorable tunes, with questionable vocal skills. Until the lord steps in and a string snaps. Phew! Ah! but no, someone lends another guitar, and off we go again. The chatter at the back is getting louder as more people file into the room. I'm not sure what's worse right now, the rabbiting or Jonny's singing. The Kick Inside are on next. I'm told they sound a bit like The Smiths. Oh, really? I don't know if I can take another bunch of Smiths wannabes, having lived through far too many already. They are 'tight and together' (the kind of thing people who work in music shops would praise) But yes, they can play, and yes there's a hefty Smiths influence, mainy down to the Johnny Marr style of guitar playing. In fact I'd say after about three songs of non stop Marr-guitar picking, it is this that starts to get on your nerves more than anything else. Ok! we get it, you can play, now give it a rest man! There's definitely songs here. Although most of the words I manage to pick up on, do sound like Smiths lyrics without the imagiation or wit that Morrissey used to slip into his songs with ease. It all starts to sound a little too fifth form. A friend says to me after, when I mention The Smiths, that he thought they sounded more like Smiths wannabes Gene. I thought that slightly unfair as Gene used to be, well, not that bad really! The Kick Inside certainly don't have a song anywhere near as good as 'Sleep Well Tonight' that's for sure.  By the time Our Arthur get going the room is full, but the noise levels at the back are by now really doing our heads in. You can barely hear the first song. Just an acoustic guitar and singing. Things improve when the whole band start playing, and it sounds like there could be some very good songs here, if only we could hear them properly. There's a few old Groove Farm songs thrown in for good messure, (Our Arthur being the new musical project by former Groove Farm singer) an interesting version of 'Couldn't Get To Sleep' and a surprise 'Baby Blue Marine' which seems to please the crowd. The song introduced as the forthcoming single sounds like a beauty. Then another quiet one which is completely ruined by the screaming and pissing about from a bunch of young student types who might be better suited at a nightclub in town rather than an Indie gig. You can see the look of complete disgust and despare on the bands faces as they realise that they're simply wasting their time. "For F**** sake, shut the f*** up" moans Arthur, and quite rightly, before they finish with another oldie. 'The Big Black Plastic Explosion' Where guests Rocker (The Flatmates - playing the worlds smallest keyboard) and Jon (Ex Groove Farm - Guitar) join in for a rip roaring noise finish. Such a shame this was in the small room tonight, as this would have sounded so much better through a bigger PA. But it was great to see some of the old team showing the young 'un's how to do it right. A good night ruined by a few noisey buggers.  I must point out that there were more people watching/listening than those at the back chatting, but none the less, those at the back spoiled the whole night. I leave thinking that this venue is obviously not suited to the Big Pink Cake Club. People used to go to listen to bands and watch. Now it's all about wanting to get pissed up, with your trendy friends (to almost quote from All Mod Cons) and dance like idiots to records you already know. Which is fine, It has it's place. But it's not the way Indie should be...but then a quick glance at a copy of NME will prove that Indie is not what Indie should be, so perhaps it's just a sign of the times. But really, it's all down to basic manners. But sadly, some people don't have any.

Marx.