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the-fender-of-the-faith

the-fender-of-the-faith

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I was born in Ireland...yep thats about it... :)
Location: United KingdomMember since: 14 Mar, 2008

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  • r***b (465)- Feedback left by buyer.
    Past 6 months
    Verified purchase
    Great item, i am very pleased with my purchase, item arrived very quickly, and securely packed. Top seller, one of the best, very helpful & great communicator. Would definitely recommend.
  • o***y (825)- Feedback left by buyer.
    Past year
    Verified purchase
    Thanks I love them, fast delivery, well worth the money great seller can't wait to wait them A++++
  • b***i (89)- Feedback left by buyer.
    Past year
    Verified purchase
    Arrived promptly exactly as described and great communication with seller
  • .***o (634)- Feedback left by buyer.
    Past year
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    +++++ GREAT SELLER +++++
  • o***n (255)- Feedback left by buyer.
    Past year
    Verified purchase
    great seller
  • u***_ (654)- Feedback left by buyer.
    More than a year ago
    Verified purchase
    Arrived in good time, really well packaged, and just as described. Extra special customer service. Many thanks!
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Reviews (15)
28 Jan, 2011
The Kinks...enough to make your hair curl!
I love roaring guitars, I make no apology for it, I also love melody. I have another requirement, eclectic and emotive lyrics, to look for all of these in a popular music band could be a contradiction in terms, but with The Kinks all of these qualities are naturally in place. Their music is like the 'Aslan' of the music world, lion-like in it's growling and snarling, but full of anecdotes and wisdom. Pete Townshend of The Who once stated 'Ray Davies' should be made poet laureate' and if this collection of works is anything to go by, there is plenty of evidence to support that suggestion. There is a wistful, pondering and slightly fairytale quality to Kinks songs, they are the treasury which many of us carry in our heads without really realising it. And they can appeal to many camps, from heavy rockers to those who derive pleasure from a night in on the sofa sampling a good book. 'You Really Got me' with it's eternal guitar structure, the equally raucous 'all Day and All of The Night' bounds with an abandon few bands can match even today. For the more bookish there is the irresistible 'Waterloo Sunset' with it's gambolling intro and it's reflective lyrics that tell of the sights, sounds and people who pass through London. There is something deeper interwoven into these lyrics, there is an essence of ourselves. There is a frostiness about 'Sunny Afternoon' which bites even now, and in fact probably harder in some ways with the effects of the current recession, and 'Lola' which is The Kinks' pantomime moment. They proved they could do earnest and Lola showed they could do hammy too! 'Lola' strikes just the right balance of parody, playful without appearing cheesy. I won't drivel on too much more, it suffices to say this album will captivate you for as long as you listen to it, and like with all the best fairy-tales, once read they are unforgettable.
06 Mar, 2011
Joining the dots....
The Who had established themselves as a number of key identities by this stage, they had been dubbed, spokesmen of their generation, and in Tommy and Quadrophenia set immensely challenging benchmarks for themselves to follow. The who never ever made it easy for themselves, which in one sense was always the admirable thing about them, and yet that left them open to greeting of disappointment with each new release. Yet Townshend, for all his eternal worries about The Who and himself becoming an outdated parody, (probably in itself putting years on the poor fellow), it was precisely this kind of pressure that brought the best out in his song-writing. There were two obvious ways he could attempt to parallel Quadrophenia even if he could never hope to top it. He could attempt another fully fledged story album that buffeted the listener from start to finish, or as he perhaps shrewdly opted for, he could make his statements more concise and his songs more personal, heaven knows, he had plenty to write about. And so The Who shunned the more materialistic approach of their past armed with a cropful of songs that boasted less than 45 minutes in length. Subtlety was still clearly off-menu, but the scaled back Who sound was a delight to rediscover, it had all the energy of their past and the know-how of experience, this ageing lark that Townshend so feared actually became the real selling point of 'The Who by numbers' and the songs aren't in the least compromised for getting back to basics. Here laid bare with striking frankness are the frustrations, the demon wrestling, and the ever-present disillusionment that each of the group were feeling at the time. 'However much I booze' is an uptempo song with a sting in the tail and Townshend slurs with sobering articulation, the perils of his alcoholism. John Entwistle sinks his teeth in too with 'Success story' which is basically a three minute autobiography of The Who. Then there are extrodinary ballads which really is an advancement in Townshend's song-writing credentials. The haunting 'Imagine a man' is painful, beautiful and a revelation. 'Blue,Red and Grey' is also remarkable, bold and imploring, it truly makes you smile listening to it. And the punch of 'How Many Friends' again harks back to another of Townshend's reoccurring themes, paranoia and distrust. Lighter moments include the splendid 'Squeeze box', typically Who, yet totally original. And a special mention is in order to Daltery's vocal performance. After years of tearing his throat out in Rock Operas of huge magnitude, it was no mean feat that the diminutive singer adapting his style to meet the requirements. As sure as getting dirt under your nails whilst handling mud, this album will spin round in your mind long after you hear it. In fact freed of the chunkier strains of music in The Who's grander albums, a lot of the songs are there after one listen and will remain with you indefinitely. Aiming to reincorporate an old Who sound could have been going over old ground, but it beckoned to pastures new for the old timers. With the sad departure of Keith on the horizon not all would endure many more albums, but Townshend at least should have got some consolation and cleansing out of The Who by numbers, his ageing and revelance complexes if on the surface threatened to destroy him, this album gave both complexes cause for concern. In the face of great obstacles, they would hit the grave long before Townshend's career.
10 Oct, 2010
Written about Autumn-Time, at times felt like a Fall...
U2 had just started exercising their world-stage potential, releasing début album, Boy, to a flurry of interest. But as was proven with follow-up album October, success brings with it increased expectation. U2 unquestionably had star status lurking within them, but this album felt at times like they were still flexing their muscles, tweaking the mechanics of what would become a tightly honed outfit. Inside that startling sleeve, featuring a photo of four windswept youths, lies a mixed effort. It starts off on a high, 'Gloria' breaking the U2 mould with it's Gregorian chant style vocal harmony that fused religion and rock music into an original package. There are other high-lights to be savoured such as the haunting title-track October with it's trickling piano played by The Edge, and the drum-parts on many of the songs, are expressive and involving. But the album has also pieces which feel either under-worked or offcuts of projects not correctly utilized. Bono has frequently dismayed in interviews over one such track 'Fire' which unceremoniously plummeted in the charts the week after the group appeared on Top Of The Pops, what should have been an opportunity to extend U2 to a more widespread fan base. Other factors which hindered the making of October include the well-documented dalliances Bono and Edge had in the Christian 'shalom' group, which left them wrestling their ideas about the morality of playing in a rock band at all. Thankfully On later projects U2 would strike a perfect balance when coupling their faith-related attitudes and music, but here it feels for the most-part uncomfortable, lethargic and as though the group members are playing under a cloud. Religious elements aside on the whole it feels a little rushed, and sometimes greatness can't just be told to 'wing it' however talented a group is. Given more time and attention to detail October could have lived up to or even exceeded expectation. As it was the end result was half-baked, not entirely hashed, in fact it still outplays many other artists efforts of the time, but it was something the band had to recover from, rather than improve upon. Gladly just around the corner lay a renewed U2 with a new fire, zest, competence and authority, and for a band whose faith was everything, the faith of their fans was just as unwavering.
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