Joe Gideon @ Jug Jaws @ Bedford's
An underground vibe in ancient vaults.
A descent into Bedford's 15th century crypt is always a step back in time, but when Jug Jaw's Beat Club take over for the evening you are specifically transported back to 1967, the era of the 'underground' music scene. Spotlights cast shadows onto the vaulted arches, and the sounds of the sixties blast from an authentic Shure Vocal Master PA system. Selecting contemporary acts for headlining these nights must be tricky, but booking Joe Gideon (ex Bikini Atoll) is most definitely an inspired choice.
King Dinosaur are the support, their first return to The Crypt since replacing their double bass player with an electric bassist, and having written a completely new set of material. The rockabilly influences are still there, but in has come a much punchier rock and blues sound. Drummer Rob is also the lead vocalist, and stands behind a very contemporary cocktail kit to perform – way more dynamic and effective than sitting behind a traditional kit (à la Spring King). They remind a lot of what bands like Kitty, Daisy and Lewis do now so successfully, mixing the new with the retro, but with echoes of Yardbirds, Small Faces and Dr Feelgood also thrown into the mix. The bass player, Simon, looks as if he's just walked off the set of Quadrophenia. A high-energy set with which to start the evening. Catch these guys if they pop up at a venue near you.
Space is something that is not in abundance in The Crypt, and a rammed crowd are perched on the steps to catch a view of Joe Gideon as he takes to the compact and crowded stage area. Tucked at the back is legendary drummer Jim Sclavunos (Nick Cave and the Bad Seeds, Grinderman), and hemmed in by her keyboards is talented multi-instrumentalist Gris-de-Lin.
They start with Eve's Rib, an old track that has been re-worked as the opener for Gideon's solo album Versa Vice, and then mix more Joe Gideon & The Shark tracks, like Civilisation and I'm Ruined, with fresher material from the new album. In amidst the emotion and sensitivity of Gideon's vocals Sclavunos' drums, or the guitars, will suddenly scream out, momentarily silencing the not inconsiderable bar-side babble conducted by an element more interested in the sound of their own voices than listening to some great music. Shame. Still, for those of us lucky enough to be stood closer, Gris-de-Lin's guitar work, keyboards, sax and percussion all combine to supplement some amazing work from Gideon himself. His voice at times conjures up the ghosts of both Jim Morrison and Lou Reed, cementing further an underground vibe to the mortar of these ancient vaults.
As well as the haunting cover of Porter Wagoner's Rubber Room from the solo album, we get an appropriately seasonal rendition of Hank William's Praise The Lord I Saw The Light, before dispersing in search of chocolate and the Easter Bunny.
A fantastic set for those prepared to stop talking long enough to listen.
