Since seeing Martha Wainwright at Wychwood Festival a few years ago, I’ve followed her career with interest, always suspecting that the real vocal talent in the Wainwright siblings didn’t belong to her more flamboyant brother but actually Martha herself. Incidentally, I’ve also always really envied her incredible legs, which if Pretty Polly don’t wake up to and offer her an advertising contract sharpish, they’re fools to themselves.

Said legs are paraded seductively on the album cover, which was taken by former YBA (actually - good point - when do you stop being a YBA?) Sam Taylor Wood. The involvement of such a figure, along with a gaggle of musicians including Garth Hudson, Pete Townshend, brother Rufus and mum and aunt Kate and Anna McGarrigle respectively, serve to up Martha’s credibility ratings. Not that she needs to worry about such issues as being cool. The voice (hereon referred to as ‘The Voice’) alone confidently sweeps such anxieties aside without even trying.

On this, her second album, her vocals do more than prove she has not just a fine pair of lungs on her but that she is the real deal: she can go from sounding coy and girlish to wearying and experienced in the space of an octave (”I Wish I Were”).

Like her debut, this LP is similarly emotionally honest (what else can you say about a debut boasting a song title like “Bloody Mother Fu**ing A**hole”?!). Although there are still some allusions to her father Loudon Wainwright III, on this outing she seems more interested in documenting heartbreak - oddly perverse given that she’s recently tied the knot. But when has Martha (or indeed any of the members of her famous family) been accused of being conventional? She and brother Rufus have subjected their father to well documented slaggings in previous songs and the drama of their family life has claimed many column inches in the music press. I won’t labour over it all here, simply because to do so would detract from celebrating the immense affection I feel for this album after only a handful of listens. Martha has a voice that immediately lures you into her psychological landscape; a landscape which is fascinating not only because it lists aftershows and all the paraphernalia that comes with being a child of rock royalty, but also for the sheer depth of raw feeling it conveys.

And those feelings are not just intense. There’s breadth as well as depth to offer here. Yes Martha’s still angry, but on this album we traverse a wide range of emotions, from melancholy to desolate to hopeful and desiring. “So Many Friends” perhaps best sums up the album’s peripatetic emoting. From the wistful “I have lost so many friends/I have gained so many memories” to the excitable “I live and breathe for the rush when we touch”, the track encapsulates the whole album’s tendency to emotional see-sawing and sucks in the listener completely. “The George Song” is more playful: Martha’s voice seems to gurgle and tease as she upbraids a lover for liking Captain Beefheart:

“You played the captain/And I will, I will never understand/ Why you love the beef heart/More than you could love the common man”.

This lyric stakes her claim to a place in musical history, scoffing at it’s patriarchal lineage just as she has her biological paternity. This place is guaranteed on the basis of this album alone; she is much, much more than a footnote to her famous parent’s biographies. She sings with such style it’s impossible to dispute the fact that this album is one of those clichés beloved of music hacks - an instant classic.

“You Cheated Me” is so in your face pop I’m surprised it isn’t A-list on every radio station going; whereas “In The Middle of the Night” is one of the album’s darkest moments - a response to her mother Kate McGarrigle’s cancer - with Martha’s chilling wails set against backing vocals from Rufus, brooding flutes, guitars and ominous, building drums. The tune evokes an Easter-period Patti Smith and the effect is as spellbinding as it is menacing.

The tracks couldn’t be more different but both allow That Voice to demonstrates its natural range. The whole album dips into a variety of styles: from the pure pop handclaps on “Love is a Stranger” through acoustic folk and rock all the way to the gloomy, bluesy “Tower Song”, the album drips with melodies.

Opening track “Bleeding All Over You” is reminiscent of Tori Amos undergoing psychoanalysis, and sets the tone for a dramatic group of songs which at times also recall Carole King or Fleetwood Mac (but glammer). Yep, there’s a distinctly middle of the road leaning to many of the musical arrangements. But this shouldn’t put you off - the way Wainwright’s voice relays her romantic travails is sensational; she wrings every last drop of emotion from each line in a marvellously dramatic way. It shouldn’t work - how many times have you winced at the vocal gymnastics of the likes of Mariah Carey or Celine Dion? But it does.

The only time things slip - tellingly - is on the covers (Pink Floyd and The Eurhythmics). They’re okay, but nothing more. An artist of Martha Wainwright’s talent doesn’t really need to rely on covers. When you compare them to the spooky “Jesus and Mary” they merely seem quaint, surplus to requirements. That’s right - she’s also got a way with words. Not fair is it?!

I’m going to stop effusing now, but before I sign off let me say that Martha Wainwright has a natural poise and grace without sounding contrived, or threatening to smother the emotional histrionics that she is famed for.

This is a classy album that will appeal to the serious music fan as well as more casual listeners who are partial to Madames Winehouse and Duffy: I have every confidence it will make an appearance in the inevitable top ten albums of 2008 lists later this year. It’ll certainly be on mine.

MySpace

Martha Wainwright Official Website

By: Lindsey Davis

If you happen to be in the Oxford area this Sunday, August 3, 2008 - be sure to check out Behaveya playing at The Exeter Hall.

I was lucky enough to see the band play a few weeks ago at The Temple Bar. Their ages are from 10-17, so if you have kids that are starting to play music themselves, bring them along if they’re looking for inspiration, because this talented young band ROCKS! (Of course, if you do plan to bring your kids, check with The Exeter Hall first.)

Behaveya plays old punk and rock covers as well as originals.

EXETER HALL
Oxford, UK
3rd of August at 4pm

For music and more information, go to:

Behaveya MySpace

By: Jenny May

Mink is a high energy, hard working rock band formed in 2006 with members hailing from the US and Australia. In a short time, they’ve already written more than 60 songs (30 of them in one intense three-week stretch), recorded their debut album in just four weeks and have played shows with KISS, Perry Farrell, Angels & Airwaves and festivals such as Lollapalooza and the Fuji Rock Festival in Japan.

Their first single, “Talk to Me,” has been receiving airplay in the US and their songs have appeared on TV.

Mink is one of the hottest up and coming rock bands on the scene - and is one to watch!

Members are: Neal Carlson (vocals) from New York, Stella Mozgawa (drums), Nick Maybury (guitar) and Grant Fitzpatrick (bass) from Australia.

Download MP3: “Talk To Me” remix

Grant Fitzpatrick from Mink exclusive interview:

Jenny May: With Neal being from New York and Stella, Nick and Grant from Australia, where and how did you meet to eventually form the band?

Grant Fitz: Nick and I went to NY to meet Neal who was writing with a friend of ours. We wrote some songs and jammed and then did a show, which was a lot of fun. From there we went home to Australia with Neal coming shortly after. Nick introduced us to Stella who we fell in love with straight away. We wrote some more and toured and made an album with Spitfire Music who always believed in us from the beginning in New York. So the band was formed in New York and Sydney really. They are both special places for us.

Have you played many shows in Australia and do you plan to spend time there touring? Do you visit often?

We’ve toured the East coast 3 times with different bands and we loved it. Stella is there now actually and Nick and I visited last summer. I would love to spend some time touring there again, ideally in the summer. The whole country turns into one giant bbq/beach party/festival in the summer. You can’t help but have a good time.

How was it decided that you would call your band Mink?

We thought it was sleek and sexy and nobody had any better names so we all agreed on Neal’s idea.

How many shows did you play with KISS? How did that go?

We played 2 shows with KISS and had a blast. Gene and Paul were great to meet. The first record I bought was Dynasty and I was a big fan when I was a kid so it was weird also but they were great and their audience was even better.

Who are your rock heroes?

Between all of us there are some collective heroes and they would be Jimi Hendrix, Frank Zappa, John Lennon and Yoko Ono, Perry Farrell, Flea, Brian Eno, David Bowie, Captain Beefheart, Tom Waits, Frank Black, George Harrison, Neil Young, PJ Harvery, Nick Cave and Bjork.

All time favorite rock song(s)?

Jimi Hendrix ‘Voodoo Child’, The Beatles ‘Revolution’, Frank Zappa’s ‘Muffin Man’, Jane’s Addiction ‘Mountain Song’.

Your song “Pressure Pressure” was featured in ESPN’s 2006 Major League baseball playoffs coverage. Are you baseball fans? If so, which team(s) do you support? Do you have a favorite sport?

Neal likes baseball all sports basically. I’ve been to a Yankees game and may go to another one tomorrow actually but I prefer one day cricket.

Stella is a great drummer. Who are her musical influences?

Her influences as a drummer are probably Keith Moon, Steven Drozd, Levon Helm, John Bonham and a lot of other players like Billy Cobham and Jeff Pocarro and also bands like Yo la Tnago, Devo, & Neu! She is a huge Bjork fan and is totally into Timberland’s production techniques and music.

What club or bar would you recommend to a friend who likes to party, and is willing to travel anywhere?

The Chateau Marmont in La is always fun …

You have a lot of video footage on your YouTube profile, which is great for your fans. Do you have a favorite “Rockumentary”?

There are some really good ones but we were watchin ‘You’re Gonna Miss Me’ the Roky Erickson Story on our last tour. The Last Waltz is a favourite of mine and Stella’s.

Have you acted in movies? Do you have any interest in acting in films?

I’ve acted before but not in a movie. I’ve worked on films and love to edit and direct. I had the opportunity to direct our last 2 videos and loved the experience and would like to do more. Acting in films would be something I would be interested in for sure, why not. I actually think that Neal is a natural at it. We started making a horror movie when we started recording the album in 2006. Neal was the lead and was so good and naturally funny also. Stella is a huge fan of film also.

Your music has appeared on TV - has your music appeared in films?

Not yet but we just submitted some songs for a new Darren Aronofsky film yesterday. Fingers crossed.

What are your thoughts on the prospect of one day having your music in video games?

I grew up playing video games so I’m into it. Music complements everything we do or participate in. It’s everwhere, why not a video game. Guitar Hero or Rock Band would be insane to have a song in. Or even just some crazy racing car game would be cool.

Any particular band antics happen on stage during a night of playing?

Not always but sometimes someone will fart and you’re mid song and it hits you and you get a ckeeky look from the purpitrator from across the stage. Stella likes to get out from behind her drums and take the mic while Neal tries to keep in time on the drums. That usually cracks me up.

Who tends to be the instigator?

It can be anyone at any time.

Your album was recorded in just four weeks. Where did you record? What was your recording process - did you record live?

We recorded at a studio called Radio Star Studios in Weed California in the north near Oregon. It’s situated under a volcano called Mt Shasta. Sylvia Massey has built a complex of studios and housing so that at any time 3 or 4 bands could be working up there, recording and writing. We recorded as much live as possible but it was a very creative time and ideas kept flowing so there was over dubbing happening all the time also. The main studio is an old theatre with some great vintage console’s and outboard gear. It’s very laid back and friendly and we had a lot of fun there. We shared our time there with COG and had a lot of fun hanging with those lads.

You were recently in Japan for the Fuji Rock Festival. How did it go? Were you able to watch other acts’ sets?

Fuji is the best festival I’ve seen. We had a blast and loved being in Japan. We have some sort of affinity with the place. We always wanted to go there as a band. So much fun was had although it was a very quick visit. I saw Grand Master Flash, Mongol 800, Asian Dub foundation and the Zutons. All were great and our set was a lot of fun after having a short break from touring. See ya’ll back out there soon!

Thank you!

Thanks Jenny.

Grant Fitz.

For music, tour dates and more information, go to:

MySpace
Mink UK
Mink Official Website

The first time that I heard The Fullertons was during their soundcheck. I was outside, sitting in the back garden behind The Jericho Tavern in Oxford, and I couldn’t tell if it was the band or a DJ playing a CD.

A few minutes later when I went inside and up the stairs, I found out that it was indeed the band, and from just the soundcheck - hearing the music from quite a distance, outside with the sound coming out through an open window, I was very much looking forward to watching their show. I was also singing with a band that night (currently being renamed), and it’s always good playing your own gig and also being treated with an entertaining set by the other bands that might be playing with you.

The Fullertons put on a very entertaining show and as I’ve said before on Band Weblogs, they look and sound great. Their songs are tight, energetic and the keyboard adds a nice touch to their indie/pop sound.

This summer, they’ve been touring around the UK and have recently come back from playing in Moscow, Russia.

Frontman/singer David Chanell took some time out for an interview with me for BandWeblogs.com.

Jenny May: How long has the band been playing together?

David Chanell: The band as it stands has only been playing together for a few months, but The Fullertons started with a slightly different line up about 18 months ago.

When and how did it happen that you and your brother Chris started playing music together?

Chris is my older brother, and he had gone off to uni in Nottingham, but after the 1st term dropped out, and a year later when he tried uni again he ended up choosing the same uni as me (Leicester). This was where we began to play in a uni band together that sowed the seeds for what became The Fullertons. The band mainly then played covers at uni events, but our own stuff got us noticed enough to play with the likes of Jools Holland and Goldie Lookin Chain at the uni.

What is your songwriting process like?

Currently it’s usually the case that a song idea will come from me or Chris, and then Rich and Rik pick it up and work out a good bass line and drum part to compliment it. Then we share lyric duties and give help and tips to each others’ individual bits of the song. It’s not a one man band, and we all seem to be on the same wavelength when it comes to new ideas.

What music did you listen to when you were growing up?

Growing up, my first influence was Buddy Holly, my early teenage years were in that awful gap after britpop and before the Libertines, so I didn’t have any modern influences, until I got towards the age of 18. Bands that remained with me throughout the early years were Supergrass and Kula Shaker. The rest of the band have very diverse influences and musical backgrounds, but we can all sit together and enjoy the same stuff now.

So far, where has been your favorite venue to play?

The best venues to play are the busy ones, and then it doesn’t matter whether it’s a glorified pub or a beautiful theatre… but there’s been a few that are really nice places to play, these being Scala in London, The Orange Box in Yeovil and Club 85 in Hitchin.

You just played a few shows in Russia - how did it go?

Russia was amazing. Chris had been there before, but for the rest of us it was a new experience, and that in itself was amazing. The gig made it even better, the venue was full, and the people were friendly, and everyone seemed to really get into what we were doing. I was quite nervous about the prospect of it as the DJ was playing the best of Britpop all night, and really modern music hasn’t quite reached Russia in a big way yet. Moscow has some amazing sites, and we crammed this all in, as well as making the most of our generous hosts’ hospitality. We hope to return.

How was the audience reaction in Russia compared to English audiences?

The Russian audiences are there to dance, and probably just hope you play dancey tunes. A UK audience doesn’t want to let go as easily.

Do you have plans to release material in Russia and/or to play there again?

Releasing something over there would probably be quite successful, but you would need to play out there far more and get the radio and press support just as much as you do here. It may be slightly easier to break russia just purely due to a smaller number of bands out there.

Where else would you like to tour?

To see the world doing what you love is the best feeling, so getting the chance to do more all expenses paid travelling would be amazing - and if it was free I’d go anywhere. Despite this being in some peoples minds more boring, I would love to see and play in the US and Australia.

How often do you practice?

We try to rehearse once a week as a full band, and do writing sessions with however many of the band can make it on other nights of the week.

What was the last CD that you bought?

The last CD I bought…hmm…I really can’t remember, I’m into the whole iTunes thing…and the last few tracks I purchased there would be The Cribs “Another Number” and We Smoke Fags “Eastenders”.

Favorite movie(s)?

I’m into loads of WW2 POW films, anything that’s got a true story behind it, makes it far more exciting. The most recent film I saw was a new one called “The Bank Job” and that fits my credentials for a good film, bit of action, based on true stories, and funny.

Where was the video for “Where You Going To Now” (watch video) filmed?

Where You Going to Now, was filmed at a club in Soho, that is basically Stringfellows…but it’s been re-named.

What was it like making the video and who are the ‘club going’ girls?

The video experience was amazing, something we had never done. It was a long day, but it was really insightful to understand a little how that industry works. The girls had auditioned for the parts, we only met them on the day. We had been contacted by other girls that were hoping to be in it, and didn’t make the part..so that was all quite exciting - and The Sunday Mirror wrote about it, so that was a bonus! Check it out on our myspace (it’s a bit old now, though).

What band would you want to tour with someday?

I would love to tour with someone like Supergrass, just because I couldn’t get bored of watching them every night, but from modern bands who are breaking through, a band that would be great to tour with would be someone like Vampire Weekend.

What’s your idea of the perfect party?

The perfect party would be at a house…but not ours…with good music, a great live band, mates, and loads of free food and drink, with some kind of amazing pill that stops you getting a hangover the next day.

The Fullertons will be playing a Live Session on BBC 3 Counties radio Friday, August 1, 2008.

For tour dates, music and more, go to:

The Fullertons MySpace

2008 marked the eleventh Truck Festival in the normally sleepy Oxfordshire village of Steventon. Not to be mistaken for an event celebrating all things of the vehicular variety, Truck represents one of the precious few independent music festivals still going strong in the UK and has grown in fame and prestige over the last decade. No corporate slogans for this event; rather you can expect to see the local vicar pouring pints as the Didcot Rotary Club serve you up a burger and chips.

Founded by Joe and Robin Bennett, Truck is a truly unique affair: a mixture of the village fete and the music festival, it celebrates some of the finest music - new and old - you can possibly expect to enjoy over two days. Past years have seen acts including Garth & Maud Hudson, The Futureheads, Regina Spektor, The Magic Numbers and Mystery Jets do their thing on the stages, one of which is comprised of a truck (hence the name), another a barn.

For 2008 there were some new stages, including the Village Pub and Pavilion, offering even more choice than before at this loveable boutique festival. This year was my sixth Truck and I arrived on Saturday pleased that the weather was one of those wonderfully English summer days - no, not rainy you joker you - a genuinely lovely sunny day with a mild breeze and fluffy white clouds in a picture book blue sky. Which - given last years floods - was no less than a miracle for an event that was postponed after entire marquees were swept down the fields in 2007.

As usual the punters were spoilt for choice, with established artists like The Lemonheads doing sets alongside up and coming artists such as Noah and the Whale and Stornoway. Truck line-ups are never anything less than idiosyncratic and that’s why it’s so thoroughly charming.

Where was I? Ah, Saturday. Aside from a mildly shambolic set from Television Personalities there were plenty of highlights. These included an energetic set from Little Fish, a rock duo whose singer Juju has an intense, PJ Harvey vocal style and a whole lot of charisma to boot; and an utterly magical performance from Emmy the Great.

Emmy the Great - Photo: Lindsey Davis

As the breeze ruffled her hair and bubbles floated across the sky and into the fields beyond the stage, Emmy had a rapt audience at her disposal - a rare feat for an artist on so early in the day. As she stared into the sunlight, I am sure I wasn’t alone in wondering how big she would be this time next year - the girl has star quality whilst never seeming cocky. The enchanting voice, the looks, the likeable presence … Her folky music is married to winning lyrics which have a humour and self awareness that prevent anyone from making accusations of her being twee or overearnest. And boy has she got fans! Even at this early stage in her career, a hardcore group were eagerly standing at the front and bantering with her, which she clearly relished. She’s one to watch that’s for sure.

The Ralfe Band had a hard act to follow on the Truck Stage but acquitted themselves well, their brand of quirky pyschedelia going down well with the audience. From them we wandered off to the Market Stage for the nostalgia fest that was Dodgy. Anyone who was a teenager in the mid nineties will recall with fondness (or minor irritation) the jingly jangly indie pop produced by the Brummie threesome, and it was on this basis we found ourselves in the crammed circus style tent singing along to classics like “Good Enough” and “Staying Out for the Summer”.

Dodgy - Photo: Gina Policelli

The band sheepishly knew their audience and kept new tracks to a minimum, drummer Matt getting highly into the spirit of things. You can’t keep a good Brummie down! It was all very good fun; the band were consummate professionals and played a polished set which you’d have to be pretty curmudgeonly to walk away from and criticise.

I then stayed behind to catch Martin Simpson, whose name readers might recall from his days supporting Steeleye Span but who deserves credit on his own terms. One of the finest guitarists I’ve seen play in a long time, I was lucky enough to bag a place at the front of the audience and watch his precise, skilful fingers as they worked their magic on his guitar.

I should also add an apology to Martin here, for forgetting to turn the flash off my camera and inadvertently letting off a blinding light only a few songs in. The picture was unfortunately blurred so that’ll show me to be so inconsiderate! Sorry (hangs head) … Anyhows, back to the music. It was fascinating to watch him play and I adored listening to the wonderful tales his songs relayed, including “Highway 61″ and the moving “Prodigal Son”, which he dedicated to his father. My own father recommended Martin to me and after seeing him live, I’m very glad he did. Martin had a warm stage presence and seemed comfortable to casually chat away to the audience, telling us that the previous night he’d played a town hall and was off to play the Royal Albert Hall the next night. What a wonderfully diverse triad of venues to do in the space of three days - evidence if any was needed of his love of playing no matter where!

The Market Stage then played host to Noah and the Whale which, having returned to it after grabbing a drink, we found so crammed it was impossible to get in. We headed off to see Okkervil River instead. Although they initially sounded like they were rattling around the large Truck Stage a little lost, things soon picked up and as the dusk fell, the band gave an increasingly assured and sprawling set. Their ornate folk rock and multi-layered instrumentation was perfectly pitched against the clear velvety skies and backdrop of whispering corn fields; and singer Will Sheff’s yelpy vocals were seemingly unaffected by his frenzied jumping around the stage.

They were more than a match for headliners The Lemonheads, who as a certain special guest argued very sweetly the next day, just didn’t seem like they wanted to be there. After deserting the silliness of hyperactive Klaxons-esque Munch Munch for Dando et al, I was left cold by the band’s absolute minimum of engagement with the audience. Their choice to play the entirety of album ‘It’s a Shame About Ray’ proved to be a bit off - with the eponymous song played early on in the set, there was no ‘favourite’ for the crowd to wait for and the band seemed oblivious to all notions of whipping the crowd up. They were good, yes, but ultimately left no greater impression.

So although Saturday ended a little flatly with the much-feted headliners detached from spirit of Truck - i.e. the sense of fun and inclusion which artists and audiences rightly love it for - Sunday more than made up for it. By this point I’d already seen Romeo Stodart of The Magic Numbers wandering around the site and been so excited I could barely speak, and spent most of the day eagerly anticipating his set.

Whilst I waited and tried not to embarrass myself by approaching him, I took in Tristan & the Troubadours, Indigo Moss and Luke Smith. T&TT are a bunch of GCSE students whose age belies their evident knack for a tune. Their sparkly pop, backed by piano and violin amongst other instruments, is amazingly accomplished and these teens really are too cool for school. They seemed impressively comfortable on stage and put me in mind of a less geeky Belle and Sebastian. They even have their own backing singer! And a good name. Which is immeasurably helpful given the raft of crap names teenagers give their bands. These kids don’t need me to tell them they will do well - they seem to know it already.

Engaged couple Trevor Moss and Hannah-Lou, who go by the name Indigo Moss, also played the Market Stage. Their cute rockabilly music takes in bluegrass along the way and their set mesmerised the audience. They were an apt match for the festival’s bucolic setting and were timed perfectly to gently wake people up after Saturday’s excesses. They drew some of their own peers too - Danny (of Danny and the Champions of the World) and Magic Numbers members all sat spellbound by the set. I must single out Hannah-Lou’s voice especially for praise; she’s got a pretty special sound and I want to hear more of her!

It was then off to see Luke Smith in the new tent the Village Pub. Canterbury-based Luke Smith specialises in cabaret style, piano led observational songs rich in wry humour and bearing titles like “I Like Being Cosy”. Now some would say he is irritating. Not me; I love him! I was charmed by him at a previous Truck and made a special effort to see him this year, where his attempts to get the packed audience not to join in drew much laughter. He’s lovely. From one hirsute wonder to another, I made sure I had a good view of the nicest man in music, Romeo Stodart. Yes, he was the special guest who along with bandmate Angela Gannon performed on Sunday evening.

Romeo from The Magic Numbers - Photo: Gina Policelli

Romeo is an artist who totally gets the Truck ethos and who, having mingled - or in his own words - been ‘led astray’ - by the punters the previous night, happily bantered with the crowd. And yes, it was him who very politely suggested that a certain Mr Dando could have thrown himself into the sprit of things a little more. He gave a lovely set of pared down Magic Numbers tracks with Angela providing accompaniment and showing off her angelic voice, which could honestly make grown men cry it’s so pretty. Danny of Danny and the Champions of the World joined for a song and a bit of a mutual appreciation society was formed which proved utterly heart-warming.

I then made a fantastic new discovery in the form of the politicised and impassioned Frank Turner, formerly of Million Dead. Wow. His lyrics are something else. And he has the tunes to back them up too. Combining the star quality of Bruce Springsteen with the polemics of Billy Bragg, he gave a magnificent performance which at the point in the day when revellers could easily flag as they wait for the main acts, drew a big crowd and made me and many others prick their heads up with immediate interest. Turner has a voice that urges you to listen and honest and powerful things to say, and delivers his messages with a conviction and intelligence weighted with authority and panache.

Laura Marling headlined the market stage and after much debate I decided I would eschew Get.Cape.Wear.Cape.Fly for the Berkshire-based songstress. The tent was spilling over with people and expectations were high. After what seemed like an age she finally came on and my first impression was: wow, she’s teeny! Followed by extreme jealousy of one so young and talented (yeah, she’s 18, yada yada yada … Enough about her age now!).

She exhibited remarkable composure in the face of such adulation and the complete purity of her voice hit me anew upon hearing it live. Sounding immaculate, she proved the beauty of her vocals on record is no engineered fluke. She delivered a set comprised mostly of songs from her debut ‘Alas I Cannot Swim’, plus a new track (Rebecca) and an encore of Five Years’ Time, that Noah and the Whale track on which she supplied backing vocals.

The set was, in short, sublime. Unperturbed by the idiots talking for the beginning of her set, who totally ignored the subtle and growing intensity of “Shine”, she projected a calm aura which soon transmitted to the audience, which was amassed of hyper kids, older folkies, and mid twenties former hyper kids like your good reporter. Everyone was transfixed a controlled yet delicate performance from Marling and her band, who live, lent the songs a greater thrust and body than on the album. As the drums and piano kicked in on My Manic and I and Night Terror, carving out a powerful backdrop for her clean and resonant voice, she treated the audience to some memorable hairs on the back of your neck moments. I’m sure those who saw her headline will agree that it is not overstating the matter to predict that it will become much harder to see her in a few years from now. If she’s this good before she’s out of her teens (I know, you can’t avoid it), what will she be like in Five Years Time (sorry - couldn’t resist)?

In all, Truck 11 was another wonderful weekend with wonderful artists. Although there seemed some underestimation of the popularity of some bands and a subsequent mismatch between stage and artist (Laura Marling in the Market Stage?), this is a minor gripe. The sun shone benevolently upon the festivities and topped off a weekend of quality music which introduced new artists and also reminded us of how great some of the established acts are - in short, it did exactly what a music festival should do. An event which is all about community, passion for music and a relaxed attitude to life, long may the Trucking continue.

By: Lindsey Davis

Last night I went to the Reckless Sons and The Splendour show at Madam JoJo’s in Soho, London.

Before the show, we were having drinks across the street from Madam JoJo’s, upstairs at The O Bar, and the newest addition to the New York City based band Reckless Sons, drummer Austin Schumacher, sat down with me for a quick chat. Before making their way to the UK they played a couple shows in Washington DC area that went down well and he was looking forward to playing the London show and their UK tour. They’ve just finished shooting a video for upcoming single, “Blood”, which was filmed in New York, and from his description, sounds like one to watch out for when it’s released.

As 9:30 approached, we made our way to Madam JoJo’s for the show. I was looking forward to seeing these two up and coming bands, one from New York and the other, The Splendour, from Brighton.

The Splendour went on first and I was glad to have been there early enough to see their whole set. They’ve been receiving very good reviews, and now I know why. They have a great current, indie sound, but there’s something different about The Splendour. They’re not your ‘typical’ indie band…there’s something more “artsy” and clever about them - maybe it has something to do with them being from Brighton, that they produce a different feel to their songwriting. Singer Justin Gourlay has a subtle approach on stage, which is endearing, and the harmonies were good to hear. When they played “Audio” my ears perked up, as I was familiar with the song. An excellent number as well as their single, “Money”. Both songs are off of their upcoming debut album ‘The Best Way To Make Money’ set for release August 2008.

Rockers Reckless Sons are fairly new on the scene - especially here in the UK. One thing I really enjoy, is being able to see bands play before they become household names. I wouldn’t be surprised if I’ll be saying that about Reckless Sons. It’s refreshing to hear rock music these days, and the contrast between the two bands’ styles worked well.

Singer/frontman Matt Butler has the passion that you want to see when you go out to hear rock - and I was quite surprised at how good guitarist Emiliano Ortiz sounded during his solos. I think his solos caught me off guard. Apparently I’ve been getting used to the current wave of new music being played on the radio - and a lot of it, unfortunately, doesn’t include great guitar solos. Again, very refreshing to hear live. Austin is probably one of the hardest hitting drummers I’ve seen in awhile - at one point a piece of his stick went flying into the crowd, and it was fun to watch bassist Jacob Sloan’s quirky style on stage.

When the band played their hard rocking version of Elvis’ “Jailhouse Rock”, for a moment I was spooked. I felt that I could have been watching them from five decades before. Matt has a look that could easily have fit in then, and I had flashes of the movie Eddie and the Cruisers going through my mind, and that’s also when I realized that Matt reminds me of Bruce Springsteen - who has an old school look and sound about him, too.

This show is highly recommended.

The bands will be on tour together in the UK July and August 2008.

For tour dates, music and more, go to:

The Splendour Myspace
The Splendour Official Website

Reckless Sons Myspace
Reckless Sons Official Website

By: Jenny May - BandWeblogs.com

Teddy Thompson has released his fourth studio album, ‘A Piece Of What You Need’ - which includes one my favorite songs released in 2008, “In My Arms”.

I’ve been intrigued by Teddy Thompson, not only because of his talent, but because of his ability to capture a rustic and classic sound that has subtly eased into the realm of mainstream music.

It’s also good to see true musicianship is still alive and well in the 21st century. Sometimes it’s difficult to see musical camaraderie amongst the commercialization of music. Teddy is the son of musicians Richard and Linda Thompson and over the years has collaborated - and harmonized - with both of his parents, Rufus and Martha Wainwright and many others. In my opinion, he is a great example of what true musicianship is.

Read the exclusive interview for Band Weblogs:

Jenny May: Where have you found to be the best place to write songs?

Teddy Thompson: I find that the place has little to do with it, it’s the state of mind. I don’t get a lot of writing done at home but that’s because I’m traveling a lot and when I am home it’s relaxation time. So, as long as I put my mind to it and sit down to work, I can be anywhere. It does end up being hotel rooms an awful lot.

Is there a show that you played that stands out as being a favorite?

I’ve had wonderful moments on stage but I’m always sort of waiting for the great performance to come. Where everything goes brilliantly and I have a transcendent experience. It hasn’t quite happened yet so I’m still waiting for my favorite show…

You’ve worked with many wonderful artists over the years. Are there times when they’ve inspired you when coming up with song/music ideas? If so, how did their inspiration effect your music?

Yes, it’s hard to say exactly how that works. I think it’s mostly subliminal for me. We naturally absorb what’s going on around us and later on it may influence your own writing.

With the artists that you’ve worked with, there seems to be a warm community of family and friends around you which reminds me of the Carter/Cash years - something that I don’t seen very often in music. How do you think camaraderie amongst musicians has changed throughout the years?

It’s great to have friends and family in the same business, I can’t imagine what it would be like to be the only musical person in your town and family as is the case for most musicians.. But as far as a musical community, there have certainly been lots of those - LA’s Laurel Canyon in the 70’s must have been pretty cool!

Is there a musical genre that you would one day like to venture into that you haven’t yet?

I’d like to make a traditional folk record someday.

Do you enjoy solitude?

Very much. I find it hard to spend an extended period of time with anyone.

Do you prefer romantic or political songs?

Romantic.

Who would you like to record with that you haven’t yet?

Nobody living. LOADS of dead people! Some sort of undead jam session would be really great.

Who is your favorite male/female duet and which song?

At the moment it’s Robert Plant and Alison Krauss doing that Everly Bros song.

You’ve had songs in movies - have you ever acted in any films?

NO, acting is like, totally hard.

Any projects planned outside of music?

I am working on decorating my new apartment.

What is your idea of the best way to chill out at the end of a long tour?

I always think that it would be good to take a real vacation on a beach somewhere and truly relax but inevitably, I just want to spend time at home after being away so long.

Who is your favorite country artist of all time?

Hank Williams.

For more information, music and tour dates, go to:

Teddy Thompson Myspace
Teddy Thompson Official Website

Teddy Thompson - A Piece of What You Need on amazon.com

A Piece of What You Need on amazon.co.uk

iTunes

I’m Not There, a daring and innovative film inspired by Bob Dylan and directed by Todd Haynes (Velvet Goldmine, Far From Heaven), takes various stages of Bob Dylan’s life and career and reinterprets them to the soundtrack of his music. Unlike Factory Girl, in which a character apparently based on Dylan forced his lawyers to threaten to sue the makers, this movie received his blessing. It’s easy to see why: Haynes shows a respect for his subject and the shape-shifting and multiple identities Dylan has undergone over the years, by re-enacting this tendency in film and employing a variety of actors to portray aspects of Dylan’s persona over time.

Each of the actors is given their own narrative loosely based on actual events and interviews from Dylan’s past: Marcus Carl Franklin plays a young black version of Dylan who calls himself ‘Woody’ and thus represents the beginning of the artist’s career, when he styled himself on folk singer Woody Guthrie; Ben Whishaw plays the ‘poet’ Dylan styled after Arthur Rimbaud; Heath Ledger plays Robbie Clark, a Hollywood actor estranged from his wife Claire (Charlotte Gainsbourg) and children, representing Dylan the star refracted through his personal life; Christian Bale plays Dylan as a young, politicised folk singer and later becomes ‘Pastor John’ (Dylan the born again Christian); Cate Blanchett plays Jude Quinn, or Dylan at the height of his fame in the 60s, when his original fan base rejected him as a sell-out for going electric; and Richard Gere plays the older Dylan as a Billy the Kid figure in a surreal and haunting Wild West town. All stories are filmed in a style unique to each character and are informed by cinematic history: from cinéma vérité to Fellini, Goddard and westerns.

Narratives are spliced throughout, taking you from Woody to Billy in an unpredictable but oddly fitting manner. There are many beautiful set pieces which could easily be extended and beautifully directed music videos - notably those in the Billy the Kid story, which features some stunning moments set around the bandstand, where Billy stands up to his nemesis Pat Garrett in a rustic, circus style setting. Revisiting the movie upon its DVD release I was struck anew by what seems to be perfect casting - particularly that of Cate Blanchett, Heath Ledger and Charlotte Gainsbourg.

Much has been said about Blanchett’s performance, which really captures Dylan as he was in the 60s (see D.A Pennebaker’s documentary Don’t Look Back). Choosing a woman with Blanchett’s luminous beauty was a risky strategy but it pays off. Her performance illustrates just how alien Dylan appeared to people in the 60s: androgynous, full of riddles. Her every move, gesture and even the timbre of her voice is uncannily and inherently Dylan - culminating in a memorable confrontation between Jude and a journalist in the back of a car.

Heath Ledger’s performance is shot through with pathos given his recent death; already ensconced in the more emotive parts of the film, his scenes were even more moving given the circumstances and it was difficult not to feel choked seeing him so young and fresh on the screen. He and Charlotte Gainsbourg offer us a more personal, intimate story than the rest, portraying the start and finish of a relationship very movingly. Their naturalistic performances give the impression of a couple’s life together in what constitutes only a segment of the film’s wider whole, and they deserve praise for their success in realising this in so short a space of time.

The rest of the cast also acquit themselves well: as usual Christian Bale performs with intensity and integrity and Marcus Carl Franklin is impressive as a man-child searching for an identity. Even Richard Gere was less smug than usual. Ben Whishaw delivered some powerful monologues but the character of Arthur was less tangible than the others and only seemed there to provide some way of knitting together the disparate stories.

In all, this movie does well to emulate the slippery nature of Dylan’s own self-mythologizing and delivers a series of unforgettable stories strung together by his music.

And the DVD extras? They include a passionate and intelligent commentary from Todd Haynes that gives an account of how much research and dedication went into the movie. Given the restraints on location (the movie was shot entirely in Montreal which had to stand in for London, Greenwich Village and the wild west) and time, the sense of commitment from everyone involved is clear from Haynes’ words.

There’s also a set of informative interviews with Haynes and a lovely video tribute to Heath Ledger. A mini documentary on the making of the soundtrack is also worth a look. It features an interview with Sonic Youth’s Lee Ronaldo, who produced much of the album. Considering the film itself features a mesmerising reworking of “Going to Acapulco” from My Morning Jacket’s Jim James and Calexico, a discussion with the guy who had the fearsome task of reinterpreting a selection of Dylan’s songs for contemporary artists simply had to be on the cards. However, it was a shame that there weren’t more interviews with other artists involved in the soundtrack, such as Eddie Vedder or Richie Havens (who is also in the movie). It would have been nice to hear their thoughts on the project. On that note, I’d have liked to have seen some cast interviews as well.

I won’t split hairs. There’s a written contribution from Greil Marcus for goodness sake! And it’s the movie that’s the thing. I’m Not There stands up to and becomes even more enjoyable on repeat viewings, and supplemented with the background information currently available in the Extras, is something I would advise Dylan and movie fans alike to invest in. Although you come away with no greater knowledge of the legend himself, your appreciation of Dylan’s work is all the greater for stimulating creative and original endeavours such as this.

I’m Not There (Two-Disc Collector’s Edition) on amazon.com

I’m Not There [2007] on amazon.co.uk

Bob Dylan Official Website

By: Lindsey Davis

I’ve been listening to ‘Legend - The Best Of Willie Nelson’ and “Whiskey River” just came on. I love that song - and hearing it brings back so many memories of back home in the States.

There was a group of us that on special occasions would pull out the ol’ Willie Nelson CDs, late night, after a few beers - and just sing along to his classic songs like “On The Road Again”, “Blue Eyes Crying In The Rain”, “Always On My Mind” and of course, our favorite, “Whiskey River”. Luckily all of those songs are included on the ‘Legend’ CD as well as many more.

It’s great to hear Waylon Jennings‘ voice on “Good Hearted Woman”, Merle Haggard singing with Willie on “Pancho and Lefty” and Johnny Cash, Kris Kristofferson Willie and Waylon on “Highwayman”.

There are 20 songs on the album - and one stand out track that I hadn’t heard before is “Seven Spanish Angels” with Ray Charles.

The one time that I was lucky enough to see Willie Nelson play live was in Austin, Texas - just down the road from his house at The Backyard. The show was sold out, but my friend and I went anyway, hoping that we might find a way in. Or out actually, since the show was outside. Anyway…long story short we were able to get in - and what a night we had. Watching Willie Nelson singing on that stage - outside under the large Oak trees and being able to hear those classic songs played live was incredible.

Legend - The Best Of Willie Nelson on amazon.co.uk

Willie Nelson on amazon.com

Willie Nelson Official Website

By: Jenny May - BandWeblogs.com

I’m a sucker for a song with a three-count or waltz, so when The Fold from Melbourne, Australia got in touch and I heard their song, “Six in the Morning” I must say, it did catch my attention.

The intro is sweet, with just the guitar coming in first, and then that wonderful count. The instrumentation is tight - with a laid back swing. The horns add a nice touch, and the guitar solo and organ at the end is brilliant. The vocals and the lyrics of course are not to be forgotten. With what at first may seem like minimal effort, there’s actually a lot going on with this song. You can focus on the music or be just as content when focusing on the vocals and the story being told. Excellent.

“Six in the Morning” is off of The Fold’s debut album, ‘A Kind of Lightening’, which they’re launching independently on the 19th July, 2008 in Melbourne. The band formed in 2002 and after playing shows around Melbourne and then later touring in London and Europe (with violinist Londoner Alison Blunt) promoting their first EP, the band scored a small grant from the Australia Council for the Arts and recorded their new album in Australia.

I’m hoping The Fold comes back to play in the UK soon. This would surely be a show to check out.

For music, more information and links to purchase the CD, go to:

Myspace
The Fold Official Website

By: Jenny May - BandWeblogs.com

The first time that I saw The Watson Twins was on Later…with Jools Holland a couple years ago when they were in the UK touring with Jenny Lewis. Their presence on stage was almost spooky - identical twin sisters with their matching long dresses and dark hair. The appearance was memorable and it’s good to see them out on their own now, with the release of their debut album, ‘Fire Songs’.

Off the top of my head I can think of three other sets of twins in music - The Nelson Brothers, who play rock, The Proclaimers are more pop and The Cheeky Girls…who are just, well, cheeky. None of these acts are alike, and The Watson Twins, made up of Chandra and Leigh Watson also have their own sound - a mix of folk and country with soft harmonies and moving melodies.

I’ve been listening to The Watson Twins’ new ‘Fire Songs’ album and at times, their sound reminds me of Natalie Merchant, Beth Orton and even K.D. Lang, who’s fans might want to take note. The instrumentation throughout the album is superb, with beautiful vocal harmonies, wonderful stories and most songwriting credits going to Chandra and Leigh, depending on the song.

“How Am I To Be” is probably my favorite song on the album, and is a great choice for an opening track. I really like the sparse feel of it at the intro - with the vocals and the childish, playful piano, and then the way the other instruments come in soon after, along with the harmonies. It’s fun to sing along to, and it helps that the lyrics are inside the CD cover.

The Cure’s “Just Like Heaven” makes an appearance on ‘Fire Songs’, and The Watson Twins’ languid, dreamy version is excellent. The harmonica also adds a nice touch.

Chandra and Leigh Watson grew up in Kentucky, and when they were young they would sing in the church choir, which is where they discovered their ability to harmonize. Later on they moved to LA, and even after their move to the big city, and now, after listening to ‘Fire Songs’, it seems that they have kept their Kentucky roots intact.

‘Fire Songs’ tracklisting:

1. How Am I To Be
2. Lady Love Me
3. Fall
4. Just Like Heaven
5. Map To Where You Are
6. Dig A Little Deeper
7. Sky Open Up
8. Bar Woman Blues
9. Only You
10. Old Ways
11. Waves

For music and more information, go to:

Myspace
The Watson Twins Official Website

By: Jenny May - BandWeblogs.com

Last Saturday I was at the Temple Bar in Oxford and a very young band by the name of Behaveya from Wycombe/Worcester was playing. The irony in all of this is that members of Behaveya are ages 10-17, and yet they were playing old punk and rock covers as well as punk originals that conjured up thoughts of the late 70’s punk music scene that I was too young to experience - but Saturday night may have been a good insight into what it was like.

Behaveya’s sound reminds me of punk bands from the 70’s, like X-Ray Spex, and with Becca fronting the band on vocals and bass, they’ve added a twist to the norm. At one point there was a technical problem with the bass, but what I really liked was Becca’s professionalism to just keep on singing until the problem was fixed - which eventually it was at the end of the song.

The band is comprised of siblings from two sets of families - and they’re all friends who simply love to play music. The youngest member, 10 year old Stephen on guitar, is confident on stage, and is fun to watch when he steps up to take his solos. Guitarist James has a great sound, and it was good to see him take the vocal lead on crowd favorite, “God Save The Queen” by the Sex Pistols.

I couldn’t see Ayla on the keys very well, as she was tucked away a bit, however, she is an important element to Behaveya’s sound. Phil is an exceptionally talented and interesting drummer, and is able to keep a solid rhythm throughout the night. You would never know that he is as young as he is by just listening.

It is an amazing thing to go into a bar and see a 10 year old playing guitar! At one point one of their songs was introduced as being written by him. Pretty cool.

They played two long sets which is impressive in itself, with enough originals to get a good feel as to the direction they’re going musically. I really had a great night out listening to Behaveya - and even pub landlord Barry was tapping his foot and singing along.

If Behaveya is playing in a town near you, go out and support this up and coming punk/rock band - you’ll be in for a treat!

For music and more information, go to:

Behaveya - Myspace

By: Jenny May - BandWeblogs.com

Last week I had the pleasure of watching up and coming band The Fullertons play at The Jericho Tavern in Oxford.

They look and sound great - and could easily have been included in the Glastonbury lineup. Their songs are tight, energetic and the keyboard adds a nice touch to their indie/pop sound.

They’ve got the full package for mainstream success.

More information about The Fullertons:

“Halfway Out” is the infectious debut single from newcomers The Fullertons. The Watford based four piece are set to inject a well needed boost of energy back into the music scene.

The Fullertons are brothers David (vocals / guitar) and Chris Chanell (keys / vocals / guitar), Rik Blake (bass/vocals) and Rich Iles (drums).

The songs, laden with soaring vocal harmonies and timeless pop hooks, trace a lineage that takes in the driving rhythm of the Zombies, the swirling energy of The Stranglers and dusts it all off with a nod to Supergrass.

The band have already enjoyed the support of Music Week, Channelfly, XFM - recent antics while recording the video for their single also ended up with coverage in the Sunday Mirror! However, theirs is not the tabloid lifestyle just yet (!), as they are too busy building up those motorway miles supporting the likes of Good Shoes, Vincent Vincent And The Villains, The Displacements and Blood Red Shoes.

They have been tearing up sold-out venues around the country for the past year with their vibrant performances and infectious song writing nous, and will continue to do so on their forthcoming dates. “Halfway Out” was released by Sons of Stereo on the 23rd June, 2008 backed with “Find Your Own Way Out” and “Rule Of Thumb”.

The Fullertons 2008 tour dates:

Dates could be added or changed! Go to The Fullertons’ Official Website for the latest tour dates and information.

3 July 2 DJ’s Presents @ The White Heart Corby
4 July The Orange Box (14 plus) Yeovil
5 July Klub Kute @ The Cooler Bristol
11 July The Purple Turtle London
12 July Krisiz Zhanra. MOSCOW Moscow, Russia
13 July MOSCOW Moscow, Russia
14 July MOSCOW Moscow, Russia
31 July The Twist w/ The Paddingtons & Blast Colchester
1 August Live Session. BBC 3 Counties radio everywhere
13 September The Perils of Ping Pong @ The Albert 16+ Shrewsbury
20 September Ban Jam / skip skip jump @ St. Moritz. Soho London

The Fullertons Myspace

By: Jenny May - Band Weblogs

I’ve been enjoying Landon Pigg’s single, “Falling In Love At A Coffee Shop”. I’ve heard it a couple of times now on one of my favorite radio stations, MVY Radio out of Martha’s Vineyard, and as always, they continue to introduce me to great music.

“Falling In Love At A Coffee Shop” is a tranquil song, and Landon’s voice gently soars throughout. The lyrics are lovely - and I’m hoping more people get a chance to hear it.

Watch “Falling In Love At A Coffee Shop” video

Landon Pigg Official Website

By: Jenny May - BandWeblogs.com

Deborah Bonham is set to release her latest album, ‘Duchess’.

If you haven’t had the opportunity to hear Deborah Bonham yet, she has a soulful, bluesy voice that at times reminds me of Bonnie Raitt, Lulu, Janice Joplin and even Paul Rodgers. She grew up in England, but her music could easily be mistaken for an American blues/rock band.

It was great to find out that the late Led Zeppelin drummer, John Bonham had a sister who sings - and Deborah does sing - with a soulful passion, often missing from the top 40 charts. ‘Duchess’ has an old school feel that will bring back memories for music lovers who can’t get enough of the blues.

‘Duchess’ features 13 original tracks backed by Deborah’s excellent band, which includes musicians Jerry Shirley (former Humble Pie drummer), bassist Ian Rowley, keyboardist Gerard Louis, and guitarist Peter Bullick. Paul Rodgers and John Bonham’s son, Jason Bonham make guest appearances on “Hold On”.

Songs on ‘Duchess’ include the catchy opening track “Grace”, “Jack Past 8″, a great track, especially if you like The Band or Little Feat. “Hole In My Heart” is a slower song that could sit comfortably in Linda Ronstadt’s repertoire.

“Hold On” features a guest vocal by Paul Rodgers and Jason Bonham on drums. After listening to Paul Rodgers singing rock songs over the years with bands like Free, Bad Company and now Queen, it’s interesting hearing him singing on this slow, soulful country tinged track. They sound good together, and the slide guitar adds a nice touch.

Slower songs “Love You So” and “(If You) Had A Little Love” would be the perfect compliments to a late night in a dark bar after a few too many drinks. Excellent.

“How Do You Feel” is another great track, best played with the volume up. The melody and the harmonies are top notch. “Chains” follows nicely with an English folk feel with mandolin, cool drums, and touching lyrics. The bluesy, “Waiting So Long” has a nice build up and big gospel harmonies at the end.

Closing track “Blue” is stripped down to just vocals and pedal steel - a rare combination - and in my opinion ends far too soon at just over 2 minutes long. So, what can I do? I’ll just have to play it again!

‘Duchess’ Track Listing:

Release date in the US is June 24th, 2008 - June 23rd in the UK.

1. Grace
2. Jack Past 8
3. Hole In My Heart
4. Hold On
5. Love Lies
6. Pretty Thing
7. Love You So
8. How Do You Feel
9. Chains
10. Duchess And The Shufflemeister
11. Waiting So Long
12. (If You) Had A Little Love
13. Blue
(”The Old Hyde Revisited” on digital version only)

Deborah Bonham - Duchess on amazon.co.uk

Duchess on amazon.com

Watch Deborah Bonham - streaming videos from “Live in Malta”:

“Pretty Thing”
“Love You So”

For more information, go to:

Deborah Bonham Official Website

By: Jenny May - BandWeblogs.com