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MUSIC WORKS is a 6 day open access course aimed at people who enjoy and participate in playing music and who wish to broaden their skills and gain insight into technical and

creative areas of the music industry as a whole.

The course is divided into 3 sections:

0 Using the music industry effectively.

0 Studio awareness, recording, engineering and production.

0 Live sound, PA installation and operation.

This course enables musicians to

become more effective in the industry

“market place“. whether music is a

part-time interest, hobby or potential

lull-time vocational career.

For further information and course availability, please contact the course oo-ordinator on 0131 557 3796.

IMS Training and Development

34The List 19 May-l Jun 1995

mm— Spotcheck

1 mean, it’s really rockin’ and mad,

but it’s more, like . . . crazed-sounding. This mad kinda rockabilly, it’s really uptight, and when you see it it’s like . . . what’s happening?!’

Talking about the deranged delights uttered by groups like The Cramps and Jon Spencer’s Blues Explosion, Mick

: Slaven could just as easily be ' speaking of his own combustive trio, The Leopards; tor, when Slaven’s

guitar and strangled vocals combine

with the ominous bass thud of Nick

, Clark and Skip Reid’s piledriving

j drumming, forming an intense, totally . wired whole, ‘What’s happening?’ is

about all there’s time to think betore running for cover or tailing in love

with the whole damn thing. Gaining his apprenticeship in

sophisto-popsters Bourgie Bourgie 3 way back when, Slaven has been playing with ‘other people’s bands’

around Glasgow tor an age now - is currently, intact, along with field, an integral member of iellow ex-Bourgie Paul Quinn’s Independent Group, adding a vital undercurrent of edgy

dissonance to that band’s dark sheen. With The leopards, however, the guitarist has created his own voice, able to indulge his passion tor groups like The Stooges and Richard Hell’s Voidoids and the spirit oi gone-ness captured by the likes oi Link Wray and Gene Vincent.

‘I’d started wishing I could just do my own thing, because a lot of the time I’d come up with ideas that weren’t suitable tor whoever I was playing with, and it could be a bit trustrating,’ says Slaven. ‘So just playing what you want, being your own judge, is great. There’s no problems of “Oh, you can’t do that, it’s too mad.”’

The Leopards’ aptly-titled debut seven-inch, ‘Burning’, is out there somewhere tor you to smuggle home now - but seriously, try to see these guys live. Then you too can wake up and wonder ‘What’s happening?’ (Damien Love)

The Leopards play a Creeping Bent showcase on Sat 20 and support Greenhouse at The Garage, Glasgow on Tue 23.

State of independence

Canada has a long history of involvement with country music, trom Hank Snow down to kd lang and, when he’s in that particular mood, Neil Young. Michelle Wright made the transition from the Canadian circuit to Nashville tour years ago when she signed to the Arista label, and now makes her Scottish debut with what is reputedly a dynamic stage show underlining her diverse musical roots.

‘I guess I’m a bit more at a contemporary-ster country artist than areal traditional one, and most oi the newer artists in country have that same kind oi experience of growing up with country and rock music, or soul music, or whatever. Those experiences are going to change the music a bit.

‘l was raised on a farm right on the Canadian-American border, and my parents were traditional country music singers, but we kids had our

rock and roll as well, and we were very exposed to the American experience on radio and so on - 3 Detroit and the whole Motown thing was right across the water.’ Wright’s more assertive stance on both her music and her sexuality is i indicative of a sea-change which has I come to country music in recent


"3‘91 NWEL b'."5“‘

Michelle Wright: girl from the north country

years, with the emergence of a new generation oi more independent women singers, a subject she warms to immediately.

‘Gountry is a male-dominated format, both at decision-making level, and in the tact that women have traditionally bought more concert tickets and records, and they are likely to want to stare at a guy on stage, or listen to a man singing to them. That is changing now, though - the new generation ot women listeners are more accepting oi a woman like me, who is pretty independent, and who celebrates her sensuality. They don’t teel as threatened by that as the previous generation.’ (Kenny Mathieson) Michelle Wright plays at King Tut’s Wah Wah liut, Glasgow on Sun 21 (note change oi venue).

0n the Sauce

G Love and Special Sauce play ragmop. Lila Rawlings goes looking for ; clues and finds something ? hot and spicy in their Q funky-blues based sound.


G Love wouldn’t argue with BB King i when he said that blues was the mother i of all American music. it's easy to hear the influence that it's had on the lazy. } funky guitar. drum and acoustic bass sound that he and his band. Special Sauce, like to make. Blues anoraks beware. this is an unorthodox mix. G Love’s vocal style has been described as ‘blues-laccd rap', and it's this quirky combination that makes you want to shut up and listen.

it‘s lpm in downtown Boston and G has just rolled out of his bed. His lazy Philadelphia draw] and raspy voice conjure up thoughts of late night hole- in-the-wall bars. Jim Beam on the rocks and too many Lucky Strikes. Just over two years ago he met his fonky [sic] drummer Jeff Clemens and acoustic bassist Jimmy Prescott in the irish bar where he played a solo set most nights. Last March they released their debut album G Love & Special Sauce which