Review: John E Vistic, Thunderbolt

John E Vistic is about to release a new LP (read all about it here) and warmed up for the release of his new single (May 15th) with a big band outing supported by a pair of excellent local acts – a quality bill and an absolute steal for a fiver, and of course, we all love the Thunderbolt- yeah?

Bristol’s finest country rock band The Montgomerys opened the night, although calling them country rock is a bit like saying a shark is a big grumpy fish; they’re arguably more a rock country band given their love of the riff. The ten song set was naturally drawn from their debut long player Alligator Joyride, opening with First Train Outta Here, a rocking tune with the most insistently catchy guitar lick played at breakneck speed. The stage could barely contain the band once they got rolling, Philo Montgomery (guitar) and Tom Montgomery (bass) did their best to work their restricted space – Philo finally making the drum riser during the last number. Drummer KO Montgomery himself was barely visible, the odd glimpse of a stick and headbanging hair but he was a massive audible presence locking down the beat with Bonhamesque power. Alligator Joyride was a welcome twangy surf instrumental interlude; if the Surfaris had been born in Bakersfield then this is how Wipe Out would have sounded. A rollicking Leaving for Good and a moody Drinking Beer and Watching TV stood out, especially the latter with its melancholic lyrics. Samuel Montgomery’s lead work was tight throughout the whole set, clean leads punctuating the tunes and plenty of twang n reverb; especially on Whiskey River a tune that can only be described as righty purty. If you’ve a taste for hook laden rifftastic country then you need to pick up Alligator Joyride without delay, in fact get to their next show and buy a copy there.

Whilst supporting Dan Stuart at the Exchange Mike Crawford previewed a set of tunes of great promise and that promise was fulfilled with his Various Sorrows (Rob Norbury, lead guitar; Adam Coombs, keys; Graham Dalzell, bass and Andy Sutor, drums). Crawford claimed the band was playing a jazz set, i.e. “…all starting in the same place and then finishing in the same place…” but in truth the band were supremely tight throughout the whole set with plenty of improvisation during the bridges and solos. The sound was rootsy with swirling keys, underpinned by a cliché free classic rock sensibility. Prodigal Son was an early high point, particularly with its Be My Baby coda, and lyrically the strongest cut was probably Typriter, its world weary words just this side of ennui and full of wry humour. Galilee arguably featured the solo of the night from Norbury, classy yet stinging and well suited to the cinematic sweep of the tune. Crawford has worked up a damn fine set – steeped in all that’s best about rock (not rawk), lyrically sophisticated but accessible and hopefully there will be more dates and ideally an album will be soon come.

The Long Tall V opened his set solo acoustic in hand for a rolling expressive Miracle Mile, its narrative drive punctuated with urgent harp as Vistic testified like a man possessed. Crawford hopped on stage during the second cut – Henry Miller – playing a beautifully elegiac electric solo to complement the acoustic. The rest of the big band (the Rock n Roll Soundsytem rhythm section (aka Dan Clibery, drums and bassist Guy Fowler) along with the ubiquitous Rob Norbury) followed locking instantly in to a groove on a tune that Vistic suggested would have a Sinatra vibe, and whilst What Will Be certainly had a whiff of Ole Blue Eyes there was a pleasing nod to the Ronnetes in the tune too. Gamblin’ Man was hot and heavy, Vistic now at full throttle, whilst Long Time Gone was a show stopper with Crawford pulling off a blinding solo. In fact his guitar playing was excellent all night giving Norbury a run for his money although Wait for No Man gave the latter the chance to pull off a blistering solo, as the song pounded to its crescendo. Without his guitar Vistic was free to live out the lyrics, fully immersed in the tunes – a twenty first century shaman lost in the rock and roll, eyes rolling and testifying like the end times were only one song away.

The big band were excellent throughout, Clibery and Fowler powerful when needed and hitting the grooves too whilst Crawford and Norbury were perfect foils for each other. The main set concluded with Vistic and Crawford reaching for the brass – trombone n saxophone – for a sleazy version of Andalucia, the brass smutty enough that one felt an urge for a post coital fag after the song ended. A brief moment or two passed and then the band finished with a manic Whole Lotta Shakin’ Goin’ On that manged to stay just this side of deranged.

All pix by John Morgan