Magazine – The role of Albums in 2017 – bpi 

 

GrooveME’s Holage technology to be showcased at this weekend’s big rock festival in Kent

Once upon a time, adverts for a cassette tape company asked the question: is it real or is it Memorex? Things have moved on a looooong way since those days

“I am the god of hellfire and I bring you …” a 3D hologram show featuring sixties theatrical rock pioneer Arthur Brown.

This year sees the 50th anniversary of the release of “Fire”, a never-to-be-forgotten single by Arthur Brown, whose stage make-up and crown of flames was a major influence on shock-rock star Alice Cooper.

https://youtu.be/Mizo55muY2I

To celebrate the occasion, “a world exclusive hologram cinematic experience” will take place this weekend at the Ramblin’ Man annual rock music festival at Mote Park in Kent, courtesy of Groovemeand its Holage 3D legacy projection system.

Arthur Brown said: “It is a great thing to be riding the cutting edge of technology with a team dedicated to creative adventure. The hologram is the bridge into the virtual world. When the artist explores the virtual world, that exploration becomes a portal to allow expansion of expression of self-enquiry, enhancing communication and revelation,” Brown said.

“Besides what fun! To be able to appear in 60 Concert Halls simultaneously, whilst I’m at home taking a shower!” Brown added.

Other artists will also be appearing at the rock festival in holographic form, including the Boomtown Rates, but we don’t have a quote from the Rats’ frontman Bob Geldof, which is possibly just as well …

Alongside the 3D hologram show, there will be artists doing it the old fashioned way – appearing on stage in person – and these include Saturday’s headliners Mott the Hoople and Sunday’s top of the bill, The Cult.

Privately-owned GrooveME is based at Knebworth House, “the stately home of rock”, has developed a technology that once only seemed possible in science fiction – yes, we’re thinking of Princess Leia’s distress call in Star Wars – and made it into a reality that can be deployed in pubs, clubs and concert halls.

The 3D sound and vision specialist won the prestigious ‘Best Use of AR/VR (Augmented or Virtual Reality)’ prize at last year’s Digital Entrepreneur Awards.

 

The Crazy World of Arthur Brown – London Indigo O2 17 June 2017 Gig Review

Just around the corner in the Indigo was the surprise of the day for me – The Crazy World of Arthur Brown.  Like most people I only know him for the famous ‘Fire’ single/video so I really didn’t know what to expect.  As it was I was captivated by the music, the band imagery (and his numerous costume changes) and the exuberance of an old man and his showmanship.  I checked the set list (off the net):

  • Prelude / Nightmare (The Crazy World of Arthur Brown – 1968)
  • Devil’s Grip (1967 single)
  • I Put a Spell on You (The Crazy World of Arthur Brown – 1968)
  • Time Captives (Arthur Brown’s Kingdom Come – Journey 1976)
  • Sunrise (Arthur Brown’s Kingdom Come – Galactic Zoo Dossier 1973)
  • Touched by All (The Crazy World of Arthur Brown – Zim Zam Zim 2014)
  • Fire (The Crazy World of Arthur Brown – 1968) click to view the video..

Arthur had plenty of weird dance routines (accompanied by his dancer Angel Flame) and a voice that really was from the god of hell fire.  Painted faces, bizarre costumes, good musicians and Arthur Indian dancing in circles wearing a cloak (with LED strips) of feathers that glowed all the colours of the rainbow.  I enjoyed all the songs, the performance and the artistry immensely.

Sadly, the last song ‘Fire’ was cut short due to running overtime but it did give him time to let us know that he is 75 in a few days so we ought to go and see him again before he drops dead on stage!  Mighty impressive stuff, if you want to see something different, be entertained and enjoy some really good tunes go and see him before it’s too late – he can’t be replaced!

Marko 20 June 2017

CONCERT REVIEW: ARTHUR BROWN BREATHES THEATRICAL, GENRE-HOPPING ‘FIRE’

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Arthur Brown of The Crazy World of Arthur Brown performs at Vinyl at the Hard Rock Casino, Thursday, Feb. 16, 2017.
Photo: Yasmina Chavez

The Crazy World of Arthur Brown February 16, Vinyl.

I turned 50 on February 16. It wasn’t bad at all; you’ll find that out for yourself, if you’re lucky. But the age does have a bit of a stigma attached to it—“you’re the big 5-0, Carter, ha-ha!”—and I can think of no better way to have defeated that stigmatization than to have spent my birthday in the presence of an energetic, flamboyant, 74-year-old musician whose best-known music is just about my age. Arthur Brown, I bless your immortal soul.

Brown is best known for his 1968 single “Fire” (the one that begins with him growling, “I am the God of Hellfire, and I bring you…”). This was The Crazy World of Arthur Brown’s second visit to Vegas, and to the Hard Rock Hotel, in less than in a year; his band played the Psycho Las Vegas fest last August, and generated the kind of buzz septuagenarians don’t usually create. The consensus opinion was, “You have to see this guy,” but no one provided me with specific details. On my birthday, I witnessed those details firsthand: Brown has a masterful control of his voice, he performs in a psychedelic facepaint that looks like one of those Magic Eye drawings and he’s just the teeniest bit insane.

Careening through a set that included old songs and new, Brown was every inch the showman, changing costumes as often as he could (his wardrobe included wizard’s robes, which he wore for a blistering cover of Screamin’ Jay Hawkins’ “I Put a Spell on You,” and a long coat made of electroluminescent wire); bumping and grinding with pinup model Masuimi Max, whom he could easily have grandfathered; and performing songs in virtually all the genres, from hard rock to Latin to psychedelia to blues.

It’s that last bit that’s most significant, because Brown could have given me a fun set with my eyes closed. His operatic voice can do just about anything: he can go low, he can go falsetto, he can growl, he can bellow. Most times, he occupied the same soulful range as Tom Jones, though he took frequent detours into David Bowie and Tom Waits. That would be something amazing for a 50-year-old. For a gentleman Brown’s age, it was little short of miraculous.

The set was consistently watchable and listenable, but had two clear highlights. One was “Fire Poem/Fire,” which is what we all came to hear (Brown even acknowledged as much late in the set, though he joked that he might perform some Kinks, Eminem and Adele covers instead, which honestly wouldn’t have been bad). The other was “Devil’s Grip,” which he performed as a man possessed, stalking back and forth onstage and convulsing as if he really were in the clutch of an occult hand.

And upon the conclusion of “Grip,” Brown gave me a birthday present: He noted that the driving rock number, his first solo single, was 50 years old. Arthur Brown wiggled his way into the devil’s embrace “two years before Black Sabbath,” he proudly noted. Considering the way “Devil’s Grip” sent the room into a frenzy, I should be so lucky as to make as much fire of my own this year.