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Gary Williams
Capri have been one of Leeds top bands for a number of years, and one thing's for certain, they will still be one of the cities top bands, when the current "Everything is brilliant in Leeds" craze has come to an end. In my mind, they are THE best band to have ever come out of Leeds, and for anyone who doubts my opinion, check out their latest album, Boogie Man….it's a classic.
The Wardrobe was celebrating its 6th birthday tonight, and what better way to do it than with a live set from Capri. I chatted with front-man Benson Walker before the show, about their latest album. Benson described it as "a labour of love" and spoke highly of all the musicians that had helped record it. Bassist, Chris, kindly donated some Capri CD's and posters for the forthcoming Studentguru Birthday Gig. These are to be included in the charity raffle….as well as a great musician….he's a true gentleman!
The scene was set for a great gig, by the resident DJ's playing top 60's and 70's souls and funk classics. A sure-fire way to get the audience warmed up. The band took to the stage as 9 ordinary looking guys, dressed in jeans and t-shirts, but within seconds they were transformed into a full on groove machine. For those who have never experienced a Capri gig, I can only say that it is just that…an experience. With a delicious blend of up-tempo funk and 70's cop themes, topped off with a wonderful film show to accompany the music, you just can't help but tap your feet and clap your hands to the music. Singer, Benson Walker, then took to the stage, and the band belted out some of their classic tunes, such as "Shake It", "Real World", and a fantastic funk cover of Alice Cooper's "Elected". Benson's a big lad, with powerful vocals to match. He's a larger than life character, and the ideal front-man for Capri. He occasionally asked the crowd if they were up for dancing, but he needn't have bothered, as we were already shaking our stuff on the packed dancefloor. I challenge anyone to attend a Capri gig, and NOT dance…it's impossible. The band effortlessly went through their set, with every song a crowd-pleaser. Benson heralded "One Night" as a possible new single, and it certainly has a superior quality about it. Slightly slower (by Capri standards) to their other material, "One Night" has a nice disco/funk crossover feel. It proved to be a favourite of the large audience. We were also treated to a guest appearance by one of Leeds top female vocalists, Lara Rose, who marked her entrance with an ear piercing scream that made the PA vibrate! Such an amazing set could only be finished off by my favourite Capri number, Barbarella. This is truly an amazing song from an amazing band. I'd given up making notes for my review by this point, and was just enjoying getting down to the music. We were treated to one encore and a heartfelt thank you by Benson Walker, before the resident DJ's took over once more.
I've been to a number of Capri gigs, and I must say that they just seem to get better and better. They make it all look so easy and effortless. Leeds best band…ever!!!
To quote Benson Walker, writing this review was "a labour of love".
Gary Williams Sat 3rd September 2005
Hammond Beat
Some of the most memorable films would never have resonated without a great score. "Enter The Dragon" would not have risen above any other Bruce Lee film except for Schifrin or "Lady In Cement" but a distant memory of a failed franchise without Montenegro's frantic themes. "Shaft" without Isaac Hayes? Can you imagine! The action and 'sploitation film formula that is emulated to this day, was achieved from this marriage. Sadly it has been dumped by film for a younger, sleeker, and morbidly less interesting string of random samples via the humiliation of a corporate shotgun wedding in a disposable society. Foxy Brown wouldn't have stood for this when our very souls are on the line!
Capri charges far, far beyond the mere echo of those vintage days to the embodiment of the idealistic cinematic future where justice is served to dealers & hooligans, corrupt policy makers get their come-uppance, and at the end of the day the hero-in-charge gets down in more ways than one.
Boogie Man is a massive undertaking, spanning 4 years and over 35 musicians, each lending their special gift to paint each scene just so. Collectively Boogie Man strikes a very refined balance between sonic excess, expansive landscapes, and stripped down funk-soul. This tastes like a million bucks spent on the best producer at the top of his game, with the hottest session musicians on the scene, all under the artistic eye of a groundbreaking director that won't settle for anything less than perfection. Yet that image still seems to understate the result, for Boogie Man's universe expands with each listen, and gets more badass each time through, without an ounce of evidence that fondness will in any way diminish with time. In a word: "PERFECTION".
Kahlil Breithaupt 2005
Leeds Music Scene
If you let yourself, you'll love this band to death. Only the fear of it not being Iggy Pop could stop you.
For God's sake, this is an eleven piece jazz-funk band of considerable wonderfulness. The style is effortlessly mastered: the fun, the romance and the deep and tender lurve nuggets are there in hip-twitching trouserfuls. They play like the best, and they have some great songs to play. Daniel Woodward writes and arranges the stuff. He is the Man. He can drum a bit too.
"Firebird" is a big jazz anthem with huge energy and dance insanity. The horn section is a killer. "The Getaway" is a sleazy groovy TV Show cop thing with brilliant percussion and spikes of drama and fabulous trombone digs. Just stop and listen - this is real people playing this and they're not messing about. No irony - just straight good time excitement.
"Barbarella" has a monster lead-in riff and some big soundstage chords that could fill an aircraft hangar full of tuxedoed celebrity award liggers. It's on a scale that could carry the main feature film credits right the way down to lights up. There's a Steely Dan worthy guitar solo as well. Woo hoo.
"Real World" has a shout out loud for joy keyboard riff that you've kind of heard somewhere (maybe with Huey Lewis and the News or something), but never quite this well dressed. "Car Chase on Phoenix Avenue" is an early hit from the band, with plenty of show off drumming and a "Pick up the Pieces" kind of horn section that really bites. Playing that hard-edged and together is hard to find. There's a grand sax solo too.
"Prelude" is the short piece - with some freaky electronica and the threat of something organic about to burst out of someone's space suit. It ends on a "Dearly Beloved" funeral chord, and then it's into a delicious Latin-feel thing called Into the sun" that fully employs Benson Walker's rich voice. The "Boogie Man" has a glorious hint of Bob Marley in the main riff, and very very busy everything else.
Twelve tracks in all, and every one a testament to Capri's serious commitment to making the highest quality leisure music that money can buy. What I humbly suggest, dear reader, is that you put your ego-anxiety in the cupboard for the evening, and get your funky arse down to the Wardrobe on Saturday May 29th to see the full eleven piece band launch this rocket of an album. If you don't fall in love with something or someone, you're in need of therapy. It'll make you grin like a fool and dance like a primate.
Sam Saunders 2004
Musicians Union Magazine
Capri are big funky soulful and packed with talent. Continuing the genres infatuation with space imagery this band take no hostages and slam dunk there dancibility right through all 12 tracks. Stand outs are the contemporary 'Average White Band' style of "Car Chase on Phoenix Avenue" the great 'Man from Uncle' brass and the Organ on "Firebird".
Musician Magazine 2005
Music Guru 2005
This album released last year is still as popular now as when it was originally released. Whether live, or on record it is this bands intention to always entertain.
Capri are without a doubt one of the finest live bands to come from Leeds. Their shows are truly an uplifting experience of cop-funk and soul at it's best.
Although this CD doesn't quite capture the pleasure of a Capri gig (that would be impossible), it certainly is a quality recording, made by seasoned musicians. The nucleus of Capri (Daniel Woodward - drums, Chris Donnelly - bass, Matt Windler - guitar, and Benson Walker, vocals) are joined on this recording, by a whole host of musician friends, and together they've created a collection of groovy tunes that are simply begging you to play loud, loose your inhibitions, and dance around your living room!
There are a number of fantastic instrumentals such as "Car Chase on Phoenix Avenue", "The Getaway" and "firebird", which could have easily been lifted straight from a 70's cop film (if you play these whilst driving around Leeds in your car, you'll feel like Steve McQueen in Bullitt).
Benson Walker's awesome vocals take the lead on some of the finest soul tracks you're ever likely to hear, most notably "Boogie Man" and "Barbarella". I love everything about this album - the music is cool, the recording is made on old-fashioned analogue equipment, and the sleeve artwork (by Daniel Woodward) has a funky quality of it's own!
Nothing short of brilliant!
Gary Williams 2005
Music Guru 2006
Although I have been to The Wardrobe on a number of occasions, I have to admit I have never been to see a gig, just usually popped in for a drink or for a meal so this was all new territory to me.
We arrived just before 11 and it was already pretty busy and the atmosphere was buzzing, with 18-year-olds dancing and drinking alongside 40 somethings.
The band were due on at midnight so the DJ kept the audience entertained with a mixture of old and new style music, a fusion of funk and dance. At times it was reminiscent of a scene from Saturday Night Fever when Tony Manero and friends hit the dance floor - thankfully though no white suits or medallions on show here.
We were also greeted with a giant white screen, projecting the album cover and other merchandise details. They also had a stand suitably placed next to the entrance. Definitely 10 out of 10 for promotion.
The band came on stage at midnight to huge round of applause and cheering from the now near capacity audience. The first track sounded very similar to the Professionals theme (1970s British cop show for those not old enough to remember) with crime scenes depicted on the large white screen. We were then introduced to the singer, Benson Walker "the big man himself". He reminded me a little of Andrew Strong of Commitments fame, strong powerful voice .
We were then treated to album track Shake It, with a backdrop of a scene from the film The Blues Brothers (the one where they are in the music store with Ray Charles playing the piano).
Album track Real World, was next with yet another backdrop, this time the 1920s version of Bride of Frankenstein, presumably to represent they are not in real world, but self created one - not human, unnatural
The Alice Cooper song - Elected was next, a more rockier sound than the previous tracks but Benson's voice was perfect for it. Incidentally this track was also covered by Mr Bean and Smear Campaign in the 1990s (a piece of useless musical information by the way). The backdrop this time was 'A Brief History of the USA' - a film about black exploitation in America, its gun laws and the Klu Klux Klan and the song comes complete with guitar solo.
The Power ballad One Night reminded me of 70s band Earth, Wind and Fire, with the backdrop this time being a shot of the album cover. A solitary lighter is held aloft during this song, with silence amongst the crowd.
Keyboard driven track Charlie's Café is next. "See what the future holds" Benson sang and it is promising if tonight is anything to go by.
Benson took a well earned rest for the next track, the instrumental Afro Collision. The band was clearly enjoying themselves and were at the top of their game.
The track Speed King sees the return of Benson. This time we are treated to a mini drama on the backdrop - with the 'speed king' being tracked by a police car, all filmed against a desert setting (like Easy Rider but with cars instead of bikes). Cue the audience going wild to this track. This is obviously a crowd favourite, very much in the vein of James Brown. The action worked was in tune with the band, with the sound hitting a crescendo when the police car crashed out of control in pursuit of the 'speed king'.
Album track Putting It All Together saw the introduction of singer Lara Rose to the stage. This had more of a straight jazz and funk sound to it, with Lara's strong and powerful voice fully complementing Benson, with more Capri artwork acting as the backdrop.
On the final track Barbarella, also from the album, we are treated to a backdrop containing scenes from the famous film starring Jane Fonda.
The band left the stage to rapturous applause but soon returned, along with Lara, to do the encore. This had more of a gospel side to it, with the lines "Can you see the light" and "I can see the light" constantly being repeated by the two singers. This was very fast paced and adrenaline pumped, fully complemented by scenes from the original film 'The Italian Job', with Benson playing air guitar throughout. This was a wonderful end to the set.
Capri obviously enjoy what they are doing and this in turn infects everyone around them. They are back at The Wardrobe in March/April so don't miss them.
2006
Vinyl Vulture
Still no sign of an LP pressing yet, but thanks go out to those Yorkshire funk-meisters Capri for winging a copy of their album my way this month. You might remember that I was mightily impressed by the super-tight wah-wah, drums and brass action of their very limited 45 of the same title some months ago, and so getting a whiff of the fully formed album was quite a tasty proposition. Let me tell you straight - these guys do not disappoint!!!! If someone gave you this album to digest blindfolded, you would be utterly convinced that it was recorded by seasoned New York session hacks absolutely no later than the summer of 1974...rather than just a couple of years ago by some gadgers from Leeds.
That authenticity of sound and style in itself is a mighty achievement and the main man in honing that feel is sticksman Daniel Woodward; like a modern day (and slimline) Buddy Miles he writes pretty much most of the tunes, knocks off the odd string arrangement, and pitches in with the odd Hammond lick, not to mention producing the whole thing and painting the sleeve pictures. Makes William Morris seem like a bit of a layabout in the renaissance man stakes...
I have to say that when there is only instrumental invention to bind the track together on the later stages of the album, this is where things really let rip with the massive funk-ups of 'Northside', 'Firebird' and the Roy Budd-a-like 'The Getaway', where our Mr. Woodward really get to show of his chops on the skins...jeez, its good...somebody commission this guy for a film soundtrack, sharpish!!!! If you should get a chance to catch these chaps live you should take it up and glory in some super-duper funk that's tight as a gnats chuff. Thoroughly recommended! (CV)
CV 2005
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