jointpop

jointpop - The January Transfer Window
Written by The Architect
Sunday, 04 November 2007


The January Transfer Window"This horror story, it's pretty gory" claims Gary Hector on Quality Daydream Time...Their story may not really be gory but it deserves to be heard. Named after the player transfer period in the English Premiership football league, The January Transfer Window is the third full length release from Trinidad and Tobago's jointpop. The album is a sparkling collection of melodic rock numbers that have an air confidence and self belief. It has a bit of soul and angst at the same time as well. The album was recorded at a beach house in their native Trinidad with a new bassist, drummer and new to the jointpop sound, a keyboardist. Included is a superb version of the classic Thin Lizzy number "Dancin' In The Moonlight" originally recorded on their mini-tour of the UK in 2006. Gary Hector's voice is possesed by the ghost of Phil Lynott on this track. Each song has a unique edge which makes this record an enthralling listen. Here is a band that deserves further recognition outside of the small rock community in Trinidad and Tobago. The band has moved slightly away from the traditional jointpop sound which combined old kaiso/calypso with classic rock/punk elements. This may be slightly dissapointing to older fans, however Hector's voice and Damon's guitar are still there and deliver the elements of the classic jointpop sound. They have embraced their influences old and new, squeezing in touches of them to produce a record that is a fine showpiece for Trinidad's offering to rock and roll history. The arrangements and diversity on this record shows that the band has matured as musicians and songwriters. The epic "The Fool" is a perfect example of this, with the Damon Homer's carefully placed bluesy guitar fills riding over acoustic guitars. Phil Hill's synths on Spelling Bee is a swanky ode to early 80s new wave and Hector smirks his voice all over it. "I I I I Know" is a stomping 70s glam rocker that the New York Dolls could have written. The January Transfer Window will please new indie listeners and classic rockers alike. It is a record that bridges the gap between the old and new. Based on the influences you can hear, it is also a record that shows the impact rock music has had in many places the world over.


Recommended For Listeners Of: Rolling Stones, The Beatles, David Bowie, The Who, T-Rex, Marc Bolan, The Clash, Coldplay, Oasis, Morrissey, The Smiths, Kitchener, Sparrow, Roaring Lion, King Radio, , Bob Marley and The Wailers, U2, REM, The Pixies, Thin Lizzy, New York Dolls, Velvet Underground, Peter Tosh

Release Date: 29nd June, 2007
Label / Distributor: Anarchy On The Ave Records
Performers: Gary Hector (aka Mick Richardson)(Guitars & Vocals), Damon Homer ( Guitars), Dion Camacho (Drums), Jerome Girdharrie (Bass), Phil Hill (Keyboards/Synths)
Production and Engineering: Ryan Agostini, IIII Know and Quality Daydream Time - Sean Poland, Dancin in the Moonlight - Robert Beadon

Track Reviews

1. The Irony Of It All
A stirring track that is laced with pianos from the word go. Quiet to loud in delivery, The Irony of it All has Damon Homer's melodic lead guitar fills hooking you in from the first time you hear it. It carries the song into modern melodic britpop territory. It could be considered a glistening pop ballad but not for love but another cause. Gary Hector is almost on his knees when he sings. The line "And all the people keep on dying, but another shopping mall", does not sound like a romantic ode at all. Hector's change of phrasing on the "The Irony of it All" is brilliant, definitely making up for the limited lyrics. Phil Hill does a good Elton John like piano bit at the end to signal the addition of keyboards to jointpop's sound.

2. Monday Morning Love Situation
Slamming you like Marc Bolan's T-Rex albeit a shiny polished version, Monday Morning kicks the record into a high gear. They have gone all 70's glam on this track. It is a polished reminder of tracks like "Children of the Revolution" ,"20th Century Boy" or Bowie's "Suffragette City". If only for Hector's vocals, this could be different band playing the second song on the album. Diversity is key and he even mentions "revolution".

3. Mystery
Mystery is a cool breezy track that displays the songwriting prowess of jointpop. A simple repeating riff takes the record into calmer, gentle waters. Acoustic guitars and keyboards fills the spaces to give Hector a base to drop some finely honed lyrical melody. The beautifully sung "These days they seem to last forever, hold on..yeah hold on" at the end of the song ads to the already lush feel of this song. Overall a well crafted melodic gem that will surely grab your attention and maybe warm your heart as well.

4. Walsall Wonderland
Featuring some nasty guitar licks and Jaggerish vocals in the chorus, Walsall Wonderland is a tribute to their second home of sorts. The band toured the UK and spent some time in Walsall in 2006. Hector's lyrics on this, comes from the Morrissey school of thought. Most of the lyrics suggest a yearning for fame. The line "I don't want you, but I just need" you suggests the band would much prefer playing outside of Trinidad and Tobago. The bassist and drummer provide the perfect groove along with the retro styled keyboards to make this a solid roots rock track.

5. Yoko Ono
Yoko Ono displays jointpop's unique sound as this song may well be any simple rock song but for the combination of Gary Hector's Trinidadian accented voice and Damon Homer's tasty playing. With his voice sounding a bit hoarse, Gary Hector exclaims, “Turn the newspapers off!". He goes on to tell us" That's what the little lady said". An assumption could be made that he is singing about Lennon's wife when he sings “She’s the wife of the big man." Homer's melodic Tom Verlaine (Television) styled guitars, drive this track from beginning to end. The song itself is executed much in the way Television played much of their music with a lead guitar riding along with the vocals.

6. The Desperate Housefly
A slight reggae-funk organ could be heard under bouncy island styled rhythm throughout this track. The mellow groove on Desperate Housefly has a touch of reggae, but a bit of "new wave funk" influence can be discerned. The rock edge is there in the form of attitude and Homer's wah-wah pedal. Desperate Housefly is also the shortest song on the record at two minutes, forty seconds. This song maybe the closest thing to the old jointpop sound. They even named their recently premiered documentary after it.

7. The Fool
Considered by many fans as the best song they have ever written. This reviewer agrees. The Fool features subtle and carefully chosen guitar fills over a smooth groove from the bassist and drummer during the verses. The organ runs the melody as distant background ambiance. On the chorus, Homer drops lead guitar tones that have the bluesy edge as on previous records. This brings overall melodic feel of the song to another level. The singing is almost mischievous as Hector throttles his cool demeanor all over The Fool in a mellow, sweet sounding Tom Waits meets Van Morrison if there is such a thing. The combination of the smooth groove and big chorus give the song that stadium size rock feel. Modern U2 and Tragically Hip with a dash of 70s rock will come to mind. One thing for sure it is distinctly jointpop. I could never see Bono singing it.

8. The Bet
The bassist gets a chance to play a low end groove on this track. It gets this fantastically melodic masterpiece going. The song is a winner all-round as all members display some well cultured playing. The guitar fills are like modern Edge or Coldplay's Jonny Buckland. The bass and drums work in tandem to provide a solid groove under the acoustic guitars and soft pianos. Hector's melodic crooning is well executed and not overdone with moments of pure genius. His shivering "oh nooo!" displays maturity and an understanding of the finer elements of singing. You can be reminded of U2's "A Man and a Woman".

9. The Spelling Bee
The Bet allowed the bassist to display some of his wares. The keyboardist shines here are he lays down some 80s new wave synths on a rocking number. Spelling Bee is the most distinct sounding song on the entire record for this. The keyboards interchange between a running synth melody and staccato like bursts. The guitars also go staccato during these moments adding to thickness of the sound. Spelling Bee will sit well amongst the modern new wave/post punk storm that is taking over the world.

10. Brass & Steel
A slow burner of a track. Acoustic guitars and again well placed lead guitar fills provide the backbone of this track. There is a bit melancholy in this song as Hectors sings his most personal song on the record. He backs himself up as well. Funeral like organs fill the middle interlude, after which the song kicks the pace up with bass and drums joining in. The mood changes as well, to a joyous sing-a-long. It ends on this happy high note!!

11. Mayaro Heartburn Blues # 51
"In Mayaro...” The record was done at a beach house in the South East county of Mayaro in Trinidad. It's a Delta blues number recorded live, so it captures some good improvisations by the band. Just like the early blues, it's basically acoustic guitars, tambourine and a voice. Some good slide work and a Trinidadian cuss at the end. "Wotless Fucks!!" .

12. I I I I Know
A rockin' number in the T.Rex, Rolling Stones mold with a bit of Clash angst thrown in. Really, it is a New York Dolls glam stomper that shows the band know their history. Driving rhythms pervades this track with some with some blues rock riffing by Homer. The dept of the other songs outshine this track but it carries the dirty rock and roll formula to good effect.

13. Quality Daydream Time
This track was written a long time before the other songs on this record. It was actually posted on their MySpace page along with "I I I I Know", "The Fool" and "Don't Believe a Word" a bit before anything else was heard from "The January Transfer Window”. The Smiths is glistening allover this track, as Homer spills some Johnny Marr tones and Hector lays down a Morrisseyesque croon (with a Trinidadian accent!). The lyrics below are testament to the mighty Manchunian influence.

"I am in no hurry
So why I worry,
If I am wasting all my time
Over you
But you don't know me, nooo oh oh oh"


"And this horror story
It's pretty gory
But I tell it all the time
Just to you
Cause you don't scare me
No..oh oh oh oh
But if you wanna meet me, get in line.."

Steven Patrick would be proud. Overall the track is a cross between REM and The Smiths with that unique jointpop feel. Homer glides his guitar leads all over the song giving it that melodic textured feel. It can be considered by all means a jangly track and a good one too!


14. Dancin' in the Moonlight
The Cover of a Thin Lizzy classic. Lynott would be proud. If he was alive and by some means, heard this cover, he would approve. It is definitely one of the better covers of this song as jointpop stayed true to the original. Hector's voice is commanding and you can sense he made an effort to connect with the song. He makes if you wonder if he called upon Phil Lynott's ghost. Homer actually plays some of the saxophone leads on guitar to fine effect. Overall this is a must be heard cover of a classic track.



Why We Approve This?

The January Transfer Window stands out a record that in both unique and at the same time paying homage to rock music in it's purest form. This band has been playing in their native Trinidad and Tobago for over ten (10) years at the same venues to the same crowd. The songwriting calibre and the talent of this band deserve to be experienced by a larger audience. They defintely add to the rock legacy. A band whose sound is essentially rock with a Caribbean twist. The previous records of jointpop had a distinct old calypso or kaiso feel to them. On January Transfer Window a bit of that calypso edge has been lost but the matured songwriting and execution makes this their strongest to date. The songs on this record will catch your ears immediately if you like something that is familiar, yet different from anything you have heard before. So many bands produce records that sound like another band you heard before. There are few that can honestly claim to be an "original" in modern times. jointpop is a one such band, they provide something that will stand out in an over crowded music collection. Maybe it's Gary Hectors vocals or Damon Homer's guitar playing. Maybe it's the Trinidad influence. So, if you want to hear a band and a record that you never heard before that is delivers unique, honest and welcoming rock and roll, The January Transfer Window is a definite get. Seeking out previous albums would also be worthwhile effort. It certainly won't leave you with "heartburn".....


Listen

@ MySpace

Buy joinpop - The January Transfer Window
Buy @ Pulserated.com

Brief Artist Biography
Country: Trinidad and Tobago
City: Santa Cruz
Year Formed:1996



Gary HectorThe Trinidadian band jointpop formed in 1996 from the ashes of two other bands (Green and Odd Fellows Local). Bootleg and demo tapes of both bands are still in existence, however it may be an unfruitful search. The original lineup of jointpop included dread-locked songwriter, guitarist and singer Gary Hector, Damon Homer(guitar), Graham Granger(bass) and Gerard Rajkumar(drums). The current lineup is a bit different now as the band has lost two bassists (first Graham Granger, then Corey "Coreysan" Wallace) and original drummer Gerard Rajkumar. Corey Wallace was also involved in the short lived "Atheleny" project with another former Green member John Hussain. In fact, at the end of 2004 jointpop had ceased to exist, as a result of Wallace's exit to focus on his solo project "Coreysan". The long standing unit of Hector and Homer decided to carry on, initially as a two man unit with revolving players. Two friends in Darrin Lalla(bass) and Dion Camacho(drums) filled the void left by the Wallace and Rajkumar for a short while. Wallace even filled in a couple times when needed. One thing that was consistent for the band was their live shows. Their almost shamanistic live shows are brought driven by their emotional energy and a bit of punk attitude on stage.

jointpop through their unique blend of soulful rock and roll, calypso and punk was able to add a new dimension to the musical landscape of Trinidad and Tobago. A country traditionally know for it's steel-band and calypso music. As a band starting out with already experienced musicians/songwriters, they were heralded as the vanguard of the local original rock music scene. The rock music scene was initially built on bands playing pop rock and heavy metal covers in the 80s. With the death of 80s metal and the rise of alternative music globally, the late 80s and early 90s saw a few bands writing their own material and being able to play live shows. However, this was short lived as cover bands were getting more gigs and were payed better than the original bands. Most of the bands that played their own material either broke up or fizzled out on lack of interest. After 2000, the original music bands began to rise again with the introduction of the concert series (The Filth and The Fury, antipop and Circle of Rock). These concerts would feature primarily bands who played their own material. Incidentally Gary Hector was the mastermind behind the first of such, The Filth and The Fury. The underground was now bubbling with a huge interest being generated by a new generation of fans. jointpop would feature prominently at these concerts and the local press took notice as well with great reviews for their live performances at the various venues.

jointpop has released four(4) LPs, one(1) EP and a "best of" compilation, mostly under their own labels Little 2 Tune Records and Anarchy on The Ave. records.

(1999) Port-of-Spain Style:
Critically acclaimed debut record among fans for unique blend of early era calypso and rock.The tracks "After 1/2 Past Nine", "Urgent", "King Radio" and "Lost in Space" all received significant airplay in Trinidad. The record also sold extremely well in Trinidad and independently in New York and Miami. The band also produced videos for "Urgent" and "After 1/2 Past Nine" which can be seen on youtube.com (keyword:jointpop).

(2002) exile, baby:
Released in October 2002, the Trinidad entertainment press had a ball with this record. With slicker production and stronger arrangements the band gained a wider audience through their live shows and local radio airplay. They received radio play for tracks "(I hate)Entertainment", "Exile,Baby", "La Belle Rosette" and "The New Fast Food". An animated video for "The New Fast Food" was also produced which can be seen on youtube.com (keyword:jointpop).

(2004) jointpop (5 song EP)
The lead track, "Let's Pray (for Rock n Roll)" topped local online radio charts and the EP includes now jointpop classics, "Radio Luxembourg", "The Water Supreme", "Voodoo vs. Voodoo" and "Monsta Me".

(2007) The January Transfer Window:
Featuring the songs "Mystery", "The Desperate Housefly", "The Irony of it All", "Monday Morning Love Situation" and "Yoko Ono". This marked a new chapter in the history of the band as they added keyboards to their sound in Phil Hill. Dion Camacho (drums) and Jerome Girdharrie(bass) also became official members of the band.


jointpop live

Over the years the bands has played numerous shows internationally and in their homeland of Trinidad and Tobago.

Trinidad shows include:-

Pabloz (Back 2 Live concert series)
Esquina Cantina (antipop concert series)
Cascadia Hotel(circle of rock concert series)
Pier 1 (opened for Delores O'Riordan, Blue Oyster Cult, Kansas at this venue)
Tasca Latina (antipop concert series)
Rafters(circle of rock concert series)
The famous Little Carib Theatre
51 degrees
World Beat music festival (Queens Park Savannah)
JFK Lecture theatre (University of the West Indies)
International Tours include:-

South Beach, Miami, FL (Cameo Theater, Roses, Churchill's)
New York City, NY (CBGB, The Spiral Lounge, Kenny's Castaways, The Baggot Inn)
London, U.K. (China White, BBC Club Bush House, Viva Viva, The Mitre, BBC Club West One, Southwark College)
Midlands, U.K. (The Hard Rock Cafe Birmingham, The Walsall Wheat Sheaf)

- http://ownthismusic.com

The January Transfer Window
jointpop (Anarchy on the Ave. Records)

When considering how studiously neglected jointpop, Trinidad's best rock band, have been during their decade-long run, I usually take comfort in the fact that the Velvet Underground, recognised today as one of the greatest bands of all time—and a huge influence on Gary Hector, jointpop's singer and songwriter—were virtually ignored during their lifetime. Now, though, that comfort is in danger of going cold. The January transfer Window, jointpop's latest CD, is the band's most assured and satisfying release to date, and it will be an outright tragedy if it proves anything less than a success.

The irony is that almost everything that's great about The January Transfer Window—the quiet brilliance of the songwriting, the subtle melodies, the knowing, often abstruse lyrics—will militate against its finding favour locally. Raised largely on a radio diet of commercial US fare, Trinidadian rock fans find it difficult to accept that a Trinidadian band can compete with, let alone better, their metropolitan peers; they find it even harder to respond to any formula that doesn't consider immediacy as everything.


Not that jointpop don't know how to do the great hit song ("Let's Pray for Rock and Roll", anyone?). The January Transfer Window has two of them: the pure pop genius of "Monday Morning Love Situation" with its handclaps and irresistible "sha la la" chorus, and the rollicking "Spelling Bee", the greatest Blondie song that Blondie never wrote.


The other nine songs that make up The January Transfer Window proper (the CD also contains three bonus tracks) are much more understated and ask for repeated listens to reveal their charms. From the gentle piano strains that start off the opening track "The Irony of It All", through the sublime heights of "The Fool", quite possibly the best song the band has ever done, to the back-porch acoustic shuffle of the closer "Mayaro Heartburn Blues", this is a band who have never sounded more natural, more at ease.


Some long-standing fans might be disappointed here by the almost total lack of overt Trinidadianness that distinguished a lot of jointpop's earlier work. That earned them the title of a "calypso-rock" band and provided some great individual moments, but tended to make CDs as a whole a little uneven. The January Transfer Window, more coherent than previous efforts, suffers no such personality disorder. And for the rockers who complain that it just doesn't, well, rock hard enough, there are the bonus tracks: a couple of raucous, scuffed-up jointpop jams ("I Know" and "Quality Daydream Time"), plus a reverent cover of Thin Lizzy's "Dancin' in the Moonlight", faithful right down to the finger snaps.


The question remains, however: will jointpop finally grab the brass ring of fame that has so far been out of their grasp? "We think we got what it takes," is Gary Hector's own tongue-in-cheek opinion, on the aforementioned "Mayaro Heartburn Blues". I know that they do. Whatever happens, The January Transfer Window is an unqualified triumph.

Jonathan Ali - Caribbean Beat Sep/Oct 2007

By Gillian Moore

Walt Lovelace's new film Desperate Houseflies was screened on Thursday night at Movie Towne's Cinema 10. The 37-minute documentary captures the recording of jointpop's latest album The January Window, which was released earlier this year.

The band recorded the album at a house in Point Radix in Mayaro, which engineer Ryan Agostini transformed into a temporary studio. For one week the band left everything behind to focus on the task they had set themselves. And Lovelace was on hand to capture the creative process.

He related in an interview how he went into the project "with a clear idea of how I was going to do it. I didn't know what I was going to get, but I knew how I wanted to put it all together."

Lovelace can be proud of the result.

The film is visually striking, serving up sumptuous images of Mayaro's scenery: cuts to rural streets, panoramic sunlit bays, serene swamps, and fishing village vignettes. These form the backdrop for interviews with band members and clips of the recording sessions. Far from being flat, these are stylishly shot and well-composed, with a beautiful use of radiant, natural light.

Lovelace captures the band members—Gary Hector (guitars, vocals), Damon Homer (guitars), Dion Camacho (drums), Phil Hill (keys) and Jerome Girdharrie (bass)—"living the album," as Homer puts it, recording charming, funny exchanges between the men.

Having worked with the band on music videos for Urgent and After Half-Past Nine, Lovelace was able to use this closeness to give viewers an intimate inside look at the workings of the band. "I am familiar with them," he says, "so we were very comfortable working together."

The musicians give candid accounts of where they see themselves as a band at this moment and how they create the music.

Lovelace intersperses hundreds of black-and-white photographs through the film, adding to the sense of "almost being there" and echoing the visual style of the CD.

And then, of course, there is the music. From the opening shots of rolling cocal along the drive to Mayaro, over the recording of Mayaro Heartburn Blues, it is apparent that Desperate Houseflies is the story of the album. Lovelace makes it happen with excellent sound quality and editing.

Wector gives the meanings behind some of the songs, explaining that not all have clear stories: sometimes the work itself directs its final form.

Hector is, of course, the star of the show. Appearing in his iconic dreadlocked, sun-glassed, and rosary-bedecked persona, he opens up to reveal more: the trials of creating music to an audience that will not listen; the break-up and reformation of the band; the fact that they have yet to "cross over" over to mainstream success.

But despite setbacks, all the jointpop men are passionate about continuing their "mission" and serious about making music.

Desperate Houseflies is a valuable document, showcasing a hardworking band that deserves to tell its story—and to have it heard. Lovelace's depiction is at once revealing, optimistic and very beautiful.

After the screening of the film, which enjoyed a good turnout, the band performed a polished set at the nearby J Malone's.
- The Trinidad Guardian - 10.31.07

by Gillian Moore

At their concert tomorrow night(friday 29th) jointpop will launch The January Transfer Window, their first full-length cd since 2002's Exile Baby. The album has a relaxed, mature feel, reflecting the artistry of the veteran band and their unapologetic confidence in their own sound.

Since Exile, the band has launched a five-song EP with strong rock leanings, as well as a selection of favourites drawn from all their recordings, The Bess of Jointpop. But with this new 14-track album, fans have a solid collection of songs that is musically and lyrically perhaps their best so far.

January Transfer Window takes more than one hearing to fully comprehend. But the signature style of the band brings it right home: memorable, danceable melodies, poetic lyrics, and skillful-at times brilliant-instrumentation, energy, humour and bad-ass attitude.

Jointpop's music has always defied easy categorisation. They draw from rock music, calypso, blues, punk and other influences, yet always coming up with an original sound. This album is no exception. Track two, Monday Morning Love Situation sounds like the Rolling Stones playing kaiso. The Bet and The Spelling Bee are like a couple of 80's pop hits, thanks to Damon Homer's haunting guitar riffs.

Stand-out tracks include Mystery, Walsall Wonderland (named for an English industrial town where the band stayed and played on their UK tour last year), The Bet and The Fool. Dancing in the Moonlight, a Thin Lizzie cover, is also a treat.

Lead singer Gary Hector flexes his vocal chops on this cd, giving his intelligent, ironic lyrics added punch and expression. And his writing comes off skilled and self-assured. The lyrics on this album are reminiscent at times of alternative music god Morrissey, with all his irony but without his self-consciousness.

The country music-styled Mayaro Heartburn Blues is a jokey little song, a risky flourish that ends on safe ground, thanks to some sweet slide guitar and Hector's
characteristic dryness.

The band features a new line-up on this cd: founding members Hector and Homer, as well as Dion Camacho on drums; Phil Hill (who has played for Destra and Allison Hinds) on keyboards; and Jerome Girdharrie of
Gregory's Dream on bass. The new additions are a good fit, creating a polished sound that belies the few months they've been playing together. This is no easy feat: previous members drummer Gerard Rajkumar and bassists Graham Granger and Corey Wallace left big shoes to fill.

The launch of The January Transfer Window takes place at the Sky View Lounge at the Cascadia Hotel. Admission costs $60.

DJs 3 Imaginary Boys will play from 9pm. CDs and t-shirts will be on sale. - The Trinidad Guardian - 06.28.07

by Carla Callaghan

Bringing some sun to the wet streets of Glasgow, were the fabulous Trinidad and Tobago band Jointpop.

Playing to a packed out Liquid Ship on Friday night, the guys rocked through songs from new album, The January Transfer Window. The crowd were instantly attracted to the band as they played the rapturously happy, “Monday Morning Love Situation”. “The Desperate Housefly” and “The Fool” were a great hit with the Glasgow crowd, who seemed to fall in love with the band’s happy-go-lucky/rock style.
“Lets Pray for Rock n Roll” was the biggest hit of the night, with the audience cheering at the line “let’s pray that Kid Rock doesn’t sing another song”.

Finishing off to the infamous Glasgow chant “one more tune”, the guys have definitely secured themselves a whole load of new fans.



Monday 20th July Pivo

Jointpop are back in Glasgow after playing a gig in Metro, Falkirk the previous night. Their third gig in a row and probably jet-lagged, Jointpop are on top-form and storm through a blinding set of hits such as “The Spelling Bee” and the more laid-back “Irony”. Previous acts were subject to a somewhat distracted audience, which changes when Jointpop rock throught their almighty set of happy/pop/rock songs.

Excellently arranged songs with perfect instrumentals and vocals, these guys are a super live act and a definite one to watch out for in 2008. - icScotland.co.uk

Sometimes you think that you should just buy a lottery ticket. You know - you get that feeling that you are about to get lucky. Probably the result of excessive beer consumption (is there such a thing?), this Bluesbunny got that special feeling and headed off in the general direction of a Free Candy Session for on the menu tonight were Al Shields, Salon Society, Jointpop and The Stops.

First on was Al Shields. Treading the well worn path of one man and his acoustic guitar, he delivered a set of songs that would make any country troubadour proud. "Travellin' Man'" was a good example of this but songs like "Warning" suggested there is more to him than following in the footsteps of others

And then there was Salon Society and here endeth the restraint. Four in number tonight, they presented us with a fine display of showmanship and musical dexterity. Lead singer Roxanne's took over the somewhat tiny stage of the Liquid Ship and went full speed ahead to sell their songs to an appreciative audience. From well known songs like "Don't Die Inside" to their current single "Undone", they show a musical maturity that allows them to include considerable rhythmic complexity in their sound. In other words, they're good.

Next on were Jointpop. Visiting this country from Trinidad and Tobago, they also proved to be as impressive live act. They played with considerable vigour and they possessed a fine collection of commercial songs from the catchy "Monday Morning Love Situation" to the laconic "The Fool". Lead singer Gary Hector's growling vocals fitted the groove perfectly and brought back memories of seventies' rock music. A damn fine accompaniment to beer.

Rounding things off for the evening were The Stops. In contrast to Jointpop, they had a positively laidback sound. Not a bad thing, however, as lead singer Emily's haunting style made us think of her as a female Chris Isaak (and we like Chris Isaak). Made for the soundtrack of any movie that has desert vistas, they have the ability to captivate. If it wasn't fall the call of chicken pakora, this Bluesbunny would surely have fallen in love with her.

Lucky with the music tonight but as for the weather? Fair Friday in Glasgow and it is raining. Well, not so much raining as ricocheting water off the pavements. Time to get wet!

- bluesbunny.com

Big in Trinidad & Tobago may not sound like much but Jointpop might well change your opinion. They play a solid set of rock songs that take us way back to a time when men were men and rock gods were thick on the ground.

Gary Hector's vocals have a suitably rich and confident tone that suggests his place in rock history is already reserved. Taking a listen to the opening track, "The Irony of it All", he seems reflective just like he is looking back to better times whereas on "Monday Morning Love Situation" he does an about turn and gives us something that has hit single of today stamped all over it. Equally jaunty is "Desperate Housefly". Come to think of it, the guitars on this record sound complete. To explain, they sound like they were played all the way through rather than just looping a few chords over and over. Proper guitar playing and that's the truth. Of the rest of the tracks, melodic rock pretty much describes "The Fool" and it is none the worse for that but perhaps the cover of Thin Lizzy's "Dancing in the Moonlight" gives the clearest indication of where this band is coming from. They make good time music that is meant to be enjoyed with friends and to close the album they even throw in an anthem - "Let's Pray for Rock 'n' Roll" - to the way music used to be. In the package that the Bluesbunny got, there was even a "making of" DVD that actually made you want to get on a plane to the Caribbean.

Now that we think of it, there must be a market for Jointpop's music. There are plenty of people about with credit cards who are not actually served by what the major record companies try to sell them. Just because you have a bit less hair on top than you used to have doesn't mean that you want to listen to Harry Connick. You want music that takes you back to your youth. Music that goes well with beer not white wine spritzers. You want to be able to sing along. You want to be able to hum the melodies while you drive to that 9 to 5 job. You want it to be real. While this album has been polished a bit too much to capture the magic of their live shows, it is still cuts the mustard. Maybe that prayer for rock 'n' roll has been heard and answered after all. - bluesbunny.com

REVERB MAGAZINE (SCOTLAND/UK)…(March 2008 Issue)

http://www.myspace.com/reverbmagazine

The review of the jointpop album “The January Transfer Window”

Get happy with jointpop, an alluring talent with an abundance of terrific tunes. Their new album, “The January Transfer Window” has some of the best indie/rock songs you will hear throughout 2008. “Yoko Ono” is instantly infectious with husky vocals completed with charming guitar riffs.You would imagine this band to be an immense festival band with their excellently written sunny songs. Harking back to a genre and artists before them, jointpop possess a little of the nineties Brit scene, which only adds to their likeable qualities. Carrying no attitude or image, these guys are simply an immense talent with equally good songs. “The Spelling Bee” is a cute song with great lyrics, catchy guitar riffs and the fabulous vocals from lead singer Gary Hector. I am hooked on their fantastic new album, give these fellows a listen and you will be too. jointpop are definitely one to watch out for in 2008. - REVERB MAGAZINE (SCOTLAND/UK)

9.Jointpop (Liquid Ship, Glasgow - July 2008)

Visiting from Trinidad and Tobago were Jointpop. The tiny basement of the Liquid Ship seemed barely big enough to contain their classic rock sound as they truly rattled the rafters. I'm still playing that air guitar now.
- www.bluesbunny.com

Jointpop are not what most people would expect from the island of Trinidad and Tobago. Breaking the Calypso, Reggae and Soca mold, they combine influences from late 70’s London with their own brand of infectious optimism. With their latest album January Transfer Window and a double A sided single (reviewed last issue) recently under their belts, we jumped at the chance to catch up and find out a bit more.

How did you meet and go on to form the band?

Gary: It's a very small rock n roll scene here in Trinidad and Tobago. ...so we all knew each other well. I was in a very popular band before called Oddfellows Local, and after five years, I left and started jointpop.

What's been the highlight so far?
Gary: Keeping the band together for 13 years, with minor changes, must be the biggest highlight. Touring the UK in 06, and 08, that's always fun...well most of it. Performing at historic clubs like The 100 Club in London and CBGB's in New York City, and of course, making records.

What's going on for Jointpop in 2009?

Gary: Wish I could tell, because it's really a crazy day to day existence.
The release of a new Double A-Side single " Please don't tell my In-laws(I'm an Outlaw) and "Camden Ketchup". Hope to also release in the UK, the jointpop album "The January Transfer Window", the 2-disc set which includes the Documentary/Short Film "Desperate Houseflies" a

Who did you work with on your latest album January Transfer Window?

Gary: I took on the role of producer for our last 4 records, with help from the band and engineers. Hope that changes for our next record. I would just like to be the singer and one of the guitar players in the band for the next record. Just to be one of the boys in the rock n roll band. I miss that in the studio.

What was the experience like?
Gary: It's always cool getting together to flesh out new songs, and then at the studio, we make sure the process remains fun. To see the record take shape and take on a life of it's own. For the recording of "The January Transfer Window", we took studio gear down to a country estate house on the south-east coast of Trinidad, and spent a week there recording. The "Desperate Houseflies" documentary captures that week.

What are the differences between the music scene in Trinidad and Tobago and the one in the UK?

Gary: Because of where we come from, we are free of all music biz trappings. So we are free to write as we please, any topic and style, versus if we were from London for example. We may get caught up in all the 'Brit' scene, the Camden fashion and 'most' of the bands sounding the same etc. But at the same time, our local scene is one of "no ambition". The radio, press and the Music Industry in general are all mainstream, so the underground is really
suffocating. In the UK, so many independent and Underground Radio ,Press, TV, Mags etc. The UK’s got an actual Music Industry, and sadly T&T do not have a Music Industry. The jointpop story is one of a rock n roll band on a calypso and reggae island here in Trinidad and Tobago. About trying to find a voice in your own home. Just about being travellers and rock n roll troubadours.

What music are you listening to at the moment? Gary: Well I can't seem to get enough of the Followill boys, brilliant rock n roll band, The Kings of Leon.

Pete Docherty's work is impressive. The Magic Numbers, are you aware Romeo and Michelle are from T&T?? My Morning Jacket ... now getting into their genius. MGMT, Sterophonics, Starsailor. But my I-pod is loaded with all the great bands and singers, but I'm just really a Dylan, Stones, Beatles, Kinks, Clash, Pistols, Smiths, Blondie man... way too much rock n roll to mention.

Where do you get your inspiration?

Gary: Being a good smart thief really [laughs] but it's about having a very healthy respect for rock n roll. Just the various streets around the world… and people. From listening to most rock n roll styles, British invasion, mid 70's British Punk, classic rock, indie, and of course with jointpop being from Trinidad and Tobago, some of the island imagery and sound included.

You have a strong connection with the UK and play a lot of gigs here. How does this influence your music?

Gary: I read a lot of rock n roll stories, I am a bit of a historian type. So touring the UK and going to different cities and meeting people, it's starting to find it's way into the songwriting. jointpop songs like Walsall Wonderland , Camden Ketchup and a new one called No Sleep ‘Till Falkirk. "Please don't tell my In-Laws(I'm an Outlaw).. that's about a beautiful room that Immigration hosted us in, at a UK airport.

What's your ultimate ambition in music?

Gary: Just to keep jointpop together as long as possible, have good fun with the band, be honest with our music and travel the world. A UK Label and Management won't hurt also.

Check out this great act for yourself and get ready to move!

- http://www.digitalgig.co.uk

If The Rolling Stones and The Clash decided to form a Supergroup, then I reckon that they would sound something like jointpop. Based in Trinidad and Tobago, jointpop were formed in 1996 and their catalogue of music has won them support slots with Dolores O’Riordan, Blue Oyster Cult and Kansas. With their crunchy, scrapey, jangly and raucous riffs, jointpop are the Bona-fide live act, whose energy and exuberance is magnified through the raspy vocals and bouncing beats.

Comprised of Gary Hector on vocals/guitar, Damon Homer on guitar, Dion Camacho on drums, Phil Hill on keys/synth and Jerome Girdharrie on bass, jointpop are a great, vibrant band whose fluidity of riffs make being in a band look so easy and spontaneous. As a frontman, Hector is a natural and charismatic performer whose varied tones gives him a sunny and uplifting disposition.

Interestingly, just when you think you have sussed jointpop out, they hit you with a dash of space-rock that is customised by zany synths. Again, with the token melancholic piano, jointpop consolidate their blues-rock origins proving what dynamic musicians they are. Despite the happy-go-lucky and spritely persona of jointpop, they are a band of a political conscience, without forcing it down your neck. Currently working on their new album, jointpop have been involved in fundraising gigs and whose impressive music has put them firmly on the Manc Radar.

https://soundcloud.com/jointpop-band/sets/jointpop-international-promo

https://www.facebook.com/jointpop/info - The Manc Review