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PeopleSound.com - Engine Alley Tuneful and delicate, the quintessentially English Engine Alley sound like a sensitive bunch. Images of pale face, white-boy romantics living the suburban outsider existence are thrown up by their sound. ''Crushed'' is a neat, melancholic slice of self-examination set to a backing of complimentary guitar and chirpy drums that should seduce Britpop diehards and discerning indie kids alike.
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Top 10 Irish singles - cluas.com
Engine Alley 'Infamy'
Engine Alley & Kilkenny - Hot Press SIOBHÁN LONG discovers that the marble city is cool for cats of all musical persuasions. The richest of the county's musical veins is, surprisingly, rock 'n' roll. Kilkenny's played midwife to all manner of bands, cult and otherwise. Engine Alley are probably Kilkenny's most famous sons, but there are a rake of alternative outfits worth checking out. Lately Wilt, R6, Spider Baby (formerly My Little Funhouse) and Purple Ocean are just a few of the bands who've been making waves and keeping the locals up late. Engine Alley are the veterans of the pack. Having formed way back in 1991, Canice and Brian Kenealy, along with Eamonn Byrne have tasted the sweet smell of success - and the bitter pill of rejection - on many occasions since then. They've decided to take a trip down memory lane with their recently-released Lavender Girl EP, which they claim is "an unashamedly nostalgic, infectious celebration of the pop song". Recorded in Thomastown, Brian Kenealy describes it as "a kind of paean for lost childhood, that certain glow that inhabits remembrance of growing up - especially when you've had a normal, loving environment to grow up in: a provincial childhood". It might be very un-rock 'n' roll, but Kenealy is unabashed and refreshingly considered in his approach to Engine Alley's music circa 1999. "We used a postcard circa 1968 of Kilkenny High St, for the sleeve - very much as I remember it growing up. Other songs which celebrate growing up Noreside include 'Rollergirl', and 'Never Again'." Kenealy is wide-eyed with disbelief at the sea change that has overtaken his home city since he left for Dublin in the '80s. "Kilkenny has changed utterly since I left," he avers. "The hectic night life - it's like Vegas compared to what I remember. I suppose it's a typical example of the Celtic Tiger throwing a few shapes in the provinces." Kenealy's youth was spent listening to Neil Young, Led Zeppelin and Lynyrd Skynyrd in Kytler's Beer Garden. He has fond memories too of being smuggled into The Fox and Goose to hear Horslips. Canice, the younger of the brothers Kenealy, came to consciousness in the early 80s, and embraced punk and new wave, although both brothers loved The Clash, The Jam, and later, The Smiths. Later, Canice and Eamonn busked in The Butter Slip and the Tholsel, well-known medieval Kilkenny landmarks. As to their musical evolution, Brian vividly recalls how they laboured over the chord changes on everything from The Jam's 'A Town Called Malice' and U2's 'Bad' to The Clash's 'Clampdown' and The Police's 'Message In A Bottle'. Small wonder then that they're still kicking up their heels and swivelling their hips at the prospect of the adrenaline rush of a new EP. July 21 1999
Engine Alley review Hotly tipped by such as U2, although they had a vested interest in their career, Ireland's Engine Alley fostered polished pop music along the lines of Power Of Dreams, though they also included trace elements of the '70s glam rock era. Based in Kilkenny, the music tabloids honed in on the androgynous qualities of vocalist Canice Kennedy, who has been known to take the stage with an umbrella. He was backed by Brian (guitar), Eamonn (bass) and Emmaline (drums), the latter recruited from Dublin to finalise the line-up in December 1989. Having relocated to Dublin the band took their name from a particularly barren street in the heart of the old city, and set about establishing a public persona via their colourful and energetic stage shows. After signing a deal with the U2-backed Mother Records imprint, the band made their debut with August 1991's FLOWERBOX EP. By which time the band had expanded to a five piece with the addition of Ken ‘The Orchestra’ from Kerry. A debut album ensued, recorded in the spring of 1992 and released only in Ireland, its songs dwelling largely on character sketches—Diamond Jill And Crazy Jane, Telescope Girl and Mrs Winder. The band's first UK release, Infamy, accompanied their arrival in Britain in 1993, and was backed by Robin Hood, an attack on the Kevin Costner film of the same name. However, early inroads into the media quickly dissipated and Engine Alley never had the strength of songs required to survive.
Engine Alley review Ireland's Engine Alley played polished pop music that included elements of the 70s glam rock era. Vocalist Canice Kennedy was backed by Brian (guitar), Eamonn (bass) and Emmaline (drums), and the line-up was formed in December 1989. They took their name from a particularly barren street in the heart of Dublin, and became known for their colourful and energetic stage shows. After signing a contract with the U2-backed Mother Records label, the band made their debut in August 1991 with Flowerbox EP, by which time the group had expanded to a five-piece. Their debut album was recorded in spring 1992 and was released only in Eire. Its songs dwelt chiefly on character sketches - "Diamond Jill And Crazy Jane", "Telescope Girl" and "Mrs Winder". The band's first UK release, "Infamy", accompanied their arrival in Britain in 1993, and was backed by "Robin Hood", an attack on the Kevin Costner film of the same name. However, Engine Alley never had sufficient strength as songwriters to survive.
Engine Alley 1994
- SONG FOR SOMEONE
Engine Alley & Kirsty MacColl In December 2000, the music world lost another great songwriter and singer with the tragic death of Kirsty McColl. Dave O'Grady offers a personal perspective. In early 1992 Kilkenny band Engine Alley were recording their debut album with producer Steve Lillywhite in Windmill Lane studio 2 on Stephen's Green. Back then, I was an inexperienced kid chancing my arm at being a tour manager. U2's Mother Records funded it all, and none of it belonged in the real world. Steve regaled us with tales of Morrissey and The La's. There was also the small matter of his work on U2's "The Joshua Tree". Of course, he'd always be slipping in a story or two about his lovely wife, Kirsty, singing with The Wonderstuff, Billy Bragg, The Smiths or The Pogues. She'd had a solo hit with "Walking Down Madison" in June of the previous year and the album "Electric Landlady" was also a moderate success. During the recording of the Engine Alley album Kirsty wanted to come over and see Steve. I don't think any one of us quite realised the celebrity of Steve and Kirsty. He was one of the most in demand producers in the world. She was a successful and much-loved solo singer. She was also one of the most pleasant people I've ever had the pleasure to meet. Engine Alley were another band experiencing the highs and lows of the music business, destined like so many others for something between disillusionment and despair. Steve and Kirsty were definitely one of the highs (every pun intended). It was suggested that there was interest in putting her on at the annual Trinity Ball. It was the college's quatercentenary year and they had a huge budget. I got her the gig. It cost Trinity Ents the price of a flight, a decent hotel room and some pocket money. I thought I was doing great, although in hindsight I could (and maybe should) have fleeced them. Kirsty seemed delighted although she told later me about her stage fright. She told me the way one might tell their best friend, straightforward, no bullshit. That was Kirsty. On the evening of the show she made a guest appearance with Engine Alley in the Baggot Inn at a Rape Crisis Centre Benefit singing David Bowie's "Drive In Saturday". Then it was back to the ball. Little did I know that Trinity Ents had decided on putting her on in the much hyped spot of "very special guest" at about 4am in the morning. In front of a hugely expectant open-air crowd, the disappointment was palpable. Their special guest was a red head with an acoustic guitar, it was four in the morning, and they needed to dance. It was a bit of a disaster. Most of them needed to "come up". In the distance you could hear the sound of an Ents officer being strangled. Kirsty seemed not to mind. Back in Windmill 2 Steve wanted her to sing the female part on the Engine Alley track "Song For Someone". It was definitely going to be a single. A hit. Weren't they all? Kirsty had guested with The Wonderstuff. She'd also sung on The Smiths' "Ask". The band wanted drummer girl Emmaline to do the main vocal part as she did live. The band won. The logic was something to do with indie preciousness. Kirsty ended up singing a choir part. Bizarrely she's not actually credited on the single (although she is on the album). When Engine Alley went to London to play a show, Kirsty and Steve invited the band to dinner at their house in Ealing. Instead they got band, crew and management. Nine people in all. In the distance you could hear the sound of a band manager being strangled. Kirsty and Steve were as nice as pie about it. The next night we all went to see U2 at Earl's Court. I got to sleep on the couch in her living room. In the morning I woke up to see a bleary eyed Shaun Ryder staring down at me, menacingly chanting: "Who the fook are you?" He'd come back from the gig and stayed up all night in the studio upstairs with Kirsty. Although almost an anti-star, she was still extraordinarily passionate about her music. Mostly that's how I want to remember her. There is of course loads more to write about Kirsty, but that's for another day and probably for people who knew her better. The above is how I'll remember her: fun loving, talented, easy going and a joy to have spent time with. And of course there was her music. Like "Fairytale Of New York", one of the most perfect pieces of music ever, she got it on the nail. She was good at that. Rest in peace Kirsty. | ||
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