The Immortal Lee County Killers II

As the County Killers amble on to the stage there is an odd air in the Rescue Rooms. No one seems to have noticed the two slight figures of guitarist/singer Chetley Weise and (Nick Oliveri without the pointy beard) drummer J.R. Token settin' down to execute their raw Alabama blues. Then they strike up.

The first song is such a boogie with so much effort put in that the crowd cannot help but take notice. Weise fly kicks across the stage - not an inconsiderable feat given he's carrying a huge scorpion-shaped guitar on its ancient strap. Having gained attention they're not about to lose it. They play a track from their debut 'The Essential Fucked Up Blues' before launching into one off the 'live' section of their new studio/live split record '... Love Is A Charm Of Powerful Trouble'. Whilst Weise has openly admitted (to the music press and me earlier) that Mr Jon Spencer is a big influence he contains more of the refrain of, and indeed a similar voice to, the Soledads' Johnny Walker even executing some of his trademark heel-shuffles.

The excitement and brilliance of this gig, however, lay as much in it's banter and personnel as in its boogie blues music. To my mind there were three clear incidents: 1) "This one's a John Lee Hooker Song" Punters: "Woohoo, Yeah!, Oh no!". 2) As Chetley tunes his guitar (using a tuner and a paper plate!) he grows increasingly frustrated, this is not helped by - Punter: "It's an SG!" C: "I know it's an SG, wow", P: "Well put it back down then!", C: "you're really fuckin' making me angry now". 3) Chetley: "Some things really annoy me...", P: "Cheese?", "well cheese annoys us but I hear that Robert Johnson is having a movie made of his life, which is good, but you know who's gonna play him? Fucken Puff Daddy!" It's at this point a distinctly southern (American) voice behind me starts shouting "No way! That cannot be! Oh no!".

The person I haven't mentioned so far is, perhaps, the star. That's drummer JR. Whilst all this has been going on he's sat trying to hit the ceiling with his sticks, playing blindfolded, even standing on top of the drums and dropping money on to them. But, like all memorable shows it has a defining moment. It comes when JR climbs a top his drums, and, having looked at his mic with distain, bellows a Leadbelly cover unaccompanied whilst hanging from the ceiling curtain over the stage. "Woo-hoo-hoo, c'mon everybody" and, like faithful hillbillies everyone chants back before JR launches himself back into his seat and bursts into 'Rock'n'Roll is Killin' Me" amid a storm of cheers.