Youthful! Energetic! Great! (Live At The Wireless - Ash)

Member Name: hugon

Product:	Live At The Wireless - Ash
Date:	31/12/00 (24 review reads)
Rating:

Advantages: Energetic songs, Ash having a laugh

Disadvantages: Bit expensive for 10 songs we've heard before, short

Live at the Wireless was recorded as a radio session for Triple J radio in Australia in 1996, when Ash where riding on the crest of a wave following the success of their 1977 album. Live albums always struggle to capture the energy and essence of the actual performance; they’re more difficult to get into when you’re not actually there. With this album, it’s not the case. It’s clear they’re having fun and enjoying playing the songs. The songs benefit from being played live, they’re a lot more beefy, fast and frenetic, which really suits the youthful exuberant sound of Ash.

The oddest thing about this album however is that it is live, but there is no audience, so at the end of each song you expect the fans to start clapping an cheering, but it never comes. The other downside is that because Ash where just a three piece at the time, there is only one guitar on the go, and this can take away from the songs in some way, but the bass is turned up to try and compensate a little, and this benefits the songs, makes them sound a little heavier and chunkier.

Tim’s voice also sounds better live, on record it can be a little weak, but live he seems to be able to get behind it, puts a little more energy and aggression behind it and sounds all the better for it.

DARKSIDE LIGHTSIDE

This is a song that really benefits from being played live, especially to open the set. Fast and full of energy, it gives a hint of what is to come. The higher volume on the bass makes it stand out more, and Ash really rip through it, the Lightside at the end being less light than on the record, and a little heavier and darker.

GIRL FROM MARS

An all time Ash favourite, played live they again turn the speed dial up, and it’s played with a lot more vigour and a little heavier than on 1977. The bass kicking in when they reach the chorus lifts the some and drives it along, but in the solo it loses a bit as t
here is only one guitar, but the bass again compensates for this. For the quiet part, they slow it down quite a bit and hold a really long pause before flinging themselves headfirst back into the song. Brilliant!

OH YEAH

Live it lacks the strings, but this allows it to be played in a different way. It’s more spiky and aggressive, rather than the dreamy air the strings allow it on record. It’s still a passionate emotional song, and they don’t rip through it as fast as they have been doing.

T REX

This song was released as a single in Australia, and was the B-side to Oh Yeah in the UK. It’s a really fast summery song, perfect for this set, as it allows them to keep going with the 100mph set. It has a brilliant little bassline that chugs away the entire way through the song. It’s a great little song that’s a little forgotten because it was only a b-side.

I’D GIVE YOU ANYTHING
This is the song that benefits most being played live. With that little extra speed and beef from the bass, it lifts it from the rather dull track it is on 1977, to a spiky, nastier aggressive song. It actually emphasises the brilliant little riff, and I appreciate the track a lot more for hearing it in this context.

KUNG FU

Another live favourite, Tim does some heavy breathing over the start of it and has to try hard not to burst out laughing. Lord knows how they play at this speed, and Tim trips up on a few of his words. However, the song was born to play at this speed, and your foot will be tapping along.

WHAT DEANER WAS TALKING ABOUT

A cover of the Ween song, which appeared as a b-side to the later “A life less ordinary” single. I prefer this version; the guitar sound is a lot fuller. I wouldn’t describe it as heavy, but the live version definitely suits it – to me it sounds better with the louder bassline and extra bit of speed. I’m sure
it’s not the way Ween meant it to be played, but it really works well.

GOLDFINGER

When they finally get going (after two false starts) it’s the bass that really makes it stand out. Meaty and heavy, lumbering along it drives the song along well better than it does on record. It’s a brilliant song; I always though it was a little flat on record, the extra kick on the drums and little bit of edge really gives it a boost live.

PETROL

I’ve never heard it being played faster, Tim really showing his guitar playing skill, and Mark ripping through the bass line. The bass was always great on this song, and hearing it here is outstanding. It sums this set up – youthful and full of energy, flying through it.

A CLEAR INVITATION TO THE DANCE

It’s not actually Tim on vocals, but Leif, Ash’s guitar tech (and part time lead singer of Griswold, a Northern Irish band), it sounds like the ad for the show on radio, it’s just them messing around in the studio, with Leif telling us when the set is, and then going mad and instructing us to “Get away from the dial”. It’s only really of novelty value, but the tune is quite cool. Listen on for a few more minutes and it’s repeated, hidden track style.

This album is only really going to appeal to the completist Ash fan. The songs that aren’t on the albums are available as B-sides, so there are no real new tracks on offer. If you are a fan of Ash though, you’ll definitely appreciate the energy of the performance. It’s an import though, so paying £12.99 for the ten tracks may not be on for some people since there isn’t much we haven’t heard before. If you haven’t heard Ash before, it’s probably better (and cheaper!) that you seek out Nuclear sounds or 1977 first (1977 maybe since it is most similar to what’s on display here).

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