The Skids offical website

Gigs

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Russell Webb has recently been confirmed to be the special guest for 2 dates on Harripaul’s Swings and Roundabouts Tour 2011

Russell will join the London based Rock / Reggae 3 piece band on Friday 22nd July at The Hat Factory in Luton and also on Friday 26th August at The Chocolate Factory in Wood Green, London.

For more information visit the Harripaul page at Reverbnation www.reverbnation.com/harripaul

russell-webb-special-guest

The Skids concert recorded at Rock Goes To College in London 1981 will be played on the BBC6 series called The Live Music Hour.

The BBC6 Radio series has already featured some classic gigs and on Tuesday 8th March this Rock Goes To College concert from The Skids will feature alongside other  BBC sessions from Hatfield And The North (19/03/1974) and Help Stamp Out Loneliness (16/11/2009).

You can visit the BBC6 website Live Music Hour by clicking this link http://www.bbc.co.uk/programmes/b00rwm3t and check out the revious programmes.

Follow this link http://www.bbc.co.uk/programmes/b00rwm3t/episodes/upcoming to see whats coming up next on The Live Music Hour, including The Skids

Bruce and Jamie Waton’s Electric Circus will be playing at The British Legion (Dunfermline)
Saturday 22nd January 2001
Doors 7pm
Tickets £10 available soon from Kennys Music and Third Base Records.
Tickets will also be available on the night so “pay at the door” is available.
Over 14s’

As part of a series of fundraising events for the local British Legion, Bruce & Jamie Watsons Electric Circus will be joining Slurpy Gloop and Thee Zu on stage next Saturday, following on from great reviews as support for Big Country.

January 3, 2011
Thanks to Dod for posting.
Original article can be found here

It was with some anticipation that I went along to see Big Country at the Lemon Tree, Aberdeen.

 I hadn’t seen them perform since Stuart Adamson had passed away and I wasn’t sure how I, or indeed, any of the other fans would react, to a different singer.

From the opening number, 1000 Stars, the fans were right behind Mike Peters, the frontman with The Alarm, and made him more than welcome.

He seemed nervous at times and could be seen to be struggling with the words at some points but soon got into the swing of things. Bruce, Mark and Tony were also joined on stage by Bruce’s son, Jamie, who’s a welcome addition to the band. They put their heart and soul into every song and often made reference to Stuart. At one point Mike read a paragraph from a book from the 1800’s from which Stuart had got inspiration to write The Porrahman.

They sang all the old favourites including Harvest Home, Fields of Fire and Steeltown then came back on to do a 4 song encore which consisted of Lost Patrol, Chance, Restless Natives and In a Big Country. The time passed far too quickly and we were all left wanting more. Roll on the next time they come back to the Granite City.

-Rock Chick-
Big Wheel Contributor
More photos of the show can be seen HERE

Go HERE to see all the latest show reviews

Review of the Birmingham gig in the Wolverhampton Express & Star , Saturday 8th January 2011
Report by Mark Mudie

big-love-for-big-country-wolverhampton-express-and-starMike Peters, lead singer with The Alarm, performs with Big Country at Birmingham

Alarm lead singer Mike Peters stepped into the shoes of Stuart Adamson to bring the unique sound of Scottish band Big Country to Birmingham’s O2 Academy

Peters is taking a break from Welsh band The Alarm to front Big Country on its first tour for two years.

Original lead singer Adamson, formerly of The Skids, committed suicide in 2001.

Other founder members Bruce Watson, on guitar and mandolin, Tony Butler on bass guitar and vocals and Mark Brzezicki on drums took to the stage last night on the penultimate date of the seven-date tour.

Hundreds of fans packed into the Birmingham venue last night to sample the distinctive sound of Dunfermline’s finest, heavily influenced by traditional Scottish folk music and famous for engineering guitar riffs to resemble bagpipes and fiddles.

Big Country enjoyed a decade in the spotlight from 1981 to 1991

Steve Sander on December 1, 2010
original source article http://theconvergence.co.uk/2010/12/the-skids-live-multi-clip-editing-in-fcp/

Thanks to KAMDude for posting.

Richard Jobson’s film of The Skids performing at the Alhambra theatre in Dunfermline was an excellent opportunity to utilise the capabilities of the Canon 5D MkII camera with Apple’s Final Cut Pro 7 software. I was tasked with editing 6 cameras into one seamless record of the live gig, capturing the energy of The Skids’ live performance.

The Canon cameras lent themselves beautifully to capturing stunning images in low light without distracting the band with bulky equipment, cables and additional lighting. Indeed Richard commented that while performing he completely forgot the cameras where even there. It was also beneficial for the audience whose attention stayed on the band.

The cameramen shot long takes focusing on specific aspects of the performance. One camera followed Richard, another the lead guitarist and another the base player. A static camera was trained on the drummer.

My task in the edit suite was to transcode the footage and then sync the cameras to each song as a multi-camera clip.

I transcoded the footage using the free software download, MPEG Streamclip, which quickly converted the H.264 files into Apple ProRes files. I believe that there is nothing to be gained in transcoding to the ProRes HQ codec from the 5D, although some professional colourists tell me that HQ would be better.

From all the tests I’ve done, I haven’t personally found a generational loss of image quality when conducting any reasonable amount of colour correcting.

The H.264 codec is already heavily compressed and transcoding to an intermediate codec like ProRes HQ will not provide a boost in quality.

The only benefit I can see is if you are combining 5D footage with graphics and animation work encoded at a higher data rate. It was also apparent in the case of The Skids edit that when editing multiple clips in the timeline, smaller file sizes and data rates were going to be more convenient.

Setting up multi-clips in FCP was easy. I marked the same ‘in’ point for each camera angle of a particular song and then made a multi-clip from all of the angles (syncing the clips to the ‘in’ point). I then opened the new muliti-clip in the viewing window and edited in real time, making sure to take the audio from just one camera.

Editing in real time was a joy as it enabled me to quickly put a rough edit of the track together, reacting to the music as if doing a live mix. This enabled me initially to react to the performances rather than going for a more clinical assembly. I was then able to go back and fine tune my rough edit selecting alternative angles where necessary or indeed alternative moments from different parts of the song, like a crowd reaction. In this way the live music sections from the film were edited together quickly over two days and retained, I hope, the energy from the original live performance.

 

There is no doubt that shooting with the Canon 5D MkII and doing a multi-clip edit streamlined the whole process and from an editorial point of view enabled me to react creatively and instinctively to the material.

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