THE IMPRESSIONS at the ISLINGTON ASSEMBLY HALL

On my way to see The Impressions on Sunday I tried to think of something I’d sooner have been doing. I couldn’t. Two hours later when Sam Godden, Fred Cash and Reggie Torian strode on to the stage, with their beaming smiles, and began “Gypsy Woman” with their simply choreographed moves and synchronised handclaps, there was no doubt about it: this was the only place to be. 

Three times I’ve been fortunate enough to see them now (equally my Curtis Mayfield score) and each time I’ve been blown away. There is something very magical which radiates from them. Their voices hit deep into the most joyous part of the soul but it’s their whole demeanour which elevates them into a truly special place. Sam and Fred, in particular, possess the kindest, sweetest faces one could wish to see. They look like the happiest men alive and it transmits to the audience. For 75 minutes all the woes and troubles of the world melt away.

The Impressions respect their material, their fans and the memory of Curtis (who receives heartfelt applause). Nearly everything is done true to the original versions. There’s no need to mess with them and they don’t. All the biggies are present and correct and whilst their amount of hits means one or two personal favourites could be absent any set containing “You’ve Been Cheatin’”, “This Is My Country”, “We’re A Winner”, “Choice of Colors” and “I’m So Proud” can never be knocked. Even their one new recording “Rhythm!” - a recent single for Daptone - is an old Mayfield number previously cut by Major Lance and fits, complete with Johnny Pate horn arrangement, seamlessly. It also replaced the rather superfluous “Superfly” which I’d seen on the other occasions, making it a welcome switch.

Although Sam and Fred naturally receive the lion’s share of affection for being members of the classic Impressions line-up, Reggie Torian (a mere pup, having first joined the group in 1973) deserves huge credit for his role as lead singer. He’s no Mayfield imitator but his voice is close enough to suit the songs – excelling on the ballads - and his gregarious personality adds much to the show. When during “People Get Ready” – the only song to noticeably deviate from the 45 – Reggie gives an oration about checking in your baggage before boarding the train to join God, it’s done with such a skilful blend of humour and conviction it’s enough make even the most committed atheists doubt themselves. This was surely heaven.

After an encore of “Move On Up”, ever the gentlemen, Sam, Fred and Reggie make themselves available to meet the fans. It’s always difficult in these situations to say anything too much but to able to shake the hands of these people – these legends, these idols – to touch the hem of their garments, as it were, and tell them face to face how much their music means is something which makes an already incredible evening perfect.

Setlist: Gypsy Woman, It's Alright, Talkin' About My Baby, I'm So Proud, Keep On Pushin', I've Been Tryin', Woman's Got Soul, People Get Ready, You've Been Cheatin', Nothing Can Stop Me, We're A Winner, I Loved And I Lost, This Is My Country, Choice of Colors, Rhythm!, Mighty Mighty Space and Whitey, Move On Up. 

The Impressions: Fred Cash, Reggie Torian, Sam Godden

CHARLES BRADLEY at the ISLINGTON ASSEMBLY HALL

If there’s something soul fans like more than heartache, misery and pain, it is heartache, misery and pain followed by survival and reward. No wonder Charles Bradley has been taken to our collective heart.

As Poull O’Brein’s fly-on-the-wall documentary, Charles Bradley: Soul of America, shows (and by the way, that was just dust in my eye, okay), Charles had to wait until he was 62 to release his first album, No Time For Dreaming, in 2011. He also suffered the murder of his brother, nearly died himself, lived hand-to-mouth in the tough housing projects of Brooklyn earning money as a James Brown impersonator, until hooking up with - and being gently nurtured by - Daptone Records who helped reveal his true self, previously hidden beneath the supportive crutch of a JB wig and cape. The film ends with his debut album being acclaimed as one the best 50 of the year by Rolling Stone magazine.

This heart-warming back story would only stretch so far if Bradley couldn’t take care of business. His second LP, the recent Victim of Love, is an improvement on the first – more assured, more natural, more cohesive - and to a sold out Assembly Hall he sho’ nuff TCB. Backed by an excellent young band (billed as The Extraordinaires but looked to me like the Menahan Street Band who played on his records) he delivered a performance with all the trappings of classic soul show.

The band hit a couple of instrumental warm-up numbers (including a funky version of the Lovin’ Spoonful’s “Summer In The City”) before Charles was given a ratchet-raising introduction: “Ladies and gentlemen…The Screaming Eagle of Soul… Miiiister… Chaaarles…  Braaaaaadley!” Out he strode in a white and glitter suit, black shirt, and straight into “Love Bug Blues”, one of the more overtly early-mid 70s James Brown work outs with a few moves thrown in straight from the Godfather’s manual.

Bradley has two main styles: the James Brown one used on “Confusion” and “Where Do We From Here” and a deeper, bluesier one (used more often) on “Through The Storm” and “How Long”. To his credit CB uses the JB moves sparingly. They are still there but he’s his own man and adopts them no more than his more illustrious predecessors in the soul and funk field who also copped plenty from Brown and Jackie Wilson.

There’s a couple of costume changes (nice take on Del Shannon’s “Runaway” in the meantime); some rather off-putting moments when he does a luurveman routine licking his finger and putting it to his sizzling bare belly; a far more impressive move where he flaps his arms gracefully like an eagle coming in to land; and during “You Put The Flame On It” he demonstrated so many dances and off-the-wall shapes in quick succession I thought I was watching David Brent auditioning for Berry Gordy.

No soul show would be complete without being asked “Do you want to go to church?” and the tear-jerking ballad “Crying In The Chapel” was immense. He hasn’t got a perfect voice (thankfully); it’s less whisper to a scream, more yell to a strain, but the roughness brings raw soul straight from his massive heart. 

WANDA JACKSON at the ISLINGTON ASSEMBLY HALL

So there I was, stood at the front of the stage. One mod among hundreds of rockabillys. For the first time in my adult life I felt like a man from the future instead of the past. These weren’t withered old geezers with ten-strand quiffs either but an almost entirely new generation: early 20s, female, and immaculately turned out in 50s lipstick, powder and paint. Easily the best looking audience I've seen for many a long year. 

This is good news for Wanda Jackson, although equally well known for her country sides it’s wearing her Queen of Rockabilly/Rock 'n' Roll crown that draws the UK crowds. To be able to see her perform in 2012 is in remarkable. Far be it for me to disclose a lady’s age but by her own admission on she cut her first record 58 years ago; hadn't heard of Elvis was when she first toured with him (soon got to know him though, and still has his ring); and didn’t even know what Rock ‘n’ Roll was when she first made it, knowing it simply as “that new music like Elvis sings.”

Wanda was sassy and ballsy back in the 50s and wild records like “Let’s Have A Party”, “Hot Dog” and the outrageous “Fujiyama Mama” displayed a fiercely determined streak. On Thursday that was still in evidence as a throat infection prevented her from singing the way she wanted but she battled through; always pushing herself, not chickening out of the more vocally demanding songs and encouraging her band to play louder, play harder, “blow me off the stage” she urged.  Through sheer force of personality – which she had by the bucket load – she turned in a hugely enjoyable show, chatting easily with the audience without once sounding like slick showbiz patter. And when she dropped her voice to the lower notes her unmistakable growl was still there. 

It’s always heartening when acts, regardless of age, keep moving forward and the selection of tracks from her 2011 album recorded with Jack White sat well with the classics; Amy Winehouse’s “You Know That I’m No Good” was inspired. The LP is The Party Ain’t Over. It sure ain’t.

Setlist: Riot In Cell Block #9, Rock Your Baby, I Gotta Know, Funnel Of Love, I Betcha My Heart I Love You, Good Rockin’ Tonight, Heartbreak Hotel, Shakin’ All Over, You Know That I’m No Good, Like A Baby, Fujiyama Mama, Mean Mean Man, I Saw The Light, Let’s Have A Party, Whole Lot of Shakin’ Goin’ On.