So Tough - Saint Etienne

There is something quite comforting about songs that describe everyday lives. Although it's not solely the reserve of British pop music, we do seem to have cornered the market; cramming kitchen sink dramas, tales of urban life and vignettes of social situations into four minute pop songs. It really is wonderful stuff and in many ways a social history of life and times in Britain, albeit filtered and moulded into a pop song by the writer. In some cases chillingly accurate and others best taken with a pinch of salt.

Arguably the heritage stretches back to the 1960s where The Kinks and The Beatles started sharing stories of normal lives in our cities. This heritage continued into the 1980s when The Jam and Madness enriched their songs with hints of social strife and life in general. Some of it played roughly with the facts whilst others, such as The Jam's 'That's Entertainment', were startlingly accurate portraits of life at that time

Saint Etienne's 'So Tough' album opens with such a slice of urban life. 'Mario's Café' is a wonderful piece of pop music and tells the story of a wet Tuesday morning in London;

"Button up your sheepskin Carraway, rainy cafe, Kentish Town, Tuesday.
Barry's looking through the Racing Post, orders coffee, another round of toast.
Squeezy bottles under Pepsi signs, Joe and Johnny chew the bacon rind.
Jackie wants to meet the Glitter Band, Dilworth's a strange and lovely man."

It's a great opening to a fab British pop album; Sarah Cracknell's light and dreamy voice floating over melodic music. It works very well, perhaps to greater effect on the singles 'You're In A Bad Way' and 'Hobart's Paving'. In between tracks are snippets of dialogue from classic British films such as 'Peeping Tom', 'Lord of the Flies' and 'Billy Liar'. It's a nice touch.

So what about today? Does the tradition continue? It does - maybe its a very British thing to do; catalogue our life and times in pop music? The Beatles did it, The Jam did it, The Smiths did it, Billy Bragg, Saint Etienne, Dire Straits, Adele, Arctic Monkeys.......our history is in safe hands.

Up - R.E.M.

York. 2006. Like any typical night out, beer flowed, conversation took on its own life and time passed too quickly. Then as one pint became five the discussion turned to putting the world to rights and other such critical topics. Music. Or to be more accurate 'My band's bigger than your band'. On one side we had the U2 camp and in the other was the R.E.M. contingent. It was all a bit pointless really but at the same time fully engrossing. Arguments, counter points, points of view and debate. All very civilised..... and surprisingly I was on the side of U2. How did that happen? I must've been in one of my 'Achtung Baby' moods. I couldn't be persuaded. I defended U2 with the ferocity of a fighter. Not that it came to blows. Not quite. At least I don't think so. And I don't think I have ever been so wrong in my life. (Quiet Sarah!)

Even at their alleged low point, R.E.M. produced the most wonderful music. 'Up' was supposed to be a difficult album and the press were only too keen to make a big deal about diminishing sales. Like it matters. Any album with a track like 'Daysleeper' can't be all that bad. And it's not. I love this album and it's among my favourites. R.E.M. were supposed to split after the departure of Bill Berry. But didn't. And like a three legged dog learning to walk again with a they ultimately triumphed and delivered this low-key masterpiece. Brooding, reflective and quiet. This was new territory for the band and their fans.

So if this is supposedly their low point then it only really serves to highlight the peaks.

At least now if I find myself in the position of having to take sides in a U2 v R.E.M. bar fight discussion I know where I'll stand - defending R.E.M. to the hilt.....unless I'm in one of my 'Achtung Baby' phases in which case all bets are off!

The Ragpicker's Dream - Mark Knopfler

After nearly twenty five years of playing the guitar, or at least trying to, I've finally got around to my first lesson. Well better late than never I suppose. Except there are twenty five years of bad habits to undo....and twenty five years worth of catching up to do. So in honour of this momentous occasion, in my life anyway, here's an album from the guy who set me off.

I could go on and on about the sheer clarity and melodic nature of his style - really distinctive. But that would be too obvious. What I don't think he gets enough credit for is the sheer quality of his songwriting. Sure Dire Straits had whopping hits but since their split his songwriting has gone from strength to strength and this album showcases some of his best.

Whether it's rock on the opener 'Why Aye Man', the gentle swing of 'A Place Where We Used To Live', the Celtic blues of 'Fare Thee Well Northumberland' or the driving pop rock of 'Coyote' the constant is warm, intelligent and occasionally wry lyrics. But if you press me.....the guitar playing on this album is superlative. Just check out 'Marbletown' for a demonstration on how an acoustic guitar should be played.

So what made me admire Knopfler so much that I picked up a guitar? Yes the guitar playing had a large influence but there was more then that. Perhaps it was the headband?......Nah. Unusually it was the absence of certain things that made me gravitate towards him. No showing off to the audience. No posturing. No playing with his ear or other facial appendages. No double necked guitars. No racks of OTT FX pedals and definitely no rock garb. Unless you can count the headband. Just honest playing.

Refreshing. Right I hope you'll excuse me as I have to go and practice..... after all I've got a bit of catching up to do!

Thirst For Romance - Cherry Ghost

Cherry Ghost put paid to the rumour that nothing good has ever come out of Bolton......only joking.

I was 'loaned' this album for evaluation purposes only. And boy did I evaluate it. It was evaluated to death. It got to the point where I probably knew it better than the band themselves. But I was missing something. I didn't feel like I really knew the album, despite having played it over and over. So I did the honest thing and followed up my evaluation period with a proper CD. And there it sat in the shelf, still in the cellophane wrapper, until today.

When I dusted off my 'Thirst For Romance' CD it got me to thinking; what are digital downloads doing to our listening habits? Does the fact that I like to own a physical object put me into the minority? Just because I like to pour over the album sleeve whilst listening to the music doesn't necessarily mean that I am odd? Does it? But surely knowing who played bass on track three is worth knowing? And isn't the list of acknowledgements a great place to learning something more about the band? Maybe. Or maybe I am increasingly in the minority.

The one thing that the format can't change though is that a good album will still be good and conversely, a poor album will remain poor. Thankfully 'Thirst For Romance' is a great album be it in a downloaded format or on CD. I know because I have tried both!

So if this blog has tempted you to try the album and you're wondering whether to get it on a physical or digital medium - let me pose this question. If you don't get the CD you might never know which tracks we're recorded in Cheshire and which we're laid down in Stockport. Without that knowledge how on earth would you sleep at night?

Parallel Lines - Blondie

"I'm in the phone booth, it's the one across the hall". And so, with a New York drawl, begins the best new wave pop album from the 1970s. Perhaps ever.

You've only really got to look at the track listing to realise just how good it is; 'Hanging On The Telephone', 'Heart of Glass', 'Sunday Girl', 'Picture This' and 'One Way Or Another'. If you were to pick perfect pop songs then these would surely be near the top of that list.

But it doesn't stop at those singles; the album is chock-a-block with pop quality. '11:59', for example, has a sort of 50s rock opera feel to it but at its heart it is a driving pop song. If you catch my drift. 'Will Anything Happen?' is new wave pop at its very best. Buzz saw guitars, layered harmonies. Loud and fun.

But what makes this album really shine, other than the sheer quality of the songs, is the Blondie were a damned good group. Crystal clear vocals with perfect pronunciation, singing guitars, driving bass and superlative drumming. Magic.

An oft repeated statement is that music was rubbish in the 70s. I don't see how that can be remotely true with 'Parallel Lines' sitting proudly in that decade.

So - Peter Gabriel

Given that I played this album to death in the 80s, I'm surprised it has taken me until now to include it in my blog. So it's time to make amends.

I don't think there is a finer mainstream album from the 1980s; one where pop tunes rub shoulders with more experimental and darker themes. From the big hits such the classic singles 'Sledgehammer' and 'Big Time' to the moody 'Mercy Street' and 'We Do What We're Told (Milgram's 37)', the latter title being a reference to the psychology experiments of Stanley Milgram where 37 of the 40 volunteers administered electric shocks to fellow humans - all on the say so of an authority figure. Not the usual subject matter for a pop song.

'So' was also one of the early 'must-own' CDs. The clarity and precision of the digital format really helped enhance the recording. With Daniel Lanois at the controls this is no surprise I suppose.

Above all, it is one of those rare treats; an 80s pop album with intelligence, soul and heart and one that has stood the test of time. If you've not heard it before or, like me, not played it in a while go grab a copy and give it an air. 80s pop music as it was meant to be.

Don't Try This At Home - Billy Bragg

I could use this blog to decry the lack of regional accents in the music industry as the tendency to sing in a north american style gathers pace. But not this time. Or I could use it to say that the line "I had an uncle who once played for Red Star Belgrade" in 'Sexuality' is one of the best in popular music. But that would be stating the obvious. No what I want to discuss is perhaps one of the, if not the, most important piece of human behaviour. Without it the species would not survive past tea time..... the courting compilation CD. Big topic.

There can be no more important stage in the courtship between two individuals - it's one that signals serious intent, a level of fondness and leaves the giver open to a huge level of potential ridicule. It is a big responsibility and one that could just as easily end the relationship as cement it. Overlook or undercook this step and disaster surely looms. But hopefully I can help....

For starters, there is the all important opening track. What message and mood are you trying to convey?; playful, serious, ironic, quick, fast. One thing is for certain, and that is you shouldn't use this as an opportunity to take any risks. The song should be solid and one that you know the receiver of your aural gift will like. Do yourself a favour, leave the ambient electronica on the shelf and don't even consider that obscure Fields of the Nephilim B-side. Not yet anyway. Get over that hurdle and you're away.

Selecting the filling should be easier. A good filling should be funny, poppy, upbeat, moving. Add a slice of irony if you like. Maybe a ballad. Maybe not. Use your imagination. Pick tracks that convey your feelings whilst also saying something about you as a person but watching for pitfall songs. If you were about to include 'The One I Love', by R.E.M. STOP!! It's not what you think it is. Read the lyrics! Phew. Glad to be of service. Also now is not the time to declare your love for death metal unless you are 100% nailed on sure that the receiver is going to appreciate distorted guitars, drum beats that sound like a machine going off and growling unintelligible lyrics. At the end of the day, be yourself.....within reason....and everything should be fine.

The last obstacle to face, and one that if the preceding hurdles have been leaped with aplomb, should be relatively easy. The closing track. This is the one. The one that, providing they have got this far, will leave a lasting impression. Did you put one too many prog rock tracks in the middle? Did they get bored and go off and do something more interesting? Maybe a trio of Fall tracks was not such a good idea? Perhaps your attempt at irony by including a Phil Collins song missed the mark. But let's look on the positive side. They are there. The final track is about to play. Have you picked a closing seven minute epic or gone for a quick pop blast? Maybe that slow acoustic track was just the job? The thing is you won't know until you get there. No much help there I'm afraid, you're going to have to go it alone on that one. You'll be fine.

If you are embarking on your first compilation be thankful that you're not doing it twenty years ago. Your only medium then would've been the humble cassette. Two sides. Twice the trouble. Two opening tracks, one closing track on side one - and one that is going to have to make them want to turn the tape over - and a closer on side two. Then there is the issue of the length. C60? C90? C120? At least CDs are a fixed length. I know what you're thinking, "Ahh but what about a USB memory stick. I could get loads on there!". Don't get cocky kid. Start with the basics, don't over play your hand and you'll be fine.

So you are no doubt under the impression that I must've used a track from 'Don't Try This At Home' on a compilation tape. Nope - you couldn't be further from the truth. Way off.....

Instead 'Sexuality', was on the a compilation that I was given and in response to first one I sent. I can't even begin to imagine the bravery of someone compiling a tape for me. I'm a picky bugger. I take my music and, by association, myself far too seriously. One false move and....... well the fact that this is her CD, the very one she used to help compile the tape, and the fact that after over eighteen years she is still stupid enough to put up with my (many) faults means that she, or more accurately we, got it right. I've still got the tape. A C90. Brave choice. A scribbled title on the spine, 'An Eclectic Mix'. Eclectic? I had to look it up. But a perfect collection of songs that hit the right notes. In the right order.

The Caution Horses - Cowboy Junkies

I was sat on my bed in Hartlepool gazing out of the window whilst the cassette wound its way to the start of the new album by the Cowboy Junkies....


"Sun comes up, it's Tuesday morning
Hits me straight in the eye
Guess you forgot to close the blind last night
Oh, that's right, I forgot, it was me"


And so with that opening verse I was hooked. Good and proper. It is a great album and contains some great songwriting and well adopted cover versions.  Any album with the lyrics "It's the kind of night that's so cold, when you spit it freezes before it hits the ground", surely deserves anyones attention and love?


Of course I loved their previous album, 'The Trinity Session', but I had found that album a good while after it had been released. It felt a bit like entering a party when it has well and truly got underway; you can still enjoy yourself but deep down you know that you have missed part of the night and there is no way to fill that gap. 


This time it was different. I had been waiting for this album to be released and had made my purchase on the day of release. I can remember the agonising choice, or at least that it how it felt at the time, whether to buy the album on cassette or CD? In 1990 CDs were still relatively expensive in comparison to tapes and they lacked the portability of their magnetic counterparts. It was an increasingly common dilemma that I faced and the time spent in record shops was getting increasingly longer - in some cases to a ridiculous level. Frozen by a fork in the path. To overcome this I drew up a few ground rules. After all what is life if not for making up arbitrary rules? More like guidelines really. Anyway it went something like this;

1. Was this one on my top bands or recording artist? To qualify for this they had to have had works in my collection for a minimum of two years with at least two entries.
2. Did the purchase present a risk? Was there any danger that I may not like it?
3. Was I likely to be travelling in the near future? Would a more portable format be of short term benefit?
4. Would the album benefit from a cleaner, digital format? 
5. Was there any other benefit from purchasing the more expensive digital option? Did it have any additional tracks?

Not a complicated set of rules but it really helped speed up the decision making process. Anyone reading my blog for the first time might suspect that I am a little obsessive. Regular readers will already know that this is the case! Thankfully this choice no longer has to be made as everything is digital these days....except I now have to decide between whether to buy the physical media or simple download a computer file. Blast! More agonising choices....... So I have drawn up another set of rules........

In case you are wondering, the answers to the questions above, in relation to this album were;

1. No
2. Yes
3. Yes
4. Mmm not sure
5. Nope

So on that basis I bought the cassette...... and then several years later the CD. Tscchh!

The Best Of David Bowie 1974 - 1979

There is a huge hole in my music collection and it's Bowie shaped. I've got absolutely no idea how this sorry state of being came to be. Not a clue. It's really embarrassing that amongst my tens of hundreds of CDs that the only Bowie album I can muster is a greatest hits collection. In my defence, albeit a feeble one, I've been aware that the hole was there and did mean to rectify the omission but.... well I just never got around to it. Even when I kept reading about the seminal albums he created with Eno and how important they were to the progression of the popular music art form I still never managed to follow up this interest and go out and buy them. Time rolled on and now at the mature age of Forty (err mumble cough) the hole is still there. Big, bold and Bowie shaped.

For goodness sake, I even enjoyed the Tin Machine album, which in itself must put me in an elite group of people, although admittedly it was my Dad's CD. But alas still no Bowie originals in my collection. How embarrassing. How can a serious music aficionado look anyone in the eye knowing that the don't have any real Bowie albums. So by all means call me a charlatan, a fake or downright ignorant. I deserve it.

It seems a truly pointless statement but this is a great collection of songs. Well it would be wouldn't it, as it cherry picks the hits from one of his most critically acclaimed and productive periods. Not a duff track on the entire CD. Again.....pointless statement IT'S A GREATEST HITS PACKAGE!!

Right I've been shamed long enough. I need to sort this out so I'm resolved that the next time I'm on-line or passing a record boutique I'm going to purchase 'Low', 'Heroes' and 'Station to Station'. This time I meant it. Honest. Maybe even 'Let's Dance' and 'Scary Monsters'. Why stop there? Let's go the whole hog and buy 'Ziggy', 'Hunky Dory', 'Diamond Dogs' and 'Tin Machine II'...errr let's stop there.

Help! - The Beatles

I suppose everyone had a favourite film or TV obsession when they were growing up. I know some of our friends, because their children are hooked on a particular show, can quote verbatim Fireman Sam, Peppa Pig or Spongebob Squarepants. The fact that even I know the titles shows how deep the obsession goes. You could never accuse me of having an obsessive nature.....could you?

Well my movie obsessions were two-fold; Willy Wonka and The Chocolate Factory and Help! I knew every word, both spoken and sung. Actually it has just occurred to me that, even though I hate musicals, these two movies definitely lean that way. Mmmmm. OK.

Anyway in 1980, or thereabouts, a video recorder came into our house. A huge hulk of a machine - about the size of a modern washing machine - with fist sized buttons. Despite taking up most of the front room it became an essential piece of kit - It now meant that we could record things from the TV. And watch them over and over and over.... So in January 1981 the BBC aired Help! The movie was duly recorded and my obsession began. Now I know what you are thinking - "how on earth could I know the date so accurately?". Well I know because Help! was the second item on the tape - it was preceded by Swansea v Boro in the FA Cup. A sublime performance with saw the Teessiders net five goals, including an overhead kick by tricky winger Terry Cochrane. But I digress.....

....so Help! became essential viewing for me, my parents and sisters. Well at least it was for me - they were just along for the ride. A captive audience.

Help! is a great album and really demonstrates the talents of the songwriters, especially when you consider that the bulk of the tracks were written in the back of limousines between performances and appearances. Not bad considering some of the songs on offer are 'Ticket To Ride', 'You've Got To Hide Your Love Away', 'Help!' and 'Yesterday'. Not too shabby. Even Ringo's offering manages to be not too bad. But despite the presence of the headlining sings my favourite is tucked away on what was Side 2. 'I've Just Seen a Face', clocking in at a little over two minutes, is a pop-country gem and confirms The Beatles as master songwriters; that something so good would be used as essentially filler for a soundtrack album.

And yes my obsession continues to this day. I love the film; it's daft, touching, funny and is like a hug in celluloid form. I'll sign off with a little fact. The album cover was meant to spell HELP in semaphore. Unfortunately the arrangement of the fan fours arms didn't look good, photographically speaking, so they were repositioned. So instead of spelling HELP, the cover of one of pops most iconic records instead spells NUJV. I'd like to see Lennon and McCartney write a song with that as a title!

Mothers Heaven - Texas

I hope you are sitting comfortably because this might be a bit of a long ramble but it involves fire, chicken, God and a certain Scottish pop band so hopefully it'll be worth it. Maybe. Anyway it all started in a house in Hull.....

During my year out from Poly I spent a year with Humberside County Council and shared a house with two other course mates. In order to maintain an equitable split of housework, we took it in turns to make the evening meal. To say that we were under-skilled in this department would be an understatement. For example AP's signature dish consisted of a meat pie served with a tin of meat chunks in gravy. Vegetables were just a vicious rumour at this stage in our culinary development. So on this particular evening we arrived back from work and I set about preparing the evening meal. The delights to be served up this evening were Findus Mince Crispy Pancakes with chips. Mmmm-mmm delicious. The first problem was that the frying pan was still full of fat from the previous meal. Cleaning it was just too gross so I elected to melt the fat and then simply pour this down the nearest drain. Congratulating myself on my cleverness I lit the pan and, as it was taking an age to heat through, I went up to my room to get changed out of my work clothes....

....After listending to music and playing the guitar for half an hour I noticed smoke coming under the bedroom door. "That's odd", I thought, "as soon as I finish this song I'd better take a look at that", and continued playing.

"WHAT THE HELL ARE YOU DOING DOWN THERE", AP. Suddenly remembering that I had set out to cook the tea, but had become side-tracked by my pursuit of musical genious, I threw open my room door to find deep black smoke filling the stair well. Chest hugging, nostril burning, acrid smoke. Arriving in the living room things were looking bad. There was thick smoke from ceiling to within a foot of the carpet. Crawling on all fours we arrived in the kitchen to find one unholy mess; flames spurting from the cooker hob, sparks flying from what used to be the extractor fan and blackened walls and curtains. In short the kitchen was on fire.

I tried to recall my safety training and remembered something about fat fires and water. Yes that was it - throw water on the fire. So I quickly filled the kitchen sink bowl with water and flung it at the fire.

"NOOOoooooo!", shouted AP as he lept for the cooker switch. Thankfully he turned off the electricty just in time - a second later and the water would have made contact with the sparking wires. Phew... except, as I now know, fat and water don't really get along and so the fire, rather than being extinguished, became even angrier. By this point, AP had already dampened some towels and had flung them on the source of the blaze. Within minutes the fire was under control, the windows were opened and we could assess the damage.

"It doesn't look too bad", I offered, "perhaps we can fit a new extractor fan and with a bit of paint you'd never notice".

I was being somewhat optimistic - the kitchen had been totalled; the frying pan had caught alight and the flames, being left to their own devices for over half an hour, had grown to reach the extractor fan. This, being essentially a sponge for fatty fumes, had instantly caught fire. Eventually it gave up on holding onto the cooker unit above and had dropped onto the blazing frying pan. From there the two got on like a....ahem... house on fire and happily burned away until we came and spoiled their union.

And the ironic thing was that the house did have smoke alarms but 'we' had removed the batteries as they were just the right size for our guitar effects pedals. It seemed like the right thing to so at the time but in hindsight......

So after a furious weekend of decorating, the kitchen was made to look as good as it possibly could and the overall effect was.... it looked like fire ravished kitchen with a new coat of paint. Very convincing. The landlord was not happy. And we lost our deposits.

After a month or two of eating cold food and salads, it was decided that I could be trusted again in the kitchen and we started to eat 'properly' again. It became routine to have a roast dinner on a Thursday night - originally to celebrate to (almost) coming of the weekend. This also happened to coincide with late night shopping in the city centre and on one particular Thursday it also coincided with pay-day. The temptation to go and spend some of our hard earned cash was too great, so we left a chicken to slowly roast in the oven and set off for the shops. The shopping trip was even more pleasant as we knew that when we got back there would be a lovely juicy cooked chicken, roast potatoes and gravy to greet us. Smashing.

I was really pleased with my purchase of 'Mother's Heaven' and had found it at a bargain price. What a find. I was chuffed. As we pulled up onto the drive, I was eager to play my new purchase. A new CD, a roast dinner and a few cans of beer. What a perfect night.

"You've got the house keys - can you open the door", I said to AP


"No - you've got them", he replied.


"No - you have", I responded........

Oops we appeared to have both forgotten our keys. Never mind, DS was in the house so he could let us in.....except he wasn't'. We'd both totally forgotten that this Thursday night he had gone out to one of the bible groups. Blast. Rushing around to the back door we could see through the window of the kitchen and the window of the oven our lovely, almost cooked to perfection, chicken. Juicy, golden and no doubt delicious.

"Quick - back in the car - we need to find Darren to get his keys", AP instructed. So we jumped into the car  and drove off to the nearest church. I wasn't much of a plan but there was a roast dinner at stake! We didn't have a clue which church he had gone to - we should have taken more notice. Double blast! Church after church was visited and at each one we were greeted by rather confused parisheners. Double blast with an extra helping of blast! About an hour into our search we were getting desperate and elected to try one more before admitting defeat and resorting to breaking a window. Opening the final door.... phew he was there.

Moments later we were back in the car and speeding off towards our house. bursting into the door we could smell a hint of roast chicken. A hint of roast chicken that was being carried on an even stronger smell of burnt flesh. The oven door was opened and we were greeted, not by a succulent roast chicken, but a charred and decidedly over-crispy ex-chicken. It was ruined.

"At least we didn't burn down the kitchen this time", I meekly offered

"Don't say another word Stanton!", came the reply. I duly complied......

So was the album worth the woe. Was it worth, for a second time, nearly burning down a kitchen? I'm inclined to say it was. Far away from the difficult second album syndrome, this is a much more accomplished album than their debut. Yes the drums are still a little clunky, but the use of samples and drum loops, as were popular at the time, really helps the pop songs within shine. 'Beliefs' is a gothic rock pop song, 'Alone With You' is simply a great pop tune and 'Wrapped In Clothes Of Blue' uses a sampled baseline to great effect and really pushes the Texas sound in a new direction. Criminally overlooked, it is not difficult to extrapolate their development from this album to see how they became a polished pop band. The great thing about this album, however, is you get both sides of Texas on one album; pop and rock with a hint of the blues.

And as far as my cooking goes, well I can safely say that I have never tried to serve Findus Crispy Pancakes since. I am still far too easily distracted by music but I have learned from my mistake...... we now have a stereo in the kitchen! Result.

Screamadelica - Primal Scream

'Loaded' was one of the defining, if not the defining, singles of the indie-dance scene. A classic in every sense of the word; taking the track 'I'm Losing More Than I'll Ever Have' from their previous album and giving it the remix treatment - adding a sample here or there to create something entirely new. Although the foundation of the song is still there the make-over created a dance filling classic. I've gotten up and fallen over many times to this song.

Songs like 'Loaded' were vitally important to the male gender, especially those who were rhythmically challenged (not that I am putting myself in that group mind you!). At last you didn't need to have studied dance at the royal ballet, memorised countless moves or trained your arms and legs to move at different times and speed. No, all you had to do was take to the dance-floor and shuffle! That was it, except perhaps the occasional hand gesture. 'Loaded' was perfect in every sense. It didn't even have many words so you could always guarantee to appear to know them - your love of a particular band or coolness level was vitally dependent upon being able to mouth the words to the song with feeling. Or shout them. Whichever you were comfortable with. So almost singlehandedly Andy Weatherall saved the male indie lover from humiliation and helped us reclaim the dance-floor. The power of a good remix.

But the success of that remix gives me a big problem with this album. You see since its release, and subsequent critical acclaim, I've always wondered whether this this a brilliant rock/indie/dance crossover album or a good remix compilation album? The boundaries are so blurred that it is difficult to determine. I loved all of the four singles (yes four!) that were released prior to its eventual release, but I treated each one of these as an independent piece of work - it seemed to be the intention as they were up to six months apart.

When the album arrived in the autumn of 1991, some nineteen months after the single 'Loaded', it listed a total of five producers and eight of the eleven songs were well over five minutes long, with one clocking in at 10 minutes. It very much gave the impression that this was essentially an indie remix album with an eye on the dance floor. But the critics and individuals alike lapped it up - it was a smash and pretty soon it was being touted as a classic British album.

Not that any of this is a bad thing but I've always wondered exactly how much of the original material survived the process. Is this what Bobby Gillespie and co intended when the band entered the studio? Maybe. Maybe not. What does suffer, in my opinion, is that the album is disjointed and gives the impression of a collection of songs rather than a coherent piece of work; the result no doubt of recording and releasing singles over such an long period. Again, this probably doesn't matter but please don't call it a classic album, unless you offer the same response to 'Abba Gold', The Beatles 'Red' and 'Blue' albums and 'Carry On Up The Charts'.

Kite - Kirsty MacColl

In the music business the death of another star is often greeted with a knowing nod or disapproving tut as their demise is often at their own hands; dignity and death very rarely going hand in hand. The list is a long one and does not make for comfotable reading. This could not be said for the untimely way in which Kirsty MacColl left this world. If anything her death, being murdered by a speed boat pilot in Mexico, highlighted corruption at a high level and an attempt at a cover up that would've made some western politicians jealous. Unjust and unfair.

But before that, she made some wonderfully English pop music that casually straddled the mainstream and alternative music divide; both writing her own and adopting those by others. In fact she was so effective at taking songs by others and making them her own that you would be hard pushed to remember the original. she also provided glorious harmonies to many a pop single including The Wonder Stuff and The Smiths.

Indeed if The Smiths had been fronted by a woman then they would probably sound a lot like Kirsty MacColl. In fact, her songwriting sounds very much like Morrissey / Marr compositions, especially on 'The End Of A Perfect Day' which could easily be mistaken for a lost Smiths outtake.... no surprise then to learn that it was co-written by Johnny Marr and features him on guitar.

So 'Kite' is a perfect English pop album with some great original tracks and the occasional cover version. Bitingly political in places and sunshine pop in others it could've in less skilled hands, sounded disjointed. But her ability as a singer and songwriter ensures that the album remains coherent.

For many she will be mainly remembered for that superlative Christmas hit. It is one of the best, but it would be a crime if that were to happen. So grab a copy of any of her solo albums, give them a spin and celebrate one of Britain's truly great talents.

The Queen Is Dead - The Smiths

Tories in power, rising unemployment, tax breaks for the rich and an enlarging north-south divide - it's like the eighties never ended. Anyone who awakes from a thirty year coma could be forgiven for thinking that they hadn't been away that long. But that joke isn't funny anymore and no-one's laughing - at this rate of decline the Thatcher Years are going to seem like Halcyon Days. An achievement. A nightmare. The NHS under attack, gifting money to greedy bankers, whilst jobs are cut from essential public services. To quote a speech made by Neil Kinnock,

"I warn you that you will have pain – when healing and relief depend upon payment....I warn you not to be ordinary, I warn you not to be young, I warn you not to fall ill, I warn you not to get old".

That could have been written yesterday. Yes the eighties have returned and greed and selfishness are back on the Government's agenda.

So onto The Smiths second best album. A masterpiece, as usual from the northern quartet, and one that continues to resonate twenty five years later, particularly on the opening title track. Never have Morrissey's lyrics and Marr's music sounded so angry, bitter and playful all at the same time.

Oh has the world changed, or have I changed?
Some nine year old tough who peddles drugsI swear to God, I swear I never even knew what drugs were
So I broke into the Palace with a sponge and a rusty spanner she said, "Eh, I know you, and you cannot sing"
I said, "that's nothing - you should hear me play piano"

Elsewhere there are classic pop tunes; 'Big Mouth Strikes Again', 'The Boy With The Thorn In His Side' and the sublime 'There Is A Light That Never Goes Out'. They don't make 'em like they used to. 

But let's hope that the eighties parallels don't stop with a spiteful Government. Perhaps the one silver lining is that albums will become important again, bands will start to mean something and unrest and disquiet will be channelled into a positive and growing force for change. Now that's what I'd call music.

Big Calm - Morcheeba

There are just some voices that are so soothing, calming that they almost have healing or recuperative powers. Skye Edwards has one such voice and when mixed with trip-hop pop music it can't fail to have the desired effect.

I first heard this in a friends house in Scunthorpe and was immediately impressed. A bit like Remington, I just had to buy the album. 'The Sea', the opening track, sets the scene for what is to come; laid back, smooth pop music. 'Part of the Process' is a great pop song..... Oh it's such a great album that you must listen to it.

If you're down, it'll pick you up. If your angry, it'll calm you down. If your restless, it'll give you peace. No wonder it's called 'Big Calm'.

Songs Of Faith And Devotion - Depeche Mode

Have you ever liked something so much that it pretty much spoils everything else? Although you can kind of appreciate other things when they come along they are always going to fall short. Not measure up.

I was like this for me with 'Violator' from Depeche Mode. I loved it. Unconditionally (well almost - still don't like the running order). So when the follow up was announced I was beside myself with excitement and expectation. This then turned to apprehension, closely followed by nervousness. What if it was rubbish? Not as good? Not perfect? It was a big ask. No it would be fine - they'd had three years to perfect this album. A follow up to one of the greatest albums of all time. No sweat.

So when I played it for the first time .... well it was alright I suppose. Some decent songs but it's main failing was.... it was not 'Violator'. What a crime. What a disappointment. I totally missed that 'I Feel You' was every bit as good as 'Personal Jesus', that 'Walking In My Shoes' was a really strong track and that the album was just as dark and brooding as its predecessor. I was blinded by the brilliance of 'Violator' that it cast a shadow over this fine album.

I now know, though, that whilst not being quite as good, it is still a brilliant album. No it's better than that - it's perfect. Well nearly.....

Build A Rocket Boys - Elbow

There is something quite special about Elbow. But what is it? Could it be the interesting and inventive music? Maybe. Or is it the wonderfully rounded yet powerful vocals of Guy Garvey?. Perhaps it is the playful use of English language in the lyrics? Easily the best writing this side of The Smiths. That might be it. But wait - it could be that the songs are just damn good. Yes that's it.... Or is it all of the above?

Whatever it is, the result is a consistently good set of albums, singles and live performances. And 'Build A Rocket Boys' is no exception.

Last January I was 'volunteered' to attend a residential training course near Coventry. I know what a place to attend a course. Maybe someone was telling me something? Not being accustomed to being away from home for work I was not looking forward to the trip - and I was going to have to repeat this once a month for three months. Yuk. The drive south on a Monday morning was particular awful - hitting commuter time around the major conurbations. But it would've been a lot worse had it not been for this album. It kept me company on the journey and in my hotel room after the course - thankfully as there was bugger all else to do, unless jogging down a motorway floats your boat. Nope for me it was tea, biscuits and Elbow.

As soon as I heard the first track 'The Birds' I knew I was going get on famously with the album. Every bit an epic opener. But the high quality songwriting doesn't stop there. 'Lippy Kids' is a poignant paean to adolescent times whereas 'Open Arms' is such a crowd pleaser and (whisper it) stadium friendly anthem that U2 are surely kicking themselves that they didn't write it.

Still not convinced? Well perhaps the clincher is that, whilst you are listening to the album, you could be supping a 'Build A Rocket Boys' ale? How many other albums can you say that of? So raise a glass with me to one of the jewels of the British music scene, cherishing every note and sip and smile because you are going to want to do it all again! Cheers!

Homebrew - Neneh Cherry

Humble pie - I've eaten a fair bit of it over the time, especially when it comes to my opinion on musical matters. Over the years I have done more U-turns than a professional politician; heavily criticising something one moment only to turn round later and praise it. Well one can change their mind can't they?

And so it was with Neneh Cherry. When s mate bought her debut album I guffawed heartily. Why? Well clearly she was not earnest enough nor indie, or even earnest indie to earn my respect. No this was dance music and it also had rapping in it! So it deserved my full scale derision. I laid it on pretty thick without really listening to the music. It didn't fit my music template so therefore it was rubbish.

Little did I know that a full portion of humble pie, with a side helping of humble sauce was bring prepared. How was I supposed to know that none other than Michael Stipe would co-write and guest on one of the tracks on her follow up album? No one warned me. I must've missed the memo. Obviously as soon as I found out the album was added to my shopping list.....

I've since learned that music is a broad church and I enjoy all kinds; pop, rock, metal, folk, orchestral, indie and yes, even dance and rap (although the latter in small doses!). And what a fine album this is. As well as the excellent 'Trout' which features Mr Stipe, the others are equally enjoyable. A little bit eclectic perhaps, but enjoyable all the same.

Although I have learnt my lesson over the years, I sometimes forget. So if you ever catch me being over critical of something.....just ignore me and wait..... and prepare the humble pie as I'm sure I'll be needing that.

Blind Faith - Blind Faith

Is there anybody who doesn't like a good drum solo? The longer the better in my experience. Loud, energetic, deafening? Nope me neither. Actually for that matter, I don't really like extended guitar solos either. For much the same reason; that they exist so the musician can show off....for ten minutes.

Now you may think this is a little hypocritical as I have already, in the very pages of this blog, waxed lyrical about the merits of Dire Straits, Pink Floyd, Cream and now Blind Faith. These bands are no strangers to extended solos. Some lasting days. But in most cases they add something to the song in which they're placed. Not unnecessarily navel gazing. This is equally true for other genres of music. Take 'I Am The Resurrection' by The Stone Roses. A long groove of a track with extended guitar and rhythm solos. At 8m 12sec it could outstay its welcome but the musical passages add to the song. Not once do you start to wonder what's for tea.....

For most of the 15m 20sec of 'Do What You Like' things are moving along nicely. Cool, rhythmic, melodic..... then it goes off the rails - the drum solo starts. And it goes on and on and on and on and on and on and on and.....you get the idea. The warning signs were there I suppose as the track was composed by Ginger Baker. No stranger to drum solos that fella. So apart from the (seemingly) eternity of the drum solo, what is the rest of the album like?

Well before I get onto that, I feel compelled to mention the cover. Surely one of the contenders for the worst ever album cover. Ever. Full stop. Ever. Who on earth had the idea that it was either a) appropriate b) tasteful or c) representative of the contents of the record. Awful and slightly dodgy. Little wonder that it caused uproar resulting in the record company changing it. Mind you the replacement was equally rubbish, just for different reasons. Yuk!

So you might get the impression that I don't like this album. Not at all. It is definitely a child of its time - when super-groups were cool, long hair was de rigeur and extended solos a demonstration of your manhood. But the six songs on offer here (yes only six - well they had to make room for those solos!) are bluesy, rocky and showcase the talents of the individual members, especially when length is sacrificed for quality such as on 'Can't Find My Way Home'. A lovely (short) gospel blues track.

In principle I am all for long songs; they allow the artist to go places that the three minute pop song doesn't allow, they help musical ideas develop and are great value on a jukebox. Sure everyone in the pub will hate your guts for playing that thirty minute Hawkwind epic, but you can nurse your bruises safe in the knowledge that you got value for money.

Specials - The Specials

There can't be many cooler bands than The Specials. Certainly the coolest band to come out of Coventry, although some might argue that The Selecter and The Primitives might have something to say about that.

Certainly the people who I knew in school who were 2 Tone fans had a certain coolness to them. But it's a thin line. Any attempt to imitate a 2 Tone style had to be absolutely nailed on or you ran the risk of looking like a total fool. Take the 2 Tone dance for example. It's perhaps one of the most stylish dances ever committed to ..... well the dance-floor. But hitting the off-beats that 2 Tone music demands is counter-intuitive. It is a risky dance to try and pull off. I know because I have tried many times. Even through the alcohol haze of a night on the beer I suspect I looked more like a person who had sore feet and couldn't bear to have them on the pressing on the floor, rather than a cool 2 Tone aficionado. So poorly timed were my movements. The thing I never understood though was how on earth were you supposed to learn such dance moves? This was the time before the internet and YouTube - even VCRs had yet to be in widespread use. If there were clandestine dance lessons behind the bike sheds then I was not privy to them.

Looking foolish or not it's, hard even now, to resist the urge to hit the dance floor when a 2 Tone track is played, especially if it's one by The Specials. I suppose this should be no surprise as it's great, timeless music; the upbeat music often making it easy to overlook the poignant and often politicised lyrics. Cool indeed.

But despite my abject failure to master the dance, the next time you see me at a party and a Specials track is played you're sure to see me on the dance floor within seconds. But please don't worry - my feet are fine I'm just uncoordinated.

All The Hits: 1964 - 1969 - Dean Martin

Can you remember those duff 'Love Is.....' cartoons from the 70s? Saccharine, banal and naive statements on what constitutes bring in love, accompanied by an equally awful cartoon of two 'lovers'. I can feel the bile rising at the mere thought of them. 'Love Is....sharing', 'Love Is....Your secret weapon'....blluuurrrggghhhh!

One that was never printed, however, was 'Love Is.....dragging your mates around the Eldon Centre in Newcadtle while you try and find the perfect CD to take home as a gift'. Now that would've been a top tip. Why? Well during the early part of my relationship with Sarah me and some mates had gone shopping in Newcastle. A top day out was guaranteed...except I wanted to find a particular CD with a particular track on it. And so for most of the day we went in and out of record shops to hunt for this elusive CD. I was sure that it existed. At least I think I was sure. I'd not actually seen it but I had done a bit of research. As the day wore on I could tell that my mates were getting a little fed up. Nothing obvious mind you, but I knew them well enough to pick up on little tell tale signs. Reading between the lines of statements such as "For God's sake not another bloody record shop!" and "I hope she's worth it!". Yup they were getting fed up.

But through dogged perseverance and a fair thickness of skin on my part I/we found it. The search could end - well it had to really as the shops were closing anyway.

So upon my return to Yorkshire I presented 'Dean Martin - All The Hits 1964 - 1969'. Sarah was over the moon and the disc was immediately stuck in the hi-fi and "Little 'Ol Wine Drinker Me" started playing. That was the elusive song. And I must confess it is a great track. 'Traditionally' sung at Scouser weddings and family gatherings. Allegedly - although I've been to a few and have yet to hear it. Maybe I'm always passed out in a corner by that stage of the night?

So if they were ever to re-launch the 'Love Is....' series I'd happily act as a consultant. It'd be worth it to avoid the previous crimes against decency. By bringing them up to date, and adding a dose of realism, maybe they'd be more tolerable. So here are my first few ideas;

'Love Is.....remembering to put the toilet seat lid down'
'Love Is.....not scratching yourself at a table in a restaurant in plain sight of other diners'
'Love Is.....taking the blame for, well almost everything'
'Love Is.....not being crap at remembering dates particularly birthdays and anniversaries'

Mmmm not a bad start but I'm sure there are better ones.......

Dusk - The The

In life we often experience stressful times; exams, driving tests, weddings, presentations to peers, illnesses. They come in many guises and I've experienced my fair share. But these all pale into insignificance compared to an event I experienced in 1994. Perhaps it would be more accurate to say that it was the anticipation of the event rather than the event itself. You see in 1994 I was to meet the first of Sarah's family members! There was no way to prepare for this - no notes, dry runs, mocks or tips. Just turn up and be yourself... I was doomed!

But first there was the small matter of a The The concert to attend. I had sort of double booked myself; I'd bought tickets for the gig the same weekend that Sarah's sister and her husband were visiting Leeds. I'd promised to meet them but didn't want to miss the gig. So Neil and I went to the gig whilst Sarah went to the pub with her relations. I was then to meet up with them afterwards whilst Neil....Sh*t I'd forgot to tell him I was doing a runner after the gig! What a mate I was!

So we went to the gig, and what a gig it was - the band were on fire and blasted through some top The The tunes. As the lights came up I said a temporary farewell to Neil and rushed off the pub, leaving Neil to find his way back to my shared house. I don't know what Sarah's sister must've though of me, turning up to the pub at 10:30, a bit dishevelled and sweaty in a The The t-shirt. I needn't have worried about meeting them though as they were very nice and welcoming and the rest of the night went well. Phew. I'd passed the first real test! The big one was to come, meeting Sarah's mum, but that's a story for another time....

'Dusk' is a great album and features some of Johnny Marr's funkiest and bluesiest playing. It is a strong set of songs and maybe Matt Johnson's most accessible. 'Helpline Operator' and 'Dogs of Lust' are worth the entrance fee alone - dirty blues songs with great guitar riffs. If you can't change the world change yourself.

I don't think I've ever apologised properly for leaving Neil in the lurch that night in 1994. If you're reading this - sorry. It was a great night though. A super gig followed by a few beers with some genuinely nice people.

I Do Not Want What I Haven't Got - Sinéad O'Connor

.....I'm going to go out on a limb on this one. Not much of a limb, but a limb nonetheless..... more of a finger really. Anyway I'd like to put forward that there exists in the media.......wait for it...... a system of double standards when it comes to dealing with the sexes...... I know. Wow. It's quite a statement and I accept that there will be some people out there in Internetland who don't recognise the statement that I've just made. Now I don't expect to be able to change their standpoint in this short humble blog but hopefully they will at least understand the argument that I am about to put forward. Maybe......

Sinéad O'Connor has not exactly been a stranger to controversy but when she, in 1992, appeared on Saturday Night Live and tore up a picture of the Pope during a rendition of 'War' I don't think even she could have foreseen the widespread vitriol that was subsequently aimed at her. It went beyond reasoned and civilised discussion and was well....just plain nasty. But what had sparked this controversial act? She was protesting about the sexual abuse within the Roman Catholic Church. Protesting. Freedom of speech. Remember that? If she had lit the fire by doing what she did, the media continued to stoke the fire; suggesting that she was out of control and had lost her mind. A dotty woman who should've known better. The fact that, several years later, she was found to have been correct didn't change the media's portrayal of her. As far as I am aware, no apology has ever been forthcoming nor have any retractions been printed. Certainly if they have, they haven't been as high profile as the original condemnation and her career has been irreparably damaged by the event.

Would the reaction have been the same if the person had been male? I strongly suspect not. Sure there would still have been anger and condemnation but I suggest that they would've been less personal.

This is not the only incident of this kind. In 2003 The Dixie Chicks dared to speak out against the American invasion of Iraq. This pretty much destroyed their career at that point. And again, despite there being strong evidence to suggest they were right to be outraged, there has not been much in the way of an apology. Again if the statement had been made by a male group would the result have been the same? Bob Dylan has being doing that sort of thing for years and he is held up as a protest singer. Go figure.

Prior to Sinéad's appearance on SNL she could do no wrong. A solid debut album was followed up by this even better, perhaps more mainstream, release. Well as mainstream as an album by Sinéad O'Connor can be. Look beyond the massive, and therefore overplayed hit, 'Nothing Compares 2U', and you will find rich pop songs laced with political and personal statements such as 'The Last Day Of Our Acquaintance' and 'Black Boys on Mopeds'. So go buy this album. Play it loud. Strike a blow against hypocrisy and discrimination.

Electronic - Electronic

If I wanted to be really pretentious I could say that sometimes I get the impression that my life has been soundtracked by the music I listen to. But I won't. But it has.

In 1991 me and three other mates went travelling around Europe by train; camping whenever we could or otherwise sleeping on the trains. It was a great month (well three and a bit weeks because partway through the last week I realised that I only had about £10 left......and we were on the way to Istanbul). Anyway the preparation for the trip was immense. A great deal of planning was needed. Where were we going to go? What did we want to see? What currency did we need? Who was going to carry the 20 litres of methylated spirits? Surprisingly not many put their hands up on that last one - I guess it was the thought of potentially being a human fireball should the liquid ignite in the hot sun. Wusses. But the most important decision, the one that had to be resolved before any other and the most crucial to the success of the trip, was how many tapes of music was is physically possible to carry? Clearly the thought of having to speak to each other for any length of time was too much to bear.

I think I started compiling the tapes I needed about six months in advance of our departure. I didn't want to get it wrong. Image the horror of being stuck on a Greek island, lying in the sun without a decent selection of music. Oh the horror! So list making, filtering, scoring, assessing, re-assessing, recording, erasing and re-recording was in full flow. The stress of it all. And then there was the covers to make. Imagine taking a tape on holiday which did not have a lovingly crafted inlay? I know - we could've been ejected from Europe on the strength of a hand scribbled effort. But all was completed in time and disaster averted. I then had a nagging thought that I had nothing new to listen to. My measly ten tapes only had stuff I knew on. What an oversight. A schoolboy error. I had to find a new album... and quick - it was already May and we were due to leave in August!

Thankfully 'Electronic' by Electronic was about to be released and being both a New Order and The Smiths fan this would be perfect summer listening. The perfect marraige of pop sensibility and guitar hero. So I bought the tape and put it with my other holiday tapes. And there it sat, staring at me - almost daring me to listen to it. But no! I would not give in - I had chosen this especially and was determined that we would embark on this european odyssey strangers but return firm friends. With each passing day the urge to listen to the album got stronger - the closer we got to departure the stronger the desire. I know what Frodo felt like. It was such a burden.......surely a quick listen wouldn't do any harm. Who'd know? What if the tape was faulty? But I made it! We set off on our journey and I had a virgin tape in my rucksack. Was it worth the wait?

I distinctly remember listening to 'Get The Message' several time whilst travelling in the Swiss Alps; the Jungfrau, Eiger and Monch acting as a backdrop to the music. 'Get The Message' has to be one of the best Indie-dance-pop-acoustic-crossover songs ever. And that is saying something. The rest of the album veers very close to the Europop end of the pop spectrum, if indeed there is such a thing as a pop spectrum, but it was perfect accompaniment to a month in the sun.

Us And Us Only - The Charlatans

One of the great things about working on a construction site, apart from being able to watch diggers go up and down all day, is that it offers a great way to mark the passage of time. By spending a whole chunk of time in one location, which job you were on when certain things happened help enormously to recollect which year it was etc. Or at least it does for me. Am I odd? Don't answer that!

But for a music obsessive there is a downside to this approach - I can't recall important, life changing events in this fashion, but I can remember what album I bought or which one was on heavy rotation when on a particular construction site. Think I'm making this up? Here are a few;

OK Computer (Radiohead) - Leeds City Centre Loop 4B Phase 2
All That You Can't Leave Behind (U2) - Leeds Millennium Square
Heavy Soul (Paul Weller) - Woodhouse Junction Improvement
The Bends (Radiohead) - A64 Whitewell Farm S278

And so it was with 'Us And Us Only'. This was bought during the A64 Seacroft Improvements contract and played regularly on my journey to and from work. When I hear the album now I can't help but remember the events of that contract; having to redesign the retaining wall on site due to the presence of a gas main, very strong winds, a JCB pulling off the road surface when trying to open a manhole cover, having to set out the location of the subway units because the Contractor's engineer stormed off site in a huff and big fried breakfasts. Happy days. I wouldn't go back though....

The Charlatans are probably one of the most enduring bands - consistently producing great albums, and this one was no exception - it was going to have to be to follow the critically acclaimed 'Tellin' Stories'. It didnt disappoint as it took the 'Telling' Stories' blueprint and expanded it to create a much wider sonic landscape. By far the best track is 'The Blind Stagger'... no wait...is 'Watching You'.....errr I mean 'My Beautiful Friend'.....Great songs on another great album.

So site work is cold weather, rain, mud, obstructive contractors, constant design changes, long days (and nights), working weekends, pressure to meet programmes despite everything else.... Nah I wouldn't go back, but I miss it all the same.

Eye To The Telescope - KT Tunstall

There are just some moments on TV that can really accelerate a performer's rise to stardom, and for those watching Jools Holland on the BBC in 2004 will have witnessed one such event. When KT Tunstall stepped up to the microphone with just an acoustic guitar and a loop pedal not many could've predicted the effect that this performance would have.

The performance of 'Black Horse and a Cherry Tree' was spellbinding - and astonashing at what a complex arrangement could be produced using only three items of equipment. On the back of this, I was one of the many who rushed out and..... well rushed to the PC and downloaded the album. Oh how things have changed - no more dashing for the bus, darting around shopping masses only to be disappointed that the record stockist no longer has any stock.....

And it is a great debut album - solid folk pop songs with enough of a difference to let them stand out from the crowd. And what a crowd it was becomming with female singer songwriters finally getting the recognition they deserved; this latest tranche starting with Dido and running on to the current day. For me, the debut by KT was head and shoudlers above the rest and all that would follow.

As we had narrowly missed seeing her perform in a small venue in Dublin - we were there for the weekend and it was only whilst walking around the city centre on the Sunday morning that we realised we had missed out - so we bought tickets as soon as the tour accompanying her second album was announced; buying tickets for the Glasgow show as we thought her home town gig would be something special.....

.....and how right we were for totally the wrong reason. It was absolutely awful. Performed in an aircraft hanger of a venue with no atmosphere, KT did not have enough stage presence to fill the arena. This, in conjunction with dreadful sound made for a challenging evening. We'd had enough - it was so appalling that we left before the end of the set - I had never done this before nor since (and believe me I have been to some really poor gigs). To say it was disappointing was an understatement. What was even more surprising was that the critics, writing in the papers the following day, gave it a glowing report. They must've been to a different concert to the one we attended. But perhaps the lesson to take from this is that singers who produce intimate and acoustic based pop music really shouldn't hold gigs in cavernous arenas, or we should avoid such events in the future.

Graceland - Paul Simon

Music videos can be pesky things. Michael Stipe once commented that a good music video should compliment the song it is accompanying and not overwhelm it - it shouldn't be the first thing you think about when the song is mentioned in polite company. Or impolite company for that matter. I'm not sure he was true to his word when it came to R.E.M.'s singular output.... but that is not up for discussion here. It's not.

There are some obvious culprits in pop music, particularly those made around the birth of MTV; 'Money For Nothing' (Dire Straits), 'Take On Me' (a-Ha), 'Sledgehammer' (Peter Gabriel) and almost anything by Michael Jackson. His video launches became national events and were so hyped that disappointment was the only likely outcome. But they did contain some handy tips. For example, from the video for 'Bad', if you are ever faced with a street gang in a dark and dingy underground car park the correct way to ensure your safety is to perform an elongated dance routine, preferably whilst holding your crotch. That'll scare them off!

I would also put 'You Can Call Me Al' into that catergory. A great song with an even stronger music video. But this one caused me more trouble than all of the others put together. You see, after watching the video several times, I was left with the impression that Chevy Chase was Paul Simon. I know what you're thinking; how could I have not recognised Paul Simon, especially as he was one half of one of the most successful duos in popular music. Looking back at it now I'm with you. I was an idiot. But idiot or not, because in the music video Chevy Chase does the 'singing' I believed that he was Paul Simon and that his funny little sidekick was there to provide comical accompaniment. This case of mistaken identity lasted a good few months until one of my friends, whilst watching the offending video, made a comment like "I bet there are some fools who think Chevy Chase is Paul Simon". Pause. "Tscchh - I bet there are", I replied, covering my error as quickly as a blizzard covers tell-tale footprints. Like I said, music videos can be pesky things.

Anyway 'Graceland' was one of the first CDs that my dad bought and I was immediately captivated by its rhythmic and melodic nature. 'The Boy In The Bubble', and 'Diamonds On The Soles Of Her Shoes' being two of the most rhythmic pop songs ever commited to record. I've played this album many times since first hearing it in 1986 and it's never far from my MP3 player - you never know when you might need a blast of perfect rhythmic pop.

You'll be pleased to hear, I'm sure, that all ended well. Following the success of 'Graceland' Paul Simon went on to have a successful movie career starring in films such as 'Fletch' and the 'National Lampoon' series of films. As for his comedic sidekick - not sure he seems to have disappeared without a trace!

In Our Gun - Gomez

Ever been so wound up in work that you have walked out? No? You should try it - it's quite liberating, although I don't recommend this course of action as a long term career strategy. I must add, however, that I've only done this once and I'm still quite ashamed of it. I was provoked though....

I was working as an Assistant Resident Engineer for LCC and we were about half way through the construction of a new motorway junction and reaching a critical point - the laying of the surface material on two of the slip roads. So far, so what. The surfacing gang were due to start surfacing the first one at 0930 so I had come in early to check their setting out. I had nearly a mile of it to check so the pressure was on - really on. I started working down the slip road, checking the levels as I went. About half way down I saw the surfacing machines arrive on site. Sh*t - I was behind. The only thing I could do was go even faster. It was getting ridiculous but faster I went and managed to finish the checks with five minutes to spare. Then I noticed that the surfacing gang we setting up on the other slip road. Surely there had been some mistake? So I headed up the hill to check with the Resident Engineer.

There was no mistake - he had just omitted to tell me, which was an unusual lapse of his usual impeccable judgement.... and then he said I had five minutes to check the "correct" slip road. I flipped. I'd had enough. I stormed out of his office into my car and headed for home. As I turned on the ignition 'Ruff Stuff' from this album started playing. So I sped home accompanied by Gomez's fine third album. They say you shouldn't drive whilst angry. I'd gone beyond that and had totally wigged out..... If only I'd stayed around for a few seconds more, I would've seen a smile on my bosses face - he'd been joking. Although there had been a change in plans he knew I couldn't make the checks in the time that was left and was trying to make light of the situation. Needless to say I didn't notice and saw red. Bright red.

I spent a few hours at home and, when i was calm enough to drive, returned to site later in the afternoon. Surprisingly my boss apologised to me for being insensitive!

So 'In Our Gun' will always be linked to my one and only 'Betty Davis' moment.... well perhaps my only one....

Love - The Cult

Now this is what I call a rock album and probably one of the best ever.

Many a night at the Gemini in Hartlepool were spent 'dancing' to 'She Sells Sanctuary' - the first few notes of the opening riff were all we needed to take to the floor. Not a pretty sight I'm sure but we had a great time nonetheless. Sometimes too good. On one particular occasion a lad called Big Dave - he was tall and called Dave so the name was pretty accurate if not imaginative - had drank too many bottles of 20:20 and was a bit worse for it. During one of our trips to the dance floor he started wobbling becoming increasingly unstable. He then started to fall backwards - his head quickly approaching to floor as he fell. Realising his predicament, but being unable to do anything about it, he reached for his spectacles, removed them, calmly folded them and popped then into his shirt pocket. THUMP! He hit the floor. It all appeared to happen in slow motion.

Nights at the Gemini became less frequent until we stopped going altogether. It has closed now and been bulldozed to make way for a shopping centre, or something like that, but to me it will always be there; sticky carpets, stale odours, dark but grubby paintwork but top tunes and top nights out.

Back to 'Love'. Surely The Cult's finest moment, catching them before their american rock tendencies came to the fore. Billy Duffy's guitar playing has never sounded better and Ian Astbury's voice matches the slightly gothic tones perfectly. Check out 'Big Neon Glitter' and 'Love'. Fab.

As the misty Scottish mountains pass by as I head south on the train, with 'Love' playing on my stereo I am in the unique position of having one foot in the mountains and the other on a small dance-floor in Hartlepool. I must be the luckiest person on the planet.

Mainstream - Lloyd Cole and the Commotions

Hands up who thinks Lloyd Cole hails from the north of the border? I'm pretty sure that Buxton in Derbyshire is firmly on the southern side. He's not the only one who has a case of mistaken nationality. For example David Byrne, one of the icons of the New York New Wave scene is actually from Dumbarton. But perhaps the biggest swindle is by Rod Stewart. Rod, the tartan wearing, Celtic supporting mullet haired crooner is from Highgate in London. About as Scottish as Big Ben. Something that he had gone out of his way to cultivate. You've got to watch 'em these pop stars. They'll manipulate their image to suit their own ends if you let them.

In the case of Lloyd Cole and the Commotions the mistake is easy to make. Sure the singer may prefer Bakewell Tart to Clootie Dumpling but the rest of the band are definitely Scottish and were formed in Glasgow. Although they were only active for less than five years they released three top pop albums. Their final one 'Mainstream' is no exception. It has intelligent lyrics, great musicianship and pop hooks. Standout tracks for me are 'Jennifer She Said' and 'Hey Rusty'. Great songs. It might be an age thing but they don't make 'em like this anymore.

If you've not heard it I recommend you give it a listen sometime, but in the meantime take rock star bios with a pinch of salt - if it emerges that Tom Jones was born in Cleethorpes and not Pontypridd just nod knowingly and say you suspected so.