Wednesday 29 February 2012

New Gold Dream - Simple Minds

In an earlier blog I put forward the argument that the quality of early Simple Minds releases far eclipsed those of their Irish counterparts, U2. It was, in my opinion, a well presented and erudite case. I could've saved myself the bother and just referred to this album. U2 have never come close to creating anything as pulsing, rhythmic, gracious or glorious as this - their world is too earnest, serious, and some might say pompous, to allow it.

I'm not even sure why the comparisons started - but it was a popular sport in the music press in the late 80s. A bit pointless really as they couldn't have been more different, other than both striving to perfect a stadium sound. But it didn't start there for Simple Minds nor should it end there.

I've seen Simple Minds a fair few times but I was lucky to see them they, as is popular these days, elected to perform this album in its entirety. We had already bought the tickets when I heard this was to be the case. DB was less impressed - after all this was the person who had played 'Live In The City Of Light' so much that the printed text had worn off the cassette. For me it was a great bonus - to hear their finest hour live. It didn't disappoint. As soon as the opening synth stab of 'Someone Somewhere In Summertime' started I was transported back to the mid-eighties and into the middle of a U2 vs Simple Minds argument. Ahh those were the days.

I think it's time there was a re-evaluation of those early albums; a reminder of how inventive, electronic and darn interesting they were. Maybe it'll end those pointless comparisons to U2? Nah!


Tuesday 28 February 2012

Grand Prix - Teenage Fanclub

There can be no better guitar pop albums than 'Grand Prix' by Teenage Fanclub. Combining west coast of America sounds with British pop sensibilities it is a classic in every sense of the word.

I've seen them live quite a few times, one of those already covered by a previous blog. The most recent time was in Newcastle and happened to be on the same night as the European Cup Final where Liverpool were taking on the mighty Milan.

So, as befitting a gig in Newcastle, we went for a few pints before the concert, and watched with glee as Liverpool totally stuffed up the match and went down three goals. They'd forgot to turn up. This was going to be a great night.

So with a spring in our step we headed off to the gig, disappointed in not being able to watch the rest of the match and the humiliation of Liverpool FC. Ah well.

The gig didn't start well - the sound was not up to much and it was only because I knew the songs that I could make out the guitar and vocals. They were in there somewhere. And then Norman Blake said something about congratulating Liverpool on a tremendous European Cup win. What!! How could that be? Milan were three goals up and cruising when we last saw the game. Surely we'd misheard that announcement? But no - it was repeated and the dismay and disappointment was overwhelming. It marred the rest of the gig. Spawny gets.

I know what you're thinking. Surely I should be supporting the British team? Where's my patriotism? I just don't buy that though and I have three cast iron reasons;

The first is that during the 80s everyone supported them - they were the glamour club - regardless of where you were from you had to like Liverpool. The second is that I am a Boro supporter and that means that in the domestic league I want every other club to fail at what they do. It's not rational, it's a competition thing. The third, and by far the most convincing argument, is that I am scarred by the scarcity of the Liverpool FC club badge sticker. When I was collecting Panini stickers in the 80s it was almost impossible to find. I think there must've been only a handful in the country. It cost me (well my parents) a fortune in stickers trying to hunt down the illusive badge. But to no avail. When one did come into circulation at school the bidding war was fierce and an astronomical amount of swaps were needed to acquire the badge. I did finally get one and complete my collection but there was a high price to pay - almost my entire swaps collection. Bloody Liverpool.

So back in planet pop, this album is great and just about removes the disappointment of that 'wonderful' comeback against Milan. There's not a duff track on here, from the jangly opener 'About You' to the thrash/acoustic of the closing 'Hardcore/Ballad'. And in-between the stand out tracks are 'Discolite' and 'Sparky's Dream. Wonderful stuff.

So if Panini ever decide to make a pop music sticker book, and what a great idea that would be, Teenage Fanclub surely would feature. I hope the that revenge is metered out by making the Teenage Fanclub sticker the rarest of the lot - providing I manage to get one that is!

Monday 27 February 2012

Moondance - Van Morrison

Inspirational music can come from many sources - I've lost count the number of times I've come across new bands and music I otherwise wouldn't have heard whilst listening to the radio - but isn't that one if it's main aims? I guess so. But in a teen comedy flick?

DB and I were keen film watchers so when we used to have spare afternoons in our academic diaries we would head off to the video shop to pick a movie to watch that afternoon. And that's where the problems started. You see DB was partial to an action movie, preferably with little or no plot but lots of explosions and guns aplenty. I thought this was so dull. My preference was for something a bit quirky and indie - preferably something that was Oscar nominated, or at least Palm D'Or. Dave thought this was so dull. So we were at an impasse; two immovable rocks - neither wanting to give in to the others ridiculous demands. We would be in there for hours, the pressure mounting whilst our available viewing time slowly ebbed away. Occasionally one of us would get our own way and would leave the video shop happy, whilst the other seethed under his breath, vowing not to enjoy the movie. But more often than not we would compromise and leave the shop with a film that neither of us wanted to watch. Democracy in action!

So one day, having had our usual two hour debate, we left clutching the latest piece of work by renowned actor Corey Haim, 'Dream A Little Dream'. I forget the actual plot, but I think it surrounded a body-swap kinda thing - these were popular in the late 80s. Anyway, the film wasn't too bad, or at least that is my memory of it, but nothing spectacular. Then, out of the blue, this song played on the soundtrack. It was amazing and added really gravitas to the drama being played out - elevating the mundane to majestical.

'Into The Mystic' is a fantastic track, one of my absolute favourites, and I have 'Dream A Little Dream' to thanks for finding it - I waited until the end if the movie to see the credits and then set off to find the album. In 1989 things were a little more awkward.

I wouldn't say I was a huge Van fan, but 'Moondance' is a special album; cool and jazzy with some great tunes and is often hailed as one of the great albums.

Thankfully I'm much less fussy when it comes to movies and can quite happily watch the latest action movies just as much as I can a French film with subtitles. After all you never know what you are going to like until you like it.

Sunday 26 February 2012

The Dreaming - Kate Bush

Following on from the blog yesterday we have an album from the original. See I do have a plan! Sort of.

And this is her most odd and original release. One which allegedly baffled EMI executives when the master tape was handed over. Where were the hit singles? What about lush piano-led ballads? Was that really Rolf Harris and was the donkey impression really necessary? Why oh why had they agreed to her demands for total artistic control? But to focus on the quirkiness of the album really was to miss the point. By a country mile.

Where else, in 1982, would you find an album with songs about bank heists gone wrong, Houdini, the plight of the indigenous Australians and the clandestine journey of a smuggler accompanied by a didgeridoo, animal impressions, backward voices, Uillean Pipes, drum machines and multi-tracked vocals. Absolutely stunning and quite an achievement for someone who had not even reached their mid-twenties. Even more astonishing is that such a non-mainstream album could reach No. 3 in the album charts.

It would be true to say that it was her masterpiece but from a vantage point of 2012 we know that there was even better to come - this was just a warm up as plans were already in motion for songs about hounds, cloudbusting and deals with God.

Saturday 25 February 2012

Stories From The City, Stories From The Sea - PJ Harvey

This is going to be a sweeping generalisation, and a potential inflammatory statement but here goes; Female artists are much more innovative and adventurous than their male counterparts. Long silence? Gobsmacked that I could be so misguided or just plain wrong? At least give me a chance to put my argument across...my theory goes something like this;

The music industry, despite being involved in an art form, is male dominated; from label bosses, promoters, producers, radio station controllers....the list goes on. So naturally it is quite easy for a male artist to find some outlet for their work and they can follow the template laid out by the aforementioned people. Female artists, though, find it more difficult to be taken seriously so have to really stand out from the crowd....or rather those that are more unique stand out. Either way the net effect is for those female artists that do come to prominence to be much more innovative and creative.

Female artists are also more likely to be unique because they don't feel the need to fit it - be one of the boys as it were, as a succession of identi-kit plastic male performers are churned out for the waiting masses. Yup the most interesting music of recent years had been produced by female artists. Wow another bold statement, so let's look at some examples;

Kate Bush - Since starting her career at the age of 17 she has done things on her own terms. No influence from producers, record labels or agents. And what a rich body of work. Peerless and unique.

Aimee Mann - Since leaving the band 'Til Tuesday she has released a succession of strong solo albums to critical acclaim.

Bat For Lashes - Natasha Khan is very much in the same mould as Kate Bush. Truly unique, odd and interesting music.

Bjork - Need I say more? There is simply no-one like her. She strives to push the boundaries of pop music and with often fantastic results. Sure there have been misfires but these are far, far outweighed by the successes.

And the brings me nicely onto PJ Harvey. Another individual talent and one that has continued to challenge and excite in equal measure. This album, perhaps her most accessible, delivers a powerful collection of off kilter pop songs. Mesmerising. 'Big Exit' and 'This Mess We're In' being two great examples.

So what is there on the other side of the sex divide? Sure there was Zappa, Zevon, Bowie and Gabriel. But where are their current day equivalents? Did inventive, explorative male music dry up in the 1980s? It would appear so. I for one don't mind - I have enough PJs, Bjorks and Bushes to keep me interested.



Friday 24 February 2012

Fat Chance - Biscuit Boy

I can't quite place it, but this album reminds me of a vocalist in one of those really successful guitar pop bands......Nope just can't place it.

It is a good pop album though - witty, fun, poignant and ...well rude in places. Actually that description reminds me of the band this album reminds me of....nope still not coming but it's on the tip of my tongue.

I've not heard this album in a while, since I bought it in fact, but I can't help but think it would've been a much bigger hit it it had been recorded and released by a better known combo. But commercial success isn't everything - If you can write such great pop songs why give them away? Indeed and it's not bad for a debut effort....if I could only remember who Biscuit Boy reminds me of....perhaps this blog might've been more interesting.


Thursday 23 February 2012

World Clique - Deee-Lite

Vomit. This album reminds me of vomit. Although to be wholly accurate, not actual vomit but the thought of it.

During the summer of 1990, with 'Groove Is In The Heart' riding high in the charts, a bunch of us went to Alton Towers for a day out. DB kindly volunteered to drive us there (and back obviously) - a gruelling 300 mile round trip, or thereabouts. This song featured several times on the way south.

Spirits were high - it was summer, the sun was shining and were going to spend the day on roller-coasters. It couldn't get much better than that. Maybe spirits were too high? On entering the theme park we were confronted by a huge ice cream stall selling, quite appropriately, huge ice creams. £10 ice creams. Big, creamy, chocolately ice creams. We couldn't refuse and we were not disappointed because they were delicious.

So breakfast completed we set off in search of thrills and spills. The fog of time has dulled the precise details but somehow DB decided to give the first round of roller-coasters a miss and went off in search of food; after all the ice cream was at least ten minutes ago and he needed topping up.

We met up again that morning, the days was still young, and planned the rest of the day. The Corkscrew was the next objective, and this time we all took part. And what a ride it was - cutting edge thrills with big drops, upsidey down bits and fast corners. Fab - the adrenaline rush was immense and had put colour in our cheeks. In DB's case, a nice hue of green. He didn't look at all well, adding "I don't think that ride agreed with me!". Over the next ten minutes the green became more intense so we sat him down on the nearest bench.

"I don't think I should've had that second ice cream either", he added.
"You ate a second one?", we exclaimed", no wonder you've gone green!"

A potent and potentially deadly cocktail of £20 worth of ice cream and violent shaking was taking its toll. DB did the only thing he could - slope off to the car to recover. I'll leave what happened next to your imagination.

It's a shame this album has such vivid memories. It really shouldn't as it's a great mix of house piano, samples, Bootsy baselines and quirky lyrics. 'Power Of Love' and 'Try Me On...I'm Very You' being two of the top pop moments. A very 'up' experience is to be had by all on this deee-lovely, deee-licious, deee-lectable and deee-vine album.


Wednesday 22 February 2012

19 - Adele

The pop promotion machine is a very powerful force and like most powerful forces can be used for good or bad.

I usually try and form my own opinions but when something is pushed at you almost constantly you feel obliged to check it out.

So it was with this album by Adele. I regularly heard, from a wide array of sources, how good it was. So a respectful time after the hype died down I bought the album. Yes I own an Adele CD! Calm down, I'm not about to start enthusing over the relative merits of Rihanna or Jessie J - mostly because I've no idea what or who they are. Actually I'm exaggerating - "Umbrella, ella, ella". Whatever. But I had to know what the fuss was about and hear for myself whether the pop promotion machine had got it right....

...and actually it is a rather good album, soulful even. I was impressed by the off-kilter arrangements of some of the songs and when she decides to put a lid on the vocal histrionics it is evident that she can sing.

And there is a genuinely emotional and moving song on the album, 'Make You Feel My Love'. Written by Robert Zimmerman, the quality of the song writing shines along side Adele's truly mesmerising performance.

And boy did I play this album; cooking the tea - 19, installing a new OS - 19, washing the car - 19, walking to work - 19 and so on. So much that I reached saturation point and like a child who's gorged on chocolate, I can't face it anymore.

So you'll please excuse me if I sit this latest Adele love in out. I'll be back - probably just in time for her hardcore dance phase. Now wouldn't that be something?

Tuesday 21 February 2012

Nebraska - Bruce Springsteen

So what do you do as your career is finally on the right track and you have just had the first taste of success? Years of grafting is finally paying off and your hard work is at last getting the recognition it deserves? Obviously you release what is essentially a demo album; sparse recordings from a 4 track tape recorder with just your voice, guitar and harmonica. World domination is assured.

It might not sound like much of a plan but that it exactly what Bruce Springsteen did. And what an album it is - tales of ordinary working class people who endure difficulties, hardship and with little or no salvation. Characters that face a crossroads in their lives, choose the wrong path and ultimately pay the price. Stories about working for a living, struggling to make ends meet. Show me a recording artist that would be brave enough to pull the handbrake on their career in this way. But instead of halting his career it only added to enhance it and even this stark release reached number 3 in the US charts. The album has since been critically acclaimed, and deservedly so.

It's also created one of the Holy Grails of popular music - the album was recorded with the E Street Band but rather than release that recording, he elected to release the demo tape that proceeded it. I can't imagine that the electric version would have the same haunted tone as this low key masterpiece....

My Father's House
"Last night I dreamed that I was a child out where the pines grow wild and tall
I was trying to make it home through the forest before the darkness falls

I heard the wind rustling through the trees and ghostly voices rose from the fields
I ran with my heart pounding down that broken path
With the devil snappin' at my heels

I broke through the trees, and there in the night
My father's house stood shining hard and bright the branches and brambles tore my clothes and scratched my arms
But I ran till I fell, shaking in his arms

I awoke and I imagined the hard things that pulled us apart
Will never again, sir, tear us from each other's hearts
I got dressed, and to that house I did ride from out on the road, I could see its windows shining in light

I walked up the steps and stood on the porch a woman I didn't recognize came and spoke to me through a chained door
I told her my story, and who I'd come for
She said "I'm sorry, son, but no one by that name lives here anymore"

My father's house shines hard and bright it stands like a beacon calling me in the night
Calling and calling, so cold and alone
Shining 'cross this dark highway where our sins lie unatoned"


Monday 20 February 2012

Youth And Young Manhood - Kings Of Leon

Every now and again an album will come along that captures the zeitgeist; where every paper, magazine, TV programme and radio station are talking about it, dissecting it and discussing it. 'Youth and Young Manhood' was one of those albums. Now I like to think that I'm a reasonably informed music listener but this album made me question whether this assumption was misguided. Somehow I'd totally missed it. Not that I hadn't liked what I'd heard - I just never got around to buying it until long after the buzz had died down. So what made me finally get around to buying the album? Driving around Europe in a Renault Espace. Obvious really but I'll explain.

In 2004 a bunch of mates, Sarah and me drove around Europe for a two week holiday and visited Italy, Germany, Switzerland, Austria and Lichtenstein. Not quite a world tour but and adventure nonetheless. It didn't start well though. We arrived in Italy in the middle of a heat wave. Anxious to get out of our UK clothes (jeans, t-shirts, jumpers and waterproofs) we rushed over to the car hire place and picked up the keys for our people carrier. Taking turns to get changed into holiday clothes (shorts, sandals, t-shirt and suncream) the huge hulk of a vehicle was packed and we were finally ready to hit the road. Our European Odyssey was ready to begin.....except we couldn't find the handbrake. We were trapped - the car was fully packed, tunes were loaded on the iPod and the open road beckoned but the vehicle was immobile. Perhaps a two week hoilday in the airport car park wouldn't be so bad; plenty of shops, food, sun and handy for the trip home.... But no that wouldn't do. We weren't going to be outfoxed by a piece of machinery, so the car was unpacked; the bags dumped on the Tarmac unceremoniously whilst the hunt for the elusive handbrake began.

Perhaps it was in the glove compartment? Of course - obvious really. But nope, not there. The entire front of the car was searched but no handle shaped object could be seen. Ah! Perhaps the cunning French had fashioned it into something more fashionable? But the cockpit was free of any such adornments. We were getting desperate so we widened the search; not quite sure how the driver was going to operate a handbrake that was fixed into the boot but we looked in there for a good ten minutes. Where the hell was it? Then the only female in the group suggested looking in the manual! Tscchh schoolgirl error - we were blokes so we had no need to look in a manual. The very idea! Manuals were for.....I won't say it but you know what I'm thinking! At this stage about an hour had passed and it was getting hotter, we were getting hungrier and we had a long drive in front of us. So the manual it was. How embarrassing - we would need therapy after admitting we needed written help.

So with some shame and a good helping of humble pie we opened the manual....it was in Italian! Being proud English people we only had a smattering of a foreign language between us (I'm still not sure that Geordie actually counts as a foreign language - indecipherable yes, but foreign language - not sure). Oh my god - we were really going to have to spend a fortnight in an airport car park. Then, like a bolt of inspiration (or a visit to the car hire counter - I forget which) the answer became obvious - it was a BUTTON ON THE DASHBOARD! What the!?! Who on earth wants a button for a handbrake? How were you supposed to do a handbrake turn with a bloody button? Never mind. The vehicle was re-packed, sunglasses donned and we hit the open road. Italy beckoned. What? Oh what about the Kings Of Leon?

Oh yes, well 'Joe's Head' was one of the first songs out of the iPod and featured several times in the opening week. A great tune to drive to and, along with the rest of the album, provided a great backdrop whilst the miles and the scenery passed by......


Sunday 19 February 2012

Synchronicity - The Police

There can be few bigger plonkers in popular music than Sting. OK Bono, but other than him who else? Oh, I'd forgotten about Phil Collins. OK so apart from Sting, Bono and Phil there are no other plonkers quite as big. Who? Oh Mick Hucknall....

OK so rock and pop is littered with plonkers, but surely that can't always have been so? 'Picture Book' was a storming album, Genesis were once an inventive British band and U2's Zoo TV was so far ahead of the curve it almost caught itself up.

The Police, for their part, produced a string of hit singles that graced that charts for several years accompanied by some great albums. So what happens to these icons of pop? What causes them to become....well....embarrassments to their former selves? Is it only down to money and fame? I'm not so sure - if it was then there would be many more examples and some multi-millionaire musicians have managed to keep their career on the right side of decency. I suspect in the case of Gordon Summer et al that there was a latent plonkerness hidden in them to start off with.

'Synchronicity' though is a rather good pop album. A bit theatrical in some places but it does hold some great tracks from the creepy and claustrophobic 'Every Breath You Take' to the laid back 'Wrapped Around Your Finger'. Classic singles and, in the case of the former, surely one of the most misunderstood songs in pop history. This is not a love song.

The Police disbanded after this album and Sting went on to establish a solo career; not all of it bad but the path was laid - Plonkerdom was just a short ride away.


Saturday 18 February 2012

Happiness In Magazines - Graham Coxon

Quite often the point of being in a group is to combine talents and produce something that individually would've not been possible. After all, a good guitarist might be a miserable drummer. Being able to belt out a tune at the top of your voice does not necessarily guarantee that you are competent to hold a bass guitar. I still cringe at early footage on Bono holding a guitar and strumming along. He gave the impression that, although he had only just mastered which way round to hold  it, had insisted on 'wearing' it on stage despite his band mates suggestion to the contrary. Clearly he was not going to be dissuaded so an exasperated Edge had quickly taught him an 'A' and 'D' chord so at least he would have something to do, all the while muttering under his breath, "Feckin' eedjit - stick to singing will ya!". Or something like that.

So every time a clearly competent band member decides that they would like to record a solo album I approach such musings with trepidation. Why? Well part of it is a self-defence mechanism; you like a band, have all of their records and then the bass guitarist decides to release a solo album. Naturally, as a fan, you go out and purchase the album. After one listen you wonder if it was as bad as you thought it was. Let's give it another go. Second time round is no better. After several attempts to like it it's just not happening. The album is filed and ....here's the killer.... your view of the original band is tainted, perhaps just a little, but damaged nonetheless. You swear that this is the last time you are going to be fooled and then, just as you have forgotten the whole sorry episode, the drummer from another of your favourite bands announces he is working on a solo project.......I'm sure we've all been there at some point but I think there are several factors at play here;

The Roger Waters Syndrome: There is every chance that the solo effort is going to be nothing like the parent band - usually one of the main reasons for going solo is that "I just have to get this bossanova inspired concept album out of my system".

The Thom Yorke Syndrome: the individual has a whole hard drive full of songs that the band won't entertain. "We're just not sure that a thirty minute poem set to synth noodling is the direction we want to go in". There is a high chance that the songs were rejected for just not being good enough.

The Ringo Starr Syndrome: What exactly does a maracas player from a band know about writing songs? Not a lot in some cases.

.....but I needn't have worried in this case as 'Happiness In Magazines' is a low-fi guitar pop gem. Not at all self indulgent, melodic and shares enough of the Blur DNA to be approachable. In fact Graham Coxon is a bit of a pop maestro on the quiet. 'Freakin' Out', for example, is a top punk pop tune that could quiet have easily sat on a Blur album. 'Are You Ready?' is a tex-mex pop ballad. So perhaps my trepidation with solo outings is a little ill advised - maybe I'm being too harsh. Maybe. But then again I am still smarting from 'The Dream Of The Blue Turtles'. It was no Police.



Friday 17 February 2012

Leisure - Blur

What's in a name? I'm pretty certain that Blur would not have gone on to such worldwide success if they had kept their original name 'Seymour'. I might be wrong but I just can't imagine a situation where 'Seymour' sell out Wembley Arena. I have my eyes closed and everything. Just not happening. And can you imagine a compère shouting through a stadium PA system "Ladies and gentlemen - I give you SEYMOUR". Nope - mass giggles would've surely been the result.

But Blur aren't the first band to go through a name change - pop history is littered with bands that changed their moniker and went on to great things, narrowly missing being consigned to the bargain bin of the rock world. Here are a few;

  • The Obelisk - sounds like a prog-rock nightmare and a band you would go out of your way to avoid. Became The Cure.
  • The Rain - a damp squib of a name but quite apt as the band came from Manchester. Became better know as Oasis.
  • Hype - Not a great claim for a band starting out in the rock world. Might as well have been called 'Too Big For Their Boots'. Changed name to U2 and world domination assured. Hype returned later.
  • On A Friday - At bit abstract that one and begs the question On a Friday what?. Later became known as Radiohead and became even more abstract. Tsschhh!
  • Twisted Kites - can't imaging 'Lifes Rich Pageant' or 'Automatic For The People' by the Twisted Kites selling very many records.
  • Composition of Sound - Oh dear! Sounds very self absorbed. Depeche Mode is much better.
  • 'Johnny and the Self Abusers' - Not a name that was going to sit well with the Radio 2 brigade so a change to Simple Minds was a smart move. 
So Seymour became Blur and they proved that modern life wasn't rubbish, just their original name was. I first came across Blur when their single 'She's So High' appeared on Juke Box Jury on the BBC. I loved it but was surprised when Jonathan Ross mauled it on the show. I thought he was supposed to be cool and knowing. After buying that record and the two following singles; the far superior 'There's No Other Way' and 'Bang', there was never any doubt that I would by their debut album. It is fair to say that it's not a perfect album - it definitely sounds like they were short on ideas - but there are some killer tunes on there. 

Me and NR have saw them several times before they split in 2003 but the most memorable has to be at Middlesbrough Town Hall in 1990. Hard to believe that within three years they would be selling out stadiums. They definitely wouldn't if they'd still been called 'Seymour'. So what's in a name? Everything!




Thursday 16 February 2012

The Three E.P.'s - The Beta Band

Does life imitate art? Maybe.

For those that don't know, 'High 'Fidelity' is a movie, based on a book by Nick Hornby, in which a music obsessive goes through relationship troubles caused, in part, by his passion or obsession - depending upon your point of view of course. To me, he was an eminently sensible and stable chap with an enthusiastic interest is music. Others may see it differently.

Anyway, Rob owns a record shop and takes great delight in introducing customers to new music, whether they want to or not. In one particular scene he turns to his shop assistant and says something like "Let's sell some Beta Band", and with a press of a button 'Dry The Rain' is played through the shop music system. Customers in the shop start to nod and tap to the rhythmic bass line whilst Rob turns to his assistant and both smile knowingly. Soon after the cash register starts to ring. It's a lovely scene and so true.

Perhaps there was no surprise then when I, after watching the movie, went out and bought the album. Was this supposed to happen? Was I meant to influenced by Rob or had I, like one of those comedy moments where the audience member becomes hypnotised instead of the volunteer on the stage, got caught in the headlights?

I'd like to think I had exercised my own judgement and heard the track for what it is - a super groove of a track that just had to be heard again. The rest of the album, if you can call it that as it is a collection of E.P.s, follows in a similar vein; extended jams and slow laid back grooves. Only once, on the track 'Monolith' does it sail close to being a bit 'noodly' and self interested. The Beta Band never received the success that their acclaim hinted at but perhaps, if they did, they wouldn't have sounded like this?

So the next time you're in a record shop, or watching a movie, and you hear a song that you just have to buy, take a quick glance at the owner - if he's smiling he knows that he's got you!


Wednesday 15 February 2012

Remain In Light - Talking Heads

I've often wondered, well at least once, what I would do if I happened to rule the country. Not that I have any plans in this direction you understand, but it could happen. Maybe. Like if they decided to give it away as a prize in a cereal box, for example. Certainly would beat a holiday for two in the Algarve. I think I would make a good premier and would rule with a firm but fair hand. So is it agreed then? Let me know when you want me to start. In the meantime I'd better start drawing up some policies - sensible ones that I will promise AND deliver. That'd make a change.

Top of my list would be to require all citizens to listen to at least one track from 'Remain In Light' every morning, preferably before the compulsory porridge breakfast, but I am flexible - you see I would be a fair leader. I'm not even fussy over which track it should be - the individual can choose. See what a good ruler I'd make. But it has to be this album - how else is everyone going to get an appreciation about what pop music can achieve when it is created rather than manufactured?

It is such a perfect album; polyrhythmic, upbeat, strange, interesting, complex and .....well everything. 'Once In A Lifetime' (which incidentally I'd first heard in the movie 'Down And Out In Beverley Hills') is the most well known song here but the other tracks, more rhythmic jams really, are equally impressive. I challenge anyone to find another song as interesting and damned groovy as 'Crosseyed And Painless'.

I was very fortunate to see David Byrne perform some of these, and other Eno assisted tracks, when he played the Gateshead Sage a couple of years ago. A magical night and a life's ambition fulfilled to hear 'Once In A Lifetime' live.

I hope to be able to repeat this privilege but in the meantime I'm happy to groove along to this. The beat indeed goes on.

Tuesday 14 February 2012

I'm With Stupid - Aimee Mann

Any record that starts with the lyrics "You f*cked it up. You should've quit
'Til circumstances had changed a bit" surely is deserving of attention! And that got me to thinking about great opening lines on albums, be they attention grabbers, thought provoking or just plain weird. So in no particular order, here are some of my favourites (and I'm doing these from memory so please go easy on me if they're not quite right);

  • "You said there's too much caffeine in your blood stream and a lack of real spice in your life"*
  • "In the next world war in a jackknifed juggernaut I am born again"
  • "I traded fame for love without a second thought. It's all a silly game, some things cannot be bought"
  • "I don't need to sell my soul, he's already in me"
  • "She's a good girl, loves her mamma, loves Jesus and America too"
  • "The time to rise has been engaged You're better best to rearrange. I'm talking here to me alone. I listen to the finest worksong"
  • "My mission drive is to open up my eyes. I don't care who wants to stare these days"
  • "Gadji beri bimbra clandridi. Lauli lonni cadori gadjam. A bim beri glassala" (not from memory!)

Guess which category that last one fits into!

Like those albums above, this one by Aimee Mann deserves further investigation. And if you do you'll be greeted by a rich mixture of guitar driven pop, intelligent lyrics and interesting musical arrangements. A thinking person's pop album - not something that perhaps would've been evident from the opening lyrical salvo.

* I know this isn't strictly the first vocal line but it is the first verse. So there.

Monday 13 February 2012

Construction For The Modern Idiot - The Wonder Stuff

I've never really understood the need for music to have to be cool, but I absolutely have played along - often to my disadvantage. It really is a strange situation to be in - whilst you want your taste in music to make you stand out from the crowd; to define you almost, at the same time you want confirmation that what you are listening to is 'on trend'. And there we have the first problem, 'On trend'. Sounds too much like marketing speak to me and, as we know, as soon as music is packaged up and marketed it loses something. Music is an art form so surely transcends any attempt to market, define and ultimately constrain it.

If you like a song, you like it regardless of whether you should or not, and often your appendages betray your inner feelings as you subconsciously tap along to a song you know you shouldn't like. I myself am partial to a well written pop tune regardless of whether it is cool - how else can I explain the presence of a All Saints single in my collection?

So I was dismayed when The Wonder Stuff, who had previously been championed by the music press, suddenly became the latest in a long line of bands that were no longer 'essential'. Well to me they were and 'Construction For The Modern Idiot' was another excellent album from the Stuffies yet it got critically mauled in the press. I can't recall the exact reason for the criticism but I seem to remember it revolved around it marking the end of the playful Stuffies and the start of an unwelcome maturity. In which other art form would criticism be metered out for being too mature? Would the critics have preferred if they had continued to churn out cartoon hit singles like 'Size Of A Cow' for the rest of their career? Probably.

This album contains some of their most accomplished songwriting; 'Full Of Life (Happy Now)', 'Storm Drain', 'On The Ropes', 'Swell' and 'Hush' are all absolutely top tunes. We were all suitably impressed by the album to see them several time during the tour following the release of the album including twice in the same week at Newcastle and Leeds. Well worth the effort though to hear some of this album performed by a band at their peak. A peak that continues to this day.




Sunday 12 February 2012

Dark Side Of The Moon - Pink Floyd

Regular readers of this blog will know that my mates and I didn't always give the logistics of transport to and from gigs sufficient consideration - we were far too obsessed with getting hold of the tickets and discussing possible set lists to worry about such mundane topics. Using this approach we got to see a great number of bands but it did usually result in missed encores, angry parents, long waits in cold bus stations or hikes home through the night.

Surely learning from experience and the gaining of maturity would see an end to such problems.....you would think so wouldn't you......

In October 1994 Pink Floyd were touring again, although without Roger Waters, and were booked into Earls Court in London for a run of three nights. This was always going to be a must see gig for RT and myself but the fact that they were going to perform 'Dark Side of the Moon', their seminal album from 1973, in its entirety made this an essential trip - a pilgrimage almost. The tickets were bought and a rough idea of how we were going to get there and back was already planned.

RT, me and Sarah would travel down by car to her sisters in Basingstoke and then RT and me would catch a train to London, stay in a hotel overnight and then travel back to Basingstoke in time for Sunday lunch. Easy peasy and foolproof.

The warning signs, however, were there when we were dropped off at the station in Basingstoke on Saturday afternoon. Sarah and her sister watched as we stridently headed for the station entrance.....and went down the wrong subway. Realising our mistake when we emerged at the wrong platform, we headed back down the subway, reemerged in the station car park, waved at the still laughing Sarah and her sister, and headed into the right entrance. Disaster averted. Phew!

The concert at Earls Court was immense - great songs, performances and all accompanied by an amazing light show. Simply breathtaking and well worth the trip - even if we had managed to make fools of ourselves the previous day.....but it was about to get worse.

The next day we arrived at Waterloo Station and got on the mid-morning train to Basingstoke. It set off on time and, still buzzing from the previous night's concert, we chatted excitedly about the experience.

"Shouldn't we have passed Woking by now?", RT asked. Glancing out of the window I remarked about how I had not seen this scenery the previous day - must've been too excited to notice. RT said he had recognised some of the farm houses we had just passed. Reassured we continued chatting. Several other farms and villages passed the window and we both confirmed to each other that we had definitely seen them the day before, "I remember that battered old van", I said to my travelling partner.

"Tickets from Waterloo please", the ticket inspector said as he approached us. We duly handed over our tickets and returned to our conversation.

"You're going the wrong way!", he exclaimed adding, "this train is heading to Portsmouth". 
"Are you sure?", I enquired
"No you are absolutely right - I'm wrong - I've only been doing this job for ten years and I still can't remember which way we're heading.....of course I'm sure", he replied a little sarcstically, "You'll have to get off at the next station and catch the next northbound train".

So we duly got off as advised and waited at the platform for a northbound train....and waited...and waited. Ahh the joys of the Sunday train service. Several hours later we arrived back in Waterloo, where we had started, and transferred to a correct service.

This time the scenery did look familiar and passing Woking confirmed that we were indeed now heading in the right direction. We arrived at Basingstoke station four hours late for lunch and very, very embarrassed. Thankfully Sarah and her sister's family saw the funny side of it, but we had managed to ruin the Sunday lunch - not having a mobile phone in this instant did not help our cause, but we had been totally useless! How we got on the wrong train and managed to convince ourselves that we were heading the right way is still a mystery to me today.

'Dark Side of The Moon' needs no introduction - it's one of the most famous and recognisable rock albums ever made. Selling 50 million copies and remaining in the album chart for a whopping 741 weeks (1973 to 1988) is a testament to the iconic stature of the recording. Although all of the songs are classics, it really comes into its own during the last three songs; 'Any Colour You Like', 'Brain Damage' and 'Eclipse' where the album's theme of the problems of modern life, consumerism, commercialism, otherness and unity come to an uplifting finale.




Saturday 11 February 2012

The Return Of Bruno - Bruce Willis

What's that noise? Oh - it must be the sound of my credibility crashing to the floor. But I can explain....or at least I think I can.

You see it all started with a pair of legs, or to be more accurate, those of Maddie Hayes. Legs can be a dangerous weapon in the wrong pair of hands. In 1985 Moonlighting had just hit the TV screens in the UK and it was essential viewing -  heady mix of drama, comedy and action. I was hooked and didn't miss a single show during its four year run. I'd like to think that it was the well written dialogue, superb performances and musical interludes that kept me coming back....but I strongly suspect that it was the legs.

As well as attractive appendages, there were some great TV moments in the series, such as their version of Taming of the Shrew, and in jokes and nods to other series. And then there was the music - musical segments peppered the series and this, for me, helped set the series apart from other shows. For a nation that was drip fed music performances, to have them embedded in a long running show was a huge bonus, years before the humongous hit Glee.

So one thing followed another and before I could stop myself I purchased the Moonlighting soundtrack and this album. At the time I was under the impression that it was a well performed collection of pop songs - I'd not heard many of these songs before so what was I supposed to think? What I now know, though, is that it's a rather clumsy 1980s take on classic rhythm and blues. It's not truly awful just a little souless, which is kind of ironic, and over produced.

I still maintain though, that Good Lovin', from the aforementioned Shakespeare episode, is one of the best examples of music in a TV show. You can forget Glee, it's Bruce and Cybill for me! So to put the final blow into my credibility here's a link to the clip:  http://youtu.be/FRaqV7A8YQo. Enjoy.


Friday 10 February 2012

Vampire Weekend - Vampire Weekend

I feel that you have to approach any band who name a song after a grammatical construction with extreme caution. When songs start to veer away from topics of love and pain and into the realms of english language advice where will it lead? Thankfully, following the success of 'Oxford Comma', there has not been a surge in grammatically correct pop songs nor has there been a campaign to correct those hits whose use of correct english have been suspect. Imagine what damage could be done if grammatical pedants had their way. 'Gimme Some Lovin' becomes 'Do you think it would be possible for you to give me some loving?', 'Ain't No Sunshine' would transform into the less emotive 'Actually it is rather cloudy don't you think?' and don't get me started on 'Coz I Love You'. And then there is the increasing use of popular text speak in song titles. I personally blame Prince....for a lot of things really. But I digress.....

So when someone in work recommended that I check out Vampire Weekend I was initially skeptical as I knew that they were a bit 'preppy' and had the damn faced cheek to be much younger than me. What could they teach me about anything? (Actually it's funny - as I've opened this blog with a mini-tirade about grammar I am surprisingly very conscious of how I construct this blog). Anyway this wasn't really a problem when I first started to listen to music as most musicians were much older - anything they sung about obviously came from a place of great knowledge. I seemed to overlook the fact that even my beloved Beatles were only in their twenties when they started writing great pop songs. I doesn't seem to matter as much that the likes of Michael Stipe, John Lennon and Paul Weller were younger than I am now when they wrote their first songs. If you know what I mean.

But Vampire Weekend's debut album is so joyous and catchy that all these doubts soon disappeared. By the time I was halfway into my first listen I was already making favourable comparisons to XTC, Talking Heads and The Police. I don't think this will have the longevity of those greats of popular music in my affections, but for the time being I will enjoy it for what it is; a great pop album written by some very talented musicians. A great mixture of punk, new wave and African rhythms. Check out 'Mansard Roof' and 'M79' if you doubt me. Oh and if you are interested, I don't think that an Oxford Comma should be used - it just looks odd!



Thursday 9 February 2012

A Maximum High - Shed Seven

At the height of Britpop (TM) there seemed to be so many bands coming out of cities and towns around the UK; London, Birmingham, Leeds, Carlisle, (Dublin), Dundee and Humberside, that it was difficult to keep track of them all. Some had more success than others and some floated around the fringes and then disappeared without a trace.

Obviously it helped if you were based in one of the official government registered Centres of Excellence for Britpop. Under Tony Blair's guidance he single handedly rejuvenated the UK music scene, increased imports of CDs to the US, coined the phrase 'Cool Britannia' and basically saved the entire populace from tedious rock music. Or at least that is how I imagine his biography might have recorded this period in history. I've not read it but I have looked at the cover so I think I am more than qualified to pass comment. Not one to overstate things our 'Tone'......

Where was I? Oh, yes Britpop. So with all of these bands stumbling into the light from the dim studios, practice rooms and bedsits of our gritty cities, how could you separate the wheat from the chaff? I think I might've inadvertently used a rural metaphor there but I think you know what I mean. Anyway it was a tough time for the average music listener - so much new music and precious little time. Thankfully there was always the NME on hand to help filter, select and critisise. Phew! Thank you NME.

And what a crucial guide it was - it was always ahead of the curve and made sure that you knew what you liked before you had even heard it. How much time did that save? Lots - you could now declare a love for a particular band, wear the t-shirt all without  having to bother even buying any of their music, safe in the knowledge that you were cool. But their service went even further - and this is where the NME researchers really came into their own - they would then tell you when you had heard enough of a particular band or artist. I know what you are thinking - WOW! They did this by pointing out when they were no longer cool or fashionable and then sneered at you for even daring to still like it. Weren't you taking notice? The curve was moving. So with the threat of being ostracised into the bargain bins, along with your once favourite band, there was no option. Change allegiances and find a new favourite. But let us not lose sight of what was important - being trendy and cool. NME was an essential service and just what we needed. Blimey that was a close one, thank you again NME.

Without this valuable service where would we have been? It doesn't bear thinking about. We might've been left to our own devices and been forced to form our own opinions on what we liked, didn't like, should buy or not. Quite literally anarchy in the UK.

Shed Seven were one of those fringe Britpop bands that promised a great deal but never quite met the NME specification. Being from York was definitely a poor start. If only they had the foresight to have been from London or Manchester things might have been different. Lack of attention to detail there I feel. So they were doomed to languish in the Championship of the Britpop league for the rest of their career. But the game was rigged from the start - to get maximum coverage you had to be called Oasis or Blur. Pulp at a push.

'A Maximum High' is a great album. Sure it was never going to set the music world alight but it contains solid, well written and superbly played guitar pop. 'Going For Gold' is a classic single and would've given any of the Premiership Britpop bands a run for their money. If only the NME had allowed it. Shame.



Wednesday 8 February 2012

Exit Planet Dust - The Chemical Brothers

In 1995 I found myself leaving the Birstall branch of Comet clutching the newly released Playstation and in doing so became involved in a renaissance of video gaming. At the time, however, I was not to know this as I had always played video games. Starting back in 1981 when I got an Sinclair ZX81 and my Mam used to sit with me whilst I typed in hundreds of lines of machine code from a magazine and then later, in 1984, a Commodore 64.

I loved computer games, as did most of my mates in Hartlepool at the time. We would often go on shopping trips to the big city (Middlesbrough) to buy the latest releases - arguing who was going to buy which one so we could 'swap' later. I won't go all geeky on you in this blog, but suffice to say that some games were the equivalent of classic albums to us. Except 'Elektraglide' or 'Mercenary'. Damn it! Geek alert!

The launch of the Playstation though, brought games crashing into the modern era and the pastime became cool, well almost cool, overnight. Suddenly PS booths sprung up in the hippest nightclubs where revellers could take a break from other forms of entertainment and play games. I'm not sure how they managed this as I have enough trouble manoeuvring through a game when fully sober. What does the 'X' button do again? One of the main architects of this was the Liverpool base Pysgnosis who created 'Wipeout'; a futuristic racing game with a storming soundtrack.

One of the main tracks was 'Chemical Beats' by The Chemical Brothers - a block rocking noise of a tune that somehow seemed to have been written especially for hurtling around a track at impossible speeds. Whenever I hear that tune start my eyes almost start to water in a pavlovian reaction.

The rest of the album follows in a similar vein and is the epitome of cool. So how did it come to be that gaming aligned itself with fashionable music? Not sure, and it's a long way from chasing blobs around a maze whilst bleeps and buzzes emit from tinny TV speakers. But is it any better? You bet!



Tuesday 7 February 2012

Smash Hits - The Jimi Hendrix Experience

As anyone who knows me will know, I took school work seriously. Very seriously. So it it will come as no surprise then, that preparations for my 'O' Levels were planned with military precision; revision timetables were drawn up, exams plotted on calendars and study plans accumulated. Nothing was going to get in the way of my plans to ensure that I was prepared as possible for the biggest test of my academic career......

So how on earth did we end up arsing about with a video camera in the run up to the exams? Classes had stopped for a reason and that was and that was to ensure that maximum time was available for the students to prepare. I don't think that the break had been put there so we could spend hours in our front room or in the garden recreating music videos and creating spoof chat shows. But that is what we did.

And so, over the period of about a week, we created chat show characters; a rally driver who had just won the 'Lombard Tricity Cup', whatever that was, a movie star going through a tabloid scandal, a magician who could make studio objects and personnel disappear and 'Cumbrian' farmer who was having problems with birth abnormalities in his sheep due to nuclear waste from Chernobyl. All topical stuff I'm sure you'll agree. If it had been aired, 'Chatty Chat' would've been a huge hit I'm sure. In fact, thinking about it now, it looks like a primitive version of The Fast Show but with less swearing.

Not content with mastering the art of the chat show, we went on to make our own versions of popular music videos. Now bearing in mind that we didn't have any editing equipment we relied upon precision use of the pause button on both the camera and the stereo that was playing the music. No mean feat.

In between the clips of TV history that never were, was footage of me playing air guitar to Jimi. Dressed in my finest rock garb; pastel green jumper with fake shirt insert, stone washed jeans and white terry toweling socks, I sure looked the part. Judging my my actions though, Jimi's guitar must've had a very flexible neck - it might explain how he managed to get such notes from his instrument. No-one can say that my rendition of 'Highway Chile' wasn't accurate!

But if you are going to bother to go to the lengths of learning air guitar you might as well copy one of the original rock guitarists. The 'Smash Hits' album covers only a fraction of The Experience's output but contains most of their best known songs. And what songs they are; 'Purple Haze', 'Fire', 'Hey Joe'.....and all backed by arguably one of rock's best three pieces and certainly one of the greatest guitarists. In a little over four years Jimi and the band pretty much reinvented rock music and paved the way for heavy rock and metal...but you already knew that didn't you?

Thankfully I have preserved the video tape in a digital format for future posterity (or collateral in a law suit) but if the price is right I might just be persuaded to upload it onto certain social network site.......or should that be to keep it off?


Monday 6 February 2012

Doolittle - The Pixies

It's not you, it's me. I've really tried at this relationship but it's just not working - for either of us. I just don't see any future for us together so I think it's time we went our separate ways. For good this time - no second chances as we both know that in the long run it wasn't meant to be.

I can remember when we first met - at a friend's house in 1989 wasn't it? He was really impressed with you and thought we would hit it off, and if I'm being honest so did I. But you got all the attention - perhaps that went to your head or maybe I just couldn't deal with that?

I have tried to make the relationship work, I really have, but I just can't find a way to connect with you - it's as if you don't want anyone in your world. Yes you have your good points, strengths even; I know I can rely on 'Here Comes Your Man' to brighten a bad mood and lift downed spirits but surely I....no we... need more than that from the relationship? A lasting relationship needs to be based upon mutual respect and understanding......but quite honestly I just don't feel that for you.

I know that I can be temperamental with my needs and can be quite demanding - and as we know I haven't exactly been faithful. I'm still ashamed of that fling I had with 70's disco but I came through it and was stronger for the experience. But where were you? Nowhere!

And you aren't exactly easy to get along with. You seem to have two emotions; silence and rage with nothing in between. And the what about the anger? Sure we all need to let off steam once in a while but all of the time? It becomes tiring and I don't think I can put up with it any longer.

So I hope there is no hard feelings - let's leave on amicable terms and perhaps we can still meet up every now and again.......





Sunday 5 February 2012

El Camino - The Black Keys

Time for a newie......

After nearly forty years of listening to and collecting music I am really pleased that it still manages to thrill and excite me. There really is nothing like hearing something new and it instantly connecting. The only difference now I suppose is that I can't rush round to a mates house clutching my new purchase whilst he puts it on his stereo and hopefully hears what I heard.

I used to do that quite a lot with NR and PW. It was reciprocated of course, with auditioning sessions of new music, be it vinyl, CDs, radio recordings or pieces taped from the TV. The Cult, Happy Mondays, Cinerama, The Cure, John Mellancamp and James were all introduced to me that way.

Hearing The Black Keys for the first time was one of those moments. I rushed out (well rushed to the PC anyway) to buy the album and excitedly put it on the stereo when it arrived. Yup I am one of those strange individuals who likes to buy the CD. I know I could've downloaded or steamed it instantly but there is nothing like owning something physical. And it didn't disappoint. What a fab album and has that 'rush round a mates house' quality in spades. Bluesy, rocky, foot tappin' and fresh yet slightly familiar.

I know they have been around a while but they had somehow totally passed me by. Not now though. If you were like me and have not heard anything by them then check out 'Lonely Boy', 'Stop Stop' or 'Money Maker'. Stunning. If you do though, be prepared to put on your shoes and dive out the house to play it for someone else. It really is that good!


Saturday 4 February 2012

Going Blank Again - Ride

Ahh shoegazing, now that was a scene. At its worst it was a monotonous drone that went on for ever, or at least it seemed that way to the unfortunate listener, until your brains started to dribble out of your quite thankful ears. It could, though, be magnificent. But alas, I fear that the former vastly outnumbered the latter.

Anyway, somewhere around 1991 PW and I were travelling up to Edinburgh to spend the weekend with a mate and somehow, once again, I had been roped into driving. This happened with alarming frequency and can only be contributed to one of two facts - (1) I had a car and (2) I was a soft touch. So I picked up PW at his house and we headed north. Now don't get me wrong, I quite like driving; the open road, music on the stereo and good company all make up for the possibility of traffic jams, diversions and the stress. Definitely more positives than negatives and on this occasion I could see no reason for this trip to be any different. After all we were going to be travelling some beautiful countryside and the three hour journey would give us chance to catch up and have the crack.

Not long after setting off PW announced he had brought some cans along for the journey, but not to worry as he wasn't planning on getting drunk. I think the first can of lager was popped open around Peterlee and then with alarming regularity from there on in. By the time we got to the Scottish border region PW was well into his stash of beer and was in full flow. By the time we got to Jedburgh to topic had turned to his current favourite band, Ride, and their debut album was slotted into the car's stereo. PW enthused about this for the duration of the album and then promptly fell asleep. For the next thirty minutes or so he dozed whilst I drove on towards Edinburgh and the unsuspecting KC. 

I seem to recall that we had a great weekend, as we usually did in Edinburgh, but Ride always remind me of that trip. Their debut if often heralded as the best British example of the scene. Their second album is a less shoegazey affair but it does have its indulgent moments. By far the best tracks are the less monotone tracks, 'Twisterella' and 'OX4', the latter being a superb 7 minute groove of a song. I can recommend you give Ride a go, but it might be best if the lager is left until later. Wouldn't want to spoil it now would you!


Friday 3 February 2012

Bizzaro - The Wedding Present

Now this is what a British indie guitar band should sound like - loud, jangly, jarring and very un-American. No false Californian drawl here. Maybe that's the reason that this album often gets overlook when people compile lists of great British albums. Or maybe it's because it was released in the middle of the baggy scene - in 1989 it was in full swing and that Manchester lot were taking all of the media oxygen.

The two records couldn't sound more different; one is gentle, melodic and laid back whereas the other is .... not. I love Melody Maker's descripton of this album as 'like sandpapering your ears'. Very appropriate, although I cant't claim to have tried it! When their debut album was released, I approached The Wedding Present with some trepidation as it was a country mile away from what I was listening to at the time. Not music to relax to and rather angry sounding. But slowly I came to appreciate it for what it was. Once again, it was The Gemini club in Hartlepool and the persistence of NR that created the tipping point. Just the first few bars of the superb 'Kennedy' were enough to get me thrashing on the dance floor shouting the lyrics "Lost your love of life? Too much apple pie". It's a great song to get lost in - the distorted guitars melding into one and driving the song forward.

And as for 'Bewitched' and 'Take Me' - Epic is the only word that does them justice. Soaring and noisy with fuzz box guitar - an excellent way to start the weekend.

So 'Bizarro' is a true classic British indie album and one that deserves a more prominent place in music history. So let's hear it for the sidelined Leeds pop noise merchants and celebrate a overlooked gem. I'm going to listen to this again - now where did I put that sandpaper?.......


Thursday 2 February 2012

All About Eve - All About Eve

Every now and again there is an event on Television that catches the whole nation's attention and becomes part of the national consciousness. Some of the more memorable events, for me at least, have centred around music.  The Sex Pistols acting 'outrageously' on Bill Grundy, Jools Holland swearing on The Tube and Donita Sparks from L7 going 'front bottom out' on The Word.

What do these TV moments have in common, apart from being based around music? I missed them all. Every single one. It is almost as if they waited until my back was turned before doing something memorable. How could I hold up my head in polite circles ever again? I could even develop a complex about this except.....

....In 1988 'Martha's Harbour' by All About Eve was rising up the charts and they were invited onto TOTP to perform the song. Or at least that was the plan. Instead the TV viewers were treated to the song's audio recording whilst the singer and guitarist band sat motionless on their stools in the TOTP studio. All very funny and embarrassing at the same time. But I WAS THERE TO SEE IT!! I saw it live on TV and I could now could hold my head up high in the 6th Form cafeteria as I had witnessed true television history first hand. It was a big deal. How could it not be? You can keep your moon landings and Berlin walls coming down - this was the real deal as it involved music, TOTP, embarrassment and the beautiful Julianne Regan.

The debut album is a strange affair; part goth, part whimsy, part rock and part pop. And I love it. I initially had this on cassette before upgrading to CD several years later. The hook was the superb single 'Wild Hearted Woman', but there are equally well crafted songs on there including the beautiful 'Matha's Harbour'. Unfortunately all I can see when I hear that song (yes I realise that is a strange statement)  is that blasted TOTP 'event'. Not so funny now...and I'm no longer desperate to see history as it happens. After all I can always re-watch it over and over on YouTube. Somehow that doesn't seem the same?



Wednesday 1 February 2012

Floodland - The Sisters Of Mercy

I'd forgotten just how black this album is. Everything about it just screams black; the music, the lyrics, the vocals, the album art and I'm sure the CD itself would've been black if that was at all possible.

But I suppose that was the whole point of Goth. He blacker the better. When I think of the Goth scene I always wonder what a young Goth is like on holiday - with his or her parents. Do they sit by the side of the pool or in the beach desperately sweltering and trying not to tan? Happy in their miserableness? Trying not to have a good time? Good question but one I can't even begin to answer as I've never really had any Goth leanings. Some of my mates did though, or at least they went as far as their parents would allow....which was not far! MR was by far the most advanced Goth - he had a black hat and everything. Which believe you me was very radical for Hartlepool.

It was not until I moved to Leeds that I really realised what proper Goths look like. More face hardware than a ironmongery. Proper Goths are proper scary.

But don't call this album Goth as Andrew Eldritch would take the hump. Depending upon your point of view, there are only two full time members of the Sisters; Andy (bet he hates that) and Doktor Avalanche, the drum machine. And therein lies the problem.

It's not a bad album, but not a cheery proposition. Stay clear pop heads, this is dark, hard, mechanical and with song titles like 'Dominion', 'This Corrosion' and 'Lucretia My Reflection' how could it be anything else? These are all decent songs, as are the others on the album, but they lack one crucial element......soul. Maybe I'm missing the point, and that is the whole point, but without feeling what is music?

It's strange then that I have danced many a-time to these tracks at student nights up and down the country, as they must've moved me enough to put down my pint and take to the floor. Except in Leeds. Like I said before, proper Goths are proper scary, especially when they're on a dance floor - just look at the height of the shoes for starters! It would only take one over enthusiastic Goth to topple over and it would start a chain of inhuman dominoes. No - best to stay clear and at a safe distance.