Radio City - Big Star

Given the number of times that other musicians had cited Big Star as an influence, it is surprising that it took me years to acquire this album. It's even more surprising when one of those was R.E.M.'s Peter Buck.

Anyway sometimes the journey, no matter how long, is made worthwhile by the destination. Or something like that.

Anyone who listens to the power pop of 'Radio City' for the first time will be struck by how familiar it sounds; chiming guitars, pop harmonies..... Apart from the aforementioned Athens quartet, strains of Teenage Fanclub, Travis, Blur and a host of others can be heard.

The standout track is probably their best known song 'September Gurls'; As close to the Beach Boys as a 1970s guitar band dare get without getting sued. But its a great tune and worthy of seeking out.

But why sip from the cup when you can drink from the fountain? From the opening mono groove of 'Oh My Soul' to the gentle closing track 'I'm In Love With A Girl' you'll be treated to some sparklingly original music and to one of the best rock-pop albums ever made.

Fleet Foxes - Fleet Foxes

Occasionally a band will come along, with record in tow, that just seems to associate itself with a particular period or moment in life. And if that sounds a bit pretentious then I'll put it another way; this album doesn't half remind me of Christmas.

Which is why it feels odd lying here in the back garden, in the mid-summer sun, listening to an album whilst images of a crackling fire, friends round a table, and snow gently falling on the ground outside fill my head.

It is a lovely album; gentle, harmonious and earthy.... and Chritmassy. Or at least it is to me. Probably not what they had in mind when they recorded it in the summer of 2007 but there you are, such is the power of music and it's ability to attach itself to memories.

Blimey, there I go again. But if you would permit me just one more act of self indulgence I have to mention the cover art. Recognise it? Why of course it an extract from non other than Bruegel The Elder whose work I greatly admire, particularly for his ability to capture the bustle and complexity of everyday life.

Pretentious? Mois? Anyway all this talk of snow has given me a chill. Might need to go and get a jumper or at least some mulled wine!

Flowers In The Dirt - Paul McCartney

It seems that whenever there's a national event that requires some musical gravitas we call upon Macca. Not that there is anything wrong with this - yes it's a little predictable but who else have we got?

It's a worrying thought. I hope that McCartney will be performing for many years to come but we need, nationally that is, to start thinking about a successor. And it's a very short list. Very, very short. In fact I can't think of a single suitable alternative;

Elton John - too flamboyant
Kate Bush - too reclusive
Peter Gabriel - too unpredictable
Noel Gallagher - too gobby
Bono - too Irish
Phil Collins - too Phil Collins
Eric Clapton - too boring

....you can see the problem.

'Flowers In The Dirt' was, when it was released, something of a return to form from Macca. He previous albums had been somewhat lacklustre, especially by his standards. So, with the help of Elvis....Costello that is, this 1989 pop 'come back' was created.

'My Brave Face' is the true standout track on offer but there are some others worthy of a listen. 'We Got Married' is a great pop rock song with yet another David Gilmour solo, 'That Day Is Done' is a nice bluesy kinda track and 'This One' is a rock-pop song with a melody that only McCartney could've written.

But there is a problem with this album, and one that has plagued him ever since he left The Beatles .... and that is that it's just too nice. The strongest songs are those which had an Elvis influence - knocking off the smoothness and adding some much needed edginess.

There's no doubting, however, the creativity of Macca. He's unique.

Which brings me nicely back to my opening premise. What on earth are we to do when he's no longer on call to round off our signature events? We're getting desperate... does anyone have Phil Collins phone number?....

Isles of Wonder: Music For the Opening Ceremony of the London 2012 Olympic Games

The opening ceremony of the London 2012 Olympic Games, directed by Danny Boyle, was jaw-droppingly bonkers, eclectic, wonderful, odd, funny and totally inspiring. A microcosm of the British Isles and at it's heart was the beat of the best of British music.

I was initially concerned when it was announced that Danny Boyle, a long time favourite director of mine (yes I even like...no make that love 'A Life Less Ordinary'), was going to direct the opening ceremony. Usually these are souless, po-faced corporate affairs so it raised fears that he had, in the parlance of our times, 'done a Ben Elton' and sold his soul to the corporate devil.

Within minutes of the spectacle starting, as the camera over the stadium dressed as a rural scene, complete with maypole dancers, farmers, a Glastonbury Tor and an orchestra decked out in converse training shoes I was at ease. This was an opening ceremony Danny Boyle style.

This album is a great accompaniment to the spectacle and a real diverse selection; Mike Oldfield, Dizzee Rascal, The LSO, Pet Shop Boys, David Bowie, Emeli Sande. But the real star of this album is Underworld, who are fast becoming Danny Boyle's house band. Pardon the pun.

Their contribution is just the sort of thing that an Olympic soundtrack needs; high energy, upbeat and motivational. Let's hope that some of this can rub off on Team GB.

But most of all, the album presents a great memento to what has to be the best opening cereemony in Olympic history; forget going for the biggest bangs that bucks can buy, forget overly serious grande gestures. Instead concentrate on celebrating what made these isles so special. Hard work, ingenuity, engineering, social care but most of all it's people. Wonderfully diverse, eccentric, confusing, brilliant and utterly, utterly unique.

It's Great When You're Straight... Yeah - Black Grape

Weddings. Nightmare. No matter what they are always trouble; from the venue, catering, seating plan and guest list. Especially the guest list. Who should be invited to the wedding itself or just the evening do. Who'll take who. What about Aunt Mable? How will Frank get there since his accident? Should we ask the Tomlinsons who we met on holiday last year? Yes I know we haven't spoken to Bob and Carol since Sandra's Christening but family is family.... Nightmare.

Actually it probably goes a long way to explaining why we've avoided ours despite, it has to be said, extreme peer pressure. Not that they are interested whether we want to or not, to them it's just a good excuse for a party.

But I digress. It was because of a wedding that this album, or at least some of the tracks, we're played heavily on a trip from Hartlepool to Swansea via Bristol. I have distinct memories of crossing the Severn whilst 'In The Name of the Father' blasted out of the car stereo. Or it might have been 'Reverend Black Grape'. Or both. Such is the fickle nature of memories. No I'm sure it was 'Reverend'....or 'In The Name....'

Anyway one of our mates JG was getting married and he'd invited me to his wedding...... and that's where the trouble lay. For some reason he'd decided that partners were not invited. A strange choice and not surprisingly caused some friction. Still does. Like I said weddings are trouble and should be avoided at all costs.

The low point of the trip was waking to find that the Groom's brother had gotten so drunk and had mistaken the corner of the room as a toilet. Easy mistake to make; wallpaper, carpet and pictures hanging on the wall. Just like every toilet I've been in. Unfortunately this particular corner also contained someone's discarded clothing......

'It's Great......' marked something of a return to form for the former a Happy Mondays frontman. Kicking off with the two stonking lead singles it sets a high standard that it can't quite match. But the rest ain't bad; sort of indie pop meets hip hop, held together by Ryder's abstract yet occasionally insightful lyrics. Like this from 'Reverend Black Grape'

"Oh Pope he got the Nazis
To clean up their messes
He exchanged the gold and paintings
He gave them new addresses
Clean up your messes"

The opening two songs aside, the best is saved until last with the groove laden 'Little Bob'. Indie-hip-hop Madchester style....but those two opening songs. Wow! Full on, danceable, groove-tastic and guaranteed to get any party started. They'd be great at a wedding disco but watch Dot's toes. She's not as steady in her feet as she used to be......

Sugar and Spire - Unkle Bob

I feel largely responsible, in part at least, for the demise of Unkle Bob. No, not a family relation with dislexia but a four piece from Glasgow. Did I rubbish them in the national press? No. But I might as well have. Did I pinch their musical, style and create my own band and have multiple-million selling albums? Of course not. But what I did was just as damaging. So what was it?

Well I ignored them. A simple passive act that did so much damage. Not that I did this on purpose - I was preoccupied with other things. Life I suppose. Maybe, just maybe, if I'd paid more attention they would not have decide throw in the towel. Perhaps one more enthusiastic fan was all they needed and my absence was the straw that broke the proverbial camel's back? I suppose I'll never know and just have to live with the guilt. And there was I, thinking that by buying 'Sugar and Spite' in a charity shop, thinking I was going some good.

'Sugar and Spite' is a lovely album. It has been described as some as Coldplay for the folk generation. But don't let that put you off. It's nothing of the sort, sharing DNA with R.E.M. and a smidge of Radiohead. When they were good.

Doing nothing is sometimes doing everything. And then I started thinking..... how many other bands demises had I contributed to? It doesn't bear thinking about. I might just be a mass music murderer and not even know it. Now that would require counselling.

Little Earthquakes - Tori Amos

Oh boy did this album gave me bother. Not, as you might think, from the very personal lyrics and syncopated rhythms but from making a mistake and buying it in holiday.

Ever since as long as I can remember, I have celebrated being on holiday by buying a new album - either before to enjoy whilst away or during. In this case we were on holiday in Bowness in the Lake Distruct and I wandered into a record shop at the top of the high street.

The mistake I made was not in the choice of the record but in choosing to buy it on tape rather than CD. It wasn't until I got home and played the tape that I realised that the tape was stretched. Damn those non-digital formats! It was quite an effort to get it replaced, requiring another trip across to Cumbria.

But whatever the hassle it was worth it. 'Little Earthquakes' is a dynamic and versatile album with some fantastic piano work. Obviously the singles are stand out tracks, particularly 'Silent All These Years' and 'Crucify' but the album contains many others. Try 'Tear In Your Hand' for example; a wonderful song with some great minor chord progressions. (Oh dear that was a little too muso for my liking). Whatever the album is, it's not Kate Bush-lite as some critics would've had you believe. But that is the problem with music - it has to be pigeon holed. So a female songwriter who plays quirky songs on a piano? It's a no brainier.

Perhaps the best song from this period though is one that didn't make it into the album. If you can find it, her rendition of the Nirvana classic 'Smells Like Teen Spirit' is simply amazing. It takes the grunge workings of the original and strips it bare. Just a voice and a piano. Better than the original? Maybe not but it's a close thing. Just like Tori Amis really.

Rockferry - Duffy

Of course the downside to having a hit, critically applauded debut, is what do you do next? How do you make sure that your follow up is equally well received and as successful? Maybe you should hold some stuff back for your debut for your follow up? No you can't do that - this might be your only shot.

In the case of Duffy this was a real problem. Her debut 'Rockferry' was a massive hit and spawned three international hit singles and went on to sell over 6 million copies, gaining comparisons to legendary soul and blues singers in the process. Maybe this was due to the classic 60s soul stylings of the music - it certainly suites her vocal style. Or maybe it was just due to the sheer quality of the songs? Probably a bit of both. Either way it forms a great package; style, music, songs and a classic sounding voice.

So how do you follow this up? In this case the answer was to release a second album with a mish-mash of musical styles, go on record to state that this was the album you really wanted to make in the first place and then put your career on hold whist the dust settles on unsold copies of your album.

Stutter - James

....but not all debut albums can be inspiring. Some are just plain difficult, awkward and a little disappointing, like this debut from James. Anyone who arrived at this album from the more stadium friendly later albums would have gotten a shock. I know I did.

Gone are the indie anthems and sing-a-long choruses. In their place are spiky folk sings with chaos at their core. Gone are the soaring lyrics. These are replaced by obscure imagery about earwigs eating you earwax and other such delights.

It's a tough listen. But it's not all bad - the albums masterpiece is the much more palatable 'Johnny Yen'. Still a firm favourite with modern day fans. And then there is the beautiful ballad 'Really Hard'. Or at least it would've been if the production had been up to it.

But from small acorns James did grow and within four years they were selling out the G-Mex and a year or two later playing at Alton Towers. Ladies and gentlemen here's my disease, give me a standing ovation and your sympathy......

The Kick Inside - Kate Bush

As debut albums go, there can't be many more that had the impact of this album. Startlingly original, wonderfully odd and definitely devisive. Fans and critics clamoured to talk about this strange young woman with a high pitched voice singing about murder, periods, incest, Heathcliffe, sex, love and death. Not your average pop album then?

Some got no further than the wild eyed woman waving her arms about on TOTP. I was very nearly in this camp, which my sister will vouch for as I moaned incessantly whenever this she came on our TV at home. But that was then.

Those who didn't get past it are missing the point. 'Moving', the opening track, is a wonderful ballad with a great vocal melody. And not at all screechy. Well not much and maybe the whale sounds were a step too far but we can forgive her for that for what follows rewrote the pop rule book. Anyway she was, after all, only seventeen or so.

Speaking of which, how on earth can someone so young write such a beautiful song as 'The Man With The Child In His Eyes'? Only being thirteen and writing as something as stunningly simple yet beautiful as this seems incomprehensible, especially when the current crop of starlets need a team of writers just to fill in their luggage tags. If I didn't know better I would suggest that it was actually written by someone else. But this is Kate Bush.

And then there is the hit single 'Wuthering Heights' which oh so easily could've consigned her to one-hit wonder status or even worse, novelty singleland. Hindsight tells us that it didn't, but releasing this as her first single was a very brave - her choice as the record company wanted to release the more rock orientated, and less adventurous, 'James and the Cold Gun'. She wasted no time in asserting the total artistic control clause in her contract. The material on this album covers subjects that I think it's safe to say had not been covered before or since.

'L'Amour Looks Something Like You' is a simple love song and despite the slightly naff title ends up being one of the highlights.

I could go on. But I won't. OK one more. 'Them Heavy People' is just about a straight forward as a Kate Bush song gets. And how fantastic it is; a sort of thank you note to those who helped her realise her ambition and let her record her songs. It may be overly harsh to suggest that the album sounds dated, and maybe it does, but the songs still sound as original as they did in 1978. So the posters may have long since been removed from my bedroom wall but I'm still as much in awe now as I ever was.

Murmur - R.E.M.

Debut albums; that critical first step on the way to super stardom or a super highway to obscureville.

As the first creation is released, nervously let out into public for the first time, the future remains uncertain. Like a child's first day at school, the parents of this creation watch nervously from the sidelines and a plethora of questions raise up;

"Have we done the right thing?"
"Is it going to be liked"?
"Maybe we should've kept it at home longer"?
"Is it good enough"?
"Has it got its dinner money"?

Ok maybe not that last one - a metaphor too far perhaps. Anyway how the debut is received, reviewed and talked about will seal the future of the artist or band. Coming back from a dodgy debut is not impossible but very unlikely.

If R.E.M. had any if these doubts then they needn't have worried. Not one bit. 'Murmur' is as near to a perfect debut as you could get. Fantastic melodic songs, near indecipherable yet intriguing lyrics and a warm and round sound. Then add to that fantastic cover art and a sprinkling of mystery and you have one great record. One of the best even? I've often made the claim that a record doesn't have a single duff track but I'll go one further for 'Murmur'. There isn't one track here that is less than perfect. Circle.

Missing...Presumed Having a Good Time - The Notting Hillbillies

So whilst everyone else was jumping on and off bandwagons in an effort to be popular what does the Dire Straits frontman do? Does he release a rock-dance crossover album to follow up the hugely popular 'Brothers In Arms'? Of course not. Instead he meets up with some of his mates, probably in a pub, and forms a small band which specialise in country and blue-grass. Obvious really!

Being a real departure from the global monster that was 'Brothers In Arms', and the huge globe-trotting tour that followed, 'Missing.....' was a refreshing change, but not what Dire Straits fans were expecting. Containing only one Knopfler original, the low key 'Your Own Sweet Way' the rest of the album was filled with cover versions of lesser and well known blues, country and bluegrass tracks as well as original compositions from the other band members. And not surprisingly perhaps, the quality of the musicianship shines throughout. It really is a lovely album and as much as it was a refreshing change from Dire Straits it was equally a refreshing change from indie-dance crossover music that was in vogue at the time.

In April 1990 I managed to catch them at Middlesbrough Town Hall. Well I say 'I' managed when I should really say my Dad managed as he was left in charge of getting tickets; manning the phone lines as soon as they were released. I don't recall how many hours it took to get through but it was a lot. But it was worth it. I spent the whole evening mesmerised, not only by the music, but also because I was seeing one of my heroes in a tiny venue in Middlesbrough.

So if you ever want a break from whatever is in vogue at that moment go missing and try this album. The industrial-techno-jazz-pop-fusion music you have been enjoying will still be there when you get back!

Happiness - The Beloved

As the 80s rolled into the 90s musicworld, as I like to call it, didn't know what to do with itself. Everyone seemed to be jumping in different directions; indie bands onto the dance bandwagon (there's always been a dance element to our music), U2 reinventing themselves (temporarily at least), established rock aristocracy trying to appeal to younger audience and John Barnes rapping on a New Order single. Sheer lunacy. In the middle of this music smorgasbord / maelstrom* (*delete as appropriate or add your own Scandinavian reference) pop gems occasionally sneaked out. 'Happiness' is one such album.

And it's a real dance-pop diamond. It spawned three top 40 singles including the list-tastic 'Hello', more of that in a moment, 'Your Love Takes Me Higher' and the laid back 'The Sun Rising'. As well as these great singles there is a stunning pop classic in 'Time After Time' and the New Order influenced 'Found'. Amongst others.

In 'Hello', however, they surely crafted one of the defining singles of the era. Quite a claim but not without justification; it name checks the famous and infamous from the period, and beyond; Billy Corkhil, Zippy and Bungle, Charlie Parker, Mork and Mindy, Jeffery Archer. If a song with "Tommy Canon Bobby and Ball" in its lyrics is not worthy of a listen then surely this following couplet is;

"Charlie Parker, Charlie Brown
Leslie Crowther.....come on down"

Go on! Admit it! That is pure genius!

The album made such an impression that, along with other 1990 classics such as 'Boomania' and 'World Clique' made it feel as if summer was well and truly here to stay; forming the backdrop to a month of parties, kicking back and general happiness. Apt really.

A Momentary Lapse of Reason - Pink Floyd

Cue atmospheric and moody synth music, cue noodley guitar refrains, add some sound effects.... Yup this can only be the opening to a Pink Floyd album. Never one to go for the small gesture, you are guaranteed an epic album with the Floyd......

Except this is Pink Floyd by numbers. A sort of facsimile of what a Floyd album should sound like without actually being a Pink Floyd album. Without the leading light of Roger Waters this album drifts from one cliché to the next; not so much a sum of its parts but separate 80s rock tracks with dourness at their heart. And to think I used to love this album. It was the entry point for my fondness for the Floyd.....well this and the hit single 'Another Brick In The Wall', but as I was only ten when that was a hit I rather suspect that I liked it more for its 'Hey teacher - leave those kids alone' chorus and the cartoon promo.

Anyway thanks to a mutual guitar playing friend and keen Floyd fan, I started to listen to this album and it made an immediate impact. I loved the epic sounding introduction, the pounding beat of 'Dogs of War', the anthemic 'On The Turning Away' and the rock-pop of 'One Slip'. If this was Pink Floyd then I liked it. And so I was off..... as soon as I delved into the back catalogue, however, I realised that 80s Floyd were a much different proposition to their 70s predecessors. Almost a totally different band. Almost a David Gilmour solo album with a Pink Floyd badge?

Maybe it was the effect of the 80s, perhaps it was an attempt to distance thmselves from their estranged bass player or could it be that without Roger Waters they are just ordinary? Another rock band with a penchant for misery?

Stop! - Sam Brown

If glossy production was one of the mainstays of 1980s music then an other, one that really takes you back to a time of day-glo leg warmers, is a guest appearance by David Gilmour. Yup, Pink Floyd's guitarist was everywhere - adding his trademark screeches to seemingly any album of people he'd met. Or bumped into in the corridor on the way to the canteen. He popped up on Paul McCartney's 'No More Lonely Nights', on Kate Bush's 'Love and Anger', on Kirsty MacColl's 'Kite' and is all over this album. Perhaps he wanted to break into the pop market or maybe he was just bored?

Now don't get me wrong, I'm quite a fan of his guitar style, it's just that it doesn't belong on pop records. Like a loud and leery uncle who gate crashes a dinner party. Sort of entertaining but you wish he'd gone somewhere else.

The debut album from Sam Brown is an adventurous affair anyway even without the Floyd-esque guitar heroics. Sometimes poppy, sometimes experimental, very occasionally bland and definitely slightly off-kilter. A very British pop album then, and all the better for it.

Everyone will know the hit single title track but beyond that there are some rather odd yet engaging moments. Take the vaudeville tinged 'Tea'. At 41 seconds long it doesn't hang around but certainly establishes her love of the hot beverage. 'It Makes Me Wonder' is a song that you'll be sure you've heard before whereas 'This Feeling' is a genuinely great 80s pop song. All these songs are held together by Sam's truly powerful vocals. Chuck in a few soul standards in 'Can I Get A Witness' and 'Nutbush City Limits' and you have an entertaining album, even from the distant coolness of 2012.

David Gilmour's been quiet of late - maybe in the face of pop idols he's given up trying to blaze a pop career. Perhaps he's gone AWOL to avoid antagonising Roger Waters. But be warned - it could be the excuse he's been looking for!

August - Eric Clapton

.....and this is what happens when a guitar icon gets the 80s treatment.

For anyone expecting anything else other than slick, over produced pop-rock should look no further than the album artwork; beard and rolled up jacket sleeves set against a sunset/sunrise. Mmmm, it just screams Miami Vice. All that's missing is a Ferrari and a power boat but I'm sure Eric has those somewhere. If you look beyond the cover you will also notice that a certain P Collins shares some of the songwriting, drumming and production duties. Wait! Before you head for the hills please take a breath and read on.....it's not as bad as it sounds.

OK it is in places but for all it's faults, I actually like this album. Buried somewhere beneath the clunking 80s production there are some really great songs trying to get out. Take, for example, the lead track 'It's In The Way That You Use It'. A driving rock song with a blues riff at heart. The following track 'Run' is even better....and an even bigger criminal waste of a decent song.

Taken out of context yes it's a horrible album; harsh, shiny, brash and souless. But that was the 80s in a nutshell. Listen to it in the context of the period in which it was released and the album makes a whole lot more sense. I defy you to listen to 'Hung Up on Your Love' and not agree that it's a great rock-pop song. Go on defy me! (Well it was written by Lamont Dozier so it has the pedigree). This can't be said for all of the tracks. Some are just plain awful. 'Take A Chance' is as bad as the title suggests, 'Hold On''s only saving grace is a superb single note guitar riff at 2m:27sec and 'Holy Mother' is mawkish sentimentality at its best.

Nearly twenty-six years after it's release, it is fair to say that it has not aged well. With the benefit of hindsight, and from a 2012 perspective, a more stripped down sound would have given it more longevity. But that is now not then. In 1986 glossy production and slick pop tricks was the only game in town. So 'August' is a true child of it's time. But then again aren't we all?

Private Dancer - Tina Turner

It's embarrassing to admit that I have several Tina Turner albums and singles in my collection. It's even worse to admit that none of these are from her turbulent but creative partnership with Ike. But embarrassing as that is, it's nowhere near as embarrassing as a school friend admitting that he had a crush on Mrs Turner. Whether he could no longer live with holding in the guilt or was in a confessional mood the result was the same - our jaws hit the floor. "But she's ancient", one of us offered.
"Yeah like she's forty or something", another stated.
"You need help!", a third offered.

He went on to explain that he thought it was maybe the legs but it was too late. The fact was out there and running amock. Please pardon the juvenile expression but our mate was a granny grabber.

His only saving grace that this was in a time when social networking sites were just a blink in some geeks eye. But instead of Twitter we had something much more deadly; Snigger. Forget Twitter, Snigger was much more effective; begnine, silent and deadly. We couldn't wait to tell the rest of the world. When Snigger was combined with the playground the result was that gossip and intrigue travelled at twice the speed of light. It's true.

Tina Turner's career, it has to be said, definitely has two phases; the serene soul stage and the cod-rock portion. Unfortunately 'Private Dancer' is for the latter and being a mid-eighties album it has a super glossy production that removes what little soul was on display. It's not to say that there aren't any good songs on here it's just that they could've been so much better. Just imagine how good 'Better Be Good To Me' would've been without the clunking drumbeat.

The reason that I have this album at all is simple to explain and has nothing to do with legs. You see the title track was written by Mark Knopfler for Dire Strait's 'Love Over Gold' album but rather than make that record it was gifted to Mrs Turner. So as an enthusiastic Dire Straits fan I had to check this out. I'm sure somewhere there is a Dire Straits version but it's probably locked away in a vault never to see the light of day.

And as for our confessional friend? Well he got over the scandal as Snigger trended onto something else..... "someone had spotted so-and-so holding hands with you-know-who......"

A Hard Day's Night - The Beatles

It's a little known fact, but the Lake District had its own Loch Ness Monster; an unexplained phenomenon that puzzled visitors and worried locals.

Rather than resemble an ancient prehistoric beast though, the Lakeland creature travelled at a great speed, made wailing noises and had wheels. It would only be spotted on summer evenings and strangely coincided with the pubs closing.....

We were frequent visitors to the Lake District. You could say that it was our favourite stomping ground. Plenty of opportunities for Dave to get us into death defying scrapes. Our lives were in his hands. The only way to relax and cleanse the adrenaline from our system, or at least that is what we told ourselves, was to go to the pub. Yes beer and pub food was just what the Doctor ordered.

So after several hours of 'recovery' and the sun had set over the fells, we would return to the car with the intention of heading back to the campsite. But Dave, the designated driver, had other plans. A Beatles tape would be inserted and within a few bars of 'A Hard Day's Night' we'd all be singing. Badly. Inevitably the turning for the campsite would be missed as we did an unscheduled lap of the lake. The fact that we were tone deaf did not dampen our enthusiasm as we attempted complex harmonies with great gusto. I blame the beer!

Speeding past villages and hamlets, whilst the best of The Beatles early recording career were given our unique vocal treatment, was a great way to end the evening. Anyone who was lucky enough to catch this special performance must've been impressed. Who wouldn't?

'A Hard Day's Night' does not need any introduction. Although it was a soundtrack to their first feature film and the songs were written in a hurry you wouldn't know it. It really is an impressive collection finely honed guitar pop music. If I had to pick one then it would be 'Things We Said Today'. A fab tune, if you pardon the pun.

Sightings of the Lakeland monster have been thin on the ground of late. Life has returned to normal in the villages around Lake Coniston as memories of the horror fade. But they let their guard down at their own peril. Rest easy in their beds they should not as there is always the possibility, however slim, that one day it will return........

Love Over Gold - Dire Straits

Growing up we were all keen to explore our surroundings. More than most even. At first this was limited to defined geographical limits. "Don't go any further than the big road or the bottom of the big field" my Mam would say. Obviously this was tested a little as we gently pushed the limits of this arbitrary boundary. But usually these confines coincided with our available mode of transport; our feet. Then with the arrival of bicycles the roaming range grew. A lot. Not only could we go further but we could get there quicker. Pretty soon we were off exploring the far reaches of North Yorkshire and even got as far as The Lake District. Not without some accompanying pain though. But then with the availability, or at least access to, the motor car the possibilities were only limited by our imagination. Oh and petrol money.

Pretty soon heading off to the Lake District in a borrowed car became as natural as going to Middlesbrough for a bit of shopping. Come to think of it, I think that is where we usually told our parents we were going before heading off through Cumbria to Ambleside for the day. No wonder our parents cars totted up the miles between services so quickly!

But with this access came great responsibility; looking after the family vehicle. I was particularly careful as I knew how much it was relied upon for the smooth running of the household. I even helped to wash it - which on reflection was only fair as I was probably the one who got it mucky in first place!

Yes I was very careful.......except on one occasion. I can't remember where we had been, but I decided to take a short detour through Dalton Piercy on the way back home. 'Love Over Gold' was, at that time, the usual driving soundtrack of choice. And it was a perfect fit; guitar rock with anthemic and atmospheric music.

As we turned into the country lane from the A19 the guitar solo was reaching its crescendo as piece came towards it dramatic conclusion. With the great music, the fact that we had had a great day out and the beaming sunshine I came to the narrowing in the road. A car was coming in the opposite direction but I didn't slow. Instead I accelerated as I guessed that I could get there before he did, or at least if I didn't, he would stop and give way. I was wrong. On both accounts. This was going to be tight......

.....I soon discovered that the gap was not big enough for two cars, especially if you include their wing mirrors. CRACK!! I hit the brakes just in time for Mark Knopfler to conclude his guitar solo and for the wing mirror of my parents car to fly off into the bushes. I got out of the car and sheepishly approached the other, the owner of which was less than pleased as his wing mirror was also in tatters;

"I'd better take some details so I can report this to the police", I offered.
"No need", said the man, "I'm an off duty copper so consider it done...and you are a bloody idiot!"
Gulp!

I still blame, to this day, the rousing solo at the end of 'Telegraph Road'. At over 14 minutes long, it's all to easy to loose yourself. Some might argue that I shouldn't have been so reckless but that would be to underestimate the power of a good rock song whilst driving. I prefer to look at it from another perspective; if only we had got as far as the calmer 'Private Investigations' this incident might never have happened!

I don't think I came totally clean about the incident - probably placing more blame on the other driver than was warranted. But like I said, access to a vehicle came with great responsibility and to have this removed would've meant no more trips to the Lakes. Sometimes you just have to decide where your responsibilities lie!

Riptide - Robert Palmer

There is an old adage "Never a lender nor borrower be". Personally I don't subscribe to that but I would if it was amended slightly to "Never a lender of music tapes be unless you have prior written agreement that they will be returned on a specified date". Admittedly it's not as snappy but it's much more practical don't you think?

You see, lured by the hit single 'Addicted to Love', I purchased Robert Palmers latest release 'Riptide' on cassette. Whilst I wouldn't say that I was immediately impressed by the album Mr H asked me if he could borrow it. Being an affable chap I agreed and duly loaned my recent purchase. Twenty seven years later I still haven't got it back! As the months went by I did drop subtle hints like "Can I borrow your copy of 'Riptide'?", "I'm sure I used to have an album by Robert Palmer?" and "Are you enjoying 'Riptide'?". Then ,as the years rolled on I pretty much came to the conclusion that it had been lost and I was not never going to see it again going to get it back.

Actually I can't say that I've missed it. Firstly I now have a digital copy and secondly, apart from the singles,  it's not very good; disjointed, inconsistent and dated. I can still remember the palpable shock of hearing the first track 'Riptide', a sort of 1920s homage, and wondering "What have I done?" Yes let's explore that - what had I done? Simply I'd seen the video for 'Addicted to Love' several times on TV and bought an album by someone I didn't really know on the strength of one song. It is a great song though - sharp, poppy and steeped in 80s production. In a good way.

But there is the problem - the other songs pale in comparison. The bar was set far too high and there would never be a way for them to meet that superlative standard. 'I Didn't Mean To Turn You On', for example, has dated badly and now sounds as bad as the title suggests. 'Flesh Wound' sounds like a bad Prince cover; all 80s drum beats and riffing guitars set to a funk style vocal. Yuk!

So maybe I should amend my version of the music borrowing adage? Mmmm, how about "Never a lender of music tapes be unless you have prior written agreement that they will be returned on a specified date*"


"*Unless the album is not all that, in which case you are welcome to it!"


That's much better!

Franz Ferdinand - Franz Ferdinand

For once you can believe the hype. This doesn't happen a lot in the music business as A&R people 'big-up' their recent charges. People in radioland soak it up and regurgitate. Must be the free records. Ahem.

Anyway the debut from Franz Ferdinand was worth every word of publicity, every column inch and every second of radio play. Taking element of punk, indie-guitar and pop to create an angular masterpiece. Some have compared it to early Talking Heads and who am I to argue. A well as the New York influence there are also more angular anglo influences at play; Blur? Duran Duran? Art rock it maybe but there's artistry in tracks such as 'Take Me Out' in particular the rhythm change about 55 seconds in.

Whilst we are on the subject of time, at just under 39 minutes it's not a long record but it crams so much in it would be churlish to grumble. After all most of The Beatles albums we're shorter than this.'The Dark of the Matinee' continues in a similar vein; choppy staccato guitars underpinned by a rhythmic and pulsing bass line. But the best is saved until last with the track '40ft'. If you've not heard it what are you waiting for? Get up off your bottom and go seek it out. It'll be worth the effort - I promise! Now that's hype you can trust.

Howdy! - Teenage Fanclub

I'm sure I might have mentioned this once or twice, but how on earth are Teenage Fanclub not more widely listened to than they are? How can a band who puts together such glorious harmonies and guitar pop tunes not be at the top of everyone's list? Beats me but then what do I know?

Anyway, as I definitely mentioned a good few hundred blogs ago, albums almost always remind me of where I was when I bought them. Or, if you're Ian Brown where you were at. Either way, as this album was released on my birthday, it reminds me of turning 30. It was nice of the Fannies to help me celebrate a momentous occasion in my life by releasing an album for me to listen to. 

And what a great album it is; trademark harmonies, chiming guitars and top pop. It is really hard to pick favourites from an album where every track shines. But if you have to start somewhere try the opening track 'I Need Direction', 'Near You' or the wonderful 'Dumb Dumb Dumb'. If you like those then give 'Accidental Life', the driving pop of 'The Town and the City' or the thumping beat of 'Straight and Narrow'. For that matter try 'I Can't Find My Way Home', the slightly downbeat 'Happiness' or the smooth rhythm of 'Cul de Sac'. Actually 'The Sun Shines From You' is a great guitar pop song. Oh and I must mention the thoughtful 'My Uptight Life' and the beautiful closing track 'If I Never See You Again' with its simple but touching lyric "If I never see you again you will stay in my mind - We've only got a lifetime." So if I was asked then those are definitely my favourite tracks from the album. Oh....I seem to have listed them all.........

The Millennium Collection: Best Of Muddy Waters - Muddy Waters

If paying your dues is the way to musical mastery than McKinley Morganfield, or as he is better known, Muddy Waters, paid it up by the bucketful. With a history that would make even the most experienced modern musician embarrassed, Muddy Waters was a true blues master. OK if you're going to be picky, Chicago blues.   

As soon as I first heard the blues of Muddy Waters sometime in 1985 I was hooked and immediately set about seeking out other blues masters. But in reality I needn't have bothered as there is only one. 

Although this collection is only a fraction of the recorded output of Muddy Waters, the eleven tracks cover probably the most influential blues songs this side of the Mississippi. Certainly the Thames as you can hear the likes of Fleetwood Mac, Eric Clapton, The Rolling Stones and Steve Winwood echoing from the tracks.

It truly is refreshing to hear the original versions of songs that he recorded many times during his recording career. 'Mannish Boy' in particular is a revelation with a stripped back sound that is much more powerful than later recordings. With '(I'm Your) Hoochie Coochie Man' and 'I'm Ready' also amongst the tracks there is no better reason to track this album down. Sure other artists have recorded these but the original is still the best. In the words of Lennon McCartney, "He roller coaster - he got Muddy Waters". Indeed

Tropical Brainstorm - Kirsty MacColl

There can't be many sun-soaked albums by British recording artists as good as this. We are not, after all, known for our sunny disposition. 'Tropical Brainstorm', however, manages to pull off a feat of sounding upbeat and distinctly Cuban whilst at the same time having an air of Britishness about it. Sunny on the outside but ever so slight ironic within. Sort of Madness meets Marley. I did say 'sort of'. As this was Kirsty's last recording before her death I always get a tinge of sadness when I listen to it. Undoubtedly her greatest recording yet one does wonder what the future would've held.....

But despite this, the sheer joy within the tracks transcends the circumstances and one can't help but smile, tap feet and chuckle to the lyrics. And the lyrics are fantastic. Try this for size, from 'In These Shoes?'

"I once met a man with a sense of adventure

He was dressed to thrill wherever he went

He said let's make love on a mountain top

Under the stars on a big hard rock

I said in these shoes? I don't think so"

Or this from 'England 2 Columbia 0'

"Oh you shouldn't have kissed me and got me so excited
And when you asked me out I really was delighted
So we went to a pub in Belsize park
And we cheered on England as the sky grew dark
Oh you shouldn't have kissed me cause you started a fire
But then I found out that you're a serial liar


You lied about your status
You lied about your life
You never mentioned your three children
And the fact you have a wife
Now it's England 2 Columbia 0
And I know just how those colombians feel"

She is sadly missed but listen to this album, raise a Cuba Libre and sing along to one of the best British albums ever made.

The Messenger - Jimmy Cliff

Aren't 'Best Of' albums great? By collecting all of an artists greatest achievements in one place it saves you the bother of having to do any research yourself. Why risk, or indeed endure, the more thorny and problematic parts of someone's recorded history when you can gather all the best bits in one place. Sure you mighty miss out on some hidden gems but at least you'll be spared the experimental xylophone phase. Wouldn't it be great if it was like that in real life? Imaging being able to edit out on the fly the bits you didn't like; fast-forwarding through queues in the supermarket, put Monday mornings on double speed and delete any embarrassing moments. Err maybe that is not such a good idea as once you start skipping stuff it's difficult to stop. Before you know it you'd be at the stage with food dribbling out of your mouth, mumbling incoherently and forgetting what you did ten minutes ago. Ah no wait that was last night.....

Not that any of this would be a problem for the career of the peerless Jimmy Cliff. It is incomprehensible that I only own a greatest hits CD but there you are. Tut tut indeed. As expected with a 'Best of' album, there is not a single bad track but perhaps more surprisingly is the sheer quality of the songwriting. 'Wonderful World / Beautiful People' and 'Vietnam' set the tone for the rest of the album. Upbeat and joyous despuite the serious subject matter it's a great opening track and a taster for what the album contains; the best that reggae-soul has to offer. The album closes with what has to be amongst the best songs ever written. 'Many Rivers To Cross' is  a masterpiece and a great end to the collection.

On the programme 'Never Mind The Buzzcocks' there is a section where less-than famous people line up with look-a-likes. Great mirth-making ensues whilst the guests try and guess which one is the real deal. On one particular occasion Jimmy Cliff was the subject and when Phil Jupitus was asked to point to who he thought was the real Jimmy Cliff without hesitation he pointed straight at Jimmy Cliff. When he was asked how he could be so sure he replied indignantly, 'Because that's Jimmy Cliff!'. A tip for the BBC, if you are really going to make a game of trying to pick up a pop star from a line up, don't pick one of the greatest reggae stars!

Volume One - She & Him

If there is no such thing as bad weather only bad clothing then I am going to go out on a limb and add that there is no such thing as bad weather only bad music. Or more succinctly, if the weather won't play ball then I'm going to have to pretend it's summer. From now on, in my mind at least, it's summer so only summer records will do. Banish those blues, say 'No thank you' to angsty folk and toodle-pip to melancholic rock.

So hello She & Him 'Volume One'. Within a few bars of 'Why Do You Let Me Stay Here?' I'm already lazing on a beach, sipping strawberry daiquiris and listening to the waves gently roll in. Mmmm. And all without the hassle of customs, queuing and worrying if you've locked the back door. By the time 'I Was Made For You' appear you'll seriously be considering putting on sun-tan lotion. It's not all sun-dappled pop music but even the more moody tracks on this album have a lightness to them. By the end of the album I guarantee you'll have a sunnier disposition. Just keep your eyes closed, don't look out of the window and you'll be fine. Watch that sun burn though!

Ruby Trax: The NME's Roaring Forty

I know including a compilation album in my blog is not the done thing, especially as its's the second time, but this one is different. Firstly it's by the NME and as such contains tracks from the great and good of indiedom circle 1992...oh and Danni Minogue. Secondly is consists of 40 cover versions of No.1s from the history of the paper. If that doesn't warrant inclusion in these ramblings then I apologise. Well not really.

I can't recall how one obtained a copy of the CD. It either involved sending NME some money, in the form of a Postal Order obviously, or collecting Bazooker Joe bubblegum wrappers. I forget which. I know that for once flashing your indie credentials was not necessary. So what did you get for your hard earned cash or, for that matter, horrendously sore jaw?

A whole host of cover versions by your favourite artists that's what plus some you'd not heard of and others that you downright despised. But even those were somehow great. The Wonder Stuff covering Slade in a gloriously rowdy version of 'Coz I Love You', JMC distorting Willie Dixon's 'Little Red Rooster', The Mission taking Blondie's 'Atomic' and turning it into an industrial goth rock anthem. Of course. Blur doing 'Maggie May', Kingmaker (remember them?) covering 'Lady Madonna' and conversely Mark Almond covering Madonna's 'Like A Prayer'. Phew. Add to that Johnny Marr and Billy Duffy, Inspiral Carpets, The Manics, Curve, Cud and a quite bizarre version of 'Vienna' by Vic Reeves (I didn't know that the Belgian Police invented the Waltzer), which fact fans only got to No.2.

When I bought this album two things were true; the NME was essential reading and No.1s meant something. The NME was particularly essential at Christmas with its humongous music crossword. My Dad and I would start it on Christmas Eve and pour over it, and with the help of dozens of music encyclopedias, work on iy until it was done. Well nearly done as it was impossible to finish. The missing answer would require that you had intimate knowledge of the lyrics of some obscure band or knew the favourite cereal of Morissey's neighbour's cat. Anyway it was a nice break festive TV programming which invariably involved Steve McQueen and James Bond. Nice scenery but a bit far fetched.

Both are not what they used to be. NME became too up its own.... well you get the idea, and No.1s became a commodity that was traded for advertising, votes and our own souls. But hey, that's progress. But while it lasted it was great fun and this album is testament to the power of pop music and the art of a great cover version; either playing it straight or distorting it match your own style.

Employment - Kaiser Chiefs

If you had to describe the Kaiser Chiefs in one word it'd be 'Leeds'. Everything about them just screams it; self assured to the point of being almost cocky but without becoming irritating, upbeat with a streak of melancholy and northern with a hint of cosmopolitanise.

And their debut 'Employment' is all that. Great singles, top tunes and the all important sing-a-long-ability. For example is there a more perfect single than 'I Predict A Riot' this side of the M62? If there is then it must be a cracker. As well as hit pop tunes there are also lesser known songs with just as great melodies such as 'You Can Have It All'.

I have a strong affinity with the West Yorkshire city and even now, over six years after leaving, it still feels like a second home. I like to think that during my years in the City Engineer's department I helped to make it the great city that it is. At least a little. A word of warning though - don't get in a car with me if it means driving through Leeds as I'll bore you stupid with stories of the bits I helped build.

But I have to draw a line somewhere. And that somewhere is Leeds United. We just don't get on. It's not hate, like some would have you believe, more like squabbling brothers. Fixtures between Boro and Leeds have always been tempestuous affairs and you could cut the tension with a knife. It's the same old story; bitter rivalry, bad blood and alcohol. A heady mixture and yes I predict a riot every time they meet. #groan.

Ten Summoner's Tales - Sting

A good few blogs ago, too many to mention, it would appear that I was rather unkind to Sting. Not without good reason, but I was perhaps a little harsh and it's being praying on my conscious a little. Not keeping me awake at night or anything like that but it's in the mix. It's in there somewhere along with the environment, the wretched state of the world economy, the weather and forgetting to rinse out the bath.

So I'd like to make amends, for purely selfish reasons, as I don't want to get the the end of this project and have not told the truth. You see the truth is that I am rather fond of Sting and his music. Not true fandom but I must say that he has written some of the most memorable tunes in the history of pop; initially with The Police and since going solo in the mid-eighties. Does that make me a bad person? If you overlook the overly earnest classic tendencies, lute playing and Tantra Yoga (and I think you should) then what's left is a portfolio of truly magnificent music; touching, warm, humorous and definitely hummable.

'Ten Summoner's Tales' is no exception, although why there's twelve tracks is a mystery. Nevertheless the two 'bonus' tracks are a welcome addition. Lovely pop music with a sunny disposition. I've yet to hear a track as beautiful as 'Fields of Gold'. Maybe that is a little overstated but it is such a beautiful song. As well as that, which is worth buying the album for on its own, there is also the bouncy 'Seven Days', 'It's Probably Me' and 'If I Ever Lose My Faith In You'. Great pop songs.

So there you go. Conscious cleared. Well at a little bit so at least there's room for something else to not lose sleep over.

Electric Warrior - T. Rex

Do you have to have an obsessive personality to recognise it in somebody else? Or more to the point, do you have to admit you have an obsessive personality before you can tell someone else? That's more like it. For once, I can't claim to be the only person I know with such traits, as the T. Rex track 'Jeepster' brought them out in one of my mates. In keeping with my blogs anonymous ruling I won't name names... let's just call him Mr H. It's certainly shorter than writing Hughes. Blast! Well they were more like guidelines anyway.

Back in the time before conveniences like the internet the track 'Jeepster' became, for a short while anyway, the Holy Grail of music. Mr H searched high and low for it. Not 'Get It On', 'Hot Love' or 'Ride A White Swan'. Nope. Only the boogie tinged 'Jeepster' would do. Chuckling on the inside, as for once someone else had come down with the dreaded affliction. Driving us mildly mad with the hunt for an elusive song.

The track was eventually tracked down, I forget how, and then it became a regular item on the playlist of the time. For a short time. That's the problem with obsession - it is all consuming and then fleeting as attention is diverted onto the next subject.

T. Rex are one of those rare bands that totally changed direction; transforming themselves from acoustic folk tendencies to full on glam-rockers in the space of a few years. And what a transformation it was as their singles battered the pop charts for several years. 'Electric Warrior' is arguably their strongest album and with mega-hits such as 'Get It On', 'Cosmic Dancer' you'd be hard pushed to disagree. And of course the third track 'Jeepster'. Not so elusive now.

My Secret is My Silence - Roddy Woomble

Now seems like as good a time as any to reveal one of my more nerdy interests. Yes I know - how is that possible? But it is. You see I am fascinated by statistics. Cue deafening silence but show me a nice normal distribution with some standard deviation thrown in and I'll show you a happy man.

But what really fascinates me is not the mathematics, although that is very interesting (incidentally anyone who thinks that mathematics is irrelevant should take a look at 'Alex's Adventures In Numberland' by Alex Bellos), but the reasons behind the statistics. What are they telling us about us? Delving into the very heart of our being and in doing so telling us more about ourselves that we dared to admit.

One of the nice little bonuses of writing a blog is that it comes with a stats. Oodles of them. 100% anonymous but 100% fascinating. Not only does it tell me how many times a page has been visited but also from which country, what time of day, what operating system, which browser was used and a whole host of graphs, tables and charts. Oohh I do like a good chart. I could lose myself for hours in this stuff. Above all, though, is that I can use this data to make sweeping assumptions on the popularity of individual artists. And it is quite revealing;

For example my blog about 'The Unforgettable Fire' is currently one of the least popular. Bottom of The Pops. I don't think even Bono's ego could take such a blow if he knew that. Conversely why does the blog about Gus Devlin have one of the highest number of visitors? Only slightly ahead is my musings on David Bowie. It seems that marketing pounds has no jurisdiction in this little corner of the Internet. Refreshing but confusing.

I do wonder, as I tap these ponderings into my computer, just what the Internet will make of Roddy Woomble's debut solo offering? What will the statistics show me about his popularity? Will it go down well in Russia? How will it fair against the great Gus Devlin? If the quality of the music is anything to go by then it should do well. But do they like Celtic tinged folk music in New Zealand? Who knows?

You see statistics are endlessly fascinating. Nearly as fascinating as his woolly hat.