Hot Fuss - The Killers

There is a particular branch of American music that I struggle with. It's not limited to geography or a particular era. No, nothing as specific as that. It just the it belongs to the genre of 'no matter how hard I've tried it's just stuff that I don't like'. Or to be more precise American college rock or pop punk to give it its correct nomenclature.

It all started with Green Day. I just don't get them. I've tried - honestly I have. Even going as far as seeing them live. But I still find their brand of punk rock.... well pointless really. To make matters worse there then followed a whole host of similar bands; Blink 182, Scouting For Girls and so on and so bloody forth. They all had the same effect. Boredom.

And then there is The Killers. Ahh The Killers. With all of the buzz that was surrounding this band I thought that maybe, at last, there would be an American college punk rock band that I could like. I didn't even care whether they were a college punk rock band. If I liked it I'd claim they were, tick that box and move on.

So with some expectation I acquired 'Hot Fuss' and popped it into the CD player in the car. Within moments that all-too-familiar sensation came over me. What was all the fuss about? What was I missing? Was I, in someway, deaf to this type of music. 'Smile Like You Mean It' was the only decent song on the album. The rest were just filler. I don't think the CD even made it to the last track. I threw the CD back into the glove box and moved on figuratively and literally....down the A19.

...until today. Here was another golden opportunity to dislike it all over again. Well first up, they definitely don't sound like Green Day. Secondly...it's actually quite a good album. No wait. I'd go as far as to say it's and excellent album. So what changed? Maybe, like taste-buds, more mature ears need stronger stimulus to provoke a reaction? Or maybe I've listened more attentively - the fast lane of the A19 was never a good place to audition new music. Whatever the reason, it's as if I've gained a new album.

'Smile Like You Mean It' is still the best track but there are some new favourites to add to the list; 'Mr Brightside' is a great single, 'Believe Me Natalie' is a soaring indie-rock track and 'Somebody Told Me' is reminiscent of New Order, The Cure, Franz Ferdinand or a whole host of other British indie-bands. And that can't be a bad thing.

So it's indie rock & roll for me and 'Hot Fuss' is the new-old kid on the block!

Lone Justice - Lone Justice

It would be a shame if most people's recollection of Maria McKee was from singing that song from the Tom Cruise film 'Days of Thunder'. It would indeed be a shame but I suspect that that is her destiny. Not that 'Show Me Heaven' is a bad song, its just that she has done so much more. She must have, otherwise why would Deacon Blue have written a song, and one of their biggest hits, about her?

Well before Tom Cruise appeared on the horizon, Maria McKee was the singer in this band. And when I say singer I mean SINGER! Boy can she sing - but be warned this is no quiet, delicate sound. This is a full on rock holler. For those who are unfamiliar with Lone Justice's sound I was going to describe it as county rockabilly. But that didn't really do it...ahem...justice. Then I came across the term cowboy punk on Wikipedia. Oh that is so much better. Just listen to 'Soap, Soup and Salvation' and you'll see why.

Maybe she regrets the huge success of 'Show Me Heaven' or maybe she doesn't. I'm sure at the time she had no idea it was going to define her career as much as it did. This was, after all, just a song for a movie. But I guess, at the end of the day, any success is welcomed no matter how much it shapes the future....it's just a shame is was for such a shonky movie!

Let England Shake - PJ Harvey

I wish all history lessons could've been like this; raw ringing guitars, baffling rhythms and off beat bugles.

Mind you, my history teacher Mr. Coxon was entertaining enough. Oscar Coxon was not a man to be triffled with. He ruled the humanity block with steely prescision and piercing glares; glares that were usually followed by a bellow barking orders or reprimands. He was the Brian Blessed of Henry Smith Comprehensive.

This terror followed him into the classroom, at least at first, as no one, not even the cockiest of kids dared fall out of line. Just a glance at the clock was enough to elicit a withering 'Am I boring you Stanton?'. The rhetorical questions to end all rhetorical questions. Answer it at your peril. Then there was the widely flashing cane, whooshing around as some battle technique or other was demonstrated. We never actually witnessed the cane hit any body part but the spectacle was enough for us to know that we wanted to keep our precious fleshy bits as far away as possible.

Only once did the hard exterior expression falter. During one particularly frenzied reenactment he caught his glasses with a glancing blow and they flew across to room. He smirked but no one dared join him. Just in case.

But after a while terror was replaced by respect. Respect for the knowledge he possessed and respect for the energy and passion with which it was taught.

And no one can doubt that PJ Harvey lacks either. The opening title track takes a pulsing rhythm and adds obscure instruments to create a glorious cacophony. Then there is 'The Glorious Land' with it off beat bugle and wonderful lyric.

It is a fantastically different and challenging album and one that deserves a chance. At first it will seem so odd, harsh almost, that you'll struggle to play it through again. Once you do though you'll be rewarded in spades. And if you allow me one self indulgent comparison to my old history teacher, 'Let England Shake' seems at first to be more than a little frightening. After a while though you'll have nothing but respect for this truly individual record. Not so sure about the cane though... maybe it's in there somewhere?

Boat to Bolivia - Martin Stephenson & The Daintees

One of the advantage of growing up with a Dad who was as keen on music as I was is that there was an almost constant stream of new music coming into the house. Not only did this save a whole load of dosh, but it also meant that I was able to sample music that I wouldn't normally have considered.

So apart from the obvious music from the 60s and 70s I was also able to browse through tapes, records and later CDs of people I'd quite frankly not heard of. Well let's face it, if it wasn't in Smash Hits, or in later times NME, it didn't exist. Except it did. Thankfully I soon learnt that there was a much wider world of music than that printed in the pages of weekly magazines.

So in this fashion I listened to Paul Brady, Willy DeVille, Tom Waits, Paul Simon and Roxy Music amongst others. I'd like to claim that I liked everything but I didn't so I won't. But it was a great opportunity to audition things that otherwise would've passed me by. One such tape was 'Boat to Bolivia' by Martin Stephenson & The Daintees.

'Boat to Bolivia' is a folk album at heart, but please don't let that put you off as the folk-tendancies are more than offset by rockabilly backing track, some great tunes and accomplished musicianship.

Since leaving home many years ago I'm still at it - it's not unusual for me to leave my parents home with a bag bursting with CDs ready for audition. Well it's still cheaper than buying them for yourself!

Saints & Sinners - All Saints

Try as I might, I can't think of any justification for liking this album. And I really, really wanted to. I racked my brain for a plausible excuse for a sudden lapse of indie-senses. Maybe the guitar on one of the tracks was by a respected indie-rocker? Could it be that some of the songs were written by one of the members of Blur? Or was it that the producer happened to be good mates with Johnny Marr. It was none of those things. I was wasting my time. The raw and ugly fact is that I just like it.

I like it's unabashed popness. I like the hit singles 'Pure Shores' and 'Black Coffee'. I like the production. And I like the vocals. Hell I even like the album cover. I'm doomed.

That's the beauty of pop music though - it knows no boundaries. It doesn't care if you're a dyed-in-the-wool metal head, indie-kid, rocker or roller. Whoever you are there will be a song out there with your name on it and as soon as you are within earshot, your credibility is a dead as corduroy.

I think I am more susceptible than most though. I've had more than may fair share of bullets. Whether it be 'Sweet Dreams ( My L.A Ex)' , 'Spinning Around', 'Back To Life' or 'Point of View' I'm right in the firing line. I must have a huge target painted on my forehead.

But I really don't mind. Music continues to fascinate, excite, repel and uplift me and for that I'm truly grateful. After all without some form of emotional response, either negative or positive, where would we be? Exactly.

The Reminder - Feist

Or How I Learned to Stop Worrying And Learned To Embrace Advertising.

Ah the power of a carefully orchestrated advertising campaign. There I was casually watching television definitely not considering buying anything when a stylish advert by Apple started. It was all bright colours and snappy editing. Silhouettes danced. And what was that backing track? I needed to find out....

And so several days later I ended up buying 'The Reminder' by Feist. I'd been captured by advertising. For once I didn't mind. Not really. It's a great album so I didn't mind at all. '1234' was the song that the silhouettes were dancing to. It's a catchy pop song alright but thankfully it's not representative of the album. There's more depth than that. Quiet and introspective songs rub shoulders with off kilter pop tunes.

But it could've been so much different. There could've been one catchy tune and a barrage of dross. But that's the power of advertising. Like I said, don't worry and learn to live with it. You never know where it'll take you.

San Francisco Days - Chris Isaak

Cheated. That's how I felt when I first learnt that Chris Isaak was not the lead guitar player on 'Wicked Game'. That lovely clean tremelo sound was not him but another guitarist. Mind you it wasn't as if he'd mimed or anything, I'd just assumed that here was another singer, songwriter and guitarist.

But as my feeling of being cheated have way to disappointment I realised that I'd made up the rules to this game and hadn't bothered to tell anyone else. It wasn't his fault. How was he to know I'd decided he was the lead guitarist. So I let it go...well just about!

'San Francisco Days' is one of those imported albums into my/our collection. And very welcome it is too. A solid album with some great rock-a-billy, flamenco, blues and jazz kinda songs.

The title track moves along smoothly and sets the tone and standard for the rest of the album. But the highlight has to be 'Two Hearts'. A simple yet great ballad with lovely guitar playing from James Calvin Wilsey.

Ah so that's who it was on 'Wicked Game'. The quiet guitar hero, or in my misguided case, the imposter!

All Over The Place - The Bangles

It's drizzling outside. Ah drizzle, that great British contribution to the world's climate lexicon. And what wonderful stuff it is. Deceptively wetting and depressingly frequent. Thankfully we also created the perfect antidote to the all encompassing metrological condition; pop. So perhaps, and I'm not about to write a thesis on this, but just maybe without drizzle we wouldn't have such a great pop history; Yardbirds, Kinks, Beatles, Small Faces, Jam, Madness, The Specials...the beat goes on.

'All Over The Place' is The Bangles first real album and their most pure. From a pop perspective that is. Twelve three minute pop songs crammed with hooks, melodies and riffs. 'James' is simply a great pop song, 'Going Down To Liverpool' equally so. And the top tunes keep coming. I don't think that The Bangles got the credit that they deserved for writing consistently fab pop songs.

Not that I'm trying to claim that The Bangles are British or anything, but their sound in massively influenced by the British pop invasion into the states of the 1960s. Jangling guitars, pop melodies, harmonies, short blasts of songs. Oh how very Beatlesque. And the perfect antidote to looking out the window at a grey blanket of miserableness. Drizzle. Oh that wicked destroyer of BBQ's but creator of pop.

Everything's Different Now - 'Til Tuesday

'Til Tuesday? Never heard of 'em. Ah but wait... who's that on the front cover with the bleached spiky hair? Why it's none other than the golden voiced Aimee Mann.

'Everything's Different Now' is one of those great 80s records; well written, played with style and a nice shiny production. But what makes this one stand out from a lot of the dross that was released in the late 80s is the excellent songwriting. Ah but now you know Aimee Mann had a hand in that maybe you're not surprised?

I have to admit that I never had this album at the time, although my Dad had purchased the CD single of '(Believed You Were) Lucky'. And I listened to it a lot. It appeared on many a compilation tape and I wondered when the album would turn up!

Hats - The Blue Nile

For the hi-fi enthusiasts amongsts us, and I include my self in that list, there are certain albums that hold a very special place in our affections. These are albums that have a special purpose, are always there ready to assist at a moments notice. Yes these are the demo CDs; those that are plucked of the shelf at the mere hint of a hi-fi demo opportunity.

For some it will be a well produced and rounded classical piece of music, for others it will be a homes piece of pop that does the trick. Maybe a thundering drum track does it for some, whilst others will want to hear a album with a strong vocal and lush production.

This is where 'Hats' comes in. Paul Buchanan's smooth voice, lush synthesisers and mellow backing track make this an idea record to test out the warmth of any audio equipment. And for those in the know, perhaps it is not surprising that hi-fi supremes Linn chose The Blue Nile to record their first foray into vinyl production. Unfortunately as a mere mortal, I have to make do with the inferior CD version. It may not sound as good but it's a lot easier to play in the car!

But don't let the hi-fi geek in me put you off. 'Hats' is simply a great pop album. Mature, sophisticated, smooth and perfect for last night listening. It's just that for some, it has a secondary purpose.  And that got me wondering. What do the hi-fi retailers get to hear in a typical day? Are they tired of Tchaikovsky by the end of the day? Does another does of Dire Straits make them wretch? Or is its ll in a days work for them. I couldn't do that job. It'd be too hard not to comment on a potential customers choice of music. If they, for example, stuck in a Kylie Minogue CD or god forbid anything by Coldplay, I'd have to recommend that they went elsewhere - to a retailer that sold equipment that was more fitting to their musical tastes. Argos maybe?

More Adventurous - Rilo Kiley

Every now and again a band comes along that just seems to fit exactly what you are looking for at that particular moment. Rilo Kiley were one such band.

'More Adventurous' has everything you could ask for in a guitar pop album. 'It's A Hit' is a simple yet great pop song with a fantastic line in one-liners. 'Portion For Foxes' is just about as good as an indie-guitar rock song can be. 'I Never' harks back to the girl groups of Motown's hey-day. The title track 'More Adventurous' is a ballad that out-ballads the best ballads...with a country twang. But the best is saved 'til last. Well second last anyway. 'A Man/Me/Then Jim' is simply a wonderful song; a great guitar line, fantastic melody, gentle brass and a top lyric.

And each song, bar one, features the crystal clear voice of Jenny Lewis. Albums really don't get any better than this outside a certain Athens four piece. You still here? What are you waiting for - go and seek out this belter of an indie-guitar pop album.

The Real Thing - Faith No More

It seemed to me that, amongst my peers in the late 80s, there was a competition to be 'more metal' than anyone else. If someone had a particularly heavy sounding record then that was as good as being slapped in the face by a gauntlet. The challenge had been made and the game was afoot to find something heavier.

"Ah so you like The Wonder Stuff. Well they're alright but a little bit pop for me. I prefer Ned's Atomic Dustbin."

"Is that a Ned's Atomic Dustbin tape in your bag? It is? Well I suppose they are not bad, a little tame for me. I've just bought the new Red Hot Chilli Peppers album. It rocks"

"I hear you like the Red Hot Chillis? I used to but then they went a little mainstream. A bit too popular. I'm listening to Metallica at the moment. They're a proper metal band."

"Blimey haven't Metallica sold out - I even heard that they've played Top of the Pops. It's gone to their head. Mind you they're not a patch on Napalm Death."

"I used to like Napalm Death until they sold more than ten records. Far too popular. They're even writing tunes now. Tsscchh. I've gone right off them and now I prefer to listen to the sound of a chainsaw cutting through steel plate whilst a heard of hyenas cackle in my ear."

And so on and so forth.

I suppose Nirvana and the whole grunge scene put an end to the escalation by selling records, appealing to the rock, metal and pop crowd and maintaining a certain artistic credibility.

One such band that was bandied about was Faith No More. Or more accurately their genre crossing album 'The Real Thing'. This took their metalistic leanings and threw in funk, rock and...dare I say it....pop into the mix. The metalheads were outraged whilst the popster wondered if it had to be so loud. You can't please all of the people all of the time.

At the time I was one of them but liked 'Epic', the soaraway single on this album, just as I had loved 'We Care A Lot' from their previous album. Mr R had this album, or at least I recall that he did, but for the most part it was a little metal for my developing indie taste buds.

...but that was before. My taste buds have either developed or been deadened from years of listening to rock music. It is nowhere near as bad as I remember it. Actually it's quite good. Sure it's not strictly pop music but then again a lot of things aren't. Maybe it's time I gave Napalm Death another go......

The Unthanks with Brighouse and Rastrick Brass Band

Friday night. York Minster. The Unthanks. Brighouse and Rastrick Brass Band. 'Nuff said? I think so....

But if there were any doubt this has to be one of the most adventurous yet stunning beautiful collaborations. Just one listen to the closing track 'Farweel Legality' with its spectral voices and set to an understated yet full brass band score.

A wonderful night. And a CD to prove it!

Black Eyed Man - Cowboy Junkies

To me, for a good while at least, it seemed as if The Cowboy Junkies were my little secret. So with each purchase I strengthened my membership of this select club. There were those that 'got' The Cowboy Junkies and then there was everyone else. The enlightened and the rest of the world.

 'Black Eyed Man' is one of their best albums, taking the mellow melancholy blueprint of the previous album 'The Caution Horses' and adding a more solid country feel. Add a few upbeat shuffles here and the and you have a very approachable recording. Indeed 'Southern Rain' could be one of their finest tracks with a lovely understated guitar riff. 'Murder, Tonight In The Trailer Park' filters it's gruesome subject matter through an almost rock based backing track. The Cowboy Junkies rock out? Very nearly. Elsewhere the are beautiful ballads all underpinned by simple guitar playing and or course Margo's ethereal voice.

Just like in the world of football, though not as violent or destructive, music can be very tribal; having a favourite band or singer, buying the records, wearing the branded T-shirt and most importantly of all defending their honour against all. "If anyone dares to criticise them then they'll have to get past me" kind of attitude. OK so, with the exception of the Mods and Rockers rivalry, it doesn't usually resort to street fighting or hurling abuse at opposing fans across a crowded pub - it's usually no worse than self-satisfied sniggering "at the poor saps who like [insert band name here]."

Thankfully, for most at least, this wears off. The acquisition of maturity and other stuff in life filling the void. Some gravitate towards football, others pour their energy into their careers or family. No-one really cares if you still like Coldplay, finally you can wear that T'Pau T-Shirt with impunity and go ahead and play those Radiohead records. Social standing preserved. You're not being judged....are you?

Morrison Hotel - The Doors

The Doors have a lot to answer for and, despite countless great songs, live performances and classic rock albums these achievements all pale into insignificance when measured against one heinous act.... 'Roadhouse Blues' inspired Status Quo. Shocking. OK you could argue that It is unreasonable to expect Jim Morrison to predict the future but that is not enough. He should've known that a white, denim clad rock trio from Dulwich in London would take one of their songs and play it over and over again. Actually is is quite telling that, whilst most bands are influenced by a number of sources, Status Quo were influenced by a single song. Maybe that's doing them a disservice. If it is then even better! Rocking' all over the world indeed. The very idea. Where was I? Oh yes, The Doors.

So putting aside that one gruesome fact, I know it's hard, let me concentrate on 'Morrison Hotel'. The whole album. Not just one song. Actually 'Roadhouse Blues' is a great opening song and, as the title suggests, a blues orientated boogie. And boogie we did as this was a regular track on the playlist at the Gemini Club in Hartlepool. Mixed in with indie, show-gazing, metal and goth was this track from The Doors, a guaranteed floor filler with its distinctive opening riff, great lyric and imitative guitar solo. Air guitars aloft we'd dance the night away whilst drinking Mad-Dog from bottles. You had to drink Mad-Dog to take away the taste of the dodgy burgers they sold in the night club, and hopefully nullify the fact that they were raw in the middle. Ah great times indeed!

If 'Roadhouse Blues' was the only track on the album worth a listen then it would still be an essential purchase. But there's more. In 'Peace Frog' The Doors predicted the rise of indie-dance music, almost twenty years before it happened, taking a guitar riff and melding it to a dance back beat and a bubbling bass line that wouldn't have sounded out of place in the Hacienda.

Then there is 'Blue Sunday'. A lovely quiet blues ballad with one of Jim Morrison's best yet often overlooked vocal tracks. Seriously, this would give 'Ol Blue Eyes a run for his money.

Steering The Doors into blues territory was a smart move. It suited their style, Morrison's increasingly resonant vocal and gave then a more substantial and deeper sound. A smart move all round, even if it did help create Status Quo!

MP3 of the Month Club - Miles Hunt

By today's fast-paced standards and world of on-demand streaming, the idea of being emailed a link to a new track every month must seem quite quaint. Archaic almost. But at the time it was an innovative way to get music delivered. So by paying an upfront fee you had the excitement of receiving a link every month and downloading an album track by track. Sure it took a year but it was worth the wait.

These weren't cast-offs either, they were bona-fide new tracks from the then ex-Wonder Stuff frontman. Take the excellent 'Quick Fix' for example. A great riff introduces a soaring rock track. Then there is the experimental sample heavy 'Hairy On The Inside'. As different again but essential listening for any Stuffies fan.

I looked forward to each month immensely as I didn't know what the next track was going to bring. Would it be a ballad or an acoustic treat? Maybe it would be a Paul Weller cover. Or perhaps Miles would finally come clean and release his prog-rock side?...... then again maybe not.

I can't help but think that we have lost something in being able to instantly access music - arguably dulling the excitement of finding new music to listen to. But I suppose all things must pass, as someone once wisely said, and I'm sure that in the blink of an eye I'll reminiscing about the time when music wasn't downloaded directly into your head. Cor, fancy having to download music by pressing buttons. Tsschh that's positively prehistoric!

The Wall - Pink Floyd

Is there anybody out there? You don't have to be in a good mood to listen to this but it helps. Why? Because I can guarantee by the end of this double album about alienation, disconnection and separation you won't be.

That's not to say that it's a bad album, far from it, it just that the subject matter is hardly uplifting. Even the most upbeat song 'Comfortably Numb' tackles despair and remoteness. Mind you the Scissor Sisters managed to turn this in to a pop song so maybe there's hope.

Being a concept album the theme runs right through the two CDs and doesn't let up for a moment. But there is beauty within, such as the beautiful 'Nobody Home', Gilmour's 'Goodbye Blue Sky', the soaring guitar break at the end of 'Mother' and the closing rock opera of 'The Trial' has some of the best Floyd harmonies recorded.

So despite all the misery on offer it is surprising then that this album only contains happy memories for me.

Firstly it reminds me of Spain. Or more accurately Salou in Spain. It was here, on a lads holiday in 1988 that I decided that if i had enough money left at the end I'd buy the album on CD. And I did so I did. Mind you, after travelling of 36 hours on a coach the get there I deserved a little treat!

Secondly, it was by creating a copy of the album cover on my first file at Teesside Poly that I met a kindred spirit. He spotted the daub and we struck up a friendship. Despite the beard! Admittedly we don't see each other as much as we used to be we are still good friends.

Finally, although I was far too young to see the tour that accompanyied this album, I was daft enough to travel to Berlin by coach to see the Roger Water's star studded incarnation. Despite numerous technical issues on the night it was well worth the two day trip by bus; joining 450,000 other Floyd fans and celebrating the misery of this majestic double album.

Stanley Road - Paul Weller

So while all the huff, puff and hubris surrounding th antics of Blur and Oasis were taking all of the headlines, Paul Weller was quietly getting on with creating one of the best albums of his career, if not all time. In his own words, the stars were aligned during the writing and recording of this masterpiece - although I think he is doing himself a disservice to even hint that fate had a hand.

'Stanley Road' tops of a trio of astounding albums that started with the self titled debut and 'Wild Wood'. It's intent is clearly signalled with the opening track 'The Changingman'. A blast of a song. Add to this the gorgeous 'You Do Something To Me', the often overlooked 'Out Of Sinking' and a guest appearance by Steve Winwood and you have a classic British album. With added soul.

This period, and in particular this album, will always remind me of summer in Granby Place in Leeds; the door open in our back-to-back house, music drifting across the warm and humid summer air. It was a great time. We had our own place, even if it did only have five rooms, we were living in a vibrant city and everything seemed possible. And mostly it was......as long as it didn't cost too much!

(What's The Story) Morning Glory - Oasis

.....a lot better. Or at least it was at the time. I've not heard this album in many a year so was expecting to be transported back to the heady days of 1995 and the thrill of new rock music. A time when I collected every Oasis track, devouring every column inch written about them and marvelling at the songwriting skill of Noel Gallagher and his ability to fashion new anthems from the remnants of Beatles riffs.

I was, it had to be said, a little disappointed. In place of the once brilliant anthems there were stodgy, over-stuffed rock tracks. Where once there was a strident vocal all that is left now is a nasal whine.

Part of the problem is knowing what came after. Whereas Blur became more inventive and intrepid explorers of the studio, Oasis simply repeated the formula. If it ain't broke then don't fix it but fill any space with extraneous guitars or strings. Or anything else you cram in.

But despite its faults, this album at it's core has a strong set of songs. Who can argue with the quality of 'Wonderwall', 'Cast No Shadow', 'Some Might Say' or 'Roll With It'. Yes Liam's voice now grates and you can detect the start of production overload but the songs are outstanding.

The highlight is the last track. 'Champagne Supernova' is a fitting closing track - anthemic, memorable, soaring and sets the controls firmly for the heart of the sun. No, wait wasn't that somebody else?......

The Great Escape - Blur

Competition can be a great thing; motivating people to achieve things they otherwise may not have attained, moving the human race forward and creating an entertaining spectacle. But it can also bring out the worst in people; the desire to win consuming those involved.

In the summer of 1995 Britpop had its own Olympic event and a head to head battle between it's two biggest proponents. On the 14 August 1995 both Blur and Oasis released new lead singles from forthcoming albums. They were both at their peak and, spurred on by the press, the race was on for the coveted No. 1 spot.

In lane 1 we had the new comers from Manchester. Young upstarts to some, natural heirs to the throne to others. Oasis' single 'Roll With It' was an anthem for the terraces. In Lane 2 were the masters of indie-pop. To some at least. To others they were the old guard and about to be knocked off their perch. Their single 'Country House' was a song for the bars and beers gardens of Britain. A sing-a-long knees up.

It was ridiculous really. But the press loved it, working up the competitors into a frenzy. Everyone caught got caught up in this battle of Britpop. It must've been a slow news week.

History will record that Blur came out on top, sneaking across the line a smidge in front of the arrogant upstarts. In reality neither won - in the long run at least. Blur eventually split due to musical differences whilst Oasis burnt out in a haze of cigarettes, alcohol and white powder. Allegedly. The diminishing quality if their albums providing the most damning evidence.

'The Great Escape' is probably Blur's low point. The blot on their copy book, turning their cheery cock-er-ney dial all the way to eleven. It's full of breezy tales of surburban life; wife swapping, business people on business trips, loneliness and detachment. Oh and Ken Livingston.

It's a terribly disjointed affair which after a while gets a little boring. Maybe one or two bubbly songs may have been ok but a whole album? Actually not quite a whole album. There is one saving grace. One beam of musical light that saves the day...well almost. 'The Universal' is an absolutely gorgeous ballad, Blur style. It's simply stunning and head and shoulders the best thing on here. Maybe their best song ever? Steady on tiger.

I doubt the rivalry with Oasis is wholly to blame for this album but it can't have helped. Maybe they were distracted by the noise from the Manchester lot? Did they try to make a commercially successful album? Were hit singles the driving force? Or did they just lose direction? Even Damon Albarn agrees; "I've made two bad records. The first record, which is awful, and The Great Escape, which was messy".

But like I said, competition can bring out the worst in people. So what was the Oasis album like?.......

Warm Sounds EP - The Charlatans

It's nice to know that I still get a real buzz when I spot an album that I didn't know existed. A sort of mini-adrenaline rush that builds as you try to find a way to acquire it.

Although I've been a long time fan of The Charlatans, I sort of bumped into this EP when I was browsing through iTunes. At first I thought it was just another collection and was going to pass over but as soon as I read that they had re-recorded and radically changed some of their most cherished songs it had to be bought.

Want to hear an mellow acoustic version of their breakthrough hit 'The Only One I Know'? Then look no further. How about a stripped back version of 'Oh! Vanity'? Yes? Then this is definitely the album for you. Each of the six tracks are radically different from their original studio recordings. Not necessarily better. Just different. And that's a good thing.

It's a testament to the talent of this enduring great British band that they can revisit and re-record their back catalogue and make them sound like new tracks. Magical stuff.

Your Arsenal - Morrissey

With all this waving of union flags in the Olympics I am inevitably reminded of Morrissey's appearance at Finsbury Park in 1992; draping himself in the union flag and covering himself with controversy. Whether he meant to spark a racism row or was reclaiming the union flag from the far right we'll never know. Whatever the reason, it was a misguided act. But if pop music can't be controversial then where does that leave us? After all it was only a few years later when Brit Pop exploded onto the scene that the use of the union flag was seen as a patriotic exclamation that our pop industry was once again king of the airwaves. It's a fickle business pop music.

In 'Your Arsenal' Morrissey finally had a sound to match his lyrics. The fey, whimsical approach was out and in its place was a rockabilly sensibility. Finally it no longer sounded like he wrote the humorous song title first and then fitted a lyric around that. These were proper songs with more than a nod to David Bowie and T-Rex. Perhaps in Alain Whyte he finally had a composer to fill the shoes of Mr Marr? Well partly fill them anyway.

It's hard to hear 'Certain People I Know' and not think about Marc Bolan just as it's hard not to listen to the lyrics of 'You're The One For Me, Fatty' and not raise a smile and sing along. Whether you like it or not.

And it was that song that very nearly landed me in big trouble. Around this time we were on one of our annual trips to the Lake District and I was in the Co-op in Coniston getting some breakfast provisions whilst DB waited in the car. It was early so I was day dreaming, minding my own business, queueing and singing this song to myself. Unfortunately the checkout operator was a rather portly chap and overhead me singing the chorus to myself. I got a Paddington Bear hard stare for my troubles and immediately shut up. I paid and left before I got into more trouble. Maybe he was just not a Morrissey fan?

Anyway it's a great album - more rock and glam than Morrissey had ever been either before or since and worthy of a listen. Listen to it twice and you'll be singing along to the upbeat music. Just be careful where you are when you do!

Acid Tongue - Jenny Lewis

I consider Jenny Lewis to be one of my greatest musical 'discoveries'. Mind you I'm sure she was doing just fine before I started buying her records.

Anyway, as I've mentioned previously, it was an appearance on Jools Holland that led me to this album. And it is indeed a fine album. The standout track must be the multi-sectioned 'The Last Messiah'. It's a great song that goes from strength to strength and, just as you think it's about to end.... I won't spoil the surprise. Or maybe I just did?

Then there is the great acoustic ballad of the title track. Superb harmonies and a fab lyric. Add to this an appearance by Elvis Costello on 'Carpetbaggers, the Tex-mex pop of 'See Fernando' and the beautiful closing song 'Sing A Song For Them' and you have a near perfect album. If any criticism can be levelled at the album its that it doesn't know what style to settle for. But surely that's a bit churlish - like criticising an ice cream parlour for having too many flavours.

Speaking of which, this album, perhaps unusually, reminds me of Madeira. Not the sticky sweet wine but the island it comes from. For no other reason other than that the album was released just before our holiday there do it was on constant loop on my personal music player.

So I can't help hear the opening bars of the acoustic ballad 'Acid Tongue' without imagining warm sunshine, blue seas, a crazy hotel proprietor (who would give Basil Fawlty a run for his money) and a terrifying landing into Funchal Airport. For goodness sake, whose idea was it to build a runway on stilts in the ocean?!!

Neon Bible - Arcade Fire

If it is possible to be too cool then Arcade Fire must be the nearest band to this honour. Their songs give off an air of calm detachment and sophistication in an indie-rock mould. And if that sounds like utter rubbish then it probably is.

It took an appearance with Bruce Springsteen for a live rendition of  'Keep The Car Running' for me to take notice of this Canadian band; if it was good enough for The Boss then it was good enough for me.

Tour de France - Kraftwerk

Fascists. That's the only word that can describe the PE teachers at our school. Maybe they are the same the world over but we had our fair share of sadistic and cruel sports masters. Actually, as long as you fit into one of their pre-conceived ideas of what makes a good sports person you were fine. Stray from their narrow minded view and you were doomed. Doomed to be cannon fodder for their chosen ones. It's not that I wasn't keen on sport, its just that I didn't particularly enjoy rugby - the school's sport of choice. So many a games session was spent facing up to the schools A-team. And it hurt.

Me? Well I was much happier on my bike. Fresh air and only the open road in front of me. In fact me and my mates cycled everywhere; both locally and further afield getting as far as the southern lake district in a single day. We were fit, not by bashing the hell out of each other on a rugby field but by grinding out mile after mile in all weathers. That didn't matter to our PE teachers. Every test in school was geared towards proving how superior their chosen ones were. Not that I'm bitter. Well maybe a little.

Anyway it got to the point where we started to take cycling seriously...... and bought some lycra shorts. Judging by the reaction of those people we passed wearing our newly purchased sportswear you would've thought that we'd taken to wearing pink leotards and lipstick. Lycra was new to Hartlepool and, for some, it was just too much. Never mind - we shrugged off the laughter and kept on going. And going. And going......

And I've being going ever since, eventually swapping the smoothness of tarmac for the unpredictability of the mountain trails. But throughout the wheels kept turning.

With the success of Team GB in the in the Olympics, cycling is finally getting the recognition it deserves. And we are beating the world at it. From the Tour de France to the velodrome Great Britain rules the world. Or at least the wheels of the world. So I dedicate this blog to those medal winners of Team GB and, of course, to those who dared to wear Lyrca in the face of public ridicule.

Back In The Highlife - Steve Winwood

This was one of those albums that was almost synonymous with the release of CD, so therefore one of the early arrivals into our house in Hartlepool. The music on the album was perfect for the fledgling format; bright, upbeat, clean and featuring one of the most distinctive voices in rock music.

Listening to the album twenty-odd years after its release it not surprising really that the music has dated a little - it was after all so drenched with 80s sonic features that this was inevitable; synth orchestral stabs and funk bass being the obvious crimes of the time.

What did surprise me was just how good the track 'Back In The Highlife Again' still sounds. It was my favourite at the time, featuring on many a compilation tape, and this is still the case. It has not aged in the slightest - a class 80s pop single with a great melody and top mandolin intro.

The rest of the songs are standard 80s fare, elevated to a higher level by the great soul voice of Steve Winwood.

Seven - James

I'm not particularly proud of this, but for a short period in 1990 I was not quite the perfect employee. But it wasn't my fault. Not really. You see as part of my degree I had a year of work experience with the now defunct Humberside County Council. And what a time it was.....but that story is for another day.

It was decided that I should spend part of this time, around six weeks, in the material lab thirty miles away in Brigg. I didn't mind - I was going to get paid for my travelling and this could be done in work's time. Plus it would be great experience, or that is what I thought.

On arriving the lab on the first day it soon became apparent that they didn't want me there - I was yet another problem that they would have to supervise. It seems that the arrival of a trainee was an all to common occurrence. So I was pretty much left to my own devices with minimal supervision and guidance. So I did what any sane person would do and bunked off. The main office thought I was at the lab and the lab assumed that I'd gone back to the main office. A symmetrically perfect plan.

And so a routine emerged; I'd arrive in the morning, spend a couple of hours running the slope analysis models I was expected to do and when that was done, usually mid afternoon, I'd head off 'back to the main office'. Not that anyone cared - they were just glad to see the back of me. In most cases the 'head office' for these afternoons was the bonnet of my Ford Escort as I'd spend a couple of hours lazing on the bonnet of the car, in some quiet country lane the sunshine listening to music on the car stereo. Not a bad way to make a living.

This album by James had been released earlier that year and by the early summer was on heavy rotation on the car stereo. There really is no better way to spend an afternoon than lying in the sun listening to 'Born of Frustration', 'Ring The Bells' or the magnificent soundscape that is 'Sound' happy in the knowledge that you are helping keep the wheels of commerce turning!

A Distance Shore - Tracey Thorn

It's important that you select music that matches your mood. Or at least a mood that you want to inspire to. There's no point listening to heavy rock music when you're in the mood for some soothing tones. Similarly you'd be a fool to put Leonard Cohen on your playlist if you wanted to get into the party mood. It ain't gonna work.

So, as I sit here early on Saturday morning, you'd be forgiven for assuming that I'd selected this album because I wanted a gentle introduction to my weekend. You'd be forgiven but you'd be wrong. It was selected because it's short.

I knew that I'd be short on time today and I knew this mini-album would fit my time constraints nicely. A double album certainly wouldn't have helped me cram things into my day. Similarly you can forget anything by Pink Floyd, Yes or Ten Years After. They didn't know the meaning of the phrase "Let's knock a quick one out". They were in it for the long haul.

Anyway that's not to say that 'A Distant Shore' isn't worthy of inclusion for anything other than its brevity. It's a gentle album with just guitar and Tracey's lovely warm voice. Recorded for less than £200 in 1982 and before she became better known as part of Everything But The Girl it's definitely worth seeking out. So yes it's short, but it's also a nice way to wake up into a hectic Saturday.

Sgt Pepper's Lonely Hearts Club Band - The Beatles

I'll say this very quietly, a whisper almost, but this is one of the most over-hyped albums. Now before the music police take me away, lock me up and throw away the key, I'll qualify that statement; it's a good album, great even, but not the best album in the world.

Quite often this tops the greatest albums ever recorded list and, whilst I don't deny it was ground-breaking, it's not as good as some of their other releases. There I've said it. Great but not the greatest.

On a more positive note, the album is full of classic 60s pop music. Just to rattle off a few of the tracks that are on here; 'Lucy In The Sky With Diamonds', 'Getting Better', 'A Little Help From My Friends', 'Lovely Rita' and the magnificent 'A Day In The Life'. Phew! Not a bad collection and some of the best bass playing ever committed to tape.

The album's only low point is the rag-time knees up of 'When I'm Sixty-Four'. It's just too damn cheery for its own good. I bet Chas and Dave have recorded their own version.

As well as the songwriting, the album broke new ground in recording technology; multi tracked, multi-layered and sequenced to form a continuous piece of music.

And then there is the artwork. Never before had an album been so lavishly designed and packaged; complete with cutout moustaches, badges and other Pepper related paraphernalia.

Putting all these items together, and assembling the album as if the music was played by a fictitious band, creates a truly coherent package.

Mmmmm. Actually now I think about it it is a rather an impressive achievement. Could it be?.....no surely not?.....but maybe it is the best album ever created? Hell even Ringo's song is worthy of a listen.

I Should Coco - Supergrass

For most people the thought of decorating comes with a pang of anguish. No not anguish....misery. For most people it's a chore that has to be endured rather than enjoyed. Me? Well for me it's an excuse to get some tunes on the stereo and splash paint around.

My decorating technique has had its fair share of criticism. Like the time I decided to paint the kitchen and to make the task easier I put the entire contents in the back garden. Why work around stuff when you could just dump it in the garden? For me decorating is like an Olympic event - first one to finish over the line wins, no matter how much mess you make in the process. And so, on a sunny spring day, I set about painting the town red... well the kitchen summer primrose. Or to any men reading this....yellow. Sarah had left for work and I was off. In both senses of the expression. Her leaving was my starting gun for a day off work decorating.

Within an hour I had the kitchen contents in the garden and a huge canvas on which to start my daubing. Well I say daubing but my style is closer to throwing. Give me a clear space and I'll demonstrate the art of speed decorating.

An hour or two later.... Ok 1:54:42.... it was done and I'd set a new record for decorating the kitchen of a Barratt house. One that was never going to be broken, at least not if Sarah had anything to do with it. Ok so what if there was a little more paint on the floor than on the walls? You can't make an omelette without breaking eggs. The sun was still shining so I went upstairs to get a wash before refilling the kitchen with its contents. Sarah was going to get such a surprise.....

......as did I when I came downstairs not fifteen minutes later to find the contents of the kitchen soaking wet. In the time it took to wash off the results of my efforts the had been a huge rainstorm. It's fair to say that whilst some of the items were no worse off, a little cleaner even, this could not be said for the microwave, toaster and other kitchen electrical related apparatus. Blast this English weather.

Then there were earlier decorating events. Most people, when they invite mates around for the weekend would get roaringly drunk and eat pizza. Not us. On many occasions my mates would come and visit for the weekend and decorate. Life in the fast lane. But we had a great time. Or at least I think we did - I've never really had the courage to ask!

'I Should Coco' was one of those albums that was on the soundtrack to one of those earlier events and listening to it always reminds me of summer in Headingley, brush in hand, chewing the fat with my mates whilst we set about updating one of the rooms in our first house. Against the clock obviously!

It's a great album with some great British songwriting. 'Caught By The Fuzz', 'Alright', 'Time' being just three great examples. Something as joyously chaotic and upbeat deserves to be on everyone's decorating playlist.

Just be careful where you splash paint and watch for those storm clouds!

Bridge Over Troubled Water - Simon & Garfunkel

What makes a classic album? It's an often used phrase but what exactly is one?

Is it an album that was generally well received at the time but has a personal connection? Or is it an album that has a theme running through it of great meaning and significant? Perhaps it is just an album filled with great songs.

This is where this album fits in. There's no running theme, no great theatrical theme. Just great songs played well.

Admittedly I'd not really heard of Simon & Garfunkel until I saw some of PW's parents LPs and then I wondered what it was all about.

It wasn't until I started swapping compilation tapes with Sarah that I came to realise exactly what people saw in the musical duo. It all started with 'The Only Living Boy In New York' which appeared on a tape titled 'Eclectic Mix'.

What a fantastic song. I'd go as far as to say probably one of the best songs ever committed to vinyl. Or CD.

The album is full of great tunes and it is exactly that. No common thread. The only cloud on the horizon on the classic album status is the rather clumsy live recording of 'Bye Bye Love'. And a cover version to boot.

I suppose every classic album has its Achilles heel. Take 'Yellow Submarine' on 'Revolver' for example. But Nevermind that. Enjoy 'Bridge Over Troubled Water' for what it is - a collection of great songs.