Released on 11th December 1995. What I’ve long referred to as the outtakes single.

After Boxers was put out in January 1995, Morrissey was no longer obliged to stay with EMI under whom his albums and singles had been issued on the Parlophone label. He chose to move to RCA where he recorded the critically-savaged Southpaw Grammar, from which were taken the disappointingly selling singles Dagenham Dave and The Boy Racer.

So I’ve no idea what possessed his old record label to shove out Sunny just 14 days after the release of The Boy Racer other than assuming it was out of spite and possibly to try to cash in on folk buying Xmas presents for Morrissey fans . The three tracks dated back at least 18 months and more and quite frankly, are rubbish and the #42 placing was at least 200 places higher than it deserved.

Actually that’s unfair as the single borders on the OK.(and it’s not as bad as Roy’s Keen) But the b-sides really should never have seen the light of day….

mp3 : Morrissey – Sunny
mp3 : Morrissey – Black-Eyed Susan
mp3 : Morrissey – A Swallow On My Neck

Better informed fans have said elsewhere that Sunny was originally intended to be part of the Boxers single, and Black-Eyed Susan was considered but rejected for the flip-side of The More You Ignore Me, The Closer I Get. No mention is made of the original plan for Swallow…..

Sorry for the dip in quality control. I promise to do better next week.



I liked this description of today’s Scottish pop combo:-

“From the ominous shadows of Goth suddenly appeared two young girls in polka-dot dresses, flaming red lipstick, and hair ribbons. Looking like the brides of Robert Smith, Strawberry Switchblade made a brief splash on the U.K. charts and then abruptly vanished in the mid ’80s, leaving their fans with a handful of collectible singles and one LP of deceptively sweet-sounding dance pop.”

Here’s wiki:-

Strawberry Switchblade was a female pop rock/new wave band formed in Glasgow, Scotland in 1981 by Jill Bryson and Rose McDowall.

The punk movement expanded rapidly in the United Kingdom in 1976. At the time, Rose McDowall and Jill Bryson were classic Glasgow punks. As the punk rock scene electrified Glasgow in the late ’70s, they were a part of the bohemian art scene who adored the New York Dolls and who followed Scottish punk band Nu-Sonics during their career, with McDowall playing and recording with Paisley punk band The Poems.

Bryson studied for four years at the Glasgow School of Art where she achieved a BA honours degree in mixed media.

As friends, McDowall and Bryson socialised in Glasgow pubs, catching many local bands at the time. One of these bands was Orange Juice, fronted by Edwyn Collins. Members of New Pop and Orange Juice had recorded a live version of “Felicity” as a flexi-disc and intended to release it. A fanzine, to be titled Strawberry Switchblade after a James Kirk song, was planned to promote the flexi-disc but never materialised. The “Felicity” flexi-disc was eventually released in conjunction with the debut Orange Juice single, “Falling and Laughing”. McDowall and Bryson adopted the fanzine title as their band name.

Strawberry Switchblade played at a John Peel gig in Scotland, and he invited them to record a session for his BBC Radio 1 show in October 1982.They also recorded a session for David Jensen’s Radio 1 show three days later. On both sessions the band were augmented by James Kirk from Orange Juice on bass and Shahid Sarwar from The Recognitions on drums.

The sessions were heard by Bill Drummond (a Scottish musician who went on to form The KLF) and David Balfe, respectively manager and keyboard player with the recently defunct The Teardrop Explodes, who became the group’s managers.

The band’s first single, “Trees and Flowers”, was released in July 1983 through 92 Happy Customers, an independent record label run by Will Sergeant from Echo & The Bunnymen,and sold over 10,000 copies. It was featured at number 47 in John Peel’s 1983 Festive 50. “Trees and Flowers” was written by Bryson about her medical condition agoraphobia.

Drummond signed the band to Warner Music Group subsidiary Korova in 1983. They got a full backing band with whom they toured and began recording an album with producer Robin Millar. However, at the record company’s behest, they reverted to the duo of Bryson and McDowall and for production duties they hired David Motion, who would soon go on to produce hits for Red Box.

In late 1984 their second single, “Since Yesterday”, was released. Having been given a large marketing push over the festive period, it became a UK top ten hit in early 1985, peaking at number 5, and also met with success in Europe and Japan.

Their cover version of “Sunday Morning” (originally by Velvet Underground) was released as an extra track on the 12″ of “Since Yesterday”. It was not included on any of the Strawberry Switchblade albums.

The track’s opening fanfare came from Sibelius’ Symphony No. 5, which had also featured prominently in the coda section of the earlier hit “Beach Baby” by The First Class. The band’s’ strikingly contrasting black and white wardrobe, including the polka dot rah-rah skirts worn for the sleeve of “Since Yesterday”, attracted coverage at the time. Their somewhat ‘gothic’ appearance was also of note.

In March 1985 they released their next single, “Let Her Go”, a tune in a similar vein to “Since Yesterday”.

Following the release of their eponymous album in April, in May 1985 they released a further single, the ballad “Who Knows What Love Is”,[6] one of two tracks on the album produced by Phil Thornally of The Cure.

Their fifth single, an electro-pop cover of Dolly Parton’s “Jolene”, was issued in September 1985 in the UK and Japan.

Although their commercial success had waned in the UK they remained popular in Japan and two later singles, “Ecstasy (Apple of My Eye)” and “I Can Feel”, were only issued in that country.The second of these only featured McDowall as by this time the partnership had irreparably fractured. By early 1986, the group had disbanded.

In December 2005, Warner Bros. Platinum Records released a career retrospective of the band, made up of sixteen different tracks from various recordings on one compact disc.

And here’s the 7″ version of the hit single with the bonus 12″ track:-

mp3 : Strawberry Switchblade – Since Yesterday
mp3 : Strawberry Switchblade – By The Sea
mp3 : Strawberry Switchblade – Sunday Morning

I really do love their quite gorgeous take on Sunday Morning.




…. this is a cracking bit of pop music.

mp3 : Spandau Ballet – The Freeze

While making my way through Mad World (see yesterday’s posting),  I got to the chapter on Spandau Ballet which sadly concentrated on the slushy hit single True as it is the song they are best known for over in the States.  But reading it did lead me to dig out my copy of the band’s debut LP Journeys to Glory and give it a spin for the first time in gawd knows how many years. Which is where I realised just how great a song The Freeze is.

It was the second single lifted from the LP, reaching #17 back in early 1981.

The band did of course go onto to become one of the most dull and bland outfits of the 80s and a song like The Freeze is a long way removed from the sort of sounds they are more associated with.  I reckon that if they had broken up on the back of the debut LP then many a modern day hipster would be proclaiming it, and especially this track, as one of the great influencing records of the era.

I can recall a remix version of this song getting played a lot in the sorts of Glasgow discos that I frequented among other great electronic-pop tracks of the day by the likes of OMD, Soft Cell, Simple Minds, Heaven 17, Yazoo, Associates, Human League and Magazine. Turns out it was the b-side of the 12″ and I’ve managed to procure a copy via fishing around on t’internet:-

mp3 : Spandau Ballet – The Freeze (version)




One of the 45s featured in the regular Saturday series on great Scottish singles was this:-

mp3 : April Showers – Abandon Ship

Released to almost complete indifference in 1984, it really is one of the great lost singles of the era.  April Showers was a short-lived Glaswegian pop duo comprising Jonathan Bernstein and Beatrice Colin.

I’m a huge fan of this song. It was the only piece of music the band got round to releasing (other than the b-side!!) . Today is probably now the fifth time I’ve made it available as an mp3 over the past eight years. I was amazed that a few weeks ago the very same Jonathan Bernstein dropped me an e-mail, thanking me for the kind words and asking if I’d be interested in having a read of a book that he had co-authored and which was due for publication in the UK later in the year.

How could I say no?

The 300+ page book in question is called Mad World : An Oral History of New Wave Artists and Songs that defined the 1980s. And it’s very very good……

Jonathan moved to Los Angeles quite a few years ago and is nowadays more widely known thanks to his exploits as a movie screenwriter, author an occasional contributor to magazines and newspapers.  For this particular project he has  hooked up with Lori Majewski, herself a successful music and entertainment writer.

Th authors were inspired to write the book came about after they both read an interview with a well-known 80s musician from the UK in which he had discussed the inspiration, writing and recording of the song, as well as its reception and place in pop history.  If it could be done for this particular song then why not for others which had made such an impact on them as music fans?

Each of the 36 individual chapters begins with an introductory paragraph which puts the artist and song into a broader context – where and how they fit with the rest of the 80s and perhaps any enduring influence they have had on music all these years later. Each of the authors then offer very short pieces expressing their own views on the song or the artist before the pages are turned over to those who matter most – the musicians. This is where the excellent writing skills and styles of the authors shine through – all of the interviews were carried out face-to-face or by e-mail in the classic Q&A style, but they appear on paper as superbly written monologues.

This leads to a consistently entertaining read – no single musician comes across as a pretentious prat nor do the authors leave anyone hanging out to dry (although it should be pointed out that some of the tales highlight how different musicians in the same band see things from different perspectives and you have to draw your own conclusion as to which is the truth and which version is fabricated…..)

It is a book written initially for an American market and so the songs and bands featured will have had to enjoyed a bit of success over there for it to make commercial sense. As such, there’s a number of songs in the book that I am no fan of – and a couple that I’ve never even heard of – but at no time did I feel like ever skipping any of the chapters.

The title is also a wee bit misleading for the songs featured were released between 1978 and 1985, an era which the authors unashamedly say was the Last Golden Age Of Pop. So there’s a lot of great music from the decade missing from the book but those of you with a bent towards great indie or electronic pop will particularly enjoy the chapters on New Order, ABC, Echo & The Bunnymen, Dexy’s Midnight Runners, The Normal, Depeche Mode, Soft Cell, Joy Division, OMD and The Smiths among many others.

What I particularly enjoyed was the authors abilities to look at the 80s in a way which is warts and all and come to the conclusion that it was a time far preferable to nowadays when any semblance of individuality is ridiculed on TV ‘talent’ shows or is then removed by such bland, dull and ultra safe production values designed to appeal to the biggest common denominator.

“Were the artists ridiculous? Was the music overproduced? Was the influence of Bowie ubiquitous to the point of being suffocating? Guilty on all accounts. But it was also an era of imagination, vaulting ambition and incredibly memorable songs.

Mock and ridicule the excesses of the 80s if you want, but don’t try and deny that the stars of the era had personality. They may have been pretentious, pompous and absurd, but it was their own pretension, pomposity and absurdity. They didn’t have to bow their heads and nervously wait for the approval of a jaded record executive on a judging panel. Love or hate them they were their own glorious creations.”

The other great strength of the book is the diverse backgrounds of the two authors.

Majewski is an American who was a teenage music fan in the period concerned with an undiminished passion and love for the likes of Duran Duran and Adam Ant but a huge appreciation of what makes a great indie song – she’s the contributor who likes The Smiths and is not ashamed to admit that she knew nothing of Joy Division until she checked out the original version of the song covered by Paul Young; Bernstein is Scottish, older and, thanks to April Showers, a participant in the era. He claims he is too sour by nature, too uptight and suspicious of emotion to declare himself a fan of anybody, but this enables him to take a dispassionate approach to each singer or band and articulate just how he feels they are worthy of a place in the book – except in the chapter on The Smiths where he simply says ‘Not A Fan’.  But I’m willing to forgive this for all of his other contributions – in particular his words on Simple Minds – where he captures perfectly how all of us who had grown up with them in Glasgow were feeling as they took the USA by storm.

Together they have cooked-up a really good read. One which can be enjoyed in bite-size chunks or devoured ferociously in a single serving….either way it won’t come back on you and leave feeling queasy. Indeed, I suspect it will leave you longing for further servings.

Mad World has been well received by critics and fans alike since its publication in the States back in April. UK readers can pick pre-order copies on-line in advance of its release date next week on Monday 1 September from when It will hopefully be available in all good book stores.

Here’s one of the songs featured in the book in its full extended nine minute plus glory:-

mp3 : Echo and The Bunnymen – The Killing Moon (all night version)



Published by Abrams & Chronicle Books

320 pages : RRP : £12.99




From wiki:-

In 2007, the song was re-composed as “Stop Me” with additional lyrics from the song “You Keep Me Hangin’ On” by The Supremes by British DJ Mark Ronson using the voice of Daniel Merriweather as the lead. Merriweather admitted in an interview with The Guardian that he was not very familiar with “Stop Me If You Think You’ve Heard This One” before he recorded Mark Ronson’s revised version. He explained: “Mark said, ‘I want you to sing on this – it’s my favourite Smiths song,’ so I listened to it. I’d heard it once before, but I was never a Smiths fan. But I thought it was beautiful.”

The song was later released as a single on 2 April 2007 on Columbia Records with the shortened name “Stop Me”, and featured on the compilation album Version. The music video, released at the same time as the song, features a man who finds a pair of trainers that control him and force him to run along the motorway near the Blackwall Tunnel. This version was released in the United Kingdom. The international version featured people crying animated tears, causing some small floods. Live versions such as Mark Ronson / Stu Zender featuring Merriweather—”Stop Me” (Conan O’Brien, NBC, 12 July 2007) have been televised, among others (BBC Radio 1, Jimmy Kimmel Live!).

The single reached number two in the UK Singles Chart, number one in the UK Download Chart and gained considerable praise and reference, as well as controversy from loyal Smiths fans despite its chart success being the highest ever UK chart position for a Smiths song.

The music review site ThisisfakeDIY gave the single a 5-star rating, citing that its popularity stemmed from its abstraction from a typical Smiths song, resembling a “sweeping, orchestral pop song with horns to boot … soulful, evocative vocals … a stirring mix”. This song was number 80 on Rolling Stone’s list of the 100 Best Songs of 2007.

It received a mixed review from musicOMH reviewer, Jenny Cole who remarked that the notion of “discoing up a Smiths track” was a “travesty”, and queried that “Morrissey would no doubt hate the idea of someone who has previously worked with Christina Aguilera and Robbie Williams” re-composing his songs. However, despite such reservations, the reviewer remarked that despite its composition “in a mad way it works … Electronic, cheery and danceable, it’s really not half bad” but that the addition of The Supremes to the song was “just mad”.

A slightly shorter edited version (where the lyrics start at the first verse) was released to mainstream radio in October 2007. A remix by Kissy Sell Out features on Ministry of Sound 2008 compilation The Annual. Trance DJ Paul Oakenfold also remixed the song exclusively for his 2007 compilation album Greatest Hits & Remixes. After the win and performance of Ronson at the 2008 edition of the Brit Awards, “Stop Me” climbed as high as number 31 on the iTunes Top 100 and re-entered the UK Top 75 Singles chart at number 51. The song featured prominently in the opening scenes of the premiere of the second half of Nip/Tuck’s fifth season. The song featured on the 2013 show reel for Seattle-based b-boy crew, Art of Movement, uploaded by Korean-American singer and member of the crew, Jay Park.

The single also includes a cover version of Queens of the Stone Age’s “No One Knows” with vocals by Domino Kirke.

mp3 : Mark Ronson – Stop Me feat Daniel Merriweather
mp3 : Mark Ronson – Stop Me feat Daniel Merriweather (A Chicken Lips Malfunction)
mp3 : Mark Ronson – Stop Me feat Daniel Merriweather (Dirty South Remix)
mp3 : Mark Ronson – No One Knows feat. Domino

I actually think, having listened to the QoTSA cover that Moz and Johnny actually got off lightly.



I was very pleasantly surprised when I returned the Fun Lovin’ Criminal CD singles to their place on the shelves to discover right next to them was a sole CD single by Funkadelic.

I have no recollection of buying this…the sticker on the from says £1.99 and it was released as a 4-track single in 1996 on Charly Records.

I know what I bought was a replacement in effect for the original 7″ version that I used to own. That’s right…in the middle of going crazy for punk/new wave I was still willing to hand over money for some great disco music. OK, One Nation Under A Groove is more funk than disco, but to the untutored ears of a 14-15 year old back then anything with a great bass line that forced the hips to be gyrated was disco. And it didn’t suck.

The single that I used to own had, from memory, Parts 1 and 2 on either side. I’m also sure it was just the extended full length version spliced into two just to make if fit into a 7″ bit of black vinyl. Here’s the first two tracks on the CD single:-

mp3 : Funkadelic – One Nation Under A Groove (Original Radio Version)
mp3 : Funkadelic – One Nation Under A Groove (Original Full Length Version)

So I think I’m on safe ground to say that the former would have been Part 1 of my 1978 single and the latter the LP version.

I have no idea why the single was re-released in 1996. Perhaps it was used in some sort of TV advert that has made no impact on me but maybe it was just that some smart-ass DJ thought it was time to give this 70s classic a 90s makeover as there were two ’96 versions on the CD. Which brings me to these abominations:-

mp3 : Funkadelic – One Nation Under A Groove ’96 (The Craig Nathan Nation Mix)
mp3 : Funkadelic – One Nation Under A Groove ’96 (The K.D. Radio Edit)

I’d never played this until a few minutes ago when I decided to put the single onto the blog – as I say I had no idea I had it in the collection. I will never play them again. They have already been deleted from the tens of thousands of mp3s on the PC. Possibly one of the biggest abominations of a great song ever inflicted on mankind. Talking of which….tune into tomorrow as I’ve now got a nice lead into something I’ve been meaning to post for the past six months but could never quite bring myself to inflict upon y’all.



Fun Lovin’ Criminals first came to prominence on the back of a single which sampled dialogue from Reservoir Dogs and Pulp Fiction:-

mp3 : Fun Lovin’ Criminals – Scooby Snacks

Both films had been huge hits, turning a previously unknown scriptwriter and director called Quentin Tarantino into the hottest name in Hollywood. Notwithstanding that the radio versions had to be heavily edited, it was a great ploy by FLC to incorporate the dialogue into a hip hop/rock/pop hybrid that was made catchy thanks to a guitar riff (also sampled!!).

It’s perhaps debatable whether or not FLC would have gotten any sort of prominence without Scooby Snacks as much of their other material at the time was no different or better than other similar acts who were fusing hip hop and rock. What it did do however, was give a platform to frontman Huey Morgan, whose natural wit, charm and sense of humour and easy-going interview technique saw him become a regular on many a TV chat/entertainment show here in the UK. That and the fact that the band gigged relentlessly across Europe, particularly becoming a mainstay of the outdoor festival circuit (where pissed-up audiences would have a great time dancing and singing along to Scooby Snacks) saw the band gain a decent following without ever becoming truly big stars.

One of the things that some folk found enduring was the easy-listening style of the cover versions they occasionally threw out there along with what they themselves described as the ‘schmoove’ versions of their own songs. I was never all that convinced but I’ll leave it you dear listeners to see what you think of these:-

mp3 : Fun Lovin’ Criminals – The Summer Wind
mp3 : Fun Lovin’ Criminals – Scooby Snacks (Schmoove Version)

The former is a 60s number made popular by Frank Sinatra.  What makes the FLC version of interest to the things that normally feature on this blog is the guest vocal from Ian McCulloch.

The latter was the b-side to yet another easy-going cover:-

mp3 : Fun Lovin Criminals – I’m Not In Love

Enjoy…if only for the fact this is an unusual posting at this joint.