December 2014 – Page 2 – THE NEW VINYL VILLAIN

A CONCEPTUAL HIP HOP DUO…WITH GUESTS

I picked up a second-hand copy of this 12″ single purely on the basis of once enjoying the promo video many moons ago on one or other of the satellite music channels.

I had to look up Handsome Boy Modeling School to find out more. They were a collaboration between two hip hop producers Dan the Automator and Prince Paul (both of whom I’d heard of thanks to owning material by Gorillaz and De La Soul). Over a seven-year period between 1999 and 2006 there were two albums and a handful of singles, containing songs that parodied and acted as a commentary on vain, consumerist, materialistic, and self-absorbed members of upper class society. The duo also roped in a wide range of guest performers from all sorts of musical genres including for this 2004 single (and track on the LP White People), Jamaican reggae superstar Barrington Levy, American rapper Del the Funky Homosapien and the then king of UK indie-pop, Alex Kopranos.

The result is very catchy:-

mp3 : Handsome Boy Modeling School – The World’s Gone Mad (album version)
mp3 : Handsome Boy Modeling School – The World’s Gone Mad (Part 2)
mp3 : Handsome Boy Modeling School – The World’s Gone Mad (Part 3)

Part 2 also features Alex’s bandmates Nick McCarthy and Paul Thomson from Franz Ferdinand.

Enjoy

Electronic

A CLOSE COUSIN TO YESTERDAY’S SONGS

It was just over a year after the relase of Phobia by Flowered Up that this track became known:-

mp3 : Electronic – Feel Every Beat

The combined talents of Bernard Sumner and Johnny Marr, made Electronic a highly listenable band, coming to prominence with the hit single Getting Away With It (featuring a co-vocal from Neil Tennant) in late 1989. However, the next hit, Get The Message didn’t appear for some 15 months.

The self-titled debut LP hit the shops in April 1991 to near universal critical acclaim along with enough sales to propel it to #2 in the album charts. Factory Records must have been confident of getting the band a third successive Top 20 single when they released a remixed version of Feel Every Beat in September 1991. Regarded by many as the strongest track on the album with its mix of dance/house/indie rock appealing to a very wide audience, it was put out on vinyl in 7″ and 12″ form as well as on CD single with two top-notch previously unreleased tracks to supplement the remixes, all of which have something to offer:-

mp3 : Electronic – Feel Every Beat (7″ remix)
mp3 : Electronic – Feel Every Beat (12″ Remix)
mp3 : Electronic – Feel Every Beat (Dub Mix)
mp3 : Electronic – Feel Every Beat (DNA Mix)
mp3 : Electronic – Second To None
mp3 : Electronic – Lean To The Inside

One of the few lyrics ever to be explained by Bernard, Feel Every Beat registers his disgust at the criminalisation of rave culture in the UK over some of Johnny’s finest guitar work. But to the bemusement of all involved, it got no higher than #39. It deserved much better.

Enjoy

Flowered Up

THE ULTIMATE BAGGY BAND?

I only own a few singles or tracks on compilation LPs but it strikes me that Flowered Up made the sort of music that perfectly captures the feel, mood and ambience of the baggy movement. The shuffling drums, rinky-dinky keyboards to the fore and occasional 60s style guitar solos and a vocalist who would nowadays be laughed off the stage on the telly talent shows searching for the next big star when all the while he has more charisma and style in his little toe than they have in their entire genetic structure.

The backbone of Flowered Up were brothers Liam Mahey (vocals) and Joe Mahey (guitar) augmented by Tom Dorney (keys), Andy Jackson (bass) and John Tuvey (drums). This most Madchester sounding of bands were from London and are probably best known for the song Weekender, a 13-minute long epic which preached the virtues of a full-on hedonistic lifestyle in which the band were keen to drive home the message the drugs do work. Despite a near universal lack of radio play, Weekender went Top 20 in the UK in 1992.

I much prefer however, one of the band’s flop singles from a couple of years earlier.

mp3 : Flowered Up – Phobia (extended play)
mp3 : Flowered Up – Flapping
mp3 : Flowered Up – Phobia (paranoid mix)

The real tragedy of the band is not that they weren’t nearly as successful as they deserved but that the Mahey brothers couldn’t shake the lifestyle long after the band broke up in the mid 90s with Liam dying of a heroin overdose in October 2009 while Joe passed away in November 2012, both in their early 40s.

Orchestral Manoeuvres In The Dark

SOMETIMES IT TAKES A WHILE

Aside from Simple Minds, which was largely on the basis of them being local, Orchestral Manoeuvres In The Dark were the first electronic band that I really became a fan of, thanks to the early singles Electricity and Messages. They were certainly the first electronic band I ever saw play live at the Glasgow Apollo in November 1980, a gig which left me rather disappointed and underwhelmed, but then again I didn’t have a great seat stuck at the back of the circle (but not quite the upper circle which really was a dreadful spot in the building being so high up and far from the stage).

However, it was only some 20 years after its release that I really became a fan of the band’s debut LP. This was a record which had versions of the two hit singles I loved along with eight other bits of music, many of which were far darker, moodier and difficult for a 17-year-old weaned on guitar music to really get his head around. It wasn’t too long in the collection as I soon swapped it with a friend for a copy of Diamond Dogs (which I’m sure he had pinched from his big brother’s collection) as I was just really getting into Bowie on the back of Scary Monsters.

It was many years later that I picked up a copy of the OMD debut on CD for £5. I was of course approaching it with a whole new outlook on music with my tastes have broadened substantially from those long-ago teenage years. And I very much liked what I was hearing – and in particular what I had previously thought difficult and almost unlistenable bits of music.

A few weeks ago I picked up a second-hand vinyl copy of the album. It’s not the now rare first edition that I had bought away back in 1980 but one of what was a number of re-issues by Dindisc Records. It’s a near mint copy vinyl wise, but the sleeve is a bit tattered and torn which makes me think the original owner, a bit like myself, didn’t take a shine to the music and the sleeve ended up not being looked after as it was boxed up and moved house on a few occasions.

The closing tracks on the second side of the record in particular are quite stunning – the very experimental and inappropriately named Dancing and then the beauty and majesty of Pretending To See The Future which can now be seen as a huge influence on so many bands who were to follow:-

mp3 : Orchestral Manoeuvres In The Dark – Dancing
mp3 : Orchestral Manoeuvres In The Dark – Pretending To See The Future

It’s also worth having a listen to the original version and the single version of what would become their first Top 40 hits:-

mp3 : Orchestral Manoeuvres In The Dark – Messages (LP version)
mp3 : Orchestral Manoeuvres In The Dark – Messages (10″ single version)

It’s a very fine example of tweaking a song to make it far more daytime radio-friendly without losing the sense of magic that made it sound so special in the first place.

Enjoy.

Cornershop

CHANGE THE ‘T’ TO A ‘P’ THEN ADD AN ‘S’ FOR GENERAL CONSUMPTION

I am of the opinion that When I Was Born For The 7th Time, released by Cornershop back in 1997 is a tremendous record. It is the best known of all the band’s LPs thanks to it having the original version of Brimful of Asha which, thanks to a remix from Norman Cook, stormed to the top of the singles chart.

It was an album which received great acclaim on its initial release but for a time, not long after the remix was such a hit it did seem that many critics, having watched on as the band moved from cult status into commercial success, felt they could have a bit of a go at Cornershop’s particular mix of pop, dance, funk and politics, underpinned by a sub-continental groove. It certainly caught the band on the hop and caused a bit of a rethink on whether the fame and fortune was really worth the hassle and it would be five years before the next record was released.

Despite having all the hallmarks of a great single, Brimful of Asha wasn’t selected as the first single from the LP. That honour went to the ridiculously catchy Good Shit. Except that it didn’t quite….everyone involved knew that releasing a song with that title and a chorus of ‘Good Shit’s all around good people’ was doomed to an instant ban. So with the change of one little letter and taking it to the plural:-

mp3 : Cornershop – Good Ships

It still of course for the most part sounds as if nothing has been altered which is probably why it hardly got any radio play and was the latest in a run of flop 45s.

The first of the b-side reveals the full extent of the intro on the album version and then proceeds with a great instrumental version of the track:-

mp3 : Cornershop – Intro/Good Ships (instrumental)

The next track on the CD single turned out to be a straight lift of something which would appear unaltered on the LP when it was released some three months later. But at the time it just felt like a tremendous b-side:-

mp3 : Cornershop – Funky Days Are Back Again

And finally, with two minutes extra instrumental funkiness and an infectiously catchy drumming outro:-

mp3 : Cornershop – Funky Days Are Back Again (extended beats mix)

Enjoy

Morrissey

THE MOZ SINGLES (40)

Glamorous Glue was the next song to be issued as a single having been given the digital remaster treatment. Once again, I shied away from buying this on issue back in February 2011 but went back a few weeks ago and tracked down the 2 x 7″ singles – one of which is a picture disc – so that I can feature them in this new version of the Morrissey singles series.

The reason I was prepared to do this but not for Everyday Is Like Sunday (see Part 39) is that Glamorous Glue hadn’t previously been issued as a single plus the fact that two otherwise unavailable tracks, recorded in demo form, were being issued:-

mp3 : Morrissey – Glamorous Glue
mp3 : Morrissey – Safe, Warm Lancashire Home
mp3 : Morrissey – Treat Me Like A Human Being

Neither b-side, both of which give a co-writing credit to Stephen Street, is all that special (although after a couple of listens I am warming a bit to ‘Lancashire’ which could, if developed further, have become more than decent) but I have always been and still am very fond of the pounding glam-rock tribute of the a-side.

Oh and it should be noted that this single peaked at #69 in the UK charts, thus taking away the fact that Hold on to Your Friends when it had stalled at #47 back in 1994 had previously been the great man’s lowest charting single. But Glamorous Glue wouldn’t hold that ‘title’ for long.

Vaselines

SATURDAY’S SCOTTISH SINGLE (Part 120)

Cheating a bit this week. I don’t actually own a copy of this single, but I used to. I loaned it to someone many many years ago and through one thing and another we lost touch and I never got it back.

What I do have in the collection is a vinyl LP which brings together all the early release by The Vaselines, who, just in case you are wondering:-

The Vaselines are an alternative rock band from Glasgow, Scotland. Formed in Glasgow in 1986, the band was originally a duo between its songwriters Eugene Kelly and Frances McKee, but later added James Seenan and Eugene’s brother Charlie Kelly on bass and drums respectively from the band Secession. McKee had formerly been a member of a band named The Pretty Flowers with Duglas T. Stewart, Norman Blake, Janice McBride and Sean Dickson. Eugene Kelly had formerly played in The Famous Monsters.

The band formed in 1986, and released two short EPs, Son of a Gun, which featured a cover of Divine’s “You Think You’re a Man” on its B-side, and Dying for It, which featured the songs “Molly’s Lips” and “Jesus Wants Me for a Sunbeam,” both of which Nirvana would later cover. In 1989 they released their first album, Dum-Dum, on 53rd and 3rd Records. The band broke up shortly after its release. They briefly reformed in 1990 to open for Nirvana when they played in Edinburgh.

Kelly went on to found the band Captain America (later renamed Eugenius after legal threats from Marvel Comics), supporting Nirvana on their UK tour. Following solo performances Kelly released the album Man Alive in 2004. McKee founded the band Suckle and released her first solo album, Sunny Moon, in 2006.

In the summer of 2006, McKee and Kelly took to the stage together for the first time since 1990 to perform a set of Vaselines songs, as part of a joint tour to promote their individual solo albums.

The Vaselines reformed (minus the old rhythm section) on 24 April 2008 for a charity show for the Malawi Orphan Support group at Glasgow’s MONO venue. Invitation was by word-of-mouth with no press announcements and the band played to a packed, enthusiastic audience. Over the next few months they played a number of other gigs in Scotland and the USA and in March 2009 they played their first London date in 20 years.

The Vaselines second studio album, Sex With an X, was released in September 2010 and earlier this year, their third studio album, V for Vaselines, was released.

But this was the second of the initial EPs from 1988:-

mp3 : The Vaselines – Dying For It
mp3 : The Vaselines – Molly’s Lips
mp3 : The Vaselines – Teenage Superstars
mp3 : The Vaselines – Jesus Wants Me For A Sunbeam

Those are the song titles as they appeared on the back of the 12″ single (see photo above). The compilation LP I own (on a sort of red/pink coloured vinyl no less!!) renames the last two as Teenage Jesus Superstars and Jesus Doesn’t Want Me For A Sunbeam which, once you listen to the songs, would appear to be the correct titles… it’s certainly the latter which is used on the Unplugged LP by Nirvana.

I still look back and marvel at the lyrics of ‘Sunbeam’. I was someone who rejected religion in my teenage years (something which got me into a wee bit of bother at my Roman Catholic school) and I was full of the utmost admiration at the way Eugene had managed to write such a beautiful sounding yet bitter and angry song. This was punk rock at its finest.

Enjoy

Squeeze

HOW MEN ARE?

A soap opera story in just over three minutes.

The boy about town gets caught out with his trousers down. He can’t cope with the fact that he has to grow up and take responsibility. The woman of his dreams soon moves on and all he has left are bittersweet memories.

mp3 : Squeeze – Up The Junction

1979. A massive hit and one of my favourite songs of all time, albeit as a 16-year old I didn’t quite understand the full nuances. But now I’m 51 and I’ve seen it this story play out in real life far too often over the years.

Tears and saying sorry are just not enough.

But the male side of the species just never learn.

David Holmes, Grant Lee Buffalo, Marc Almond

I BOUGHT THE MAGAZINE JUST FOR THIS

I’m not a great one for spending much time in the cinema, so the fact that today’s offerings come from a CD given away with a monthly movie magazine from back in 1998 is very unusual.

Neon was (and may well still be for all that I know) a magazine which focussed on new cinematic and DVD releases. The December 1998 edition also came with a free CD which will be the main reason I bought it – the other being that I was no doubt heading off on a long-haul flight and needed something to help keep my mind occupied while I ignored the in-flight movie(s). I’ve every reason to believe that the magazine didn’t even make it off the plane with me, left instead in the seat pocket to be either kept or binned by a member of the maintenance staff.

It really was all about the CD. This was an era before I went down the mp3 route and so it was a wallet full of discs and a bulky player which always accompanied me to the beach and so the following would have formed part of the soundtrack to that holiday:-

01 : Pulp – We Are The Boyz (from Velvet Goldmine)
02 : The Cardigans – War (from A Life Less Ordinary)
03 : The O’Jays – Love Train (from The Last days of Disco)
04 : Marc Alamond – One Night Of Sin (from Mojo)
05 : D’Angelo – She’s Always In My Hair (from Scream 2)
06 : Morcheeba – Killer Hippie (from Psycho)
07 : Odyseey – Going Back To My Roots (from The Full Monty)
08 : Space – Lost In Space (from Lost In Space)
09 : The Sons Of Silence – Bobby Dazzler (from The Acid House)
10 : Grant Lee Buffalo – The Whole Shebang (from Velvet Goldmine)
11 : Pete Wingfield – 18 With A Bullet (from Lock, Stock & Two Smoking Barrels)
12 : Sunhouse – Monkey Dead (from Twentyfourseven)
13 : David Holmes – Rip Rip (from Out Of Sight)
14 : Fluke – Bullet (from Face)
15 : Madrid Symphonic Orchestra – Christmas 1970 (from Live Flesh)

The CD didn’t leave that much of an impression on me as I didn’t rush out to buy any of the full soundtracks although I would, a number of years later, pick up a copy of A Life Less Ordinary in a sale for £2.

But there are three brilliant bits of music on the CD which have subsequently been shoved onto compilation tapes and then onto the i-pod where they remain all these years later:-

mp3 : David Holmes – Rip Rip
mp3 : Grant Lee Buffalo – The Whole Shebang
mp3 : Marc Almond – One Night Of Sin

The first number is a real funky number that should get your toes tapping, your shoulders shaking and your head bopping in appreciation, It also contains dialogue from the film which starred George Clooney and Jennifer Lopez.

The second is, I think, one that will surprise any Grant Lee Buffalo/Grant Lee Philips fans out there as it is quite unlike anything else the band/he has recorded.

And finally, that Marc Almond song is an atypical offering from the sleaze-meister, and quite brilliantly done.

Enjoy

Elvis Costello, Elvis Costello & The Attractions

E.C. IS GOD

(This is another posting lifted from the old blog back in March 2007 – I had intended to feature one his singles today but instead felt it worthwhile sharing the old stuff)

I like to roam around hundreds of music blogs – sometimes looking for good ideas to steal and call my own – but mostly to read what other people have to say and occasionally listen to the mp3s they put up with the postings.

Many bloggers have a section that details the names of their favourite singers and bands, and I’ve come to discover that there is a name of a great singer/songwriter that doesn’t crop up all that often, and yet if you asked music-lovers the world over whether or not they like him, you would get an awful lot more folk shouting ‘AYE’ than you would those that would whisper ‘NAY’. I’m talking about Declan Patrick McManus aka Elvis Costello.

Have a think about this man’s recording career which now spans 30 years, and how many different styles and genres he’s had a go at. There’s been New Wave, Stax/Motown, Country & Western, Easy Listening, Classical, Jazz/Swing, Folk, Cover Versions, Protest Songs, Soundtracks, Pop and Rock.

I wouldn’t even begin to try to count how many labels he’s recorded for far less calculate just how many singles and LPs he has released in various guises. And there must have been at least eight Best Of compilations over the years.

He’s also been involved in high-profile recordings with folk of the stature of Paul McCartney and Burt Bacharach (and they have stature whether you’re fans or not). He’s produced umpteen bands over the years, not least The Specials and The Pogues, the latter of whom he helped turn from a cult act into a chart act. And he’s been in numerous TV and film productions, often appearing as himself. He’s written songs and whole albums for other artistes.

So quite clearly the man is a living legend.But as I said his name rarely appears in the list of favourites that you find on many blogs.

I suppose part of the difficulty in anyone automatically reeling-off EC as one of the all-time greats is the fact that he has turned his hand to so many different things, some more successfully than others, and I don’t think there can be too many who can claim to own every bit of music he’s recorded and released over the past three decades. And given how long he has been going, there will naturally have been the occasional duff LP put out, and perhaps one or two of the projects were a bit too vain, and possibly even pretentious, rather than of top-drawer quality. I don’t think even EC would say that writing for, recording with and producing Wendy James in her thankfully brief post-Transvision Vamp solo efforts would be a high point of his career.

Some bloggers might have been embarrassed by some of the daft things he has said or done over the years, such as the drunken racist comments he uttered about James Brown & Ray Charles in the late 70s. Or the fact that he has been less than flatteringly portrayed in a number of rock biographies, not least this, written by Bruce Thomas the long-time bassist with The Attractions.

But overall, there can be surely no argument that as a composer and lyricist, there are few who can hold a candle to the talents of Elvis Costello in the latter part of the 20th Century, particularly in his prime of the late 70s and throughout the 80s. I could probably post any of maybe 100 songs to illustrate my point, but instead I’ve gone for this handful including some lesser known stuff:-

mp3 : Elvis Costello & The Attractions – Watching The Detectives
mp3 : Elvis Costello & The Attractions – Man Out Of Time
mp3 : Elvis Costello – Brilliant Mistake
mp3 : Elvis Costello – Little Palaces
mp3 : Elvis Costello & The Attractions – Battered Old Bird

The first two were singles. Tracks 3 & 4 are on King of America. Track 5 is one of many outstanding tracks on Blood & Chocolate.

And here’s a cover version of a Nick Lowe song that he did as a b-side in 1991

mp3 : Elvis Costello – The Ugly Things

Enjoy

Black Box Recorder, John Moore, Pete Astor

GIVE ME MOORE

(A Guest Posting……from Jacques the Kipper)

Pete Astor has always been a favorite of mine.  As far as I’m concerned much of what the Loft produced and most of the Weather Prophets‘ output was criminally under-rated at the time. Since then though I have to be honest and say that I’ve heard little of him or his music.  That’s not to say he hasn’t been issuing stuff, mind. Something I discovered when I noticed that coincidentally he was playing the Lexington when I was down in London for work.

Even better he was supporting John Moore, erstwhile of the Jesus and Mary Chain, John Moore and the Expressway, Black Box Recorder and Art Brut.   Again, a quick bit of research suggested that he hadn’t been resting on his musical laurels either, though possibly, if at all, he’s better known to non-indie fans for his role as a leading light during the 1990s importing what was at the time an almost fabled drink, absinthe, to the UK. Basically, absinthe had never actually been banned as was the accepted wisdom at the time. I’ll leave you to decide whether the country has been morally corrupted since its arrival.

Back to the gig. I turned up expecting a decent crowd of indie pensioners.   In fact, when I got to the bar downstairs us ‘civilians’ were outnumbered by the musical entertainment and their posse, more of whom later.   At least the bar bantering meant there was no chance of Pete hitting the stage upstairs without me knowing.

When he did take that stage, there were about 12 of us in the audience not obviously related to the musicians. Still criminally under-rated then.   Fair play, there were a pair of Japanese presumably C86 loving tourists there to pray at the Astor altar.  Perhaps they’d never forgiven John for leaving the Mary Chain or perhaps they preferred the Gillespie period. Maybe they’d been corrupted by absinthe. Whatever, they jumped ship after Pete’s set.

And what a set it was.  Did I recognise any of the songs?  No.   Were there any joyous proclamations of life?   No.  As he himself admitted, several times, miserable songs are where he’s at.   He also likes to include a name or three in his tunes.  Don’t let any of that put you off though.   He remains one of England’s finest songwriters, even if no-one (me included on recent evidence) is listening to his work.   I’ll happily (ironic smile) go see him again. And buy his recent stuff.   And you should too.

For those that want to track down his musical output, check in your local record shop under the Loft, the Weather Prophets, or Pete(r) Astor, or if you really must then there’s the internet. This page on Creation Records website gives you a flavour of what you might find

http://www.creation-records.com/weatherprophets/ from his earlier musical life.

You’ll find some recent musings here – http://www.youtube.com/watch?v=Gyh-uvlUtgY&list=PLBA49AAC5E526AFCD

Just start with Dead Trumpets, lay back, enjoy. Then go purchase.

Back to the gig (2).

And then John Moore.  Sitting by him on a seat throughout was a ventriloquist’s dummy, who had his own ventriloquist’s dummy.  But this was no horror show.

John opened by throwing yet to be inflated balloons into the audience. There was no mention of why. He then started the show itself by reading from his book to be, Bad Light. You can help fund it through http://unbound.co.uk/books/bad-light . On the basis of what we heard, it’s well worth a punt, and for those who follow the link – who could refuse the chance to visit John’s shed for as little as £10.

Discarding the book, he began the musical entertainment with Smoking on the Cancer Ward, from his album Floral Tributes. A truly brilliant start. His second song lasted a mere couple of verses before he got bored with it and stopped.  A couple more followed in full. Lo-fi lullabies indeed. Amongst the songs he extolled the virtues of Hampstead Heath and amazed us with a tale based on his namesake. He then treated us to a couple of poems. Before he dedicated a couple of songs to the demise of Soho and Madame Jojo’s in particular.

There was then some more banter with us audience. And who should be amongst that audience and part of that posse in the bar I mentioned earlier – in fact, who was the biggest heckler in the room – none other than Luke Haines. Not to mention Sarah Nixey. They joined John on stage to ‘reform’ Black Box Recorder for an astonishingly good England Made Me.

As Luke and Sarah returned to the audience, rather worryingly John got out his saw. Yes, a saw. Which he proceeded to play with a bow. His request for requests was met with ‘tunes’ that left a lot to the imagination. Though I doubt that God Save The Queen has ever sounded so good.

The audience, including Romeo Stodart of Magic Numbers and I think Louis Eliot (now of Louis Eliot and the Embers, but previously Kinky Machine), was now probably up to about 40 in total. For such a great show this was criminal.  Which was highly appropriate as John introduced us to his planned musical on the Kray Twins – the Blind Beggars Opera, I think.  He battered out a couple of songs which suggested that lyrically this particular musical won’t be the subject of any Lloyd Weber style find-a-lead-singer Saturday evening reality show. No holds barred, guvnor. (And rather bizarre to wake up the next day to hear that Frankie Fraser had died.)

He ended with a singular look back to his days of ridiculously big hair. Then a desperate attempt to get us to blow up those balloons to complement his last song. To be honest, it was chaos by now. It truly was like having a good pal round playing songs in your living room as everyone got merry. One encore and a rousing response from us to what had been a truly memorable night.

Speaking to him afterwards I said that he really needs to find someone who will put him on in the Edinburgh Fringe. He’s up for it if someone has the wherewithal. Honestly, an hour or so of entertainment from John Moore is enough to put a smile on anyone’s face. Never a dull moment, and I suspect, never the same show twice. Brilliant.

Jacques

JC adds

It was down to me to select the mp3s to do with this piece….I hope they do Jacques’ words justice:-

mp3 : Peter Astor and the Holy Road – Almost Falling In Love
mp3 : Peter Astor – Take This Longing

(the former from the LP Paradise while the latter is from a Leonard Cohen tribute LP)

mp3 : Black Box Recorder – England Made Me

James

THE JAMES SINGLES (21)

The Top 10 success of She’s A Star was followed up with the issuing of an old song.

Tomorrow had originally appeared on the Wah Wah LP in 1994 but had subsequently been re-recorded as the opening track of the follow-up LP Whiplash, released in February 1997. Now the decision was taken to release it as a single and again completists would need to fork out for three separate CDs. At which point this fan decided enough was enough.

I’d been very disappointed for the most part with the content of the new songs, live versions and remixes which had accompanied the previous single (see Part 20 for more details) and I drew the line at Tomorrow. I wasn’t even remotely tempted by the fact that in some stores you could get all three together for £5. As a result there’s a gaping hole in the collection, one that would in fact grow in the years to come as I finally got bored with James (although that situation would change again many years later).

What I have done however, knowing I was trying to get this series sorted out as best I could, is go on-line and look to track down second-hand copies for as cheap a price as I can find. Which is why I can now at least bring you these from CD1:-

mp3 : James – Tomorrow
mp3 : James – Gone Too Far
mp3 : James – Honest Pleasure
mp3 : James – All One To Me

(all of them being previously unreleased songs)

and from CD2:-

mp3 : James – Lost A Friend (live)
mp3 : James – Come Home (live)
mp3 : James – Greenpeace (live)

All recorded for the Marc Radcliffe show on BBC Radio 1 in January 1997.

Tomorrow, helped by the multi-formatting, entered the charts at #12 but dropped down dramatically in the next two weeks…it was now becoming apparent that singles success was almost entirely down to long-standing fans…which would be further exploited by the record label in the months to come.

It’s a single which is a big improvement on She’s A Star but I feel it is very reminiscent of Ring The Bells which, as I mentioned in an earlier part of the series is one I’m not that fond of.

Turning to the new stuff on CD1.

Gone Too Far is a frantic and unusual sounding song (for James) and one that, on the first few listens in recent weeks, I will give the thumbs-up to.

Honest Pleasure is an out-and-out rock song driven along for the most part a ‘classic’ riff that you’ll find on compilation CDs made for driving along highways – it is bloody awful.

But not as awful as All One To Me which sound not much more than a demo…

CD2?

Well, the live version of Lost A Friend is a fairly faithful representation of one of the better tracks on Whiplash.

And while I know the world could exist happily enough without James releasing yet another version of Come Home, this live version does at least try to blend the sound of the original release with the sort of electronic noodling the band were growing increasingly fond of….and it’s also unusual in having such an understated vocal delivery from Tim – he almost sounds bored.

As for Greenpeace – again it’s a faithful representation of a Whiplash tune – one which starts off sounding as if it could be a real tear-jerker but drifts into something unlistenable.

I am sorry to sya that I”m beginning to lose interest in this series…..but I will keep ploughing on.