October 2016 – Page 2 – THE NEW VINYL VILLAIN

DEBUT : TWO CONTRASTING OPINIONS

I’ve been lucky enough to be a guest contributor over at the ongoing series at When You Can’t Remember Anything in which S-WC and Badger run through 200 great songs. As indeed has The Robster who penned some wonderful words about Human Behaviour which then extended out into his thoughts on Debut:-

I remember when Human Behaviour came out (June 1993). I had been a massive fan of the Sugarcubes and Björk was, for me, the quirkiest pop star on the planet. I was gutted when they split as I had never managed to see them live, and let’s face it, three albums was simply not enough. You can imagine my excitement when I heard Björk was going solo and that within a year of the ‘Cubes break-up, her first single would be out.

I don’t know why, but I was expecting something very different to Human Behaviour, something – I dunno – more indie? The final Sugarcubes release was a brilliant album of remixes featuring some of the top producers of the time (Justin Robertson, Todd Terry, Marius deVries, etc) so I should have been prepared for something a little more electronic I suppose. But no, I heard Human Behaviour and my heart sunk.

I’ve come to like Human Behaviour quite a bit in the intervening years. Those timpani drums that echo throughout in time (and tune) with the bass make it sound all brooding and ominous. There’s a lot of cool stuff going on in it, and it’s not all that electronic-sounding really. Some nice growling guitars, an understated rustling snare drum and, of course, Björk’s voice at the centre of it all. It’s masterfully put together, a great production by Nellee Hooper. In fact, it’s not unlike Massive Attack in places, probably for that reason.

The album – craftily-titled ‘Debut’, even though it was actually Björk’s second solo effort, following some 16 years after this [https://www.discogs.com/Bj%C3%B6rk-Gu%C3%B0mundsd%C3%B3ttir-Bj%C3%B6rk/master/1870] – sounds rather dated to these ears nowadays. Human Behaviour still stands up, probably because it is the least electronic track on it. I also still love Crying. But the trouble with electronic music is that it rarely stands the test of time, the sounds get left behind as the technology changes. A lot of ‘Debut’ suffers from that, I reckon.

Reading that led me to dig deep into the vaults of the few postings kicking around from the old blog and to offer this alternative view that I put up back in October 2009:-

I was an admirer of the music released by The Sugarcubes in as much that I bought singles and albums, but usually a few weeks or months after they had been released rather than on the day they hit the shops.

I was slightly sorry to learn of their break-up in 1992, and while I was interested to hear that their female lead singer was going to pursue a solo career I didn’t think it was one that would have a big impact outside of her native Iceland…….(glad I never put a bet on that one at the bookies)

This was another of the records that I first heard snippets of in a record shop while browsing. I recognised that Bjork was singing, but my first assumption was that she was doing guest vocals for someone else. It was only after the third or fourth track in row to feature her talents that I thought there was more to it, and this was confirmed by the ever-friendly indie-store sales assistant. He also told me that in the week or so since the CD had arrived in the shop it had been on very heavy rotation as it was that rare beast – ie an album that found favour with all four folk who worked in the shop.

I told him I was a fan of her former band – he replied that it was nothing at all like any of the old stuff. And he also offered me, as a well-known face in the shop who spent something in the region of £40 a week on CDs, a free copy over the weekend that I could bring back on Monday morning if I didn’t like it. And if I did…..well it would be added to my next bill.

I don’t know how many times the CD was played over the course of that Friday night, the Saturday and the Sunday, suffice to say that not many other things got a look in.

Debut is a record that shifts from one music genre to another with the greatest of ease, class and style (another record that I think does the same is Boat To Bolivia by Martin Stephenson & The Daintees). As such, it is impossible to get bored with it. It’s a combination of the songwriting genius of Ms Gudmunsdottir and magical production from Nellee Hooper (and no I haven’t forgotten that he also co-wrote at least half of the songs).

I listened to this album in its entirety again in the last hour, something I probably haven’t done in 10 or so years. It has not dated one bit whatsoever. It still made me smile, it made me dance and it stopped me in my tracks and made me think about loved ones present and past.

It’s a truly remarkable piece of work.

It was an album that was a slow-burner. It spent ages in the UK charts but never got any higher than #3. Four singles were taken from it, and in a strange reversal from the norm, they reached progressively higher chart positions, with the lead-off Human Behaviour hitting #36 in June 1993. Venus As A Boy touched #29 in August, while Big Time Sensuality climbed to #17 on its release in November. However, in March 1994, Violently Happy reached #13.

If you don’t own this record, do something about it.

So there you are.

Two contrasting views from bloggers whose tastes tend to be quite similar. Incidentally, I’m not saying I’m right and that The Robster is wrong….I just felt it was a good way of illustrating the diverse opinions that can exist and why the whole notion of simply liking or disliking a piece of music just because someone else has said something good or bad about it is utter bollocks.

It’s also why I believe anyone with a taste or passion for music should never be afraid to express their views and thoughts…..and if you want to do so via a guest posting on T(n)VV then don’t be slow at coming forward.

In the meantime……

mp3 : Bjork – Big Time Sensuality
mp3 : Bjork – Come To Me
mp3 : Bjork – Crying
mp3 : Bjork – Violently Happy (Fluke – Even Tempered Mix)

Enjoy

PS : Talking of WYCRA, word reaches me that Badger is on the mend after a wee bit of surgery. It’s also likely that S-WC, having moved house and got his wi-fi up and running more quickly than he expected, may be posting again, if not today then in the near future. It’s only been a few days but they have been missed.

Black Grape

IT WAS AN AMAZING AND UNEXPECTED COMEBACK

Black+Grape+blackgrape1995

With the demise of Factory Records in late 1992, you would have been forgiven for thinking that the musical world had seen the back of Shaun Ryder. In fact, you wouldn’t have got many folk disagreeing with the view that his time on planet earth itself was most likely coming to an end such was his drug addiction problem.

There were reports in the music press that he was forming a new band, along with his old sidekick Bez, as well as some other musicians from the Manchester scene, including members of Ruthless Rap Assassins and Paris Angels. But for months there was nothing coming out of the studio except rumours that Shaun, far from heading for an early grave, was in fact writing some of his best ever material.

I’m sure I first heard Black Grape on Radio 1 in mid 1995 when I was sitting in a car being driven to a midweek football match – which would probably mean it was on a show hosted by Steve Lamacq and/or Jo Whiley. I remember the other person in the car, who was about as far away from being a fan of the Happy Mondays as you could imagine, saying that he thought it was an amazing song, and I just knew from that sort of reaction that Shaun really was on to something pretty special.

The band were given a big lift with the endorsement of Radio 1 breakfast DJ and TV presenter Chris Evans, who was responsible for bringing a lot of the new Britpop bands to wider attention. But there was never any way that Black Grape could be linked into that genre..the fact they were in existence for a few short years at the height of Britpop was a mere coincidence…

For about 12 months from the summer of 1995, Black Grape released an incredible body of work, with five Top 20 singles (including an alternative football anthem to coincide with England hosting Euro 96) and an album, It’s Great When You’re Straight….Yeah, which hit the #1 spot. Sadly, the momentum wasn’t maintained, and by the time the follow-up album Stupid Stupid Stupid came out in 1997, the band were beginning to fall apart with drink, drugs and illness taking their toll individually and collectively. They split in early 1998….

Black Grape may not have been with us all that long, but it was great fun while it lasted. Just about all of their singles are belters with some of the best lyrics Shaun has ever written.

mp3 : Black Grape – Reverend Black Grape
mp3 : Black Grape – In The Name Of The Father
mp3 : Black Grape – Kelly’s Heroes
mp3 : Black Grape – Fat Neck
mp3 : Black Grape – England’s Irie
mp3 : Black Grape – Get Higher
mp3 : Black Grape – Marbles

A fairly magnificent 7 right enough (for the most part…Fat Neck isn’t that good).

Elvis Costello & The Attractions

FAST, FRENETIC, FEROCIOUS AND FABULOUS

So there I was making my way through the really enjoyable Unfaithful Music and Disappearing Ink when I got to a few paras on Pages 347-348 that made me put down the book and fire up the laptop:-

Yet in the midst of all these follies we stumbled into a television studio in Cologne and delivered the only videotaped performance of us in which I can begin to see what all the fuss was about.

It’s clear from the off tha we went on spoiling for a fight, clearly uncomfortable about playing in front of a sedate, long-haired crowd that looked as if it might have come to see Tangerine Dream.

Pete Thomas opened the first number with more of a drum solo than his usual drum into of ‘Mystery Dance’. We played three songs straight off at top speed before I yelped an unconvincing ‘Good evening’.

My manner was sullen, almost as if I was in a hurry to get this over with, in stark contrast to the rather open-faced portrait from the back of ‘My Aim Is true’ that was blown up as a backdrop to the tiny stage. Bruce Thomas was prowling round on his side of the stage, and Steve Nieve was wearing a mean pair of shades and playing the toy-town keyboard setup that was all that was at his disposal then.

The studio was airless and asphyxiating under the hot television lights and as the fuel of our initial liftoff was burned away, we had to create some space in the songs from ‘This Year’s Model’ just to catch our breath. The songs from ‘My Aim Is True’ were barely recognisable and we even previewed a new song called ‘Two Little Hitlers’, the title of which was a provocation in itself.

Singing directly into the camera had always looked ridiculous when I was lip-synching, but this was real flesh and blood, spit and sweat and strain. My gestures and peculiar movements would be flattered by any description as dancing, but they were directed straight at the viewer, ignoring the studio audience completely.

This was television, not a picture of somebody playing in a box.

We ran one song into the next, not risking the absence of applause, and tried to blow ‘Night Rally’ to pieces before careering through a finale of four fast songs from ‘This Year’s Model’, leaving the ‘Rockpalast’ studio without a backward glance.

Strangely enough, that tape contains the last trace of my innocence and utter conviction before the songs began playing me.

I put the book down as I simply had to see if the performance matched the hype of Elvis’s build-up.

It does. It really does. Especially those four songs that come back-to-back from 24:40 onwards.

Set list:-

01 Mystery Dance
02 End Of The World
03 Lip Service
04 Two Little Hitlers
05 The Beat
06 Night Rally
07 This Year’s Girl
08 No Action
09 (I Don’t Want To Go To) Chelsea
10 Lipstick Vogue
11 Watching The Detectives
12 Pump It Up
13 You Belong To Me

It’s watching such a performance that makes me realise how much of an impossible task it would be to come up with an ICA given how many songs from this era really need to be included and yet how many great songs were still to be written and recorded in the years still to come. So I’m happy to duck out and say that Elvis Costello will be the subject of the Sunday singles series as and when that of Buzzcocks comes to an end.

The other thing this performance captures is the talents of all four musicians. A few pages previously in the book, Elvis had acknowledged this saying that:-

The difference was that The Attractions could play rings around everyone else. I just had to stand in the middle and sing. I can’t think of anyone else in the class of ’77 who could have played the piano intro of ‘Little Triggers’, let alone the bass and drums of ‘Lipstick Vogue’, a song which was taken at a tempo that was just this side of impossible in the studio and even faster and more ferocious in a live performance.

mp3 : Elvis Costello & The Attractions – Lipstick Vogue

Fancy a cover version?

mp3 : Andrew Poppy & Claudia Brucken – Lipstick Vogue

Enjoy.

Blur

A REAL GROWER….

Blur-Beetlebum-76612

The Blur v Oasis ‘war’ of 1995 had swung one way then the other. The Essex band were declared the initial winners thanks to Country House beating Roll With It to the #1 spot but before long the Gallagher Bros had captured the hearts and wallets of a nation once they heard Wonderwall.

Come 1997 a new and different sounding Blur emerged. The fun-loving Britpop band had gone to be replaced by an altogether more serious sounding lot. There was an edge to the lyrics, but much more impressively, there was also an edge to the music. Above all else, where Oasis had seemingly stood still and simply wanted to regurgitate the songs that were the cash-cows, Blur challenged their fans to keep on loving them.

The Comeback single was released on 20 January 1997.

mp3 : Blur – Beetlebum

Was it a dig at Liam & Noel with their never-ending fixation on The Beatles? That’s what it sounded like first time round. It was one of those tracks that sounded OK on the radio but not one that would instantly stick in your brain. But it was popular enough to reach #1, only the second time this had happened to Blur after the afore-mentioned Country House (strangely enough it would be the last #1 single they ever had).

But it wasn’t until around three weeks later that I really appreciated Beetlebum for being a truly great song. I bought the new album, called Blur, and gave it a listen. The lead single was the opening track and as I was impatient, I hit the skip button to listen to everything else afterwards. After about eight songs I realised I owned a CD that was a bit special so I stopped there and there and went back to the beginning. And listened properly to Beetlebum. It sounded so much better played loud on the stereo than it did on the radio…the talents of Graham Coxon, Dave Rowntree and Alex James really shone through…and Damon Albarn provided a great reminder of how good a singer he was. Forget the fact that Oasis were now in a different league to Blur in terms of popularity and record sales…..this was the sound of the most important British band of their era coming good yet again.

Here’s all yer b-side of the single. Warning…there’s a reason they didn’t end up on the LP…..

mp3 : Blur – All Your Life
mp3 : Blur – A Spell (For Money)
mp3 : Blur – Woodpigeon Song
mp3 : Blur – Dancehall
mp3 : Blur – Beetlebum (Mario Caldato Jr Mix)

Enjoy

Various

BONUS POSTING : GET WELL SOON AMIGO

Those of you who dropped in the other day to When You Can’t Remember Anything will likely have been alarmed by the news that Badger is unwell. I know I was……

I did think of dropping him a ‘Get Well Soon’ card but he’ll likely be inundated with such things, and so I’ve spent the later hours of Saturday night getting the mixing decks out one more time. Hope you get the chance to download and listen my dear friend, and that this plays a small part in helping you along the road to recovery.

mp3 : Various – This One’s For Tim

Track Listing

Take Me Out – Franz Ferdinand
Infinity Guitars – Sleigh Bells
Whip My Hair (remix) – Willow Smith ft Tinie Tempah
Clint Eastwood – Gorillaz
Human Behaviour – Bjork
There There – Radiohead
Can’t Do Without You – Caribou
Time To Pretend – MGMT
We Are Sound – British Sea Power
Helicopter – Bloc Party
Interstate 5 – The Wedding Present
Better Things – Massive Attack ft Tracy Thorn
Pennyroyal Tea – Kristin Hersh
Post Breakup Sex – The Vaccines
Don’t Look Back Into The Sun – The Libertines

S-WC is hopeful of giving me a midweek update and I’ll share that with you as and when. Feel free to add your own messages below.

Buzzcocks

BUZZCOCKS SINGLES 77-80 (Part 7)

All the while that Ever Fallen In Love was riding high in the charts so too was Love Bites the album it had been lifted from. Like many other bands who were coming to the fore in the post-punk/new wave era of 1978 Buzzcocks were quite prolific and it was no real surprise when it was revealed that a brand new song was set to be the next 45.

The problem was that Ever Fallen In Love showed no sign of drifting out of the charts completely and so United Artists delayed the release of its follow-up all the while claiming, with the support of the band, that it was even better than the big smash.

In the event Promises was eventually released in late November 1978 but it only reached #20 in the charts as opposed to the previous single’s #12 showing. However, it is worth remembering that this particular single was in the shops in the run-up to Christmas 1978 – indeed it was in the Top 30 on Xmas Day – and it is very likely that it actually sold more copies and in effect became the band’s best-selling 45.

It is an absolute belter of a record which, if there hadn’t been an Ever Fallen In Love would probably have been held up as the band’s all-time classic.

mp3 : Buzzcocks – Promises
mp3 : Buzzcocks – Lipstick

The b-side uses the same tune as Shot By Both Sides, the debut single by Magazine – a song which had been attributed to Devoto/Shelley. But Lipstick is attributed solely to Pete Shelley thus robbing Howard of some deserved royalties.

Bum-Clocks

SATURDAY’S SCOTTISH SONG :#44 : THE BUM-CLOCKS

Best just to reproduce this review from June 2009 which led me to get my hands on today’s song:-

Leith’s Bum-Clocks are the only Robert Burns tribute band who play in the style of Iggy and the Stooges. If that sounds too high-concept for you, a glance over those involved mean they demand a listen. The Bum-Clocks – ye olde Scottish name for a beetle, making them the Scottish Beatles – are Tam Dean Burn (actor), his brother Russell (Fire Engines’ drummer) and Malcolm Ross, sometime guitarist with Josef K, Orange Juice and Aztec Camera. Could they be Leith’s first ever supergroup?

They’re really very good, either way. Ross and Burn (Russell) create raw, distorted havoc with the music, impressively echoing the Ashetons’ sound. Before a Leith Festival audience so familiar to the band he can even tell his mum to be quiet, the white-suited Burn (Tam Dean) reflects both Iggy and Rabbie in his forceful personality and vulgar wit; witness a merging of ‘Green Grow the Rashes O’ with a growled chorus line of ‘ah wannae be yir dug’, and a version of ‘Nine Inch Will Please a Lady’ that really needs no lyrical updating.

mp3 : The Bum-Clocks – Green Grow The Rashes O’

Enjoy.

Lene Lovich

THE LARGELY FORGOTTEN FOLLOW UP TO THE BIG HIT

The American-born but largely English-raised Lili Marlene Premilovich (her father was Serbian) was one of many who emerged from the art school scene to find some success in the post-punk era.

Adopting the name of Lene Lovich, she came to the fore, as a 30-year old (although she looked and sounded a lot younger) after a crazy career in which she has been a sculptor, played in funk and rock bands, acted on stage, been a go-go dancer, written lyrics for disco single that had gone Top 10 and recorded screams for later dubbing onto other actresses appearing in horror films.

Her break came via Dave Robinson, the boss of the newly formed Stiff Records, who thought she would crack the pop market with a cover of I Think We’re Alone Now which had been a 60s hit in the States for Tommy James & The Shondells.

It turned out Robinson was wrong (although a later cover by another female singer would top the charts a decade later), but the b-side to the single, an original Lovich composition called Lucky Number, was then re-recorded and issued as the follow-up single in February 1979. It proved to be a huge hit, reaching #3 in the charts. The distinctive occasionally child-like delivery and different dress sense adopted by Lene Lovich, combined with the fact that having experienced the fag-end of showbiz life she knew how to play the game, meant that she had no problems in adopting a persona that fitted perfectly with the times and so she soon became a face for the new wave era.

The radio-friendly single was also a smash in a number of other countries including Australia, New Zealand, Belgium, Holland and Ireland

The follow-up single was released in April 1979 and the fact that it reached #19 means nobody could accuse Lene Lovich of being a one-hit wonder:-

mp3 : Lene Lovich – Say When

This single however, did nothing outwith the UK, with the exception of Belgium and Holland.

Although she went on tour with a number of other acts on Stiff, and the label continued to issue singles and LPs through to 1982, there was never any real move to have her become a serious new-wave performer (as seen by the cartoon-like feel to Say When) and it didn’t take long for the novelty factor to wear off and for the next quirky female to get the media spotlight. Lene Lovich never bothered the singles charts again.

Now you have information that one day might come in useful in a pub quiz. But most likely not.

Bill Wells & Aidan Moffat, Twilight Sad

FROM RECORD STORE DAY 2013

I’m not a fan of Record Store Day. It started out with the best of intentions but before long became another way for real music fans to be ripped off. Not necessarily by any small/independent record stores or the sorts of labels who supply much of the stock to such stores, but I’m more thinking about the majors who jumped on the bandwagon and issued all sorts of product for stupid prices, and in doing so tied up pressing plants at the expense of the smaller labels.

Oh and not forgetting the greedy fucks who got into the habit of going along on RSD for the sole purpose of hoovering up bundles of rare and in demand releases to then shove them on the internet within a matter of hours at vastly inflated prices. The sort of greedy fucks who ticket tout……

Anyways, this is probably the last thing I bought on the actual RSD and it was only because at the time I had everything ever released on vinyl by The Twilight Sad and I was also intrigued to hear what Bill Wells and Aidan Moffat would bring to a Twilight Sad number.

Limited edition of 500 on 7″ vinyl on Fat Cat Records.

mp3 : Bill Wells and Aidan Moffat – Alphabet
mp3 : The Twilight Sad – (If You) Keep Me In Your Heart

One thing I’ll say. Both acts make the songs sound as if they are their own rather than covers. But both ultimately are not a patch on the originals.

Enjoy.

Merton Parkas

WE ARE THE MODS. WE ARE THE MODS. WE ARE, WE ARE, WE ARE THE MODS

R-2316275-1276432467

One of the things about doing this blogging lark for so many years is that I find myself in second hand stores/charity shops looking for stuff that I think might be of more interest to readers than myself. I’m not doing it anywhere as often as the old days as the prices for vinyl have, for the most part, gotten out of hand with so many folk nowadays latching on to anything that is an original pressing and in decent nick.

Today, I’m looking at a 12″ single that I paid £3 for maybe some six years or so ago. It’s now going for a minimum of double that on t’internet reflecting the fact that it didn’t sell all that well as would have been withdrawn pretty quickly after its release.

The Merton Parkas are a band I only know of thanks to it being where Mick Talbot began his career. You can see from the record sleeve that this was a band who firmly nailed their mast to the Mod movement which enjoyed a bit of a revival in the late 70s when it was linked to The Jam and the release of the film Quadrophenia.

The Merton Parkas released four singles and one LP in 1979. all on the Beggars Banquet label. Only one of them scraped into the Top 40. Within 12 months it was all over for the band, but of course Mick Talbot would, in the early to mid 80s, become one of the best-known musicians in the UK thanks to being one-half of The Style Council.

This particular 12″ was issued in 1983 – I guess as a cash-in to Talbot’s new found fame and popularity. It features all four of the singles and two of the b-sides:-

mp3 : The Merton Parkas – You Need Wheels
mp3 : The Merton Parkas – The Man With The Disguise
mp3 : The Merton Parkas – Give It To Me Now
mp3 : The Merton Parkas – Put Me In The Picture
mp3 : The Merton Parkas – Plastic Smile
mp3 : The Merton Parkas – In The Midnight Hour

Enjoy.

Gang Of Four

GIVING SOMETHING THE UNEXPECTED DANCE TREATMENT

Last December, this blog was lucky enough to host an incredible guest post from Dave Glickmann in which he imagined the staging of a Broadway musical featuring only the songs of Gang of Four. There’s since been at one other regular reader who shied away from doing a Gang of Four ICA on the basis that most of the songs would have been in Dave’s piece and besides, what he’d given us was utter genius.

I’ve also shied away from doing anything further on the band, but having dug out a 12″ single from the cupboard the other day, I thought it worth sharing as it showed that a band as principled and determined as Gang of Four were often forced to play the game.

The release of the band’s fourth studio album, Hard, was preceded by a lead-off single Is It Love in August 1983. The bosses at EMI decided that the song was worthy of an extended dance mix for use on a 12″ single. It wasn’t the first time a single had been released on the 12″ format but to the best of my knowledge (and I’m willing to be corrected) it was the first and last to be given such treatment:-

mp3 : Gang Of Four – Is It Love (Extended Dance Mix)

It’s about two minutes or so longer than the edited version of the song which was made available on the b-side (which itself was about a minute shorter than the version subsequently made available on Hard). The other track would also later appear the following month on the parent album:-

mp3 : Gang Of Four – A Man With A Good Car
mp3 : Gang Of Four – Is It Love

I distinctly remember the single getting some rotten reviews with at least one writer wondering aloud why such a brilliant band had been allowed to turn into Heaven 17….

Harsh.

Joy Division

AS OPENING TRACKS ON DEBUT LPs GO……

Joy-Division-Unknown-Pleasures-328894

……this is hard to beat.

I’ve been waiting for a guide to come and take me by the hand
Could these sensations make me feel the pleasures of a normal man?
These sensations barely interest me for another day
I’ve got the spirit, lose the feeling, take the shock away.

It’s getting faster, moving faster now, its getting out of hand
On the tenth floor, down the back stairs, its a no mans land
Lights are flashing, cars are crashing, getting frequent now
I’ve got the spirit, lose the feeling, let it out somehow.

What means to you, what means to me, and we will meet again
I’m watching you, I’m watching her, I’ll take no pity from you friends
Who is right, who can tell, and who gives a damn right now
Until the spirit new sensation takes hold, then you know
Until the spirit new sensation takes hold, then you know
Until the spirit new sensation takes hold, then you know.

I’ve got the spirit, but lose the feeling
I’ve got the spirit, but lose the feeling
Feeling, feeling, feeling, feeling, feeling, feeling, feeling.

mp3 : Joy Division – Disorder

That is all.

Buzzcocks

BUZZCOCKS SINGLES 77-80 (Part 6)

A bona fide classic and one of the greatest singles of all time.

mp3 : Buzzcocks – Ever Fallen In Love
mp3 : Buzzcocks – Just Lust

It charted for 11 weeks all told, spending 8 weeks in the Top 40, five of which were in the Top 20, peaking at #12.

That was back in September – December 1978. Almost 40 years ago (gulp!!)

Cracking b-side too.

There’s something unjust however, when a hugely inferior cover by Fine Young Cannibals in 1987 enjoyed greater chart success by reaching #9.

Bronski Beat

SATURDAY’S SCOTTISH SONG :#43 : BRONSKI BEAT

I’ve featured the singles on many an occasion in the past, both here and on the old blog.

Bronski Beat were a hugely important group. They weren’t, by definition, a Scottish act. But frontman Jimmy Somerville is from these parts and I’m always happy to feature them here.

From the incredibly brave and groundbreaking LP The Age Of Consent:-

mp3 : Bronski Beat – No More War

Still resonates 30+ years later.