Four teams jumped out to leads of at least five points within the first 36 hours which is when most of the voting tends to take place.  It’s also a fact that a five-point lead has been near impossible to turn around.

Some folk were happy to admit that some of the ties did cuuse them huge grief, none more so than The Swede who said of the Devoto v Gedge match-up:-

Magazine v The Wedding Present went to extra time, then a replay. Then another replay. Then penalties. Then another replay. Then a coin toss. The coin landed on its edge. Unseparateable. Do your worst JC.

Tne Swede bottled out of voting…and he wasn’t alone; but if you’re reading this mate, please remember you’re still able to come in again before 10pm on Friday evening.  It night make a difference…..

Oh and three of the early leaders have had very strong finishes to the half and look home and dried.

The Jam 28 v The Detroit Cobras 3
Half Man Half Biscuit 19 v Trashcan Sinatras 12
Pete Wylie 22 v PJ Harvey 11
Magazine 14 v The Wedding Present 18

Today’s accompanying tune, as per the newly adopted practice, comes from the ICA of a singer or band knocked out in the last round by one of the above eight sides:-

mp3 : Elvis Costello & The Attractions – Radio Radio

Don’t know about the rest of you, but I’m having fun with this series!




I rely very heavily on guest postss to make this place tick, so when I get asked if I want to contribute the odd piece elsewhere, I’ll almost always certainly take up the challenge.

I did so just yesterday over at The Sound of Being OK, the new(ish) venture from SWC, Tim and KT. I know that just about all of you were very fond of their work under the When You Can’t Remember Anything banner which, sadly, had to come to a sudden halt for all sorts of reasons in the summer of 2017, but the great news is that the quality of writing and the ideas they are generating for features across the new blog are every bit as first-class as the old place.

They are running a wonderful series on the best b-sides of all time; well it was wonderful until I got involved and offered up some thoughts on a 1986 single by Primal Scream. This was its a-side:-

mp3 : Primal Scream – Crystal Crescent

Click here if you fancy reading what I had to say about its more illustrious flip side.



This will be an ICA heavily reliant on singles as there can be no question that Soft Cell, especially in their most commercially successful period between 1981 and 1983, released a number of 45s that today can still be regarded as classics. It also contains songs that have featured in the blog in the past and I’ve taken the liberty of doing some cuttin’n’pastin’ from old posts as I don’t think I can improve on what I said previously.

It really is a frightening thought that Marc Almond and David Ball first hooked up at Leeds Polytechnic more than 40 years ago and that they unleashed their music on the listening public as long ago as 1980. They were very much at the forefront of adding pop hooks to synth music thus broadening its appeal beyond that of the musos and nerds, but they did so in a way unlike any of their contemporaries.

It is always worth remembering that the duo didn’t set out to be pop stars and that their collaboration was initially all about creating music for extreme and often very confrontational performance art shows in which sexual imagery was readily deployed. This was in the middle of an era when colleges and schools all across the UK were able to offer students the opportunity to study art in its broadest sense of the word and the likes of John Lennon, Keith Richards, John Cale, Pete Townsend, Ray Davies, Freddie Mercury, Bryan Ferry, Brian Eno, Ian Dury, Joe Strummer and Mick Jones were among the best examples of musicians who had benefitted from such courses. In later years, Sade, Jarvis Cocker, Graham Coxon and PJ Harvey would do similar.

Their academic background meant that Almond and Ball had innovative ideas and ways to add to the music they were making and they also emerged just as video was becoming an integral part of the make-up of pop singers and bands; in some ways, they were in the right place at exactly the right time but there is no question that their ability to write and record some amazing original hooks, as well as finding ways to modernise and update obscure but brilliant northern soul records, was what enabled them to rise to the top.


1. Memorobilia (edit)

The best-known of the early songs remains the perfect calling card. A limited edition EP in 1980, funded, as so many of the great records of era seemed to be, through borrowings from family, had caught the attention of Stevo, the owner of Some Bizarre which was a newly established label based in London, and the duo were invited to contribute tracks to a compilation album aimed at showcasing the label. The early promise was followed up by a couple of singles, neither of which set the heather alight, but one of which was finding huge favour in some of the more alternative and fetish nightclubs that were beginning to pop up in all sorts of strange new venues in the capital. Memorobilia had a weird, other-wordly riff to drive it along while the desperate vocal sounded as it had had been penned and was being delivered by someone who was dancing the hours away in one of these clubs – when images of Soft Cell began to circulate, along with rumours that they had all sorts of pervy songs in their canon, the touchpaper had been truly lit.

2. Bedsitter (12”)

You have to allow me to leap forward a bit. Soft Cell could have become just another cult band if it hadn’t been for what happened next, namely that they recorded and released a single that was as equally perfect for radio and dancehalls. The fact it was a cover version was neither here nor there, for it was of such an obscure song that everyone assumed it was an original, written to take advantage of electronica, including synths and drum machines. But we’ll come to that later in the ICA.

The next again single provided a remarkable social commentary, juxtaposing the loneliness and emptiness of living alone in a cold and damp single-room within a multiple occupancy flat with the temporary and artificial highs that come with being the party animal. I bet the protagonist in this song was a Gemini.

3. The Art Of Falling Apart

The title track of the sophomore album bounces along at a frantic pace and fits in really well at this stage of the ICA. It also works in a sort of conceptual way in that I’ve long thought this is the tale of the boy in the bedsitter, having achieved some unexpected fame and fortune, soon realises that he’s incapable of sustaining anything in his life and, piece by piece, it is going to come crashing down spectacularly on top of him. Soft Cell were, by this time, regulars in the singles charts and on Top of the Pops but all three of their albums went beyond mere pop and I’m thinking a few parents would have been horrified by the sounds and noises emanating from the stereos in their teenage kids bedrooms.

4. Martin

The ones most horrified would be those whose kids were quick enough to buy The Art of Falling Apart to also receive the limited edition bonus 12” single in which the duo, on one side, did an extended medley of songs made famous by Jimi Hendrix (with each of Hey Joe, Purple Haze and Voodoo Chile being brilliantly, almost unrecognisable) and on the other they unleashed Martin, a completely OTT number. more than 10 minutes in length, chronicling the exploits of a teenage vampire, complete with ‘kill kill kill’ refrain. Sweet Suburbia indeed.

5. Soul Inside

Pop stars in the 80s were able to enjoy all sorts of the trappings associated with success and the incredibly rapid rise came at a hefty price for the duo. The promotion of the hits and the albums had been fuelled by a mix of alcohol and drugs and probably the only thing that saved them was a temporary six-month break during which the singer formed Marc and the Mambas and the instrumentalist drew breath. They got back together in late 83 to work on their third album but soon came to realise that they had different perceptions for the best way forward. The decision was taken to complete and release the album but to call an end to the group. The album, This Last Night in Sodom, is a bit on the patchy side, (although some think it is their finest effort), but this, its lead-off single, is an absolute belter, an upbeat and joyous anthem of wild celebration which seems to acknowledge that it really had been worth it.


1. Frustration

The opening song of the debut album Non-Stop Erotic Cabaret. As I’ve said before, it’s a great opener to one of the greatest albums of all time and is, more or less, The Fall and Rise of Reginald Perrin set to pop music.

2. Tainted Love/Where Did Our Love Go?

On the LP, the last wail of the sax on Frustration goes straight into one of the most recognisable two-note pieces of music ever recorded.

Marc Almond has since written that the arrangement on Tainted Love is all down to David Ball, with one exception; it was Marc’s idea to open with the tinny sounding ‘bim bim’ that would then be repeated throughout the song in the background. It was also his idea that the song would segue perfectly into another sixties classic, albeit in Where Did Our Love Go? they were deploying a tune that was incredibly well-known. At this time, the duo were still focussed on being experimental as much as possible and the plan when they went into the studio was to go for a 12” release aimed at the club market. It was producer Mike Thorne who twisted their arms to go with Tainted Love as a stand-alone track and as a compromise, a stand-alone cover of the Supremes number would be the b-side.

The 7” became a #1 hit the world over and went Top 10 on the Billboard chart in the USA, staying in that particular Top 100 for 43 weeks. It has sold millions, but of course neither Almond or Ball have any song-writing royalties from such sales thanks to the error of not including one of their own compositions on the single (albeit a re-recorded Memorobilia was on the 12”).

3. Torch

I’d like to think that Soul Inside was written with the times of writing and recording Torch in mind. New Order have, and rightly, long been lauded for heading to New York and immersing themselves in the fabric of the city in ways that influenced their sounds. Soft Cell, however, were truly the pioneers of this approach spending loads of time Stateside on the back of the success of Tainted Love and exploiting the fact that there was an ever bigger market for their kinky brand of electro-pop.

The time spent in the seedier clubs, and more importantly necking copious amounts of a new drug called Ecstacy, led to them penning a new song whose title was applicable to both the style and subject matter of the tune and lyric. Torch also made the trumpet a cool and hip instrument again, but best of all, it thumbed its nose at the establishment by utilising the band’s drug dealer on co-vocal, this ensuring she had a legitimate reason to be allowed into the UK for work purposes, including a memorable appearance on Top of the Pops.

4. Mr Self-Destruct

The opening song from the final LP which could be seen as their look back on the career they were calling a halt to. On the album it segues straight into Slave To This and this stand-alone version comes from a budget CD released long after they broke up….sadly it completely omits the use of the word ‘fucker’.

5. Say Hello, Wave Goodbye (12”)

In which Soft Cell showed that the cold and harsh synth sounds could be every bit as soulful and haunting as the Tamla Motown mid-temp ballads. Say Hello, Wave Goodbye really is What Becomes of the Broken-Hearted in a new era and a new location. Every late-teen and twenty-something, male and female alike, empathised with the protagonist who was standing in the door of the Pink Flamingo, crying their eyes out as the rain poured down in sympathy. The 12” inch is particularly glorious, with its extended and mournful clarinet solo intro setting the perfect tone for what, I would argue, has always been the finest few minutes in Marc Almond’s entire career, with his failure to hit the perfect notes at the end of the song only adding to its poignancy. There is no better way to close out this ICA.



Many of you will realise that the title of this bonus posting shares its name with the title of a song by Gene. What you might not realise, until you look at the accompanying image, is that it also shares its name with the title of a new book by author Martin Pond. What you might also not realise is that Martin has been an occasional contributor to this blog and that his place, New Amusements, is one to which I provide a link.

Martin didn’t get in touch with me to ask for a plug for his book, which is his first full-length novel, fully self-funded and available through Amazon, although if he did I would have been happy to help out. I only picked up he’d penned the work after reading a review by Rol over at My Top Ten. Martin had mentioned the book at New Amusements but it was during that period in late 2017 when all sorts of things prevented me keeping up with all that was appearing in so many great blogs.

I’m not the greatest at trying to put down on paper why it is I like or dislike most forms of art, be it in the visual or performing sense, and I’m not great at turning my hand to book reviews beyond those that are autobiographical and on someone I’m familiar with. But I really want to try to do so today in the hope that some of you may be persuaded to pick up a kindle or physical copy of Martin’s book.

Drawn to the Deep End is the tale of Peter Potter, a 30-something single man who lives and works in Cambridge. Anyone observing him from a distance would think he was an ordinary enough bloke who inhabits an ordinary enough world – one of those dependable and likable enough guys who just gets on with things and deals with the ups and downs of life without any real problems. As the book unfolds, however, it becomes clear to the reader, if not to Peter himself, that he is a lonely, vulnerable and despairing man who actually isn’t very good at dealing with adversity and who has a dreadful habit of making the wrong decision in almost every situation he faces.

Peter is a brilliantly drawn character, someone who will run the full gamut of your emotions and catch you off-guard every now and again; you will have empathy and sympathy one moment but it won’t be too long before you want to grab him by the throat and shout ‘what the fuck??’ into his face to get him to see sense. The book is also populated by a cast of wonderful co-stars, especially from the world of work where the sheer one-dimensional aspect of so many of them struck a chord, given my own experiences in different offices over the past 30+ years with colleagues who have displayed many of the traits on show across the 230-odd pages – I might even admit, with a sense of shame, of seeing something of my younger cocky and arrogant self in parts of the minor characters. It is a book that also contains some of the most moving passages anyone will ever read on just how difficult, draining, frustrating and ultimately heart-breaking it is to be responsible for a demented and elderly parent.

Martin Pond has delivered something that is overwhelmingly intense and quite demanding, but not without humour, often of the blackest kind. It is contained across three chapters, ‘Deep’, ‘Deeper’ and ‘Deepest’, followed by a short epilogue; the story unfolds like a play or a feature film that I would have likely devoured in one sitting a few years ago when I could read for hours not worrying about a lack of sleep and needing to to work the next day.

It comes highly recommended and is available from here.

mp3 : Gene – Drawn To The Deep End



from allmusic:-

Based in Glasgow, Scotland, indie rock quartet Glasvegas comprise cousins James Allan (singer and principal songwriter) and Rab Allan (guitar), bassist Paul Donoghue, and drummer Jonna Löfgren. Although they deftly fused a love of doo wop and classic, Spector-produced pop with a nod to some of the more intense and inventive guitar acts of the ’80s, perhaps the band’s defining attribute was in James Allan’s earnest lyricism.

Former Creation boss Alan McGee and ex-Libertines guitarist Carl Barât were so struck by a 2006 hometown performance by the band that each went on to ensure that more people witnessed their powerful live sets. Their third single, “Daddy’s Gone,” was ranked as the second best track of 2007 by NME and even led to the band striking up a friendship with Lisa Marie Presley after the song came to her attention. Next, their platinum-selling debut album, Glasvegas, received widespread praise following its release on Columbia in September 2008, and went on to be nominated for the prestigious Mercury Music Prize in 2009. Less than three months after the release of their debut, the Transylvania-recorded, Christmas-themed EP A Snowflake Fell (And It Felt Like a Kiss) was issued, bringing further acclaim.

The band’s sophomore full-length, Euphoric /// Heartbreak \\\, was written, demoed, and tracked at a beach house in Santa Monica, California during 2010 before undergoing final production under the direction of Flood in London. Before any recording had taken place, it was announced that original drummer Caroline McKay had left the band. Her replacement, Swedish music student Jonna Löfgren, joined Glasvegas after sessions for the album had been completed. On its release in April 2011, Euphoric /// Heartbreak \\\ reached the Top Ten of the U.K. album chart and also hit the number one spot in Sweden. To promote the album, the band embarked on a second world tour, which incorporated their biggest European headline gigs to date as well as successful trips to both Australia and Japan. Then, in late 2013, Glasvegas returned with a self-produced third studio album, Later…When the TV Turns to Static, released through BMG. The next couple of years brought further live dates throughout Europe and North America, and Later… also enjoyed a summer 2014 release in Central and South America. To assist with promotion of the album in these territories, the Secret Truth EP was issued, before Allan relocated to Stockholm to work on new material.

They’ve been fairly quiet for a while now and the feeling is they never quite managed to scale the heights of the earliest material.

mp3 : Glasvegas – Daddy’s Gone



I was very tempted to call an end to this series after World In Motion given that we are now onto the London era with the band signing to the label after the sad and bitter collapse of Factory.

It took nearly three years for the follow-up to the #1 hit to be released. By this time, the music scene in the UK and the US had gone through a number of major changes and there was a feeling that perhaps there was no longer a need for New Order. But doubts were banished when the first few notes of the comeback single were first heard:-

mp3 : New Order – Regret (7″ mix)

OK….it’s not exactly dance hall New Order, it’s not exactly electro New Order and it’s not exactly guitar-led New Order. But it is a rather lovely mid-tempo pop song in which the vocal comes through nice and clear over some polished and professional playing. There was no doubting that Stephen Hague‘s fingerprints were all over it as it sounded sublime coming out of a radio.

It was ‘new’ New Order, so to speak – one that seemed to promise much, albeit it was the sound of a band perhaps accepting their halcyon and wild days were over and it was time to settle down and make music for grown-ups and the baby boomers. They would no longer be a truly essential part of anyone’s aural landscape, but as long as there were enough songs of the distinction and quality of Regret, we’d have nothing much to worry about.

Except of course it didn’t happen that way.

Which is why this is the last 45 to be given a feature on its own, with all the b-sides brought together for your enjoyment. From here on in, the 45s will be lumped in on the basis of the albums they were lifted from.

Regret was released in 7″, 12″ and CD format. All of the b-sides were variations on the hit, which reached #4 in the UK, the last time the band enjoyed a Top 5 achievement:-

mp3 : New Order – Regret (New Order Mix)
mp3 : New Order – Regret (Fire Island Mix)
mp3 : New Order – Regret (Junior Dub Mix)
mp3 : New Order – Regret (Sabres Slow ‘n’ Lo)
mp3 : New Order – Regret (Sabres Fast ‘n’ Throb)

Fire Island and Junior Dub are the work of Terry Farley and Pete Heller. Sabres are that man Weatherall again…and both come in at more than 12 minutes in length. Here was the band showing that they could, indeed, still be relevant to dance halls. But you’d be hard pushed to recognise either of them as being related much to the original.



Three of the ties were tight affairs for about three-quarters of the past week with all the winners finishing strongly.  All four losers this week would certainly have been worthy of a place in the final 32 and their fans will miss them.  The introductory title footage does reflect that this week ultimately proved to be a bit of an triumph for England.

New Order (3) 25 The Go-Betweens (2) 19
The Charlatans 32 Carter USM 13
Lightning Seeds 26 Big Audio Dynamite 17
The Cramps 20 Saint Etienne 26

This lastest batch of ties just about mirrors the full quality of last week and in Match 12, has what I think is the most scary one so far in this round, and in all likelihood the entire competition, partly on the basis of the two bands and partly on the songs that came out.  It would have made a worthy final.

Matches 9-12 of Round 2

The Jam v The Detroit Cobras

The Jam were perhaps fortunate that 1st Round opponents T Rex fielded a relatively weak song that enabled the use of album track The Gift to get the nod.  The Detroit Cobras, who offered Down In Louisiana, were on a hiding to nothing last time out, drawing Chris Martin and his merry men; readers of this corner of t’internet will just not counter any success for the latter, no matter the song.  The evil streak in me wishes I had rigged a Coldplay v Kanye West match-up – that would have got you muttering under your collective breaths.

On paper, the better known English beat-combo are favoured before the songs are drawn…..but it mustn’t be forgotten that their ICA consists solely of album tracks with the singles deliberately excluded.

Billy Hunt (from All Mod Cons, 1979) v  I Wanna Holler (But The Town’s Too Small) (from Baby, 2004)

Half Man Half Biscuit v The Trash Can Sinatras

This really is one for the purists with two of the finest wordsmiths going head-to-head with the extra spice of a cross-border battle which at club level would be Tranmere Rovers v Kilmarnock.  If you really want to enter into the spirit of things, you’d all wait till Friday night to vote for this one. Half Man Half Biscuit saw off the might of Elvis Costello & The Attractions last time out, but had to field a top-notch song in 1966 And All That to get through.  Still, there’s plenty more in their locker.  The Trashies had cult dance act A.R. Kane to overcome and they battled through thanks to All The Dark Horses, which will be an apt name to give to whoever emerges from here into the last 32. This is quality stuff.

National Shite Day (from CSI Ambleside, 2008) v Obscurity Knocks (from Cake, 1990)

Pete Wylie v PJ Harvey

Will you need to call in assistance from Sgt Rock to sort out this battle of the sexes or will the coin and dice make it such a mismatch that it’ll be an easy call to make?  Pete got through very easily last time against The Orwells despite fielding what could be considered a weak track in Remember, while Polly Jane casually went with one of her more  obscure numbers called The Wind which blew away Malcolm Ross despite him cranking things up with a Josef K number from the Postcard era, a result that saw the bookies react by reducing the odds on Ms Harvey being the eventual winner.  This has the makings of a superb tie.

The Story of the Blues (single, 1982) v C’mon Billy (from To Bring You My Love, 1995)

Magazine v The Wedding Present

You know those few opening minutes in the film Four Weddings and A Funeral in which the word ‘fuck’ is deployed on numerous occasions?  It was akin to the room in Villain Towers when these two names came out of the hat together.  Magazine and The Wedding Present….two of the most popular and written-about bands on the blog with very few, if any, dissenting comments ever left behind.

Round 1 saw very comfortable wins over Prince and Deacon Blue respectively, although it could be argued that in utilising The Light Pours Out of Me, Howie & co used a bigger weapon than Always The Quiet One as performed by TWP.

If this one comes down to a casting vote, it will be entirely about the song the coin and dice come up with.

Shot By Both Sides (single, 1978) v Kennedy (from Bizarro, 1990)

Fuckity-fuck fuck fuck.  That doesn’t help does it??

Please have your votes in by 10pm on Friday 3 March….as ever, you don’t have to vote in all of the ties but I’ve a feeling you might want to.

Tune in next Saturday for matches 13-16 which will be previewed by jimdoes, the mad genius who came up with this World Cup concept.  If you thought this week was tough, well babies you just ain’t seen nothin’ yet.





Hey JC – Still working up some charged particles and a NYC bit (and 2 ICAs) but this one is too good to wait on for your Some Songs are Stories series.

I wrote you once that I didn’t know a lot about country music before joining a a country band. I wouldn’t call myself an authority by any means–safe to say Drew and CC know loads more than me–but I have picked some things up along the way.

Tom T. Hall is known as ‘The Storyteller’ for his narrative, funny lyrics. I’d never heard of him a year ago but his song “A Week In A County Jail” is now one of my favorites. Not really the type of song that finds its way onto this blog often (ever?) but it really does fit the bill for this series. From his 1969 album ‘Homecoming’.

One time I spent a week inside a little country jail
And I don’t guess I’ll ever live it down
I was sittin’ at a red light when these two men came and got me
And said that I was speeding through their town

Well, they said, tomorrow morning you can see the judge then go.
They let me call one person on the phone
I thought I’d be there overnight so I just called my boss
To tell him I’d be off but not for long

Well, they motioned me inside a cell with seven other guys
One little barred up window in the rear
My cellmates said if they had let me bring some money in
We ought to send the jailer for some beer

Well, I had to pay him double ’cause he was the man in charge
And the jailer’s job was not the best in town
Later on his wife brought hot bologna, eggs and gravy
The first day I was there I turned it down

Well, next morning they just let us sleep but I was up real early
Wonderin’ when I’d get my release
Later on we got more hot bologna, eggs and gravy
And by now I wasn’t quite so hard to please

Two days later when I thought that I had been forgotten
The sheriff came in chewin’ on a straw
He said, where is the guy who thinks that this is indianapolis?
I’d like to talk to him about the law.

Well, I told him who I was and told him I was working steady
And I really should be gettin’ on my way
That part about me bein’ who I was did not impress him
He said, the judge’ll be here any day.

The jailer had a wife and let me tell you she was awful
But she brought that hot bologna every day
And after seven days she got to lookin’ so much better
I asked her if she’d like to run away

The next mornin’ that old judge took every nickel that I had
And he said, son, let this teach you not to race.
The jailer’s wife was smilin’ from the window as I left
In thirty minutes I was out of state

mp3 : Tom T Hall – A Week In A Country Jail





(Our Swedish Correspondent)

Under The Covers – Other People Singing Other People’s Songs v2.0

As a cousin to the ICA’s this is not an ICA per say, it’s rather an ICA (Imaginary Covers Album) as a follow up to the 1988 release containing some stellar tracks by great 80’s artists like The Associates, Pretenders, EbtG, Aztec Camera and Echo & the Bunnymen. OK, not all tracks were great, but it’s still a great covers album.

When two of the albums that made it to the top 5 of my 2017 list both included a cover of an 80’s song I got this idea of making an imaginary version 2 of this album. When Talking Heads then showed up in JC’s ICA world cup with a song I happen to love a cover version of, it kind of decided itself.

I applied a few rules, somewhat related to JC’s ICA rules – so 10 tracks, the cover version should be decently new (which in the end became it had to be a 21st century release) and the original should be by an artist active in or related to the 80’s. A performing artist can only be represented once, but multiple songs by the same original artist are allowed.

Side A.

1. Bat For Lashes – Strangelove. Bat For Lashes is a very interesting artist in her own right with 4 great albums so far. This cover was recorded for inclusion in a 2011 Gucci commercial.

2. Dum Dum Girls – There Is A Light That Never Goes Out. Final track on the 2011 He Gets Me High EP by Dee Dee Penny under her Dum Dum Girls moniker. Not revolutionary different to the original. Dee Dee has released a bunch of great albums in this indie style, at times she reminds me a lot of Chrissie Hynde/The Pretenders. Her latest release was under a new moniker – Kristin Kontrol, using more electronics. Also a great album.

3. Kaleida – 99 Luftballons. London duo Kaleida released their debut album last year, and one of the tracks that got the ball rolling for this album. I can’t stand the original by Nena, never could and never will – but this version is cracking – and in impeccable German. Kaleida’s album made it high on my 2017 top list, electronic beauty you should give a listen.

4. Glenn Gregory – Party Fears Two. Included on the volume 3 of Music of Quality and Distinction by B.E.F (released 2013) and nowadays a regular inclusion on Heaven 17‘s live sets. A beautiful homage to the late Billy MacKenzie.

5. Bryan Ferry – Johnny & Mary. Originally by Robert Palmer on his 1980 Clues album, on what must have been the transition from blues rocker Palmer to (synth)pop Palmer. The album is a schizophrenic mix of traditional blues rock numbers and synth-based pop songs, even including a cover of I Dream of Wires. Transferred by Mr Definition of Cool to a true Ferry style song on his 2014 Avonmore album. Great version if you ask me, but then I always have had a weak spot for Ferry’s lounge cool style.

Side B.

1. Fuzz Against Junk – Born Under Punches. So I kick off side B with a rule breaker, this was actually released 1999 – and thus does not comply to my rules. But then those are only my rules, and mine to break…Since early 90’s I was a lot into house and dance music, one of the cooler labels was London based Nuphonic and most of all brother duo Faze Action (debut album Plans & Designs is still marvelous!). Nuphonic released 4 albums in a series showcasing their acts and on volume 1 I was knocked over by the track Country Clonk by Fuzz Against Junk. They only released a total of 4 12″ singles, the second being a very danceable version of the Talking Heads song.

2. HANA – Here Comes The Rain Again (live). I found LA based HANA by chance as she opened up for Purity Ring when I saw them on their 2015 US tour. She did this great update to one of my fave Eurythmics songs (a song also covered by Billy MacKenzie by the way). I later saw her in Stockholm opening up for Grimes, she did this again – but unfortunately didn’t include it on her debut EP. An album is due at some point this year, I hope it will appear then – for now we have to do with a live recording from her 2016 tour.

3. She & Him – Please Please Please Let Me Get What I Want. From the 500 Days of Summer movie soundtrack by charming She & Him – the combination of M.Ward and Zooey Deschanel just couldn’t go wrong, could it. A movie I truly enjoyed, funny, sweet and loads of great music.

4. Lydia Ainsworth – Wicked Game. From this Canadian singer’s 2nd album, and one of 2017 absolutely best albums, Darling Of The Afterglow. This cover of the Chris Isaak original is truly amazing, every time I play the record I have to put the needle (yes, I’m a vinylist) back and play it again at least 2 – 3 times. Gives me the chill, the original is great and Lydia managed to add something more to the song.

5.  Johnny Cash – Hurt. So I end side B in the same way I started it – with a rule breaker. The original isn’t from the 80’s, the band just made their (his) debut in ’89, so the 80’s connection can be questioned. You might also argue that the 80’s wasn’t really the most successful or even active decade for the man in black, but I claim he was always relevant in some sense – and this cover from his 2002 American Recordings IV happens to be one of the most heartbreaking recordings ever made. The video to it is simple but so strong, a fantastic companion to the recording. I can’t imagine a stronger closer to this record, as the needle reaches the runout groove and Johnny closes the lid to his piano nothing remains, it’s all said and done.



Some of the commentaries in the first half have bordered on true genius, whether it be Dirk with his panel of experts, Malky Tucker imagining one of the matches taking place in an S&M dungeon or Nic Ros and Badger 21 each bringing in other appropriate tunes to back up their selections.  Many thanks…again.

The four ties this week have caused a great deal of angst – I think Brian summed it up for many by saying that voting against some of the bands did not feel good.  There’s plenty more of that to come, most likely as we get down to the latter stages of the competition although there will be a few more horrible scenarios to consider in the coming weeks of Round 2.  For now, here’s how things stand…

New Order(3) 20 v The Go-Betweens (2) 15
The Charlatans 27 v Carter USM 8
Lightning Seeds 20 v Big Audio Dynamite 14
The Cramps 16 v Saint Etienne 19

(as at Tuesday 10pm…and typed from my sick bed with a severe dose of man-flu)

It’s fair to say that the Charley Twins are almost certain to get through and while three other teams have decent leads, all of those ties have been swinging back and forth throughout the first half….indeed The Cramps were ahead until the final few entries so there’s still time for late drama

This week’s half-time, as per the newly adopted practice, comes from the ICA of a singer or band knocked out in the last round by one of the above eight sides:-

mp3 : LCD Soundsystem – All My Friends

Remember….if you haven’t vote yet, you have until 10pm this coming Friday.




Isobel Campbell was still part of Belle and Sebastian when she began to record and release solo material under the guise of The Gentle Waves. Some of the stuff on the debut album, The Green Fields Of Foreverland, was decent but some if it was so twee it bordered on the unlistenable. In 2000, she released a four-track EP, of which this was the lead track:-

mp3 : The Gentle Waves – Falling From Grace

Four members of B&S played on the record and you could be pedantic and argue it isn’t really a solo release. That’s your prerogative.

Personally, I think it’s a wonderful and magical few minutes. And it dosn’t matter how it’s badged.



It’s my young brother’s 52nd Birthday today. But I forgot, in the midst of a period in which last week was bookended by two funerals, to send over a greetings card to Florida. I know he drops in here every single day to have a look at whatever rubbish I’ve posted and to be impressed by the guest postings, and so I’d be very grateful if you would consider passing on your best wishes to SC in the comments section.  It’ll make me feel less guilty.

mp3 : Various – SC’s 52nd Birthday Card


Echo & The Bunnymen – Bring on the Dancing Horses
The Bluebells – Young At Heart
Lloyd Cole & The Commotions – Lost Weekend (extended version)
Madness – One Step Beyond
Yazoo – Don’t Go
Deacon Blue – Real Gone Kid
Japan – I Second That Emotion (extended version)
Simple Minds – Changeling
Orange Juice – I Can’t Help Myself (12″)
Mari Wilson – Just What I Always Wanted
Fun Boy Three – Our Lips Are Sealed
R.E.M – It’s The End Of The World……
The Teardrop Explodes – Passionate Friend
Love and Money – Strange Kind of Love
U2 – Desire
Beats International – Dub Be Good To Me

(the final song was faded out to keep things down to 60 minutes)

I do thank you.



The final 45 that New Order would ever release on Factory Records – not that anybody realised that at the time – and it provided the band and the label with a first ever #1 single.

Prior to World In Motion, there is a general consensus that all football-related songs, (especially those on which players take part), were shit. Post-WIM, there is a general consensus that all football-related songs (especially those etc.), are shit.

World In Motion, as a New Order song, isn’t all that great. As an Englandneworder song, it works well enough.

I’m sure just about everybody knows the back story, but just in case…..

The Football Association of England, at the tail end of the 80s, had a press officer who was quite upon his music.  He thought it would be a great idea if New Order would consider penning something that would become the official team song for the World Cup Finals taking place in Italy in 1990. The press officer approached Tony Wilson who immediately said yes.

Knowing full well that the band had little or no interest in football, Wilson drafted in comedian/actor Keith Allen to pen the main lyric. It was also felt the involvement of Stephen Hague, following his success on the production side of True Faith, would pay dividends in terms of making the record a cut above the norm. There was also a slice of luck in that a fraction of the squad – just 6 players in all – came along to the studio to add their vocals in the background, but that one of them was John Barnes, who proved willing and adept enough to chance his arm on a rap section that Allen wanted to incorporate, albeit he came through a contest in the studio with the other players.

Two other things helped the song – the video that was less than serious (no surprise given the involvement of Allen) and also that England put up a good showing, eventually, in the tournament, reaching the semi-finals and thus the song became the backdrop to their progress.

mp3 : Englandneworder – World In Motion

The flip side doesn’t have the Hague production, nor any input from the players, outside of the rap . It still has the football related lyric in the verses and a backing vocal from Allen, but put these to one side and you can appreciate just how good a tune it is while the ‘Love’s Got The World In Motion’ chorus is not only catchy, but open to interpretation – it’s easy to see why Allen originally wanted to call it E for England only to have the FA just say no…..

mp3 : New Order – The B-side

World In Motion, like many of the more recent New Order 45s, was given the remix treatment, with four versions put on a 12″ single housed in a gold sleeve in which the letter ‘e’ was a bold yellow colour.

mp3 : New Order – World In Motion (Subbuteo Mix)
mp3 : New Order – World In Motion (Subbuteo Dub)
mp3 : New Order – World In Motion (Carabinieri Mix)
mp3 : New Order – World In Motion (No Alla Violenza Mix)

The first two are the work of Graeme Park and Mike Pickering; the latter are by Andrew Weatherall and Terry Farley. The world was not only in motion, but it was truly loved up. This was not a novelty song, but something that the band and all involved with had every right to be proud of – it was a continuation of what had made Technique such a great listen.  Not everyone gets to have #1 hits.



Without any question, Dirk’s match report wins comment of the week. Probably wins comment of the year….

Back from a short trip to the Dutch coast in order to escape the Carnival season that started in my area last week. I guess I’m too old by now to wear false tits or something along those lines for four days in a row and drink way too much, that’s why we chose to go away and boycott the carnival by and large. So, a bit belated, but here you are, JC.

SBTRKT v The Fall: well, a most dull game, it must be said. It’s not easy to tell which team was the most boring one to watch, both performances jangled my nerves mightily because of whatever the noun for ‘repetitive’ might possibly be. The Fall though were a little bit less repetitive than SBTRKT, but just a tad. That’s why they won in the very last second. As Johan Cruyff said about this match: “Football is a game of mistakes. Whoever makes the fewest mistakes wins.”

Kitchens of Distinction v Talking Heads: much (!) more my kind of a game, this! Both teams were great and Kitchens were brilliant up to the last minute. Still ‘Artists Only’ has always been one my favorites by Talking Heads, so that’s why they succeeded in the end. But it was close! Arsene Wenger was right when he commented above game as thus: “Football is an art, like dancing is an art – but only when it’s well done does it become an art.”

Sonic Youth v Edwyn Collins: an easy score for Sonic Youth, because they entered the pitch with one of the best line-ups they could possibly have chosen. Poor old Edwyn failed here, it must be said! Perhaps he should’ve remembered Zlatan Ibrahimovic’s words: “If you are too nice, you will just get eaten alive. The football world is not always a nice place.”

The Velvet Underground v Talk Talk: as with the first game in this round, this one was rather bitter and not a great joy to watch! At the end of the day though the Velvet Underground won by following Gary Neville’s advice: “With good coaching, proper motivation and the right club structure with organic growth, you can achieve an awful lot in football.”

But did he get all four predictions spot on??  Not quite…….

SBTRKT 3 The Fall(3) 33
Kitchens of Distinction 18 Talking Heads 22
Sonic Youth 9 Edwyn Collins 30
The Velvet Underground 25 Talk Talk 14

KoD made a fist of things in the second half but ran out of time before being able to completely close the gap.  The other three were never in doubt from early doors and I’ll be the first to admit that things weren’t exactly mouth-watering or tense in the same way as many of those that were drawn out in Round 1, but I think this week more than makes up for it.

Matches 5-8 of Round 2

New Order (3) v The Go-Betweens (2)

Both sides were expected to reach at least the last eight of the tournament but it’s just not to be. New Order took no chances in Round 1, fielding Blue Monday in what proved to be a surprisingly one-sided triumph over LCD Soundsystem, a move that some commentators feel may come back to haunt them in later stages. The Aussies also had to play hard to see off The Woodentops, and they took a bit of a risk on using The Wrong Road, one of their album tracks rather than a classic 45, although it does give them better options for this immense match-up.

Here’s the very crucial coin toss and roll of the dice.

Football.  Bloody Hell.

Vanishing Point (from Technique, 1989) v Was There Anything I Could Do? (from 16 Lovers Lane, 1988)

The Charlatans v Carter USM

The Charlatans took a really laid back approach last time round, fielding a live and acoustic version of The Only One I Know, which might have been enough to defeat the cult of The Mekons but a similarly low-key performance this time round would certainly spell danger no matter the opponents, never mind the deadly South London duo.  The same applies to Carter USM who used up a lesser-known b-side in Re-Educating Rita to see off the countrified challenge of Dwight Yaokam.

If either is serious about getting into the final 32, they will surely need to offer up songs in this round that will appeal beyond the immediate fanbase.

Coin…..Dice….oh my!!  It’s fair to say these most certainly do that…from their wonderful and distinct introductions right through to the last notes.

Weirdo (from Between 10th And 11th, 1992) v Bloodsport For All (from 30 Something, 1991)

The Lightning Seeds v Big Audio Dynamite

Another all-English tie that comes under the heading of intriguing. The Lightning Seeds used up a hit single last time out, but it was a cover in You Showed Me which proved adequate to provide them with an easy win over Gemma Ray. Big Audio Dynamite used one of their strongest efforts in the shape of E=MC2, which enabled them to thump The Streets by 32-9 in a tie that, on paper, appeared to be one which would be a close call.

Before the songs for this round came out, the bookies had this one as a potential draw. Afterwards….they remain of the same opinion.

Pure (from Cloudcuckooland, 1990) v Medicine Show (from This Is Big Audio Dynamite, 1985)

The Cramps v Saint Etienne

Filth v Finesse.
Raw post-punk v dance-chic.
Poison Ivy v Sarah Cracknell.
Lux Interior v Bob Stanley.
Dirk v The Robster.

The contrasts in this one are a complete joy to behold. One of those ties that you really want both to go through, but sadly there can only be one winner.

Both were expected winners in Round 1 and so it proved, each racking up more than 28 points – The Cramps fielded I Wanna Get In Your Pants to defeat Shit Robot while How We Used to Live saw off the challenge of The Sugarplastic.

Might be different this time, but it could well be that one of them racks up a high score again.

What’s Inside A Girl (from A Date With Elvis, 1986) v He’s On The Phone (single, 1995)


Please have your votes in by midnight on Friday 23 February….as ever, you don’t have to vote in all of the ties.

Tune in next Saturday for matches 9-12.





Hi Jim

Loving the above occasional series. I am a bit obsessed by a song’s lyrics. Some of my favourite songwriters can turnout an amazing phrase or concept but for me the skill of a song as a short story is where every word earns its place and not a phrase is wasted for the sake of scanning,

The examples you have shared so far all stand on their own two feet on the printed page.

Loads to choose from but gone for this , part character study and part story. Put out of your mind National Express and the arched eyebrow . I hesitate as wondered if a short story song could have a chorus and then realised that was giving this way too much thought.

The thing I love about this is that take out any line and the whole is diminished. The subtle changes in the chorus all add to the picture and only in a couple of places is the phrasing slightly forced. The only place where the words alone don’t quite have the full impact is that they miss the sadness of the way Neil Hannon sings the final “No , you couldn’t be”. Kind of a upper class sister song to Labelled with Love

David (Friend of Rachel Worth)

Lady of a Certain Age

Back in the day you had been part of the smart set
You’d holidayed with kings, dined out with starlets
From London to New York, Cap Ferrat to Capri
In perfume by Chanel and clothes by Givenchy
You sipped camparis with David and Peter
At Noel’s parties by Lake Geneva
Scaling the dizzy heights of high society
Armed only with a cheque-book and a family tree

You chased the sun around the Cote d’Azur
Until the light of youth became obscured
And left you on your own and in the shade
An English lady of a certain age
And if a nice young man would buy you a drink
You’d say with a conspiratorial wink
“You wouldn’t think that I was seventy”
And he’d say, “no, you couldn’t be!”

You had to marry someone very very rich
So that you might be kept in the style to which
You had all of your life been accustomed to
But that the socialists had taxed away from you
You gave him children, a girl and a boy
To keep your sanity a nanny was employed
And when the time came they were sent away
Well that was simply what you did in those days

You chased the sun around the Cote d’Azur
Until the light of youth became obscured
And left you on your own and in the shade
An English lady of a certain age
And if a nice young man would buy you a drink
You’d say with a conspiratorial wink
“You wouldn’t think that I was sixty three”
And he’d say, “no, you couldn’t be!”

Your son’s in stocks and bonds and lives back in Surrey
Flies down once in a while and leaves in a hurry
Your daughter never finished her finishing school
Married a strange young man of whom you don’t approve
Your husband’s hollow heart gave out one Christmas Day
He left the villa to his mistress in Marseilles
And so you come here to escape your little flat
Hoping someone will fill your glass and let you chat about how

You chased the sun around the Cote d’Azur
Until the light of youth became obscured
And left you all alone and in the shade
An English lady of a certain age
And if a nice young man would buy you a drink
You’d say with a conspiratorial wink
“You wouldn’t think that I was fifty three”
And he’d say, “no, you couldn’t be!”

mp3 : The Divine Comedy – Lady of a Certain Age





I don’t remember exactly how many times I saw The Triffids live, around fifteen I’d guess, but I do know that the first time was in a sparsely populated, subterranean, Romford night-club in 1984. Also in attendance that night was early champion John Peel. By 1989 I’d seen them headline prestigious London venues such as The ICA, The Town & Country Club and both The Shaw and Dominion Theatres. The world, it seemed, was their oyster, but despite critical praise and a devoted fanbase, the mass sales, required by major label Island, never materialised and the band drifted back to their native Australia, then drifted apart.

In May 1994 David McComb returned to the UK to play a handful of shows in support of his only solo album, ‘Love of Will’. I caught McComb, accompanied by his band The Red Ponies (featuring a pre-Bad Seeds Warren Ellis on psychedelic fiddle), in a cramped and sweaty Borderline, where they played a blistering set, comprising tracks from the solo album, classic Triffids material and well chosen covers from the likes of The Velvet Underground, Ray Charles, The Beatles and Prince.

It’s almost too heartbreaking to dwell on David McComb’s subsequent fate for too long. After undergoing a heart transplant at the age of 33, his final three years were spent plagued by ill health and personal demons. He recorded more music, but much of this remains officially unreleased. David died on February 2nd 1999, two weeks short of his 37th birthday. Gone, but never forgotten. (JC adds – this ICA has been timed to coincide with David’s birthday – he would have turned 56 tomorrow)

The Triffids left a towering body of work and selecting just ten pieces from it for this compilation has been a painful task. I’ve attempted to showcase the band’s versatility, from the snappy pop of ‘Beautiful Waste’ and ‘Trick of the Light’ through to ‘Lonely Stretch’ and ‘Stolen Property’, altogether darker offerings that often became even more intense in concert. I’ve also tried to make it a damned good listen. I hope you enjoy it.

1 Trick of the Light (Calenture 1987)
2 Red Pony (Treeless Plain 1983)
3 Bright Lights Big City (BBC Session 1985)
4 Jesus Calling (Raining Pleasure 1984)
5 Lonely Stretch (Born Sandy Devotional 1986)

6 Stolen Property (Born Sandy Devotional 1986)
7 Beautiful Waste (7″single, 1984)
8 Falling Over You (The Black Swan 1989)
9 Hell of a Summer (Treeless Plain 1983)
10 Monkey On My Back (BBC Session 1985)



Happy Valentine’s Day.

It is damn near impossible to get across the effect that the above sleeve had on me as a 15-year old. Let’s just say that it went a long way to confirming that I was a heterosexual with longings for peroxide blondes.

Picture This is that very rare thing – a post-punk/new wave love song. And oh how I wished I could be part of Debbie’s finest hour….in fact I’d willingly have settled for 30 seconds.

mp3 : Blondie – Picture This

This is the 45 that was used as the precursor for the album Parallel Lines. Its b-side was a rather mournful sounding number that would also find its way on to the album

mp3 : Blondie – Fade Away and Radiate

As I’ve said in other posts, slow songs and ballads were not my forte back in the late 70s and I wasn’t all that keen on the b-side as it was nothing like new wave, more dull plod-rock. I’ve, however, grown to like it over the years and now appreciate it as an example of Blondie working hard not to be pigeon-holed into one particular genre. But it wouldn’t make an ICA…..

Oh and one more thing….. who said it is near impossible to look stunning in yellow?



SBTRKT 2 v The Fall (3) 20
Kitchens of Distinction 9 v Talking Heads 15
Sonic Youth 5 v Edwyn Collins 19
The Velvet Underground 15 v Talk Talk 9

(as at 11 pm on Monday 12 Feb)

Fewer goals scored in the first half this week….has the competition lost its shine already??

Worth mentioning also that nobody has yet, in any of the previous ties, been able to turn round a half-time defecit.  The whistle went a little bit early this week as I couldn’t have the post interfering with a Valentine’s Day special, so maybe history can be made.  But somehow I don’t see SBTRKT creating it. Or indeed any of the others….nobody has yet turned round a five-goal defecit (although the Fannies came mighty close last week)

One other thing….I’m dispensing with the banging pop tunes normally played at half-time  – something that should go down well with Swiss Adam among others.  Instead, you’ll be treated to something from the ICA of a singer or band knocked out in the last round by one of the eight sides competing so you can realise what your previous voting patterns have deprived the tournament of:-

mp3 : Associates – Party Fears Two

Remember….if you haven’t voted yet this week, you have until 10pm this coming Friday.




From wiki:-

Geneva were formed in 1992 by vocalist Andrew Montgomery and guitarist Steven Dora. They recruited second guitarist Stuart Evans, bass player Keith Graham and finally drummer Craig Brown. Craig was later replaced by Douglas Caskie.

One of their demos found their way to Nude Records who signed the band in 1996. and released their debut single “No One Speaks” the same year. The band garnered enough press to headline NME’s annual Bratbus tour of up and coming bands in early 1997. The band released second single “Into the Blue” to coincide with the tour.

Geneva released their debut album, Further, early in June 1997. The album mixed power pop with darker brooding songs. It reached No. 20 in the UK Albums Chart, and included further singles “Tranquilizer” and “Best Regrets”.

The second album, Weather Underground, was released in March 2000, after more than a year of wrangling with the band’s record label. It was preceded by the single “Dollars in the Heavens” (which only made the UK Top 60) and followed by the single “If You Have To Go”. The band split later that year.

The band were often lumped in with labelmates Suede and other contemporaries such as Gene and Strangelove. I previously featured the excellent debut single and so this time round I’ve gone for one of the others:-

mp3 : Geneva – Tranquilizer

One listen and you’ll see why the comparisons mentioned above were made.



I’m being lazy this week and re-hashing an old post from January 2016 which I entitled

‘When John Denver went to Ibiza.’

My effort come up with an ICA for New Order in June 2015 placed Run as the final track on Side A when I said:-

Run is one of the most outstanding songs on the album and rather bravely the band went for an edited single release in due course in which about 45 seconds are chopped off and by editing down the dreamy instrumental finish to the song and replacing it with more of the re-recorded vocal with Barney’s voice given more prominence than the original mix. It’s a decent enough mix and does a job of giving us enough changes to think of it as a new song altogether but it’s not a patch on the original.

The remix was in fact worked on alongside Scott Litt who at tht point in time was known for having worked on couple of LPs by R.E.M. The fact that he would also work on the multi-million sellers Out Of Time and Automatic For The People albums in the 90s and become one of the most talked about producers of that era was all in the future…..

Run 2 is really quite a different version. To expand on what I said in the ICA piece, the long instrumental section at the end of the original is replaced by a repeat of the chorus while there’s also greater prominence given to Bernard’s vocal and guitar and Hooky’s bass lines in an effort to make it more appealing to radio stations. Despite this, Factory Records didn’t press up all that many copies and it wasn’t the easiest thing to find in the shops.

The record, which was released only on 12″ vinyl which played at 33 1/3 rpm, stalled at #49 in the UK charts which was the poorest showing by a New Order single in a long while. But this where the fun really started…..

After the release, John Denver (or more accurately John Denver’s lawyers) sued the group, claiming that Run 2, in particular the instrumental part, sounded too similar to his hit Leaving On A Jet Plane. The case was settled out of court, and as a result the single in it’s remixed form was, for a very long time, out of print save the original few thousand copies made available in 1989.

As a result, Run 2 was a bit of music much sought after by fans, especially outside the UK (it was never made available at all overseas). There was much anticipation when Run 2 was listed on the track lists of compilation LPs released in 1994 and 2005, but in fact it was always the original version from Technique that was included.

But finally in 2008, a deluxe edition of Technique was released that included the extended mixes of Run 2 and the track MTO that had been on the b-side of the 12″. But even now, the regular mix of Run 2 and minus mix of MTO a are otherwise unavailable.

Unless someone rips them from vinyl:-

mp3 : New Order – Run 2
mp3 : New Order – Run 2 (extended mix)
mp3 : New Order – MTO
mp3 : New Order – MTO (minus mix)

Oh and nowadays, the credits for all newly released versions of Run are attributed to Sumner, Hook, Morris, Gilbert and Denver.

PS: Here’s the album version.

mp3 : New Order – Run