The incompetency of the bureaucrats (i.e me!!) meant five ties had to be decided before we knew the make-up of the final 16.
Orange Juice 10 The Wedding Present 22
The Smiths 25 Ride 14
The Jam 35 Daft Punk 6
Billy Bragg 26 Prefab Sprout 15
Edwyn Collins 16 Lloyd Cole & The Commotions 25
Gedge & co really made the most of their reprieve and it was double heartbreak for Edwyn as he was well beaten in the end in the final match of Round 3.
The draw has taken place for Round 4. It’s known only to myself and jimdoes and now that we are at the nitty-gritty part of the competition with just two matches per week being featured, we have rescheduled some of the ties away from the order they were drawn in so that each week features at least one potential mind-blowing blockbuster. TV companies the world over pick and choose their games, so why should we be different??
OMD v The Housemartins
A tie which provides the opportunity for one of the perhaps less-fancied sides to progress to the quarter finals.
Here’s the facts thus far.
OMD have seen off Super Furry Animals, The Stone Roses and The Charlatans, but in doing so have already fielded two their best-known and popular tracks in Enola Gay and Messages.
The Housemartins have beaten Gene, Julian Cope and Talking Heads…they’ve fielded quality songs but some of their biggest and best-known hits are sitting in reserve,
Forever Live and Die (from The Pacific Age, 1986) v Build (from The People Who Grinned Themselves To Death, 1987)
rhetor was the composer of ICA #33 on OMD. He had this to say about the song appearing this time round…
One of my favourite OMD tracks, in fact, as for some reason I can’t get enough of the soaring vocals of the line in the chorus, with its sudden descent into the title, “I never know, I never know, I never know, I never know why…Forever Live and Die”. Maybe it’s just me…
I was responsible for OCA #111 on The Housemartins. I said this at the time:-
Some of the social messages could get lost amidst the jaunty upbeat tunes for which the band were most famed. Not so when they slowed things right down. New homes, new roads, new infrastructure right across green countryside at a time when traditional communities in poorer parts of the country were crying out for support and investment to recover. Environmental and economic madness.
New Order v The Clash
A tie which will eliminate one of the favourites.
Here’s the facts thus far.
New Order have had a crazy run of matches against LCD Soundsystem, The Go-Betweens and The Fall. They have three ICAs to choose from which does offer an extensive number of songs but there are also a few unusual remixes capable of turning up. They may regret (pun intended) having already used up Age of Consent and Blue Monday….
The Clash have also had a tough set of match-ups in recent rounds; MGMT was reasonably straight-forward enough and didn’t really need White Man (In Hammersmith Palais) to overcome the opposition; R.E.M. and The Velvet Underground were tougher asks but the use of both sides of the London Calling single may have left them weak…
True Faith (single, 1987) v Janie Jones (from The Clash, 1977)
I’m responsible for both ICAs. Here’s the double-skinny:-
The sheer brilliance and crossover appeal of this record can be seen from the fact that it reached #4 in the UK when, other than Blue Monday and Confusion (both of which sold well with dance fans), the band had struggled to make much of impact sales wise in the single market. True Faith is an extraordinary record that admittedly benefits from the input of uber-producer Stephen Hague who had previously helped to refine the sounds of Pet Shop Boys in a way that maintained their credibility while making them huge pop stars. But there is evidence that the song itself is a belter as seen by the fact that it was given an extensive indie dance remix by Paul Oakenfold and Steve Osbourne in 1994 and that version of True Faith also went Top 10 in the UK.
There are so many great songs that are incredibly worthy of inclusion on this particular ten-track effort. I’ve changed my mind more than a few times about things but I’ve never dreamt of leaving off Janie Jones. It’s a two-minute burst of high-tempo energy which just never lets up and, in what is now approaching 40 years, has never once failed to get me singing along. I also love how the band didn’t try to hide the fact that, at this stage, Paul Simonon wasn’t the greatest of bass guitarists but somehow his one-note contribution helps make the chorus so memorable.
Happy deliberating. Votes must be in by Friday 11 May at 10pm.