A GUEST POST by jimdoes

An Imaginary Compilation Album of final tracks.

There’s something special about last songs on albums – where a band have taken you on a journey and leave their big statement to last. Something to remember them by and something that it’s impossible to follow. By it’s very nature this would be an extremely long ICA (those last tracks tend to go on and on). Quite a few of these bands haven’t had ICAs of their own but I’m sure at some point most of them will. It’s hard to get the order right when there’s supposed to be silence after every track but I think they flow well. I’m sure a lot of your readers will be VERY familiar with my selections – and I’m equally sure that you could choose 10 completely different tracks by different bands and create and equally brilliant ICA.


Possibly the final track to end all final tracks – but here it gets the honour of being side one track one of this ICA. It ticks all the boxes – sprawling, loud and full of false endings. It’s the track that The Chemical Brothers used to end their live shows with and it’s the last track on a truly classic album. When it first came out I’d shove it on the office stereo turn the volume up and blast my colleagues with an aural assault – they were never the same again. It was like nothing I’d heard before (Soon by My Bloody Valentine is possibly closest) and was a welcome relief from the idiocy of most Britpop. And without a doubt it’s the sound of taking drugs.


This song fills me with so much joy. It’s my favourite track off XTRMNTR – Primal Scream’s second creative peak. They were an absolute beast of a live band around this time – and these shows were some of the best I’ve ever seen – yet I don’t remember them ever playing this song last. New recruits Mani and Kevin Shields took the band to new levels that they haven’t matched since. It’s got everything – driving bass, screeching guitars and Bobby Gillespie intoning the same 4 words over and over – what more could you want?


The drumbeat. The bass. The voice – “Down Down you bring me down”. Then the guitar. It’s a record that needs no introduction – I’m sure everyone has heard it and most will love it. It was probably the first time I was aware of the whole epic final track thing – as much a statement of intent and arrogance as the opening track on their classic debut – “I wanna be adored”. They’re a band that I don’t hold dearly any more (it’s all the bellowing beer boys at their gigs and how they’ve become Oasis) but this track still gets me every time. Again it has all the hallmarks that you need for a final song – length, a certain over-the-top-ness and more false endings than I know what to do with. It’s truly special – it transports me back to being 19 spinning round dancing to it and it still makes me want to dance.


Like being repeatedly punched in the face by a drum machine. In the nicest possible way. It builds and builds – Karl Hyde working himself up into an absolute frenzy – getting more intense until it all sort of collapses. I’ve given myself whiplash on more than one occasion dancing to this when Underworld have played it live. Unsurprisingly they always used to play it last because there really was nothing they could follow it with.


I saw them first on the bill at a free gig. Expecting jangle, slightly angry indie pop I was absolutely blown away when they sat down and played sitars for 15 minutes and sang in Punjabi. It’s an uplifting, hypnotic track that I never grow tired of and it’s something of a curiosity on my ICA as it’s the same song (with added bass) as the opening track on the album it’s from. I love this track even though I’ve no idea what Tjinder Singh is singing about – in fact, to me this song is the king of the misheard lyric. When this is on in the car and I’m singing along I kind of replicate the sounds he makes which must look and sound pretty ridiculous to anyone who happens to catch sight of me. Having done a bit of research it appears to be a song calling for peace and unity – and you can’t go wrong with that.


Listening to these tracks as I write this ICA, it’s occured to me that lots of them have a driving, motorik beat – and this track is no exception. It was the first single released from The Horrors second album and proved to be a massive departure in sound and ambition from the gothic noise of it’s predecessor. And to me it’s a song they’ve never bettered although they have made some wonderful music since this. It’s one of those songs that seems to go on and on and you can get lost in – always incredible live as they teased new sounds out of it – and when the keyboard kicks in about halfway in I can’t help but feel an adrenaline rush of pure joy. There’s a great live recording of it from Glastonbury 2009 on YouTube that is worth checking out – I was there and it was pretty special.


What a band they were. Incredible that this was made by folk just out of their teens. It was a song that my best mate played as the last song at his wedding disco – everyone went bonkers, dancing, screaming and hugging each other – it’s just one of those songs. He’s divorced now, mind.


A song that doesn’t conform to my rules of the last track – although it is epic. It fills me with emotion. Majestic. It was also the song that closed perhaps the greatest show I’ve ever seen – Glastonbury 1997 – it sends shivers down my spine watching it on YouTube. I’d seen the Chemical Brothers on the NME stage with my friends who were determined to see Primal Scream in the Dance Tent – I had other ideas – my wife and I legged it through the backstage area (a shortcut between stages – one of the advantages of working for a national newspaper at the time) to catch a band make the transition from indie band to genuine stadium fillers. it was one of those situations where it was easier to go with peer pressure but I was rewarded for going with my instincts – especially as we were all chemically charged and it was before mobile phones so meeting up later was going to be tricky. Their more recent music doesn’t excite me (I stopped buying their albums around the time of In Rainbows) but I understand why the ‘young folk’ I work with (30somethings!!!) think they are amazing – they grew up with them.


The final track on Pulp‘s final album – and what a track. Jarvis get’s the singing over pretty sharpish and from about 2 minutes in this song conforms to the last track template. The band just go bananas creating a joyous uplifting sound that seems to go on and on. And stop and start. Must be great hearing it at sunrise after a long night of dancing.


A song that needs no introduction – this seems like the perfect track to close this ICA. Everyone can sing along. I used to listen to the Purple Rain soundtrack on headphones in my parents living room and it’s one of my favourite albums EVER. At the time Purple Rain was my least favourite song on the album but I’ve come to appreciate it’s sheer perfection over the intervening 34 years (how to feel old!). And the album contains one of the greatest opening tracks on an album EVER – but I’ll leave that for another ICA!



I spent a few days last week working on and fine-tuning in advance a set of approx 60 minutes for the first ever Simply Thrilled night last Saturday.

Best laid plans and all that!!

I shoved this up on Facebook about 45 minutes after I’d done my bit:-

Three and a bit hours in…and it’s been a triumph but in a way that we never expected.

The indie side of Scottish music has been put to side for the most part and we’ve played loads of chart hits that’s had loads of folk dancing.

Folk are having great fun…..

All of us involved in this venture aren’t ashamed to say that we are occasionally snobbish about music.  But….and this is where it counts most, each of us know that having a great time at a club night is what it is all about. This was how I felt when I woke up on Sunday and shared my thoughts on Facebook:-

The morning after.

Still coming to terms with the fact so many folk came along to the first Simply Thrilled night and had such a great time dancing, laughing, hugging and singing along.

Followed Rule #1 of the DJ bible… what it is your audience is wanting!!! The first 90 minutes of the night were as indie and obscure(ish) as we liked, and then once I played “Don’t Talk To Me About Love’ by Altered Images, the place went nuts in a really great and friendly and happy way.

I got by through binning my planned set list – some were shuffled around in order while others were dropped.  It was also decided to introduce two new songs, suggested by Robert, including one by The Orchids which hasn’t even been released yet!!

In short, I tried my best give the paying public exactly what they wanted which was made easier by the fact that the vast majority of the paying public were aged 35-50 and lived in or around Glasgow…..

Set List – Simply Thrilled Launch 28.07.2018

Friend of the Night – Mogwai
Dark Matter – Siobhan Wilson
Cockcrow – Aiden Moffat & RM Hubbard
A Friend Like You – Aberfeldy
Twisted and Bent – Trashcan Sinatras
Long In The Tooth – Pictish Trail
Milk – Garbage
Aye Today – Delgados
Scotland – The Wedding Present
Heard About Love – The Big Gun
Imperial – Butcher Boy
It Can’t Be Love Unless It Hurts – Tracyanne & Danny
No Longer Young Enough – Just Joans
If He Loved You He’d Listen – Hardy Boys
Safety Net – Shop Assistants
Plastic Bags From Tesco – Wilderness Children
Let’s Fall In Love and Run Away From Here – Ballboy
Geraldine – Glasvegas
Into The Valley – The Skids
Happy When It Rains – Jesus & Mary Chain
Iceblink Luck -Cocteau Twins
I Only Wanna Be With You – The Tourists
Nobody There – Veronica Falls
Candyskin – Fire Engines
Foxheads – Close Lobsters
I Never Learn – The Orchids
Don’t Talk To Me About Love – Altered Images
Breaking Point – Bourgie Bourgie
Rip It Up – Orange Juice
Since Yesterday – Strawberry Switchblade
Be Less Rude – Frightened Rabbit
Oblivious – Aztec Camera
18 Carat Love Affair – Associates
I Travel – Simple Minds
Everything (I Ever Wanted) – Fruits of Passion
Labour of Love – Hue & Cry
Fast Girls and Factory Boys – Port Sulphur
Mary’s Prayer – Danny Wilson
Sunkissed – Friends Again
The Honeythief – Hipsway
You’ve Got The Power – Win
Ain’t That Enough – Teenage Fanclub
Movin’ On Up -Primal Scream
I want to fall in love – BMX Bandits
Robert De Niro’s Waiting – Futuristic Retro Champions
Testify – Hi-fi Sean
Blueboy – Orange Juice
Sorry For Laughing – Josef K
Take Me Out – Franz Ferdinand
Only Happy When It Rains – Garbage
Obscurity Knocks – Trashcan Sinatras
The Rattler – Goodbye Mr Mackenzie
Lloyd, I’m Ready To Be Heartbroken – Camera Obscura
Rattlesnakes – Lloyd Cole & The Commotions
I’m A Cuckoo – Belle & Sebastian
Don’t You Forget About Me – Simple Minds
Right Here – The Go-Betweens
Check My Heart – The Pastels
Smalltown Boy – Bronski Beat
Once In A Lifetime – Talking Heads
Somewhere In My Heart – Aztec Camera
Party Fears Two – Associates
Kiss This Thing Goodbye – Del Amitri
Country Girl – Primal Scream
Sweet Dreams -Eurythmics
I’m Free – Soup Dragons
Millions – Teen Canteen
Sparky’s Dream – Teenage Fanclub
Happy Birthday – Altered Images
The Boy With The Arab Strap – Belle & Sebastian
Walk Out To Winter – Aztec Camera
Living In Colour – Frightened Rabbit
Promised You A Miracle – Simple Minds
Dead Connection – Pictish Trail
Loaded – Primal Scream
The Mother We Share – Chvrches
Mr Blue Sky – Delgados
Pitch The Baby – Cocteau Twins
Sound and Vision – Franz Ferdinand
National Express – The Divine Comedy
Super Trouper – Camera Obscura
Keep Yourself Warm – Frightened Rabbit
Everything Flows – Teenage Fanclub

That’s five hours worth…but such was the energy and enthusiasm on show that the time flew in.

There’s been an incredibly positive reaction from folk who were there with loads of nice words and images posted in places. It’s given all of us a huge lift and made us very determined to make the next occasion even better, and we are hopeful of doing something in October. It’s very much Robert and Hugh who are the driving force and they will again work really hard to pull it altogether, while Carlo and Ash will work their creative magic on the design side of things.

Me? I’ll just turn up, throw out a few tunes and hope there’s as great a response as there was last night. One person has said that Simply Thrilled took them back to the days of Level 8 and the QM (two student haunts of mine in the early 80s) and if that’s the case, then it really was, from my part, job done.

Thought I’d share with you the very first set that I planned out…10/18 survived on the night and Robert played another of them later on.

mp3 : Various Artists – Simply Thrilled One

Track Listing

Candyskin – Fire Engines
Let’s Make Some Plans – Close Lobsters
Sunkissed – Friends Again
Mary’s Prayer – Danny Wilson
His Latest Flame – The Motorcycle Boy
Be Less Rude – Frightened Rabbit
Oblivious – Aztec Camera
Breaking Point – Bourgie Bourgie
I Travel – Simple Minds
I Could Give You All That You Don’t want – Twilight Sad
Top of the Pops – Rezillos
Rip It Up – Orange Juice
God Knows Its True – Teenage Fanclub
Since Yesterday – Strawberry Switchblade
18 Carat Love Affair – Associates
Hayfever – Trash Can Sinatras
Speed-Date – Arab Strap
Sorry For Laughing – Josef K

I hope you enjoy listening….and maybe even have a wee dance round your living room/office/garden in tribute to our wee night.

Feel free to visit to see some photos etc.



Having bamboozled a lot of fans with the change of image and shift in sound on the debut solo LP, Lloyd Cole displayed a wicked sense of humour by calling his next record Don’t Get Weird On Me Babe, which itself was a quote from author and poet Raymond Carver, thus further contributing to the prejudices of those who thought our singer/songwriter was a frustrated English Lit lecturer.

I have no doubt that this was the LP that Lloyd Cole had been desperate to make his entire career. He and Blair Cowan worked together and co-wrote many of its songs, specifically with the aim of having an orchestra play on them. At the same time, Lloyd wanted to further explore the rock side of things that had been captured on his debut record and so he also kept all of Robert Quine, Fred Maher and Matthew Sweet on board.  The album was recorded at great expense in New York and Los Angeles and it was given a substantial marketing budget. Here in the UK, side one of the record featured all the expansive songs while side two had all the guitar-led material; tellingly, the reverse was the case in the USA with Capitol Records determined to make him a rock’n’roll star.

It’s also worth recalling that 1991 was the year, as far as guitar music was concerned, that grunge and the heavier-end of things became highly fashionable. So it can come as no surprise that the album and the singles from it more or less disappeared without trace.

Which is a real shame, for it was an album that contained a lot of very fine songs, especially if you were prepared to accept that the jingly-jangly pop of the Commotions era was long gone, while the arrangements on the orchestral side brought comparisons with some of the finest work by Burt Bacharach…a man who whose work would become highly fashionable again later in the decade.

mp3 : Lloyd Cole – Butterfly
mp3 : Lloyd Cole – Margo’s Waltz
mp3 : Lloyd Cole – Weeping Wine
mp3 : Lloyd Cole – The ‘L’ Word

The last of these is an earlier, and in my view, superior version of the song Tell Your Sister which appears on the album. It was snuck out on a b-side.

Lloyd has never been slow in recording cover versions of some of his favourite songs by some of his favourite singers. He was always a huge fan of Marc Bolan and this was also one of the 1991 b-sides:-

mp3 : Lloyd Cole – Children of The Revolution




A few potential curve-balls for my Simply Thrilled set this coming Saturday, one of which may well be a b-side cover of a classic:-

mp3 : Sons and Daughters – Nice’n’Sleazy

This was the flip side of the 7″ vinyl release…..and it was the third 45 released by Sons and Daughters back in 2005.  I’ll be the first to admit that it’s nowhere near as good as the original but that would be an impossible task.  The bass line is a bit on the light side, as indeed is the keyboard solo but I’ve always been a sucker for a distinctively Scottish vocal lilt as provided by Adele Bethele and David Gow.

Here’s the a-side:-

mp3 : Sons and Daughters – Taste The Last Girl

While this is the b-side from the CD single:-

mp3 : Sons and Daughters – Stranger Song

Here’s the promo for the single:-

I must get round to doing an ICA for this lot……..




If I may, I’d like you to picture a scene from the early hours of Monday morning.

I’m on my way to work.

It’s just a few hours after I’ve got back into Glasgow after three and-a-bit days making an annual summer visit to Ireland, an occasion which involves a lot of emotion and a ridiculous amount of imbibing beverage of an alcoholic nature. It is also an occasion that is increasingly involving a lot of laughter, especially as I’m now being accompanied across there by some age-old friends while I get to hook up over there with some people who, through what were initially tragic circumstances, have become new compadres.

The mother of all hangovers is kicking just in time for me heading into the office. Yup, I’m old and experienced enough to know I should have added Monday to the period of leave and recuperated at home but I’ve made a dreadful error.

My mood has most certainly not been improved by the rail operator deciding to muck everyone about and so I’m now facing a 20 minute sit-down in a draughty and smelly station underneath the surface having raced down the stairs, foregoing some food and drink, in an effort to make a timely connection. I am extremely pissed off.

I elect to press auto-shuffle on the i-pod as I really am unsure of what I’m in the mood for.

What comes on is one of the tracks from the LP Nineteeneighties, which was recorded by Grant-Lee Phillips in 2005. Eleven well-known songs by the likes of The Smiths, The Cure, Pixies, R.E.M., Joy Division, Nick Cave, and The Psychedelic Furs given fairly radical makeovers, often with an upbeat, electric/electronica style in the original being replaced by one man and his acoustic instruments. Given he’s gone for some songs which will be among the favourites of fans of the bands, this really shouldn’t work, but thanks to the blend of smooth vocals and a gentle playing of the guitar, he delivers a truly wonderful record. There’s real evidence of a huge amount of respect for the tunes but what is most striking is that Grant-Lee’s singing and the arrangements he’s given the songs really enables the lyrics to shine and impress in a way that didn’t always occur on the originals:-

mp3 : Grant Lee Phillips – Age of Consent

This is my favourite New Order song of all time.

Since 1983, this killer tune has always got me moving every part of my body on the dance floor. I never really paid too much attention to the lyrics, especially given that Bernard Sumner isn’t really famed for the quality of the words he writes. Even looking at the words written down on paper doesn’t give any indication that this is in fact a rather stunning song about a loss; it could be, and probably is, about a romance gone wrong but it could also be interpreted as an ode to someone who has died….or indeed, killed themselves. I’m not saying it was penned with Ian Curtis in mind, but the way that Grant-Lee delivers the ‘lost you, lost you, lost you’ refrain is very haunting and incredibly moving.

It also seemed appropriate to come up randomly after my trip to Ireland…and after listening to it this morning while sitting in the railway station, my anger at the rail authorties eased somewhat…..and as anyone who is familiar with my Facebook account can tstify, that is not something which happens all the time.