As mentioned before, all the postings for the initial Group stages were readied, typed up, and posted at the same time, weeks in advance.  My great fear was that folk wouldn’t respond well to it, and with the traffic to TVV being well under half of what it was back in 2018 the last time an ICA World Cup was held, I anticipated that voter turnout would be low.  I’ve been very pleasantly surprised with the responses and the results of Group C, from the ICAs provided by Hybrid Social Professor, will be revealed tomorrow.

This week, seventeen songs are competing for your votes, with eight of them set to qualify for the knock-out stages.  As ever, all the songs, are #1 from all the relevant ICAs, and they are offered up in alphabetical order of the singer or group involved.  Some of the ICAs are the work of yours truly, while others came from guest contributors.

Ballboy – Avant Garde Music (ICA 175)

The Beatles – Tomorrow Never Knows (ICA 244)

Blancmange – Distant Storm (ICA 251)

The Blue Nile – A Walk Across The Rooftops (ICA 304)

Cinerama – Maniac (ICA 296)

Edwyn Collins – 50 Shades of Blue (ICA 298)

Echo and The Bunnymen – Rescue (ICA 225)

Gregory Isaacs – Love Is Overdue (ICA 194)

Jens Lekman – Maple Leaves (ICA 184)

John McGeoch – Shot By Both Sides* (ICA 259)

Muse – Uprising (ICA 167)

Pink Cross – Dinahmite (ICA 297)

Pop Will Eat Itself – Def Con One (ICA 234)

Pylon – Cool (ICA 282)

The Ramones – Beat On The Brat (ICA 185)

Sons and Daughters – Johnny Cash (ICA 199)

The Wave Pictures – Stay Here and Take Care of the Chickens (ICA 201)

*a song by Magazine – ICA 259 was a compilation of tracks on which the guitarist played

Good luck working your way through today’s choices, as there’s a few tough decisions to take to get the number down to the eight you want to go through.

As usual, voting closes at midnight (UK time) next Saturday, which is the 6th of August.




It’s a copy of a post on this very blog from August 2014:-

Spirea X were an alternative rock band from Glasgow, Scotland, formed by Primal Scream founding member Jim Beattie in 1990.

After six years in the band, Jim Beattie left Primal Scream in 1988.

Two years later he formed Spirea X, the name taken from a Primal Scream b-side (an instrumental track that he had written), announcing “We’re going to do it…by having better songs, better melodies, better arrangements, better everything. By sheer force of ideas”.

The band’s first demo prompted 4AD to sign them, their first release eagerly anticipated, with BBC 2’s Snub TV featuring an interview with them and a couple of live tracks before they had released a single. The band’s original bass player and guitarist (The McGovern brothers) soon left, with guitarist Robert forming cult underground Glasgow indie punk band Dresden and his bass playing brother Tony becoming a well established member of Glasgow band Texas.

Jamie O’Donnell and Thomas McGurk joining Beattie, his girlfriend Judith Boyle, and Andy Kerr in 1991. Debut EP Chlorine Dream was released in April 1991, the title track inspired by the life of Brian Jones. This was followed up by “Speed Reaction” and the album Fireblade Skies (the name taken from a volume of Arthur Rimbaud’s poetry), both in 1991.

Fireblade Skies met with positive critical reaction, Lime Lizard’s Nick Terry stating: “If Jim Beattie’s last long-playing endeavour, Primal Scream’s Sonic Flower Groove, was a thoroughly flawed masterpiece, he’s found his groove with Fireblade Skies”.

Beattie was known for his self-confidence, verging on arrogance, once proclaiming himself to be God, and stating “David Icke is my bestest friend”, later saying “Yeah, I thought I was God before, but now I feel more like Jesus”. Beattie rejected comparisons with other bands of the era, stating “I don’t think we fit in anywhere, really”, and “I don’t think we’re egotistical like Ride are. I don’t need to be egotistical, because I’ve got the music to back it up”.

The band was subsequently reduced to a duo of Beattie and Boyle, and were dropped by 4AD in 1992, the band splitting the following year.

Beattie and Boyle resurfaced in 1994 with a new band, Adventures in Stereo.

This, if you haven’t heard it before, is a cracking single with two hugely enjoyable b-sides:-

mp3 : Spirea X – Chlorine Dream
mp3 : Spirea X – Spirea Rising
mp3 : Spirea X – Risk




For reasons which will become obviously clear, FAC8 wasn’t part of the contents of the Use Hearing Protection box set.

The previous catalogue numbers, having been allocated to posters/vinyl/stationary were simple enough to replicate, but given that FAC8 proved, in the end, to be nothing more than a concept, it was never going to be included within the box, although I suppose a replica of the above drawing would have sufficed.

I’m very grateful to the website The Factory Records Catalogue for the following details:-

Factory Records: FAC 8 LINDER STERLING Factory Egg Timer CONCEPT Also referred to as the ‘Menstrual Egg-Timer’.

Only one prototype was made by Linder, singer of Ludus.

The egg timer looked like an abacus, and is described in one of the early Factory newsletters as ‘A four bar abacus, seven beads to the row, final five blood soaked lint.’

This only ever existed as a drawing on a napkin, done by Anthony H Wilson and artist Linder Sterling (a close friend of Morrissey).

“She was a very weird lady.” remembers Anthony H Wilson. “At that point in 1978, she was making menstrual jewellery, which meant that she would take a piece of wire, wrap gauze around it with glue (she tried menstrual blood, but it just looked black, then she used red paint), and then when it hardened, pulled it off the wire and there was a bead, a menstrual bead, which she would make earrings out of, or necklaces.

The idea for FAC 8 was it would be an abacus with 4 rows, seven beads on each row. The first row would have seven white beads, the second six white beads and a pearl, and the third two white beads and five bloody beads. And we called it the menstrual egg timer.”

I actually met Linder four years ago when she took part in a cultural event in the east end of Glasgow, close to where I was working at the time.

I had the opportunity to speak briefly to her, in which I revealed myself as something of a fanboy for the work she did back in the post-punk days, and in particular the sleeve for the first single by Buzzcocks after they signed to UA Records as well as the debut album by Magazine:-


R-4380075-1506790030-8937Diplomacy prevented me asking what she now thought of the views being expressed by her former confidante and pal.

Linder Sterling was one of many in the Free Trade Hall audience in Manchester at the Sex Pistols gig in 1976 who went on to form a band.

Ludus were active between 1978 and 1983, during which time two albums and six singles/EPs were issued, mostly on the New Hormones label, most famous for being the home of the Spiral Scratch EP by Buzzcocks.

They weren’t your run-of-the-mill combo, with their music being on the experimental side of things with hints of a jazz influence.  They never came close to commercial success, with the best-selling effort being the debut EP, The Visit, which shifted around 3,500 copies.

mp3: Ludus – Lullaby Cheat




Back in August 2013, I pulled together a posting on Is Vic There?, the 1981 hit single for Department S.  I lavished all sorts of praise on it, but in describing the b-side, a cover of Solid Gold Easy Action that had been a hit for T.Rex back in 1972, as a ‘clunker’, I put forward the view that it was fair to assume that Department S. never did anything memorable beyond ‘Vic.’

I was taken to task by Crinan Dunbar, who offered the following view via the comments section:-

“Although ‘Is Vic There?’ is great, the later single ‘I Want’ is superior and worth a listen”

mp3: Department S – I Want

A complete flop which certainly deserved a better fate.   And is that a trumpet I hear getting played as the tune motors along at a frantic pace?  If so, over to you Jonny as you contemplate the next volume of a certain ICA.

I’ve tracked down the two b-sides which appeared on the 12″ release of I Want, and I think it’s fair to say that I was very wrong to say the band had done nothing memorable beyond one hit 45:-

mp3: Department S – Monte Carlo or Bust
mp3: Department S – Put All The Crosses In The Right Boxes

The second of these b-sides is ridiculously jaunty and upbeat, given that its subject matter is suicide.  Vaughan Toulouse‘s vocal delivery sounds like a cross between 70s era David Bowie and Richard Butler of The Psychedelic Furs.

Seems only right to finish things off today with another chance to hear the hit.

mp3: Department S – Is Vic There?

As I said back in 2013, this remains one of the most unique and catchy singles of the new wave era, It still sounds wonderful more than 40 years on.




I never imagined that The Delgados would get together again.  But, at the beginning of last month, it emerged that a five-date tour across the UK has been pulled together for January 2023.

Here’s the thing…..some eight or so months ago, I happened to be in the kitchen area that partly doubles up as the offices of the studios of Chemikal Underground, helping with the packing and posting of a Mogwai re-release on which there had been a larger than anticipated mail order.  Emma Pollock and Paul Savage were working next door in the recording area, laying down some vocals for what is intended to be Emma’s next solo album, and when they took a break and came in for a coffee, I took the opportunity to cheekily ask what I always ask when I bump into them, or indeed anyone associated with the band.

“Any chance of you doing the same as Arab Strap and getting back together for some live shows?”

The answer was the same as always.  A polite but firm ‘No’, with the added reminder that Alun Woodward and Stewart Henderson were now pursuing post-music careers and professions that wouldn’t enable them to find the time to devote to playing and performing again.  The four friends had loved their time as a band, but the decision to break-up in April 2005 was never going to be revisited.

Except…….it now has emerged that as far back as 2019, the four of them had started to talk about the possibilities of reforming for some gigs.  It may well have been that the pandemic put a spoke in the wheels in terms of how and when such a thing might happen, but it also led to a situation where this reformation was one of the best kept secrets within the Scottish music scene.  Nobody seemed to have an inkling until that recent social media announcement about the tickets going on sale later in the same week.

A lot of music fans of a certain age in Scotland were genuinely giddy with excitement.  The Delgados are one of those bands who never got the recognition they truly deserved over the ten years they were active, but who have become appreciated more greatly since they stopped recording and performing.  Part of this is down to the ‘absence makes the heart grow fonder’ cliche, but there’s also been an acknowledgement that many Scottish musicians who have made a name for themselves in the 21st century owe a debt of some form or other to The Delgados.  The Barrowlands show promises to be quite an emotional homecoming.

All of which lead to the Monday Wednesday hi-quality vinyl rip.  The first track on the second side of The Great Eastern, the album nominated for The Mercury Prize in 2000, losing out to Badly Drawn Boy‘s The Hour of Bewliderbeast.

It is six-and-a-half minutes long. It is a complex song which changes shape and tempo on more than one occasion.  It is a quiet-loud-quiet-loud type of song, but to reduce it to that would be to overly-simplify things.  It begins as a haunting and fragile ballad and comes to an end as a frantic piece of indie-rock, all the while offering strings, woodwind and hints of brass tucked away subtly in the background.

It is grandiose.

It is epic.

It is majestic.

mp3: The Delgados – No Danger




The 24-hour delay in bringing you the results was due to the need to get the offer of a free ticket to the upcoming Glas-Goes Pop festival out to everyone.  If you missed that, then all you need to do is scroll back or down to yesterday’s post.

It was Aldo who perhaps best nailed what was most intriguing about Group B

“First glance I thought I knew my 8, but after a listen through, half of those were discarded, and I had to whittle down.”

This proved to a group with just about everything.  The top four were neck-and-neck from the get-go, and while qualification for each of them was secured early enough, the question of who would top things went to the wire.

Two more acts secured plenty of votes early on to ensure likely qualification, which left two slots up for grabs among the rest, although Chuck Moseley/Faith No More, Clearlake and Quickspace never really looked likely.

In the end, it all came down to the very last set of votes cast by DAM with one of his choices breaking what had been, up to that stage, a tie.

  1. Joy Division 31
  2. Electronic 30
  3. Blondie 29
  4. Belle and Sebastian 27
  5. Stevie Wonder 24
  6. Black Box Recorder 23
  7. Hot Chip 19
  8. Fad Gadget 17

DAM cast a vote for Fad Gadget and thus eliminated The Siddeleys on 16.

Looking from the outside, the big shock is the failure of Blur to get through having gained just 14 votes which was the same as Urusei Yatsura, while Joe Jackson perhaps paid the price of a lesser known track being the ICA opener and was eliminated after receiving only 12 votes.  Josh Ritter got a lot of early votes and was very much in the running, but eventually proved unable to get more than 10 all told.

As ever, I’ll leave you with a song that will now be unable to make an appearance in future rounds when It may well have been something of an ace card to play:-

mp3: Joe Jackson – Is She Really Going Out With Him?




I very rarely plug things through the blog, but this is a deserving exception. And besides, if you get to the end of things, you’ll discover a chance to get along to this upcoming festival for free.

Without further ado, here’s the press release from the organisers:-

Glas-Goes Pop is a new boutique indie music festival taking place 5-6 August at the Glasgow University Union Debate Chambers in the city’s West End.

The weekend is the result of wishful conversations between two transplanted Californians now living here who were desperately missing live music over the pandemic. The inaugural Glas-Goes Pop focuses on a genre of indie pop born in 80s Britain that still has a loyal fanbase to this day. Known varyingly as C86, twee, indie pop, or anorak pop, the movement was embraced by an audience brought up on The Smiths and REM, with a natural affinity for the earnest jangle of guitars. Sam Knee’s coffee table book, A Scene In Between, documents the 60s-via-Oxfam style of the original era.

All of the bands playing Glas-Goes Pop include a major player from the time. Amelia Fletcher of original scenesters and figureheads Talulah Gosh, Heavenly, and Tender Trap (amongst others), appears here with both The Catenary Wires and Swansea Sound.

Phil Wilson still leads The June Brides, while Pete Astor from early Creation Records artists, The Loft and The Weather Prophets, plays under his own name nowadays.

California-girl-gone-Brit Beth Arzy of Sarah RecordsAberdeen and later Trembling Blue Stars appears with Jetstream Pony, who also feature Shaun Charman, an original member of The Wedding Present. Rachel Love pre-dates the scene by a few years, but her post punk all-girl outfit Dolly Mixture is held in high regard by the fanbase. Headlining the fest will be Mozart Estate, the latest project from indie icon Lawrence of Felt/Denim/Go-Kart Mozart fame. The list goes on! As we like to say in our promo, all killer, no filler!

Several of the bands are making their Glasgow debut – Davey Woodward & the Winter Orphans, Papernut Cambridge, Jetstream Pony, Swansea Sound and Rachel Love. Mozart Estate and The June Brides last played Glasgow in 2013, while David Christian last played here with his punk/pop/soul outfit Comet Gain in 2010.

As the festival is based in Scotland, considered by many to be a ground zero for the scene, our own Close Lobsters top the bill on Friday night, playing alongside original Sarah Records favourites and fellow Scottish popsters, The Orchids.

Saturday will get started with an early screening of a documentary by Paul Kelly (Lawrence of Belgravia) – Take Three Girls: The Dolly Mixture Story, as a wee warm up to Rachel Love playing later that evening.

Filling in the gaps over both days and ending each night with a dance party, we have a superb group of DJs – Chris Geddes from Belle and Sebastian, Gerry Love from Lightships/former Teenage Fanclub, Andrew Williams from Track & Field (London)/editor of Boaty Weekender fanzine Deck 7 and Robert Winning from Glasgow’s own Simply Thrilled Scottish-pop-themed club night.

The festival is located at the beautiful Debate Chambers in the historical Glasgow University Union. Guests will also have access to the adjacent Reading Room, so a comfortable experience should be had by all. For those who don’t want to miss any of the bands, the option to pre-order a simple evening vegan/vegetarian meal is also available when buying either weekend or single day tickets.

As a separate event from the festival, the organisers are hosting a Pop Fest Brunch with Duglas T. Stewart from the legendary BMX Bandits on the Sunday afternoon at the Thornwood Bar in Partick – a way to unwind with fellow pop music fans after two days of music and fun. Duglas will be hosting a pub quiz to close the weekend with a smile.

It’s something of an honour that Simply Thrilled, the club night I’ve been part of for a while, is involved in the festival, and Robert will undoubtedly do a great job in among those other, perhaps better-known, DJs whose names are alongside his on the flyer.

There’s a range of ticketing options available for Glas-Goes Pop, with the option of going along on either or both days.  Click here for more details.

Myself and Aldo have already got our tickets for the weekend, and have been looking forward to it for months.

Another great friend of the blog, flimflamfan, also has a ticket, but unfortunately is now going to be otherwise engaged over the weekend, and so is now offering the chance for a TVV reader to make free use of it.  It is a two-day ticket, but without the pre-booked food option, and has a face value of £48.

All you have to do is make use of the comments section by leaving behind the words ‘Glas-Goes Pop Ticket? – Yes, Please!’ and your name will go in the hat.  The only thing is, you’ll need to do so by the end of this week, Friday 29 July, to allow myself and flimflanfan enough time to sort everything out.

mp3: Close Lobsters – What Is There To Smile About?

Plenty, if you ask me.




One of the two groups with a difference.

Hybrid Soc Prof offered up 18 ICAs in a fairly short period of time, with his first being on 14 January 2019 and his last on 24 June 2020.

His alias gives away the fact that he was an academic, and if you go back through his postings, you’ll see he was based in Michigan, but that his writings covered many years of interest in music across many parts of the USA.

I have no idea what stopped HSP being such a lively contributor.  His last post came at the tail-end of the academic year and was, of course, during the time when COVID was rampaging through North America.  I’m trying not to think the worst……

All 18 songs on offer today come from his different ICAs, which means he’s guaranteed eight representatives in the knock-out stages.  My decision to devote an entire group to HSP is based largely on the fact that his offerings were on singers and bands rarely featured otherwise on TVV and I like the idea of a few lesser-known or appreciated acts being able to progress.

Once again, the songs are competing for your votes today are #1 from all the relevant ICAs, and they are offered up in alphabetical order of the singer or group involved.

The Black Angels – Currency (ICA 239)

The Black Keys – A Blueprint of Something Never Finished (ICA 246)

Vic Chesnutt – Flirted With You All My Life (ICA 232)

The Dream Syndicate – Kendra’s Dream (ICA 204)

The Feelies – The Boy With Perpetual Nervousness (ICA 218)

Giant Sand – Happenstance (ICA 213)

Michael Hall – Let’s Take Some Drugs and Drive Around (ICA 235)

Chris Isaak – Solitary Man (ICA 255)

The Lyres – You’ll Never Do It Baby (ICA 230)

Morphine – You Look Like Rain (ICA 215)

Chuck Prophet – Pin A Rose On Me (ICA 207)

Rainer Ptacek – Me and The Devil (ICA 242)

Queens of The Stone Age – I Appear Missing (ICA 241)

The Schramms* – Number Nineteen (ICA 236)

Son Volt – Chanty (ICA 207a)

Television – The Dream’s Dream (ICA 248)

The Thin White Hope – Dead Grammas On A Train (ICA 202)

Uncle Tupelo – Moonshiner (ICA 211)

*this track is actually a solo offering by Dave Schramm on an ICA otherwise consisting of songs by the group

I’m looking for you to cast votes for up to eight songs, but don’t worry if you decide to go under that number if not all the songs fully appeal to you….but every vote counts!

As usual, voting closes at midnight (UK time) next Saturday, which is the 30th of July.

Group D next week will have the normal thing of some stuff from myself and a bundle from guest contributors.




Five paras from all music:-

“With the backing of Scottish legends of the genre Stephen Pastel and Edwyn Collins, it’s no shock that the Glasgow-based group Spinning Coin make music that could be categorized as indie pop. Their first recordings, like their 2017 album Permo, delved quietly into the knotty, melancholy end of the sound. By the time of their second record in 2020, Hyacinth, they adopted a sound that is more energetic and gleefully weird.

The members of the group had all been playing in bands, writing songs, and making the scene before they got together to make fiercely ramshackle indie pop that reminded their future label head, Stephen Pastel, of a “feeling (he) had at the end of the Boy Hairdressers and the beginning of Teenage Fanclub.”

They formed in late 2014 ostensibly to back guitarist Sean Armstrong on a batch of his songs, but soon took the name Spinning Coin and became something more. Made up of Armstrong (guitar and vocals), Jack Mellin (guitar and vocals), Cal Donnelly (bass), and Chris White (drums), Spinning Coin began playing shows around their hometown and caught the ear of Fuzzkill Records, which released the band’s self-titled five-song debut cassette in October of 2015.

This recording, and their live shows, brought them to the attention of Geographic Music, a label run by the Pastels and sponsored by Domino. They home-recorded their first single, “Albany”/”Sides,” released it in April of 2016, and soon got to work on a full-length album. Working with producer Stu Evans in Glasgow and Edwyn Collins at his studio in Helmsdale, the band added backing vocals from the Pastels’ Katrina Mitchell and Tuff Love’s Rachel Taylor. The album, Permo, was issued in November 2017 by Geographic. Around that time, Spinning Coin added Taylor to the line-up as their keyboardist.

Before the band were able to record another album, bassist Donelly left and Taylor and Armstrong relocated to Berlin. While on a summer tour of Europe, they checked into Black Box Studios in France to record with producer Peter Deimel, then worked on the songs at home in Glasgow and Berlin. Chief songwriters were again Armstrong and Mellin, though Taylor does get one song in, and the resulting album, Hyacinth, takes a step outside the jangle pop realm into the art pop wilderness. It was released in early 2020 by Geographic.”

I’m more of a fan of the songs on Permo than Hyancinth, which really shouldn’t come as any surprise to anyone who is a TVV regular and has been exposed to all sorts of jangle-pop from my home city.  Here’s a couple of its tracks, both of which were also released as singles.

mp3: Spinning Coin – Raining On Hope Street
mp3: Spinning Coin – Sleepless

Although it’s been at least five years since I saw them, my recollection is that Spinning Coin were a decent live act too.




Just in case you need reminding, the 2022 edition of the ICA World Cup is now well underway, with the Sunday editions of TVV being devoted entirely to the tournament over the next few months.

I thought it would be worth looking back to the very first tie played in the 2018 edition, as it proved to be a real thriller.

2018 was based entirely on knock-out, unlike this time round where there is an initial group stage.  There were 129 ICAs eligible in 2018, which meant two had to go head-to-head in a preliminary round to get the number down to a figure where there could then follow five knock-out rounds in advance of the final.

Here’s what happened…..

#115 : Talking Heads v #93 : Close Lobsters

A transatlantic clash between two of the dark horses for the tournament.  The tracks were selected by a combination of coin toss (‘Heads’ for Side A and ‘Tails’ for Side B) and a dice (the number rolled landed on the song. prospect.

Born Under Punches (from the LP ‘Remain In Light’ 1980)
Let’s Make Some Plans (single, 1987)

The match report the following week revealed how it all unfolded.

The 12 noon kick off on Wednesday clearly suited the American art rockers as they raced into a 10-6 lead following the opening exchanges over the first four hours.  The Scots beat combo fought back tenaciously, and shortly after 8pm they took the lead for the first time when DG’s contribution made it 15-14.  This only seemed to rile the fans of Byrne & co and by half-time, at 6pm on Thursday, they had opened up a substantial lead with the score being 27-20 in their favour.

The Heads came out after the break looking to kill things off and scored the next three goals; the difference was now 10 and seemed unassailable.  The Lobsters, however, came back under the cover of darkness with five unanswered goals between 11pm and 4am – the gap was down to five with only the final third of the game left to play.

The boys from the small town a few miles south-west of Glasgow set about their task and momentum seemed to be on their side and  three Friday night goals saw the margin down to just one as we entered the final 60 minutes…..during which, incredibly, nobody added to their tally.

The final whistle brought an enthralling and exciting match to a close, with the scoreboard showing :-

Talking Heads 31  Close Lobsters 30

The New Yorkers, despite scoring only one goal in that final third, had managed to hold on.  The decisive intervention came at 6.37 pm, with Ian saying ‘Talking Heads. Back of the Net.’ 

Talking Heads would go on to defeat Massive Attack in Round 1 and Kitchens of Distinction in Round 2 before losing out to The Housemartins in Round 3.





Hard luck, I’m back.

Late last year, I was strong-armed into joining the works Christmas Party team, a role I’m sure you can imagine I attacked with all the vigour of a substituted soccer ball player.

As is the norm with this sort of thing, our directions were that we had to come up with lots of games which would promote teamwork, which we duly did.

But about a week before the event, Covid rules changed. We should now only meet up if absolutely necessary, which this clearly wasn’t.

And so it shifted to an online, virtual Christmas Party, and we had a lot of time to fill.

“Can you knock together a Christmas pop quiz, Jez?”

At last. Here was my calling, my vocation.

But I couldn’t just do any old “What was the Christmas No. 1 in 1978?” type quiz. (Boney M with Mary’s Boy Child/O My Lord, in case you’re playing along at home), as the bloke who did it the year before had done that.

So instead I plumped for Christmas songs which you assume reached the coveted Christmas #1 slot, but didn’t. I wittily called it “The Christmas Number Two Quiz”, but decided not to include Mr Hankey, The Christmas Poo for wanting-to-keep-my-job reasons.

For those of you who don’t know me, my daytime job is working for the London Borough Council I lived in until fairly recently. In what I assume is a cost-cutting exercise, my Head of Service also performs the same role at a different London Borough Council.

She emailed me a day or so after our online Party to ask if she could use my pop quiz for the Christmas party for the other Borough. She’s my boss, what am I going to do, say no?

And so I became “Pop Quiz Guy”, not a title I have shied away from to be honest.

A couple of months ago, I was approached by one of our other managers, who was putting together a shared-service day, where employees in both Boroughs under the rule of the aforementioned Head of Service would meet up for a day of jolly training.

“Can you do a pop quiz for us, please?”

Of course, I agreed. It’s nice to be wanted, and also this manager is also my boss, what am I going to do, say no?

I dutifully prepared an “Identify the song from the lyric” quiz, fifteen songs, a point for the song, another if you got the artiste right.

And then, having attended a different training session a few days earlier, I tested positive for Covid, so couldn’t host it. I press-ganged some colleagues into filling in for me, but I felt an emptiness, a vacuum within me (by which I don’t mean I had inserted Henry the Hoover where the sun don’t shine).

Which brings us here, with extreme hot weather warnings ringing in our ears, a sort of summery mix for your delectation, you lucky people.

Named as a homage to the British media’s obsession with covering climate change by way of sending a photographer/camera person to a beach in the hope of catching a bit of tit to bolster their article about how it’s hotter here than it is in (enter any country more renowned for being warmer than the UK is), this is

mp3: Various – Phew! What A Scorcher!!

And here’s your track-listing, with ICA style sleeve notes where required (and rest easy regulars at my place, Chas & Dave don’t feature (although Quo very nearly did):

1. Super Furry Animals“Hello Sunshine”

2. Gorky’s Zygotic Mynci“Patio Song”

Parts 1 & 2 of the Welsh contingent of this playlist

3. Spanky WilsonSunshine Of Your Love

Nobody does a cover version like Spanky. And heaven forbid I would be compelled to include the original, sung by the right-wing “God”

4. Belle And SebastianLegal Man

Safe to say that, with its “Get out of the office and into the springtime” refrain, it won’t be featuring on Walter Softey tribute act Jacob Rees Mogg’s Desert Island Discs selection

5. The KinksRainy Day In June

Reality check. No matter how great the weather is, or is forecast to be, you can rely on one thing: it’ll start pissing it down the second you unfurl your picnic blanket. If the wasps and ants don’t get you, the weather will

6. The AlarmRain In The Summertime

Here’s the 3rd of our Welsh contingent, a record which, up against some very stiff competition, manages not to be their worst single. Still, props for trying to put a positive spin on shit weather. Which is especially commendable when you imagine how pissed off you’d be to have rain ruin all those hours of furious back-combing and industrial levels of application of hairspray

7. The DelgadosMr Blue Sky

Because I’d never get the original past JC’s watchful eye

8. WeezerIsland in the Sun

True story: I once had a brief dalliance with a young lady once; she flicked through my record collection and asked me to put together a mix CD for her. She’s the one, I thought. I duly obliged (in more ways than one, knowwhatImean?), she made this her ringtone on her phone and then ignored me for the rest of eternity

9. Dinosaur Jr.Take a Run at the Sun

A record I will forever associate with my dear departed buddy Llyr. We used to make mix CDs for each other, I would never provide a track-list, preferring to see how he reacted to what I had put together (and, if I’m honest, check he’d actually listened to it). There is no greater joy than receiving a text which just reads: “Take a Run at the Sun!!!”. And because J Mascis trying to be Brian Wilson: what’s not to like here?

10. BarracudasSummer Fun!

Because I thought an ad break was due. And because it’s chuffing brilliant. Bonus points for the inclusion of an exclamation mark.

11. The UndertonesHere Comes The Summer

Because no summer playlist is complete without it

12. RamonesRockaway Beach

Because the idea of four goofy NY dudes in black leathers hanging out at the beach is inherently ridiculous

13. SupergrassSun Hits the Sky

If you were fortunate enough to catch their recent life-affirming Greatest Hits set at Glastonbury, you’ll know there’s no such thing as a bad Supergrass tune

14. SqueezePulling Mussels (From the Shell)

You’ll be aware that JC writes a wonderful series about songs which tell a story. This tale of a seaside coach trip’s journey home being delayed because one of the group is off shagging is ripe for inclusion at some point. This, or pretty much any other song from Squeeze’s canon

15. Kirsty MacCollHe’s On The Beach

It was a close call between this and the Lemonheads version. Kirsty wins, as she always should

16. Martha & The MuffinsEcho Beach

Quite simply, one of the greatest escape-from-the-daily-grind summer records ever

17. Fatboy SlimSunset (Bird of Prey)

Featuring Jim Morrison on guest vocals, spouting 6th form poetry, with his knob out (probably). This is the end.

JC adds..

This really should have been posted up earlier this week when the UK was experiencing record-high temperatures…and to be fair to Jez, he did fire it over in advance of things, but I had been too busy to look at the TVV inbox.

And for those of you not all that familiar with the sort of things Jez comes up with on a daily basis, then you really should take a leisurely stroll over to A History of Dubious Taste.

I’ve already got my own mixtape ready to roll when August comes around, but if anyone else wants to put something together, then there will always be a spot available.

And finally for today, a link to a guest posting I pulled together for SWC over at No Badger RequiredClick here for musings on Toronto and its baseball team.



Yard Act, from Leeds, are another new band that I’ve got all excited about in 2022.

James Smith (vocals), Ryan Needham (bass), Sam Shjipstone (guitar) and Jay Russell (drums) haven’t quite come from nowhere as they’ve all been in other bands previously.  But there’s something genuinely superb about their new collective which has made their debut album, The Overload, released back in January, as one of my most played records in the first half of 2022.

Most critics focus on Smith’s lyrics and delivery, which are full of humour and storytelling, often delivered in a spoken-style, covering a wide range of social and political issues from a left-wing perspective, but the band are incredibly tight and talented, which no doubt stems, at least in part, from the fact they aren’t new kids on the block.

There were a number of self-released EPs released in 2020 and 2021, the vinyl versions of which now go for eye-watering sums on the second-hand market.  Indeed, the band remain something of a DIY outfit as the debut album came out on their own ZEN F.C. imprint, but via a partnership with Island Records.

Most of the tracks have had some sort of release as a single, in digital form, with a number of wonderfully surreal promo videos featuring a cast of characters who pop up time and time again.   The final single, 100% Endurance, is the song which closes that album and its video features a wonderful turn from the actor David Thewliss.  YouTube can be your friend for all said videos.

The longest track on the album, however, was never released as a single.  I think it makes for a wonderful short story.

He was the most handsome in a class of twenty-two
And he knew it early on so his confidence kept growing
By thirteen he had been with every girl deemed worth it
To be with in the village, two years either side of his birthday
He played football, boy, could he play
He played every single day and he still does
A scout from Crewe Alexandra came to watch him once
And they said that they were gonna be in touch

He was the captain of the team without ever asking to be
And without ever being told, that counts for a lot, still, believe it or not
Lo and behold, everyone fell in line behind the hair on his legs and hair on his lip
He was the-

He could smoke ten a day and still run faster
Than that whippet that could lap the racetrack rabbit
He could dabble in the snow, rubbing shoulders with the rabble
And still never ever touch upon a habit
At age sixteen, he made his choice to stay
And got a job selling houses in the village
Which by now had become such a desirable place to settle down
It was classed not as a village, but instead as a small town
(On the sunny, sunny side of the borough)
(You get two brown bins)

Fortunately, despite the influx of newcomers including, for the first time
A genuine authentic Italian restaurant run by a family of fantastic old school Neapolitans
He was still the best at football, and a most handsome man
Taking solace in that fact as his little world continued to expand

By the time he was twenty, he’d now been with all the girls deemed worth it in the village
Five years either side of his birthday
But it was time to settle down and no kiss had ever felt so electric
As the first he’d ever felt all those years ago
Though she had never strayed far, hemmed in by his shadow
The torches lining the path of her own dreams had been growing dimmer by the day and so
Faster than a dying star, she cashed in her chips and checked out
Settled for him and subsequently threw all her own ambitions away

A promotion followed, a mortgage, a marriage
A dog and children, a loft conversion
A dead dog, and a second home on the Costa del Sol
In the hopes of stoking the coals of two long-lost souls
Which comes first, counselling or keys in the bowl?
Put his own mother in a home
Got made redundant twice, never once was he on the dole

Light head, black spots on his vision, room spinning
Clutching the curtain waving from the window, they thought he was grinning
He was grimacing, begging them to notice him, twitching, notice no one is helping him
The grandkids waving through the rear windshield
As the big electric gate draws a line in between them
A fine, fine line between benign and malignant
So get yourself checked, book yourself an appointment
So get yourself checked, book yourself an appointment
So get yourself checked, book yourself an appointment
So get yourself checked, book yourself

The whole village and most of the town came out to mourn his end
A full house, he would’ve been so proud knowing that no one said a bad word about him aloud
He wasn’t perfect, but he was my friend
He wasn’t perfect, but he was one of us
He was one of us

A plaque bears his full name on a bench by the water’s edge
The dates he came and went
And a quote about life and death from a song he’d never heard
‘Cause he wasn’t too fond of long songs with lots of words
If I were him, I’d have never left the village either
But I did, and I know full well
That there are more handsome men and better footballers out there in Greater Manchester
They would’ve cut him down to size if they could’ve, but what good would that do?
He bloomed and he grew and grew, and still he was doomed
Same as me, same as you
Same as everyone I ever knew
You, sometimes still, I think about you
Out there, somewhere, floating in the ether
Born dyed in the wool, never knowing of a belly half full
So many of us just crabs in a barrel
With no feasible means to escape the inevitable cull
There are those that grow thick skins quick for the sake of their sins
And the savvy folk that just keep their mouths shut and take it all on the chin
We collide with each other, we submit, and we bare our teeth
Catch fish using giant metal ships and scream with laughter
At 4AM staggering home down moonlit country lanes
We cry because children are dying across the sea and there is nothing we can do about it
Whilst we benefit from the bombs dropped which we had no part in building
We are sorry, truly we are sorry, we are just trying to get by too

mp3: Yard Act – Tall Poppies




In recent years, I’ve not had many positive things to say about Belle and Sebastian.  The older material remains an essential listen and part of the collection, but almost everything since 2006 has felt below-par.

I didn’t rush out and buy the new album, but my good mate Aldo recommended it highly as a return to form, and so I took the plunge.

The reviews for A Bit Of Previous seem to be mixed.  There are some who praise it for the fact that in many places it fits in musically with many of the very early EPs and LPs, but others have said things such as it lacking the depth and storytelling brilliance that once made B&S so exciting.

Me?   Well, it would take something truly astonishing to be up there with If You’re Feeling Sinister (1996) and The Boy With The Arab Strap (1998), but then again the band has a slightly different line-up from those days and everyone involved has enjoyed or endured life experiences which shape and mould the way they go about their craft.  I think it’s an excellent record, one which, like those earlier releases, has the feel of Glasgow all the way through it, which is no surprise given that the pandemic led to a cancellation of plans for it to be recorded somewhere exotic and expensive, and instead in a very small adapted studio in the city that was previously largely used by the band for rehearsals.  Here’s the opening track:-

mp3: Belle and Sebastian – Young and Stupid

The liner notes which come with the album are an excellent read, with various band members reflecting on how COVID meant it had to be put together in a way none of them were now used to. The liner notes are also illustrated by some excellent photos which capture Glasgow and the surrounding areas during lockdown periods.  Now that things have more or less returned to normal in terms of crowds and gatherings, it is a reminder of how calm and peaceful everywhere was for a short time.

Here’s the promo.

If that didn’t put a smile on your face this Tuesday morning, then there’s no hope for you.




I was away from home all of last week (up in St Andrews with a group of Canadian visitors over for the golf) and couldn’t keep up with the blog all that much.  I was stunned, thrilled and, yes, over-the-moon-David, to see the number of responses to the opening Group of the ICA World Cup 2022.

I got home to Glasgow yesterday and immediately started tallying the votes.  I did feel when the draw emerged that Group A didn’t bring together too many of the so-called ‘big guns’ and wouldn’t make for too much excitement.

How wrong could I have been?

OK, it was clear from quite early on that six of the eight qualifying spots were destined for Cocteau Twins, Buddy Holly, The Jam, Nirvana, Iggy Pop and Roxy Music, while the likes of Dum Dum Girls, The Fall, Luke Haines, Robyn Hitchcock, Iceage and Mudhoney never really got going.

Of the others, Say Sue Me and Tracey Thorn faded after decent starts, which left Ash, Dinosaur Jr. and Jazz Butcher battling out in a tight contest for the final two spots.

The final tallies at the top of the table:-

  1. Iggy Pop 39
  2. Roxy Music 37
  3. Buddy Holly 30
  4. Cocteau Twins 28*
  5. The Jam 28
  6. Nirvana 24
  7. Ash 19
  8. Jazz Butcher 18*
  9. Dinosaur Jr. 18

In football terms, there were two penalty shoot-outs – which in reality was a toss of a coin. Cocteau Twins snatched 4th place in the group, (which may be crucial in terms of the draw for the knockout stages),  but also saw Jazz Butcher progress to the next phase instead of Dinosaur Jr.

It is, I have to admit, a very cruel way to be eliminated. Especially when this song was likely to make an appearance at some point:-

mp3: Dinosaur Jr – Freak Scene




All the postings for the initial Group stages are being typed up, readied and posted at the same time, weeks in advance, and as such I have no idea how well (or badly) folk responded to Group A.  I’ll be going forward in any event, certainly for the next seven weeks, but like a gig or festival which is cancelled late on due to poor ticket sales, I’ll be keeping a close watch on things as they head towards the knock-out stages.

Once again, sixteen songs are competing for your votes today, with eight of them set to qualify for the knock-out stages.  As mentioned last week, all the songs, in the group stages, will be #1 from all the relevant ICAs, and they are listed below in alphabetical order of the singer or group involved.

Belle & Sebastian – The State That I Am In (ICA 165)

Black Box Recorder – Child Psychology (ICA 179)

Blondie – X-Offender (ICA 198)

Blur – Crazy Beat (ICA 189)

Chuck Mosley/Faith No More – We Care A Lot (ICA 247)

Clearlake – Almost The Same (ICA 279)

Electronic – Getting Away With It (ICA 205)

Fad Gadget – Back To Nature (ICA 231)

Hot Chip – Ready For The Floor (ICA 216)

Joe Jackson – One To One (ICA 196)

Joy Division – Digital (ICA 160)

Quickspace – Friends (ICA 263)

Josh Ritter – Snow Is Gone (ICA 162)

The Siddeleys – Sunshine Thuggery (ICA 265)

Urusei Yatsura – Siamese (ICA 268)

Stevie Wonder – Yester-Me, Yester-You, Yesterday (ICA 233)

With all respect to Group A, this week’s mix is one to get the juices flowing, with a few big names coming out of the hat, and not all of them certain to get through.  Bernard Sumner makes two appearances this week, again by chance.  He’s been denied the hat-trick as there’s no eligible ICAs from New Order or Bad Lieutenant.

As usual, voting closes at midnight (UK time) next Saturday, which is the 23rd of July.




A mix of wiki and my own words….

Sparrow and the Workshop were an indie three-piece based in Glasgow, consisting of the Belfast-born, Chicago-raised Jill O’Sullivan (vocals, acoustic guitar), Welshman Nick Packer (guitar, bass) and Scotsman Gregor Donaldson (drums, vocals). The band’s debut album Crystals Fall was released by Distiller Records in 2010 to critical acclaim, with the likes of Drowned in Sound and Clash Magazine awarding the album 9/10. The band was notable for their use of harmonies and bastardized instruments/FX pedals, and they have been compared to bands as varied as Jefferson Airplane, Talking Heads and Black Sabbath.

Sparrow formed in early 2008 and soon after caught the attention of Distiller Records, who offered to put out a single and EP for them in 2009. They have toured with many bands including British Sea Power, Idlewild, Broken Records, Sivert Hoyem (ex-Madrugada) and supported the likes of The Lemonheads and Thee Oh Sees.

In April 2011 the band released their second album, Spitting Daggers, which was again well received with Drowned in Sound and the BBC giving the album 8/10 and 7.5 respectively.

On 6 January 2013, the Scottish blog and label Song, by Toad Records announced it will be releasing Sparrow’s upcoming single, Shock Shock, and in due course would also release the third album, Murderopolis in May 2013.

The band took an announced break after the third album, but there hasn’t, as yet, been any reformation.  Jill O’Sullivan, however, has been ridiculously busy in recent times, playing and performing with a number of Scottish acts as well as recording, as Jill Lorean, an EP, Not Your First, which was released in 2020 just as the pandemic took hold, and an album This Rock, which came out earlier this year and has proven to be one of my favourite releases of 2022.  I’ll get round to writing about it, and many other new records, at some point, but I do prefer to keep TVV mainly as a place for nostalgia rather than contemporary music.

Here’s a couple of songs

mp3: Sparrow and The Workshop – Snakes In The Grass
mp3: Sparrow and The Workshop – Shock Shock

The former is from the 2011 album Spitting Daggers, while the latter was the band’s single from 2013.




Despite my love for the voice of Billy Mackenzie, I didn’t always back in the day go out there and buy vinyl for the sake of it.

For instance, I didn’t ever desire to own a copy of Take Me To The Girl, a stand-alone single released in late 1985.  I didn’t, if you’ll pardon the pun, take to the song on the small number of occasions I happened to chance upon it via the radio, but there was always the intention that if I saw it in a bargain bin that I’d hand over a few pennies.

It never quite worked out and so, for the best part of almost 40 years, there’s been a hole in my collection (along with a couple of the early singles) which I’ve been attending to.

I got this one on 12″ through Discogs.  It only cost me £1 plus postage (and it came along with a few more 12″ singles to save on the P&P).  I would, ideally, have liked it to have had a few less pops and crackles, but I can’t grumble given what it cost. And while I now have a bit more appreciation for the single than I did in 1985, I still find it to be derivative of its time to be an essential Associates release, and it certainly hasn’t dated as well as many of the other songs of the era.

mp3: Associates – Take Me To The Girl (12″ mix)

Tucked away on the b-side, however, was a different and rather lovely version of the song.

mp3: Associates – The Girl Who Took Me

It’s vocal and piano for the most part, with a hint of quiet synth and brush drums in the background.  This is one that would have made the ICA back in September 2017 if I had known about it.




Regular readers will know that I’m offering up a short series dealing with the contents of the Use Hearing Protection box set.

FAC7 is a peculiar one given it was the catalogue number allocated to some stationary.  But this wasn’t just any old ordinary stationary, given that it was designed by Peter Saville.

It seems that, having gone through the rigmarole of actually releasing some records, Tony Wilson & co. decided that it would make some sense to print up some paper and envelopes to be used when issuing official correspondence.  Where most fledgling companies would likely have picked something cheap’n’cheerful from some sort of catalogue, Factory Records called on the services of its in-house designer who came up with headed paper and envelopes.   The box set did include some replicas of the envelopes (as pictured above), presumably on the basis that these did have FAC7 printed on them, but not any replicas of the official note paper, whose letterhead looked like this:-


I had to scratch my head a bit to come up with a suitable piece of music for today.  Having decided that it would need to be from the Factory Records catalogue, the little lightbulb above my head lit up.

mp3: Happy Mondays – Wrote For Luck (Dance Mix)
mp3: Happy Mondays – Wrote For Luck (Radio Mix)
mp3: Happy Mondays – Wrote For Luck (Club Mix)
mp3: Happy Mondays – Boom

The four tracks from the 12″ version of FAC212, released in October 1988 to huge indifference.  It was a different story less than a year down the line.


The mp3s today are provided today at a slightly higher level than normal, simply for the fact they deserve to be.  Play loud (and please excuse the click which crops up the very second the Dance Mix comes to a halt).




21 September 2016.

The Only Ones, consisting of Peter Perrett (vocals, guitar), John Perry (lead guitar, keyboards), Mike Kellie (drums) and Alan Mair (bass) released their debut single in June 1977. They disbanded in March 1981 after a career that had seen six singles (seven if you count that one was given a re-release) and three albums. None of the singles charted while the first two albums reached #56 and #42 respectively in May 78 and March 79.

It wouldn’t normally be the sort of stats that get you noticed far less fondly remembered. Except for the fact that this was one of the singles:-

mp3 : The Only Ones – Another Girl, Another Planet

It had passed me by on its first release in April 78 and again in August 78 when CBS Records, convinced of its quality, tried again. I wouldn’t have heard it until 1981/82 when I began frequenting the Strathclyde University Students Union where the song was a staple of the alternative downstairs disco, sometimes airing two or even three times a night s each of the DJs doing a stint would give it a spin. Once heard, never forgotten and for most folk it was instant love. By now the record had been long deleted, so I never got my hands on a physical copy of it, but in due course a few years later it would be included on a new wave type compilation and so at last I could play something other than the version I had on hissy cassette tape.

It’s an astonishingly good piece of music. It’s damn near the most perfect ever guitar-pop song, in terms of the tune, the playing, the doom-laden verses and the ridiculously catchy sing-a-long chorus. Don’t even bother trying to argue otherwise, as you’re wrong.

I’ve dug out, from other sources and sadly not the original vinyl, the b-sides to the two releases of the single:-

mp3 : The Only Ones – Special View
mp3 : The Only Ones – As My Wife Says

As it turned out, many of you agreed with me.  Here’s a re-run of the comments left after the posting:-

Brian : Best song ever! I have never been out for karaoke, but this is the song I would do if I ever did. I have sung it with that perfect nasal drawl hundreds of times at home and always with a big grin.

Charity Chic : I’m with Brian – one of the best, if not the best song ever.

Colin Milligan :  Fantastic Song, my brother had the 7″ and Special View got almost as many plays – I always thought it was a double A side. Thanks for sharing.

billisdead : When I was 10/11 yea s old I used to eye Stiff’s oldest brother John’s copy of AGAP with extreme envy more so than with any other of his or anybody else’s records. John once said to Stiff that he thought that I would kill for this single and he wasn’t far off the mark. I was 20 odd before I got a near mint copy for myself. Such a great record, in my top 21 singles.

JTFL : Classic. Kind of tragic, too, but as close as you can get to the perfect rock song.

therobster71 : I wrote about the lyrics of this song in an English degree essay about the poetic use of language.

Quite simply the greatest pop song ever written.

By anyone.


The Swede : I bought The Only Ones’ debut single, ‘Lovers of Today’, the morning after hearing it on John Peel’s show and stayed with the band from beginning to end. The second album, ‘Even Serpents Shine’, is a nigh-on impeccable piece of work. Peter Perrett is currently recording a solo album produced by Chris Kimsey.

(I once sang ‘Another Girl Another Planet’ with my mate’s punk band at his wedding bash. It’s a great song to sing, though sadly the marriage didn’t last.)

Echorich : Have to add my name to those who believe this is one of the best guitar pop songs EVER! If you had asked me in the very early 80s I would have thought Another Girl, Another Planet was a world wide smash! It got massive play from the burgeoning ALT. Rock radio.

Here’s the Peel Session version.

mp3: The Only Ones – Another Girl, Another Planet (Peel Session)

It was the band’s second time recording a session for the much-loved and much missed DJ.  It was recorded on 5 April 1978 and broadcast nine days later.  Such was its popularity that the session, which also included The Beast, No Peace For The Wicked and Language Problem, was repeated on three further occasions in May, June and August 1978.

I think it’s fair to say that this is one of those occasions when the studio version knocks the session version out of the park, although I do love the additional half-arsed shout which comes in just before the guitar solo around the halfway point.




The picture above should give it away that this is not a triple posting about Los Angeles……

The facts.

Can’t Get You Out of My Head was recorded by Kylie Minogue for her eighth studio album Fever (2001). Parlophone Records released the song as the album’s lead single on 8 September 2001.

Written and produced by Cathy Dennis and Rob Davis, it is a dance-pop, techno-pop and nu-disco song that is known for its “la la la” hook. Prior to pitching the song to Kylie Minogue, Davis and Dennis unsuccessfully offered it to S Club 7 and Sophie Ellis-Bextor.

It went on to reach number one on charts in 40 countries worldwide. It peaked at number one on the UK Singles Chart for four weeks. As of 2018, the track had sold over five million copies worldwide.

Swiss Adam offered up the perfect critique when he pulled together a Kylie Minogue ICA in August 2020 (and which is coming soon to you as part of the 2022 ICA World Cup).

The perfect start of the 21st-century pop song – a sleek, modern, hook laden monster, peak synthesis of music and video. Kylie in a science fiction sports car zooming around the city of the future. Kylie in a hooded robe, almost revealing everything, striking poses and doing the dance. Red shirt and black tie clad male dancers in red visors, so 2020, marching in a Kraftwerkian homage. Slow-motion Kylie on the roof of a skyscraper in a post-modern city, hips swinging from high to low in a panelled metallic mini- dress, surrounded by light bulbs flashing and dancers now dressed in black. And beneath the sheer surface and the obsession of the chorus there’s something darker, ‘a dark secret within me’, which gives the song an edge. You know this song inside out and it’s one of those rare occasions where familiarity doesn’t breed contempt.

mp3: Kylie Minogue – Can’t Get You Out Of My Head

I’ve this one on CD single, as indeed do millions of others.  Here’s the two b-sides:-

mp3: Kylie Minogue – Boy
mp3: Kylie Minogue – Rendezvous At Sunset

Neither of Cathy Dennis or Rob Davis were involved in the b-sides.  I’m willing to wager a fair bit of money that very few folk actually ever played them when they purchased the single.