LOOKING BACK, IT WAS QUITE THE AUDACIOUS MOVE

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A cover version came up on random play recently.  Cue a desire to write about it.  The thing is, two previous posts on Age of Chance said all there was to say, but as they were in August 2014 and September 2015, I think I can get away with some lazy cut’n’pastes.

David, the Crumpsall Correspondent, in a guest posting referencing the visit of the Tour de France cycle race to Yorkshire, was the first to give them a mention. I followed up with a look at bands featured on a C86 compilation.

Cycling garb is now all the rage, but in the 80’s it was only really worn by… cyclists. Except, that is, for Age of Chance.

Age of Chance, consisting of Steve Elvidge, Neil Howson, Geoff Taylor and Jan Perry, came together after meeting at Leeds Polytechnic College and their first two singles came out on their own Riot Bible label.  They were darlings of the indie scene, often touted at the time as the band most likely to succeed, but they never really did.

The music was a combination of styles, including a form of the newly emerging hip hop sound, with strident often spoken vocals delivered over rock and punk guitar chords.

Here’s the first two singles, from 1985 and 1986:-

mp3: Age of Chance – Motor City  (RIOT 001 ‘A’ side)
mp3: Age of Chance – Everlasting Yeah! (RIOT 001 ‘B’ side)
mp3: Age of Chance – Bible Of The Beats (RIOT 002 ‘A’ side)
mp3: Age of Chance – Liquid Jungle (RIOT 002 ‘B’ side)

Each of the singles led to John Peel inviting the band to record a session for his show.  The second session was recorded in June 1986, and the band chose to record their take on Kiss, which was riding high in the charts at the time, with Prince being regarded as the new King of Pop Music.

An offer was put on the table by Sheffield-based indie label, Fon Records, for a single, as long as it included a new, studio version of Kiss, which, as it turned out, retained their wonderful new opening lines of

‘You don’t have to be Prince if you want to dance; You just have to get down with the Age of Chance’

mp3: Age of Chance – Kiss

The media coverage, and the fact that despite being on a small indie label the single reached #50, led to Age of Chance signing to Virgin Records in January 1987, and a stab at the big time.  Three singles and a debut album were released that year, but without any huge breakthrough –  a lot of previously fawning critics turned, as they often did when a major label came calling, and said they had never released anything again that was good as the Prince cover and were unlikely to ever do so (which was unduly harsh).

The beginning of the end came in the autumn of 1988 when Elvidge, who was the lead vocalist, left the band during the middle of sessions for the next album.  The music was completed and a new singer, Charles Hutchinson, brought on board the following year to add the vocals.  This led to a delay in the release of the album, and it bombed completely when it eventually reached the shops at the tail end of 1989.  The band did soldier on for another year or so, relying on what were always regarded as decent live performances to maintain enthusiasm, but they eventually called it a day in early 1991.

mp3: Age of Chance – Kiss Collision Cut
mp3: Age of Chance – Crash Conscious

That’s the two b-sides from the 12″ single issued by Fon Records.   Some 36 years on they do perhaps sound a tad of their time, but trust me, there was a real feeling of them doing being very unusual and innovative back in 1986.

JC

RARELY MENTIONED IN DISPATCHES

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The above poster is the best illustration I could find that China Crisis are still on the go all these years later.  They’ve never featured before on TVV, and I can’t recall ever seeing too much about them on other similar natured blogs.  The reason they haven’t been part of this little corner of t’internet is down to my not having any of their music on vinyl or CD.  But I’ve gone out of my way to get some digital stuff to accompany these words, the next three paras of which come from all music:-

A bit fiery for most in the new romantic camp during the early ’80s, China Crisis were inspired by similar sources but injected their pop songs with occasional political commentary and bluesy reggae rhythms. Comprising the core duo of vocalist/keyboard player Gary Daly and guitarist Eddie Lundon, the group formed in 1979 near Liverpool, England.

The first China Crisis single, “African and White,” didn’t appear until 1982, but it was quickly picked up by Virgin Records and made the U.K. charts. With drummer Dave Reilly on board, their full-length debut, Difficult Shapes & Passive Rhythms, arrived later that year and also charted. Another single from the album, “Christian,” hit number 12. They recorded their follow-up LP, Working with Fire and Steel: Possible Pop Songs, Vol. 2, with bassist Gazza Johnson and new drummer Kevin Wilkinson. It reached number 20 in the U.K. as well as charting in Canada and across Western Europe. It also produced the Top Ten hit “Wishful Thinking.”

China Crisis’ third album, 1985’s Flaunt the Imperfection, was produced by the sympathetic Walter Becker (from Steely Dan), and resulted in the Top 20 singles “Black Man Ray” and “King in a Catholic Style.” The album was their first to crack the Billboard 200 in the U.S., and it hit the Top Ten in the U.K. and New Zealand. A year later, 1986’s What Price Paradise?, which featured Brian McNeill instead of Becker on synths, reached a career-high 114 in the U.S. but landed outside the Top 50 at home. China Crisis worked with Becker once more on 1989’s Diary of a Hollow Horse, which earned critical raves though not much commercial movement. It proved to be their final record with Virgin. Their sixth studio LP, Warped by Success, appeared on Stardumb Records in 1994 and was followed by numerous compilations, including Virgin’s China Crisis Collection: The Very Best of China Crisis (1997), and a long recording hiatus, though Daly and Lundon continued to tour on and off as China Crisis.

Like many others of their generation, China Crisis have become a staple of the nostalgia festival events in the UK and further afield. A seventh studio album, Autumn In The Neighbourhood, was released in 2015, again on Stardum Records, for which there was an extensive UK tour.   As well as performing in China Crisis, Gary Day has released some solo material, while Eddie Lundon teaches songwriting at the Liverpool Institute for Performing Arts (which perhaps explains why the 2022 North American tour took place outside of term time in June and July).

Despite not being all that fond of the band’s music, I can say I’ve seen them play live at least once, and possibly twice.  I have vague recollections of them playing at the Student Union at Strathclyde University around the time African and White was in the charts, although I may well be mistaken.  I do recall seeing them as support act for Simple Minds at Tiffany’s in Glasgow in late 1982 when the Glasgow band were on the cusp of the huge breakthrough thanks to New Gold Dream.

I thought I’d go digging for the debut single from China Crisis, along with the four songs that took them into the Top 20 between 1983 and 1985.

mp3: China Crisis – African and White
mp3: China Crisis – Christian
mp3: China Crisis – Wishful Thinking
mp3: China Crisis – Black Man Ray
mp3: China Crisis – King In A Catholic Style (Wake Up)

Sorry to say, the music still doesn’t do all that much for me.  But hopefully it’s of appeal to some readers.

JC

ONE-OFF PIECES OF VINYL (4)

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I used to have three singles by X-Ray Spex in my collection, but they were lost many years ago as part of the shambolic episode in Edinburgh that I’ve mentioned a few times over the years.  I never got round to replacing them, mainly as they weren’t always the easiest to come across in second-hand shops, certainly in Glasgow.

A couple of years ago, a dear friend of this blog very generously gifted me a spare copy of Germfree Adolescents, the band’s debut album from 1978.  I was thrilled to be on the end of such generosity, not least as it took its place as the only piece of vinyl by X-Ray Spex in the collection, and given the price of second-hand records by post-punk bands, it is likely to stay that way for quite some time.

It wasn’t an album I bought back in the day.  I wanted to, but there was only so much vinyl that could be purchased from pocket money, the paper round and the notes placed inside birthday cards….besides, many of the tracks had already been issued as singles or b-sides.

At the time, I never quite appreciated just how young Poly Styrene was when her band became such an important part of the post-punk scene in the UK.  She was barely 20-years of age, just six years older than me, but the difference between a 14-year-old and a 20-year-old is about as wide as it ever can be in any aspect of the age gap….I just saw her as another grown-up adult singing with a band and appearing on my TV screen on shows like Top of The Pops.  It’s only as I look back at what I was like when I had just left my teens to see just how incredible an achievement it was for her to be up on those stages, even more so when the difficult upbringing she had experienced became more widely known many years later.

I’ve often wondered when listening to Germ Free Adolescents as to how Poly Styrene would have grown and evolved in the digital era rather than the late 70s.  She would have surely very quickly become a role model for so many people, disaffected or otherwise, while the music she and her bandmates were making would have found a wider audience than was the case – the album didn’t get any higher than #30 while there was just the one single to make the Top 20.  One thing for sure, is that she would easily have found a platform to express her views, thoughts and opinions and not had to rely on the whims of editors and reporters from the music papers with their own more narrow agendas and outlooks on life.

mp3: X-Ray Spex – Identity
mp3: X-Ray Spex – Art-I-Ficial
mp3: X-Ray Spex – Germ Free Adolescents
mp3: X-Ray Spex – I Am A Poseur

I am a poseur and I don’t care I like to make people stare I am a poseur and I don’t careI like to make people stare
Exhibition is the name Voyeurism is the game Stereoscopic is the show Viewing time makes it grow

As I was saying, Poly would have fitted in perfectly with the modern era, but back then the men who ran the music and entertainment industries didn’t know what to make of her.

JC

THINKING BACK, HE WAS TAKING THE PISS, WASN’T HE?

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Ocean Rain, the fourth studio album by Echo and The Bunnymen, was released in May 1984.  It reached #4 in the UK charts, while three of its nine tracks were released and became hit singles (The Killing Moon – #9, Silver – #30, and Seven Seas – #16).

The band’s profile was as high as it had ever been, but instead of building on any momentum there was something of a fall-out, with lead singer Ian McCulloch announcing he had plans to embark on a solo career.

I have to admit that I was quite excited by the prospect, not because I was sick and tired of the Bunnymen (far from it in actual fact), but as I really wanted to see what sort of music Mac was intending to make.

If memory serves me correctly, the Channel 4 music programme The Tube trailed that he would be on the show one Friday night and that the video for his debut solo single would receive its world premiere.  I sat down to watch, inserting the VHS tape to capture his interview and the promo.

As Half Man Half Biscuit would say many year later in respect of the seaside resort of Westward Ho!……what a letdown.  The song was a dirge.  It was a cover version of a tune I knew nothing of, although Mac in his interview was very much talking up how much he was a fan of Kurt Weill, whose compositions between the 1920s and his death in 1950 were all the rage.

Being a fan, I still went out and bought it:-

mp3: Ian McCulloch – September Song

It still didn’t make sense to me.  I couldn’t make head nor tale of the tune or the lyrics.  Maybe Mac thought every Bunnymen fan would rush out to help it race into the charts, but he was wrong, as it stalled outside the Top 50.

It just didn’t appeal one iota to the 21-year old me, and the thing is, almost forty years on, I still have no time for it, but I am wondering if anyone out there had a different take on things.

Oh, and the reason for the title of this posting is really down to the b-side.  I saw what it was called and thought, before I gave it a spin, that Mac surely hadn’t turned his attention to a ditty based on an Irish folk song, much beloved among music hall aficionados.

But he was……

mp3: Ian McCulloch – Cockles and Mussels

The muted reaction to the single clearly irked Mac as it would be another five years before he released his next solo material, by which time he had made a very public announcement that his days with the Bunnymen had come to an end.

JC

WHY I STOPPED BUYING THE NME : VOLUME 1

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Before I go any further, I better point out that this is a guest posting. It’s from SWC, and if you want to read what I was intending to put up here today, then you’ll have to navigate your way  to No Badger Required.

It was SWC’s idea. His brilliant pitch was “Can we do a blogging exchange like two parents dropping off our sprog in a rundown motorway service station?”

How could I say no?   Over to SWC:-

Why I stopped buying the NME Vol. 1

Fabricated Lunacy – Terris (2001, Blanco Y Negro Records, Taken from ‘Learning to Let Go’)

At the turn of the century, the NME was hanging on by its fingernails at the cutting edge of cool. Despite having several talented writers, who knew one side of a banger from the other, the once brilliant paper had become shallow and very much in the pockets of companies who promoted style over substance. Their once legendary awards shows became nothing more than a big advert for hair gel and styling mousse.

Desperate for an edge, the NME came up with a new concept, a series of front page covers featuring bands and acts that they considered to be ‘Stars of the New Millennium’. The first band to feature on the cover of the NME in the new millennium, were Terris.

The band that the biggest selling rock weekly decided would be the perfect band to herald in a new era and the next thousand years of music, were an indie pop band from South Wales, who had a singer called Gavin. Terris had played a few shows where singer Gavin Goodwin would spout bollocks from the stage, and the rest of the gig saw reviews featuring the words “Incendiary” and “irascible” aplenty. In that very issue the NME described Terris as, and I am typing this exactly as they put it just to really hammer home the point: –

“a 21st Century Joy Division, fronted by a young, totally wired, Welsh Tom Waits, strapped to the front of a speeding train with no brakes.”

In that one sentence, the NME broke music, almost beyond repair.

Its fair to say that Terris divided opinion. The NME thought they were great, everyone else thought they were dogshite. Goodwin’s voice was an acquired taste, it was raw, gravelly, hence the Tom Waits comparison, but it was nowhere near as good as Tom Waits, and they sounded more like Bon Jovi than they did Joy Division. They made ridiculously over the top statements about other Welsh bands, the Manics were

“Shite plastic nobodies”, (Pot. Kettle.)

Catatonia were

“as embarrassing as Shirley Bassey after a bottle of wine” (ok, that is quite funny)

and as hard as Terris tried to be cool and appeal to the masses, they looked more like they were going to fix your washing machine than they did the future of rock music. Not one note of Terris’ music was going to set the establishment on fire, as the NME predicted it would. Terris were not even as good the 60ft Dolls, let alone the future of rock.

Happy Shopper – 60 Foot Dolls (1996, Indolent Records, Taken from ‘The Big 3’)

In 2001 the NME were still championing Terris, in a way that only a mother, whose child had just stabbed Santa Claus to death in front of an entire school, could. In a simpering review of their debut album ‘Learning to Let Go’ (of which ‘Fabricated Lunacy’ is the only real highlight), the NME wrote and I’m quoting exactly here again.

“Only one band want to make records that blow holes through the limits of what we currently meekly accept as sonically reasonable in the field of rock. Only one band can. And that’s Terris”.

‘Fabricated Lunacy’ reached the giddy heights of Number 42 in the UK, and then, after the release of ‘Learning to Let Go’, Terris vanished. Sonically reasonable acceptance remained hole free for another year.

Cannibal Kids – Terris (2000, Blanco Y Negro Records, Single)

SWC

ICA WORLD CUP 2022 : ROUND TWO OF THE KNOCKOUT STAGE (ii)

icaworldcupI thought away back when pulling this thing together that the really close contests might start to appear by the time we got to Round 2, with us being down to the last 32 standing.  Were my instincts right?

The first 20 sets of votes (50% of the final total) had arrived by 2pm on Sunday afternoon, just nine hours after polling had opened.  Three of the ties already looked done and dusted, while the other would have required a sizable comeback from the Edinburgh band to overcome the man born as James Osterberg Jr.

But here’s the thing…..the team from Edinburgh mounted that comeback, and by Wednesday night, the lead had been reduced to just one.  It was turning into the game of the tournament.

Match A : Iggy Pop 19 Ballboy 18

Match B : Blondie 26 Stevie Wonder 13

Match C : Edwyn Collins 15 The Jam 22

Match D : Joy Division 29 Roxy Music/Bryan Ferry 10

Yup…..nobody came in with late votes this week – the last was cast at 11.11pm on Wednesday – and so Iggy was able to hold on and take his place in the last 16, the details of which are still a few weeks away.

Today’s quartet features the four who came through from the third and fourth weeks in Round 1.  A reminder that the song up for consideration in Round 2 will always be the third track on Side A of the ICA in question.

Television (ICA 248) v Buddy Holly (ICA 285)

mp3: Television – Marquee Moon v mp3 : Buddy Holly – Peggy Sue Got Married

The Beatles (ICA 244) v John McGeoch (ICA 259)

mp3: Beatles – I Should Have Known Better v mp3 : Siouxsie & The Banshees – Spellbound*

*ICA 259 was a compilation of tracks on which McGeoch played guitar

Ash (ICA 190) v Cocteau Twins (ICA 195)

mp3: Ash – A Life Less Ordinary v mp3: Cocteau Twins – Carolyn’s Fingers

Echo & The Bunnymen (ICA 225) v Cinerama (ICA 296)

mp3: Echo and The Bunnymen – Paint It Black (live)  v mp3: Cinerama – Lollobrigida

As ever, thanks for taking part.  Voting closes at midnight (UK time) next Friday, which is the 11th of November.

JC

SATURDAY’S SCOTTISH SONG : #331: STUART MURDOCH

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I don’t know if the frontman of Belle and Sebastian has released much under his own name, but I do have his contribution to Dark Is The Night, which in 2009 became the twentieth compilation release benefiting the Red Hot Organisation, the international charity dedicated to raising funds and awareness for HIV and Aids.

mp3: Stuart Murdoch – Another Saturday

A total of 31 tracks, across 2 x CDs, with exclusive recordings by a number of indie singers and bands, all overseen by Aaron and Bryce Dessner of The National.

If the tune seems familiar, then that’s because it is essentially Wild Mountain Thyme, better known as Will Ye Go, Lassie, Go? that has been covered by many a folk singer over the years.

JC

THIRTY THREE YEARS OF TOUGH LUCK

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Mark Everett (aka ‘E’) never seemed to stand still when it came to writing, recording and playing music.  His early stuff, brilliant as it often was, bordered occasionally on the whimsical and fey end of the musical spectrum, with highly personal lyrics from his own life experiences very much to the fore.

The fourth studio album, Souljacker, was a departure from the norm, almost nu-metal in nature, with the band beefed up by musicians whose rock credentials were impeccable, including John Parish, best known to UK audiences as a collaborator of PJ Harvey.  The lyrics moved away from the personal and into the realms of storytelling based on fictional characters.  The record company struggled with it, unable to issue anything as a single beyond the title track:-

mp3: Eels – Souljacker Part 1

With a riff that most run-of-the-mill rock bands would kill for, this 2001 single wouldn’t sound out of place on Kerrang TV.  I like the song, but it’s one that I find disturbing for the reason that Johnny and Sally, the two main protagonists, seem to be unhinged and abused trailer-park dwellers who have an incestuous relationship…. the ending isn’t spelled out, but it doesn’t take too much imagination to anticipate it will be gory and not for the faint-hearted.

Souljacker Part 1 reached #30 in the UK singles chart in September 2001.  The following month, the album was released, and it went in at #12 on its first week of release, an indication that Eels had a decent fanbase over here.  The fact it dropped out of the Top 75 within two weeks would indicate that the album didn’t appeal much beyond said fan base.

The single came out on 7″ picture disc and 2 x CDs.  Here’s the other tracks:-

mp3: Eels – I Write The B-Sides (7″ and CD1)
mp3: Eels – Can’t Help Falling In Love (CD1)
mp3: Eels – Jennifer Eccles (CD2)
mp3: Eels – My Beloved Monstrosity (CD2)

The middle two songs are cover versions (Elvis Presley and The Hollies) while the final track is a different take on one of Eels best-known compositions, thanks to its inclusion on the soundtrack of the hit film, Shrek.

JC

ONE-OFF PIECES OF VINYL (3)

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Illmatic came out in 1994.  I got round to buying a copy in 2020 on the back of watching a mini-series on the history of rap and hip-hop.

I’ll confess to not knowing a huge amount about Nas prior to watching the episode in which he featured, but I was quite taken by him, both in terms of the music and the things he had to say many years after the album, which was very much a product of his upbringing in Queensbridge, the largest public housing project not only in New York but anywhere in the United States.

Illmatic wasn’t a huge success on its release, and indeed it took two years before it was certified as a gold disc in the USA and a full seven years before it was deemed to have sold 1,000,000 copies and eligible for platinum status.

There’s been millions of words written about the album over the years, the vast majority of which are incredibly complimentary.  Some critics and fans have deemed it to be the best/greatest hip hop album of all time.  I’m nowhere near qualified enough to say whether or not that’s a fair statement, but I am able to add my view that it’s an album which has a great deal going for it and that it stands up to repeated listens.  It certainly doesn’t sound like an album, written and recorded by someone who was barely out of his teens. It’s a cinematic-like piece of work, or more accurately perhaps a series of one-off but linked documentaries reflecting on an upbringing amidst urban poverty with no likelihood of an easy way out.

I can’t quite put my finger on why I get so much out of listening to Illmatic – I hesitate to use the word ‘enjoy’ as it could come to represent a form of being a ghetto or poverty tourist – but there feels as if there’s a lot of Gil Scott Heron in the record, and as such, I was listening to someone who was really more than capable of having his voice make a difference.

This is the album’s closing track:-

mp3: Nas – It Ain’t Hard To Tell

There’s so much going on….it’s one of those tracks that I found myself picking up on different things with each and every listen. Much like all the other nine pieces of music on the album.

JC

THE DICTIONARY DEFINITION

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hypocrite : noun

1. a person who pretends to have virtues, moral or religious beliefs, principles, etc., that he or she does not actually possess, especially a person whose actions belie stated beliefs.
2. a person who feigns some desirable or publicly approved attitude, especially one whose private life, opinions, or statements belie his or her public statements.
3. a tremendous near-hit single released on 30 May 1994

mp3: Lush – Hypocrite

4AD was a great home for Lush as neither the label nor the band cared about convention, but I occasionally wonder what possessed both of them to decide to more or less thrown away its chances of being a hit by deciding to release two new EPs on the very same day

Yup, 30 May 1994 also saw this released as the lead-track on a separate EP:-

mp3: Lush – Desire Lines

Hypocrite entered at #52 and Desire Lines at #60.  The latter, at almost eight-minutes in length, was hardly radio-friendly.

I’ve tracked down all the other tracks issued on the EPs:-

Hypocrite

mp3: Lush – Love At First Sight
mp3: Lush – Cat’s Chorus
mp3: Lush – Undertow (Spooky Remix)

Desire Lines

mp3: Lush – White Wood
mp3: Lush – Girl’s World
mp3: Lush – Lovelife (Suga Bullit Remix)

I think it’s fair to say that one listen to the music on the two EPs nails the myth that Lush were ever a one-dimensional shoe-gaze band, a myth that would be totally blown away a couple of years later when songs like Ladykillers, Shake Baby Shake, and Single Girl brought them chart hits.

JC

ETCETERA, ETCETERA

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New month…..regular readers will know what inevitably follows.

This time round, there is a sort of theme, namely that the songs are in the same running sequence as they originally appeared on their parent LPs/CDs.

mp3: Various – Etcetera, Etcetera

00.  The Vinyl Villain Theme – AC Eales (Home Recording, 2018)
01.  Trip Out The Rider – Paul Haig (Relieve, 2009)
02.  Bodega Birth – Bodega (Endless Scroll, 2019)
03.  A-Punk – Vampire Weekend (Vampire Weekend, 2008)
04.  Ashes to Ashes – David Bowie (Scary Monsters, 1980)
05.  Philadelphia – Magazine (The Correct Use Of Soap, 1980)
06.  Fix Up, Look Sharp – Dizzee Rascal (Boy In Da Corner, 2003)
07.  Ya Ho – James (Strip-Mine, 1988)
08.  Start A War – The National (Boxer, 2007)
09.  Fait Accompli – Curve (Doppelganger, 1992)
10.  22: The Death Of All Romance – The Dears (No Cities Left, 2003)
11.  Paper Planes – M.I.A. (Kala, 2007)
12.  New Face In Hell (Peel Session) – The Fall (The Complete Peel Sessions 1978 – 2004)
13.  Council Meetin’ – The Style Council (Cafe Bleu, 1984)
14.  Electrolite – R.E.M. (New Adventures In Hi Fi, 1996)
15.  The Perfect Girl – The Cure (Kiss Me Kiss Me Kiss Me, 1987)
16.  Sweet and Tender Hooligan – Nouvelle Vague (Band A Parte, 2006)
17.  Draw In The Reins – Cats On Fire (Dealing In Antiques, 2010)

It all lasts about twelve seconds beyond an hour.

JC