PET SHOP BOYS SINGLES (Part Thirty-three)

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The bells to ring in the new year had barely stopped ringing when the Pet Shop Boys issued a third advance single from the forthcoming new album.

mp3: Pet Shop Boys – Monkey Business (radio edit)

2 January 2020 was the digital release date, just three weeks ahead of Hotspot, the fourteenth studio album.  A CD version would be in the shops in early February, slightly after the album was put on sale.

Monkey Business was another well-received track.  The duo have been more than happy to describe it as a party song, one which pays a bit of lip service to a number of upbeat, almost funky tunes that had been riding high at the top of the charts over much of the past couple of years.

Its backstory is now well known, thanks to Neil telling it on each occasion it has been played live over the years. The duo were on tour and had reached Austin, Texas when they chanced upon a larger-than-life man at their hotel who explained that he was in town “On monkey business—just playing around”, which Neil then used as inspiration to put him in a song as a shameless hipster who lived purely for the high-life. 

Given all that, the choice of B-side for this one was interesting:-

mp3: Pet Shop Boys – At Rock Bottom

Everyone talks about
their loss and the legacy
Sharing condolences
and offering sympathy
But at rock bottom
what got him?

It’s all about
It’s all about
It’s all about
It’s all about drugs

Almost as if to say to anyone who wants to live a life of Monkey Business that there’s very likely a price to pay.

Again, it’s a more than decent b-side.  As the vast majority of them have been over the years.

JC

SATURDAY’S SCOTTISH SONG : #371: WE WERE PROMISED JETPACKS

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Today’s featured band have been around for quite some time without ever really making a commercial breakthrough.

We Were Promised Jetpacks formed, while all the band members will still at school, in 2003.  I first came across them in 2008 when they were gigging regularly in Glasgow, and in due course they went on the road with Frightened Rabbit during the tour to promote The Midnight Organ Fight.

Jetpacks were a classic four-piece band in those days, consisting of Adam Thomson (vocals, guitar), Michael Palmer (guitar), Sean Smith (bass) and Darren Lackey (drums).   They were a tight and very entertaining band, full of vigour and youthful energy, as well as having a decent set of indie-rock songs with which to entertain audiences. It was no surprise that their debut album, These Four Walls, proved to be a good one.  It was released in June 2009 on Fat Cat Records (home also to Frightened Rabbit and The Twilight Sad at the point in time) and the future looked bright.

It took two years for the follow-up, In The Pit Of The Stomach, to be released, again on Fat Cat.   I caught them live on their own headlining tour around this time, but it must have been a bad night, as I came away a bit underwhelmed, certainly in comparison to how they had come across back in 2009.  I bought the CD, but it never quite hit the spot in the same way as the debut had.

I really thought that would be the end of the band, especially as their mentors had moved on somewhat, but Fat Cat were happy to stick with them and a third album, Unravelling, came out in October 2014.  I actually managed to see them about a year later as they were the support act for The Twilight Sad at a Glasgow Barrowlands gig.  They were again quite excellent, but to my shame, I didn’t get myself along to their own headlining show in King Tut’s the next time they were in the city.

Wiki has now had to become my friend, and I’ve read they have been a trio since Michael Palmer took his leave in July 2019 at the end of an American tour which was centred around the 10th anniversary of the debut album and the promotion of their fourth studio album, The More I Sleep The Less I Dream, which had come out in September 2018 on the Big Scary Monsters label.

2021 saw a new album, Enjoy The View, recorded by the trio who remained. There was a European and US tour in 2022 on which Andy Monaghan, who was with Frightened Rabbit for a decade, right up until Scott Hutchison‘s sad death in 2018, played guitar.

The band will be out on tour in December 2023, playing shows in Sheffield, Newcastle, Glasgow, Manchester, Nottingham, Bristol, Birmingham and London.  Although I have ‘lost touch’ with what they’ve been doing in recent years, the reviews of the live shows indicate they remain a very decent act when on stage.

Here’s a song of theirs of which I have long been fond.  I associate a lot with those shows back in 2008/9.

mp3: We Were Promised Jetpacks – Quiet Little Voices

I’ve tracked down one from the most recent album:-

mp3: We Were Promised Jetpacks – Fat Chance

It’s quite decent.   I’d probably have gone along to the Glasgow show in December, but it clashes with the annual holiday to far off places……

JC

SPOILSPORTS

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Another sourced from a compilation – this time round it is Make More Noise! – Women In Independent UK Music 1977-1987, a 4 x CD set issued by Cherry Red Records back in 2020.

mp3: Spoilsports – Love and Romance

(Originally released as the b-side to the self-financed You Gotta Shout Single in April 1980).

Spoilsports consisted of Angele Veltmeijer on saxophone, singer Barbara Stretch, songwriter Carole Nelson on keyboards, percussionist Isabel Postill, bassist Lesley Shone (later replaced by Ruth Bitelli) and Sheelagh Way on drums.

The band’s sole self-financed record release was described in the NME as a cross between Steely Dan and The Joy of Cooking, and they became regulars at benefit gigs and women’s music festivals, appearing in Hyde Park at the 1979 Gay Pride show.  The group were never shy about the importance of the lyrical content of their music, or of talking about the sexual side of performance, and spoke often about issues they faced as working female musicians during the 1980s, including the pressure they felt to be feminists first and musicians second.

Here’s the a-side

mp3: Spoilsports – You Gotta Shout

I’ve ascertained that the single was recorded in Archipelago Studios in London in the same year that Elvis Costello and The Attractions used the facility to record Get Happy, from which, just yesterday, a track appeared on this very corner of t’internet.

I have to say, that despite the blurb in the Make More Noise booklet describing the band as that mix of Steely Dan and The Joy of Cooking, I was expecting to hear something that was a bit more angry sounding rather than such a jazzy groove.  Not really my cup of tea, but it’s on offer today as there may be a few of you who appreciate the tunes.

JC

THE 7″ LUCKY DIP (5)

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I reckon the late 20th Century fad for CDs as opposed to vinyl was really responsible for the demise of singles as a meaningful way for singers and bands to reach out to their fans.  There always seemed to be a need to have a CD single extend out to three or four songs, with a running time of at least fifteen minutes, thus leading to all sorts of remixes and live versions which weren’t always loved by those making the music or those buying it.

It was much simpler when it was a 7″ piece of vinyl and nobody cared a jot about running lengths and value for money, as in the case of the two songs on today’s offering, which have a combined running time of four minutes.

As ever with this lazy series, writing wise, here’s wiki:-

I Can’t Stand Up for Falling Down is a song written by Homer Banks and Allen Jones. Originally recorded by soul duo Sam & Dave in 1967, the song was famously covered by new wave musician Elvis Costello with his backing band the Attractions in 1980 for their album Get Happy!!.

Costello’s version was drastically rearranged from the original, turning it from a slow soul ballad into an uptempo Northern soul-style dance track. It was one of three singles taken from the album in the UK. It was supposed to be released on the 2 Tone Records label in the UK, but even though copies were pressed, contractual difficulties eventually halted its release on that label. The single was eventually released on F-Beat Records, which was the charted release, reaching #4 on the charts over a stay of eight weeks.

mp3: Elvis Costello and The Attractions – I Can’t Stand Up For Falling Down

At 2:05 in length, it certainly can’t be accused of taxing the patience of any listener.  But it was a beast of a track in comparison to its b-side, which lasts just 1:56:-

mp3: Elvis Costello and The Attractions – Girls Talk

A song written by Elvis Costello, that had been a Top 10 hit for Dave Edmunds more than a year previously.

There’s actually a mistake on the reverse of the sleeve of this single as it refers to the track as Girl’s Talk, albeit the label in the centre of the single has the correct details.

JC

ONE SONG ON THE HARD DRIVE (1)

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This is a new series, kind of inspired by Dirk.

Our dear friend from Germany is currently entertaining us with an alphabetical rundown of his favourite 111 singles, all of which he has gone out of his way in recent years to ensure he has a copy.

In recent weeks, he’s mentioned that a couple of the acts have given him some problems in terms of having anything to say in terms of background as there is so little information, even in this modern age when t’internet is full of facts and figures.

It got me thinking that I could do a semi-regular feature on singers or bands of whom I’ve just one song on the hard drive, but only on the basis that I actually like the song.   This is quite an important aspect, as almost all the instances where I have just one song will involve it having been part of a compilation of one sort or the other, and let’s be brutally honest about things, compilation albums/CDs often have stinkers.

I’m kicking things off with something that was on Indietracks 2016

mp3: Alimony Hustle – BNOC

It’s a fine couple of minutes of indie pop/rock, one which sounds as if it has been made by just more than two people.

Alimony Hustle consisted (and I’m using the past tense as I’m reckoning they are no more) of Leah Pritchard (guitars/vocals) and Matt Mndolo (drums/bass/vocals).   There’s not a huge amount about them out there, but I have ascertained they were from Bristol, while this bandcamp page reveals there were two singles in 2015 and one in 2017.   Their inclusion on the Indietracks 2016 compilation is an indication they played the festival that year.

There’s a great one-liner on the bandcamp page.  ‘the non white stripes’.

BNOC was the duo’s second single, released digitally on 9 September 2015.  It does look as if all their releases were of the digital variety as there’s no physical product available vis Discogs.

JC

WHO?

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So there I was, scrolling through the list of bands on the hard-drive of the laptop looking for the next entry for the Scottish Songs series after Wake The President, and I see the name Warm Jets, a band of whom I have absolutely no recollection.

I appear to have two of their tracks on the hard drive, both courtesy of them being part of compilation CDs that were released back in the 90s.  One was called Fresh, and looking it up on Discogs, it turns out it was given away with the June 1998 edition of Select magazine.  The other was called Shine 9, which I do recall was a relatively long-running series of 2 x CDs compilations which was a sort of indie version of the NOW That’s What I Call Music releases that sold in their millions to the masses.

I’ve just looked up Shine on t’internet, and indeed my recollection is just about spot-on as there were ten volumes all told, released between April 1995 and August 1998 (along with two ‘Best Of Shine’ efforts), by the Polygram label.   If my arithmetic is correct, there were 322 songs across the ten volumes – I don’t have the time or inclination to see if any songs were ever repeated across different discs, but I can tell you that Oasis featured on the first nine volumes of Shine (with nine different song titles), and that any band who was remotely linked to the Britpop phenomena appears at least once.

Warm Jets, as well as being on Shine 9, also were part of the last in the series, Shine 10.

So who were Warm Jets?  I must have listened to both the songs on the hard drive at least once when I picked up both CDs, but there is a complete blank in my mind.  Here’s the basics courtesy of wiki:-

Warm Jets were a British indie pop band, who had two UK top 40 singles and a top 40 album in 1998. The group’s name derives from Brian Eno’s 1973 album, Here Come the Warm Jets.

The band was formed in 1995 by Louis Jones, Paul Noble (formerly of Eat) and Ed Grimshaw, and signed to This Way Up records in early 1996. They recruited former Pale Saints, Parachute Men and Rialto member Colleen Browne on bass guitar 1995–1997. She was replaced by Aki Shibahara.

After the release of their debut EP Autopia the band received positive press and played prestigious support slots and festival appearances, including an arena tour with Blur. The band appeared on NME’s annual tour of up-and-coming bands in early 1998.

Their only album, Future Signs, was released in 1998. The band had top forty hits in Britain with “Never Never” and “Hurricane”.

Still means absolutely nothing.

Maybe giving a listen to the tunes might help:-

mp3: Warm Jets – Desert Cats (From Fresh)
mp3: Warm Jets – Hurricane (From Shine, Vol.9)

The former certainly nods in the direction, musically, of Super Furry Animals, but it lacks the warmth, humour and genius of the Welsh wizards.

The latter, which cracked the UK Top 40 in April 1998 is, classic landfill-indie.  It reminds me a lot of a hit single by Feeder that Mrs JC was quite fond of, but I couldn’t stand.  I’ve just asked her – seems it was called Buck Rogers.

So there you are.  Warm Jets.  A debut appearance on this blog and, unless there’s a mention from a guest contributor who has more affection for them than I have, their last.

JC

UNCOVERED/UNWRAPPED (1)

A guest posting by flimflamfan (and a great idea for a new series)

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Uncovered / Unwrapped

Music is great, isn’t it? I’m sure each of us could wax lyrical on a multitude of genres; the artists, art work and illustrators (me, less so when it comes to illustrators) and most importantly, how that music makes us feel.

I’d like, if I may, to concentrate on art work; from the outer sleeve design and liner notes to the inner sleeve and liner notes, label, and if included, a booklet. The music plays as we (I hope you don’t mind the collective we?) pore over all of the information provided and the lyrics. Oh, the lyrics. Is it a standard rite of passage or only a rite of passage for those interested? I can’t answer that. However, what I can say is that on some occasions the art work seemed almost as important as the music.

Art work had a way of drawing me in. All those racks (please leave your double-entendres at the door) to explore, and all that music vying for my attention. An effort had to be made by bands/labels to make their release stand out and more than that stand up to the ever-changing whims of style and trends.

In a recent conversation with JC and Strangeways I noted that I often bought music based solely on the art work. I found it intriguing. I may like the cover art, but what would this sound like? What are its musical influences? Are they what I think they might be? What I hope they will be? There was only ever one way to find out – buy it. I often did. Now, these were rarely new LPs. They were second-hand and at the very affordable end of second-hand. I wasn’t being frivolous, oh no.

And so, it is, that I write this piece. Am I the only one that did this? JC and Strangeways didn’t – which I found odd. Based on the percentages, it was clearly me that was odd.

Before I offer up an LP bought for its cover art alone – I’d like to ask if anyone else did this / does this and share their cover art(s)? This could be a solo, irregular series from me but I’m hoping it may become a wider series for TnVV readers.

14 Iced Bears – 14 Iced Bears

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There are perhaps some of you who may be thinking “they were on Sarah, you would have known about them?” I can honestly say I hadn’t. That may be because Come Get Me was released on Sarah in the same year as the LP (Thunderball Records, 1988). The previous proper singles (Frank Records) were, at that point, unknown to me.

I couldn’t wait to get this home. I bought it from the second-hand section of Missing Records (Glasgow) – located on the mezzanine. It was £2.99.

Take It sets the scene for this 10 track LP, and for me, that scene was one of psychedelic noise that immediately made me think New. Favourite. Band.

mp3: 14 Iced Bears – Take It

Quieter moments on the LP reminded me, in places, of another emerging band, Stone Roses.

I can’t say for certain, but I think that Take It would have appeared on my DJ playlist from that time?

The band released three LPs in its initial stage – two studio albums 14 Iced Bears and Wonder and a compilation Precision (singles 86 – 89). All are worth searching out.

Until the band split, I remained an active fan and believe their output to be some of the most interesting from that time. Often associated with shoegaze the band reformed when the first full-throated revival took hold in 2010/11.

From seeing the art work, to listening to the songs, to realising the connections to the emerging scene, that £2.99 bought me a little glint of happiness, a glint that continues to catch my eye.

I’ve added two more songs from the LP that I hope you’ll enjoy.

mp3: 14 Iced Bears – Cut
mp3: 14 Iced Bears – Florence

If you’ve had a similar experience, why not share it – otherwise there’ll be more of my nostalgic nonsense.

flimflamfan

PET SHOP BOYS SINGLES (Part Thirty-two)

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Just two months after the release of Dreamland, another new single in advance of the new studio album was released:-

mp3: Pet Shop Boys – Burning The Heather

Having gone all synth-pop last time out, this time out it’s a slow-paced number with its sound relying somewhat on an acoustic guitar, courtesy of the wonderfully-talented Bernard Butler.

I’ve long been fond of those occasional moments when PSB slow things down and move away from the clubs and dance floor.  I think Neil Tennant is a much under-appreciated song-writer/lyricist, and Burning The Heather, if offered to, and accepted by, any one of the many 21st Century male pop stars whose songs of pain and anxiety sell by the millions, then this would have been a hit.

It’s a complex lyric, open to a number of possible interpretations, one of which is that it was inspired by the true life story of an elderly man who took committed suicide on the moors of Northern England, but who was not properly identified for more than a year as a result of him having lived as a loner who suffered from depression in London.  It’s a very sad take on things, but it does fit the narrative, albeit the final verse does suggest he was open to having his mind changed about his plans to end his life.

The initial digital-only release on 14 November was later accompanied by a 7″ single on 13 December 2019, with this being the additional song in both instances:-

mp3: Pet Shop Boys – Decide

An electronic classic in which Chris Lowe takes lead vocal for much of the song, albeit through his usual trick of having his vocal go through a distorter.  Is it too obvious to say that this is PSB offering their take on the truly awful state of the nation as it approached the impending General Election with the expectation that the Tories under Boris Johnson would get their mandate to ‘Get Brexit Done’. 

2020 was fast approaching.  The Pet Shop Boys had a new album ready for release, after which they would embark on Dreamworld: The Greatest Hits Live tour, in which the duo would visit 24 cities in Europe and the UK between 1 May and 24 June, with more festival dates and cities in the Americas, Asia and Australia likely to be added for later in the year.

SPOILER ALERT :  The tour, like all major music events in 2020, was cancelled as COVID rampaged its way across the globe.

JC

SATURDAY’S SCOTTISH SONG : #370: WE SEE LIGHTS

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Depending on whether today’s song appeals to you, the thanks or blame must be given or aimed squarely in the direction of Jacques the Kipper as the one song I have by We See Lights comes courtesy of a handmade CD compilation he put together for me back in 2011.

Here’s an abridged bio adapated from wiki:-

We See Lights is a Scottish alternative indie pop band from Edinburgh.

The band was started by Stephen James Bogle (vocals and guitar), Paul Dougall (vocals and guitar) and Allan Rae (vocal and guitar) in 2007. The band were originally called The Quiet Revolution and after new members were added  in January 2008  – Craig Ross (bass/guitar), Ross Harvey (drums), Ciaran McGuigan (vocals) and Jonathan Lapsley (keyboard/vocals), the band changed its name to We See Lights.

In 2008, We See Lights won the BT National Battle of the Bands, securing a main stage slot at the Isle of Wight Festival 2008 that year playing alongside The Police, The Kooks and James. In November 2008, the band received funding from the Scottish Arts Council (now known as Creative Scotland) to record their debut album, Ghosts & Monsters. The album was released in March 2010. By this time, Ciaran McGuigan and Craig Ross had left the band, with their places taken by Paul Livingston and Kat Oatey.

In March 2011, the band released their EP Twee Love Pop on Edinburgh indie label Heroes and Gluepots. It received support from DJ’s such as Lauren Laverne who played the track My Oh My Oh My on her BBC Radio 6 Music Show

On 31 March 2015, the band released their second album, Throw Your Arms Around Someone, You Will Each Weigh a Little Less.

At which point, they seemed to call it a day.

Here’s the song JtK threw my way:-

mp3: We See Lights – I Hope You Like The Smiths

This was one of the tracks on the Twee Love Pop EP.  It’s one that seems to just involve the three original members of The Quiet Revolution rather than the full band.  I’m guessing the title of the song is what mostlt led to its inclusion on JtK’s CD, but it does have a degree of charm in that indie-folk style that has long been very fashionable here in Scotland.

JC

NO RHYME NOR REASON

No-Rhyme-or-Reason-Day

mp3: Various – No Rhyme Nor Reason

EMF – Children
Bodega – Can’t Knock The Hustle

Gang Of Four – Damaged Goods
LCD Soundsystem – Daft Punk Is Playing At My House
Britney Spears – Toxic

Nadine Shah – Holiday Destination
New Order – Dreams Never End
Longpigs – She Said
Steve Mason – Brothers and Sisters
Wet Leg – Angelica
Say Sue Me – Old Town
Robert Forster – When I Was A Young Man
James – What’s The World
The Rakes – Retreat
Bikini Kill – Rebel Girl
The Strokes – The Modern Age
Pet Shop Boys – West End Girls (New Lockdown Version)
Half Man Half Biscuit– When I Look At My Baby

JC