January 2024 – Page 2 – THE NEW VINYL VILLAIN

Blondie, Buzzcocks, Chic, Clash, Funkadelic, Ian Dury & The Blockheads, X-Ray Spex

SHAKEDOWN, 1979 (January, part one)

Last month, in the final part of the year-long series on the singles charts of 1983, I promised that the next series along such a theme would be a 45-year look back at the 45s that were making all the noise in 1979. The difference being that I won’t be looking at the charts in any depth, but aiming instead to celebrate (mostly) those post-punk/new wave/alt singles which attracted the attention of the record-buying public. Makes sense to start in January…..

mp3: Ian Dury and The Blockheads – Hit Me With Your Rhythm Stick

Released in November 1978, it enjoyed a gradual climb up the charts to eventually reach #1 on 21 January, having patiently waited its turn for a couple of weeks at #2 behind Y.M.C.A, by The Village People. It has proved to be one of the most memorable, engaging, enduring and enjoyable singles of the era of appeal to music fans of all ages and with all tastes. And one of the few songs in which I don’t mind a sax solo.

mp3: Chic – Le Freak

Another that had been released in November 78 but reached its peak of #7 in January 79. It commemorates Studio 54 in New York City for its notoriously long customer waiting lines, exclusive clientele, and discourteous bouncers. According to Nile Rodgers, the song was devised during New Year’s Eve 1977, as a result of his and Bernard Edwards’ being refused entrance to the nightclub, where they had been invited by Grace Jones, due to her failure to notify the nightclub’s staff. The lyrics of the refrain were originally “Fuck off!” as that was what the bouncer had said as he slammed the door closed.

mp3: Funkadelic – One Nation Under A Groove

The only hit single in the UK for Funkadelic, and from what was their tenth album, having started out in 1970. I wasn’t quite 16 years of age at this point in time, and my musical tastes were still evolving. I didn’t know too much about funk, but I recognised immediately that this was a very special sounding track.

mp3: The Clash – Tommy Gun

It peaked at #19 in the final chart of the previous year, but was still hanging around during January, and indeed beyond. As Joe Strummer would late explain in the liner notes to the Clash On Broadway box set, he got the idea to write “Tommy Gun” when it occurred to him that terrorists – like rock and movie stars – probably enjoy reading the press about their so-called triumphs. Memorable in the main for Topper Headon’s drumming sounding like a machine gun as much as the lyrics condemning mindless violence.

mp3: Buzzcocks – Promises

This peaked at #20 in the final chart of the previous year, but was still just about hanging around into January. It was the band’s seventh single, and had maintained the momentum, of Ever Fallen In Love…and indeed was a song in a similar vein, given it dealt with a love affair gone wrong. There were no longer any hard and fast rules that such songs had to be sloppy.

mp3: Blondie – Hanging On The Telephone

This just qualifies and no more. It was a big hit (#5) in November 1978 but thanks to its 11-week stay in the Top 7 meant it was still listed come January. A fast and frantic cover version, it was the second single to be lifted from Parallel Lines….the real biggie was just about to hit the shops.

mp3: X-Ray Spex- Germ Free Adolescents

As with the above 45, this qualifies and no more. It had reached #19 in November 1978 but thanks to what proved to a 12-week stay in the Top 75, it was still listed come January. A single from an album by a band whom I grew to only really appreciate in later years upon realising how much of an influence it all was on what was to come.

The intention had been to cover all of the month in one post, but having already hit seven absolute belters from just the first week of the singles chart of January 1979, it’s probably a good idea to draw breath.

JC

Jilted John

ONE HUNDRED AND ELEVEN SINGLES : #043

aka The Vinyl Villain incorporating Sexy Loser

#043– Jilted John – Jilted John’ (Rabid Records ’78)

chips

Hello friends,

first of all: a very happy 2024 to you and your loved ones: keep healthy, keep the faith, and keep reading (and commenting to) this ongoing nonsense of mine!

Now, in 1978, 18-year old, Manchester-based, Shefﬁeld Polytechnic drama student Graham Fellows managed to write and record one of punk’s most eponymous tales of teen angst, rejection and confrontation, underpinned by its wickedly infectious “Gordon is A Moron” chorus and featuring perhaps the most poignant line ever to grace a Pop song, “I was so upset that I cried all the way to the chip shop.”

You remember it well, do you? Yes, it’s debatable whether the record has dated well or not – in my book it surely has, which is reason enough to have included it in the 111 singles – box. But om that, if you’re honest to yourself, a) you would never have named your son ‘Gordon’ and b) the tale being told in the song is (or rather: has been) most common to all of us, isn’t it? I mean, when I was younger, I found myself stuck in the very same situation a handful of times, I must admit (greetings, at this point, to Sabine and the twat she ran off with in 1993 – I hope your piles got worse in the last 30 years, you bastard!!).

Jilted John’s very existence owed everything to a fragile combination of luck, inspiration and sheer chance. As Fellows recalls: “It all came about by naiveté really, I’d written a couple of songs and I wanted to record them…so I went into a local record shop and asked if they knew any indie or Punk labels. They said there were two, Stiff in London and Rabid just down the road. So I phoned Rabid up, and they told me to send in a demo.”

“We did the demos with the late Colin Goddard – of Walter & the Softies – on guitar, and the drummer and bass player of The Smirks, I took it along to Rabid, who loved it…so we re-recorded it a few days later, at Pennine Studios, with John Scott playing guitar & bass and Martin Zero (aka Martin Hannett) producing. Martin did a great job creating the vocal choruses and that bass pattern before the ‘here we go, two, three, four’ bit.”

R-1361748-1533962528-7959

R-1361748-1269560879

mp3: Jilted John – Jilted John

The single got approved by Tony Parsons, Paul Morley, Bary Lazell and John Peel, which was enough to shift half a million units, making it to Top Of The Pops and number 4 – not too shabby for the picture Fellows presented of himself: a naive, anorak-wearing nerd, a failure with girls.

To me, this song still is a Pop drama, no less: “so here I am, all alone, in my bedroom, with my chips, feeling, SAD”: priceless!!

Enjoy,

Dirk

PS: ‘Jilted John’ was a B-Side to start with, as pictured above. Alas, I only owe one of the EMI company sleeve represses, but no matter …

Heavenly

COMPETITION TIME!

a1663087899_16

Yesterday’s post giving a mention to Heavenly was just a prelude to what’s on offer today which will see the first of the TVV competitions in 2024…..don’t ask me how many I’ll be running as it’ll depend on how generous I feel as the weeks and months go by as I’ll be purchasing all the prizes that end up here rather than relying on freebies from record labels.

The Decline and Fall of Heavenly, the band’s third album, was originally released on Sarah Records in 1994. Its 30th anniversary is being celebrated with an expanded re-release, via Skep Wax, on 2 February, and I’m delighted to put two copies of the re-release up for grabs – how you might get lucky can be found a few paragraphs further down.

The original album contained eight songs, but the expanded release will include five further tracks, consisting of the A and B-sides of singles released in 1993. Here’s the Skep Wax press release:-

The third Heavenly LP will be re-released by Skep Wax Records on Friday 2nd February. The re-release will include all five tracks from the Atta Girl and P.U.N.K Girl 7” singles. These are the songs that have earned Heavenly a whole new generation of fans: Tiktoks based on P.U.N.K Girl have been liked by millions of teenagers and that song alone has accumulated over 7m Spotify streams.

The Atta Girl and P.U.N.K. Girl singles were released in 1993; album The Decline and Fall of Heavenly came soon after in 1994. Collectively they show a band that is rapidly expanding its scope. The album veers confidently from high speed indiepunk (Me And My Madness) to cool surf instrumental (Sacramento) and back again to the sweetest indiepop (Itchy Chin). Meanwhile, the singles, which include the band’s most celebrated tune – P.U.N.K Girl – demonstrates how much confidence Heavenly were deriving from their involvement in the nascent Riot Grrrl scene. All the anger is there, the politics are direct and crystal clear – yet the whole thing is still delivered with the sweetest pop melodies. It’s like being punched and kissed at the same time.

The three releases also show how Heavenly had come to feel equally at home in the UK and in the US. The album maybe feels more British, as demonstrated by the Old World irony of the ‘Decline and Fall’ title. At Heavenly gigs in the UK, often playing with other bands on the increasingly influential Sarah Records, audiences were getting bigger, while the bands were finding a sweet spot where anti-corporate understatement and a dismissive attitude to an increasingly misogynist UK Press was no barrier to success. P.U.N.K Girl and Atta Girl on the other hand, are more gleeful, more headlong, and somehow feel more American: they are carried along by the excitement and adrenaline of having found another spiritual home – the indiepunk Riot Grrrl scene that was focussed on Olympia, WA, the HQ of Heavenly’s US label K Records. (K released P.U.N.K Girl and Atta Girl together on one 10” EP.)

Amelia Fletcher and Cathy Rogers were now confidently sharing vocals, sometimes harmonising, sometimes taking it in turns, sometimes singing over each other. Peter (guitar), Mathew (drums) and Rob (bass) had become adept at changing gear from ornate pop to full-on punk, unafraid of genre rules and increasingly happy to make up their own version of what pop music should sound like.

The more delicate, more decorative arrangements of Heavenly’s first two albums had been left behind. The band – or more accurately, the women in the band – were still dogged by accusations of being too fey, too ‘twee’: not ROCK enough. But, as the chorus of Atta Girl makes clear, any attempts to define Heavenly by their ‘cuteness’ now received an unambiguous response: ‘Fuck you, no way!’

So…….to possibly get your hands on a copy of the album, please come up with the correct answer to the following question:-

What was the catalogue number of the original release of The Decline and Fall of Heavenly, back in 1994 on Sarah Records?

Please send your answer to the blog e-mail address – the vinylvillain@hotmail.co.uk – but please include your full name and address so that I can work out postage costs should you be lucky. (I promise that all the emails will be deleted afterwards so that I don’t keep any of your personal info).

mp3: Heavenly – P.U.N.K. Girl

The closing date is Friday 19 January. Good luck etc.

JC

Bis, Heavenly

INTERNATIONAL POP UNDERGROUND : VOL. LXVI

R-198525-1112952407

R-198525-1112952417

K Records is a record label based in Olympia, Washington that was founded in 1982 by the musician Calvin Johnson. Many of the initial releases were on cassette, but in 1987, a decision was taken to launch International Pop Underground, which would take the form of 7″ releases featuring a diverse range of indie-musicians from all over the world.

Some of the most prominent singers/bands to feature in the early years included Courtney Love, Teenage Fanclub, The Pastels, Modest Mouse, Heavenly, Beck and Robyn Hitchcock, along with a myriad of cult acts.

There have been something like 140 releases in the series, with the majority of them being plentiful and inexpensive on the second-hand market. Maybe if I lived in the USA I would have been more interested in tracking them down, but as it is, with me being quite unaware of the output of most of those involved, I’ve been happy to give things a miss.

I do have just one single that I picked up in a second-hand store in Glasgow a couple of years back. It was Volume LXVI in the series (#66 to those who don’t do Roman numerals) and was released in 1996. There is one track from the afore-mentioned Heavenly and two from bis, which probably explains why a copy ended up in a shop in my home city.

mp3: Heavenly – Trophy Girlfriend
mp3: bis – Keroleen
mp3: bis – Grand Royale With Cheese

The Heavenly track was lifted from the 1996 album, Operation Heavenly, that came out on Wiija Records. Some of you might recall from a previous posting on the blog that the group’s drummer, Matthew Fletcher, tragically took his own life in June 1996 shortly after the recording of the album was complete. The level of promotional activity around the album was, understandably, almost non-existent, and I’m assuming that K Records also went about things in a low-key manner with this single.

Heavenly were near-veterans of the indie-music scene, having started out on Sarah Records in 1990. bis, on the other hand, were very much the new kids on the block, having seemingly emerged out of nowhere in 1995 to release a debut single on Chemikal Underground, later finding themselves attached, in America, to the Grand Royale label which was owned and run by the Beastie Boys, which perhaps gives you an idea where the title of the instrumental second track came from.

The single is a bit battered and bruised, with is why the sound quality on offer is a bit iffy in places on the two bis tracks – Trophy Girlfriend has been sourced from a different piece of vinyl. No apologies are offered!!!!!

JC

Various

WELCOME…. TO THE NEW YEAR

2024

Things will now get back to something approaching normality, including some very welcomed guest contributions and the return of our dear friend, Dirk.

For the first time in a very long while, I stayed well away from the blog, so much so that the comments section got all messy with loads of things attributed to anonymous sources that hadn’t ever been corrected. A huge thanks to everyone who dropped by and had their say.

I know that I took some liberties late last year with the number of hour-long mixes and so, for many of you, this might not be the most ideal start to TVV in 2024. But here goes anyway……..and this one includes a fair bit of music that I got to Santa to bring me, thanks in many instances to recommendations from various ‘best of year’ lists on other blogs. Much appreciated!

mp3: Various – Welcome to The New Year

Micky Dolenz – Shiny Happy People
Peaness – Oh George
Sleaford Mods – West End Girls (Pet Shop Boys remix)
The Fall – Hey! Luciani
Mick Harvey & Amanda Acevedo – Song To The Siren
Nick Cave & The Bad Seeds – Jack The Ripper
One Dove – White Love
Bar Italia – Missus Morality
Hi-Fi Sean & David McAlmont – Hurricanes
Hamish Hawk – Dog-Eared August (alt version)
SPRINTS – Delia Smith
Problem Patterns – Advertising Service
Steve Mason– The People Say
Coach Party – What’s The Point In Life?
Alison Eales – Come Home With Me
Chumbawamba -Behave!
Lloyd Cole – On Ice

Oh, and keep your eyes peeled later this week for a chance to win some goodies!!!

JC

Gil Scott-Heron

FROM THE ARCHIVES (17)

gilscott-heronwinterinamerica309871

It’s time to partially close down the blog for the period over Christmas and New Year. This time around I’m going to put up a re-posting from times gone by, and I’ll try my best to have all of them feature musicians whose appearances have been infrequent.

This dates from 6 April 2016. The title reflects it was part of a short-lived series on 10″ singles that sit in the cupboard here at Villain Towers.

MY SMALL BUNDLE OF TEN INCHERS (2)

Gil Scott-Heron (1 April 1949 – 27 May 2011) started out as a novelist, but from 1970 onwards became better known as a poet and musician thanks to a body of work which addressed much of what was wrong in modern society, particularly in his home country of America. His long time collaborator was Brian Jackson, a multi-talented musician and arranger. Scott-Heron and Jackson were unflinching in their approach, caring little for any criticism thrown at them that they were artists and musicians who had no concept of the ‘ghetto’ life they often wrote and sang about. They didn’t care much for mainstream success and acceptance, happy enough to write music and lyrics that would attack the most conservative values of America, knowing that the vast majority of radio stations and TV producers would shy away from giving them an airing.

The protest singing and poetry was well received in many parts of Europe. His songs and poems highlighted the dangers being posed by politicians who were moving ever further to the right, seeking out all sorts of enemies to fight with and all for the purpose of currying favour with an electorate stoked up by a frenzied media. It was a message that struck a chord with many.

He achieved most fame in the 80s as a vocal opponent of Ronald Reagan and the apartheid system, and the 10″ EP I have is a 1985 release to promote a Best Of compilation. Three of its songs are from the mid 70s, while the other – a superb attack on Reaganomics – was recorded in 1981.

mp3 : Gil Scott-Heron – Winter In America
mp3 : Gil Scott-Heron – Johannesburg
mp3 : Gil Scott-Heron – The Revolution Will Not Be Televised
mp3 : Gil Scott-Heron – “B” Movie

The 90s and first decade of the 21st Century were far from kind to Gil Scott Heron. There were thirteen studio albums released between 1970 and 1984, but only one more would appear before 2010 albeit some compilations and live recordings kept his name known, aided too by just about every rapper who burst onto the scene mentioning Gil Scott-Heron as being a huge influence.

He had developed serious issues with drug addiction that led to him spending time in jail. Having been released in 2007, he dedicated himself to performing, writing and recording again, culminating in the release in 2010 of I’m New Here, an extraordinary but very short album (28 minutes spread over 15 tracks) full of intensely personal and reflective lyrics that one UK critic described as ‘Massive Attack jamming with Robert Johnson and Allen Ginsberg.’

A remix version of the album, We’re New Here was released in February 2011, featuring production by English musician Jamie xx, who reworked material from the original album to great effect. But just as many were again paying attention to Gil Scott-Heron, he died just a few months later at the age of 62. The cause of death has never been revealed, but the man himself in interviews on his release from prison had confirmed he was HIV-positive and that his health hadn’t been great.

A further album of stripped down music from the I’m New Here session was made available in limited release for Record Store Day in 2014, and then given a full release on 1 April 2015 on what would have been his 66th birthday. His life has been remembered too with the making and release of ‘Who Is Gil Scott Heron?‘, from the UK film makers Iain Forsyth and Jayne Pollard, whose previous work included the Nick Cave drama/documentary 20,000 Days on Earth.

Many of the tributes and obituaries at the time of his death used the words tortured genius. For once, they were being applied properly.

This is the last day of the archival material. The blog returns to normal as from tomorrow.

JC

Veruca Salt

FROM THE ARCHIVES (16)

r-811639-1161223394

This dates from 3 November 2014.

SCARED HITLESS

I hope you agree that Scared Hitless is a cracking name for a record label – although it is seemingly a name adopted by many a hapless baseball team.

As far as I know, there were just six singles and one LP ever released via the label:-

FRET 001 : 3 and a half minutes – Peep (1992)
FRET 002 : 3 and a half minutes – Bled Me Dry (1993)
FRET 003 : Veruca Salt – Seether (1994)
FRET 004 : Skyscraper – Never Again (1995)
FRET 005 : Oslo – Talk To Feet (1999)
FRET 006 : Oslo – Skriker (1999)
FRETLP 001 : Oslo – Daylight (1999)

I’ve only one of the above records, but it’s an absolute belter:-

mp3 : Veruca Salt – Seether
mp3 : Veruca Salt – All Hail Me

Formed by Nina Gordon and Louise Post as an acoustic duo, they soon realised that wasn’t the sort of music they wanted to make and so they enlisted bass player Steve Lack and Jim Shapiro (Nina Gordon’s half-brother) on drums

They released a self-funded demo tape and shopped it to labels while playing a handful of small club shows. The buzz around the band grew furiously, and after only a few live gigs, the band was signed to Minty Fresh Records for whom they re-released Seether which then became a huge hit on MTV in the States and ultimately led to Veruca Salt signing a contract with Geffen Records.

The Scared Hitless release of Seether in the UK was June 1994 but after the single had picked up momentum in the USA, it was re-released in the UK on Hi-Rise Recordings in November 1994. I’ve got the 12″ version of this in the cupboard as well:-

r-1772586-1342451784-4765
There were two tracks on the b-side taken from a BBC session:-

mp3 : Veruca Salt – Straight
mp3 : Veruca Salt – She’s A Brain

Seether only reached #61 in the UK charts but was hugely popular with listeners of the John Peel Show who voted it in at #3 in the 1994 Festive Fifty .

Happy Listening

JC

PS……..the blog returns to normal over the weekend, with the return of the Saturday series on Scottish songs, followed on Sunday with a single from The Wedding Present.

Ciccone Youth, Madonna

FROM THE ARCHIVES (15)

R-207795-1608556212-4997

This dates from 28 March 2019

ONLY WHEN I’M DANCING CAN I FEEL THIS FREE

From the outset, I had pigeonholed Madonna as someone who was very capable of offering up pop fodder, either in the form of catchy but lightweight upbeat songs or moody ballads that wouldn’t have been out-of-place on albums by the poodle-rock brigade. I had every belief she was someone who would disappear off the radar just as quickly and unexpectedly as she had come to wider attention, cast aside by the record label moguls as soon as the next sex-kitten emerged.

And then I heard this:-

mp3 : Madonna – Into The Groove

Long-time readers won’t be shocked by the revelation that I’m a huge fan of this song. It ticks all the boxes when it comes to disco-pop in terms of its simple lyrics over a killer tune that’s filled with hooks and little bits going on in the background that you don’t appreciate on initial listens. OK, it has what can be accurately described as a very mid-80s production, but it’s done in such a way that it transcends the mediocre and becomes memorable and more than capable of repeated listens. It’s aged way better than almost all of its contemporaries.

The other thing that I found quite remarkable was that Madonna was the co-author of the song, along with Stephen Bray, a Detroit-born musician she had met in the late 70s when she was studying dance at the University of Michigan. I had assumed, wrongly, that she was the type of singer for whom all the songs would be written by others – in other words, that she was a performer rather than a talented artiste in her own right.

I think it is fair to say that Madonna’s audience expanded as a result of the success of Into The Groove, helped also by the fact it was closely associated with the film Desperately Seeking Susan in which she gave an assured screen performance in a production that was as much a critical hit as it was a commercial success. What I hadn’t appreciated until doing a wee bit of background research for this piece is that while it was a #1 hit in many countries (her first here in the UK), it was ineligible for the Billboard charts in the USA as it had previously featured as a b-side to the hit single Angel. Someone at Warner Bros must have got their backside booted for that basic error…….

I love the fact that the song can be interpreted in a couple of ways. On the surface, it is really just a girl thoroughly enjoying herself on the dance floor but wanting a handsome boy in the room to start strutting his stuff right beside her – and more than likely being careful not to tread on her white handbag! But it’s also a lyric with a fair bit of innuendo and undertones – not least the line ‘Live out your fantasies here with me’

More than 30 years on and it’s still a piece of music that attracts critical acclaim. It’s been described as the ultimate 80s song which is maybe stretching things but understandable (for what it’s worth, not that I’m a fan of it, but Do They Know It’s Christmas? surely has to be given that accolade). A writer in Rolling Stone magazine points out that Into The Groove has an amazing bassline, which harks back to my own earlier point about it having things going on in the background that you don’t appreciate at first.

And of course it led to the most unexpected of tributes from Thurston Moore and Co:-

mp3 : Ciccone Youth – Into The Groove(y)

This was one of the tracks played by Stewart Braithwaite at our recent Simply Thrilled evening – it was received rapturously.

JC

Field Mice

FROM THE ARCHIVES (14)

r-409838-1122813474

This dates from 3 August 2016.

THERE’S TWEE…..AND THEN THERE’S THIS

That above is the sleeve to the 7″ single with the catalogue number SARAH 12. It came out in December 1988 and was the debut from The Field Mice. The lead track is achingly gorgeous. There were three quality songs alongside it. If you own this single than please treasure it and look after it well. It sells for upwards of £60 on the second-hand market these days.

(2024 update……make that upwards of £100)

Of course, I don’t have a copy. I missed out on a lot of music in the late 80s as my priorities were elsewhere. It took me a long long long time to discover The Field Mice and it came courtesy of a 1998 CD compilation, which even then I didn’t buy until 2007… but I really didn’t mind being so late to the party.

The four tracks on the debut single appear on that compilation:-

mp3 : The Field Mice – Emma’s House
mp3 : The Field Mice – When You Sleep
mp3 : The Field Mice – Fabulous Friend
mp3 : The Field Mice – The Last Letter

Enjoy.

JC

Bananarama

FROM THE ARCHIVES (13)

This dates from 15 July 2020

ALL POP, ALL STYLE

It was through a collaboration with Fun Boy Three that Bananarama first enjoyed and experienced chart success. Their own debut single, Aie A Mwana, had stiffed outside the Top 75 despite a fair bit of media attention via various music and style papers/magazines. The trio’s harmonies did, however, find a fan in Terry Hall and they accepted his invite to sing co-vocals on his band’s cover of a 1930s jazz number, ‘Tain’t What You Do (It’s the Way That You Do It), which went all the way to #4 in early 1982.

Returning the favour, FB3 agreed to provide backing vocals for the next Bananarama single, which also turned out to be a cover – Really Sayin’ Something was their take on a 60s Motown song called He Was Really Sayin’ Something that had been a minor hit for Velvelettes, an all-girl group who released six singles all told, none of which charted high. The Bananarama version was a huge success, getting to #5 just a couple of months after the previous collaboration.

Next up, the trio of Sara Dallin, Siobhan Fahey and Keren Woodward sort of went out on their own, hooking up with the writing/production duo of Steve Jolley and Tony Swain who had delivered pop hits for the soul group Imagination (and who in 1982, would really hit payola from their work with Spandau Ballet on the album True).

Shy Boy was released in June 1982, around the time of my 19th birthday. By rights, I should have hated everything it stood for, with its whimsical, light and disposable tune and lyric being at odds with most things I was listening to and buying. But, as Edwyn and Orange Juice would say not too long afterwards, I Can’t Help Myself, especially when it comes to great pop tunes that earworm their way into my brain. Shy Boy was reviewed in Smash Hits magazine by a then up-and-coming writer called Neil Tennant, who later proved to know more than most about making great pop records:-

A brand new song crisply written and produced by Imagination’s production team. Sunny and singalong – when you hear it from hordes of transistor radios on a hot day at your favourite seaside resort you’ll forget about the sand in your sandwiches.

Shy Boy went all the way to #5 which meant that Bananarama could bask in the glory of enjoying a presence in the UK singles charts for 31 out 34 weeks from 13 February to 11 September 1982. It was the onset of an extended period of domination in the charts for the remainder of the decade.

I owned a copy of the 7″ for a number of years but finally made the effort to pick up a copy of the 12″ a few weeks back, finding a great seller on Discogs from whom I picked up a number of other pop hits from the 80s for future postings. The 12″ is more than a couple of minutes longer than the 7″ and radio hit, lots more shoop shoop aaaahs for those of us who love that sort of thing:-

mp3: Bananarama – Shy Boy (extended version)

I’d forgotten that the b-side was a song the trio themselves had written, an early version of a track that would be later re-recorded with a different title (Boy Trouble) for the debut album, Deep Sea Skiving:-

mp3: Bananarama – Don’t Call Us (extended version)

This poptastic b-side does hark to the sort of tunes that they had recorded earlier with FB3.

JC

Boo Radleys

FROM THE ARCHIVES (12)

p02cd62w

This dates from 14 May 2015

WISHING THAT THE WHOLE WORLD KNEW MY NAME…..

There can’t be many better examples than The Boo Radleys of a band being wrongly pigeonholed on the account of their one big hit.

Wake Up Boo! was everywhere in 1995. And it deserved to be given it was such a magnificent piece of catchy and infectious pop that put a smile on your face every time you heard it. The downside, however, is that it emerged at the same time as a lot of other guitar-led music with an indie-bent that got lumped together under the Britpop umbrella, and the outcome was the band also got held up as being part of the genre.

It was something they hated. They had been making critically acclaimed music since 1990 (initially lumped in with the ‘shoegazing’ fraternity) and indeed had, in 1993, released an album that has the critics swooning and proclaiming them as the best band in the country.

Giant Steps, which came out on Creation Records just before Oasis took that label into the stratosphere, was named as the 1993 record of the year by Select Magazine and #2 album of the year by the NME (behind Debut by Bjork). This was a remarkable achievement for an album that hadn’t spawned any hit singles nor sold in any great quantities, and it was also against some incredible competition – Suede, The Breeders, Blur, The The, Smashing Pumpkins, PJ Harvey, Tindersticks and Radiohead were among those who released in 1993 what can now be seen as ‘classic’ albums. But it was well-merited. However, there is no way that you could consider Giant Steps to be in any shape or form a Britpop album.

It is true that the album Wake Up! (on which the hit single featured) was a lighter and more catchy affair than its acclaimed predecessor, and it did spend one week at #1 in the UK album charts (taking over from Celine Dion and being replaced later by Bruce Springsteen) and it did bring the band a whole new audience, but not one they were ever entirely comfortable with, particularly in the live environment. It was therefore hardly a surprise that the next album – C’Mon Kids in 1996 – was a long way removed from the sound of The Boo Radleys circa 1995 and in commercial terms it bombed; but in comparison to the next and final album – Kingsize in 1998 – it could be regarded as a huge seller.

The Boo Radleys made some great music throughout the 90s, but as I said are remembered chiefly for one song that is very unrepresentative of their sound. I prefer to remember them by these flop 45s:-

mp3 : The Boo Radleys – Wish I Was Skinny
mp3 : The Boo Radleys – Barney (…and me)
mp3 : The Boo Radleys – From The Bench at Belvidere
mp3 : The Boo Radleys – What’s In The Box (See Watcha Got)

And from this rather brave and interesting cover:-

mp3 : The Boo Radleys – The Queen Is Dead

Enjoy