Month: April 2024

Wannadies

AN IMAGINARY COMPILATION ALBUM : #362: THE WANNADIES

A Guest Posting by Chat GPT

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JC writes………………………………

Another ICA inspired by SWC’s recent series on the Best ‘W’.

I’ve tried, on at least four and possibly five occasions, to come up with an ICA for The Wannadies, only to give up as all the pieces failed to fit.  There’s loads of tracks I want to lift from their two best-selling albums, Be A Girl (1994) and Bagsy Me (1997), but I’m also very fond of 2002’s Before and After.   Having said that, there are also decent tunes on Yeah (1999), while any ICA worth its salt would also have to consider the pre-fame (in the UK) material as well as the blistering b-sides they issued, many of them highly impressive cover versions.  I just couldn’t ever narrow it down to 10 songs without torturing myself.

And so…..I’ve decided to adopt the David Glickmann method.  You may recall that back in February 2023, he did the first ever Chat GPT ICA, applying it to The Joy Formidable.  I began by mimicking the question he posed.

“Write an article about the ten best songs by The Wannadies in the style of an imaginary compilation album from The (new) Vinyl Villain blog”

I wasn’t sure what to expect…..but here’s the reply, word for word.

The Wannadies: 10 Essential Tracks – A Vinyl Villain Compilation

Welcome, music aficionados, to another exclusive compilation album from The Vinyl Villain blog. Today, we delve into the vibrant and infectious world of The Wannadies, a Swedish band whose melodic prowess and energetic sound have left an indelible mark on the alternative rock scene. From their early days to their chart-topping hits, this compilation celebrates the best of The Wannadies’ discography, showcasing ten essential tracks that define their unique musical identity.

“You and Me Song”

A timeless anthem of love and devotion, “You and Me Song” is perhaps The Wannadies’ most iconic track. With its catchy hooks and heartfelt lyrics, this song has become a staple at weddings, parties, and romantic moments around the world.

“Hit”

Bursting with infectious energy and irresistible melodies, “Hit” is a standout track from The Wannadies’ debut album. Its buoyant rhythms and memorable chorus make it a must-listen for any fan of feel-good indie rock.

“Someone Somewhere”

Dreamy and ethereal, “Someone Somewhere” showcases The Wannadies’ ability to craft lush, atmospheric soundscapes. With its shimmering guitars and haunting vocals, this track transports listeners to another world entirely.

“Might Be Stars”

A driving bassline and propulsive rhythm set the stage for “Might Be Stars,” a dynamic and exhilarating track that perfectly encapsulates The Wannadies’ signature sound. Its infectious energy is impossible to resist.

“How Does It Feel?”

Brooding and introspective, “How Does It Feel?” sees The Wannadies exploring darker territory with haunting melodies and evocative lyrics. It’s a poignant reminder of the band’s versatility and depth.

“Shorty”

Quirky and irreverent, “Shorty” is a playful romp through The Wannadies’ musical universe. Its off-kilter charm and catchy hooks make it a standout track that never fails to bring a smile to listeners’ faces.

“You & Me Song (Svenska)”

A Swedish-language version of their classic hit, “You & Me Song (Svenska)” offers a fresh take on the beloved original. Sung with passion and sincerity, this rendition highlights the universality of The Wannadies’ music.

“Disko”

Funky and danceable, “Disko” is a high-energy track that begs to be played at full volume. Its infectious groove and infectious chorus make it a standout moment in The Wannadies’ discography.

“Big Fan”

Anthemic and uplifting, “Big Fan” is a celebration of music, fandom, and the power of rock ‘n’ roll. With its soaring melodies and infectious enthusiasm, this track is sure to resonate with listeners of all ages.

“Yeah”

Closing out our compilation is “Yeah,” a feel-good anthem that leaves listeners wanting more. Its catchy hooks and infectious energy make it the perfect ending to a truly unforgettable musical journey.

So there you have it, folks – ten essential tracks from The Wannadies that showcase the depth, diversity, and sheer brilliance of this iconic band. Whether you’re a longtime fan or discovering their music for the first time, this compilation is guaranteed to leave you craving more from The Wannadies. So grab your headphones, drop the needle, and immerse yourself in the infectious world of The Wannadies – you won’t be disappointed.

——-

JC adds…..

It’s, not unexpectedly, singles-heavy, but all-in-all, it’s more than decent.  I’m not convinced, however, that Chat GT has provided the blog something fully reflective of the style of most ICAs, whether they’re my work or a wonderful contribution from a guest.

In terms of where the songs have been picked from – the older material doesn’t feature at all, with the earliest being three singles lifted from 1994’s Be A Girl, and likewise with Bagsy Me (1996). Two songs from Yeah (1999) make the cut, with just the one from the final studio album, Before and After (2002).

Here’s the thing.  I’ve 83 songs on the hard drive.  Not one of them is the Swedish version of You and Me Song, so I’ve had to replace it with one of my own choice.  And I’ve gone for one from Before and After.  I hope you enjoy it, and I’ve tried to replicate the GPT style in describing it.

“Singalong Son”

A tune with which the band slow things down to great effect.  “Singalong Son” is a reflective pop song, ruminating that the best friends in life are those who always want to put a smile on your face. (‘Son is a common ending to the majority of surnames in Sweden).

I’ve a couple of other bands I’m going to give the GPT treatment to….one on the basis that while I know a fair bit about them, I don’t have a huge amount of tunes to select from on the hard drive, while the other is a band where I have plenty of tunes, but nothing like the full back catalogue, and Chat GPT might offer up some tunes I don’t know.

Watch this space!!

JC via Artificial Intelligence

Sprints

SOME LIFE-AFFIRMING EXPERIENCES (5)

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I do promise that I won’t be writing about every live gig I get along to in 2024, but those which turn out to be exceptional in some way or another will lead to me wittering away aimlessly on this little corner of t’internet.

It was last October when Dublin-based Sprints released details of the UK tour in support of debut album Letter To Self.  I was too slow off the mark to pick up a ticket for the Glasgow show, scheduled for King Tut’s, which left me a bit deflated.  Within a few days of the announcement, it was clear that the entire tour, taking in London, Birmingham, Manchester, Glasgow, Brighton, Bristol, Nottingham and Leeds had sold out in its entirety, a full six months ahead of the dates and well in advance of the January 2024 release of the album.  I was convinced the band and promoters would look to upscale in terms of all the venues.

It didn’t happen…and I really shouldn’t have been surprised given that Sprints are one of those bands who are very principled about all things in life to the extent that they gave up some high-profile slots at the annual SXSW Festival in Austin, Texas ‘In solidarity with the Palestinian people and as a stand against US Army and Defence contractors involvement in this year’s festival’.  King Tut’s it was, and a big sigh of regret from your humble scribe.

A few hours before the doors open at 7.30pm, I get a text from my mate and regular sidekick, Aldo.  He tells me that a friend of his, Leona, (whom I’ve met a few times at gigs and other events across Glasgow) is now unable to get to King Tut’s.  She had offered the ticket to Aldo, but he very kindly, and with the agreement of Leona, passed the offer to me.   My plans to stay in and watch the Yankees v Blue Jays baseball were thrown right out of the window.

I didn’t get along in time to catch the support act, the wonderfully named Venus Grrrls, which was the only disappointment of the night.  By the time I got into the venue, it was already rammed.  The capacity at King Tut’s is just 300, but it really felt as if there were a few more in there – possibly the result of a sizable guest list.  To be clear, it wasn’t dangerously packed or over-crowded, but space was very much at a premium.  The sole joy of being on my own was that I was able to worm my way into the heart of the crowd, not too far from the front and in the middle (not quite as close as the above photo might indicate as the zoom lens was in use!)

On a night of a number of surprises, it turned out that the audience had a very diverse range of ages – I had it in my head that I’d be the only old bugger to turn up, and I’d be surrounded by loads of young folk quite rightly latching on to one of the most exciting new punk-pop bands of the era.

There was a real sense of anticipation and excitement in King Tut’s as the clock ticked round to 9pm, the scheduled time of Sprints taking to the stage.  The house lights went down….and the next surprise of the evening came as Murder on The Dancefloor by Sophie Ellis Bextor blared out from the speakers.  The younger folk in the audience were quickly dancing and singing along, many of them at the top of their voices!

Overture over, and the foursome of Karla Chubb (vocals and guitar), Sam McCann (bass and vocals), Colm O’Reilly (guitar), and Jack Callan (drums) took to the stage to deliver what turned out to be a non-stop blistering 15-song set, consisting of everything on the album and four songs lifted from their earlier Modern Job EP.

mp3: Sprints- I’m In A Band (from Modern Job)
mp3: Sprints – Literary Mind (from Letter To Self)

It is a bit confounding, as I creep closer to the age of 61, to find myself falling hard for bands whose members could pass for my grandkids and really wanting to get myself along to their gigs.  Not that I could manage along night after night, given how I ended up staggering out of King Tut’s hot, sweaty and quite tired. Oh, and I was in possession of two t-shirts, courtesy of the merch stall – yup, it was such a great night that TWO (count ’em) band t-shirts came back with me to Villain Towers….and that was the third surprise of the night…..a band with so many young followers offering up t-shirts for those of us who need to reach for the larger sizes (still haven’t forgiven Working Men’s Club for looking after only their skinny fans!)

Sprints have been touring extensively in recent months across Europe and the USA, and their hard work meant they were spectacularly tight and professional, particularly for an act that is still relatively in its infancy.  They are attracting all sorts of deserved praise for their music and their live shows, and as well as being added to some of the upcoming outdoor summer festivals, they will be opening for IDLES when they play in Cardiff and Halifax in July and for Pixies at shows in Belfast and Dublin in August, all of which will inevitably increase their fanbase and make tickets for future headlining shows just as difficult to obtain, no matter the size of venue.  (they announced mid-set that a return to Glasgow is scheduled for November at The Garage, whose capacity of 700 will not be near enough to satisfy demand).

So….in summary, Sprints at King Tut’s on Sunday 7 April 2024 was very much a life-affirming experience.  A huge thanks to Aldo for being such a wonderful friend in getting the ticket to me, and of course to Leona who, sadly, just couldn’t make it the other night. I hope she’s there when they play The Garage…..the drinks that night will very much be on me.

JC

Damned, M, Members, Police, Sex Pistols, Sparks, Undertones, X-Ray Spex

SHAKEDOWN, 1979 (April)

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I trust that the first three months of this series has helped to convince any of you who happened to be non-believers that 1979 was very much the greatest year for hit singles in the UK.  So, what did April shower upon us??

While I wasn’t overly keen on the Sex Pistols singles on which Sid Vicious took on the duty of lead vocals, (which is why Something Else was left out previously and C’Mon Everybody will not appear in future), the cash-in this month did hold some appeal.

mp3: Sex Pistols – Silly Thing

Virgin Records really didn’t care too much about facts when it came to Sex Pistols.   The info attached to the 45 states that it’s from the album The Great Rock ‘n’ Roll Swindle, when in fact it’s a totally different version.  The album track has Paul Cook on lead vocals and had been recorded in mid-1978.  The single version has Steve Jones on lead vocals, and had been recorded in March 1979, with Bill Price on production duties.

It entered the charts in the first week of April 1979 at #24, and in due course climbed up to #6 as part of what proved to be an eight-week stay in the Top 75.

mp3: The Members – Offshore Banking Business

The wonderful follow-up to Sound of The Suburbs was a reggae-tinged attack on white-collar crime.  Sadly, things have only got worse with the passing of time.

Offshore Banking Business was, in comparison to ‘Suburbs’, a minor hit, only reaching #31, and it would prove to be the last time that The Members troubled the chart compilers.

mp3: M- Pop Muzik

Some folk will argue that this was a novelty number and a bit of an annoyance.   I’ll accept that it did become over-exposed somewhat back in the day and became a bit of an irritant, but the passage of time has more than convinced me that it’s a bona-fide pop classic.

M was the recording name taken by Robin Scott, a man with a fascinating backstory in that he’d been in and around the creative industries for much of the 70s as a singer, recording artist and record producer, as well as being a friend of Malcolm McLaren and Vivienne Westwood. He also worked with the then emerging film director Julian Temple.

Pop Muzik came into the charts at #53, and would go on to spend 14 weeks in the Top 75, peaking at #2.  It was also a huge hit in many other countries, and probably sold enough copies that ensured its composer would never again have to have any financial concerns, and enabled him to indulge in various creative projects over the next forty-plus years.

mp3: Sparks – The Number One Song In Heaven

I’ve previously written at length about this song, back in December 2016. I summed it up by saying that it was where prog met glam met disco met film soundtrack on one piece of 7″ black vinyl. I also declared it as the celestial song which cleared the decks for the likes of Soft Cell, Pet Shop Boys, Human League and Heaven 17 (as well as many other inferior versions of electro-pop) to come along in the 80s and make a fortune.  The one difference from 2016 and now is that I have since picked up a second-hand copy of the 45, having been without one for more than 30 years.  This one entered the charts at #60 on 21 April 1979.  It peaked at #14 in June 1979 while spending a total of 12 weeks in the Top 75.

mp3: X-Ray Spex – Highly Inflammable

Highly Inflammable was the first new song from X-Ray Spex since the release of the debut album Germ Free Adolescents at the end of the previous year.  It turned out to be their last piece of music for almost 16 years, as the group came to an end when lead singer Poly Styrene announced her departure shortly afterwards.  They would reform for live shows in 1991 and a second and final album would appear in 1995.  Highly Inflammable was their fourth chart 45, but where each of The Day The World Turned Dayglo, Identity and Germ Free Adolescents had all hit at least the Top 30, the final single stalled at #45.

mp3: The Police – Roxanne

Yup, it’s now 45 years since Sting & co. first tasted fame.    If they had had their way, it would have been a full year earlier, as Roxanne was initially released in April 1978 to great indifference.  But America went nuts for the song in early 79 and this led to A&M Records giving it a re-release over here.  The rest, as you might say, is history.

Roxanne came into the charts at #42 on 22 April.   It hung around for 9 weeks and peaked at #12.  I bought the re-released version of the single and that same time, having convinced my parents that going to new wave/post-punk gigs at the Glasgow Apollo wasn’t as dangerous as some tabloid papers would have you believe, I bought a ticket for my first ever live show.

The Police.  Thursday 31 May 1979.  There were two support acts.  Bobby Henry, followed by The Cramps.   I haven’t kept count, but I reckon I’ve been to over 1,000 gigs all-told now.  I still very much remember the first time.

mp3: The Undertones – Jimmy Jimmy

Get Over You had been a flop, so there was quite a lot riding on the next single from Derry’s finest.  Thankfully, the radio stations and record-buying public really took to Jimmy Jimmy over the spring and summer of 79.  It came in at #57, spent 10 weeks in the chart, and peaked at #16.    For all that it’s such an upbeat and anthemic number, it really is a very sad lyric.  One of the band’s finest three minutes, if you don’t mind me saying.

mp3: David Bowie – Boys Keep Swinging

I wasn’t quite at the stage where I was acquainting myself with David Bowie albums.  For now, I was more than happy to make do with the singles.   I had liked most of what I heard on daytime radio, but had never actually bought anything of his until Boys Keep Swinging.  It’s one of those that I can’t quite really put my finger on exactly why this really appealed to the then 15-year-old me, but there’s no denying that seeing it performed on the Kenny Everett TV show proved to be what would now be described as a water-cooler moment, albeit in may case it was in a school playground the next day when a fair bit of homophobic language was involved.  Little did we know the official video would create even more of a buzz.

Boys Keep Swinging came in at #31 on 29 April.  It climbed all the way to #7, and in doing so, gave Bowie his first Top 10 hit since Sound and Vision some two years previously.

mp3: The Damned – Love Song

Another of the new entries on 29 April.  This was the sixth single by The Damned, but proved to be the first time they hit the charts, and is all the evidence you need that the post-punk/new wave sounds had really become part of the mainstream.  It came in at #44, and before too long it had cracked the Top 20.

As I said earlier, and the whole point of this series, 1979 was a great year for singles (albeit the really big sellers were dreadful).

JC

Wedding Present

THE WEDDING PRESENT SINGLES (Part Twenty-Nine)

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Last week, I mentioned that the relative failure of Watusi, along with the re-recorded version of It’s A Gas, meant that the Island Records era was really over before it had begun.

In some ways, it was a strange situation as 1994 had been the year the band’s records had sold so poorly, and yet they were very prominent on the bill of the Reading Festival, albeit not playing the biggest of the stages:-

Reading-1994

1995 proved to be a transitional year.  Live shows, to begin with, were few and far between.  An 8-date tour of France in March before 4 shows in the UK (Leicester, Huddersfield, St Helens and York) in mid-June.  There were then 5 festival appearances in July.  The strange thing for fans was that these shows saw The Wedding Present perform as a three-piece band, as guitarist Paul Dorrington had quit at the start of the year.

A ‘proper’ tour was scheduled for November/December – 15 dates in England plus one in Newport, Wales – prior to which Jayne Lockley became the first woman to join the band. Jayne played bass, which meant Darren Belk switched to guitar. 

The tour coincided with the release of the first new 45 of the year.  It turned out to be a self-released single, only available in the UK at the shows during the November tour or by mail order, although two small record labels – Merge and Siesta – took on the task of giving it a physical release in America and Spain respectively.

mp3: The Wedding Present – Sucker

Not being available in any shops, it was never going to chart, thus bringing to an end the run of 20 successive 45s that had gone at least Top 75.  

Sucker isn’t the most memorable of singles, and at just over 100 seconds in length, there isn’t all that much to it.  For all that it was only available at the live shows or by mail order, it’s not all that difficult to find on the second-hand market at a relatively low cost, which I think gives a fair indication of what most fans think of it. 

The b-side was a cover:-

mp3: The Wedding Present – Waiting On The Guns

The original dates from 1994, and was written and recorded by Butterglory, a little-known indie band from Kansas, who were also on Merge Records.  It’s a bit more substantial than Sucker, and while it does have a certain charm in places, it isn’t the most memorable or unusual of covers.

I think it’s fair to say that The Wedding Present were in danger of becoming a bit of an irrelevance in terms of the big picture….much of the band’s core fanbase had moved on, albeit there was still much love on offer from John Peel for whom they recorded an eleventh session in December 1995, offering a tantalising glimpse of new material scheduled for release on a new label in the new year. Worth mentioning that December 1995 was when John Peel was the subject of the long-running TV show This Is Your life, and David Gedge was one of the surprise guests invited to come on and say a few words.

JC

Ace City Racers

SATURDAY’S SCOTTISH SONG : #399 : ACE CITY RACERS

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Ace City Racers came onto my radar in 2021, thanks to the release of the album Citalodisco on Last Night From Glasgow.

They describe themselves as a post-punk, new wave, art pop band from Glasgow, which certainly ticks many of my boxes.

The group cut their first record in 2012.  It came about after James Barker (guitars) and Mark Daniels (bass) had seen their previous electro-pop outfit disband back in 2009.  Deciding to now go down a guitar pop/rock road, they sent a demo to uber-producer Stephen Street who invited them into his London studio where the track Waiting was recorded and later released.  This was all before they had played any live gigs.

Although Street was keen to work further with the band, they retreated a bit and indeed it took until 2017 before they released they self-released their debut album, Take It, It’s Yours by which time Andrew Campbell was on drums.

Looking back at some of the things written about the debut, I’m a bit annoyed at myself for missing out, but it is impossible to keep up with everything that’s going on, even in my home city. It might have been different if I’d caught them live.

The 2021 album has some fine moments on it.  One of our locally based websites and magazines said of Citalodisco:-

…..elements of no wave, art-rock and post-disco can be found all over Citalodisco. Ace City Racers at times bringing to mind the likes of Devo, A Certain Ratio, 80s New Yorkers’ ESG and Liquid Liquid, and, from a bit closer to home, Franz Ferdinand.  Across its ten tracks, it rarely lets up and is awash with pleasing electronics, an abundance of disco drums, cowbells aplenty, and has us pining for an indie disco.

I wasn’t quite so much in awe of the album, but there was more to enjoy about than simply endure.  This one was a highlight:-

mp3: Ace City Racers – Gideon Takes The Train

I really must stick this, or perhaps one of the other tracks, on one of the monthly compilation efforts.

JC

Paris Angels

THE 12″ LUCKY DIP (6) : Paris Angels – All On You

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Last time out in this series, I brought you a single that I bought from the merch stall at a gig in Manchester.  This time around, it’s a 12″ single that is associated fully with that wonderful city.  Wiki actually tells the tale in a good way.

Paris Angels were an English seven-piece band whose music fused indie guitars with electronic dance music. They were regulars of the Boardwalk and Haçienda clubs in Manchester, and as such were heavily influenced by acid house and the nascent Madchester scene of the late 1980s.

Their initial recording contract was with locally-based Sheer Joy Records.  An early single, All On You (Perfume)  was really well received and sold enough copies to get itself into the lower end of the charts at #91 in July 1990.    In due course, they were signed by Virgin Records and a different version of the song, this time called Perfume (All On You), was issued as a single, and thanks to the might and oomph of the bigger record label’s promo folk, this one reached #55 in July 1991 despite being, certainly to my ears, a lesser version.

It was Jacques the Kipper who brought the song to my attention, courtesy of him including it on a homemade compilation cassette back in the day.  More than a decade later, I picked up a copy of the Sheer Joy release for £1 in a second-hand shop.

mp3: Paris Angels – All On You (Perfume)
mp3: Paris Angels – Muffin 2
mp3: Paris Angels – Perfume (version)

Muffin 2 sounds exactly as I’ve always imagined the early nights at the Hacienda to sound like in the era when nobody went along but those who did, would be able to thoroughly enjoy music that you’d not normally hear in clubs.

Perfume (version) has an early New Order feel to it, certainly via the guitars, although I would have imagined Hooky would have demanded much more bass in the mix.

All in all, an absolute belter of a 12″.

JC

PS :

A reminder that I’m currently running a competition to win a copy of Chorus of Doubt, the new album from Broken Chanter – the official release date is today.

I stupidly had a rogue space in the email address for entries, so my apologies if anyone  got a strange bounce back.  SORRY!!!!!!!!!

So….I’ll try again.

Q: ‘On which well-known Scottish record label has Chorus of Doubt been released?’

(hint, if needed, – it’s a label closely associated with the album’s producer, Paul Savage)

All entries should be sent to thevinylvillain@hotmail.co.uk

Please also include your full name and address so that I can work out postage costs should you be lucky. (Once again, I promise that all the emails will be deleted afterwards so that I don’t keep any of your personal info).

The closing date is Saturday 13 April. Good luck etc.

Cocteau Twins

THE CD SINGLE LUCKY DIP (4) : Cocteau Twins – Bluebeard

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I wouldn’t have been buying vinyl in 1994.  I was doing well to keep hold of what I already had, as space was at a premium in the small flat I was living in at the time.  It was strictly CDs, for albums and singles alike.

Which is why I wouldn’t have been on the look-out for either of the limited edition 7″ and 12″ releases of Bluebeard, the second single to be lifted from Four-Calendar Café, the seventh studio album by Cocteau Twins.

mp3: Cocteau Twins – Bluebeard

I already had bought the album on its release in October 1993, and wasn’t sure at all about shelling out four months later for the single, despite the fact that it had a couple of otherwise unreleased tracks.  The doubts, however, were put to one side when I spotted that  it also contained an acoustic version of the single, one which I was very keen to hear.

mp3: Cocteau Twins – Three Swept
mp3: Cocteau Twins – Ice-Pulse
mp3: Cocteau Twins – Bluebeard (acoustic version)

Both the unreleased tracks are enjoyable enough without being the sort of thing that really makes you sit up and pay more attention.  And if I’m being honest, I was expecting a bit more from the acoustic take on Bluebeard – it just meanders a bit too much for my liking.

Enough fans were enticed by the release to buy enough copies to have it enter the charts at #33 on 26 February 1994.

JC

Dennis Bovell

BONUS POST : AN IMAGINARY COMPILATION ALBUM : #361: DENNIS BOVELL

A Guest Posting by Khayem

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Dennis Bovell ICA: Respond To The Cause

This ICA has been a long time – too long – in the making. JC mentioned in a post or a comment – possibly here or on my own blog – that he didn’t have much reggae or dub in his collection, so I thought that would be a good theme for an ICA. The problem is, I think this was at least a year ago, if not longer, so the chances are that things have changed dramatically since then! (JC adds……not really!)

No matter, the subject of my ICA is one of the greatest and original producers of any genre. Not constrained by reggae or dub, he was one of the originators of Lovers Rock and also found a spiritual connection with punk, post-punk and, continuing into the 21st century, a host of post-modern artists. He’s also a mean bass player and handy when stepping up to main vocal duties. I present to you the legend that is Dennis Bovell MBE.

His production and performance CV reads more like a Who’s Who of music legends: Linton Kwesi Johnson, The Slits, Orange Juice and Edwyn Collins solo, Janet Kay, Benjamin Zephaniah, Ian Dury & The Blockheads, Dubblestandart, Jah Wobble, Jarvis Cocker and The Pop Group. Amazulu, Bananarama, Thompson Twins and even Jack Johnson have all benefitted from a dub rinse over the decades.

And that’s not even touching on his own music, which started with Matumbi and The 4th Street Orchestra, and have included legendary releases as Black Beard, Dennis Curtis, Dennis Matumbi and of course Dennis Bovell. There are hundreds and hundreds of songs out there, many now available on his own site at Bandcamp as Dennis discovers more gems in the vault and records updated versions of old songs or something completely new.

Dennis Bovell is an unstoppable force of positive energy, and his impact on music changed my life before I even knew he was doing it. This ICA can only hope to hint at the magic and encourage you to go out there and discover more.

In time-honoured tradition, I’ve split the album into a vocal and a dub side, the first showcasing Dennis’ own music, the second shining a light on some of his revelatory reworks of some well-known songs and/or artist. I’ve cheekily slipped in a sixth track on side 1, but both sides come in at just under 21 minutes so I hope JC will let this one pass! (JC adds……of course!  There’s no hard and fast rule for ICAs)

Without further preamble, here’s your track-by-track guide

SIDE ONE

1) (I Can’t Get Enough Of That) Reggae Stuff by Matumbi (single, 1973)

Where it all started, really. Dennis moved from Barbados to London at an early age and co-founded 7-piece reggae band Matumbi in 1971. This was their debut single and, if it sounds familiar, it’s because it’s a cover of ‘Funky Stuff’ by Kool & The Gang. A great version and an obvious opener for this ICA though I’ll admit that I also had one eye on the inevitable ICA World Cup and the hope that Dennis & Co. get beyond the first round!

2) Fall Babylon (Version) by Dennis Bovell & Roots United ft. Skarra Mucci (single, 2020)

This single came out at the tail end of 2020, an apposite release following (what would turn out to be the first) lockdown and a coming together of generations. Jamaica’s Skarra Mucci guests on this alternative version, and there was a shining bright video to boot (check it out on YT).

3) Blood A Go Run by Dennis Matumbi (single, 1977)

Three singles were released between 1977 and 1978 under the nom de plume, Dennis Matumbi. I first heard Blood A Go Run on the 2003 compilation Decibel: More Cuts And Dubs 1976-1983, one of many, many DB collections, all highly recommended.

4) Empire Road by Matumbi (single, 1978)

This was the theme tune to the BBC TV series of the same name, which starred Norman Beaton. Empire Road also featured on the 1978 compilation Don’t Walk, Boogie, included in my parent’s modest record collection. Both the TV show and the song made a big impression on me and – unknown to me at the time – was my introduction to the genius of Dennis Bovell.

5) Afreecan by Dennis Bovell ft. I-Roy (‘Mek It Run’ album, 2012)

Had it not been for Dennis having neck surgery and strict medical orders to stop playing the bass until fully recovered, Mek It Run might never have seen the light of day, or at least so soon. Deciding to return to unfinished work during the enforced rest, Dennis discovered a stack of boxes in a lock-up, full of master tapes from the 1970s and 1980s. Utilising an I-Roy vocal from 1983, Afreecan is a retro future classic.

6) Bah Be Lon by Dennis Bovell (‘Brain Damage’ album, 1981)

After two dub albums as Black Beard, Brain Damage was the first released under his own name. An ambitious 16-track double album that takes reggae into the 1980s and pointed at a different direction from the more sanitised, pedestrian music that would popularise the genre for a new generation in that decade. The year before, Bovell also scored the film Babylon, which was based in part on his lived experience. Bah Be Lon doesn’t feature in the film as far as I can remember, but it narrates a similar sorry tale of racism and wrongful imprisonment.

SIDE TWO

7) Dub I Just A Man (Version of ‘Am I Just A Man’) by Steve Mason (‘Boys Outside/Ghosts Outside’ album, 2011)

I’ve been a fan of Steve Mason since I first heard The Beta Band and I’ve enjoyed his further excursions as King Biscuit Time, Black Affair and as a solo artist. Boys Outside as of itself is a brilliant album but it was a stroke of genius to bring in Dennis Bovell to create a dub companion. I could have picked any track, to be honest, it’s that good.

8) Funny Dub (Version of ‘It Noh Funny’) by Linton Kwesi Johnson (‘Sonny’s Lettah!’ single, 1979)

Dennis Bovell has worked extensively with Linton Kwesi Johnson throughout his career, not least 1980’s seminal LKJ In Dub. Rather than choose from there or it’s two follow ups, I’ve gone for an earlier dub of a song from LKJ’s debut Forces Of Victory, which appeared as a B-side on his second single. Much as I love LKJ reciting his words, Bovell’s dub creates a poetry all of it’s own.

9) Earthdub (Version of ‘Earthbeat’) by The Slits (single, 1981)

Dennis produced The Slits’ 1979 debut Cut and half of the 1981 follow up The Return Of The Giant Slits, not including the opening song Earthbeat. However, on the 12” single the song segues perfectly into a DB dub that bends the shape to near-snapping point, to memorable effect.

10) The Smoke (Dennis Bovell Rmx) by The Smile (single, 2022)

Dennis Bovell continues to be an in-demand producer and remixer, recent years seeing him rework JARV IS…, A Mountain Of One, Animal Collective and The Smile, Thom Yorke’s latest outfit and nothing like Radiohead, honest. On the strength of this, one can only hope that they ‘Do A Mason’ and ask DB to dub up their entire catalogue.

11) Radio Africa (Dub-Mix) by Latin Quarter (single, 1984)

I bought this on 12” vinyl back in the day, but only relatively recently discovered that there had also been a limited edition UK 12” with a couple of DB dub mixes on it. This is perhaps one of Dennis’ most straightforward dubs, but even as it strips away vocals and instrumentation, it puts so much more back, in terms of depth and space. A classic to close, and a selection I hope will have you looking out for more.

Khayem

Broken Chanter

BROKEN CHANTER’S BRAND-NEW ALBUM (and another TVV competition)

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David MacGregor is one of the best musicians to have emerged out of Scotland over the past couple of decades.  He started out as part of Kid Canaveral, a band which formed in St Andrews fully 20 years ago- and I find myself shaking my head in astonishment at how quickly the time has passed.

Kid Canaveral released three excellent albums full of catchy, thoughtful and insightful indie-pop tunes before beginning to drop off the radar back in mid-2018.  Not that any of us knew it at the time, but the band had more or less run its course – David himself wasn’t sure where there the future lay, but in the interim, and to the absolute delight of those of us who had long succumbed to his charms, he announced plans to record a solo album.

He decided to adopt the stage name of Broken Chanter.   David’s reason for taking on this moniker was in recognition of his failed attempts, as a toddler, to play his grandfather’s chanter, the part of the bagpipes which creates the melody.

The eponymous debut album appeared in 2019. It was a bit of a shift in direction from the music he had made with Kid Canaveral – a more rural, almost pastoral effort, one that had been inspired by David spending time in the remote Scottish Highlands, along with the Isle of Skye and County Donegal. The results were a joy to listen to – one very astute review identified it as an album clearly forged in Scotland, and filled to the brim with music and lyrics that appealed to Scottish sensibilities.

By 2020, it was clear the old band wouldn’t be getting back together, and David announced he’d continue to record and perform as Broken Chanter.   The second album under that name was Catastrophe Hits, released in October 2021, one which saw a slight change of direction.  The debut had been largely a solo effort, augmented with musicians with whom he was good friends. This time around he wrote the songs with the thought of it being recorded by a fully functioning band – again made up of friends he had known for many years – that would also get out on the road and play in a live setting.  Musically, it was a further and cohesive development of what had made the debut such a joy to listen to, with the addition of a number of upbeat pop tunes which were packed with socially aware lyrics.

This week sees the release of Chorus of Doubt, the third Broken Chanter album.  Having been one of those lucky enough to get an early listen to its contents, I can only concur fully with the words that have been penned as part of the promotional efforts.

“From the propulsive immediacy of the bass and drums’ taut groove, it’s clear something has changed in Broken Chanter’s world.

Thudding, powerful odes to the strength of collectivity and togetherness, David MacGregor’s Broken Chanter bristle with energy and empathy on their incendiary third album Chorus Of Doubt.

Recorded (and produced) by Paul Savage over 2023’s spring and summer months, Chorus Of Doubt is fuelled by a burning desire to resist an encroaching, global tide of misery, informed by a wide-eyed sense of solidarity and the searing truth that a universal humanity is the only path out of darkness.

Featuring frequent collaborators Charlotte Printer, Bart Owl and Martin Johnston, Broken Chanter’s world is populated by hope and vitriol rendered in ecstatic rock music, terse agit-Funk and soaring choruses.

The most immediate Broken Chanter record to date, Chorus Of Doubt is David MacGregor’s open love letter to never giving up, a personal road map out of collective lethargy.

I got an invitation to the  ‘Listening Party’ for the new album that was held in a Glasgow pub just last Thursday.  My pre-ordered copy of the album then arrived in the post the following day.

I’ve been playing nothing else all Easter weekend.  It’s a fabulous listen from start to finish, with more hooks than a tackle box at an angling contest.

The next thing to look forward to are the live shows.

Broken Chanter will be playing Edinburgh, Dundee, Aberdeen and Glasgow later this month, while May will take in Gateshead, Cambridge, Rainham, Coventry, London, Oxford and Sheffield.  I can guarantee that every show will provide the various audiences with a memorable evening – David is a tremendous frontman, full of energy and charisma, and his band members are ridiculously talented.  Oh, and the songs will have you dancing!  Click here for ticket details.

I’ve purchased two additional copies of Chorus of Doubt to offer up as prizes for the third TVV competition of 2023.  The usual thing….answer a question and send in your reply via email.

Q: ‘On which well-known Scottish record label has Chorus of Doubt been released?’

(there’s plenty of clues available from the above videos!!)

All entries should be sent to thevinylvillain@hotmail.co.uk – but please also include your full name and address so that I can work out postage costs should you be lucky. (Once again, I promise that all the emails will be deleted afterwards so that I don’t keep any of your personal info).

The closing date is Saturday 13 April.  Good luck etc.

JC

PS : A bonus posting will appear on the blog later on.  It’s the guest ICA I trailed last week….trust me when I say it really is worth coming back for another visit around midday.

Michelle Shocked

AROUND THE WORLD : ANCHORAGE

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The 73rd most populous city in the United States, with a population of 291,247 according to the 2020 census, but also the fourth-largest by area. I think it’s fair to say that Anchorage is not your atypical location in the USA.  Archaeological evidence suggests the area was first populated some 5,000 years ago by the Alutiiq people who arrived by kayak, but it wasn’t until 1914,thanks to it being chosen as a site for railroad construction, that Anchorage began to take shape.  Its unique location has resulted in its international airport being ranked as the fourth-busiest in thw world for cargo traffic, surpassed only by Memphis, Hong Kong, and Shanghai Pudong.  Musically, there’s not much I can pick out that would be of huge interest to TVV readers albeit the city’s 6,000 capacity Sullivan Arena, has been a location where a number of renowned rock bands have played over the decades.

mp3: Michelle Shocked – Anchorage

The Texas-based singer-songwriter’s debut single back in 1988, which reached #60 here in the UK, while the album it appeared on, Short Sharp Shocked, got to #33.  It’s the story of Michelle making time to write to an old friend in Dallas, only to find in due course that the reply comes back from Anchorage. The lyrics are inspired by what was written in the reply, as Michelle learns that her friend had moved to Alaska as a result of her husband, Leroy, getting a new job, and in the interim period a second child had come along.   The sort of song that wouldn’t really happen nowadays with the growth and development of e-mail etc.

JC

Various

DON’T GET FOOLED AGAIN (and Competition Result)

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Hopefully, there’s a little bit of something for everyone.

mp3: Various – Don’t Get Fooled Again

Mogwai – Party In The Dark
The Fall – Open The Boxoctosis #2
Charlotte Hatherley- Bastardo
Joy Division – Transmission
Pixies – Planet of Sound
David Westlake – The Word Around Town (BBC Session)
The The – Uncertain Smile (7″ version)
The Motorcycle Boy – This Road Goes On Forever
The Pains of The Pure At Heart – Young Adult Friction
Trembling Blue Stars – A Statue to Wilde
Cinerama – Dance Girl Dance
The Strokes – Reptilia
McAlmont & Butler – Yes
James – Come Home (Weatherall Mix)
Chumbawamba – Blackpool Rock

Worth mentioning, in passing, that the David Westlake song was part of a session broadcast on the Janice Long show on Radio 1 on 25 February 1987.   His backing band for the session included three members of the Go-Betweens, with Robert Forster on guitar, Amanda Brown on violin, oboe and backing vocals, and Robert Vickers on bass.

I also want to thank everyone who entered the competition to win a copy of Four For A Boy, the new EP from Alison Eales.

The answer to the question ‘For which Glasgow-based indie-band does Alison Eales play keyboards?’ is Butcher Boy.

The three names drawn out of the hat were Gary O’Connor, Conrad Zimmer and Neil Tilston.   I’ll get the vinyl in the post later this week.

Watch out for another TVV competition coming your way on Wednesday.

JC