‘Nobody anticipated the sounds which Björk would bring to the party with her first solo material after The Sugarcubes had called it a day. There was a fair chance that it would be a touch different from the music she had made over the years with her band, but surely it was still going to be indie-schmindie with the emphasis still being on a traditional line-up of a guitar, bass and drum, with a flavouring of keyboards……so it was something of a shock to the system to hear the debut offering.’ (29 November 2019)
#39: Electronic – Feel Every Beat (7″ remix)
From one of the ICA’s I penned. #205 on 7 February 2019.
‘A five-minute version of ‘Feel Every Beat’ closes the debut album and tempting as it was to use that here, I have to bow to the remixing skills of Stephen Hague who chops about a minute off the original and helps deliver something which captures perfectly what Jonny and Bernard wanted Electronic to sound like and what they wanted a band to be….”we don’t need to argue, we just need each other” ‘
#38: James – Hymn From A Village
Here’s Dirk.
Jim Glennie, the bassist, once said that “this is the one James song that he would want to survive if all but one were accidentally erased”. That would be my wish as well, although I strongly suggest to everyone reading this to have a closer look into James back catalogue until, let’s say, 1993: if you’re not familiar with what they issued then, you may have missed a treat.
(16 November 2023)
#37: Gang Of Four – I Love A Man In A Uniform
I’ll happily admit that this has jumped a few places in the rundown, thanks to me being given the opportunity to firstly chat to, and then a few weeks later meet, Jon King at the time of the paperback launch of his autobiography.
‘Gang Of Four had wowed the critics with the albums ‘Entertainment’ in 1979 and ‘Solid Gold’ in 1981 without ever really translating the column inches into sales and familiarity with the general public. Things weren’t helped by a hard-headed and uncompromising attitude towards their art, with one example being them eschewing the opportunity to appear on Top of The Pops after the show’s producer asked that the word ‘rubbers’ be replaced by ‘rubbish’.
The third album, ‘Songs of The Free’, was released in 1982. It was preceded by an absolute belter of a single, one which could be said to be the perfect hybrid of post-punk and disco. The song stood every chance of hitting the charts and this time there wouldn’t be a word which would be of concern to the TOTP censors…..and then Argentina and the UK went to war over the Falkland Islands and a large number of songs, old and new alike, were banned from radio play for fear of causing offence. ‘I Love A Man In A Uniform’ had no chance of surviving that cull.’ (31 January 2019)
Originally formed in 1979 as TV Art, this Edinburgh four-piece then decided to name their band after protagonist of Franz Kafka’s novel ‘The Trial’. A ten-track demo brought them to the attention of a few labels, but it was on Absolute Records, founded by Orange Juice drummer Steven Daly, that the debut 45 was released. This then led to Josef K receiving and accepting an offer from Alan Horne at Postcard for whom there would be three singles and an album. One of the singles was a totally different (and better) version of the debut on Absolute Records.
#35: Fatima Mansions – Blues For Ceausescu
‘The lyrical genius of Cathal Coughlan reflecting on how a popular uprising in Romania brought down a dictator yet closer to home in the UK and Ireland nothing changes……..
Someone on Discogs described this 1990 single as hearing the voice of an avenging angel having a bad day and guitar chords like a firing squad. The only reason this never made my 45 45s at 45 countdown all those years ago is that I missed out on it when it was originally released. My first exposure came via an end of the year round-up on some late evening show on Radio 1. I bought the CD single the next time I was in a shop and paid almost £5 for the privilege. I’ve since picked it up on vinyl and it was for a lot less than a fiver.’ (2 October 2013)
#34: Cocteau Twins – Musette and Drums
‘The closing track on the 1983 album ‘Head Over Heels’, and still my all-time favourite Cocteau Twins song, by the proverbial country mile.
My first exposure to the LP was thanks to a flatmate who not only had an enviable record collection but an expensive stereo system. When I bought my own copy a few days later and played it on my cheap stereo, it sounded good, but not as majestic as it did on the equipment sitting in the bedroom through the wall. It was then that I vowed to save to get myself a bigger, better and more powerful set-up, which I achieved some nine months later, thanks to the generosity of my parents on the occasion of my 21st birthday….and I’ve always made sure, ever since, that my equipment, whether for vinyl and/or CDs, has been decent but affordable.’ (8 May 2023)
#33: Mike Garry and Joe Duddell – St Anthony : An Ode to Anthony H Wilson (Andrew Weatherall Remix)
First time this has featured on the blog, other than in the middle of a mixtape.
I’m tempted to say it does exactly what it says on the tin, but it deserves an explanation, just in case nobody knows the backstory.
Mike Garry, a Manchester-born poet, wrote the text shortly after Tony Wilson passed away in 2008, and began performing it in his live shows.
Joe Duddell, a Manchester-born composer and arranger, was moved to put the words to music, based on ‘Your Silent Face’ by New Order. It was released as a single in August 2015, including a Weatherall remix which took it to even greater heights. All the proceeds went to charity. And in case you haven’t see the video…..it’a a film which always chokes me up.
#32: Broken Chanter – Piazzale Loreto
A track from the newest album, ‘This Could Us, You, Or Anybody Else’ released in April 2026. In what I feel is the greatest thing to happen as a result of this blog, I’ve become friends with frontman David MacGregor, and when he learned that it was my thus-far unfulfilled ambition to appear, somehow, on a vinyl record, he arranged for me to come to the Chenikal Underground studio and record some handclaps for possible use. The thunderclap that comes in behind the drums at the six-second mark (and a few times thereafter) is all me, as produced by the legendary Paul Savage (ex Delgados). And I’m given a mention in the credits…..
#31: Echo and The Bunnymen – Heads Will Roll
ICA #41 was composed at a cruising altitude of 35,000 feet initially above the Atlantic Ocean and latterly over the north-east corner of Canada as the plane headed ever closer to the city of Toronto. The headphones were plugged into the i-phone and as I went through the songs I typed the words into its ‘Notes’ function from which I later did a cut’n’paste and edit.
‘Critics of the band feel they got a long way on the back of one tune and one groove. But the thing is, when the tune and the groove is this divine why quibble? Yes, you might initially think this is ridiculously close to bring just a speeded up version of the track (‘A Promise’) which closed the other side of this imaginary album but wait till you hit the two-minute mark and get blown away by the psychedelic instrumental break…it’s still incredible to think that much of the album ‘Porcupine’ was written and recorded at a time when the band weren’t really on speaking terms.’ (6 October 2015)
‘The irregular indie-discos hosted by John Hunt of Butcher Boy always finish with an absolute gem of a song, and quite often it was this. And if wasn’t the closer, then it was one of the songs aired during the final 15-20 minutes. Given how popular a song it has become, especially given that it was only ever an album track on the 1999 eponymous offering, then I’m assuming loads of other indie-discos aired it too. But I like to think of John as the pioneer.’ (5 May 2022)
PS : AND A LATE ADDITION TO THIS POST.
This is such a difficult song to cover, but SPRINTS (who featured in the rundown a few days ago at #287) made a great stab at it earlier this year. I only found out about it last Saturday when I was catching up with posts over at No Badger Required. mp3: SPRINTS – Deceptacon
Rol of ‘My Top Ten’ fame. Another ridiculously talented writer that I’m lucky to have as an occasional contributor. This comes from ICA #178 on 15 August 2018.
Back to the beginning then, and the opening track from the debut Auteurs album, New Wave. Released in 1993, when Britpop was but a twitch in Brett Anderson’s underpants, it immediately established Haines as one of the most entertaining lyricists of his era – like a less romantic Jarvis, or a Morrissey who doesn’t both hate and love himself*.
*I suppose I should explain that remark, especially here in the Former Republic of Morrissey Fandom, now renamed isntheatwatland. Morrissey has clearly made a career out of a curious mix of self-love and self-loathing. Haines combines the wit and cynicism we all loved about pre-Brexit Moz with a healthy dose of iconoclasm… but you never get the feeling that he’s a nasty man. In fact, he seems like quite a jolly chap in person…
#28: Pixies – Monkey Gone To Heaven
A song cited by so many as an influence, yet in peaked at #60 in the UK charts in March 1989. I’ve a personal tale to tell.
I got married in July 1988 after a whirlwind romance to someone whose interest in music was virtually non-existent…..but I felt the change was what I wanted and more importantly, needed. It was time to put the toys and distractions of my youth away forever.
Within a matter of months, I was bored rigid. I missed my old mates and my old lifestyle. I missed going to gigs and listening to Radio 1 after 8pm of an evening. It was all soap operas and detective shows in my household. I was in danger of growing old before my time.
I wasn’t reading music papers, and I wasn’t buying anything. All my own music had been put under the stairs.
One day, instead of waiting at the stop for 20 minutes for the next bus home, I popped into a well known Edinburgh city centre record shop. The second, or maybe third song that was played was unlike anything I had ever heard before. A great guitar riff, big powerful drumming and a whiny vocal that was part-spoken, part-sung and part-screamed. And was that some cellos there at the end? Surely not…
The song needed to be bought. So, it was up to the counter to ask the bloke behind the counter who and what was that? The answer, of course, was ‘Monkey Gone To Heaven’ by the Pixies.
I had no idea who he was talking about. But I bought the single. The first bit of vinyl in at least 9 months since my wedding day. And then went home and pulled out the turntable and amp and record collection from under the stairs. Within a year, I had moved out of the marital home. A few months later I was back living in Glasgow with a woman called Rachel, who became my second wife – you may have seen her referred to here and there as Mrs Villain. Crucially, Rachel liked a lot of the music that I loved and was all for going out to gigs rather than get hooked on Eastenders and Taggart. She’s still like that all these years later. Oh, it was Rachel who, in September 2006, bought me an mp3 turntable and encouraged me to start writing a blog instead of just reading them. I’ll never really be able to thank her enough.
#27: Massive Attack – Protection
I’ve loads of Tracey Thorn records, dating back to her time with The Marine Girls, as a solo artist and of course with Everything But The Girl. But she has never sounded better than on this collaboration. No point in me repeating what I’ve said previously about dance acts/dance music and how I’m not well-enough qualified to comment with much conviction.
But somehow I’ve never really regarded Massive Attack as a dance-band – particularly when thinking about their best singles. It was a close run thing to include this instead of ‘Teardrop’. Both songs are equally gorgeous, haunting, unique and unforgettable. But in my mind, Tracey shades it over Elizabeth Fraser.
Why?
I think it’s because Protection is one of the best lyrics ever recorded by a female artist – its full of conviction, passion, love and strength without ever falling into the trap of being soppy or maudlin.
#26: The Twilight Sad – That Summer, At Home I Had Become The Invisible Boy
From one of the ICA’s I penned. #3 on 9 September 2014.
‘A track which in some ways is eerily reminiscent of ‘Maps’ by Yeah Yeah Yeahs, this is a strange and disturbing song told from the point of view of a very unhappy and disturbed teenager. It was my introduction to the band back in 2007. And yes, there is the occasional use of the dreaded c-word which is normally a bit of a taboo, but it is spat out by James in such a way that you can have no doubt that the person being sung about is truly loathed. They say you never forget your first time and in the case of The Twilight Sad I never will.’
#25: Pet Shop Boys – Domino Dancing (disco mix)
More than 300 PSB songs to pick from…and I can guarantee that if I was typing this up tomorrow, or had done so yesterday, then it probably would have changed. This is the one most fitting my mood today. Here’s what was written as part of the PSB singles series a while back.
‘Perhaps already tiring of being pigeonholed as purely a synth band, the duo in March 1988 had decamped to Miami for some recording sessions. They chose to work with Latino producer Lewis A. Martinée, the results of which saw far more musicians play on a PSB track than ever before (at this point in time). The credits list two additional keyboard players, a guitarist, a four-piece brass section and a backing vocal group in the shape of The Voice Of Fashion.
The record-buying public didn’t really take to ‘Domino Dancing’ as it only reached #7, which was seen as a bit of a let-down after two consecutive #1s. The disco mix is the version released on 12″ vinyl and then on the album ‘Introspective’. It’s majestic.’ (19 February 2023)
#24: Paul Quinn & The Independent Group – Will I Ever Be Inside Of You
Talking of majestic. Here’s the blurb from ICA #66, posted on 7 March 2016
‘Even if this had been the only song that the great man had ever been part of then his legendary status would have been sealed.
The opening and title track of the band’s second and final LP may extend to over nine minutes in length but there isn’t a single second of waste or excess. The Independent Group were ridiculously talented but then again what else would you expect when it was made up of some of the greatest musicians to ever have come out of Scotland at any time in our history, never mind that short period in the aftermath of punk and when a certain type of indie music gained a foothold. Add in lush orchestration and a contribution from one of our then leading opera singers and you have a recipe for something unique and unforgettable.’
This one happens to be another from 1979 in this rundown. I’ve written it or made reference to it as much as any other over the past 20 years, but I reckon the few sentences I knitted together for ICA #197 on 20 November 2018 does best for this rundown.
‘The 12” version of ‘Heart of Glass’ is one of the finest pieces of music in my lifetime. It goes on and on and on and on…..and there are days, especially when I’m lying on the beach under a blazing sun, when I feel it comes to a halt all too prematurely. Indeed, on such a day and when I’m in such a mood, I’d be happy to have a 25-minute version of Heart of Glass take up an entire side of an ICA. But such a thing, to the best of my knowledge, doesn’t exist.’
#22: The Specials – Ghost Town
‘To lots of people, this will always be associated with events in 1981 which briefly threatened the very fabric of British society. To this humble scribe, it’s a great song, quite different from anything else that had thus far emerged from the ska movement. Oh, and it also had two equally memorable b-sides. (2 April 2016)
#21: Butcher Boy – There Is No-One Who Can Tell Where You’ve Been
The fifth birthday of the blog was celebrated by a gig in Glasgow held belatedly on 19 November 2011, headlined by Butcher Boy with support from Adam Stafford. I lost a bit of money in putting the event on – very much the mistakes of a rookie promoter, but for a long long time, it remained the most exciting thing, musically, that I’d ever been part of. The events of that night were referenced in ICA #17, posted on 19 June 2015.
“A tune that is played more than any other within Villain Towers as I’ve taken its first thirty seconds and turned it into a customised ringtone for my mobile phone. All those influences that the early reviewers pinpointed (The Smiths, Tindersticks, Felt, Belle & Sebastian, R.E.M. and Go-Betweens) can be heard in its perfect two and a half minutes. It’s also evidence that John Hunt is a fine singer although he personally considers that he is merely OK….but what it does highlight is just how talented he is as a musical arranger.”
Hymn From A Village
Blues For Ceausescu
Musette and Drums
Deceptacon
Heart Of Glass
Ghost Town
From the above the winner is… Musette and Drums. All are very strong contenders.
Flimflamfan