New Order

THE NEW ORDER SINGLES (Part 15)

One of my favourite bloggers is Swiss Adam from Bagging Area.  He is a superb writer, especially on all things Mancunian, and he was responsible for a superb piece on Touched By The Hand of God last year.  It’s well worth a read.  So much so, I’m reproducing it:-

New Order put out two non-album singles in 1987, True Faith and Touched By The Hand Of God. True Faith was the chart smash, the crossover hit with the award winning video but Touched… has long been its equal to these ears. The juddering synth bass intro was written by Hooky, waiting around for the others to arrive at their rehearsal studio, their timekeeping being a long standing gripe of Hooky’s. Tellingly in Substance Hooky notes that ‘Barney was happy with it’. From there on in the full band contributed to fleshing it out. Originally Touched… was recorded for the soundtrack of the film Salvation!, a parody of televangelism (a straight to VHS release). New Order recorded several other songs for the soundtrack and then had Arthur Baker remix Touched… for its release in December 1987 as a single. There’s an effortlessness about it, synth-pop disco brilliance, which makes it favourite of mine, Hooky’s bass well represented and Bernard’s lyrics seeming to carry the weight of personal experience.

Kathryn Bigelow’s video, shot at their Cheetham Hill studio and intercut with MTV video pisstake snippets, is a hoot- all the group dressed as a hair metal band (and Hooky in his normal clothes).

Only thing is, I disagree vehemently with him and have nothing good to say about this single (nor its accompanying promo).

mp3 : New Order – Touched By The Hand Of God (12″)
mp3 : New Order – Touched By The Hand Of Dub (12″)

The dub version sounds like a tune Howard Jones would have rejected. Oh, and if you want the 7″ version of the a-side, you’ll find it at a posting a few weeks ago back here.

Today’s cuts were extracted from a second (or maybe third or fourth-hand) copy picked up for not too much money some 7 or 8 years ago. It’s still one of the cheapest New Order singles available via Discogs and the likes…probably as a good number of copies were sold at the time of its release, with it hitting #20 in the UK singles charts.

JC

ICA WORLD CUP

BONUS SERIES : THE ICA WORLD CUP : ROUND 1 (Part 2)

Going to kick things off with the results from Week 1:-

The Lemonheads 30 Spoon 11
The Indelicates 11 Kitchens of Distinction 28
Butcher Boy 28 The Magnetic Fields 8
The Feelies 17 Paul Quinn 21
Big Audio Dynamite 32 The Streets 9
Talk Talk 24 Death In Vegas 18
Sonic Youth 25 Billy Joel 14
PJ Harvey 25  Malcolm Ross 16
Associates 15 Edwyn Collins 26
LCD Soundsystem 5 New Order 36
The Cramps 32 Shit Robot 5
Deacon Blue 5 The Wedding Present 35
The Police 25 v Captain Beefheart 13
The Charlatans 26 The Mekons 14
Saint Etienne 28 v The Sugarplastic 10
Tilly and The Wall 5 Orange Juice 37

No real drama this week – only The Feelies/Paul Quinn match-up saw the tie see-sawing occasionally back and forth; all the other winners established early leads which they built on.  I think what it does show is that if a truly legendary song is aired, as in the case of Blue Monday, then even an opponent as strong, on paper, as LCD Soundsystem really are up against it.  The rules of this competition mean that New Order can’t be represented by that song again…which could be crucial if they make the latter stages.

Thanks to everyone who voted – and I really appreciated the occasional piece of commentary – it was interesting to see that some of the choices were very tough.  But guess what….it doesn’t get any easier, although in saying that, the really big match-ups are in weeks 3 and 4.  The 16 ties in week 2 may lack some of the glamour, but there’s plenty of intriguing match-ups and I can guarantee that some households, particularly in the south-west of the UK, will be bemoaning the random nature of the draw.

Deadline is Friday 26 January, midnight UK time. Once again, don’t feel you have to vote in all instances.

Gemma Ray v The Lightning Seeds

Fist Of A Flower (from ‘Lights Out Zoltar!’ 2009) v You Showed Me (from Dizzy Heights, 1996)

The Woodentops v The Go-Betweens (2)

Plenty (single, 1984) v The Wrong Road (from Liberty Belle and The Black Diamond Express, 1986)

Mission of Burma v The Smiths

Slow Faucet (from ‘The Sound The Speed The Light’, 2009) v Accept Yourself (12″ b-side, 1983)

A Certain Ratio v Arab Strap

Lucinda (from Sextet, 1982) v The First Big Weekend (single, 1996)

Supergrass v Wire (2)

Richard III (from In It For The Money, 1997) v Another The Letter (from Chairs Missing, 1978)

Queens of the Stone Age v The Fall

Monsters In The Parasol (from Rated R, 2000) v 15 Ways (from Permanent Records, 1994)

Elvis Costello & The Attractions v Half Man Half Biscuit

Strict Time (from Trust, 1981) v 1966 And All That (from Trumpton Riots EP, 1986)

Prefab Sprout (2) v The Blue Aeroplanes

Enchanted (from From Langley Park to Memphis, 1988) v Bury Your Love Like Treasure (from Spitting Out Miracles, 1987)

Beach House v British Sea Power

Tim Badger’s two favourite bands go head-to-head.  The TV companies snatched this one up:-

Space Song (from Depression Cherry (2015)

Waving Flags (from Do You Like Rock Music 2008)

Magazine v Prince (live)

The Light Pours Out Of Me (from Real Life, 1978) v The Whole Of The Moon (live at Paisley Park, 2 May 2015)

Lambchop v Martha & the Muffins

The Old Gold Shoe (from Nixon, 2000) v Black Stations / White Stations (from Mystery Walk, 1984)

Everything But The Girl v The Libertines

Draining The Bar (from Baby, The Stars Shine Bright, 1986) v All At Sea (b-side, 2004)

Kanye West v SBTRKT

Runaway (from My Beautiful Dark Twisted Fantasy, 2010) v Sanctuary (from SBTRKT, 2011)

Talking Heads v Massive Attack

Paper (from Fear of Music, 1979) v Man Next Door (single, 1999)

The Twilight Sad v Pavement

Sick (from No One Can Ever Know, 2012) v Summer Babe (from Slanted and Enchanted, 1992)

The Orwells v Pete Wylie

The Righteous One (single, 2014) v Remember (single by Shambeko Say Wah!, 1982)

The next 16 ties will be revealed next Saturday.  Trust me, you will be taking time off work to tune into to some of the match-ups.

JC

Miaow

ANOTHER POP CLASSIC ON FACTORY

Cath Carroll was part of yesterday’s Factory ICA and it was the very inclusion of England Made Me that stopped me featuring FAC 179 in the posting:-

mp3 : Miaow – When It All Comes Down

Miaow had Cath Carroll on vocals and guitar, with Ron Caine on bass and Chris Fenner on drums. They had released a debut single Belle Vue in late 1985 on their own Venus Records which led to Factory taking them into the studio with the first fruits being this catchy pop single that sounded pure indie-pop but also tipped its hat to 60s girl/harmony groups.

It really is a hugely enjoyable piece of music and I’ve gone digging deep to find the extended 12″ remix.

mp3 : Miaow – When It All Comes Down (Catechism)

And finally, here’s your b-side:-

mp3 : Miaow – Did She

More evidence that the Manc label in the mid 80s wasn’t entirely devoted to miserablists or the painfully obscure.

JC

Various

AN IMAGINARY COMPILATION ALBUM : #151 : FACTORY RECORDS

As mentioned in the day before yesterday’s posting on The Railway Children, I’d forgotten the fact that they were, for a short time, on Factory Records. In finishing off the post and referring to a possible ICA from any fans of the band out there, it hit me that a label-based ICA could be a good idea, and indeed would be open to a number of volumes from guests.

In going about the task, I decided that the rules would have to be no Joy Division/New Order/Electronic/Happy Mondays or singles that were well-known hits back in the day. I also decided that there shouldn’t be more than one song by a particular singer or band. So with all that in mind, here’s my stab at a Factory Records ICA:-

SIDE A

1. Section 25 – Looking From A Hilltop (Restructure) (FAC 108)

Section 25, consisting of brothers Larry and Vincent Cassidy, signed to Factory in 1981. They didn’t, initially, seem to have anything that made them really stand out from the crowd and seemed to fit in with the doom & gloom raincoat wearing brigade that were so attracted to the label (Incidentally, I include myself in that put-down).

In 1984 they underwent a seismic transformation for their third album From The Hip. They added Jenny Ross (who was in fact Mrs Larry Cassidy) on vocals and keyboards and, with the help of Bernard Sumner in the producer’s chair, moved to a more pop/electro sound. One of the LPs most enduring tracks was Life From A Hilltop which was, in due course given a bit of a remix and released as a single which subsequently turned into a much deserved underground club hit. Still sounds great all these years later.

2. Orchestral Manoeuvres in the Dark – Electricity (FAC 6)

The first single by OMD and less polished that the later re-recorded and better-known versions for DinDisc.

The story goes that following a successful debut gig at Eric’s in Liverpool, at which they supported Joy Division, the duo sent off a tape of their demo to Tony Wilson in the hope of having it released on Factory. The boss wasn’t that keen on it, but his wife, Lindsay Reade, thought Electricity sounded good and so he decided to release it on a one-off basis with it becoming just the third piece of vinyl to be issued by the label, with 5,000 copies pressed up. It received a fair bit of critical praise and although it didn’t chart, set the duo up for a multi-album deal and the initial steps along the road to fame and fortune. How different might have the Factory story turned out if OMD had been offered and signed a long-term deal with the label…..

3. Cath Carrol – England Made Me (album track from FACT 210)

Cath Carrol had long been part of the wider Manchester scene before ending up on Factory Records. Her career in music began in 1979 as one of the mainstays behind the fanzine City Fun, while at the same time she was part of the band Glass Animals. She was initially more successful as a writer, ending up on the staff of NME, although her mid-80s band Miaow did enjoy a bit of success on the indie-circuit.

There were a number of years and different locations utilised for the solo album England Made Me and the expense involved is often cited as one of the factors behind the financial demise of Factory Records. Whatever hopes everyone had were never realised and despite a reasonably warm critical response to the bossa nova/dance sound that dominated the LP, it bombed in the shops. I’m not arguing that any this track is among the label’s finest moments, but it does fits well on this particular ICA at this point.

4. Revenge – I’m Not Your Slave (FAC 279)

Revenge was the name that Peter Hook took for his band when he issued his solo material in the wake of the decision by Bernard Sumner to put New Order to the side. A much-derided project at the time, particularly in comparison to what Sumner was achieving with Electronic, much of the material hasn’t aged all that well, although I remain fond of this particular single.

5. Stockholm Monsters – National Pastime (FAC 107)

Finishing this side off with the b-side to a single. Stockholm Monsters weren’t, it seems to me, taken that seriously by anyone outside of Factory – the fact they had a stupid name for a band didn’t help matters; still, it could be worse, they could have called themselves Crispy Ambulance.

This was actually a late addition to the ICA…it’s a song I’ve known since its 1984 release as it was played a lot by one of my flatmates who declared it a bonafide classic.  He even managed to persuade the student union DJ to air it a few times on the ‘alternative disco’ Thursday nights.  I’ve never owned a copy of the single and it is an expensive one on the second hand market, but a couple of week back Swiss Adam featured it over in the Bagging Area and I nicked it from there when he wasn’t looking!  Feels right to let him say a few words…

Opening with clattering drums and a low slung bass, then a beautifully naive topline and a wonderful non-singer’s vocal. Produced by Peter Hook and lost by a record company who wouldn’t pay for pluggers and promotion because they believed the music would sell itself. If this was the only song they’d released, they’d still more than deserve a place in a version of mid-80s indie scene. A little slice of perfection.

Indeed.

SIDE B

1. Durutti Column – Requiem For A Father (album track from FACT 14)

This ICA just has to include Durutti Column, an act every bit as important to the Factory story as any other . It was, of course, for the most part a solo project for Vini Reilly whose approach to writing and recording has always been idiosyncratic and, consequently, a tad on the inconsistent side.

I’m not his biggest fan and don’t actually have that much in the collection, relying on the recommendations from other blogs as well as this guest ICA to broaden my horizons. I’ve gone back to the debut album, The Return of the Durutti Column, released in 1980 and which was a genuine band effort featuring Pete Crooks on bass and Toby Toman on drums. It is a track reminiscent in places of Young Marble Giants.

2. A Certain Ratio – Do The Du (Peel Session) (from FACT 16)

Another band that has been the subject of an ICA – and more than once thanks to Echorich and Swiss Adam, two of the finest and most knowledgable writers out there. Click here and here for reminders. A Certain Ratio were an act that I didn’t pay a huge amount of attention to back in the day, something which I now regret as I’ve come to realise, with the benefit of hindsight, that I missed out on something very decent.

Do The Du was the opening song on Side A of The Graveyard and The Ballroom, their first release on Factory in February 1980. It was a cassette release with Side A – The Graveyard – being 7 recordings in a studio of that name and Side B – The Ballroom – being 7 recordings live at the Electric Ballroom.

3. The Wake – Of The Matter (FAC 113)

As I said when I featured The Wake on this blog back in December 2014, they were a Scottish act whom I saw a few times back in the day as support to New Order. The Wake were the first band that Bobby Gillespie was part of, and although he had long departed by the time this single was released in 1985, it is one that has a twee-like sound not unlike early Primal Scream.

4. The Adventure Babies – Camper Van (FACD 319)

A single from 1991. It is followed in the Factory discography by FACT 320 which is the number given to Pills’n’Thrills and Bellyaches by Happy Mondays, the album that really launched them into the stratosphere.

The Adventure Babies turned out to be the final band ever signed by Factory before the label suffered the bankruptcy. This was the lead track from their debut EP, released in 1991, and it is as far removed from a ‘Factory-type’ song as can be imagined. I really liked it at when it was released and bought it on 12″ vinyl, but time hasn’t been that kind to it.

5. Steve and Gillian – Loved It (FACD 251)

This side opened with an instrumental and so I thought it would make sense to end it with something similar.

FACD 251 was a one-track CD pressed to commemorate the opening of the new Factory Headquarters in 1990. Loved It was recorded at the home studio of Steve Morris and Gillian Gilbert and the samples are from the Channel 4 ‘New Order Play At Home’ documentary. The track was later re-released in October 1993 on the album The Other Two And You which came out on London Records.

So there you have it. A real mixed-bag of things, rather like the label itself.  Hopefully, there’s something for everyone. Oh, and if any of the above stated info is wrong, it is entirely in keeping with the label’s philosophy of printing the myth rather than the truth….

JC

PS : FAC 51 was The Hacienda.  This is ICA 151 which closes with FACD 251.  FAC 151 was interesting.

ICA WORLD CUP

THE HALF-TIME SCORES

The goals were flying in over the weekend but almost all of the initial ties, including the match-up for which television rights were secured, are proving to be one-sided affairs which perhaps explains the lack of interest over the past 36hours:-

The Lemonheads 21  v Spoon 9
The Indelicates 9 v Kitchens of Distinction 19
Butcher Boy 20 v The Magnetic Fields 6
The Feelies 12 v Paul Quinn 15
Big Audio Dynamite 26 v The Streets 4
Talk Talk 20 v Death In Vegas 11
Sonic Youth 20 v Billy Joel 8
PJ Harvey 19 v Malcolm Ross 11
Associates 9 v Edwyn Collins 21
LCD Soundsystem 4 v New Order 27
The Cramps 23 v Shit Robot 3
Deacon Blue 5 v The Wedding Present 24
The Police 18 v Captain Beefheart 9
The Charlatans 20 v The Mekons 9
Saint Etienne 19 v The Sugarplastic 9
Tilly and The Wall 2 v Orange Juice 29

(all as at 6pm on Tuesday 16 January)

I was genuinely expecting Malcolm Ross, given that he was being represented by a Josef K track, to have given Peej a run for her money. I’m also feeling very sorry for Tilly & The Wall – not only did they draw the might of Orange Juice, but the track happened to be Felicity.

Click here for a reminder of what the full list of songs are. Deadline is Friday midnight. I’m actually hoping to announce the results on Saturday morning at the same time as releasing the next 16 fixtures.

Time for a banging half-time tune

mp3 : De La Soul – Me, Myself and I

JC

Cranberries

BONUS POST : DOLORES O’RIORDAN R.I.P.

The Cranberries haven’t ever featured much on this or the old blog, mainly as they were a band who I thought released a couple of very good singles and then didn’t really do too much for me. There were obviously a lot of words said yesterday in the mainstream media as well as social media about the death of lead singer, Dolores O’Riordan, at the young age of 46.

One particular Facebook posting from a friend of mine called Robert caught my attention for the lovely way he expressed his thoughts about someone who only fleetingly had an impact on him as a music fan. It really resonated with me, as I’m sure it will with most of you, as we’ve all had songs that have done the same to us at some point in time but nothing else from a singer or band ever had an impact.

For a few months in late 92 early 93 the Cranberries were my special band, they were a band that only I knew. I had been introduced to them by a friend who is long since gone who advised that they were a cross between The Sundays and The Cocteau Twins.

I heard the first single they released and tried unsuccessfully to buy it, I managed to order, through a local record shop, their second “Linger” which to my ears sounded like a heart breaking. Having ordered it I remember it took forever to arrive and when finally it did arrive I must have listened to it a hundred or more times in those first few days. It’s a song that made me sad, emotional and somehow maudlin for no real reason.

They toured with Suede and by the time their debut album came out I had moved on, I never even heard their debut record. They didn’t ever capture me again. In 94 Linger was re-released and everyone knew them, the time had passed. I know very little of their catalogue and never really liked anything else they made but for a few months in 93 they were special.

To me there singer always seemed troubled and never quite happy, I was initially surprised to read about her passing but it didn’t last long. I hope she is happy now. RIP Dolores.

I’ve thanked Robert for allowing me to put this up today…and it’s a reminder that this really was a lovely 45:-

mp3 : The Cranberries – Linger

JC

Railway Children

FAC 167

A post that was inspired by hearing this wonderful 45 at an indie-disco just before Christmas.

I’d completely forgotten that The Railway Children were, briefly, a Factory band. They released two singles and an album for the label in 86/87 before signing a lucrative deal with Virgin Records. I think it’s fair to say that they never quite scaled the heights the label bosses anticipated, although there was one hit single, Every Beat of the Heart, in 1990.

The hit single wasn’t played at the indie-disco but their sophomore effort for Factory was.  I’m willing to admit I don’t know a great deal about the band beyond this and the chart hit, but I’m willing to bet that very few, if any, 0f  their other songs can better this wonderful slice of pop that sounds both of its time and timeless:-

mp3 : The Railway Children – Brighter

I suppose what held the band back  that they weren’t quite distinctive sounding enough from many other C86 influenced guitar bands – there’s a lot of the Postcard/Go-Betweens sound in there at the back of a gentle, dreamy vocal that is perfect for the sunniest of days. I’ve dug out the two tracks that were on the reverse of the 12″ and, without trying to be too critical, they are more ordinary or routine that anything special or memorable.

mp3 : The Railway Children – History Burns
mp3 : The Railway Children – Careful

As I said, I’m not really familiar enough with the band to offer up much else. I’d be delighted to hear from anyone with more knowledge….maybe an ICA if you’re so inclined.  Indeed, just typing that sentence has given me an idea for later this week.

JC

Friends Again

SATURDAY’S SCOTTISH SONG (ON MONDAY) : #108 : FRIENDS AGAIN

I’ve written extensively about Friends Again over the years as they were one of my favourite bands back in the early 80s and all these years later I can still listen to their entire output without getting bored, although I do get frustrated and pissed-off that Phongram Records made such a mess of things in terms of how to get tbe best possible studio sound out of them.

Fishing around t’internet, I found the press release that accompanied the sole LP, Trapped and Unwrapped and thought I’d reproduce it in all its glory:-

Friends Again are five young men from Glasgow. They have clear sight, strong ambition and a proven talent to deliver a promise. Chris Thompson (vocals, rhythm guitar, songs), Neil Cunningham (bass), Stuart Kerr (drums, harmonies), Paul McGeechan (keyboards) and James Grant (lead guitar, vocals, songs) go back together some way – school, college, punks and clubs. They will go a lot further ahead.

Friends Again emerged in 1982 with their independently conceived single “Honey At The Core”/”Lucky Star” – an immediately recognisable good thing to have and to listen to: a friend again and again. After six weeks of enthusiastic responses and fast sales on the Moonboot label, Phonogram enticed the group to make a logical decision; which meant that last year there was more honey with “Sunkissed”/”Dealing In Silver” and “State of Art”/”Winked At”. Just as excitingly, the band played hard, drawing more people towards what they do; a classic framework of tightly crafted writing.

Friends Again are bursting with raw charm. They may be a slippery group to define because they assimilate so much style and many styles into their sound they keep you on your toes. Is it the driving homegrown country swing that appeals, or the dramatic harmonies? Whatever sophisticated conclusion you reach, rest and be thankful that there is nothing evasive about their impact. They move, it moves, you move.

They have been writing long enough to stop being a well kept secret but they remain as fresh as this morning’s milk. Ask them what they do and you’ll get a host of different answers. The flexibility is as integral to their natural development as their lack of a cosy hip sensibility. According to Thompson: “James will say that we are a rock ‘n’ roll group and he’ll know what that means to him.” He will. James Grant’s hot guitars are the envy of every band in Scotland. He’s had more poaching offers than Jack Charlton [An English Football player]. He won’t go.

As for the country inflexions, Thompson points out that, yes, they could be there. He won’t force the issue anymore than he’ll admit to portraying a clean cut pop output. One thing they don’t do is jangle, on nerves or on strings. And they aren’t a postcard. “There are no songs where you can say that is a certain thing. People hear the songs in various ways. Someone told us it was good driving music, implying a certain American feeling. Well, in that case I think it’s just as good to listen to on the highway out of Hamilton or Lancaster…”

Just before their recent British tour (Strathclyde to Southampton), the group completed a debut album called Trapped And Unwrapped–a reference to the teething, or the thought put into practise. They started work with noted producer Bob Sargeant, then they got well mixed by Pat Moran at Rockfield. Due for release later this year, the songs show they won’t be typecast.

Thompson is as happy to discuss Joni Mitchell as Bowie, Tim Buckley as the Sex Pistols but Friends Again are happiest being themselves. What this is, doesn’t need to be experienced in a video or from the inside of a TV studio. It’s more illuminating to experience the group’s heart warming lyrical lullabies and intense blood racing melodies face to face.

After all the tired old men and too much tired young synthetic pop their vitality is all the more appealing. Direct emotional response is what they are dealing in.

Friends Again are … an invitation not to be ignored.

One of the great things about writing this blog over the years has been the contact from like-minded folk who have been generous in sharing or passing on stuff. One of the best instances was when I was given a file containing a load of demo and live recordings by Friends Again that haven’t ever been made commercially available. I’d like to share one of the unreleased songs with you today:-

mp3 : Friends Again – A Reader Decides

Sigh.

JC

New Order

THE NEW ORDER SINGLES (Part 14)

‘What the Fuck?????’

I think it’s fair to say that this was my reaction when first hearing True Faith. It was via a TV set when the accompanying video was shown.

The summer of 1987 was a time when I was otherwise occupied and not paying too much attention to music. I wasn’t buying all the much and indeed if hadn’t been for a subsequent friendship with Jacques the Kipper whose C90 cassettes filled in so many gaps, then it’s fair to say I would have little or no knowledge of about two years worth of indie music.

New Order‘s latest single was a huge hit, thanks in part to the astonishing and innovative video, but let’s face it, True Faith was, and remains, an outstanding piece of pop music. It may have been a long way removed from Blue Monday, Temptation and Ceremony, but it is a wonderfully timeless and catchy piece of music.

It was written, along with 1963, its b-side, in the studio for the sole purpose of being new songs that could be included on Substance, a compilation album that brought together various singles and b-sides that have already featured in this series.

Substance was intended to be issued simultaneously in the US and UK, and it was the band’s American manager, Tom Attenacio, who pushed hard for a breakthrough pop hit to be written and included, and so pushed the band in the direction of Stephen Hague. The story behind the sessions that produced True Faith and 1963 is one of the most fascinating parts of Hooky’s book on New Order – the producer had very firm and fixed ideas about how it should be put together and he didn’t think there was much room for the usually distinctive bass sounds and indeed they were only added at the 11th hour after Attenacio, thankfully, intervened on the basis that you couldn’t have a New Order song on which only three of the band made a contribution as the bass is one of the things that drives it along beautifully.

mp3 : New Order – True Faith (12″)

The b-side was another lovely bit of synth-pop, something that could have (and subsequently would) work as a stand-alone 45:-

mp3 : New Order – 1963 (12″)

The single was released in two formats, with a radical remix by Shep Pettibone, aimed squarely at the dance market, also made available on 12″ vinyl in a different sleeve:-

mp3 : New Order – True Faith (remix)
mp3 : New Order – True Dub

The remix single also included the version of 1963 that was housed within the ‘blue’ sleeve, and all told it reached #4 in the UK singles chart and #32 on the US Billboard charts. Job done in terms of Substance.

Some seven years later, and the post-Factory release of The Best of New Order on London Records saw a little bit of history repeating with True Faith being used, in a re-recorded style, to promote the release:-

mp3 : New Order – True Faith 94
mp3 : New Order – True Faith 94 (Perfecto Mix)
mp3 : New Order – True Faith 94 (Sexy Disco Dub)
mp3 : New Order – True Faith (TWA Grim Up North Mix)

Make of them what you will…..it still pisses me off how cynical London Records were proving to be, but I’ll return to that it in a few weeks time when, among other things, I’ll feature the time when 1963 was issued as a stand-alone 45.  Worth mentioning that such was the popularity of New Order in the mid-90s that the re-mixed True Faith went all the way to #9 in the UK singles charts.

JC

ICA WORLD CUP

BONUS SERIES : THE ICA WORLD CUP : ROUND 1 (Part 1)

Feel free to have the video on loop as you make your selections. You don’t have to vote on all ties, but the more entries, the more fun!

The first 16 ties in Round One offer some very, very tasty match-ups; all of the songs came out via the coin and dice method and there was no match-rigging. There are a number of very tough choices facing everyone.

Deadline is Friday 19 January, midnight UK time. Results will be officially announced on Sunday 21 January.

The Lemonheads v Spoon

Hospital (from Car Button Cloth, 1994) v Waiting For The Kid To Come Out (from Soft Effects EP, 1997)

The Indelicates v Kitchens of Distinction

The Last Significant Statement To Be Made In Rock n Roll (from American Demo, 2008) v Japan to Jupiter (from Folly, 2013)

Butcher Boy v The Magnetic Fields

Imperial (from Helping Hands, 2011) v How Fucking Romantic (from 69 Love Songs, 1999)

The Feelies v Paul Quinn

Loveless Love (from Crazy Rhythms, 1980) v Stupid Thing (single by Paul Quinn & The Independent Group, 1993)

Big Audio Dynamite v The Streets

E=MC2 (from This Is Big Audio Dynamite, 1985) v Has It Come To This (from Original Pirate Material, 2002)

Talk Talk v Death In Vegas

Happiness Is Easy (from The Colour of Spring, 1986) v Dirge (from The Contino Sessions, 1999)

Sonic Youth v Billy Joel

I Love You Golden Blue (from Sonic Nurse, 2004) v Piano Man (from Piano Man, 1973)

PJ Harvey v Malcolm Ross

The Wind (from Is This Desire?, 1998) v Radio Drill Time (single by Josef K, 1980)

Associates v Edwyn Collins

This is the tie that the TV companies made a mad dash for:-

Breakfast (1985)

Keep On Burning (1997)

LCD Soundsystem v New Order

Yeah (Crass Mix) (12″ single, 2004) v Blue Monday (12″ single, 1983)

The Cramps v Shit Robot

I Wanna Get In Your Pants (from Look Mum, No Head, 1991) v I Got A Feeling (from the Cradle to the Rave, 2010)

Deacon Blue v The Wedding Present

The Outsiders (from The Hipsters, 2012) v Always The Quiet One (from Take Fountain, 2005)

The Police v Captain Beefheart

Invisible Sun (from Ghosts In The Machine, 1981) v Circumstances (from Clear Spot, 1972)

The Charlatans v The Mekons

The Only One I Know [acoustic version] (from Warm Sounds EP, 2011) v Teeth (from 7″ EP, 1980)

Saint Etienne v The Sugarplastic

How We Used To Live (from Sound Of Water, 2000) v Don’t Look Down (from The Powderpuff Girls soundtrack, 2000)

Tilly and The Wall v Orange Juice

Falling Without Knowing (from O, 2008) v Felicity (single, 1982)

As I said, get listening and get voting. The next 16 match-ups will be revealed next Saturday- and if you think the above lot were tough, just you wait!

 

STOP PRESS

With only one tie in the preliminary round, it was possible to declare a result very soon after the final whistle blew on what proved to be a titanic struggle over 60 hours.

The 12 noon kick off on Wednesday clearly suited the American art rockers as they raced into a 10-6 lead following the opening exchanges over the first four hours.  The Scots beat combo fought back tenaciously, and shortly after 8pm they took the lead for the first time when DG’s contribution made it 15-14.  This only seemed to rile the fans of Byrne & co and by half-time, at 6pm on Thursday, they had opened up a substantial lead with the score being 27-20 in their favour.

The Heads came out after the break looking to kill things off and scored the next three goals; the difference was now 10 and seemed unassailable.  The Lobsters, however, came back under the cover of darkness with five unanswered goals between 11pm and 4am – the gap was down to five with only the final third of the game left to play.

The boys from the small town a few miles south-west of Glasgow set about their task and momentum seemed to be on their side and  three Friday night goals saw the margin down to just one as we entered the final 60 minutes…..during which, incredibly, nobody added to their tally.

The final whistle brought an enthralling and exciting match to a close with the scoreboard showing :-

Talking Heads 31  Close Lobsters 30

The New Yorkers, despite scoring only one goal in that final third, had managed to hold on.  The decisive intervention came at 6.37 pm, with Ian saying ‘Talking Heads. Back of the Net.’  We will be hard pushed to get such a frantic match again in the remainder of the competition….or will we?

The reward for the winners is a home tie against Massive Attack in Week 2 of Round 1. Good luck with that one.

Huge thanks to everyone for such a great response.  I hope the interest can keep up over the next 27 Saturdays.

JC

PS : The Saturday Scottish Song was originally posted as planned, but it made for a very long read when combined with the above.  I’ve taken it down with a view to re-posting it one day next week….and that will likely be the case for the regular series while the World Cup is in progress.

Magazine

IT REALLY WAS A CRACKING DEBUT SINGLE (13)

January 1978.

I was just getting my head around punk/new wave. At 14 years of age, I was still more into playing and watching football than I was getting my kicks from music. All that was to change over the next few years and I think it’s accurate to say that by my 18th birthday in June 1981, my head had been completely turned by some of the most amazing bands and performers who were integral to what we now lovingly refer to as the post-punk era.

It was around then, just as I was about to gear up for going to university that I discovered Magazine – the only problem being that the band were on the verge of breaking up.

There was a really interesting comment left behind not that long ago – I think it was from Drew – in which he said he envied someone discovering a class act fairly late on in their career as there is so much incredibly good music to go back and discover, and this was certainly what happened to me with Magazine. I can’t now begin to imagine being able to develop and expand my musical tastes without owning a copy of The Correct Use of Soap, the band’s third and best album, although there are moments on each of it predecessors, Real Life and Secondhand Daylight, which can held be held up as equally outstanding and memorable.

January 1978 was when Magazine released their debut single. As I said many moons ago when I pulled together an ICA (it was #35 in the series), Shot by Both Sides is one of the great post-punk anthems that had the audacity to reach #41 in the singles charts and somehow trigger off an appearance on Top of The Pops. The sight of Howie & co. – even in an edited two and a bit minutes clip – was something that scared the millions of viewers as sales dropped dramatically the following week and the band didn’t hit the Top 40. Indeed, despite what would become an outstanding catalogue of singles over the next three year, Magazine never got as close to a hit single as the debut.

The tune is one that dates from the fag-end of Devoto’s days with Buzzcocks, as can be seen from Pete Shelley being given a writing credit. Indeed, the latter used the tune himself some ten months later for Lipstick, the b-side to the hit single Promises, albeit, for some strange reason, Devoto’s name totally absent from its credits.

Shot by Both Sides still has the ability, what is now 40 years on (FFS!!!!!!!) to amaze and startle. All 3 minutes and 54 seconds of it, from the opening riff to the magnificently timed climax via the snarling, paranoid and terrified sounding vocal. It’s as near a flawless and memorable a debut as there’s ever been. Such a pity that the world wasn’t quite ready to embrace fully what this most extraordinary sounding and looking band were offering.

Time has been very kind to Magazine in that they gained increasingly in popularity in the years after their demise and their comeback from 2009-2011 in which they toured and released a new album was praised and welcomed in equal measures; at long last, the band members made some money. The one down side was the sad and constant reminder that John McGeogh, whose guitar work had been integral to making the band such essential listening, had passed away in 2004, albeit Noko, who was Devoto’s side kick in Luxuria, did a sterling job in difficult and challenging circumstances.

Is Shot By Both Sides their finest 45? I personally don’t think so and would afford that particular accolade to A Song From Under The Floorboards. But nowadays, if I’m down at the old-fogies indie-disco, I think I’d rather hear Shot…..although if truth be told, I’d much rather dance these days to Definitive Gaze which, when played through expensive and modern speakers, does sound as if it’s from another galaxy altogether.

mp3 : Magazine – Shot By Both Sides (single version)
mp3 : Magazine – My Mind Ain’t So Open

JC

Go-Betweens

THE SECOND POST FEATURING EXTRACTS FROM ‘GRANT & I’

Click here for a reminder of the first post.

It may have been limited to just 500 copies, but the release of Lee Remick/Karen in the late summer of 1978 had generated a bit of a buzz around Go-Betweens.

“We mailed our record to the Australian and overseas press, where it was widely and positively reviewed, and to a select group of people who were important to us. We also targeted a list of record companies , one of which, Beserkley UK, the London-based home of Jonathan Richman & The Modern Lovers, overwhelmed us by offering a worldwide multi-album deal.”

The label had also suggested it would be willing to release each of Lee Remick and Karen as singles and encouraged Robert and Grant to come up with b-sides. They went about this with some gusto, walking around Brisbane with a huge swagger and self-belief. Only to find that when they asked the label that the costs of the studio time be repaid that all communication suddenly stopped.

“The deal was off, as was our fast track to stardom; we were getting a crash course in the music business and the cruel, cruel world outside the environs of Brisbane.”

By now, Robert had finally, at the age of 21, left the comfort of his parental home and moved into the house in which Grant had been living for a number of years, in what is described as a bohemian lifestyle with a group of friends. The house, on Golding Street in the Toowong district of Brisbane, was now the recognised centre of all Go-Betweens activity and it was there that many of the next batch of songs were composed.

In another arty part of the New Farm district in late 78/early 79, a band called Zero ruled the roost. Robert’s book records that Zero had started out as a fierce, feminist group, whose core members Irena Luckus (vocals/keyboards) and Lindy Morrison (drums), had added a new male bass player in John Willsteed who had helped the band move towards a post-punk direction with their live set including covers of songs by Gang Of Four, Wire and XTC. Robert was so besotted with the drummer that he changed some of the lyrics of one of his new songs, People Say from “So pack your bags your saxophone/I’m gonna take you to Rome” to “So pack your bags your drums/I’m gonna take you till the kingdom comes”.**

It may have been corny, but it did help. Robert was now in the first serious relationship of his life, with a woman six years older than him and one who had a huge, dynamic personality with confirmed views on politics and life in general. It was a seriously steep learning curve for him.

The next few months were frantic. A new drummer, Tim Mustafa had been recruited into Go-Betweens, and with the addition of Malcolm Kelly on keyboards, they went into the studio in May 1979 to cut a second single for Able Records.

mp3 : Go-Betweens – People Say
mp3 : Go-Betweens – Don’t Let Him Come Back

The latter was the first Forster/McLellan joint composition. If you have one of the copies of this single, expect to get around £500 if you put it up for sale.

The single would be released in September 1979. The success of the debut meant the label pushed the boat out this time and pressed up 750 copies.  But before it hit the shops, Tim took his leave of the band. A stand-in drummer, Bruce Ashton, enabled some supporting gigs, all in Brisbane.

“There was no organisation in place to play Sydney or Melbourne: you had to move there. I was conflicted about leaving, the dream of escaping Australia with Grant, two drifters off to see the world – and there was a lot of world to see – severely shaken by my relationship with Lindy. Things became further complicated when I joined Zero as a stand-in guitarist.”

Robert and Grant made up their mind to go to London which they eventually did in November 1979. That chapter in their story, which includes a spell in Glasgow, will be told next time round.

JC

PS

** In later years, the original lyric would be re-adopted, as per this live performance in August 2005:-

mp3 : Go-Betweens – People Say (live at The Tivoli, Brisbane)

ICA WORLD CUP

BONUS POSTING : THE ICA WORLD CUP

A new feature is going to launch properly this coming Saturday. It’s a variation on something I’ve seen used elsewhere but it’s such a brilliant and fun concept that it’s being adopted for this little corner of t’internet.

The idea, however, is not my own. The genius who suggested it is a reader of old, jimdoes:-

Hey JC
 
hope all is well
 
your latest blog post is great and i didn’t think for a minute you were moaning – to write a blog every day takes time and a hell of a lot of dedication – and to keep it entertaining and interesting is no mean feat – to sum up – i’m glad you are not quitting anyway, i’ve got a song/story that i meant to send you before xmas and i’ll try and do another ICA (they really illustrate how difficult it is to write interestingly about music and how you are so good at it)
 
so i’ve had a thought… there’s 130 different teams in the ICA’s… what if there was a world cup between them to find which one was the best…?? it would all be very arbitary but it might work…
 
130 teams in 14 groups of 8 & 2 of 9
top 2 from each group goes through to finals
qualification to the 32 ICA finals (where we have 8 groups of 4)
each group winner and runner up go to last 16 knockout till the final – i’d randomly pick one song from each ICA discuss it’s merits and give a score
 
i.e. the CLASH would be favourites but if they ‘played’ NEW ORDER and it was Capital radio 2 vs Blue Monday then we’d have an upset
 
it’s a mad idea but it might work!!!
 
anyway, happy new year!
jimdoes

Reading the e-mail on the i-phone put a big grin on my face and my brain went immediately into overtime, so much so I almost missed my train stop.

Jimdoes’ idea is fantastic but the suggestion of groups to get it down to the knockout stage feels like too much work, and besides I don’t think I’m alone as a football fan in preferring the drama of pure knockout. So, with his agreement, the rules of the competition have been revised a bit and firmed up to avoid dubiety.

There have indeed been 130 separate bands and artists featured within the ICA series. However, Morrissey has been disqualified on the grounds that his human rights record in recent years has been absolutely abysmal (as indeed have his musical records).

This leaves just 129 in the field, and all we need is 128 to have a straight knockout. So one ‘team’ has to removed in a preliminary round.  This is taking place today, with the remaining rounds played on the following dates.

Round 1 : 64 knockout ties : 16 ties on each of Saturdays 13, 20 and 27 January, and 3 February
Round 2 : 32 knockout ties : Four each on Saturdays 10, 17 and 24 February; 3, 10, 17, 24 and 31 March
Round 3 : 16 knockout ties : Four each on Saturdays 6, 13, 20 and 27 April
Round 4 : 8 knockout ties : Two each on Saturdays 4, 11, 18 and 25 May
Round 5 : Quarter Finals : Saturdays 1, 8, 15 and 22 June
Round 6 : Semi-Finals : Saturdays 29 June and 6 July

The final itself will take place on Saturday 14 July, which is 24 hours before the final of the 2018 World Cup.

The numbers 1-150 (except #96 and #97) will go into the hat. Once a team is drawn out, their other numbers become ineligble (e.g, if #137 : The Fall (2) comes out, then #29, #144 and #147 cannot be included).

Fresh draws will be made at each stage of the competition so as to avoid folk looking to work out the route their own favourite would have to negotiate to reach the final.

The songs to be chosen from each ICA will emerge from a two-step process:-

(1) A coin will be flipped to determine if the song is from Side A (heads) or Side B (tails)
(2) A dice will be rolled to determine which track is to represent the particular ICA.

ONCE A TRACK HAS REPRESENTED A PARTICULAR ICA, IT WILL NO LONGER BE ELIGIBLE TO APPEAR IN FUTURE ROUNDS

Voting, other than for the preliminary round, will be open for 6 days. In the event of a tie, the Blogfather (i.e, JC,  has the casting vote).

Votes must be cast via comments underneath the appropriate post. Only one vote will be allowed per IP address. Votes will close at midnight, UK time, on the Friday after the tie(s) have been announced.  The winners in each instanc will be revealed at some point over the weekend.

Hopefully, this all makes perfect sense….and so without any further ado, here’s the details of the preliminary tie to reduce the field to 128:-

#115 : Talking Heads v #93 : Close Lobsters

Wow!!!  A transatlantic clash between two of the dark horses.  A mouth watering-tie is in prospect.  Time to flip the coin and roll the dice for the tracks that will go head-to-head:-

Born Under Punches (from the LP ‘Remain In Light’ 1980)
v
Let’s Make Some Plans (single, 1987)

Get voting.  All votes must be in by Friday 12 January, at midnight UK time.

Tune in on Saturday for details of the initial 16 ties in the 1st Round.  The draw has already been made but is being kept under wraps.  Let’s just say, it has thrown up some intriguing battles.  Some of the pre-tournament favourites will be departing the scene almost immediately.

JC and jimdoes
 

PS : I should have said that this new bonus series will appear in conjunction with the regular Saturday series of Scottish songs – I’ll be posting them around 30 minutes apart.

 

Heaven 17

TRUE CONFESSIONS : TEMPTATION

I wonder if some of you were imagining that I was going to say something ridiculous along the lines that Temptation by New Order wasn’t in fact the greatest 45 ever released.  Ha!

This piece is, instead, about the Heaven 17 song which reached #2 in the UK singles chart back in April 1983, another of those songs that seems to be just about universally loved but has never been regarded as much cop here in Villain Towers.

I was a fan of Heaven 17 before its release and remained so afterwards but this, by far their biggest hit and best-known track was one that I usually lifted the needle over which meant that when I played Side 2 of The Luxury Gap LP, I went straight to its second track, the rather schmaltzy Come Live With Me.

Temptation annoyed me from the outset.  I thought it was tuneless and I wasn’t a fan of the OTT and occasionally screeching co-vocal courtesy of Carol Kenyon.  My mood wasn’t helped by the fact that having experienced flops with all the excellent singles from Penthouse & Pavement as well as the superlative Let Me Go, the band were now regulars on Top of The Pops with the worst thing they had done to this point in time.  I despaired, again, at the poor taste being demonstrated by the record-buying public.

Even today, if it gets aired at one of the retro nights I occasionally drop into, I’ll sit on my backside and sulk rather than strut my stuff on the dance floor.  And as I do, I will quietly laugh at any couples who use the occasion to act out a Glenn/Carol sing-song fantasy with one another.

mp3 : Heaven 17 – Temptation

I’m sort of enjoying doing these negative pieces for therapeutic reasons.  But please, as ever, feel free to disagree.

JC

PS : BONUS POSTING ON THE WAY LATER TODAY….TRY NOT TO MISS IT!!!!

 

Various - 2017

FROM OUR SWEDISH CORRESPONDENT

A GUEST POSTING by MARTIN ELLIOT

Sweden (it’s not at all quiet on the Eastern front)

2017 has been a fantastic music year, one of the best in ages – and so also in Sweden. The title of this post as many of you might recognize alludes to the 1978 track by The Stranglers.

Nowadays the world knows better, what we call the Swedish musical wonder invades the hit lists around the globe with songs written and produced by Max Martin and others for artists like Britney Spears, Lady Gaga, Katy Perry and many more, but also we have given you Robyn (UK no 1!) and Tove Lo to mention a few. From 2017 I have chosen 6 tracks that have not bothered the hit lists around the world, but should have in my opinion – as a taster of what sounded at the Eastern front this year.

Up Side.

A1. Makthaverskan – Witness. Pop punkers Makthaverskan from Gothenburg released their 3rd album in October, aptly named III (after earlier releases I and II). Luckily they put more energy in their music than album titles… This track is a re-recorded version of an RSD 2015 single, and is trade mark Makthaverskan indie-pop-punk.

A2. Simian Ghost – When You’re Ready. They’ve been around since 2010 and have moved between indie synth pop, Beach Boys and this time ended up in something very joyous, and danceable, indie relying more on guitars than before. I have earlier occasionally seen them around in the blogosphere, this time the album was far to good to ignore.

A3. Jens Lekman – What’s That Perfume That You Wear? (acapella intro version). One of few Swedish artists I’ve seen around at TVV, Jens got praise for his latest release some time ago. I’ve followed Jens since he started out in Gothenburg as Rocky Dennis many years ago. This year’s album sees him more upbeat than the previous album, connected to the 10 year old, fantastic, Night Falls Over Kortedala album. This version of the single was on a postcard shaped flexi included in the limited box set release of Life Will See You Now.

Up All Night Side.

B1. Stockholm Noir (feat Ofelia) – Boy Like A Girl. Semi secret Stockholm Noir has released a bunch of fantastic club tracks this year, this being my absolute favourite. Makes you want to dance all night. Club/Dance music at it’s best!

B2. Göteborgselektronikerna – Andra Lång (Dödselectro remix). Just as Stockholm Noir these rather anonymous guys have their home town in the band name. Göteborgselektronikerna (from Göteborg/Gothenburg) is Sweden’s version of Kraftwerk, last year they released the very Kraftwerkish album Nattrafik (Night Traffic) with all songs about the tram system in Gothenburg. The song Hållplatz (Tram ztop) contains the names of all stops along one of the tram lines, very Kraftwerk. Not only copy cats though, they do add something of their own to it. 2017 saw the release of a more club aimed remix EP including this track. Do check the album!

B3. Magnus Carlson – Fallna Hjältar (Fallen Heroes). Magnus, when not making middle age men cry with his heart broken songs in Weeping Willows, is our Northern Soul warrior. Taken from this year’s Den Långa Vägen Hem (The Long Way Home) this wrench my heart out ballad closes our night out. Time to walk the long snowy streets back home.

From the Eastern front – all the best for 2018!

Trivia 1. The Stranglers even recorded a version in Swedish.
Trivia 2. They wrote the track after having been forced off stage and been chased away by Swedish greasers, after which they cancelled the tour in Sweden…
Trivia 3. Swedish punk rockers The Rude Kids replied with the song “Stranglers (If It’s Quiet Why Don’t You Play).

=================================================
Let me tell you about Sweden
Only country where the clouds are interesting
Big brother says it’s the place to go

Too much time to think, too little to do
Too much time to think, too little to do
Too much time, too little to do
‘Cos it’s all quiet on the Eastern front

Fluctuations at a minimum
Hypochondriac tombstone
Sense of humour’s gone astray somewhere

Too much time to think, too little to do
Too much time to think, too little to do
Too much time, too little to do
‘Cos it’s all quiet on the Eastern front

Cumulus nimbus floats by

Fluctuations at a minimum
Hypochondriac tombstone
Big brother says it’s the place to go

It’s all quiet on the Eastern front
(All quiet on the Eastern front)
It’s all quiet on the Eastern front
(All quiet on the Eastern front)
It’s all quiet on the Eastern front
It’s all
Quiet

MARTIN

JC adds……

Trivia 2 : mp3 : The Stranglers – Sweden (All Quiet on the Eastern Front)
Trivia 1 : mp3 : The Stranglers – Sverige (Jag är insnöad pä östfronten)
Trivia 3 : mp3 : The Rude Kids – Stranglers (If It’s Quiet Why Don’t You Play)

 

Johnny Marr, Steve Mason

POST #1718

Good morning/afternoon/evening folks.

Monday 8 January 2018…the first day of the first full working week of the new year and the day when this little corner of the internet is supposed to return to normal business after all the re-hashed stuff over the festive period, albeit the posts were all worthy of being resurrected from the wreckage of the old place.

I’ve been giving things some thought over the past few weeks. I’ll admit to still suffering somewhat from an extended bout of blog fatigue, but in some ways that’s to be expected after more than 11 years of churning out cliché after cliché. The most annoying thing is that the fatigue has somewhat extended itself into me not having the time and/or inclination to keep up with the work of so many great talents out there, although I did, late last week, start the process of playing catch-up and will continue to do so over the coming days.

Part of the issue is that I haven’t been properly managing all that comes with trying to keep T(n)VV relevant and meaningful. This has happened a few times in the past but there’s always been something, like a new album, a tour or an event, to come along and enthuse me in some way that has delivered the required kick up the arse.

This year, and maybe it is grumy old man syndrome, but I’ve gotten increasingly bitter and disillusioned about the rip-off factor, whether it is attached to the cost of buying new vinyl or getting to gigs – assuming of course you can get your hands on saif vinyl if it has been released in limited editions or in fact you can access Ticketbastard and the likes in time before you have to look towards the secondary markets.  All of which has meant 2017 ended up being a year where I spent much less on my hobby than any other since I became an adult.

Don’t get me wrong – there were many highlights in the past year, not least that never to be forgotten gathering up here in Glasgow last May, meeting JTFL in Manchester and all sorts of gigs, often with Aldo riding shotgun.  LCD Soundsystem at Glasgow Barrowlands was something I never dreamed would happen to me…but it did.  And the trip to Hebden Bridge for Jens Lekman was special (as was the next day in Manchester being guided by Swiss Adam).  But there were more days when there wasn’t much motivating me to blog other than it being a habit. Shaking hands with Robert Forster and having my photo taken with him was also a memory to savour.

None of these memorable events woulf have happened without this blog, something I embarked upon in 2006 with no real long-term aim other than to shove up some long-lost b-sides that were only available on vinyl. I certainly never imagined that I would still be doing it all these years later and that it would have led to the flowering of some of the most amazing and rewarding friendships imaginable with some ridiculously talented writers and musicians.

It has also led me to do things  that weren’t ever on my radar – promoting my own gigs, helping out at merchandising stalls, contributing to and being thanked on albums/boxsets and reigniting my passion for DJing to name but a few. I’d also say that having this hobby has helped me through some very tough and painful circumstances in my personal life (for which I will always be thankful to ctel and others) and it has also inspired me in ways that have, at the fag-end of my working life/career, had a positive impact in a professional capacity.

I know that I’ve got to the stage where I can’t really imagine not doing this and, as such, so I’m not contemplating  calling it a day any time soon. I do know, however, that I need to focus a bit better, mostly by staying in my comfort zone(s) of  music of bygone days with very little reviews of new albums or gigs.

There will always be a place for such things but these will need to come via guest contributions, of which I will maintain my policy of accepting without question, unless the subject matter is offensive or degrading in some way.

As I’ve long said, there’s no such thing as a bad song – it’s just that some songs aren’t quite to my taste and I can’t bring myself to say anything positive about them. The same goes for singers and bands. I’m no fan of, for instance, Coldplay, but I do admire the fact that KT and many others can be so enthusiastic about Chris and the boys and champion their work in such an informative, engaging and enjoyable way. Anyone is free to throw over an ICA Vol 2…..I will not be so childish with my responses this time round (a joke that seemed funny at the time but badly backfired on us who took part in it and left a lot of guilty feelings).

Talking of ICAs…..the long-running series is the thing I’m most proud of on this blog. It’s incredible to think that almost two-thirds of them have come from guest contributors; it is the perfect illustration of how I want T(n)VV to be a collective rather than the work of one 50-something fat and balding bloke who has no kids to direct him to what he should be listening to nowadays instead of wallowing in the delights of antiques.

I’ve decided that I’m not going to lose my enthusiasm through striving for a posting every single day from now on, although I do, as it happens, have enough just about enough ideas and things to see me through to Easter.  I’ve had something of an obsession in posting every day, partly as it seemed to be meeting what was an ever-increasing demand based on the number of visitors and hits going up on a year-by-year basis; however, the stats for 2017 showed something of a drop – down by 10% on 2016 – although the number of comments left behind was higher than before.

These figures are no real surprise given that more and more folk seem to be moving away from reading blogs to consuming their info via shorter and more immediate forms of social media and many bloggers have adjusted things accordingly.  I take a lot of comfort from the fact that those who do come in here on a frequent basis seem to revel in the length and format of the posts with many readers very happy to offer their views and opinions – the regulars know who you are and I’m hugely grateful for all you do.

So that’s sort of the T(n)VV manifesto for 2018 and beyond. In summary, more of the same rubbish but possibly with less frequency. I do hope you continue to enjoy the ride.

Oh, there’s one more thing. This blog is now going to avoid, as best as it can, all mentions of Morrissey as a solo artist.  He pissed me off big style last year and he’s now beyond defending.  I haven’t even glanced at his latest album. I will occasionally sing the praises of The Smiths – they still mean so much to me and if anything, Johnny is trying extra hard to rectify the sins of his former sparring partner.

I really think the title of a Steve Mason song provides a good way to sign off for today.  You’ll be pleased to hear there’s no moaning tomorrow as there’s a guest contribution – from our Swedish Correspondent, no less.

mp3 : Steve Mason – Words In My Head

Cheers

JC

PS : I typed all this out a few days ago, clearly with a troubled mind.  But there, seemingly, is an explanation.  My wee note of ‘welcome back’ to the The Sound of Being OK crew was posted to their office – KT seemingly is an expert on profiling folk based on their handwriting.  She has declared to SWC and Tim that I’m a psychopath.  She might be onto something…

New Order

THE NEW ORDER SINGLES (Part 13)

The LP Brotherhood had been released to mixed reviews in September 1986, and as mentioned last time out, the non-LP single State of the Nation hadn’t charted all that highly in comparison to the singles from 83/84.

The solution? Take one of the more upbeat songs from the album, give it a bit of a remix and issue it is a single. The outcome….a brilliant 12″ single that sold dismally and limped to #56 in the singles charts. But it has become the most covered New Order song of them all – wiki lists more than 20 different versions (while admitting the list isn’t exhaustive) – it’s a song that also been recorded successfully in the Cantonese and Mandarin languages.

Loads out there, even featuring New Order, and I’m not going to try and get them all in today as it would take far too long.

mp3 : New Order – Bizarre Love Triangle (album version)
mp3 : New Order – Bizarre Love Triangle (7″ version)
mp3 : New Order – Bizarre Love Triangle (12″ version)

The single versions were remixed by Shep Pettibone, a then fairly well-known producer who would go onto to achieve world fame thanks to extensive work with Madonna in the late 80s and early 90s.

Here’s the b-sides:-

mp3 : New Order – Bizarre Dub Triangle (7″ version)
mp3 : New Order – Bizarre Dub Triangle (12″ version)

A few others…..

mp3 : New Order – Bizarre Love Triangle 94

This was produced by Stephen Hague for inclusion in the Best of New Order compilation CD

mp3 : New Order – Bizarre Love Triangle (Richard X extended mix)
mp3 : New Order – Bizarre Love Triangle (Crystal Method extended mix)

These were from compilation albums entitled Future Retro, released in 2005, and which gave 21st Century remixes to 80s electro/indie hits.

Of them all, I don’t think you can better Pettibone’s original 12″ effort….also worth noting that although, as with all New Order songs it is attributed to all four members, Hooky gives the credit for this one to Stephen Morris.

Oh what the hell….

mp3 : Sandy Lam – Bizarre Love Triangle (Mandarin version)
mp3 : Post Modern Jukebox – Bizarre Love Triangle

The latter is described, somewhat accurately, as a Burt Bacharach style take on the song.

JC

French Impressionists

SATURDAY’S SCOTTISH SONG : #107 : THE FRENCH IMPRESSIONISTS

I’m actually going to offer up a bunch of songs today…it turned out to be a nice coincidence that The French Impressionists came round alphabetically for this series today as I can justify going back into the vaults and reproducing this piece from 6 July 2009:-

The French Impressionists were a jazz ensemble, formed in Glasgow by pianist and songwriter Malcolm Fisher around the end of 1980/beginning of 1981. Their first demo was recorded in June 1981. It was a session engineered by Davey Henderson, and Malcolm roped in Paul Quinn to sing, Roddy Frame to play guitar and Campbell Owens, another member of Aztec Camera, to play bass. Oh and Edwyn Collins seemingly lent a hand on the writing and arrangements. Here’s what they came up with:-

mp3 : The French Impressionists – Boo Boo’s Gone Mambo
mp3 : The French Impressionists – My Guardian Angel

Malcolm then formed a proper band in 1982 first with singer Beatrice Colin (who I’ve previously featured on TVV as lead singer with the short lived April Showers), drummer Barry Ross and bassist Paul Yacoubian, but played just four gigs as well as recording just four songs for a further demo, including this:-

mp3 : The French Impressionists – Rainbows Never End

After the demo, Beatrice was sacked (and to be fair, I don’t think her voice was remotely suited to a jazz band). Among those who were auditioned as a replacement was Eddi Reader, later of course to find fame with Fairground Attraction. In the end, it was a former hairdresser and dancer named Louise Ness who landed the gig, and in September 1982, the debut 12″ single was issued by Les Disques du Crepescule:-

mp3 : The French Impressionists – Pick Up The Rhythm

The band then began to play a number of live dates in Glasgow and London, and recruited a second vocalist named Margaret Murphy. A short while later, she changed her name to Katy Murphy and became a very successful actress, first coming to attention in the BBC series Tutti Frutti, alongside the likes of Robbie Coltrane, Emma Thompson and Richard Wilson.

At the time, there was a bit of a jazz revival being promoted in the UK music papers, and the French Impressionists were being talked up as the next big thing, even to the extent that it was suggested Gary Kemp of Spandau Ballet would produce their material once they signed to a major label. More demos were recorded, more gigs played in Glasgow (I caught them twice within a fortnight playing at Night Moves, which was then the premier venue for up and coming bands…I was going through a particularly pretentious period in my life!!), and this Xmas single was recorded:-

mp3 – The French Impressionists – Santa Baby

But the interest was never followed up, and the band dissolved in early 1983, having been in existence for little more than a year.

Malcolm Fisher then hooked up with a London-based vocalist and tried to get Crespuscule interested in some demos and maybe an album, but nothing came of it. Malcolm went back to Glasgow, while the singer stayed in London, in due course hooking up with other jazz/soul musicians. Her name was Sade…..

Malcolm got involved in the visual arts side of things for a while but returned to usic again at the turn of the century, writing and recording under both his own name and that of The French Impressionists. He now lives in Milan.

JC

Saint Etienne

A REPEAT OF A REPEAT……

AS SEEN OVER AT THE OLD BLOG ON 14 OCTOBER 2009

Back in May 2008, my dear friend ctel from the fantastic Acid Ted blogspot, came in and hi-jacked TVV while I was away sunning myself on holiday. To be fair, I asked him to look after the shop while I was gone, and he did so in his own distinctive and entertaining style with a short series called Confessions On The Dance Floor.

One of the songs he featured was the Andrew Weatherall mix of an early St Etienne single, which itself was a cover of a Neil Young track from days of old. Here’s what ctel said:-

After all the good taste that is 45 45s @ 45, some more of those dirty little musical secrets we all have. None of that post-modern “guilty pleasures” nonsense.

Next up, Neil Young. Yeah, you were lauded in the sixties. Can’t you stop now. Your whingy voice irritates me. But we all have to pretend that he’s a genius.

The only track worth anything to me is “Only Love Can Break Your Heart”. The third track on Neil Young’s album After the Gold Rush. The song was supposedly written for Graham Nash after Nash’s split from Joni Mitchell. Released as a single in October 1970, it became Young’s first top 40 hit as a solo artist, peaking at number thirty three in the U.S. Musically, the song consists of the same three chords; D, G, A; repeated until the end.

Actually, I don’t like Neil’s verison. The only version worth a damn is by St Etienne. In 1990, Saint Etienne recorded a cover version of the song, included on their debut album Foxbase Alpha. According to Wikipedia “This cover is relatively faithful to the original but is arranged in 4/4 (as opposed to the original’s waltz time), with a driving piano-bass-drum section.” Whatever. What is important is that the genius that is Andrew Weatherall later remixed the song to further emphasise the dub bassline.

Get some Vera’s, spark up and listen

This was their debut single and it features Moira Lambert on vocals as it pre-dates Sarah Cracknell joining the band. And although I’ve loved plenty of St Etienne releases over the years, I don’t think they ever surpassed this piece of magic:-

mp3 : St Etienne – Only Love Can Break Your Heart
mp3 : St Etienne – Filthy (featuring Q-Tee)
mp3 : St Etienne – Only Love Can Break Your Heart (a mix of two halves by Andrew Weatherall)

Oh and I know fine well that this is the 1991 re-issue of the single….I was never hip enough to buy it first time around….but then again my purchase did help it become the bands first Top 40 hit. Oh and another thing – while they are now known as Saint Etienne, you can see from the cover of the CD single that they were St Etienne in those days….

Allez les vertes.

JC

Lloyd Cole & The Commotions

MISERABLE BASTARDS?

AS SEEN OVER AT THE OLD BLOG ON 3 MARCH 2009

During a career that spanned 1984-1987, Lloyd Cole & The Commotions were one of those bands that divided opinion. To some, they were part of an era that gave us a great cannon of intelligent indie-pop (see also The Go-Betweens and The Smiths), but to others they were a bunch of boring musos led by a pretentious poet with a deadly dull delivery.

Personally, I loved them.

Formed by a bunch of students in Glasgow in the early 80s, they were signed to Polydor Records and put on a fast road to stardom. Just about everyone I associated with in 1984 owned a copy of debut LP Rattlesnakes, while the lead-off single Perfect Skin was high up on most people’s ‘best of’ lists at the time. However, none of the subsequent singles cracked the Top 40, so the record label insisted that the follow-up LP be produced by someone with a track record of singles success….

And so Clive Langer and Alan Winstanley were dispatched to work with the band, and just 12 months later, Easy Pieces was unleashed on the public. A far more polished and poppy affair, it did yield three hit singles and got them out of the pages of the NME and into Smash Hits.

Problem was, it also started to unleash tensions within the band….and it took two years to release their next LP which was tellingly entitled Mainstream, a piece of work that somehow managed to contain some of their finest recordings but also some really dull and unmemorable songs, not helped by many of Lloyd’s lyrics becoming ever more melancholy. It was an LP of a band at a crossroads.

But instead of taking time out to solve things, they broke-up. Lloyd Cole went on to enjoy a solo career that continues to this day. Neil Clark, Blair Cowan and Stephen Irvine went onto to form other bands while Lawrence Donegan became a journalist and later an author.

In 2004, they got back together for a very short tour to mark the 20th Anniversary of Rattlesnakes, including a tremendous gig at Glasgow Barrowlands (trivia fact….they were supported that night by a then little known James Blunt….who was every bit as nauseatingly bland and boring as you’d imagine).

In total, there were 9 singles released by Lloyd Cole & The Commotions, of which five made the Top 40. Their final effort was a four-track EP that played at 33 1/3 rpm, with a remix of a track from Mainstream and three new songs.

mp3 : Lloyd Cole & The Commotions – From The Hip (remix)
mp3 : Lloyd Cole & The Commotions – Please
mp3 : Lloyd Cole & The Commotions – Lonely Mile
mp3 : Lloyd Cole & The Commotions – Love Your Wife

I think you can tell from the lyrics in the chorus that this was a bunch of guys unhappy with their lot:-

I don’t care anymore
I’m sick and I’m tired
And I don’t care anymore
This one’s from the hip
Why should I know why?
It’s a wicked world

In a parallel universe, I’d like to think that someone like Lloyd Cole is being worshipped as a musical god….and has made millions.

JC