THEY PUT THE FUNK IN FACTORY

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A Certain Ratio were also responsible for the first ever release on Factory Benelux/Les Disques du Crépuscule back in August 1980 with a song that bemused everyone who had considered everyone on, and involved with, the parent label to be doom merchants:-

mp3 : A Certain Ratio – Shack Up

Here’s some other singles from their time on Factory which ended in 1986 although they would continue recording and performing for a number of labels for many more years to come.

mp3 : A Certain Ratio – Knife Slits Water (12″)
mp3 : A Certain Ratio – I Need Someone Tonite (12″)
mp3 : A Certain Ratio – Mickey Way (The Candy Bar) (12″)

You can tell they are a band I don’t actually know that much about!!  Anyone care to offer up some words and tunes via an ICA? (I’m thinking and looking at you Swiss Adam….the fount of all Mancunian knowledge….)

 

 

 

WHICH ONE DO YOU DIG?

If you happen to use a similar browser as mine then underneath this bit of text is Pop Will Eat Itself while the right hand image is Mock Turtles.

 

 

In 1989, the grebo/crusty combo finally cracked the Top 40 at the sixth attempt with this:-

mp3 : Pop Will Eat Itself – Can U Dig It? (extended mix)

In 1991, the indie/baggy combo enjoyed a #18 hit with this:-

mp3 : Mock Turtles – Can You Dig It? (extended mix)

Totally different songs by totally different bands but which I bet are often mixed-up in pub quizzes.

And getting down to it boppers, I’m in the PWEI camp in terms of preference, albeit it’s not among their greatest 45s. Mock Turtles is just a wee bit too samey as so many other songs by so many other bands of the same era.

EVEN BETTER THAN THE REAL THING

I would have been just short of my 8th birthday when South-African musician John Kongos took He’s Gonna Step On You Again into the UK charts in May 1971. I can honestly say that I have no recollection of the record whatsoever and therefore had no idea, until reading about it at the time back in 1991, that Happy Mondays latest single Step On  was a cover.

The two songs are really quite dissimilar and I don’t think may would argue that the Happy Mondays greatly improved on the original. I think the big difference is that the original really does sound of its time while the cover has become genuinely timeless – it does help of course that the production advances over the two decades between them meant that loveable Mancunians could do so much more with the tune but it still doesn’t detract from the fact that they derived a classic.

And yet, the original outperformed the cover – John Kongos got as high as #4 while Happy Mondays stalled at #5 – and it’s likely in pure sales terms that the original did better. What I didn’t know until doing a wee bit of research for this piece is He’s Gonna Step On You Again, according to wiki, is cited in the Guinness Book of Records as being the first song to have used a sample which just goes to show how long that’s been around contrary to popular belief. Having said that, a much later CD reissue of the parent album states it wasn’t a sample but a tape loop of African drumming and so debunked the alleged first.

Also worth mentioning that the Happy Mondays version actually sampled three guitar notes from the original as can be heard easily when you listen to both versions:-

mp3 : John Kongos – He’s Gonna Step On You Again
mp3 : Happy Mondays – Step On

Enjoy.

BONUS POSTING : IT’S GETTING BETTER

Not too long ago, I shared with you some of my on-going concerns in life and how they were combining to impact on my ability to get fully motivated this year. Those of you who know me in any shape or form will have immediately realised that throwing in Trump and Raith Rovers was just my way of clouding what was really on my mind, namely Mrs Villain being unwell and requiring a couple of hospital visits over the festive period.

The emerging and good news is she has nothing that is life-threatening; she does have some issues with a lung which is likely to make her susceptible to infections, some which will be worse and more painful than others (the 2016/17 strain is a belter in that regard) but nothing that can’t be fixed in the medium-long term with medication and a degree of rest. Given there is a history of fatal lung diseases in her family, there was a real fear gripping Villain Towers for a while.

Thank you for all your very kind words and thoughts after that particular posting – they meant a great deal and were hugely appreciated. Here’s my way of showing said appreciation; don’t read anything into the choice of songs – it was just me having a bit of fun and thinking this would make a good hour of listening:-

mp3 : Various – Breathing That Sigh of Relief

Tracklist

Love Vigilantes – New Order
Did You Evah? – Iggy Pop & Debbie Harry
Kelly’s Heroes – Black Grape
Waking Up – Elastica
Penelope Tree – Felt
My Love Is Like A Gift You Can’t Return – The Man from Delmonte
Radio Radio – Elvis Costello & The Attractions
Amateur Hour – Sparks
Sheila Take A Bow – The Smiths
Bye Bye Pride – The Go-Betweens
Fait Accompli – Curve
Setting Sun – The Chemical Brothers
Come Home (original version) – James
Sweetheart Contract – Magazine
The Model – Kraftwerk
Lost Weekend – Lloyd Cole & the Commotions
Talulah Gosh – Talulah Gosh
Final Day – Young Marble Giants

Worth mentioning that my football team are still struggling to win a game – the last victory was in late October – but we did a well merited draw in a cup tie last Sunday against a team from a higher division. Maybe it’s a sign that things will begin to improve on that front.

Cheers.

THE FIRST KLF RECORD?

The label says it’s The KLF but to all intent and purposes it really is a release from The Justified Ancients of Mu Mu ; the packaging and labelling are the same as their three previous singles and the biggest clue can be seen from a few words that were printed on the label – ‘THIS IS A TRANSITION RECORD’. There’s also the fact that the record, prior to it being issued as a single it had been a track on the LP Who Killed The JAMMs released in February 1988.

There’s no doubt that the wholly uptempo nature of the tune is in keeping with that much later KLF material which brought fame and fortune, not to mention infamy after the burning of £1,000,000.  But at the time, it was simply a way of drawing the ‘career’ of the JAMMs to an end and the next thing that Bill Drummond and Jimmy Cauty would go and do is record and release a novelty single as The Timelords that became a surprise #1 hit.

The subject matter of Burn The Bastards is the debut JAMMs LP 1987 (What the Fuck Is Going On?) which had been produced using extensive unauthorised samples in a very crude and elementary way – eventually a complaint from ABBA about the use of Dancing Queen led to an order from the bosses in the music industry for all remaining copies of the album to be firstly withdrawn and then destroyed.  Drummond and Cauty took legal advice but were told it would cost a minimum of £20,000 to defend in court and they had little chance of winning.

They complied but in ways that were often unorthodox such as throwing them into the sea off the coast of Sweden after a well-publicised but totally futile attempt to have ABBA’s management change their minds.  The records overboard event had come after they had illegally gone into a farmer’s field outside of Stockholm and set fire to copies of the record – only to be forcibly removed with the threat of arrest by the police (it’s even been suggested they were chased out of the field by the farmer brandishing a shotgun). An image of the bonfire was used on the sleeve of the second LP.

mp3 : The JAMMs – Burn The Bastards

Making great use of Dance to The Music by Sly and the Family Stone (along with a cheeky wee swipe of Bad by Michael Jackson), this single is an absolute hoot and infectiously danceable. If Bill’s rough Scottish brogue is too much for you, then get yourself moving to the instrumental b-side:-

mp3 : The JAMMs – Burn The Beat

The single vanished without a trace.

Enjoy

ELECTRO-POP MAGNIFICENCE

It was Heart which made the rundown of my 45 45s at 45 but I reckon now that of all the Pet Shop Boys singles, my favourite is  Left To My Own Devices. My first exposure to this particular track was the LP version at just over 8 minutes:-

mp3 : Pet Shop Boys – Left To My Own Devices (album version)

It would become the second 45 to be lifted from the LP Introspective which itself was an unusual album for the fact that it was far removed from the normal process for pop/dance acts to release as singles with it being made up of lengthy songs and the versions issued singles had to be heavily edited for radio play.

I was quite bemused when I read it was going to be issued as a single given it was such a strange and almost surreal lyric. OK, the word love was contained within the chorus but it wasn’t quite boy meets girl or boy meets boy or girl meets girl material what with it also wittering on about Che Guevara drinking tea and setting the sounds of classical composer Claude Debussy to a disco beat. But somehow the madcap approach worked as it reached #4 in the UK singles chart when it was released in November 1988 and climbed all the way to #4 in the UK singles chart.

mp3 : Pet Shop Boys – Left To My Own Devices (single edit)

But it turns out that the album version wasn’t the one that they had also thrown in the kitchen sink. Nope, for that you had to get the 12″ version which extended out to an incredible eleven and a half minutes, beginning with an unlikely drumroll before incorporating house, disco, brass, strings, operatic backing vocals and a more deliberate spoken rap from Neil. What’s not to love?

mp3 : Pet Shop Boys – Left To My Own Devices (disco mix)

The b-side is a bonkers sounding bit of music, the sort of thing that seems to accompany a character in a film having a drugs-induced breakdown or panic attack. And in the typically perverse way the boys were behaving at the time, the short version was put on the CD and 12″ releases with the full version only on the flip side of the 7″:-

mp3 : Pet Shop Boys – The Sound Of The Atom Splitting (extended version)

Enjoy.

THE UNDERTONES SINGLES 77-83 (Part 9)

The next single was released in July 1981 and became the first since Jimmy Jimmy not to crack the Top 40.

The band’s third album Positive Touch had been released a couple of months previously, their first for EMI, but it hadn’t sold nearly as many copies as the previous records.  Critics had been a bit bemused by it – while they were keen to praise what was a marked departure in sound with comparisons now to The Velvet Underground instead of Buzzcocks, there was a sense that the band were missing what many felt they were best at – fast and furious post-punk guitar led music. The use of piano and trumpet, combined with an increasing reliance on acoustic guitars, certainly divided fans and there was a marked reluctance from them to embrace much of the new material in the live setting as you couldn’t really dance to it.

It also created a problem for the label bosses as there was no real obvious single to follow-up It’s Going To Happen! and so the decision was taken to take a fabulous ballad and re-record it. Here’s the LP version:-

mp3 : The Undertones – Julie Ocean (original version)

The Velvet Underground influence can easily be discerned across its less than two minutes of magnificence.

Here’s the outcome of asking Dave Balfe and Hugh Jones to come in and work their brand of magic on it:-

mp3 : The Undertones – Julie Ocean (single version)

At almost three and a half minutes, it’s way longer than the album version – it also sees Feargal deliver a different vocal with a change in tempo and use of echo taking away from the simplicity and fragility of the original. It also has a long fade-out which seems to indicate that the producers weren’t quite sure what to do with it.

I don’t think I’m alone in preferring the album version but at the same time I can see what the new version was trying to achieve in terms of creating a more radio-friendly sound. They did a decent enough job in that regard and the song certainly deserved to do better than #41 in the charts.

The b-side was a new song, and again came via the time in the studio with Balfe and Jones:-

mp3 : The Undertones – Kiss In The Dark

Again, it marked the new more mature sounding Undertones. I remember being a bit disappointed with it at the time but as my tastes have developed and matured over the years I’ve grown to like it a bit more. But it’s no True Confessions or Mars Bar…..

SATURDAY’S SCOTTISH SONG : #59 : COME ON GANG!

Come On Gang! were an Edinburgh trio who formed in 2007 and broke up in 2011 almost immediately after the recording of their debut LP.  They were a trio consisting of Sarah Tanat Jones (vocals and drums), Mikey Morrison (guitar) and Trev Courtney (bass). Jones, who was originally from Brighton, and Courtney, from the Scottish Border town of Galashiels, had met at Edinburgh College of Art and recruited Morrison via a locally placed advert. They quickly gained a reputation for being a more than decent sounding indie-pop band with the media particularly keen (as usual) to shine a light on an act who had a charismatic and articulate female lead.

An early single on a small indie label was picked up by Radio Scotland and this additional exposure saw them invited to perform sessions for television which at the same time helped increase their profile. They were a hard-working group, supporting many bands in venues all over Scotland and appearing low down on the bill of many festivals but also being recognised as having huge potential as can be seen from being part of a Scottish showcase at the 2009 South by Southwest festival in Texas.

There were however, only three singles ever released (one of which was a split single with Kid Canaveral with whom they gigged on many an occasion) followed by Strike A Match, the debut LP (produced by Paul Savage of The Delgados) in February 2011 which was launched at a gig in Edinburgh, an event the band had already indicated would be their last.

mp3 : Come On Gang! – Fortune Favours The Brave

Enjoy

MY POLITICAL PROTEST SONG FOR TODAY

I’ll do my best to avoid watching any coverage of today’s inauguration ceremony and instead immerse myself in music. Here’s one of my favourite songs of recent years. Such a positive message even if few in power really want to listen:-

mp3 : British Sea Power – Waving Flags

You are astronomical fans of alcohol
So welcome in
Are rising in the East and setting in the West
All waving flags

We’re all waving flags now
Waving flags
But don’t be scared
And you, you will be here for a while
And it’s all a joke
Oh, it’s all a joke
Oh

Are here of legal drinking age, on minimum wage
Well, welcome in
From across the Vistula, you’ve come so very far
All waving flags

We’re all waving flags now
Waving flags
But don’t be scared
‘Cause you, you will be here for a while
And it’s all a joke
Oh, it’s all a joke
Oh

Beer is not dark
Beer is not light
It just tastes good
Especially tonight

So welcome in, we are barbarians
Oh welcome in, across the Carpathians
Oh welcome in, we are from Slavia
Oh welcome in, across the stadion
Oh we cant fail, not with Czech ecstasy
No we won’t fail, not with Czech ecstasy
So welcome in

It was released in January 2008 as the first single from the LP Do You Like Rock Music? There were 2 x 7″ singles and a CD version – all had different b-sides while one of the pieces of vinyl had a lovely and melancholy instrumental version of the single:-

mp3 : British Sea Power – Waving Flags (Wandering Horn Instrumental)

Always brings a lump to my throat.

RAVE ON THIS CRAZY FEELING

Northside were a Manchester band, and given what Factory Records was becoming famous for at the beginning of the 90s, it was a natural home for them. But they were another to suffer from the curse of the label’s inability to get product out when it most mattered – this was something that affected even the likes of New Order and Happy Mondays.

There were three singles and one LP released before the label went bust and the band broke up.

This was one of the singles which I’m sure brings back fine memories for those of you who loved popping your Ecstasy tablets…..

mp3 : Northside – Shall We Take A Trip?
mp3 : Northside – Moody Places

Just looked it up and turns out it was their debut for Factory (FAC 268) and the single was banned by the BBC thanks to the drugs references.

Here also is the 12″ version of their final single – a cracking bit of indie/baggy pop that should have been a massive hit, helped, as indeed were all their releases, by the usual marvellous job from producer Ian Broudie:-

mp3 : Northside – Take 5 (12″ version)

Enjoy.

IN WHICH I SLAGGED OFF KATE BUSH

AS POSTED OVER ON THE OLD BLOG IN AUGUST 2010.

I was never completely convinced by Kate Bush when she first emerged in January 1978. The early singles sold in their millions but as a mid-teens boy with a love for post-punk bands with all their loud guitars and even louder shouty lyrics, the talents of the singer-songwriter at the piano with her squeaky voice just didn’t register.

Oh and she was ancient as well at 18 and a bit years of age……..

But as I got older and realised that there was a wee bit more to music than spotty oiks in sweaty venues, I fell for the charms of Ms Bush and started to listen to her much more closely. Oh and some brilliant promotional photos on giant billboards also had something about grabbing my hormonally-charged attention…..

I’ve a few Kate Bush LPs sitting in the vinyl cupboard, but its been years since I played them. The only tracks that ever come up on the i-pod shuffle are those that formed part of a Greatest Hits CD that was released in 1986 that I picked up cheap a few years later. I didn’t pay any attention to the comeback record in 2005 although a few folk have said I’m missing out on something quite decent.

The thing is, while browsing in a second hand vinyl emporium a wee while back, I came across a copy of a 1979 EP, and given it was going for £2, I thought it worth giving a listen again all these years later.

It has four live tracks, all recorded at a London gig in May 1979. This turned out to be the only time that Kate Bush ever toured in her entire career*, although over the years there would be sporadic live appearances, either solo or as alongside a whole range of other performers, suggesting that it wasn’t a fear of playing live that she suffered from.

The four songs all originally featured on The Kick Inside or Lionheart, her first two LPs:-

mp3 : Kate Bush – Them Heavy People (live)
mp3 : Kate Bush – Don’t Push Your Foot On The Heartbrake (live)
mp3 : Kate Bush – James And The Cold Gun (live)
mp3 : Kate Bush – L’Amour Looks Something Like You (live)

So as its spinning round the USB Turntable and doing whatever thing it is gadgetry wise to turn the tracks into instant mp3s, I’m thinking to myself…….this is shite.

It just feels as if it is music played by top-notch session players incapable of hitting a bum note but who are just as incapable of adding any meaning or feeling to a song. It’s got wanky solos all the way through as well and the sort of music that punk/new wave/post-punk was determined to banish forever (not that they ever had a chance of succeeding).

I’ve recently read reviews of that six-week tour that Kate Bush undertook in 1979 and by just about every account, it seems to have been an event that was ahead of its time with its use of theatre and dance and multi-median innovations including the use of a head-mic. But tucked away in the middle of such reviews you cotton-on to the fact that the musicians were drilled to the Nth degree with no room at all for improvisation. It sounds as if it was more akin to going along to a musical than a gig…….and I reckon that’s what comes across on the tracks on the EP. They lack any real depth or soul……but I bet they were astonishing if witnessed in the flesh.

Oh well. I’ve said it.

Bring on the brickbats.

* written and published years before the London residency of 2015 which so many got really excited about.

GIVEN AWAY FREE WITH A NEWSPAPER IN 2003

Got to give The Observer a fair bit of credit for this as when it appeared in late 2003, The Strokes were one of the hottest acts in the UK.

It was there to promote the release of the band’s second LP Room On Fire and the five tracks were:-

mp3 : The Strokes – When It Started
mp3 : The Strokes – New York City Cops (live in Iceland 2002)
mp3 : The Strokes – Last Nite (original demo)
mp3 : The Strokes – Meet Me In The Bathroom (Home Recording)
mp3 : The Strokes – 12:51

The first track was a b-side to Last Nite while the last track was taken from the album the sampler was promoting.

I think the paper cost £1.50 at the time so picking it up for the three otherwise unavailable tracks was worth it.

Enjoy.

GOTHS ANONYMOUS

scabaret-1

Over the festive period, I managed to find a handful of postings from the blog that was murdered by google;  most of them aren’t really capable of being re-used as I’ve since covered the subject matters in different ways. But this guest contribution from Jacques the Kipper in July 2010 is different……

I was a teenage Goth. I’ve told you this before, I know. But it’s time to get it out of my system once and for all.

I didn’t mean to turn Goth. Sure, I had a penchant in the early 1980s for gloom-ridden songs, but I was also a devotee of Cherry Red, Postcard, ABC and much much more. I think the problem really began with Echo and The Bunnymen. Or more specifically Ian McCulloch. I’d worn my fringe like Roger McGuinn for a while and, to be honest, it was getting on my nerves. Well, to be honestly honest, I couldn’t bloody see. I needed a change and something based on McCulloch’s spikey barnet of the time seemed a better bet. The die was cast.

Being a bit thrawn, and wanting to avoid accusations of merely copying the (his own definition) “great” man, I began with basic spiking of my fringe, the rest remaining combed down. I soon got bored of that and the spikes spread back to my crown. In those days my hair was pretty thick so fairly quickly it grew into something that would test the bravest of any Disney prince seeking out his Sleeping Beauty within.

Meantime I had moved to the Big City. These were impressionable days and, even sporting a fairly standard spikey top, I was considered pretty weird on my accountancy course. To be fair, on that course, if you’d ever had (in fact, if you’d ever thought about) sex, then you were considered weird. The only vital statistics my fellow students cared about related to their balance sheets. And, just for the record, I don’t know why I was there as I’d never touched an accountancy book before – come to think of it, I don’t think I did during the “year” I was on the course. The only redeeming factor was it was many miles from Home Town and I got a grant for not attending any classes.

Instead I spent the time perfecting the art of backcombing, frequenting pubs, taking in gigs of all shapes and sizes, and meeting a whole range of people who didn’t want to be accountants.

Time passed, the Uni got wise and booted me out, and, but for the odd (sometimes very odd) self inflicted hacking, the hair got longer, the black tight jeans became the only jeans, the long black coat affixed itself permanently to my shoulders, eye liner became essential, lipstick a requirement for going out and, at a time of mass unemployment and conservatism among the masses, I became unemployed and unemployable – one of Maggie’s millions.

We were lucky though – we had a city centre tenement flat, previously frequented by a certain Paul Haig, that was cheap as chips and housing benefit to pay it. Other benefits from the “Buroo” weren’t great but enough, with a bit of blagging and being known about town, to survive on. Fully signed up to the Goth Convention, we even spent most of the day asleep. My flat mate, and this is true, put a wardrobe on the floor and slept in it. We even shared a room for a while – me on a mattress on the floor, he in his wardrobe. A real talking point when either or, worse, both of us brought a woman home.

Early evening we utilised the long thin zigzag corridor for epic games of indoor football. Stopping only when a prolonged flurry of close range tackling ended in our hair becoming interlocked. (In many ways, I think we were fore-runners of the bizarre hairstyles of today’s professional game.) Later evening we would head out, seeking out free access and (very) cheap drink.

Our kitchen floor became a legendary stopping place for a range of fellow punks and Goths we happened to bump into of an evening. I can think of Falkirk, Dunfermline, Grangemouth, Cumbernauld and East Kilbride to name but a few towns who sent pioneers to the Big City, with no means of return after midnight. We would happen to meet them in a bar, a club, or even in a couple of cases the street, and invite them back for the night. A student friend, who stayed with us for a short while, used to talk of getting up early for uni, and wandering into the kitchen, always wondering what mass of hair and flesh might await. More often than not he’d tiptoe through the variously studded bodies, belts, bracelets and buckles, make his coffee and be off without anyone stirring.

But, you ask, did I embrace the musical darkside? Well, yes and no. Student indie discos were seen by the hard-core as too mainstream. We enjoyed (some might say with the benefit of hindsight, endured) club nights where the combination of limited lighting, dry ice, alcoves and most folk dressed in black with long hair meant when you hit the floor for a bop to Einstürzende Neubauten, you couldn’t find your friends again.

Yes, of course, I went to see the Sisters of Mercy, and in their pomp they were fantastic live. They were king for me at the time, but let’s not forget the likes of Xmal Deutschland, Alien Sex Fiend, Flesh for Lulu, And Also the Trees, The Danse Society, Sex Gang Children, Skeletal Family and, of course, my wardrobe mate’s faves – Virgin Prunes.

The (Southern) (Death) Cult didn’t really count but I have to acknowledge that live they were the Guns ‘n’ Roses of their day, and always entertaining. We even got on their guest list due to support band Balaam and the Angel ending up on our floor one night. But all that didn’t stop me at the time also seeing among others The Smiths, Billy Bragg, Daintees, James and even the likes of Bronski Beat.

I’m not claiming for a second that all of those black acts listed above are, or indeed were at the time, any good. Just, that they were part of my Gothhood. In fact, given my financial position at the time, I bought few records. So perhaps thankfully there is little legacy in my collection.

But being a Goth was great and I don’t regret a minute. At its crowning glory my hair was over a foot long and, when backcombed, which it pretty much always was, no doubt a bizarre sight. I’m not sure what it would take in this modern age to get the same level of reaction that we used to suffer.

There were bad bits. I was banned from pubs I’d never been in, including one or two where I was due to meet people (lesson one: in a time before mobiles, meet outside). I was threatened several times and, notably, beaten up only three hours after arriving in Rural Fife Town – how to make an impression on your already doubting new girlfriend’s parents- “Er….have you got anything in the freezer I can put on my eye?” I was spat on. I was stoned by wee kids in the Other Big City – they’re probably playing for Celtic now – and many people crossed the road to avoid me. I never made it to the Batcave. I never met a real vampire, though I knew one or two who thought they were. And, when it rained……disaster!

But there were many more good bits.

The camaraderie among fellow Goths (I’m deliberately forgetting the cliqueishness and hair-envy here), especially when you met counterparts in other towns.

Getting your photo taken by tourists (what did they say when that slide came up back in Canada?) – I was even painted twice.

Being the last person anyone would sit next to on the bus or train. (Note, though the other side of this is that, invariably, that last person is either a complete psycho, hopelessly drunk, or both. Some day I’ll tell you about the Hells Angels, the bottle of Smirnoff and the shotgun.)

Being known as Eraserhead.

Being offered various roles in various bands despite a complete lack of singing and musical ability.

Being on first name terms with punk legend Wattie, albeit he called me Mac and I called him, er, Wattie.

Sitting next to a woman with a toddler on her knee on the bus from Dunfermline, the toddler grinning and calling me “Daddy”, me smiling back, the woman clearly fearing I might eat her child at any time.

The Punks Picnic – how funny to see Goths sunbathing.

Introducing a friend to his future wife at a Cult gig.

The banter on the football terraces terraces (remember them?) in a time before satellite tv (remember then?) – “Hey, pal, can you get Channel 4 on that?”.

Dancing in the dark.

There were many misconceptions about our tribe. Depending on who you asked, and being frank, most folk didn’t need to be asked, we were any or all of weird, thick, lay-about, junkies, gay or scary. Of course, in some cases that was true, but no more so than any other group of young folk dressing to impress. A lesson learned when I look at the youth of today in their various guises.

Of course, I couldn’t live the dream forever. I could no longer afford the Boots hairspray for one thing. I moved away from the Big City and gradually I found the self inflicted chopping was removing more and more hair. The final cut came at a barbers in the Oily City. The woman asked me twice before removing the final few inches. When she stood back from the mirror and I could once more see myself I was nearly in tears. Not because I could no longer kid myself I was still a Goth, but because, despite what I’d said, she’d taken off far too much and I now looked like a US Marine.

While I made many friends, we drifted apart and few remain from that time. There must though be one or two fellow ex-Goths that I bought a cider and blackcurrant for, who nowadays walk the same corridors of power and attend the same parents nights that I do. Sadly we’ll never recognise one another as the spray, crimpers and in some cases cheap dye have taken their toll and we’ve all lost our hair and cut back on the eye liner. Shame.

But you’re really here for the music. Clearly that’s a problem as I know you’d hate most of the above so I thought I’d just focus on some memories of the time. At least give them one listen and if you want more info then I’ve checked – they’re all on Wikipedia.

mp3 : Exploited – Dead Cities

This reached no 31 in the real charts. Members may have changed but Wattie and the boys still keep up the good fight against fascism and racism. You have to admire 30 years of anarchy and chaos. And for good measure, here’s the b-sides:-

mp3 : Exploited – Hitler’s In The Charts Again
mp3 : Exploited – Class War

Another band surprisingly still with us, though I confess to having no knowledge of their oeuvre post 1985, are this lot:-

mp3 : Alien Sex Fiend – Ignore The Machine

And finally, a real favourite of mine at the time, though I confess it’s only while writing this that I’ve dug out the old stuff. Jim Thirlwell as in your face as ever. A true innovator and inspiration for many of the noiseniks that crossed into the mainstream in the late 80s/early90s.

mp3 : You’ve Got Foetus On Your Breath – Wash It All Off
mp3 : You’ve Got Foetus On Your Breath – Today I Started Slogging Again

And, here’s the link to VV fact fans, Jim T was a latter day pseudonymous member of Orange Juice. Look him out on Rip It Up on TOTP and consider that poppy jangle alongside this. ****

And if you really want to know what I looked like at the time, check out US cult band, The Naked and the Dead on Wikipedia. I may not actually be in the picture but I sure could have been.

Jacques The Kipper, Sunday 25 July 2010

**** JtK is not joking. Frank Want was one of the many other names by which Jim Thirwell was known.

Frank Want was a member of the live line-up of Orange Juice in 83/84 when the band were essentially down to Edwyn Collins and Zeke Manyika for studio purposes.  He played sax on the TOTP appearance JtK refers to.

THE UNDERTONES SINGLES 77-83 (Part 8)

Those of you who are observant will notice the word ‘Ardeck’ on the front of the sleeve for the eighth single from The Undertones.

The band took advantage of a successful 1980 sales-wise to put out the feelers for a new label as they were unhappy with Sire Records unwillingness to promote them to any great extent in the USA.  They ended up on EMI who agreed to a licensing deal with all material to be released on Ardeck Records, a label which has since only ever issued singles, albums, compilations and re-releases by The Undertones.

It’s Going To Happen! was a Damian O’Neill/Michael Bradley composition, in all likelihood chosen by some mogul at EMI on the basis that they had been the duo responsible for the band’s only Top Ten single. It was released in May 1981 and reached #18 in the charts, an excellent achievement given it was by far their weakest 45 to date, with many bemused by the inclusion of horns within the song.

Also worth noting that the band managed to skilfully avoid the fact that the song, while on the surface sounding as if it was just another innocent sounding pop song, possibly about a failing relationship, was in fact an attack on the intransigence of the UK government to find a solution to the political hunger strikes that were taking place at the Maze Prison in Belfast.  If the real intention behind the song had been revealed then a radio and TV ban was inevitable and it’s likely that the band, and their families, would have run into real issues around personal safety back home.

mp3 : The Undertones – It’s Going To Happen!

The b-side is one of the most peculiar sounding things the band ever recorded.  The info on the single would indicate that it’s a cover of a song by an unknown band called Tommy Tate & The Torpedoes,

but it was later revealed that this was a name adopted by Damian O’Neill and was intended as a wee bit of a joke, but in a semi-serious way, at his bandmates’ expense whom he felt were sailing in choppy waters, beginning to moan and whine about their lot when the fact was they were enjoying success and earning more than they had ever dare dreamed of.

mp3 : The Undertones – Fairly In The Money Now

Enjoy.

HERE COMES YOUR MAN

Pixies at Glasgow Barrowlands some six weeks ago was a real highlight in terms of live performances in 2016. Ok, there was no Kim Deal and I’d be lying if I said things were just the same without her, but Paz Lenchantin is a very capable replacement on bass and occasional vocals and to be fair, she’d never dream of taking a turn on Gigantic.

But she did play her part in a great rendition of another of Kim’s lead vocals, one that was originally released as the b-side to one of their best known singles:-

mp3 : Pixies – Here Comes Your Man
mp3 : Pixies – Into The White

The 12″ release, which incidentally is easier to track down than the 7″, had two additional tracks:-

mp3 : Pixies – Wave Of Mutlilation (UK Surf)
mp3 : Pixies – Bailey’s Walk

The former, a new version of a track from the then parent LP Doolittle, was recorded at the Palladium Studios in Edinburgh, a favourite of 4AD boss, Ivo Watts-Russell.  It was where he did much of his work with This Mortal Coil.

Enjoy.

BONUS POSTING : 58 AND A BIT MINUTES OF OLD FAVOURITIES

Really finding it hard to get motivated right now. Maybe it is the cold weather and the eternally dark mornings and nights. Maybe it is the growing sense of unease and anger at the fact Trump takes over the White House in seven days time. Maybe it is the fact my favourite football team are in a slump at the moment and show no signs of emerging back into winning ways. Maybe it is down to worrying about Mrs Villain being unwell just now and awaiting soon the results of some tests carried out last week at the wonderful NHS hospital just up the road from here.

More than likely its a combination of all of the above.

So when I got in from work a couple of hours back I just wanted to find solace in some old songs and in doing so wanted to pull something together that I can listen to on trains and buses this next few days without having to concentrate too much such is their familiarity. Feel free to listen in.

mp3 : Various – The Musical Equivalent of Comfort Food

Tracklist

This Is Pop? – XTC
Asylums In Jerusalem – Scritti Politti
Candyskin – Fire Engines
Hit Me With Your Rhythm Stick – Ian Dury & The Blockheads
Only Love Can Break Your Heart – Saint Etienne
Superstition – Stevie Wonder
I Can’t Stand Up For Falling Down – Elvis Costello & The Attractions
I Wanna Be Sedated – Ramones
Town Called Malice – The Jam
Don’t Talk To Me About Love – Altered Images
Felicity – Orange Juice
No Bulbs – The Fall
Common People – Pulp
Everyday Is Like Sunday – Morrissey
Ladykillers – Lush
Kennedy – The Wedding Present
Ain’t That Enough? – Teenage Fanclub

Enjoy.

THE 1987 ANOMALY

Here’s the list of all the singers/bands who got to #1 in the Indie Singles Charts in 1987:-

Ciccone Youth, Age of Chance, The Smiths (three times), Erasure (two times), Gaye Bykers on Acid, The Soup Dragons, All About Eve, New Order (two times), M/A/R/R/S, Fields of the Nephilim and Nina Simone.

The last-named sort of sticks out somewhat doesn’t it?

My Baby Just Cares For Me had originally been recorded in 1958 for Nina’s debut LP Little Girl Blue. Despite the likes of Frank Sinatra, Julie London and Pat Boone all recording it in the 60s, this jazz song was really quite obscure until some marketing whizzkid decided it would make the perfect accompaniment to an advert for Chanel No. 5 perfume.

Such was the popularity of the ad that there was a demand for the song to be released as a single which happened in October 1987 on Charly Records, a small label specialising in reissuing obscurities and whose distribution arrangements meant its releases could qualify for the indie charts.

mp3 : Nina Simone – My Baby Just Cares For Me

My Baby Just Cares For Me went to #5 in the mainstream charts and spent 5 week at top of the indie charts. It was preceded and then succeeded by these: –

mp3 : Fields Of The Nephilim – Blue Water
mp3 : New Order – Touched By The Hand Of God

More invaluable knowledge for pub quizzes.

AN IMAGINARY COMPILATION ALBUM : #105 : THE BLUE AEROPLANES

A GUEST POSTING FROM MIKE MELVILLE

JC writes:-

I’ve known Mike a long time – way longer than either of us have been doing this blogging nonsense. He’s both an talented writer and photographer and the fruits of his labours can be enjoyed over at the consistently excellent Manic Pop Thrills. This coming Sunday, he’s asked me to join him at the Glasgow gig by The Blue Aeroplanes. I had no hesitation in saying yes but did mention that outwith a handful of mp3s I knew little or nothing about the band. He decided that a quick education in the form of an ICA would be worthwhile. So over to Mike….

With a career stretching back almost 36 years, Bristol’s The Blue Aeroplanes have just released their twelfth studio album Welcome! Stranger.

Formed in the early 1980s, the band have had a rotating cast of members over the years (reaching 48 at the last count) with the only constants being Gerard Langley (vocals) and Wojtek Dmochowski (dance). Yep – dance. Long before Bez was shaking his thing for the Happy Mondays, Wojtek was enlivening the ‘planes live show.

Initially almost as much an art collective a band the Aeroplanes put out Bop Art on their own Party Records before signing for Fire for whom they delivered two further albums Tolerance and Spitting Out Miracles. By the time of  the latter the band were becoming firm critical favourites and the record brought them to the attention of both the major labels and, the ultimate critics band, R.E.M.

First off they supported the Athens, Georgia outfit on their Green tour in the U.K. Indeed my first exposure to the ‘planes was on that tour but it must constitute the briefest ever performance I’ve witnessed. We literally saw the last chord of the last song which was followed by what seemed to be dozens of folk (including some members of R.E.M.) leaving the stage. We definitely got the feeling that we’d missed something!

Which was unfortunate since we had wanted to see the Blue Aeroplanes but they must have been on stage much earlier than supports normally were at the Playhouse. That’s my excuse, anyhow.

The band’s fourth album (and major label debut) Swagger is widely regarded as their masterpiece and arrived on new label Ensign early in 1990. The R.E.M. connection continued when Michael Stipe provided backing vocals on What It Is on the album. (BTW the influence wasn’t all one way – listen to Departure and even E-Bow The Letter off New Adventures in Hi-Fi and join the dots!)

With the clout of a major behind them and uniformly positive support from the press the BAs genuinely appeared to be on the brink of a commercial breakthrough. Lead single Jacket Hangs reached 72 in the charts and follow-up And Stones (with several dance remixes) got as high as 63.

Although ‘Swagger’ failed to provide the breakthrough, Ensign still had high hopes for the follow-up. The band were persuaded to include a cover of Paul Simon’s The Boy In The Bubble on the new LP but even that failed to hit the charts. Parent album Beatsong did enter the charts at 33.

At this stage the Aeroplanes still seemed one great song away from making a breakthrough and they were prioritised by their American company. But the company were taken overshortly afterwards and the promised support never materialised.

Moving to Beggar’s Banquet, 1994’s Life Model reached 60 in the album charts but once again didn’t produce that elusive hit although lead track Broken & Mended really should have done so.

The following year came their second, and final, Beggar’s LP but Rough Music failed to make much of an impact.

Their next release was an odd thing on their own Art Songs label – the 2 CD set mixed new songs on CD1 (all entitled Cavaliers Part X) and compiled rarities (some of which had seen service as B-sides in the mid -90s) on CD2. Apparently all the Cavaliers were intended for Altitude as a 12 minute suite but gained a life of their own.

The band next rather unexpectedly signed to another major label – this time EMI. A patchy LP Altitude in 2006 was followed by a label-inspired album of covers of bands that had been on the Harvest label. Inevitably neither troubled the charts.

The re-release of first ‘Swagger’ then ‘Beatsongs’ in deluxe editions with tours to support raised the band’s profile again and the band’s next release arrived in 2011 – a self released vinyl LP Anti-Gravity with an expanded double CD version only released the following year. Unfortunately its impact was diminished by limited promotion.

The band set out in late 2013 on a Singles tour which included a Glasgow date – their first in Scotland since the ‘Altitude’ tour. The concept of a Singles tour was a little odd as there was no corresponding album to promote! Nevertheless the dates were a success with several new songs debuted.

Which pretty much brings us up to the release of the new album. The campaign for Welcome, Stranger’ seems to be far more focussed than that for‘Anti-Gravity as the album was launched as a pre-release through a Pledge Music campaign. A 14-date UK tour has also been arranged to coincide with the release on 6 January.

The album is their most direct in years with fewer long songs than normal and plenty of crunchy guitars. In Sweet Like Chocolate they’ve recorded their best pop tune in decades even if it’s not an original but a cover of a garage hit by Shanks & Bigfoot! But it’s fair to say the band have dramatically recast the song and made it their own.

So the Blue Aeroplanes once again appear poised for take-off with Gerard even raising the possibility of a new album later in the year.

Anyhow (finally) here’s a 10 track Blue Aeroplanes compilation. It’s not so much an attempt to cover the band’s whole career as to provide an accessible introduction to the band so there’s a good number of singles included.

And since it’s so new I’ve stayed clear from anything from ‘Welcome, Stranger!’, although to be honest, along with ‘Swagger’, the new album is probably as good an introduction to the band as you can get.

1. Broken & Mended (from ‘Life Model’ – 1994)

With its “Hello, how are you? How’s it going?” opening line B&M is a cracking way to open both its parent LP and this collection. One of the many ‘should have been hits’ in the back catalogue.

2. Jacket Hangs (from ‘Swagger’ – 1990)

Probably their best known original song and the first BAs’ song I consciously heard. Expecting a faster tune, the song’s pacing is genius – slower than you expect but still unstoppable. It also has the distinction of never having been dropped from the live set.

3. Veils of Colour (A-side single – 1988)

‘Veils of Colour’ is a non-LP single which preceded their final album for Fire and it’s a song which must have really flagged up their potential to the majors. Along with most, if not all, of the non-LP Fire material ‘VoC’ is included on the ‘Friendloverplane’ compilation put out by Fire after the band signed to Ensign.

4. Fun (from ‘Beatsongs’ – 1991)

It’s a BAs’ tradition that Gerard doesn’t sing every song on the LPs so one of these songs also has to be included here. ‘Fun’ is Rodney Allen’s showcase from ‘Beatsongs’ and it was also released as a single in Europe.

5. Bright Star Catalogue (from ‘Altitude’ – 2006)

Whilst I’ve stuck with the more obvious material the Blue Aeroplanes can be as experimental as the next band as ‘Bright Star Catalogue’ demonstrates. One of the best songs on the album it’s only a taster for the band’s longer material which is just as compelling as the pop tunes.

6. Bury Your Love Like Treasure (from ‘Spitting Out Miracles’ – 1987)

Another classic from the indie days which still features in live sets today, ‘Bury Your Love …’ incorporates both the band’s pop and experimental tendencies.

7. You Are Loved (from ‘The Loved’ E.P. – 1990)

Lead track from an E.P. which never made a studio album although it is included on both the major label rarities compilation ‘Friendloverplane 2’ and the ‘Swagger’ reissue. Check out that riff! Despite lacking the additional promotion offered by an imminent LP release, ‘The Loved’ E.P. did chart – albeit at a lowly 91.

8. Detective Song (from ‘Rough Music’ – 1995)

The lead single from the band’s second and final Beggars LP, ‘Detective Song’ was the latest in a run of classic singles but, sadly, another one which failed to trouble the charts. The fact that there doesn’t seem to be a promo on YouTube perhaps tells its own story.

9. Breaking In My Heart (from ‘Lover & Confidante (And Other Stories Of Travel, Religion & Heartbreak)’ E.P. – 1985)

Another Aeroplanes tradition has been the cover and over the years the band have covered a long list of acts including Wire, Deep Purple, The Smithereens, St. Vincent, CCR and the Hold Steady (who clearly owe a debt to Bristol’s finest). This was an early cover of a Tom Verlaine song which has become a live fixture as the final encore (and, yes, it was the “last-chord” song at the Playhouse gig!). There are at least 3 official live versions available which are all worth searching out.

10. Pony Boy (B-side ‘Yr Own World’ single – 1991)

Another classic ‘planes tradition is the great B-side. I have a playlist on the iPod of non-LP material from the major years which is as good as most of the albums. ‘Pony Boy’ is an out-take from ‘Beatsongs’ which Gerard has described as ‘never, really finished’. Which is more than a little scary as the version that was released is still great. Was even used to close the main portion of the live sets for a while and is available on both ‘Friendloverplane 2’ and the ‘Beatsongs’ deluxe reissue. (available here http://www.theblueaeroplanes.com/?product=beatsong-deluxe )

So that’s it. Want to find out more? The Aeroplanes’ web presence has been something of a moving target over the years but can currently be found at www.theblueaeroplanes.com

If you want a physical copy of the albums then the only officially still in print studio albums are ‘Cavaliers’, ‘Beat Songs deluxe’, ‘Anti-Gravity’ and, of course ‘Welcome Stranger’. See the band’s webstore for more details.However I think everything else is still available digitally and it isn’t too difficult to track down physical copies of the various studio albums and compilations if you are so inclined.

There’s also a couple of live CDs available from the band, ‘Live In Cheltenham’ and ‘Skyscrapers’, both of which I’d heartily recommend – particularly the latter for its epic 9 and a half minutes version of ‘Breaking In My Heart’.

MIKE

AN IMAGINARY COMPILATION ALBUM : #104: SPOON

A GUEST POSTING FROM JONNY THE FRIENDLY LAWYER

spoon_brittdaniel_jimenno

I don’t remember ever seeing Spoon mentioned here at JC’s place. I did a little half-assed searching through the blogs of some of the regular contributors and didn’t find much mention there, either. Could it be that Spoon are new to the TVV crowd? or is it that folks are familiar with the band but don’t think they rate any notice? Whether the former or the latter, here is a survey-type ICA of the band, spanning (most of) their 20-year recorded career to date, aimed at inspiring either a first or another listen. All songs are singles unless otherwise stated. As Spoon are a VERY stripped-down minimalist act I’ll try to keep the dialog brief.

The basics:

Formed: 1993 in Austin, Texas

Members: Britt Daniel, singer/guitarist/songwriter; Jim Eno, drummer (no relation); bunch of various musicians over the years.

Band name: after ‘Spoon’ single and last track on Can‘s 1972 ‘Ege Bamyasi’ LP.

First release: ‘Nefarious’ EP (1994 Fluffy).

First LP: ‘Telephono’ (1996 Matador).

Why I love Spoon:

I’ve admitted from time to time that I am an okay bassist and a crap guitarist. It’s hard for me to get excited about buzzy new bands, or even beloved old ones, if their music is so basic that I can play it. I’m not enamored of proggy math-rock specialists and I don’t need amazing musical virtuosity to get into a band. There are numerous crucial exceptions (Ramones, for example) but, like I say, if the tune is simple enough that I know just from hearing it that I can play it, I remain unimpressed.

That said, I can’t think of another band whose songs are simpler than Spoon’s. Often they’ll just be playing two chords all the way through, or sometimes just a handful of notes. Any budding musician can pick up one of their LP’s and figure it out in a couple of listens. What does it for me is Britt Daniel’s unique voice. I love it. It’s raspy, expressive, tuneful, powerful even when he’s singing softly. With Daniel on the mic, Spoon accomplishes more in 2 minutes than other bands get done on an album side. Most of all he doesn’t hold back, he sings it like he MEANS it, and you always know it’s him. Hear for yourself:

Waiting For The Kid To Come Out : From ‘Soft Effects’ EP (1997 Matador).

Spoon had released the ‘Telephono’ LP a year earlier but, by that point, the band didn’t have its own sound. Like lots of other acts in the mid-90’s, Spoon started out as another overdriven guitar band, tinged with grunge and devolved from the Pixies. So, I’m skipping it. On Soft Effects, you get the Spoon blueprint: couple of chords, minimal drums (no fills), no effects, Daniel belting out a melodious vocal and then getting the hell out of there.

Car Radio : From ‘A Series of Sneaks’ LP (1998 Elektra).

Still so stripped down that the band drop out completely a couple of times, even though the song is only 90 seconds long. But you do get a third chord! Perhaps too limited for the masses; ‘Sneaks’ was the band’s first and last recording for a major label.

Everything Hits At Once : From ‘Girls Can Tell’ LP (1998 Merge).

Extending out here with some more instrumentation on a longer selection. This single was the first song by the band that I ever heard. I found the repetitive music and Daniel’s interesting vocals really hypnotic, and have been hooked since. I saw them on the tour for this album and liked that the band were friendly, relaxed, and certainly not taking themselves too seriously.

I Didn’t Come Here To Die : From ‘Love Ways’ EP (2000 Merge).

Around this time I read an interview with Spoon. The gist of it was that the band had been around for over 5 years, enjoyed what they were doing, but still had day jobs and didn’t expect they’d keep at it forever. Daniel said flat out that he wasn’t earning a living from his music career. It made me like the band even more because they had no expectations — they were just carrying on with what they loved doing. I don’t know, I found the sentiment really…honorable, I guess is the word.

The Way We Get By : From ‘Kill The Moonlight’ LP (2002 Merge).

This single is probably the one song people might be familiar with as it found its way into a number of films. ‘Moonlight’ also received glowing critical acclaim and appeared on many “best of” year end album lists. Still, it’s classic Spoon: two and half minutes and all you get is vocals, piano, tambourine and the occasional bass line before the drums kick in after the minute mark. If you’re going to give the band a try, ‘Moonlight’ is where to start.

Don’t Let It Get You Down : From ‘Kill The Moonlight’ LP (2002 Merge).

An album track and my personal favorite Spoon song. Stripped down to the same limited instrumentation as the previous song, there’s something just so catchy about Daniel singing the title over and over. This one seems to finds its way onto every compilation I make; I sing along, hit repeat and do it again.

I Turn My Camera On : From ‘Gimme Fiction’ LP (2005 Merge).

‘Moonlight’ got the band the notice they deserved and sold enough to let them make a go of it. ‘Fiction’ also was very-well received and the single ‘Camera’, in particular, received some airplay on the widening variety of internet radio sites and blogs, if not mainstream radio. It was even featured in a Simpsons episode. I saw them again about this time and was glad to see the band really enjoying themselves, having finally arrived after a full decade in the trenches.

Don’t You Evah : From ‘Ga Ga Ga Ga Ga’ LP (2007 Merge).

Despite its stupid name Gax5 is a really fun, relaxed record that continues to grow on me. Not that you’d know it but this single is a cover tune: the song (actually titled ‘Don’t You Ever’) was written by NYC band The Natural History, which opened for Spoon on a few tours. It’s a testament to Spoon that everything they do sounds only like them.

Got Nuffin : From ‘Transference’ LP (2009 Merge).

About as aggressive as Spoon get. I’m not that fond of ‘Transference’ if I’m honest, but this single is okay and a good snapshot of the LP. There’s an American television program called Live from Austin City Limits which features loads of great acts (Beck, Radiohead, Wilco etc.). Spoon appeared on it during the tour for this LP if you want to get a sense of what their concerts were like at the time.

Rent I Pay : From ‘They Want My Soul’ LP (2014 Loma Vista).

After a long layoff while Daniel busied himself with side projects, Spoon returned with a great LP on their own label. On this single the band is instantly recognizable. The formula hasn’t changed much; simple guitar chords, unflashy drums, Daniel carrying the whole business start to finish. By now, 20 years on, Spoon had become a more refined and sophisticated version of themselves, if that makes sense.

If you like what you heard you may be pleased that a new Spoon LP is expected this year.

Bonus Track – The Divine Fits: Would That Not Be Nice : From ‘A Thing Called Divine Fits’ LP (2012 Merge).

The Fits are something of an indie supergroup, with members of Wolf Parade and New Bomb Turks in addition to Daniel. Of course, with him on vocals it sounds like Spoon. Daniel has had a lot of side projects over the years, recording under the name Drake Tungsten, working with Interpol and Bright Eyes among others. In 2014 he was invited to perform in GeorgeFest, a one-off concert organized by George Harrison‘s son, Dhani, alongside the likes of Brian Wilson, Ben Harper, and Norah Jones. Daniel sang ‘I Me Mine’ and, for me, that was the highlight of the show.

JTFL