NINE YEARS AGO

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I was living and working in Toronto. Jacques the Kipper sent me a text in case I didn’t get the news. I posted this on the blog.

DEATH OF A SALESMAN

I was saddened by the news of the death of Tony Wilson.

I’ve no doubt you’ll find some heartfelt tributes on loads of blogs, as well as a few less than kind remarks as there are many who thought the man was a twat. And let’s face it, he sometimes thought he was as well.

I’m not from Manchester, and perhaps not best placed to offer an opinion. But I’ll contend that Tony Wilson did as much as anyone in the latter part of the 20th Century to raise the profile of the city he’s most associated with. He helped transform it into a city where those of us who didn’t live there were jealous of those lucky enough to do so.

I only met him once. He came to Glasgow for a book reading of 24 Hour Party People, and it turned into a fabulous couple of hours. He was regally entertaining, with more than a hint of self-parody about his persona. Along with Bill Drummond, he was the one guy in the music industry that I would love to have been able to go down the pub with.

The world is a slightly poorer place without him being around. I hope the city gives him a great send-off.

song : Care – Sad Day For England

song : Joy Division – Love Will Tear Us Apart (Pennine Version)

2016 Addendum….

The city did give him a great send-off and they’ve never forgotten him.  Here’s one of the most extraordinary and memorable things I’ve ever had the privilege of watching and listening to.

USING POP TO HELP CONQUER YOUR DEMONS

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Strawberry Switchblade are often held up as one-hit wonders, thanks to their second single, Since Yesterday, hitting #5 a few months after its release in late 1984. But I want to tell the fascinating story behind their relatively little known debut 45………………

Rose McDowall and Jill Bryson, two of the earliest punks in Glasgow, made up Strawberry Switchblade. Their name came from a James Kirk song that was never recorded by Orange Juice. The girls were friendly with everyone in the Postcard Records scene and received a lot of encouragement to make a go of things musically, with John Peel (who certainly had a thing for attractive female Scottish singers) offering them an early radio session while also persuading his mate David Jensen to do likewise given that the pop approach and sound of the girls was more likely to find favour with listeners earlier in the evening.

All of this led to Bill Drummond showing an interest and he arranged for them to record a debut 45 on 92 Happy Customers, an independent record label run by Will Sergeant from Echo & The Bunnymen. The debut, entitled Trees and Flowers, sold around 10,000 copies, was voted in at #47 in the 1983 Festive Fifty and led to Drummond signing them to Korova Records which was bankrolled by the giant WEA  and on which they would enjoy the chart success in late 84/early 85.

mp3 : Strawberry Switchblade – Trees and Flowers

A lovely little ballad which included a contribution from Roddy Frame on guitar, it’s worth looking closely at the lyric:-

Dawn cracks the dark
And it breaks the silence
Of my waking hours
And my heartbeat’s licence

For I hate the trees
And I hate the flowers
And I hate the buildings
And the way they tower over me
Can’t you see
I get so frightened
No-one else seems frightened
Only me, only me

I can’t but see
That the sun has risen
To my window, my world
Of my home sweet prison

For I hate the trees
And I hate the flowers
And I hate the buildings
And the way they tower over me
Can’t you see
I get so frightened
No-one else seems frightened
Only me, only me

They were penned by Jill Bryson who, despite appearing to the world to have a carefree attitude and approach to life which was best demonstrated by her dressing flamboyantly in a city where you were openly ridiculed in the streets for doing so, suffered dreadfully from agoraphobia with long spells in her life where should couldn’t leave her house.

I find it impossible to imagine what living with such a condition must be like and Jill’s sad lyrics capture just how heartbreaking it is to face up to and how difficult it is to explain what many will consider to be an irrational fear. I remember once, many years ago, seeing someone take an awful panic attack in the street as a result of this condition. It was scary watching a young woman, probably aged around 25-30, just grip onto a lamp-post and suddenly start screaming loudly; she had a friend with her who was obviously au fait with the condition and knew how best to handle the situation, which included reassuring those of us in the immediate vicinity that things were OK and that the fear would pass. It troubled me though to think what would happen to any agoraphobic who was struck down while out on their own….it didn’t bear thinking about.

Most singer-songwriters will have a great deal of autobiographical content in their early songs – Jill Bryson was incredibly brave to do what she did.  And in such a lovely and understated way too.

A DIAMOND OF A HOT AUGUST NIGHT?

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The history of Creation Records can easily be spilt into two parts, either side of the success of Oasis.

The pre-era reached its zenith over a blisteringly hot London weekend back in 1988 when a gig, a compilation album and two incredible singles were released.

The gig was on Sunday 7 August at the Town & Country Club, which at the time was the place for name indie bands to perform but with a capacity of more than 2,000 was an ambitious booking for Creation even when the plan was to open the doors at 4pm and have eight bands play full sets under the banner of Doing It For The Kids.

Judging by what photos are around from the day, it looks as if plenty of tickets were sold, aided no doubt by the fact that a number of the bands were being heavily pushed by the then highly influential UK weekly music papers. However, the one on-line review that I’ve been able to find, written by the now famous Simon Reynolds, would indicate that the event was more miss than hit with many punters going home a bit disgruntled. Here’s some edited extracts on the minus side:-

Heidi Berry…harks back to the islet of troubled AOR occupied in the early Seventies by Sandy Denny and John Martyn

Jasmine Minks….the singer sounds like he’s gargling a sock, and ultimately theirs is a thin-lipped and ill-fitting appropriation of “the Sixties”. I never saw a band leave the stage so lackadaisical and unemphatic a manner.

Nikki Sudden….. shuffles on for a couple of rather scrappy blues numbers

Jazz Butcher………. gains a point for sounding comparatively robust, but loses several for his Jennings-and-Darbyshire/Robyn Hitchcock Englishness, and for his session-standard saxophonist.

Primal Scream…..their moment has long passed.. They’ve abandoned the gossamer fragility of “Crystal Crescent” and “Gentle Tuesday” for a blues that sags but never approaches the ponderousness and tumescent turgidity attained by various visionary white bastardizations of R&B. Gillespie’s voice just doesn’t have the grain for raunch, can only sing ba-ba-ba Bay City Rollers tunes; he crouches low, wigs out in that boneless, rag-doll manner of his, a flailing cod-dementia, willing it to be as good as the old days.

To be fair, the review is complimentary about the next three bands on the bill – Felt, House of Love and My Bloody Valentine and you get the impression that if the gig had been restricted to these three bands, within the standard evening hours for such things, Simon would have declared a it a total triumph.

But the most cutting remarks are left for the band who came on last and in essence were the headliners – Biff Bang Pow!

The event peters out with a bit of malarkey involving a cut-out Alan McGee and Joe Foster attempting to lead a singalong of “We Are the World”. The “no encore” rule (to ensure each act doesn’t over-run) is observed even at the end, leaving the crowd restive and frustrated.

Overall impression: a sense of “now” being eclipsed, drained vampirically by the past and its stature; the loss of the present moment through being made to seem impoverished next to the history it was umbilically bound to. Only The House of Love and My Bloody Valentine know that you have to torch the whole heap of pop signs and totems, rather than shuffle them about a bit. Only those two bands brought back the sudden quickening of “NOW” that eluded us most of the time today.

The following day, 28 years ago today, Creation put out a 15-track album, also called Doing It For The Kids, for the price of a 7” single. All of the bands/singers who performed at the T&C were featured along with eight others, many of who were already being acknowledged as being mere footnotes, and miniscule ones at that, in the annals of indie-pop.

Side A

1. The Jasmine Minks – Cut Me Deep
2. Felt -Ballad Of The Band
3. The House Of Love – Christine
4. The Weather Prophets – Well Done Sonny
5. Primal Scream – All Fall Down
6. Biff Bang Pow! – She Paints
7. The Jazz Butcher – Lot 49

Side B

1. Heidi Berry – North Shore Train
2. Nikki Sudden – Death Is Hanging Over Me
3. My Bloody Valentine – Cigarette In My Bed
4. Pacific – Jetstream
5. The Times – Godevil
6. Momus – A Complete History Of Sexual Jealousy (Parts 17-24)
7. Emily – Reflect On Rye
8. Razorcuts – Brighter Now

It’s a reasonable enough compilation which veers from having some tracks that have more than stood the test of time to those which are even more unlistenable now some 28 years later, but it passes the litmus test of bargain compilation albums as offering something for everyone.

The two singles released the next day have however, gone down in history as among the finest of their generation.

mp3 : The House of Love – Destroy The Heart

mp3 : My Bloody Valentine – You Made Me Realise

The label’s reputation was such that emerging bands such as Ride and Teenage Fanclub were keen to sign on the dotted line and then there was a bit of payola as Primal Scream proved all the critics wrong and became the first to fuse indie and dance in way that was really commercially successful. However, this didn’t mask the underlying problems of ever increasing debts from trying to run a bloated label, packed with acts who were always going to be a drain on resources, and so it was no surprise that half of the company was sold to Sony Records in 1992…..which, given that Oasis were just about to emerge so unexpectedly, proved to be a master stroke in terms of creating the necessary infrastructure and distribution networks to cope with demand.

It was just four years on from Doing It For The Kids but it may well as have been ancient history.

Enjoy.

B&S ON SUNDAYS (12)

Belle-blues

 

Last week, Martin left the following comment:-

“…..this song, funny little frog, might be the worst song ever recorded. by anyone. ever.”

Be prepared Martin.  Be prepared.

From wiki:-

“The Blues Are Still Blue” was the second single from the Belle & Sebastian’s The Life Pursuit. The track was released in April 2006 on Rough Trade Records, and is produced by Tony Hoffer. The single reached #25 in the UK singles chart.

The wiki entry is very abrupt in comparison to many of the other singles.  And no wonder, as it’s a travesty of a 45.

There were a number of possible candidates for the all-important follow-up single after the album had been released to mostly positive reviews, but very few of which considered it to be the band’s finest body of work.  It was generally considered to be a 3/3.5 out of 5 body of work which was, to the casual listener, probably a generous mark if you were going purely by The Blues Are Still Blue, with its nonsensical lyric set to a tune that seems a partial tribute to glam rock.

I just can’t find anything endearing about it.  All of which means I didn’t buy the 45 at the time  – again released in CD, 7″ and DVD format  – and so as I find the tracks out there on the internet, it will be the first time I hear them.

CD single:-

mp3 : Belle and Sebastian – The Blues Are Still Blue

mp3 : Belle and Sebastian – The Life Pursuit

Strange that the track after which the album was named was reduced to being an obscure b-side when in fact it is much more obvious a B&S number than many of its contemporaries; it’s certainly better than the a-side

mp3 : Belle and Sebastian – Mr Richard

Please make it stop.  A pastiche of Paul Simon‘s Me and Julio Down By The Schoolyard is what comes to mind.  Or a ‘comedy’ number by your in-house entertainment crew on an 1980s package holiday

7″ b-side

mp3 : Belle and Sebastian – Whiskey In The Jar

Limp and lifeless and pointless cover of a cover in a nod to the band referenced in I’m A Cuckoo.  Oh dear.

The DVD had a live version of Roy Walker, again taken from the Botanic Gardens gig of June 2012.  I can’t be bothered to track it down.

Strange how the band were now more popular than ever but the new material was sadly lacking……

SATURDAY’S SCOTTISH SONG : #35 : BLOOMSDAY

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Warning.

Today’s is a real heartbreaker of a number. So you better get ready now…

Bloomsday was a short-lived project. It came about in 1990 when Chris Thomson (ex Friends Again) joined forces with Steven Irvine and Neil Clark who were both without an output for their musical talents after Lloyd Cole had chosen to go solo.

There was one fantastic upbeat pop single called Strange Honey, followed by a majestically moody album called Fortuny.  There’s not a great deal of commercial sounding music on the record – and those songs which are of that ilk have dated a bit – but there’s other deeper, darker and intense numbers that even nowadays more than 25 years on still have the ability to astound with every listen.  Like this.

mp3 : Bloomsday – Universal Thirst

The Boatman’s Call would see Nick Cave make a whole album out of being torn asunder by failed relationships and it being held up as a modern masterpiece.  None of his songs however, come close to capturing just how hard it is to cope when your one true love leaves you behind…….and the despair of coming to forlornly rely on hope.

Not an easy listen.  But trust me on it……

PS : The double bass on this song is played by none other than Mark Bedford of Madness….

TRIPLY DISAPPOINTED

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Three different songs that share the same title:-

mp3 : Electronic – Disappointed
mp3 : Morrissey – Disappointed (live)
mp3 : P.I.L. – Disappointed

The first of these the biggest ever hit single for the supergroup, reaching #6 in 1992. The middle track was originally the b-side to Everyday Is Like Sunday but- the live version I’ve shoved up today is from the flip of the 12″ of Pregnant For The Last Time. The final track is the 12″ version of a 1989 single that barely scraped the Top 40.

The Three Johns (Lydon, Marr and McGeogh) along with Moz, Barney and Neil in one posting? Now THAT’S what I call music…..

Oh and the photo used to illustrate the posting was taken moments after my team, Raith Rovers, had won a cup final with a goal two minutes from the end of extra time back in 2014. The look of disappointment and indeed despair on the faces of the opposition players is quite plain to see…..

 

AN IMAGINARY COMPILATION ALBUM : #87 : THE DURUTTI COLUMN

A GUEST POSTING FROM …strictly rockers…

 

vini

Another tricky ICA to distill. So much great music and over 30 albums!

I’ve focused on the Factory years up to 1990. If there’s enough interest, an ICA of 21st century Durutti Column might be forthcoming…

Ten FACTs, Ten Years, Ten Tracks:

• Durutti Column were founded in 1978 by Anthony H Wilson and Alan Erasmus. They were the first signing to Factory in 1978.

• Durutti Column were named after a mis-spelling of ‘Colonne Durruti’, the largest anarchist group active in the Spanish Civil War – followers of the grandly-named Buenaventura Durruti

• The original five-piece recorded two tracks for the debut Factory release, ‘A Factory Sample’. However, due to disagreements about producers, it soon became a solo project of ‘that genius guitarist that’s always ill’, Vini Reilly.

• The debut album ‘The Return Of The Durutti Column’ was recorded in just two days by Vini Reilly and engineer Martin Hannett. It was famously housed in a sandpaper record sleeve glued by members of Joy Division & ACR. A Situationist prank that had also been considered by Malcolm Maclaren for the Sex Pistol’s debut

• All The Durutti Column’s releases on Factory had catalogue numbers ending in ‘4’

• Bruce Mitchell, DC’s longtime percussionist and sometime manager, joined in 1980 from Alberto Y Lost Trios Paranoias

• A self-taught guitarist, Vini’s first recorded work was Ed Banger & The Nosebleeds’ ‘Ain’t Bin To No Music School’. When Vini left the band to join DC, he was replaced by Billy Duffy and ‘Ed Banger’ was replaced by Steven Morrissey. Vini later played guitar on Morrissey’s ‘Viva Hate’

• Brian Eno cites Durutti’s 1981 release ‘LC’ (‘Lotta Continua’. Italian for ‘continuous Struggle’) as his all-time favourite album and John Frusciante (Red Hot Chili Peppers) claims Vini is ‘the best guitarist in the world’. According to self-critical Vini, ‘it’s just tunes, innit’

• Vini recently suffered three strokes and was the subject of an appeal that raised £3000 in just one day to cover his unpaid rent

• In the film ’24 Hour Party People’ God appears to Tony Wilson and tells him that Vini Reilly is way overdue a revival, that he should consider a ‘Greatest Hits’ album and that the Durutti Column is ‘good music to chill-out to’. God was right. He usually is.

Durutti Column: 1980-1990 The Factory Years ICA

01 Sketch For Summer (Return Of…, 1980) FACT 14

Probably the best-known DC song complete with Martin Hannett‘s sampled birdsong. Its a love/hate thing

‘(Hannett) more or less got sounds for me that no one else could understand that I wanted’

02 Madeleine (Lips That Would Kiss EP, 1980) FAC BN2-005

B-side of the rare ‘Lips That Would Kiss’ EP. Released in Belgium on Factory Benelux

03 For Belgian Friends (A Factory Quartet Sampler, 1980) FACT 24

Up-beat drums by A Certain Ratio’s Donald Johnson

04 Jacqueline (LC, 1981) FACT 44

Recorded on 4-track cassette at home. The first recordings with Bruce Mitchell on drums

05 The Missing Boy (LC, 1981) FACT 44

Written about Ian Curtis with heart-wrenching, hesitant vocals by Vini. Not a dry eye in the house. ‘Same old order… Same old order… Same old order’

There was a boy / I almost knew him
A glance exchanged / Made me feel good
Leaving some signs / Now a legend
The dream was wrought / Where thoughts were heard
Love is reserved / From previous times

Like a dead bird in the dirt / Like a rusty can on the ground
I don’t believe in stardom / Machinery in action
Full of experts / Full of experts
Same old order / Same old order / Same old order

Watch with obsession / Some accident of beauty
Try to capture / As the light begins to fail
Shapes to compose / Shadows of frailty
The dream is better / Dissolves into softness
But the end / The end is always the same

06 Without Mercy (Stanzas 4-7) (Without Mercy, 1984) FACT 84

Just. Beautiful. Intended as an instrumental evocation of the poem ‘La Belle Dame sans Merci’ by John Keats

IV.
I met a lady in the meads,
Full beautiful—a faery’s child,
Her hair was long, her foot was light,
And her eyes were wild.

V.
I made a garland for her head,
And bracelets too, and fragrant zone;
She look’d at me as she did love,
And made sweet moan.

VI.
I set her on my pacing steed,
And nothing else saw all day long,
For sidelong would she bend, and sing
A faery’s song.

VII.
She found me roots of relish sweet,
And honey wild, and manna dew,
And sure in language strange she said—
“I love thee true.”

07 Tomorrow (Circuses & Bread, 1986) FACT 154

Another haunting, effecting vocal from Vini.

All I wanted was your time / All you ever gave me was tomorrow
And tomorrow never comes / Tomorrow never comes
People stood in a line with flowers / They were only waiting for the moment
And I know the feeling so well / I’ve been waiting for you for so long

08 Finding The Sea (Vini Reilly, 1989) FACT 244

Heaven in two parts. Vocals by Sola. Produced by Stephen Street

09 Otis (Vini Reilly, 1989) FACT 244

Experimenting with samples of singers to stunning effect. Sampling ‘Pain In My Heart’ by Otis Redding. Additional vocals by Pol.

‘Respect & Thanks to those we have sampled.’

10 Contra-Indications (Obey The Time, 1990) FACT 274

Obviously influenced by 1990’s Manchester, this initially sounds like it could be off the first Electronic album

Bonus:

11 I Know Very Well How I Got My Note Wrong (Bonus 7″ w/ Vini Reilly LP, 1989) FACT 244+

An out-take from the Viva Hate sessions released as a bonus 7″ with copies of the Vini Reilly album.

Credited to Vincent Gerard & Steven Patrick ‘Definitely not for sale separately. ‘

‘When they’re duff, they really are fuckin’ duff!”

“…strictly rockers…”

THERE’S TWEE…..AND THEN THERE’S THIS

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

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

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

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

Enjoy.

AN UNUSUAL AND INSPIRED COVER

eels

Eels are a very unusual and distinctive band. They’re probably in loads of collections thanks to their inclusion on all sorts of compilation CDs that have accompanied film soundtracks, including including Scream 2, American Beauty, Road Trip, Holes, The Anniversary Party, Knocked Up, Yes Man, The End of Violence, Hellboy II, Hot Fuzz, The Big White, and the first three Shrek movies. I’d imagine that a lot of folk who were then attracted to buy more stuff by the band as a result of the soundtrack material would likely be baffled by what they picked up….it’s not always the easiest or most comfortable of listening.

They also once did a very unusual cover. This was the fabulous original:-

And here’s the equally fabulous cover in which the original is twisted and kicked around to produce something rather disturbing:-

mp3 : Eels – Get Ur Freak On

Enjoy.

HOW REMISS OF ME NEVER TO HAVE POSTED THIS BEFORE (2)

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I was sure I had featured Dinosaur Jr. before.  I certainly did over at the old blog when I mentioned that I particularly loved the promo for Feel The Pain given it featured golf (albeit in a tongue-in-cheek way).  Yup, for those of you who weren’t previously aware, I am an avid golfer.  Don’t let that put you off.

I don’t actually own all that many tunes written and recorded by J Mascis but what I do have I really like.  Especially this 1988 single which is something of a masterpiece:-

mp3 : Dinosaur Jr – Freak Scene

There’s just something quite unique about the song, and it’s probably been best captured by the all music reviewer:-

“…the melody of the song is instantly infectious…..Mascis is one of those rare guitarists who seems to have the ability to voice emotion while soloing, using the instrument to convey a message that verbal language just can’t translate. Freak Scene is the perfect assimilation of several musical genres, blending pop melody, the crunch of metal, and punk attitude with a dash of acoustic folk and classic rock guitar leads filtered through Mascis’ soon-to-be hip, slacker aesthetic.”

Yup. And it’s magnificent to dance to. It didn’t qualify for the 45 45s at 45 series as I only discovered and bought it about two years later…….

Here’s yer b-side (or in my case as it’s the CD single I have, the additional track):-

mp3 : Dinosaur Jr – Keep The Glove

Enjoy

B&S ON SUNDAYS (11)

FunnyLittleFrog

From wiki:-

“Funny Little Frog” was the first single lifted from Belle & Sebastian’s The Life Pursuit. The track was released in January 2006 on Rough Trade Records, and is produced by Tony Hoffer. The single became the band’s highest-charting single in the UK so far, reaching #13. The artwork for the single features Julie Coyle and Marisa Privitera.

A different version of the song “Funny Little Frog” appears in Stuart Murdoch’s project “God Help the Girl”.

Fair play to the band for moving the sound along again in a different direction with the single that pre-dated the release of The Life Pursuit by around a month or so.  My problem was however, that it just didn’t excite me in the way that earlier releases had.  It’s not that Funny Little Frog is poor or a total let-down, but it wasn’t one that stopped me in my tracks or made me want to listen to it on heavy rotation.  Having said that, it was clearly one for radio play and the idea of its release date was to create a bit of excitement around the new LP;  it didn’t fail on either count with, as wiki states, becoming the band’s biggest 45 and paving the way for the LP to debut at #8, which again was a watermark achievement.

It was released on CD single, 7″ and DVD format, and you had to buy all three formats if you wanted all the b-sides.  Changed days indeed.

mp3 : Belle & Sebastian – Funny Little Frog
mp3 : Belle & Sebastian – Meat and Potatoes
mp3 : Belle & Sebastian – I Took A Long Hard Look

That’s the 3-track CD for you. Meat and Potatoes is is the tale of a couple’s attempts to spice up their sex life set to a tune that borders on a C&W ballad. It’s as dreadful as the words I’ve just typed up would have you imagine…..

I Took A Long Hard Look is Stevie Jackson by numbers. There’ll be loads who love this. I’m not one of them.

That’s the first time in nearly ten years that I’ll have played these songs. Still haven’t changed my opinion.

mp3 : Belle & Sebastian – The Eighth Station of the Cross Kebab House

This was the b-side of the 7″ vinyl. Also made available as a track on a fundraiser album for a children’s charity. I don’t think it would make too many ICAs compiled by even the most hardcore B&S fan…

mp3 : Belle & Sebastian – Lazy Line Painter Jane (live at the Botanics)

Back in June 2004, the band had played a special gig in a Glasgow park as part of a local festival. I remember the day well as it was the occasion summer visited the city that year – gloriously hot and sunny. I didn’t bother with the gig as I’m not a huge fan of the outdoor variety – and besides, it was a day best spent on the golf course. It’s a speeded-up version of the old song from the Lazy Line Painter Jane EP, but it does feature the magnificent Monica Queen on co-vocal so it’s well worth it.

Enjoy.

SATURDAY’S SCOTTISH SONG : #34 : BLOOD UNCLES

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I normally put the front cover of any single on display but have gone with the back of Beathag by The Blood Uncles just to show how unconventional a trio they were. Scottish Goth-Rock….with an emphasis on Rock.

Consisting of Big John Duncan (ex-Exploited), John Carmichael and Colin McGuire, their debut EP on a local indie label attracted the interest of Virgin Records. Their career consisted of three singles, including a frantic cover of a song by Prince, and one LP, none of which got near the charts. Big John would later be part of the live act that was Nirvana…..

mp3 : The Blood Uncles – Beathag

The second of the Virgin singles. Here’s the b-side:-

mp3 : The Blood Uncles – God Says No

Enjoy. But I’m not sure many of you will.

SNATCHING A VICTORY FROM THE JAWS OF DEFEAT

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This a true tale, the revealing of which was inspired by Badger‘s revelations of ‘humiliation’ while singing on stage.

It’s 1990. I’m out with Mrs Villain (Rachel) to see the new stage show that has been put together by the outrageously camp and very funny Julian Clary. The venue is Glasgow Pavilion and the show is being performed in front of a sell-out audience of 1,500, the majority of which it is safe to say are either female or gay. Mrs V adores Julian – she’s always had a thing about camp/glam blokes dating back to her love for Bowie and Bolan as a teenager. She warns me before we leave that, if possible, she is going to get on stage with her hero during the section when there will be the inevitable audience participation – she’s certainly dressed for the occasion wearing an incredibly tight t-shirt and skinny jeans combo and looking as great as I’ve ever seen her.

The show is very funny. Julian is as outrageous as you’d hope – full of OTT one-liners and tales that were too risqué for television. He then tells us that it is audience participation time and it’s going to be a live version of his TV game show, Sticky Moments, that had aired on Channel 4 back in 1989 and 1990.

I say game show….but as wiki states:-

the questions, answers, challenges and cheap prizes were deliberately off-centre, and rife with gay innuendo and double entendres, played for laughs rather than actual competition.

Julian tells us that the competition is to be a shoot-out between a straight and gay couple. He asks if perhaps there are any gay couples in the audience and if so to raise their hands. He then spends a few minutes wandering up and down the aisles within the stalls, wise cracking his way through as to why he was ruling willing participants out until he finally finds the two blokes he most fancies. They take to the stage to huge applause.

Julian then announces that he’s already decided who his straight couple are going to be….and immediately I know what’s coming next. Mrs V had already made all sorts of eye-contact with him as he strolled through the auditorium while I had made the cardinal error of trying to look wholly disinterested. He grabbed Mrs V by the hand and said something along the lines of her being so gorgeous that her other half will have no choice but to follow….

There are loud cheers and a few wolf whistles…which Julian is keen to explain are very much for me. He admires my t-shirt which is emblazoned with The Wonder Stuff on the front….he askes me what it means…I foolishly try to explain its the name of a band….he makes a biting retort about it being some sort of gay sex position. It’s clear my role tonight is to be the fool whom the audience laughs at….

To be honest I don’t mind at all. Mrs V is in heaven right now, a smile lighting up her face as she gets up close to an idol.  Julian explains that he will ask one half of each couple three questions, all to do with the likes and habits of their partners, and the couple who comes up with best matching answers goes home with the prize. Of course, I’m not to answer the questions – they are to be about me – and so while I’m blindfolded and made to put on headphones to listen to music, Mrs V and one half of the gay couple get talking and answering.

I can sense that the audience is rocking during this section and that the piss is being ripped royally out of me. I should also have said that Julian, when asking my name and being told Jim, said there was no way he could go with anything as common as that nor could he use Jimmy as that would just pander to stereotyping men from Glasgow. I was going by my proper name of James and he was revelling in delivering that word in as camp a fashion as he could.

“Right James. Here’s your first question. Rachel says that you’re very much a boxer shorts sort of man and so I#m not going to ask you what type of underwear you have on tonight….if any. But if you are, can you tell us the colour please?”

“Red and White stripes”

“Are you sure? Rachel is certain she saw you in black before you left the house….”

I pull up the waistband of my boxers to show that they are indeed red and white. We are now 1-0 down.

“Question Number 2 James. I think this one is quite easy. What was it that first attracted Rachel to you? Was it you larger than life personality, your larger than life pay packet or your larger than life penis”

I look at Rachel. She is trying hard not to laugh out loud. I’m trying hard to work out what answer she would have given. Surely she didn’t want to add to my humiliation……

“Julian, I would say it’s my larger than life pay check as after all my other half is a bit of a Material Girl”

“No James….It seems you have a big dick”

The audience at this point is ending itself collectively as I look at Rachel who is smirking. We are now 2-0 down.

“Final question James. Now I know you can’t win and that really is such a shame.  But you can go home with a consolation prize if you get this one right.  And you should do as it’s about music and we all know you love music what with your fabulous t-shirt. So the question….what did Rachel say you would sing if you were on a karaoke stage?”

Ya beauty! I’d only ever at this point in my life once done karaoke and it was for a laugh at a works night out. I had performed one song very badly and I distinctly remember telling Rachel about it.

“That’s easy Julian. My karaoke song is I Will Survive.”

More laughs from the audience and Rachel looks over to me in a bit of shock.  WTF?  Does this mean we are going home empty-handed and all this has been for nothing??

“James, are you sure you and Rachel aren’t on a blind date? You don’t seem to know one another very well.. She told us it would be something by Morrissey or The Smiths.”

I genuinely don’t know what to say. The idea of a Morrissey or Smiths song being an option at a karaoke night back in the early 90s just didn’t seem possible. They would have been the last answer I’d have given.

Julian turns to me and says: “James. I can tell that you don’t want to disappoint Rachel, so I’m going to give you one last chance to pick up a prize. Would you care to sing your karaoke number for us here on stage?”

I hesitate. The audience cheer and scream. Rachel looks at me imploringly. I have no choice……

As Russell Churnley, the long-time musical collaborator of Julian Clary hits the distinctive opening notes on the piano, I close my eyes and go for it. Big style.

I don’t know if I was any good or not…I don’t even know if I got the correct words out. But I gave it my all and the crowd loved it, clapping along in whatever sort of time I was keeping. One verse and one chorus and that was it. Thankfully.

Julian gave us the prize which was a plastic replica of Fanny the Wonder Dog (Julian’s pet whippet who had been part of his earliest stage and TV shows) and a bouquet of flowers. But Rachel also got a kiss and I got a hug. We went back to our seats and within seconds I realised I was shaking thanks to a ridiculous rush of adrenalin that I don’t think I’ve ever experienced again.

And that was that. Or so I thought.

Firstly, Julian sang a song in the second half of the show and dedicated it to me (see below)

Secondly….the next day, I boarded my usual 7.30am train from Glasgow to Edinburgh where I worked at the time. I sat down in the my usual seat up in the very front carriage. Another of the regular commuters looked across at me and smiled. She got out of her seat, walked towards me and leaned in close whispering ‘red and white boxers….I wouldn’t have imagined!’

With a wink and a wave she went back to her seat.

Fame, fame, fatal fame….

mp3 : Gloria Gaynor – I Will Survive
mp3 : Julian Clary – The Leader of The Pack
mp3 : Morrissey – Get Off The Stage

Enjoy

AN IMAGINARY COMPILATION ALBUM : #86 : TEENAGE FANCLUB

A GUEST POSTING FROM TIM BADGER

tfc

Just two guys Mucking Around 2016 – Part 2 : An ICA written Live

Yet again we find ourselves sat outside SWC’s house waiting for track ten to finish. Track Ten is ‘Bulletproof’ by La Roux, one of the tracks off of SWC’s safelist, although I have no idea why, it’s a perfectly good record. The music on the way home had been pretty good, some Cornershop, followed by Drugstore, Idlewild, Julian Cope and FKA Twigs. SWC has been slightly grumpy since he had Elbow chosen for him by his own iPod. Its not that he minds Elbow, its just that he finds them slightly uninspiring. Track 11 starts, its Teenage Fanclub.

Immediately SWC looks at me and says “I’ll give you ten quid, if you swap.” I give it some serious consideration, but then I say “No, thanks” and smile. He swears at me and then suddenly out of nowhere he says “I suppose it’s for the best, because you get tell the tale of when you sang this song to that girl you fancied.” This song, track 11, is ‘Tears Are Cool’ from the ‘Thirteen’ album and I once did indeed sing it to a girl I fancied. I’d forgotten I’d told him that. “You told me on the trip to Crewe, it came on the iPod. We almost swerved into the path of that Fiesta because we were laughing so much” he says picking up on my blank look. “I may not include this song” I say and with that we get out of the car.

I spend the next day listening to Teenage Fanclub, and have nearly decided on my ICA, when I bump into SWC at the local Spar Shop. We have a chat and he tells me that he had written the Elbow ICA, but had done it live, letting the iPod pick all the tracks for him – apart from the first one, which was already decided as it was the 11th track. He then says “You should do the Teenage Fanclub one the same way”. I reluctantly agree – largely because I’d left the window open in the car and it has started to absolutely roar it down. When I get back in I realise that of course, this means that I have to start my ICA with ‘Tears Are Cool’ and that means telling this story, or it means SWC telling it for me. Sigh…

Side One

Tears Are Cool – Taken from Thirteen

So, there’s this girl, we’ll call her Aerosmith Girl, actually let’s call her Sally, and she was lovely. I had a massive thing for her in the early to mid nineties. She drunk in my local pub – where I lived at the time. I ignored the fact that she loved Aerosmith because she was so lovely.

Anyway, one night in the pub, I saw her crying, sitting there on her own, crying. I went over and spoke to her, turns out her cat had died (to be honest, she should have just stayed in – the attention seeker) anyway, after about five minutes, I said “its ok Tears Are Cool” – taking it from the song that Teenage Fanclub had released on their most recent album.

On Saturday night it was Open Mic night, when a few people turned up with acoustic guitars, played for fifteen minutes and then sodded off to claim two free pints. That night, for the time ever, I got up to play – I mumbled my way through an acoustic version of a Levellers song and then something in my head went “This ones for Sally” and I looked straight at her and did a little fist pump. I know. Sorry.

Then I sang ‘Tears Are Cool’. When I finished she wasn’t even sitting where she was when I started it. Twenty minutes later I saw her outside eating chips with a bloke called Gavin. Chips. Gavin. I’d sang my heart out in there and she fucked off and bought some chips. I never sang in that pub again. Come to think of it I don’t think I’ve ever sung live again.

Anyway – lets go on with the ICA, the next nine songs picked by the ipod will make up the ICA – I have 68 Teenage Fanclub songs, so here goes….

God Knows Its True – Peel Session 12”

What a place to start! The Peel Session version of this is exquisite, full on proper guitar onslaught. There is an argument that this is their finest moment, certainly the Peel Session version is I think heavier than the 12” version. It wonderful

Radio – From Thirteen

Another single, we are doing well here. Thirteen was not the breakthrough that the response to ‘Bandwagonesque’ had suggested but its every bit its equal and in ‘Radio’ was a song as clean cut and ready for the erm, radio, as they ever record. Its simply wonderful.

Starsign – From 12” single

Another single! I’m not making this up folks, my iPod has a habit of doing this. Some of you will remember wives week on WYCRA when the first three songs where by three of my favourite bands – anyway, ‘Starsign’ is again, wonderful, even if it does sound more like Swervedriver than the band would ever admit.

Everything Flows – From ‘A Catholic Education’

Wow. What an A Side – if you ignore the nonsense around “Tears Are Cool” then tracks two to five are as about as much fun as you can have without taking your clothes and finding a pot of fromage frais in the fridge. At the same time. Side Two will be a let down folks. Face it.

Side Two

Don’t Look Back – From ‘Grand Prix’

‘Grand Prix’ is my favourite Teenage Fanclub album – and sorry I refuse to call them ‘The Fannies’ – just because. The musical template is pretty similar to the rest of their stuff, but its this album that is lyrically wonderful – especially the ones that Gerard Love wrote for some reason. ‘Don’t Look Back’ is one of those tracks and as it happens its one of my favourite tracks. I love the line ‘I’d steal a car/to drive you home’ its wonderfully soppy.

Start Again – From ‘Songs from Northern Britain’

This was one of the standout tracks from ‘Songs From Northern Britain’. This was a song I remember owning of 12” – long since vanished from the Badger household I’m afraid. It had a tremendous B Side if I remember (perhaps with Jad Fair?) but the single is excellent but I think we all know that. It’s a musical road trip full of jangley guitars and Beach Boys style harmonies. I always found the line ‘I don’t know if you can hear me’ as sung in this somewhat ironic and the public inevitably ignored it.

Hang On – From ‘Thirteen’

A strange thing happened in 1993, Teenage Fanclub were on the cusp of superstardom, they were loved by the press and their fanbase was growing. So for some reason they decided to embrace grunge but were in all honesty to brilliant to do it. They couldn’t do it. ‘Hang On’ starts a bit like something by an American Grunge band – its sounds a bit like Pavement as it happens – before it slides into white noise and strings. Its ace but feels uncomfortable getting there.

About You – From ‘Grand Prix’

Has there ever been a band so democratic in its songwritng duties as Teenage Fanclub? This one was written by Raymond McGinley and it’s a catchy as a cold. Its another one of my favourite tracks. ‘About You’ is sung by all three of the bands songwriters and seriously you’ll be singing it for weeks after playing it. The fact that this was overlooked as a single for (the not quite as good) ‘Mellow Doubt’ staggered me then and still staggers me now.

Sparkys Dream – From ‘Grand Prix’

Ok I’ll keep this one short – this is one of the best pop rock songs ever written. Its another Gerard Love one and that bluesy slide guitar intro is divine and nearly every band I can think would kill for it. One I definitely would have included anyway. Decent end to a decent album that.

Tim Badger

AN IMAGINARY COMPILATION ALBUM : #85 : ELBOW

A GUEST POSTING FROM S-WC

elbow_1250685488

Just two guys mucking around – 2016 – An ICA written Live.

So we went to the cricket again, it was uneventful. Somerset lost again. We have seen Somerset six times in the last year or so, they have never won, (four defeats, two rained off). I think we are close to getting banned for life for being such unlucky customers. Anyway, on the way up and on the way back we did our usual ‘11th song Write an ICA’ thing – we do this to liven up the journey up. Quite often it means sitting in the car park until track 10 finishes and we can find out what Track 11 is. Today is no different, but mercifully Track ten is quite short – the reason it has taken so long to get to track eleven is because track 8 and 9 were both long songs (Spacemen 3 and Mogwai respectively). Track Ten is a short punky blast from Eagulls. Track 11 is from miserable Northern dudes Elbow and the track is ‘Any Day Now’ from their fine debut album ‘Asleep at the Back’.

Now, to make things interesting – and to make my life easier (selfish I know) I have decided to do this ICA live – I literally have no say in what songs are picked. I have 47 Elbow songs on my ipod, they are in one playlist – and I will let the iPod choose the tracks via the shuffle and I will write about them as they come in. It will miss off some classics, but it will be varied at least – it also means we may avoid ‘A Day Like This’ which to be honest annoys the crap out of me. Not because it’s a bad song, but because for a while a few summers ago it was bleeding everywhere. I kind of lost a bit of love for Elbow around then.

The only say I have this ICA is the first track – and that was selected for me in the car park at Taunton.

Side One

Any Day Now – Taken from ‘Asleep at the Back’

One of the first songs by Elbow that I ever heard and in the Top Five of theirs. Most of the debut album is brilliant. The songs build into epic crescendos and is perhaps I think their most indie record. Its interesting to see how the band have developed over time, with more torch songs and anthems coming out. Instead of indie based tracks like this. I switch from which Elbow I prefer. Indie Elbow or Stadium Rock Elbow. Probably indie Elbow.

Some Riot – Taken from ‘The Seldom Seen Kid’

This is quite a dour track, quite slow, fairly miserable and rather brooding. It does have these meandering strings running through it. Tracks like this make you realise that largely Elbow always were a vehicle for the voice of Garvey with the music often playing second fiddle to it. The quiet bits nearly always lead to a soaring verse from Garvey. He’s good at that so it makes perfect sense I suppose.

Don’t Mix Your Drinks – Taken from ‘Asleep at the Back’

Another rather slow number that does largely what the track before does. It’s a song which laments mixing drinks as ‘it will kill you’. It’s a grower this one, it takes some time to build, it does that quietly Guy’s vocals are reduced to loud whisper and the music just trundles along nicely. Then just as it was getting going, it just stops. ‘Asleep at the Back’ really is a tremendous album guys.

Open Arms – Taken from ‘Build a Rocket Boys!’

I’ll be honest here, I didn’t like this album and if I had any choice in it, I wouldn’t have actually picked any tracks from it. ‘Open Arms’ is quite good though. You get a cheery old guitar chirping away through it and this other guitar and drum thing that sounds like a train chuffing away in the background. It’s another one of those Elbow songs that you can imagine done live, with (open) arms swaying together in harmony, whilst Garvey crouches down and sings to the crowd. Well sort of.

Powder Blue – Taken from ‘Asleep at the Back’

The third track selected from the debut album – that’s ok it is their best album. As it happens this would have been included should I have had a decision in the running order. I love this song. The piano in it is brilliant. it is this song that made me realise that Garvey is a wonderful singer – he has this knack of building a song to bursting point. Another example of this is ‘Loneliness of a Tower Crane Driver’. As it goes this isn’t a bad ending to side one really, the building of this song into a small epic and then again like the ‘Don’t Mix Your Drinks’ it just stops only this time with the sound of smashing glass. Brilliant.

Side Two

The Night Will Always Win – taken from ‘Build A Rocket Boys!’

This starts for at least thirty seconds with a single piano note repeating over and over – which stays with the song pretty much through it. Garvey and the rest of the music comes in a bit later and there is great bass drum bit in – which comes in around 90 seconds, its deep and heavy but has just enough oomph to be heard. As it happens this is a lovely little song, again its largely about the voice of Mr Garvey with the music taking a backseat. Again. I’m beginning to understand why he released that solo album now.

An Imagined Affair – From ‘Leaders of the Free World’

The first track from this album to be selected but is one of Elbow’s finest moments, not just on this album but full stop. This has an acoustic guitar strumming away whilst Garvey sings about an anonymous female who ‘brings the morning’ and how he is ‘lost in the sound of her voice’. This is what Garvey does best if you ask me – the heavy whispery vocal over quaint little tunes in the background. It’s very lovely indeed.

Forget Myself – Taken from ‘Leaders of the Free World’

One of the few singles selected so far. This should have been a massive hit. It has pretty much everything. The chorus of this is another one of those occasions which you can imagine live. Lights up, strobes flashing, arms aloft here it comes…. ‘Lord I know I won’t forget you….’ It’s wonderful of course it is. This was I think the comeback single after the second Elbow album kind of flopped (an album that is missing from my ipod for some reason – does anyone elses ipod just randomly delete shit) and the band went away and sort of reinvented themselves as a band wanting to play stadiums with the tunes capable of filling them. Great song.

The Birds – Taken from ‘Build A Rocket Boys!’

An eight minute track. Back in the mid-1990s it was customary to end albums with long songs – this was done deliberately to put the cassette industry out of business. My ending an album on a long song, people were forced to waste around four minutes of their lives fast forwarding the end of Side One in order to get to the start of side two. It worked. Around three and a half minutes into to this, Elbow go a bit krautrock channelling their inner Can. That genuinely is the most interesting thing that happens in this track. Come on iPod you have one more song to pick, don’t ruin it now.

Coming Second – From ‘Asleep at the Back’

In which Elbow go slightly menacing. Right from the start, Garvey sounds like he is ready to kill you in this song. There is a string instrument running through it – (a cello perhaps?) that just plucks away like a clock ticking down to some ungodly event. Then around 1 minute 40 the guitar comes in and just accompanies that ticking noise. Then it all combines together to have a couple of minute finale, lots of whirling, screeching guitar and no Garvey – he’s probably gone for a lie down.

So that’s it. It did alright my iPod really, not a bad selection of tracks, I would have picked four of the ten should I have been less lazy. Badger has just told me he will do the same thing with his 11th track selection – that folks by the way without giving too much away was a brilliant band to be given. I offered him £10 to change – he declined.

Oh one last thing – in case you are wondering ‘Loneliness of a Tower Crane Drive’ was the 16th track out of 47 so would have been in Volume 2 if you like. ‘One Day Like This’ 41st.

Good iPod, nice iPod. Take the afternoon off.

S-WC

AN IMAGINARY COMPILATION ALBUM : #84: THE JAYHAWKS

A Guest posting from Charity Chic

Twin Cities Harmonies – A Jayhawks ICA

jayhawks

I have received numerous electronic messages recently alerting me to the release of Paging Mr Proust a new record by The Jayhawks their 9th album in 30 years albeit only their second since 2003

That can only mean one thing – time for a Jayhawks ICA

I do not own this one or the 2011 predecessor Mockingbird Time or indeed their 1986 debut The Jayhawks (also known as The Bunkhouse Album ) so I shall concentrate on the six albums released between 1989 and 2003 when they, and indeed I, were at their peak

Side 1

1- Wichita from Hollywood Town Hall (1992)

Their third album and their breakthrough album Hollywood Town Hall on Def American is without question one of the top 10 albums of all time and Wichita is one of three tracks from it which will feature

2 – Sioux City from Blue Earth (1989)

A song which would have graced Johnny Cash’s American Recordings series.

I told this to Gary Louris and Marc Perlman the second time I ever say the Jayhawks

http://charitychicmusic.blogspot.co.uk/2014/03/the-first-two-times-i-saw-jayhawks.html

but given my slurred Glaswegian mutterings they merely looked bewildered and scared

3 – I’m Gonna Make You Love Me from Smile (2000)

Smile is perhaps the weakest of the 6 albums featured but still contains one or two crackers including this

4 – All The Right Reasons from Rainy Day Music (2003)

The last of the albums featured Rainy Day Music represents a return to form.

More acoustic than it’s two predecessors it sees the Jayhawks going back to their roots

There are about half a dozen songs that could have featured; on another day it might have been something else

5 – Nothing Left to Borrow from Tomorrow The Green Grass (1995)

A terrific sing a long song to bring the first side to a close

I had a very entertaining on line discussion with Brian (http://lineartrackinglives.blogspot.co.uk/) and others as to the relative merits of Hollywood Town Hall and Tomorrow the Green Grass. The general consensus was that HTH just about shades it

Side 2

1 – Blue from Tomorrow The Green Grass (1995)

Probably their most well known song

I had the honour of seeing Sharleen Spitteri sing this with them at The Garage in Glasgow and getting to chat to her.

Being a fellow Weegie she had no problems with my accent

2 – Nevada, California from Hollywood Town Hall (1992)

See side 1, track 1 – nothing more to say really

3 – Sixteen Down – from Sound of Lies (1997)

The first album without Marc Olson. Now essentially it is Gary Louris’ band and accordingly there is a more rocky feel to it

From about the time when one of my pals christened him the Professor of Music.

I always associate the Jayhawks with Olson, Louris and Marc Perlman but Tim O’Reagan has appeared on more records than Marc Olson.

4 – Save it For a Rainy Day from Rainy Day Music (2003)

Another gorgeous acoustic number from Rainy Day Music

5 – Take Me With You When You Go from Hollywood Town Hall (1992)

It is only fitting that we end where we began with Hollywood Town Hall

Another great sing along which is often the last song at a show

Hmm – maybe I should check out Paging Mr Proust after all

CC

JC adds…………………..this is an ICA that has been lying around for some time, so big thanks to CC for being so patient.  Oh and it’s his birthday today….so my very best wishes to you.  If you go browsing in and around the charity shops of your choice, I hope you find a few hidden gems and/or bargains.

CLEANING UP THE I-TUNES : ‘A’

card

This new series, such as it is, is partly to force me into a bit of action in that my i-tunes library is a bit of a mess having not been tidied up for years. It means there are duplicates taking up space while even worse, there’s songs that have been originally loaded and later, thanks to them being modified in some shape or form (often for this blog), are no longer where they should be. It’ll take a while to sort it out and I’m going to do it on a letter-by-letter basis.

In doing so, I’m going to places that I won’t have been for a long time and re-discovering some long-lost tracks, many of which I think are worthy of sharing with you. The idea however, will only be to draw attention to singers/bands not featured here before (in as much they’re not listed in the big index on the right hand side). It’ll be an alphabetical run-through and most likely be an occasional feature as I don’t know as and when I’ll ne in tidy-up mode. But I have finished off the first letter of the alphabet….

mp3 : Airport Girl – Striking Out On Your Own

An example here of a band I only discovered via the internet, back in the days when I had time to scour round into all sorts of nooks and crannies in the days before I developed a fetish for blogging.  If you like your pop to have an indie-bent to it – and by that I mean the sort of fragile almost twee variety, then Airport Girl will tick your boxes. They burst onto the scene back in the very late 90s, releasing a handful of singles/EPs and one album on various indie labels of note, but particularly Fortuna Pop, before disappearing for a while and coming back in 2007 with an album called Slow Light, which is where I picked up on them.  The featured track however, dates back to 2000 and is a b-side.  It’s the greatest example of Bellshill-pop (BMX Bandits etc) to not come from that particular location.

mp3 : Alexi Murdoch – Song For You

I’m astonished that I’ve never included Alexi Murdoch here before – he was certainly on the old blog a fair few times.

Born in London in 1973 to a Greek father and Scottish-French mother, he lived in Greece until he was ten, when his family moved back to Britain, settling in Scotland. In 1992, he moved to America to study and it was on the west coast, in and around Los Angeles, that he began to build a reputation as a singer-songwriter of some note. He hasn’t been the most prolific of artists – one EP and two albums between 2002-2011, but it has all been of the very highest quality, The track above is from the 2006 album Time Without Consequence, but a version was originally on the 2002 EP Four Songs.

mp3 : Au Revoir Simone – Sad Song

Some low-fo electronic-pop courtesy of a Brooklyn-based female trio who, for a time on the mid-noughties, were top of the hipster’s lists of bands to latch onto. I’ve one album and one single from Au Revoir Simone in the collection – I didn’t quite get what all the fuss was about, but the featured track, from the 2007 LP The Bird Of Music is pleasant enough

mp3 : The Assembly – Never Never (12″)

After enjoying success with Depeche Mode and Yazoo, the synth-pop genius that is Vince Clarke decided he wanted to collaborate with singers on a one-ff basis under the moniker of The Assembly. First up was Feargal Sharkey, formerly of The Undertones, and the electro-ballad was a smash in the UK hitting #4 in late 1983 and showing a side to Sharkey that few imagined possible. There was no follow-up single from The Assembly, and after a one-off effort with Paul Quinn flopped, Clarke turned back to being part of a band, forming the hugely popular Erasure.

mp3 : The Arrogants – Shellshock

One of my worst habits is downloading covers of songs that I have in the collection but failing to pay much attention to who is doing the cover or where it’s from. This is an incredibly good and unexpected cover of the New Order song in that it’s stripped right down and turned into a near acoustic ballad with a lovely female vocal. Totally different from the original. Turns out The Arrogants were an American band who were around for a while at the turn of the century and this was recorded for an album of re-interpreted songs from the soundtrack to Pretty In Pink.

Hopefully today’s selections offer up something for everyone.

B&S ON SUNDAYS (10)

Books

from wiki

Books is an EP released by Belle & Sebastian in 2004 on Rough Trade Records. The EP features “Wrapped Up in Books” from Dear Catastrophe Waitress, two new songs — “Your Cover’s Blown” and “Your Secrets” — and “Cover (Version)”, a remix of “Your Cover’s Blown” by the band’s keyboardist Chris Geddes. The front cover features Alexandra Klobouk. The EP reached #20 in the UK singles chart.

from all music

Books is the third single from Belle & Sebastian’s 2003 album Dear Catastrophe Waitress. “Wrapped Up in Books” comes from the album. The other three songs are exclusive to the EP.

While the charming, low-key “Books” is a fine song, it is firmly in the B&S tradition. “Your Secrets” is also pretty typical fare, but very strong and catchy with the added perk of some lovely weeping pedal steel guitar. The real interesting track here is the mini-epic “Your Cover’s Blown.” It starts off as a slinky disco number with some wonderfully sexy vocals from Stuart Murdoch, has a lovely sunny chorus, and a spooky spy music bridge. Add to it typically literate and funny lyrics and you have a winner that is equal parts Pulp, Squeeze, and always uniquely Belle & Sebastian. The group’s creative renaissance continues to amaze. “Cover” is a funky remix of “Your Cover’s Blown.” The band’s Chris Geddes is responsible and he turns the track into a glittering dancefloor confection that wouldn’t sound out of place between the Rapture and !!! on indie dance night, or even in a Larry Levan mix.0

This is everything that the previous single wasn’t.  It’s got a brilliantly catchy and enjoyable lead track (one of many excellent songs on Dear Catastrophe Waitress) while the three other songs have a certain wow factor.  Your Secrets is a quality b-side, one which is up there with some of the earlier material, but as the reviewer indicates, the real joy is to be found in the funky and groovy Your Cover’s Blown and its remix.  This was the band taking a chance and really pulling it off.  One of my favourite B&S tracks simply for the fact it’s such a departure from the norm and so well pulled off.

mp3 : Belle & Sebastian – Wrapped Up In Books
mp3 : Belle & Sebastian – Your Cover’s Blown
mp3 : Belle & Sebastian – Your Secrets
mp3 : Belle & Sebastian – Cover (version)

Enjoy.

SATURDAY’S SCOTTISH SONG :#33 : BIS

bis2

A wee treat for y’ll today (or maybe not as there will be some, indeed possibly many, who just don’t get Bis and will be appalled by this particular release).

The Optimo Singles Club was a short-lived Glasgow label which was an offshoot of a very famous Sunday-night club here in the city. The club was founded in 1997 and ran until 2010. I never went near it, for at the age of 34 I genuinely believed my clubbing activities were over, although I was more than familiar with its venue – the Sub Club – which was famous for opening its doors and making its floor available to all sorts and styles of music, including indie ever since 1987 (when I was of an age to go inside!!).

Anyways….in 2002, the Optimo Singles Club released an EP called Fact2002 on which could be found Bis doing electro-flavoured cover versions of songs originally released on Factory Records. And here they are:-

mp3 : Bis – Love Will Tear Us Apart
mp3 : Bis – Hurt
mp3 : Bis – Shack Up
mp3 : Bis – Looking From A Hilltop

Enjoy

ALL ART IS QUITE USELESS (according to Oscar Wilde)

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Endless Art is a wonderful song by Irish indie outfit A House, released initially as the lead track on the Bingo EP (1990), and then as a single from their 1991 album I Am the Greatest. And it features Edwyn Collins at the producer’s desk.

It reached number 46 in the UK but should have done so much better – the trials and tribulations of being on a small indie label that couldn’t get distribution to match initial demand. The lyrics begin with the line ‘All art is quite useless according to Oscar Wilde’ and for their remainder are mostly a list of the names and birth and death dates of artists from various fields, with the chorus remark: “all dead but still alive, in endless time and endless art”. The lyrics are not really sung as such….not it’s not quite a spoken word track either. I think its genius.

For the first appearance of the song on the Bingo EP, the band received some criticism for the fact that the artists listed in the song are all male, so they recorded a second version where all the artists are female. and called it More Endless Art. Equally genius

mp3 : A House – Endless Art
mp3 : A House – More Endless Art

There was also a cracking video which for 1991 can be seen as quite ground-breaking.

Enjoy