FAC 9 : THE FACTORY FLICK

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I haven’t forgotten about this planned short series on the contents of the Use Hearing Protection : Factory Records 1978-79 box set, albeit there hasn’t been a posting since 29 July.  It’s the fact that Joy Division are so heavily involved in what would be the final two parts, and are still in the ICA World Cup, that has made me hold things back.

FAC 9 was a film/event on 13 September 1979 at Scala Cinema in the King’s Cross area of London.  A Factory information sheet at the time provided this info:-

FAC 9; Matrix number for films made on factory records money; the first three are by Charles Salem, accomplished and super ‘8’ stock, and featuring minimalist tendencies as far as the budget is concerned, and celluloid nod in the direction of the aesthetics of ’75. The normal budget for a three-minute film will be in the region of ten pounds; normal equipment being a cheap camera and a cassette player to furnish the desired soundtrack; sync being achieved by careful synchronous pressing of buttons. To cope with the new commodity relations defined by this ‘you only have to know three chords’ approach to Hollywood, the Scala have installed for today an 8mm projector. These films are offered in the hope that other people will begin squirting off 8mm as visual refractions of their favourite music or other obsessions, and further arenas will invest in (cheap) 8mm projectors. Super.

FILM 1; “Red Dress” LUDUS

Animations to accompany track by Ludus, a Manchester four-piece band who work out of the New Hormones stable. Vocals by Linder, lady responsible for ‘The Secret Public’ and Orgasm addict ironing/nude.

FILM 2; “Factory flick” JOY DIVISION/CITY FUN

Amplification of article by Liz Naylor in the Manchester fanzine, ‘City Fun’, entitled ‘No City Fun’. Music is by the last thing to come out of Manchester that got its pic on the front of N.M.E., Joy Division, three tracks being taken from their “Unknown Pleasures” album. FACT 10. c.f. Londoners; if you don’t know who the last gentleman in the film is………….. you SOON will.

FILM 3: “All Night Party” A CERTAIN RATIO

Visuals for a classic modern single which sold shit, but no accounting for the assholes in the press FAC 5. ‘Being in love means never having to say sorry to Claude Lelouch.’

Films 1 to 3 were made by Charles Salem for Factory, Film one being also done under the aegis of New Horwones; you see they have this lawyer……….

FILM 4: “Joy Division” JOY DIVISION

This film by Malcolm Whitehead was also made on super 8, but this time with stripe sound put on via his projector, syncing it took him seven months. For those with a geographical turn of mind, the concert footage was shot in the Bowden Vale youth club, Altrincham. A film made cause he liked the band/more than anything else, and likes cameras; he is more surprised that it’s being shown in this flash London cinema than you are.

ALSO SHOWING: Wonderful promotional films (what were the above???)

P.S. Will Devo ever be hip again?

AND IN THE BAR:

A small home videotape of a variety of modern music items screened by Granada Television in the North-West (yes, Manchester, like) in 1976 and 1977. Many of the items were only shown in the North West, and act here (as a disincentive to leave the bar as deep background ; the kind of TV stuff that young Mancunians were watching back in the days when anarchy really meant anarchy.. T?shirts. Since these are home taped videos shown for collectors interest as opposed to gain of any sort, it is emphasized that any writers/critics/hacks chancing upon them should not mention having seen them; and that in general they should be taken in the spirit they are intended; homage to the already golden age………..

Love, the Factory.

The Use Hearing Protection box set included a DVD copy of the No City Fun film as detailed above.  It’s a fascinating artefact of the era when cars were (relatively) fewer on the streets, when most folk rented their televisions, and when magazines or publications took a minimalist approach to graphic design. It was an age of brutalist architecture, of orange and white double-decker buses, and developers had yet to get their hands on every spare piece of vacant or derelict land.

mp3: Joy Division – Disorder

It was never a secret but as has been indicated above, FAC 10, which will be the final part of this short series, is Unknown Pleasures….but that’s for another day.

JC

‘S’ IS FOR…….

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…….Stitched-Back Foot Airman.

I mentioned in last Saturday’s post about Stopstarts that I had found myself looking up unknown (to me) singers and bands whose names began with the letter ‘S’, which is how I came across today’s indie-combo, of whom I have just one song thanks to its inclusion on the C87 box set, comprising seventy-four tracks, issued a few years ago by Cherry Red Records.

Between bios posted on Last FM and Soundcloud, as well as the info on Discogs, I’ve been able to cobble this together:-

Stitched-Back Foot Airman started in the early eighties as a side project to the Southampton-based band Games to Avoid led by guitarist and singer Simon Vincent. “Stitched” was initially an “occasional” band Simon formed with his younger brother Robin Vincent and Mike Farmer and film maker/visual artist Crimp Beringer.

The name was taken from a headline in the Southern Evening Echo relating to a small plane pilot who had crashed and had his foot re-attached to his leg, the full headline was “Stitched-back Foot Airman on the mend”.

The three-piece toured regularly during the mid-eighties and dazzled audiences by swapping instruments for virtually every song. This was borne out of their songwriting process, with all three members writing and creating music, riffs and instrumentals through swapping instruments and improvisation.

Two EPs were released in 1986 on their own Very Mouth Records which led to airtime from John Peel and support slots for many of the key bands of the era such as Stump, A Witness, The Mekons, The Shop Assistants, and Primal Scream.

Manchester-based In Tape Records signed the band in 1987 and there would be two more 12″ singles before they seemingly called it a day, as it seems they never actually formally split up, and still get together on the odd occasion to record music.

This is the song on the C87 box set:-

mp3: Stitched-Back Foot Airman – Tears In The Gutter

This scratchy, psychedelic and occasionally inventive effort was actually one of the b-sides on the Shake Up single.  I’ve tracked the rest down:-

mp3: Stitched-Back Foot Airman – Shake Up
mp3: Stitched-Back Foot Airman – Tip The Wink
mp3: Stitched-Back Foot Airman – Keep Away

It’s fair to say that they had a sound which made it difficult to pigeon-hole them.

JC

FUN, FUN, FUN

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The above pictured man with the flag is, arguably, the most (in)famous Assistant Referee in world football.

His name is Douglas Ross.  He’s been doing the job in Scotland for around ten years.  Most folk who run the lines barely get a second glance, but it’s there is the fact that he is also a Member of Parliament at Westminster, having been elected in 2017 after previously being a local councillor and then member of the Scottish Parliament in Edinburgh.

Oh, and since August 2020, he has been leader of the Scottish Conservative Party, a position in which he gets a media platform to pontificate on all sorts of issues.

The Tories are not popular in Scotland.  Indeed, in recent months, as the antics of ex-Prime Minister Boris Johnston and the policies of the new incumbent, Liz Truss have demonstrated, they are increasingly unpopular across the UK.

Now you might be wondering to yourself what all this has to do with a music blog.  I’m getting there….I just felt I had to set the scene for overseas readers.

Some of you may know that I have a Saturday job, which sometimes extends to Tuesday or Wednesday nights.  I am a volunteer at Raith Rovers FC and my role is to be in the Matchday Announcer’s Box, doing things like reading out the teams, mentioning match sponsors, shouting out goalscorers as the game progresses and so on.  It also involves me selecting and playing the music pre-match and at half-time.

My method involves choosing a set of tunes and preloading them as a playlist to an iPod which is then plugged into the system at the stadium.  There’s always about 50 minutes worth of music involved. For last Saturday’s match, I decided in advance to include a few tunes that contained subtle  digs at the way the Tories are running the country – You Don’t Care About Us by Placebo and Five Get Over Excited by The Housemartins, while also adding Papa’s Got A Brand New Pigbag by Pigbag as some football crowds elsewhere have taken to chanting ‘Fuck The Tories’ as part of its refrain (not that I was expecting our small band of supporters to do likewise, but I was hoping perhaps that a few might mumble along).

I got handed the team sheets at around 2.15pm, which is when I see that Douglas Ross is running the line.  We rarely get him at Stark’s Park as he tends to get higher profile games, but everyone, I suppose, has to do their turn.  The playlist has already got underway.  Prefab Sprout, Stereolab and Julian Cope have already been aired, and the players of both sides are going through their warm-ups oblivious to the fact that some of their moves make them look as if they are gyrating in sync to LCD Soundsystem.

Around ten minutes later, the referee and his assistants come out to do their warm-up.  The timing couldn’t have been better.  Douglas Ross is soon running around the pitch as Paul Heaton sings:-

Feigning concern, a Conservative pastime
Makes you feel doubtful right from the start
The expression she pulls is exactly like last time
You’ve got to conclude she just hasn’t a heart

Now, I know that Douglas Ross wasn’t paying the slightest bit of attention to the music and had no idea about what was going on.  I also doubt he even knows who The Housemartins are, never mind the sentiments in the song.  But it made me laugh out loud….thankfully I had my microphone switched off. Oh, and for the record, the Placebo song was next up, and he was still running around the pitch.

mp3: The Housemartins – Five Get Over Excited
mp3: Placebo – You Don’t Care About Us
mp3: Pigbag – Papa’s Got A Brand New Pigbag

At half-time, just behind the players who were heading up the tunnel just below where the matchday announcer’s box is, the referee and his assistants get together ready to do likewise.  I haven’t yet cued up any music for the half-time break, so there is a bit of silence as the applause for the first half performance dies down.  The voice of what sounds like a middle-aged man bellows out.

“Ross.  Just fuck off you fat Tory Bastard.  And take the rest of your greedy and useless Tory pals with you.”

There is a loud cheer from maybe 30 or so fans nearby.  Douglas Ross looks down at his feet and walks slowly up the tunnel.  I decide it’s time, again, for The Housemartins.

Oh, and for the record.  Raith Rovers won 3-0.  It was a good way to spend an autumnal Saturday afternoon.

JC

ICA WORLD CUP 2022 : ROUND ONE OF THE KNOCKOUT STAGE (vi)

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As usual, we will begin with the results from last week:-

Match 17 : Go-Betweens 25 It’s Immaterial 9

Match 18 : Human League 30 The Twilight Sad 9

Match 19 : Stereolab 14 Neil Young 21

Match 20: Bananarama 14 Beastie Boys 20

For a short time, the final match was competitive, but the NYC crew eventually proved too strong.   Neil Young held off something of a comeback from Stereolab, but as you can see from the final result, he scored a few late on.  Personally, I’m disappointed, having championed The Twilight Sad so many times on the blog over the years, that they picked up so few votes.  If VAR was part of the process, I might have found a way to remove most of the goals scored by the Human League.

This week’s intriguing(?) set of games…..

Suede (3rd in Group G) v Scritti Politti (6th in Group F)

mp3: Suede – Stay Together (long version) v mp3 : Scritti Politti – Tinseltown To The Boogiedown (Album Version ft. Mos Def & Lee Majors) 

Manic Street Preachers (2nd in Group E) v The National (7th in Group H)

mp3: Manic Street Preachers – Patrick Bateman v mp3 : The National – Blank Slate

Siouxsie & The Banshees (4th in Group F) v Amelia Fletcher (5th in Group E)

mp3: Siouxsie & The Banshees – Helter Skelter v mp3: The Catenary Wires – Mirrorball

(Amelia Fletcher’s ICA was a compilation of songs by various bands she has been part of)

Lloyd Cole (1st in Group H) v The Delgados (8th in Group G)

mp3: Lloyd Cole – Like Lovers Do (Stephen Street Mix) v mp3: The Delgados – Pull The Wires From The Wall

As ever, thanks for taking part.  Voting closes at midnight (UK time) next Friday, which is the 14th of October.

JC

SATURDAY’S SCOTTISH SONG : #327: STOPSTARTS

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It was sometime back in the mid-noughties, in the era when myspace was king and queen of the musical world, that I stumbled across a CD sampler called Grace Records – The First Five Singles.

Five bands I’d never heard of – Fury of the Headteachers, Stopstarts, Orphan Boy, Linear, and The Homewreckers Club.  I took it home and found there was some merit to the music, but none of it was really groundbreaking.

I don’t really know anything much about the label or any of the bands, as there were no bios or the likes offered.  There may well have been all sorts of stuff put up on myspace, but that’s pretty much extinct nowadays. Discogs shows up that Grace Records was in existence between 2006-2007, with a total of thirteen singles as its complete output.

I had got round to checking out, on-line, a few of the unknown singers/bands on the hard drive that appear after Steve Mason, who was #325 in the series, when I stumbled across a couple of lines on Stopstarts advising they were from Glasgow and indeed one of our local papers had informed its readers of an upcoming gig in February 2007.  But of the names of the musicians, there’s nothing.

mp3 : Stopstarts – My Watch Is Digital

This was the second single released on Grace Records.  There’s mint copies going for sale on Discogs for £1 plus postage, so although each single had a limited run of just a few hundred, very few seemed to be sold to the general public and there’s been no increase in value whatsoever.*

mp3 : Stopstarts – Metronome

That’s your b-side.

*I hope I didn’t come across as sneering with that comment.  The fact is that those behind Grace Records enabled a number of groups to leave behind a physical legacy of the time they spent together, even if the music failed to make any headway critically or commercially…..and I’m always in awe of those who make such things happen.

JC

A LONG OVERDUE DEBUT APPEARANCE ON TVV

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Regular readers will know that I’m most often accompanied to gigs by Aldo, a great friend of many years standing whose relative youth (he’s not long into his 40s!) means he is far better at keeping up with new things in music than I am.

A long while back, he suggested that I’d enjoy Alvvays if I gave them a listen.

For those who aren’t aware, the band are from Canada, forming in 2011 on Prince Edward Island, one of the most eastern parts of that vast and beautiful country.  Molly Rankin (vocals, guitar), Kerri MacLellan (keyboards), Alec O’Hanley (lead guitar), Phil McIssac (drums) and Brian Murphy (bass) collectively moved the 1,000 miles (by road) to Toronto as this opened up more opportunities.  They came to the attention of the music business thanks to a series of support slots for different indie bands and positive on-line reactions to their demo material.

A self-titled debut album appeared in the summer of 2014, with the follow-up Antisocialites being issued three years later.  The band has long been compared to many that have come out of Scotland, most notably Camera Obscura, along with the likes of Magnetic Fields – and it’s no surprise that both of these acts are also among Aldo’s favourites.

I did heed what my friend had to say, and picked up digital copies of the two albums, thoroughly enjoying what I was hearing, particularly the debut album.

mp3: Alvvays – Adult Diversion (Alvvays 2014)
mp3: Alvvays – Party Police (Alvvays 2014)
mp3: Alvvays – In Undertow (Antisocialites, 2017)
mp3: Alvvays – Not My Baby (Antisocialites, 2017)

I had assumed that the period of inactivity since 2017, coinciding with the onset of the COVID pandemic, had resulted in the band calling it a day, but I was very wrong.

An email from the good people at Monorail Records not only advised that a new LP was imminent, but that the shop was helping to promote a Glasgow date on an upcoming UK tour.  The album and tickets were duly ordered, all of which led to myself and Aldo getting along to see Alvvays last Sunday, where we found ourselves among a few other old friends, not least Comrade Colin. It proved to be an excellent night out, albeit I thought the band was a bit more rock-orientated than I’d anticipated from the two albums, although perhaps that’s an indication of the direction the new record is taking.  I’ll soon find out, as Blue Rev comes out today.

The original rhythm section of the band are no longer involved.  Sheridan Riley came in on drums in 2017 while Abbey Blackwell arrived as the new bassist just last year. Having not seen any previous incarnation of Alvvays, I can’t say if the new line-up made for a better live experience than before, but I can say that they sounded note-perfect and deservedly got a huge ovation from the 500 fans who made up the capacity audience.

The band have a 24-date tour of the USA, starting in Chicago on 14 October and ending on 18 November in Boston.  They are well worth seeing.

JC

NOSTALGIA IN OCTOBER (1)

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This was one of three posts scheduled for last month that had to be held back.  Some extracts from ICA 7.

It’s What You Want That Matters

A song that had first been aired two years previously on the Peel show when it was known as What Becomes Of The Broken Hearted?

I’ve admitted before that I was late to The Wedding Present. I hadn’t given them much attention in the early days simply as the music papers were saying this was the band to fill the Smiths-sized void in your life and I just didn’t think at the time that anyone could do such a thing. George Best had been out for the best part of three years when I first got a hold of a copy. This was the initial stand out track for me. And I still love it all this time later.

Nobody’s Twisting Your Arm

There’s some wording on the back of the sleeve of this single.

‘Additional vocals by Amelia’

This little touch gave the band a different dynamic as they brought in the indie goddess who was Amelia Fletcher from Talulah Gosh to add backing vocals to some new songs after the release of the debut LP. It was a short-lived partnership of no more than a few months, and it didn’t make it beyond minor contributions to the sophomore classic that was Bizarro. But it planted a seed for male/female vocals that came to the fore in the Cinerama era and thereafter in the 21st Century Weddoes. This is a cracking 45 which took the band into the Top 50 of the singles chart for the first time.

Brassneck (single version)

The production from Steve Albini on Seamonsters really helped the band break out of the indie-shell and a hint of what he would do can be found on the remix of the opening track from the Bizarro LP. Thirty seconds are trimmed from the original while the arrangement is tightened and beefed up. I love how the electric guitar gives way to the acoustic strumming about two-thirds of the way through before the ‘beached whale wailing’ beckons David back to microphone.

JC

IT REALLY WAS A CRACKING DEBUT SINGLE (68)

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I’m able to bring this to you today, thanks to it having been part of the latest series of re-releases by Optic Nerve Recordings, a label specialising in offering up vinyl copies of long-lost or difficult to find singles, of an indie-bent, from the 80s and 90s.

The Wake were formed in Glasgow in 1981 by Gerard McInulty (aka Caesar), on guitar and vocals, Steven Allen on drums and Joe Donnelly as bassist. Previously Caesar had played with Altered Images, and was responsible for the superb Dead Pop Stars, but he left prior to the band enjoying chart success with Happy Birthday.

To begin with, nobody paid much attention to The Wake which led to the trio deciding, in 1982, to record a self-financed debut single on their own label, Scan 45 for which they roped in a friend, Robert Gillespie, to play on keyboards.

mp3: The Wake – On Our Honeymoon

Shortly afterwards, Joe Donnelly decided to leave and the now Bobby Gillespie took on bass guitar duties, with Carolyn Allen (sister of Steven) joining as the keyboard player.

The debut single and a demo tape found it way to Rob Gretton, who got the band down to Strawberry Studios in Stockport to record some material for a possible release on Factory Records.

The result was a seven-track LP, Harmony, issued in October 1982 with the catalogue number of FAC 60. It was the following year when I first really became aware of The Wake, thanks to them supporting New Order on a short tour across Scotland, during which I got to three of the gigs.  Later in the year, Bobby Gillespie would take his leave of the band, turning up next as drummer with Jesus and Mary Chain, being replaced by Alex McPherson.

The Wake would depart from Factory in 1988 and later releases would be on Sarah Records through to 1995, although the band was primarily now just Caesar and the Allen siblings, augmented on record by guest musicians.

The end of Sarah Records meant the end of The Wake, but they reformed in 2009 with new material emerging in 2012.

Going back to the debut single, it has long been out of print and copies tend to fetch £40-£60 on the second-hand market.  The Optic Nerve version is on white vinyl, for less than a tenner (plus postage), and comes with a poster and postcard.

mp3: The Wake – Give Up

Two tracks of their time, but sort of timeless, if you know what I mean.

JC

ONE-OFF PIECES OF VINYL (1)

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Another new series, which will be of an occasional nature.

Some pieces of vinyl sitting now in various locations in the Towers are one-offs in that the single or album happens to be all I have by a particular singer or band.  Such as this, from 2000:-

mp3: Add N To (X) – Plug Me In

I didn’t actually buy this in 2000 – indeed, that was a period when any new music was almost exclusively on CD.  It was picked while I was browsing among the small selection of vinyl in a bric-a-brac shop on the south side of Glasgow just a few months ago.  It’s a song that I recall hearing back in the day, and I’m sure I saw the promo video on television at some point, although the fact that wiki states said promo consists of porn actresses playing with sex toys means I’m surely much mistaken!

Anyways, the song turned out to be everything I remembered, a funky piece of electronica, although listening more closely to the lyrics than I must have done in 2000 reveals it very much on the risqué side.

Add N To (X) first started making music in 1996 and had made two albums, as well as going through some line-up changes prior to signing to Mute Records in 1999.  The trio who made this single were Barry Smith, Ann Shenton and Steven Claydon, with Shenton the only one left from the original line-up.  After three albums for Mute, they called it a day in 2003.

The b-side has a cracking title:-

mp3: Add N To (X) – The Vic Hallam System

I thought that it was a tribute to a footballer from the 1970s who had played for many clubs but is best recalled for his contribution to Sunderland’s FA Cup winning run of 1973….but it turns out his name is spelled Vic Halom.

Turns out it is named after the owner of the construction company which produced prefabricated timber-based, flat-roofed classrooms for schools in the 1950s.  Known as the Derwent System, the method enabled authorities, at a time of shortages, to quickly and cheaply provide space for pupils.  The method was also deployed to construct office buildings.

Not surprisingly, the use of such materials and the style in which they were built led to severe problems within not more than a decade, and very few examples of the buildings remain in situ.

JC

PS : A Public Service Announcement

5.30pm on Monday evening. Just back from accompanying Rachel to an afternoon showing of Moonage Daydream, the recently released documentary on the life of David Bowie.

I’m no great fan, so my instant reaction that the two-and-a-quarter hours felt like four is perhaps understandable.  Rachel, on the other hand, is a lifelong fan (having seen the Ziggy Stardust tour as a 14-year old back in the day).  She was scathing of the film, thinking it was all over the place and that it ignored far too many periods of his career; but the biggest failure was the lack of acknowledgement for the roles certain people played in his life – she singled out Angie Bowie and Iggy Pop.

Neither of us understand why so many critics are fawning over it.

OKTOBERFEST ’22

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I believe that today is actually the last day of the festival over there in Munich.  First one in three years post-COVID breakout.

Saves me coming up with some sort of smart or smarmy name for the TVV  monthly mix which has a few lesser known and new(ish) tracks to make your way through.

mp3: Various – Oktoberfest ’22

Happy Ending – Hi Fi Sean and David McAlmont
The Truck Driver and His Mate – Pet Shop Boys
Youth Knows No Pain – Lykke Li
Ring Ring Ring (Ha Ha Hey) – De La Soul
Why Do You Only Call Me When You’re High? – Arctic Monkeys
Vanishing Point – New Order
Pure Shores  – All Saints
Loose Fit – Happy Mondays
I Am God – Spare Snare
Atomic – Blondie
18 Cigarettes – Ducks Ltd.
Waiting For The Winter – The Popguns
First Hand Arrogance – Brontes
Go Go Go – The Wedding Present
Theme From Sparta F.C. #2 – The Fall

It all lasts about eight seconds under an hour.

JC

ICA WORLD CUP 2022 : ROUND ONE OF THE KNOCKOUT STAGE (v)

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As usual, we will begin with a recap from last week.

The responses seemed to come in slower than usual, and by Wednesday it looked as if the total votes would be well down than on previous weeks.  I was thinking that some folk might have looked at what had already come in and decided that as at least three of the outcomes were foregone conclusions, there was no point in bothering.

Or maybe it’s a bit like many a live gig.  There’s excitement at the start of things and great anticipation for how it will all end, but there’s the stuff in the middle that doesn’t have your full attention.

Match 13 : Electronic 15 Ash 22

Match 14 : The Dream Syndicate 7 Cinerama 26

Match 15 : Cocteau Twins 34 Chris Isaak 3

Match 16: Echo and The Bunnymen 33 Fad Gadget 4

I’ve a feeling the next round for those that got through might bring closer results…….

The next four Sundays will see the return of those who came through from Groups E-H, with again the group winners up against a combo that finished 8th and so on…….

The Go-Betweens (1st in Group E) v It’s Immaterial (8th in Group F)

mp3: Go-Betweens – Don’t Let Him Come Back (new version) v mp3 : It’s Immaterial – How Can I Tell You? (album version)

Human League (4th in Group G) v The Twilight Sad (5th in Group H)

mp3: Human League – Mirror Man v mp3 : The Twilight Sad – I/m Not Here (missing face)

Sterelolab (2nd in Group F) v Neil Young (7th in Group G)

mp3: Stereolab – The Free Design v mp3: Neil Young – Too Far Gone

Bananarama (3rd in Group H) v Beastie Boys (6th in Group E)

mp3: Bananarama – I Heard A Rumour (Miami Remix) v mp3: Beastie Boys – Jimmy James

As ever, thanks for taking part.  Voting closes at midnight (UK time) next Friday, which is the 7th of October.

JC

SATURDAY’S SCOTTISH SONG : #326: STEVE MASON

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From all music:

Scottish singer, songwriter, and producer Steve Mason rose to widespread critical acclaim in the late ’90s as a member of indie darlings the Beta Band. With their creative songscrap approach and maverick attitude, the Beta Band earned a somewhat notorious reputation among fans and the U.K. press during the post-Brit-pop era, thanks to releases like 1998’s The Three EP‘s and 2001’s Hot Shots II. During the Beta Band’s heyday and following their 2004 breakup, Mason also recorded as King Biscuit Time and later set out on a proper solo career with albums like 2013’s Monkey Minds in the Devil’s Time and 2019’s About the Light.

Mason initially formed the Beta Band as a duo in the mid-’90s with fellow Fife native Gordon Anderson (Lone Pigeon), although Anderson’s involvement proved to be short-lived. Following his departure, the group coalesced around Robin Jones on drums, John Maclean on keyboards, sampler, and turntables, and Richard Greentree on bass, with Mason serving as the group’s unofficial leader from that point onward. The Beta Band earned heaps of critical praise with an opening salvo of three EPs, all released on Regal and leading up to the release of their acclaimed debut album, 1999’s The Beta Band.  The follow-up, Hot Shots II, earned greater praise, although shortly after their third release, 2004’s Heroes to Zeros, the band announced their breakup.

Mason had already debuted a solo project, King Biscuit Time, late in 1998, and during the 18 months that followed the Beta Band’s breakup, he released a pair of King Biscuit singles — including “C I AM 15,” which reached number 67 on the British charts — and a full album, 2006’s Black Gold. One year later, he launched an electronica project called Black Affair, and a techno-influenced LP titled Pleasure Pressure Point appeared on V2 in 2008. He subsequently returned to a Beta Band format for his first album under his own name, a late 2009 single titled “All Come Down.” The expected full-length album, Boys Outside, with production help from Richard X, appeared in 2010 on Double Six, distributed by Domino. Provided with polished production, Steve Mason’s poignant songwriting and powerful vocals were brought to the fore. The album was then given a dub reworking by Mason and Dennis Bovell. Ghosts Outside displayed the singer/songwriter’s effortless ability to span genres successfully, while remixing the likes of Django Django showed Mason’s hunger for creativity was not slowing down.

In early 2013, his third album under his own name arrived. Among its sprawling 20 tracks, Monkey Minds in the Devil’s Time explored depression, politics, and human nature, bringing together many genres to create a mesmerizing experience. His next record focused purely on himself, wringing out personal emotions and experiences for 2016’s Meet the Humans, bringing aboard Craig Potter (Elbow) to produce the album. With a number of solo tours under his belt, Mason wished to re-create the same live energy on record; the resulting album, 2019’s About the Light, featured a live band throughout the recording process to capture the feeling of his shows.

mp3: Steve Mason – Alive!

One of the many excellent tracks to be found on Meet The Humans, which made the final shortlist of ten for the Scottish Album of The Year for 2016.

JC

LOOKIN’ LIKE A TRUE SURVIVOR, FEELIN’ LIKE A LITTLE KID

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I couldn’t help but steal today’s title from Reg the Rocket Man.

TVV turns sixteen years old today.  I’d love to be in a position to have all the archives available for browsing back through, but Google/Blogger unceremoniously removed all traces of the original blog back in July 2013 before I could back things up.

A lot has changed in terms of music blogs since 2006.   Indeed, a lot has changed in terms of music and how we all go about ‘consuming’ it these days.  TVV began for a number of interlinked reasons, some of which were to do with my own mental wellbeing having just suffered a career setback at work (which turned out in due course to be a blessing), but deep down it was all about me wanting to delve into my old vinyl and rip some songs into an mp3 format so that they could perhaps be heard again for the first time in decades.

It was also about wanting to find some sort of audience with whom to share my lifelong obsession with music, and in particular that period from the late 70s into the mid 80s when so much of what I had been immersed in, was still, many decades later, incredibly important and vital to me.  I had no idea really what to do with this new blog, but after a hesitant start, I got into a routine, helped along by many people from all parts of the world who supported and encouraged those early efforts with advice and words of thanks through the comments section, but if you had told me back then that TVV would still be on the go in 2022, I’d have found it hard to believe.

The old blog had, give or take, 2,500 posts before it was taken down.  The new blog isn’t far short of 3,500 posts.    Not all the posts have been original as a fair number have appeared more than once, and of course TVV does rely on a fair amount of guest postings.  But let’s say 5,000 original posts, at a (conservative) average of 1,500 words, means I’ve written something in the region of seven and a half million words for the blog….I’m just hopeful that a few of them might have made some sense.

Many friends have come and gone, as can be reflected by the amount of former/extinct blogs that are listed among the indices.  The past year or so has seen a few more of the long-time bloggers decide that, for one or more reasons, it was time to ease themselves away from their keyboards and go and out to do something less boring instead…….if any of you who are in that position ever have an urge to come back with some thoughts, views and opinions without the pressure of looking after your own place, then there will always be a warm welcome among these pages.  I’ve never knowingly turned down any offer for a guest posting, (albeit some have lain unwittingly unattended to within the Inbox for a period of time), and I don’t intend to start now.

TVV has brought me so many happy moments these past sixteen years. It’s also been a place from where I’ve been able to catapult into other situations within the music industry/business, from which I have forged friendships with a decent number of incredibly talented and creative people along the way. I think I’m a better person than I was back in 2006, and much of that is down to being part of the collective and community that has developed and grown via this little and fairly insignificant corner of the internet.

Thank you to everyone who has been part of TVV in whatever shape or form.  No targets are set, but if I’m still doing this in another sixteen years time, then I’ll be in my mid-70s (age wise) but hopefully still with the attitude, enthusiasm and chutzpah of a late-teen about to conquer the world on the back of some half decent exam results.

I’ll finish today’s posting, not with the obvious thing of some songs with ‘sixteen’ in the title, but instead with something related to the number.  It’s my humble opinion that the original is the greatest song ever released, while the cover is more than decent.

mp3: New Order – Age of Consent
mp3: Grant Lee Buffalo – Age of Consent

New Order, of course, are also responsible for the greatest single of all time……….

JC

HEAVENLY GO ADVENTURING AGAIN….

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….SO PREPARE FOR A THRILLING RETURN!

Heavenly are back.

Sort of.

That’s because all of the band’s four LPs are to be re-released on Skep Wax, the label run by two of the group’s founding members Amelia Fletcher and Rob Pursey.

https://www.skepwax.com/

It’s great news, and will make these difficult-to-locate records – Heavenly Vs. Satan; Le Jardin de Heavenly; The Decline and Fall of Heavenly; and Operation Heavenly – easily available on vinyl and download.

First up is Heavenly Vs. Satan. It kicks off a staggered, two-year release schedule and is available from 11 November.

https://heavenlyindie.bandcamp.com/

The original wiry eight-song record has become a twelve-track beefcake more than capable of kicking sand in the faces of weedier albums. That’s because, in a blatant raspberry-blow to Sarah Records’ no-singles-on-albums policy, Heavenly’s first and second 7” releases have been pulled into this reissue. So look out for I Fell in Love Last Night/Over and Over and Our Love is Heavenly/Wrap My Arms Around Him.

And all this in the month that one of us, in a huff at no sign at all of a long-hoped-for box set, at last began creating their own bootleg collection. A venture mulled over for a hopeless number of years. Well it’s too far down the line to abandon Heavenly Have Plenty of Fun now. Blank CDs have been bought and everything. And a box has been located.

But these new releases will be purchased. Such is the logic-free world of even a curious-level collector of records. Plus, inside each sleeve will be found a 7” booklet. A glance at the one accompanying Heavenly Vs. Satan confirms a comforting cut ‘n’ paste design. It recalls the typical aesthetics that characterised the chopped-type, Pritt-Sticked fanzines of the day. These would be legitimately belched out by print shops and, possibly more often, college photocopiers or the after-hours workplace device.

So, new Heavenly treats are – officially – on the way. That’s the cake.

And here’s the cherry:

The band were to play a one-off gig in west London – at Bush Hall. It’s the first for 28 years, sold out within two days, and happens next year, on May 20. That’s clearly a red-letter date for pioneering Amelias, as Wikipedia tells us that on that day in 1932 another fun Amelia – Earhart – commenced a world-first for a female pilot: a solo non-stop flight across the Atlantic Ocean. However, a new date has been added, May 19th. Tickets are on sale now…..

But back on terra firma, regular visitors will know that all things Amelia (Fletcher) have been celebrated a good few times on this blog. On offer most recently was this ICA. It collected tracks from the assorted projects both Amelia and Rob have been milling since way back in 1986: the days of the mighty Talulah Gosh. Next up would be Heavenly, of course. Then Marine Research, Tender Trap and Catenary Wires followed. And most recently it’s been Swansea Sound (to say nothing of numerous side projects). Not bad for someone who claims that I was never cut out to be a proper pop star anyway.”

This incoming Heavenly activity follows the pair of lavish double-pack 7” singles of the group’s two Peel Sessions, recorded in 1991 and 94. Those emerged this year, courtesy of the Precious label, and added an official and recommended couple of releases to the discography.

thumbnail_Heavenly(This incarnation of Heavenly was fortified with the addition of vocalist and keyboard player Cathy Rogers (far left) who, from the 1993 P.U.N.K. Girl single, joined Amelia Fletcher, Peter Momtchlioff, Rob Pursey, and Mathew Fletcher.)

Now, with the LPs stepping out once more, we have a super reason to give props to a band that was so often dismissed as twee and fey, cute and saccharin. But even a cursory listen to Heavenly Vs. Satan would reveal half an album’s worth of musings on disappointment and duplicity, cruelty and callousness: Boyfriend Stays the Same for starters, alongside Shallow, Wish Me Gone and It’s You.

Amelia makes the point well in the notes that form part of the release’s accompanying booklet:

“Listening back now, I had forgotten how many of my lyrics involve girls falling for boys who treat them badly. This was well before Riot Grrrl and the tone is gently descriptive rather than angry, but I remember feeling it was important to tell these stories.”

And Rob comments that:

“Heavenly were a ‘female-fronted’ band, which set up an additional tension with the audience, some of whom had expectations of what that ought to mean. We tried to undermine those expectations too. It annoyed some people, but they were probably the right people to annoy.”

To wrap up, here’s a (new) Vinyl Villain tribute: Heavenly Go Adventuring Again – an imaginary EP with a track taken from each of the group’s four albums….as imagined by The Three Masketeers

Heavenly Go Adventuring Again

1. Stop Before You Say It (Heavenly Vs. Satan, Sarah Records, 1991)

The last track on the first album is largely a rush about a crush. Only at the end does it take a breather, and a gentle coda provides the perfect nightlighty closer. (Kathy Kane)

2. C is the Heavenly Option (Le Jardin de Heavenly, Sarah Records, 1992)

As indie pop classics go this has to be up with the very best of them.

As well as a link to the studio version of the song we decided to add a little more joy to your life with the wonderfully chaotic live, acoustic version filmed in 2019. I dare you not to smile as you Rob, Amelia and Calvin Johnson enjoy being in each other’s company as musicians, as friends. (Don Diego de la Vega, Eustache Duager and Kathy Kane)

3. Sacramento (The Decline and Fall of Heavenly, Sarah Records, 1994)

A surf-infused instrumental wig-out that further illustrates that Heavenly were adept writers and musicians. I’ve never been to Sacramento but if I did go, and it didn’t sound like this, I’d be sorely disappointed. I’ve often thought that as the lights went up at the end of an indie-disco this is the song that revellers should stagger out the door to and the run back in again for one last shimmy. (Don Diego de la Vega)

4. Ben Sherman (Operation Heavenly, Wiiija, 1996)

The unexpected use of the word ‘fuck’ early on in the lyric is an indication that this isn’t your typical Heavenly number. The highly infectious and toe-tapping tune disguises the fact that the female protagonist is far from happy. Indeed, she’s at her wit’s end, all thanks to having a shallow boyfriend making suggestions about a change of hairstyle so that she more resembles the Hollywood actress he fancies and fantasises about.

The good news is that, by the end of the song, the listener is left in no doubt the boyfriend is soon to be an ex, and our heroine will move on to a better and more fulfilling life…. complete with the sort of haircut she’s most happy with. (Eustache Duager)

If you’ve read this far, first of all: congratulations. Secondly, and more soberly, you’ll probably know that Heavenly chose not to carry on after the passing, in 1996, of the band’s drummer Mathew Fletcher. We think you’d all agree that widening access now to the songs of Mathew and his bandmates is a wholly appropriate tribute to, and celebration of, his memory.

On Heavenly Vs. Satan, the band comprised:

Amelia Fletcher (vocals and guitar)

Mathew Fletcher (drums)

Peter Momtchiloff (guitar)

Rob Pursey (bass)

And on the track Our Love is Heavenly, the group was ably assisted by the Catherines of Arrogance (ex-Talulahs Eithne Farry and Elizabeth Price).

Don Diego de la Vega, Eustache Duager and Kathy Kane

 

NOSTALGIA IN SEPTEMBER (16)

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See yesterday for the background. This was ICA 100 on 25 November 2016, written by a much-missed friend.

This the second half of the journey back from Cambridgeshire – the sister bit to SWC’s one about the Jesus and Mary Chain (oh and I agree – where was ‘Upside Down’). Its been delayed a bit because events overtook us. I did start it – I’d chosen the tracks and had actually written the majority of it but then my bollocks swelled up and I kind of forgot about everything, which I think you can forgive. Everything from the words ‘The Journey…’ was written about eight weeks ago, it sat unloved on my computer at home. I only found it this morning and added this paragraph.

The journey back was thankfully uneventful, apart from the service station incident.

We stopped off at a Service Station on the M42, I think it was called Hopwood Park, it was very good. We are sitting in the café and SWC is warbling on at me about the football, he moaning that his team have lost again, but I am distracted.

Sitting opposite me, with a lady who has her back to me, is Keith Chegwin. Cheggers Plays Pop, tackle out for a Channel Five Game Show, Keith Chegwin. He is drinking a large cup of coffee and has what looks like a Burger King Whopper and Supersized Fries in front of him. It’s definitely him. I’d recognised his squashed up, punched too often by Edmonds, face any day of the week. I haven’t been this excited about seeing a celebrity since the time that Martin Clunes stood behind me in Exeter’s Marks and Spencers and I’ve taken a piss next to Chris Kamara, so you can imagine how excited I am.

SWC stops and moans at me a bit more “Are you even listening to me, I said, that’s what we get for appointing ex Spurs players as a manager”.

I shake my head and mouth ‘Cheggers is behind you’.

“What?” he says.

I don’t want to draw attention to the fact, that its him. Literally no one else has approached him although, a women keeps looking at him and smiling – I mean why wouldn’t you – its Cheggers.

I text SWC. Yes, I know he is sitting opposite me, but I can’t just tell him, what if Cheggers hears me. “Keith Chegwin is sitting behind you and he has tomato sauce on his shirt” (he has, he has made the school boy error of trying to eat his burger in one go and the sauce has squirted out) I type. SWC’s phone buzzes and he looks at it – then looks at me, and then looks at the text again.

He texts back “Why didn’t you say so?” , he then does this little turny head thing and pretends that he is tying his shoelace before declaring “yup its definitely him, shall we go and say hello, I wish I’d bought my copy of Brown Sauce’s ‘I wanna be a winner’ with me. I could have doubled the price of it by getting it signed.”

“You don’t own that” I say

“I bloody do, I got it on 7” for 50p at a boot fair in Axminster about four years ago – along with ‘Atmosphere’ by Russ Abbot, ‘Kings of the Wild Frontier’ by Adam Ant and ‘D.I.S.C.O’ by Ottawan but only because it had a French version on it. The I stands for ‘Incroyable’, total spend 80p”.

I look up, the women from across the seating is now having her photo taken with Chegwin. He gives her a peck on the cheek, much to her delight. A few more people, mainly sad older women in sports casuals are now starting to queue up to have their photo taken. Cheggers is loving it though, despite the fact that he has tomato ketchup on his face and shirt and his chips are getting cold. Come to think of it, he’s a bit of an idiot.

“The moment has gone” I say to SWC, who looks disappointed and we finished our drinks and get up to leave, not before I say, rather too loudly, “John Craven would have never had his photograph taken with tomato sauce on his face”. SWC nods in agreement before adding “and I always preferred Philbin. I’m pretty sure that Cheggers heard us, because he has wiped the sauce of his face and is scowling slightly.

Back to the music, which what we are here for after all. The 11th song was by The Libertines. This feels me with joy, I already knew this when we saw Cheggers, it kind of was the precursor to a great day. A tremendous choice. When I told SWC told JC about our randomly picked choices, he said “It just goes to show, crap football equals excellent ICA’s”. Absolutely.

So – an ICA on the Libertines – here goes – I’ve tried to keep it singles light and I have completely ignored the third album on the grounds of being utter rubbish. I’ve kept the notes short because the tunes speak for themselves.

Side One

Can’t Stand Me Now – Single

I’ll start at the very top I think. Easily the bands finest moment, and put simply one of the greatest indie guitar records of the last fifteen years or so. I would imagine that you all own this. I wanted to include it over at my place in the WYCRA 200 (sorry shameless plug that) but we’d already featured it before so had to leave it out – but had we it would have been Number 7 in that list.

Don’t Look Back Into The Sun – Single

The song that replaced ‘Can’t Stand Me Now’ in the WYCRA 200 and therefore the band’s second finest moment. The single that was supposed to be the ‘goodbye’ record from them. Again I’d be surprised if anyone reading this didn’t already own a copy. So let’s go down the slightly obscure route…

The Delaney – Taken from ‘I Get Along EP’

I saw Babyshambles live a few times and was once surprised to hear them playing this, but then again this has always been something of a fans favourite. The original version appears as the B Side to the second Libs single ‘Up the Bracket’. Easy to see why it’s a fans favourite though.

All At Sea – Taken from ‘What Became of the Likely Lads?’

This was originally supposed to have been on the debut album but was scrapped at the very last minute, and then surfaced as the B Side to the ‘…Likely lads?’ single. It also happens to be an outstanding little track.

Music When the Lights Go Out – Taken from ‘The Libertines’

Peter Doherty once played this track live on Newsnight and again is a tremendous little song. It is that is credited to Peter Doherty and Carl Barat and appears on the second album. The song deals with the problems of trying to end a relationship. It was one of the first songs (along with ‘Albion’ that Doherty wrote (and I cut ‘Albion’ to include it). It is also a song that apparently Pete and Carl physically fought over during the second album sessions because of the way that they wanted to record it.

Side Two

Boys In the Band – taken from ‘Up the Bracket’

Apparently named after a 1970 film of the same name, which was one of the first films to openly address gay issues. This song however is about groupies and how they follow and worship bands. It is a song about attention and how easy it is to get it when you are a boy in a band. The line ‘And they all get them out for the boys in the band’ is apparently about red carpets. So they say.

Never Never – Taken from ‘Can’t Stand Me Now’ single

Another firm fans favourite and again a track that was meant for an album but was cut at the last minute. The original version of this was called ‘Never Never (Hancock)’ and was something of a mythical release in which the band recorded the track and added a load of samples from the Hancock Half Hour TV Programme. The recording as far I know was never (never) released.

Death on the Stairs – taken from ‘Up the Bracket’

Carls favourite Libertines song and one that the band have admitted that they find very hard to play live. This is largely because the band could never seem to get it right. The song is about madness and Carl often refers to seeing himself sitting alone in a bedsit eating beans of toast and he called that feeling ‘Death on the Stairs’. Although Pete claims that they called it that because they got thrown out of a record company’s office and down the stairs. Personally I believe Pete.

What Became of the Likely Lads – Single

The bands eventual final single (before the reformation). The song is obviously about the breakdown of the band – you can hear that in the lyrics “What became of the dreams we had?” and “What became of forever?”. Its another brilliant sad, although one tinged with sadness and poignancy. Interestingly the video shows footage of two young boys (actors) on a council estate, which is implied to be Pete and Carl (but in reality can’t be them)

I Get Along – From ‘Up the Bracket’

The first Libertines song I ever heard. It was the second track on their debut single ‘What A Waster’. That song was written by Doherty about Doherty and the legend goes that ‘I Get Along’ was written by Barat about Barat. It was eventually released as a single on its own and famously Doherty forgot to turn up for the video shoot.

Thanks for reading…I’m off to stalk John Craven.

BADGER

JC adds…….

To add to the poignancy that Badger is no longer with us, is the fact that Keith Ghegwin has also since passed away since this was first published.  Hi death at the age of 60, in December 2017, was the result of a lung illness caused by him being a heavy smoker.

RIP Badger.  RIP Keith.

NOSTALGIA IN SEPTEMBER (15)

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As mentioned yesterday, two further full ICA postings from the vaults over the next two days on the basis that they are companion pieces. This was ICA 94 on 4 November 2016.

Hiya mate – seven weeks in the writing, started at home, finished in the waiting room of a dentists.

An Imaginary Compilation – The Jesus and Mary Chain

“That’s going to take me for ever, stupid bloody 11th song rule, who’s stupid idea was that?”

I’ll tell you who’s stupid idea it was, mine, and I’ll tell you why the choice is going to take for ever in a bit, but first – let me tell you why we are Eynesbury in Cambridgeshire and have just been interviewed on local radio by the Cambridgeshire version of Simon Bates.

Every year around August, Badger picks a team who have entered this year FA Cup. We then follow that teams results and then follow them or whoever beats them all the way to Wembley Final We also try and go and watch a couple of the matches. Now usually we do Round One and Round Three, as we hope to see some Giantkilling Adventures.

This year just for larks we have decided to go and see some ‘Grassroots Football’, folks, its FA Cup Qualifying Round Three and we are two of about 120 people who are nicely spread out around ground watching Eynesbury Rovers vs Sutton Coldfield Town in Mid September.

Eynesbury is in Cambridgeshire, we’ve driven for four hours to get here and for some reason this has bemused the guy on the gate at the ground, when he remarks that he hadn’t seen us here before. You’ve done what…You daft buggers”

Then he turns to a fat bloke wearing a 70s style jacket – which I think was actually a jacket he bought in 1978 – and shouts (literally shouts, despite porky being about five foot away – porky is holding a can of coke and bacon sarnie as it happens) .

“Here Roger, come and listen to what these two lads have done” – the fact he called us lads, shows how old he was.

So Roger ambles over, turns out Roger works for the local radio and decides that he wants to interview us because it would make a nice story. So after a four hour journey and some twenty five minutes before kick off, Badger and I are sitting in the ‘press box’ of this eighth tier football club eating their biscuits and drinking their tea whilst the radio guy asks us lame questions about our journey from Devon. He then gives us a Black Cat Radio car sticker and Badger swears he said ‘Keep on rocking’ before waving us on our way – seriously, it really was like travelling back to the late 1970s.

The game is terrible, I mean awful, Sutton Coldfield romp home 3 – 1 but to be honest if Badger and I had randomly picked a bunch of lads from pub around the corner, I think we could have given them a good game. Sutton Coldfield Town become our next FA Cup team (as it happens we’ve progressed a bit more – the First round is coming up and our team is now Dartford – a town in Kent, and as such I am supposed to despise them, because as a Gillingham fan I grew up with burly heavily tattooed blokes often telling me – ‘There is only one team in Kent’) and we slowly make our way back to the car park which is some two miles from the ground (behind the pub where we had lunch).

Now, the 11th track, we decided this time to not start the music until pretty late on, the rule we added was that nothing played on the motorway counted, so on the motorways we stuck the radio on and on local roads reverted back to the iPod – Badger’s iPod for what it worth, still filled with Radio 2 fodder that ‘he keeps forgetting to remove’.

So it arrives on the A420 just outside Oxford and it’s the Jesus and Mary Chain, one of the greatest bands of all time. Its bloody impossible and so that is why some seven weeks later I have finally finished the thing, but I’m still not happy with it – and no doubt there is a load of stuff that I could have put in that I didn’t. So someone needs to do a Volume II please. I’ll also add that ‘Psychocandy’ is one of greatest records ever made, and it was really hard to not just send JC that in a jumbled up order. I’ve also tried to avoid the singles, but that in itself was so difficult.

I’ll also say that back in 1990 I managed to get the entire school banned from sitting on the back row of the school lecture theatre because I scrawled into the table there, ‘The Jesus and Mary Chain fucking rock”. That ban lasted twenty years until they refurbished the block containing the lecture theatre.

I’ll spare you anymore of my wittering because the music starting and that is far more important.

Side One

Just Like Honey from ‘Psychocandy’ (1985)

This is their quintessential track, and the perfect place to start if you are new to the band – and if you are new to the band, WHERE THE FUCK HAVE YOU BEEN? ‘Just Like Honey’ is full of languid vocals almost definitely about sex, swaths of fuzz, an occasional drumbeat here and there, but its lovely and laid-back and for a change, catchy. Unlike…

Never Understand from ‘Psychocandy’ (1985)

I don’t know if you’ve ever been chased, or ever felt like you were going to be chased, but one night I wasn’t listening to this whilst walking back from Our Price Girls house. It was about midnight and for some reason, this song utterly freaked me out. I think on reflection it was the opening bit, the frenzied squalling wall of screeching feedback sounds exactly like the sort of noise an axe wielding maniac out on a midnight killing spree makes, and frankly that makes its utterly compelling and such a twisted slice of genius.

Everythings Alright, When You’re Down from ‘Barbed Wire Kisses’ LP (1991)

The first of a couple of B Sides that I found impossible to leave out, I love this for three reasons, firstly it was Our Price Girls favourite JAMC song – (did I mention she loved this band?), secondly, at times the blizzard of feedback and screaming noise could be distracting and so when tracks like this appeared you appreciated them even more and thirdly, once whilst waiting for a bus just outside Godalming I found myself singing along to this at a bus stop, and get an odd look from the old lady who had just arrived when I sang the ‘Fuck me now’ bit.

Nine Million Rainy Days from ‘Darklands’ LP (1987)

“Nine million rainy days have swept across my eyes thinking of you, and this room becomes a shrine thinking of you, and as far as I can tell, I’m being dragged from here to hell.” Yup, they were a cheery lot the Marychain. ‘Darklands’ is a very different album to ‘Psychocandy’ its melodic instead of violently caustic for a start.

Some Candy Talking from ‘Some Candy Talking’ EP (1987)

This was banned by the BBC I think on its release because of the ‘obvious’ drug references, which comes as a surprise to me because the songs clearly about those little candy cigarettes you can get from the sweet shop and considering how much the BBC played and promoted ‘Pass the Dutchie’ by Musical Youth I’m surprised they banned anything.

Still.

Its also worth checking out the two B Sides to this EP as well – the first is a sweet little tune called ‘Psychocandy’ and the second is called ‘Hit’. (I’ve tagged them on the bottom). For me these two tracks show the bridge between Psychocandy (the album) and Darklands perfectly.

Side Two

‘Happy When It Rains’ from ‘Darklands’ (1987)

More rain, but this time the band are a bit happier and as it happens, this is my favourite JAMC track. Its my favourite for one single reason, once in 1992 in the pouring rain outside the Army and Navy pub in Rainham, Kent, Our Price Girl gave me the best kiss of my life – at the time at least – and then sang this to me sweetly in my ear as the rain dripped off our hair. We then walked three miles, soaked to the skin hand in hand and hardly said a word, because frankly she said it all.

‘Reverence’ from ‘Honey’s Dead’ (1992)

Sorry its another single, its only the fourth, I’ll try not to include any more, but this was the song that bought a whole new audience to the Marychain, again the lyrics were controversial and again the BBC refused by and large to play it, despite there being a ‘Radio Mix’ as well. This is a tremendous record all guitars, crunching drums and sneering. Its impossible not to love it.

‘Boyfriends Dead’ from ‘You Trip Me Up’ Single (1987)

Opening line ‘C___, Fuck!’

Some people say that the Marychain did this sort of thing to be deliberately provocative and to show but they were angry but I think on reflection it was weariness and frustration. Its songs like this that give us fans that were too young to witness the early chaotic violent gigs, some impression as to what they actually sounded like.

‘Guitarman’ from ‘Speed of Sound’ (1994)

I wanted to include a cover version, simply because the Marychain did a few, mainly old Blues rock numbers from the 60s, and this I think was the best one. I also recommend their version of ‘Little Red Rooster’ because the absolutely crush it, but for me the bit where Reid goes ‘Show ‘em sonnnn’ is bloody marvellous.

‘April Skies’ from ‘Darklands’ (1987)

I went this because it’s the best song on ‘Darklands’ its not my favourite but it’s the stand out moment on the album although the natural closer ‘About You’ runs it close. What ‘April Skies’ showed us was that the Marychain were not about to self combust (not yet anyway) and that behind the hair , the fuzz and the attitude was a band that actually loved proper songs.

Crikey that’s quite a long piece, sorry guys, but you know it’s the Jesus and Mary Chain, its worth it.

S-WC

Bonus tracks*

Pyschocandy

Hit

NOSTALGIA IN SEPTEMBER (14)

Dwight-Yoakam-songwriters-HoF-2011-ap-billboard-1548

Continuing the run of full ICA postings from the vaults, as offered up by various guests. This has been held over from last Friday until today to accommodate the ICA on The Pastels.

What now follows was ICA 71 on 21 April 2016.

Guitars, Cadillacs and Sad, Sad Music

If Kanye West and Billy Joel can grace the Imaginary Compilation Album pages I might just about be able to get away with sneaking in a bit of Country.

Do not be put off by the picture of a Man in a Hat – there are hundreds of awful Men in Hats in Country Music. Dwight Yoakam isn’t one of them. I suspect that one of the main reasons he sported a hat was due to his fast receding hair line, and there are even pictures out there of him with a Bobby Charltonesque sweep over.

From the mid 80’s to the mid 90’s when most of you were enjoying the great indie music which features on this blog I was pretty much immersed in the flourishing American movement listening to the likes of Steve Earle, Lucinda Williams, the Jayhawks and of course Dwight

The majority of this ICA is taken primarily from his first four albums from between 1986 and 1990 when to me, he was just about the best artist on the planet. I wouldn’t bother exploring anything after 1993’s This Time as thereafter he faded as badly as Hibs title challenge

Side 1

Track 1 – Honky Tonk Man (from Guitars, Cadillacs, Etc, Etc 1986)

We begin and end with a cover. As soon as you here the first chords of his version of this Johnny Horton classic you just know that you are in for something special

Track 2 – If There Was a Way (from the album of the same name 1990)

The first, but certainly not the last, of the sad songs. Dwight is just standing, alone in this room, surrounded by memories wondering if he can win his love back. Being a Country song, no is the obvious answer

Track 3 – South of Cincinnati (from Guitars, Cadillacs, Etc, Etc 1986)

I’m a sucker for road songs and this is one of many which makes me want to explore the Southern states in some detail

At a cold gray apartment in Chicago, a cigarette drowns inside a glass of gin is up there with the best lines in Country music

Track 4 – It Wont Hurt (from Guitars, Cadillacs, Etc, Etc 1986)

The last number from Guitar, Cadillacs and yet again lost love and strong alcohol are involved

Track 5 – Carmelita (from Flaco Jiminez album Partners 1992)

The mighty Flaco Jiminez played accordion on many of Dwight’s greatest songs and therefore it is only fitting that Dwight return the favour by featuring on Flaco’s album Partners.

I have several versions of Carmelita including the Warren Zevon original but none can hold a candle to Dwight’s version.

Side 2

Track 1 – Buenas Noches from a Lonely Room (She Wore Red Dresses) (from Buenas Noches From a Lonely Room 1998)

Quite simply Dwight’s best song from his third and indeed best album Buenas Noches

She wore red dresses and told such sweet lies

Track 2 – Readin’ Rightin’ Rt 23 (from Hillbilly Deluxe 1987)

The only track I’m featuring the second album

A song highlighting that worldwide issue of folk leaving the country and heading to the city in search of work and longing to get back home

Track 3 – Two Doors Down (from This Time 1993)

It Won’t Hurt updated

Track 4 – Sad Sad Music (from If There Was a Way 1990)

She’s left him again. No drink involved this time just sad, sad music

Track 5 – Streets of Bakersfield ( from Buenas Noches From a Lonely Room 1998)

Despite the subject matte,  an upbeat number to finish of with as Dwight’s version of a Homer Joy song recreates the Bakersfield Sound which sprung up around Bakersfield, California in the 1950’s as a reaction to the slickly produced string orchestra laden Nashville sound. The main protagonists were the sadly recently departed Merle Haggard and Buck Owens. Buck very kindly lends a hand

I hope this helps to convert some non-believers

Charity Chic

JC adds…….I had intended the full ICAs from guests look-back to last five days, but it is being extended into tomorrow and Wednesday as there’s companion pieces required for it all to make sense.

ICA WORLD CUP 2022 : ROUND ONE OF THE KNOCKOUT STAGE (iv)

icaworldcup

As usual, we will begin with a look back to last week.

Three of the matches had close results, while the other, while having a more substantial outcome, wasn’t a massacre.  In saying that, three of the teams got out to decent leads and never got caught, but the Belle & Sebastian/McGeoch game swung back and forth until one of them pulled away as the final whistle beckoned.

Match 9 : Television 24 The Jazz Butcher 18

Match 10 : Belle & Sebastian 19 v John McGeoch 24

Match 11 : The Beatles 25 Queens of The Stone Age 14

Match 12: Buddy Holly 25 v Black Box Recorder 19

And so we reach the halfway point of the first round of knockout ties and includes the return of Echo and The Bunnymen whose group stage performance was the most impressive of them all, in terms of vote %.

Electronic (2nd in Group B) v Ash (7th in Group A)

mp3: Electronic – Vivid (radio edit) v mp3 : Ash – Shining Light

The Dream Syndicate (3rd in Group C) v Cinerama (6th in Group D)

mp3: The Dream Syndicate – Out Of My Head v mp3 : Cinerama – Ears

Cocteau Twins (4th in Group A) v Chris Isaak (5th in Group C)

mp3: Cocteau Twins – Iceblink Luck v mp3: Chris Isaak – Wrong To Love You

Echo and The Bunnymen (1st in Group D) v Fad Gadget (8th in Group B)

mp3: Echo and The Bunnymen – The Back Of Love v mp3: Fad Gadget – Life On The Line I

I’m gutted that my dream match-up of Out of My Head v Can’t Get You Out Of My Head never materialised.

As ever, thanks for taking part.  Voting closes at midnight (UK time) next Friday, which is the 30th of September

JC

SATURDAY’S SCOTTISH SONG : #325: THE STATE BROADCASTERS

State Broadcasters

The State Broadcasters consist of Pete MacDonald (piano, trombone, vocals), Gillian Fleetwood (harp, accordian, vocals), Cameron Maxwell (double bass, trombone, electric bass, vocals), David McGinty (guitar and vocals) and Susan Appelbe (cello, vocals).

The combination of instruments deployed should indicate this is not the usual far you find on TVV, but I do happen to have a number of tracks from various compilation albums.

They have been together for quite some time, and the musicians are also involved in other groups or projects (e.g., Pete is part of Randolph’s Leap).

The debut album, The Ship and The Iceberg, emerged in 2009 via Electric Honey Records, while the two subsequent LPs, Ghosts We Must Carry (2012) and A Different Past (2017), were issued by Olive Grove Records, a label whose support for the music scene in Scotland is very admirable.

mp3: The State Broadcasters – Be The Someone

As found on Get Into The Grove : 10 Years of Olive Grove, which is an excellent compilation.

JC

NOSTALGIA IN SEPTEMBER (13)

5814373.0

Continuing the run of full ICA postings from the vaults, as offered up by various guests. This was ICA 34 on 1 September 2015.

Normally, dear friends, coverbands rather are an atrocity, they exist to – more or less – “entertain” you at family parties. The Detroit Cobras from, obviously, Detroit, though take the cover business seriously and they are doing this perfectly fine since 1994. The music that the band play is a mix of soul, Motown, R&B and R&R, that is literally stripped from Mary Ramirez’ and her music partner in crime, singer Rachel Nagy’s record collections.

The Detroit Cobras — with one song, Hot Dog, being the exception — play other people’s music, but more specifically they cover other artists’ B-sides and deep cuts, and they do so with such a raw and ferocious energy that the songs rarely sound anything like the original versions, but all of them end up sounding like Cobra songs.

The band is known for multiple line up changes, Greg Cartwright of Reigning Sound (aka Greg Oblivian of The Oblivians) has been a constant creative force along with Nagy and Ramirez, who have been around since the group’s genesis. The male members’ fluctuation sometimes reminds me of the Italian government, so it doesn’t make all too much sense to go into detail here. Then again: who cares at all, the men in this combo are just accessory parts whereas especially singer Rachel Nagy – the Cobras’ secret weapon/human tornado, a mesmerizing mash up of Dusty Springfield, Neko Case, Chrissie Hynde and Ronnie Spector – but also guitarist Mary Ramirez are the bad girls by the exit doors at the school dance, all leather and heels, sneaking smokes and passing the flask. They have no time for dewy-eyed love songs or girl group decorum; they’ll take care of business themselves with a bat of the eye or an elbow to the kidney!

The group has released five and a half (Seven Easy Pieces consists of just – some of you will already have guessed it – seven tunes, so does that make it a real album? I don’t know …) full-length albums to date, and on all of them they whip out ass-shaking anthems to good times, wild times, and the high and lows of L-U-V; you best believe it and you best not mess with it: ‘cos the Cobras are THE go-to party band for those in the know. Sure, it’s red-blooded and raw, but it’s also as beautiful as it is brassy. In other words, bad girls make good!

You should hope and pray that they play your party. I certainly hope that one fine day they’ll play mine … and if they do, I’ll invite all of you, promised!

Here’s their album – discography:

– ‘Mink Rat Or Rabbit’ (Sympathy For The Records Industry Records, 1998)
– ‘Life, Love Or Leaving’ (Sympathy For The Records Industry Records, 2001)
– ‘Seven Easy Pieces’ (Rough Trade 2003)
– ‘Baby’ (Rough Trade 2004)
– ‘Tied And True’ (Rough Trade 2007)
– ‘The Original Recordings’ (Munster Records 2008)

It was a really hard task to choose just 10 songs out of the above, because all of those albums are killers without fillers, apart from Tied And True. It’s not a bad album, but if I had to decide between the two, I would spend my money on the compilation of their early work, The Original Recordings.

Either way, without further ado, here’s what I regard to be the mighty Detroit Cobras’ 10 best songs …. yes, it’s 11, I admit, but they all are so short, so I thought I could get away with it … let’s just call the last one a bonus- or a hidden track, you won’t complain, alright, JC? Nevertheless it is a monster of a tune, quite contrary to their ‘standard’ work, so watch out for it …. and enjoy:

01 – ‘Hey Sailor’ (from ‘Life, Love Or Leaving’, a Mickey Lee Lane – cover)
02 – ‘Village Of Love’ (Peel Session – version, rec. 2003, their second 7″ from 1996, a Nathaniel Mayer – cover)
03 – ‘Out Of This World’ (from ‘Mink Rat Or Rabbit’, a Gino Washington – cover)
04 – ‘Right Around The Corner’ (from Life, Love Or Leaving, a Rose Marie McCoy & Charles Singleton – cover)
05 – ‘I Wanna Holler (But The Town’s Too Small)’ (from ‘Baby’, a Frank Guida / Patricia Matthews / Joseph Royster – cover)

06 – ‘My Baby Loves The Secret Agent’ (from ‘Seven Easy Pieces’, a Fred Sledge Smith – cover)
07 – ‘Cha Cha Twist’ (from ‘Mink Rat Or Rabbit’, a Hank Ballard / Les McCann – cover)
08 – ‘Down In Louisiana’ (from ‘The Original Recordings’, their third 7″ from 1996, cover of a traditional song)
09 – ‘Shout Bama Lama’ (from Life, Love Or Leaving’, an Otis Redding – cover)
10 – ‘Hot Dog (Watch Me Eat)’ (from ‘Baby’, the only song the Cobras ever wrote themselves)

Hidden bonus track:

11 – ‘Last Nite’ (from ‘Various Artists: Stop Me If You Think You Heard This Before’ (2003), a Strokes – cover)

Dirk aka Sexy Loser