80 minute Marvin Gaye mix

Marvin Gaye's I Don't Have To Get High To Do It is a relatively recent discovery of mine. If you dig into his back catalogue on Spotify (or a streaming/download platform of your choice) you'll find all kinds of deluxe edition albums that have demos, instrumentals and alternative takes.

It really is an absolute treasure trove of riches and I have found myself regularly coming back to Marvin's discography which has resulted in me compiling this 80-minute mix of blissed out instrumentals, alternative mixes, deep cuts, demos and ending with a pure classic and the sublime rhythm 'n' strings mix of What's Going On.

Check out some sensational soul jams with the Funk Brothers and the many incredible musicians Gaye was fortunate to work with. I previously blogged on Song #3  HERE back in 2019. The instrumental songs on the deluxe edition of Lets Get It On are absolutely out of this world, Perfection is aptly named!  

Search for 80-minute Marvin Gaye mix on Spotify or CLICK HERE

Tracklist

I Don't Have To Get High To Do It (instrumental)

I Want You - Jam - Alternate Mix

Song #1 - Instrumental

Song #3 - Instrumental

Song #4- Instrumental /partial vocal) 

Perfection (instrumental)

"T" Plays It Cool (soundtrack version)

Mercy Mercy Me (The Ecology) - Detroit Mix

Right On - Detroit Mix

Inner City Blues (Make Me Wanna Holler) Detroit Mix

Falling In Love Again

Checking Out (Double Clutch)

What's Going On (instrumental)

Ego Tripping Out (instrumental)

I Love The Ground You Walk On - Instrumental

Symphony - Demo

I Want You - Intro Jam 2

Ain't No Mountain High Enough

What's Going On - Rhythm 'N' Strings Mix

Ain't No Mountain High Enough

Cover version of the month #81

Diana Ross covers Marvin Gaye & Tammi Terrell

What can you say about Marvin Gaye and Tammi Terrell's impeccable Ain't No Mountain High Enough?

Well, it's one of those songs where I tend to say that music really doesn't get much better. It's absolutely perfect in every single way. The emotion, the imagery, the soul and love that pours out of the song.

Written by Nickolas Ashford and Valerie Simpson, Gaye and Terrell released the song in April 1967, perfect timing for it to be played through the Summer of Love.

Apparently Dusty Springfield wanted to record the song, but Ashford & Simpson were dead set on it being a Motown record. They were right to hold it back.

I find out a lot of surprising things when researching for blog articles. My biggest surprise here is that Terrell recorded her vocals first and Marvin added his at a later date! They sound so perfectly entwined that I have always imagined them singing together in a booth. I'll hold on to that image though.

Ashford & Simpson wrote more gems for the duo, including You're All I Need To Get By and Ain't Nothing Like The Real Thing. Wow! What a trio of songs.

When I really fell in love with music at the age of 15 and got my first Hi-Fi with a turntable, I remember raiding my parents rather small record collection. I still have a Marvin & Tammi's compilation, complete with my Mum's name written in pencil. I devoured it. 

God those innocent days seem so long ago. You treasured exploring records, stuck with them, poured over sleeve notes, showed off when friends came round; 'hey listen to this'. Friends would have to come round to listen, unless you made them a mixtape.

Nowadays I'm guilty as charged. Friends and I will exchange songs on WhatsApp by posting Spotify or YouTube links. Sometimes I'll take days to check a link, sometimes the chat will go on and I'll forget. 

The teenage me would be appalled. But sometimes (all of the time) it's just too easy to access music. You can check out songs, albums or entire back catalogues on a whim. And I do ... if in the mood. But I also miss the days of saving for albums, or going to HMV every Monday, or Missing Records before catching the train back to Carluke, or having friends round and playing CD's or records. I miss taking a chance on an album because of a cover.

Anyway, back to Ain't No Mountain High Enough.

It's precisely 2.5-minutes of Motown pop perfection. Gaye & Terrell backed by The Funk Brothers and the Detroit Symphony Orchestra. 

Beginning with a rumbling bass and Marvin Gaye's passionate vocal, Tammi Terrell and strings come in, before everything takes off at 30-seconds as they hit the chorus together. Terrell's voice soaring, Gaye's just sitting under it beautifully.

And what a chorus! 

Gaye & Terrell are so in love that nothing will keep them from each other; mountain, valley or river.

Then we have Terrell singing over pounding drums; No wind, no rain, or winters cold, can't stop me baby

Things are really flying now as Gaye ad libs a no, no, baby before coming in at 100 mph if you're ever in trouble, I'll be there on the double, just send for me.

Marvin Gaye sounds like he is really in the zone, enjoying himself, letting out a little haah and wooo as the duo keep flying through the song. Terrell singing possibly my favourite line - my love is alive, way down in my heart, even though we're miles apart.

The Motown beat is pounding furiously, beautifully, like the sound of Gaye & Terrell's hearts as they sing for all their worth. The bass keeps grooving and the strings sound majestic.

What a song! Utterly brilliant.

Diana Ross originally recorded a version with The Supremes & The Temptations in 1968, remaining true to the original. Ross, at the bequest of Ashford & Simpson, revisited the song in 1970 as a solo artist, working with the songwriters and others to completely rework the song.

The single version is 3 minutes 32 seconds long, but it is the album version, stretched to a glorious 6 minutes and 18 seconds, that really floors me.

A slow, teasing classical intro leads to Ross singing the melody over Motown beats, strings and piano. At 1 minute 20 seconds Diana speaks directly to her love, seductively, openly and true for 40-seconds until the melody from the chorus and stronger beats kick in again.

Ross' version cleverly adds new lyrics to the original and interestingly takes an age to actually get to the words Ain't No Mountain High Enough. It's at 4-minutes 18 seconds that it kicks in, Ross is squealing with delight as her backing singers (very much at the fore for a while) sing in unison. 

Then at 4-minutes 36 seconds the song builds to another level. At 4 mins 55 it reaches for the stars, strings, horns, beats and stunning piano, then the vocals again. This is simply divine. Heavenly. 

The 6-minute version is incredible, but it still leaves you wanting more, we get that in Martin Martorell 8.5 minute version. There are more delightful squeals, Ross' voice is incredible as she urges one more time and pushes herself even further. 

This is incredible. Music really doesn't get much better.

Marvin & Tammi official video

Diana Ross - single edit

Diana Ross - 6-minute version

Diana Ross - extended 8.5 minute version

All previous cover version of the month blogs are listed below. To listen, search for Everything Flows Cool Cover Versions playlist, featuring all of the songs below, on Spotify or CLICK HERE

Previous covers of the month

1. You've Lost That Lovin' Feelin' 

2. Going Back To My Roots

3. Nirvana play The Vaselines

4. Slip Inside This House

5. Top 10 covers by Teenage Fanclub

6. Only Love Can Break Your Heart

7. Time For Livin' 

8. Sound and Vision 

9. All Along The Watchtower

10. I Am The Walrus 

11. Guiding Star

12. You’ll Never Walk Alone

13. Hurt

14. This Guy's In Love With You

15. I Wish I Never Saw The Sunshine

16. California Soul

18. Wonder wall 

19. Dancing In The Dark

20. Always On My Mind

21. Ceremony

22. Heroes

23. Different Drum

24. Wild Horses

25. Respect

26. Mr Tambourine Man

27. I Heard It Through The Grapevine

28. Superstar

29. Twist and Shout

30. Purple Rain

31. Baker Street

32. Not Fade Away

33. Stop Your Sobbing

34. I Don't Want To Grow Up

35. Serious Drugs

36. Dancing With Myself

37. How Does It Feel To Feel?

38. Love Buzz

39. ABBA-esque
40. Jumpin' Jack Flash

41. Discoland

42. Varshons 2 by The Lemonheads

43. The Langley Schools Music Project
44. Witchi Tai To
45. Our Lips Are Sealed
46. Sunshine Of Your Love
47. Here Comes The Sun
48. I Think We're Alone Now
49. Don't Let Me Down 
50. It's Oh So Quiet
51. Alcoholiday 
52. Summer Holiday
53. Who Do You Think You Are?
54. Head On
55. Nothing Compares 2 U

56. Hey Jude

57. Seven Days Too Long

58. L.O.V.E Love

59. Into Your Arms

60. Heart Of Glass

61. Take Me To The River

62. We Can Work It Out 

63. Talking In My Sleep

64. Lola

65. Lost In Music

66. My Little Red Book

67. Isn't It A Pity

68. Walk On By

69. Walk Away Renee

70. Tainted Love

71. Girls Just Wanna Have Fun

72. Listen The Snow Is Falling

73. Mrs Robinson

74. He's Gonna Step On You Again

75. In My Life

76. Caravan Of Love

77. The Only Way Is Up

78. Dancin' Round & Round

79. With A Little Help From My Friends

80. Killing Me Softly

Funky Nation - The Detroit Instrumentals

 

Recorded during the summer of 1971, Funky Nation: The Detroit Instrumentals is the result of some downtime that Marvin Gaye had after refusing to tour in support of his classic What's Going On album.

Released to coincide with the 50th version of What's Going On, it would appear that these studio jams, led by Gaye, were largely forgotten about. A few have cropped up on expanded editions through the years, but this is the first time they have been released as one.

Gaye is joined by Hamiton Bohannon on drums, the trio of Ray Parker Jr. (only 17 at the time), Wah Wah Watson and Leroy Emmanuel on Guitars, as well as Michael Henderson on bass. Gaye played keyboards and percussion.

There isn't a great deal of information other than that the sessions were led by Gaye. You barely hear him, other than the first track Checking Out (Double Clutch) when he introduces the band and then on the beautifully loose Struttin' The Blues where Gaye is just grooving along making sounds with the jam.

Was he just enjoying cutting loose and hanging with musicians?

At times things are pretty rocking, Daybreak starts with a riff that wouldn't be out of place on a 1966 Kinks single. At other times, there is some funky soul instrumentals like Help The People, while the title track is stoned soul that appears to be going nowhere until 1 minute 15 when everything just comes together with ease. Chained is an instant favourite, listen to the bass groove, the drums and that little guitar riff.

This is an album well worth checking out, it's just super loose and cool, the band are, well they are just as  Marvin says these cats sure are funky.

If you're a fan of Gaye's then it is worth checking through his online catalogue as there is an incredible amount of bonus material backing up his albums. 

A couple to highlight from the 50th anniversary of What's Going On are the demo of Symphony with Gaye repeatedly singing what's going on and the stunning instrumental I Love The Ground You Walk On.

Song #3 by Marvin Gaye

Let's Get It On by Marvin Gaye is one of a few select albums that I own on both vinyl and CD format. It is one of many classics made by a truly incredible artist. Gaye was in a particularly rich vein of form in the early 70's, beginning with the epic What's Goin' On released in 1971, leading into the sexually charged Let's Get It On, then the frank I Want You, before the incredible Here, My Dear an album recorded, in part, to pay for a divorce settlement with Anna Gordy, sister of Motown head honcho Berry.

Yesterday I was playing some music through my phone (on speakers) on Spotify in the kitchen and decided I wanted to revisit the album. I found that the online version was essentially a super deluxe edition with many unreleased songs, instrumentals, demos and alternate versions

The first bonus song is simply titled Song #3 - Instrumental. It is simply sublime, I must have listened to it over a dozen times since I first heard it. Credited as a co-write to Gaye and the conductor David Van De Pitte it has flowing strings, funk wah wah guitar, piano, cool grooves, a simple beat and horns that become more prominent as the song progresses. It's Gaye with the Funk Brothers and more.

The strings become more playful at times, including a beautiful 10-seconds at  2 minutes and 18 seconds in, it really is stunning. The pace and the horns pick up at 3 minutes 30 seconds and the closing 2-minutes is just breathtaking in terms of quality and beauty.

It sounds like it may have been recorded live, certainly going by the brilliant reaction from a few musicians at the end with one heard to say 'that is a bitch, that is a bitch'.

I'm still making my way through all the bonus tracks, but this one moved me so much that I felt I had to share it. Check it out below and you'll get the deluxe edition with all the bonus tracks on Spotify/YouTube etc. More info about the album HERE.

I Heard It Through The Grapevine

Cover version of the month #27

Marvin Gaye, Gladys Knight, Creedence Clearwater Revival and The Slits

cover I Heard It Through The Grapevine

I Heard It Through The Grapevine is one of the most famous and loved songs ever to be released by the legendary Motown Records.

3 of their biggest stars recorded and released the song between September 1967 and October 1968; beginning with Gladys Knight and the Pips. The song became an instant hit, reaching number 2 in the charts and deservedly so.

Everything about the song is exceptional - the story of hearing of a lost love, the groove, the beat, the organ.....

The Gladys Knight and the Pips version has a stunning vocal - Gladys talking directly to her lost love and telling of how she is just about to lose her mind, pleading for him to listen.

Losing you would end my life you see

Because you mean that much to me

The song was originally recorded by Smokey Robinson and the Miracles. Smokey has/had an incredible voice but for me this version doesn't capture the hurt that the song portrays.

The song was then recorded by Marvin Gaye in the Spring of 1967 but wasn't deemed a single so it was sidetracked on to his In The Groove album.

It was only after the Gladys Knight version became a hit that DJ's also began playing the Marvin version on radio, so Motown put it out as a single and it reached number 1.

The Marvin Gaye version is the definitive version. He captures the song in a way that Gladys Knight (who had to change the lyrics ever so slightly) and Smokey Robinson don't. He lives it, or he lived it, you hear it in his voice. It is sensational, rising at all the right moments, hitting notes others can only dream of. Check this incredible a cappella version. His band get the groove and they play it with an edge that the song deserves and demands.

Gaye may have recorded the definitive version, but my own personal favourite is the mind-blowing 11-minutes and 11 seconds version by Creedence Clearwater Revival that I discovered in my teens on their Chronicle Volume 1 (best of) album.

It really did blow my mind; the way the band lock into a groove, John Fogerty has the soulful voice to deliver the song, the guitars and the way they head off on a 8-minute jam that takes the song into previously unexplored territory. Gaye's version ends at 3-minutes and 12 seconds, just as the Creedence version really gets going with an explosive guitar solo.

Fogerty comes back in for a chorus and then the guitar is really unleashed, all the time backed by a rhythm section as tight and funky as they come.

The drums are outstanding throughout - from 5-minutes on they are let loose with the guitar with just the bass and rhythm guitar keeping the groove. I recall hearing this for the first time and then playing it to one of my best friends (remember this Reddy?) to marvel at it together. 

Doug Clifford on drums may well deliver my favourite drums ever on this version of a Motown classic. He ups it at 6 minutes and 48 seconds and then just keeps it going, hammering his symbols, making up fills, sounding like he is having the time of his life.

Fogerty joins in and at 8-minutes and 20 seconds he finds a brilliant playful riff and his sensational band keep on going. Fogerty then comes out of that groove and slows it down slightly at 9-minutes and 9 seconds, his band still lost in the magical groove they have found.

The rhythm groove is allowed some breathing space, I like to imagine Fogerty just standing back and enjoying the groove. The song is faded out - how long did it go on for?! Is there a longer recording?!

Many other artists have recorded I Heard It Through The Grapevine. The Slits version, below, captures the song in the heady days of punk and has an explosive raw quality to it.

However it is the Creedence version that grabbed me - and it still does. Hope you enjoy.

A list with links to previous cover versions of the month is noted below.

Previous covers of the month

1. You've Lost That Lovin' Feelin' 

2. Going Back To My Roots

3. Nirvana play The Vaselines

4. Slip Inside This House

5. Top 10 covers by Teenage Fanclub

6. Only Love Can Break Your Heart

7. Time For Livin' 

8. Sound and Vision 

9. All Along The Watchtower

10. I Am The Walrus 

11. Guiding Star

12. You’ll Never Walk Alone

13. Hurt
14. This Guy's In Love With You

15. I Wish I Never Saw The Sunshine
16. California Soul
18. Wonder wall 
19. Dancing In The Dark
20. Always On My Mind
21. Ceremony
22. Heroes
23. Different Drum
24. Wild Horses

25. Respect
26. Mr Tambourine Man

Never Ending Mixtape Part 3

The Never Ending Mixtape continues with another eclectic selection of tunes - very soul focused this month; Ritchie Havens, The Supremes, Marvin and Tammi, Bobby Womack and more.

Check out the Never Ending Mixtape on Spotify, it kicked off with Big Star and The Velvet Underground in October 2016.

A little description/memories on the tunes added this month is posted below. Enjoy.

Going Back To My Roots - Ritchie Havens
An all-time fave that I always play when I DJ. The house piano kicks the groove in from the off.

I Want You Back - The Jackson 5
Outrageous, pure, joyful soul pop. And that bass line. Jackson's youthful vocal is sensational.

Looking For You - Garnett Mimms
Genius songwriting and performance. Heartfelt northern soul. Read my blog on it HERE

Girls - Major Lance
I love the feel of the music and the glorious vocals.

Superstition - Stevie Wonder
The beat, the funky clarinet riff, the bass and Wonder combine to create something wonderful. Check out DJ Spinna's Wonder of Stevie album series for some stunning Stevie covers.

Ain't No Mountain High - Marvin Gaye and Tammi Terrell
One of the first records I got from my Mum's old collection was a Marvin and Tammi duets album. Her name Sheila was written in pencil on the top right hand corner. I still have it. The album introduced me to what I consider to be some of the greatest love songs of all-time. Does it get any better than this?

Tracks Of My Tears - Smokey Robinson and the Miracles
What was that question I just asked? Another Motown gem, an absolutely perfect song in terms of lyrics, music, production, structure and performance.

It's Time To Break Down - The Supremes
Post Diana Ross, The Supremes were led by Jean Terrell. I discovered this song via a St Etienne compilation album. Bob Stanley and Pete Wigs have exceptional taste and knowledge. This is a slow burning classic. What a groove and what a vocal, when it builds to the conclusion it is incredible.

I'll never be free from wanting you

My heart is your prisoner 

(Your Love Keeps Lifting Me) Higher and Higher - Jackie Wilson
Dancing around the legendary Barrowland Ballroom to this song at the annual Barraloadasoul event is a memory I will treasure forever. Looking around and seeing a room full of people smiling, singing, arms aloft and dancing - it doesn't get any better.


My Love Is Your Love (Forever) - The Isley Brothers
Another soul tune I discovered via a St Etienne compilation. This one was called The Trip and it was aptly named. A 2 CD set took the listener on a trip through a wide range of pop, soul, groove and psychedelic music. This is stunning.

Love Ain't Something You Can Get For Free - Bobby Womack
Oh yeah. I was lucky to catch Bobby Womack live in Glasgow just a few months before he passed away. Although he was clearly fragile his voice was powerful and soulful. This is probably my favourite song of his.

Grazing In The Grass (Andrew Weatherall edit/dub) - Dexy's
A band that just keep giving. Kevin Rowland is an exceptional artist, his voice is improving with the years and he has such a clear vision about what he wants to achieve with every single project. This extended edit by Andy Weatherall comes from their Let The Record Show .... album that will feature in my end of year review.

Never Ending Mixtape Part 2

Welcome to the second instalment of the Never Ending Mixtape that you can check out on Spotify.

14 songs are added to the mixtape and it is an eclectic collection ranging from Nick Drake to The Clash with Hendrix, Marvin Gaye, Nirvana, The Undertones, long lost bedroom romantics Alfie and hmmmm Scarlett Johansson in between.

Time Of No Reply (orchestrated version) - Nick Drake
Just beautiful. I'd only really listened to the classic Pink Moon album until earlier this year. There is a treasure trove of wonder to delve into.

Let Me Get There - Hope Sandoval and Kurt Vile
My friend Alan Clarke turned me on to this. I adore Hope Sandoval, her voice is stunning and I love loads of her stuff; solo, with Mazzy Star and guesting on songs with the likes of the Marychain and Death In Vegas.

Inner City Blues (Make Me Wanna Holler) - Marvin Gaye
What a groove, Marvin sounding exceptional. Incredible political and socially conscious lyrics.

Hercules - Aaron Neville
Listen to this on headphones, you can just make out an audible groan of satisfaction right at the start when the groove kicks in. And what a groove! And Aaron Neville just flows with his melody, delivery and poetic genius.

Little Wing - Jimi Hendrix
So yeah, this was released in 1967. Far out, gorgeous, funky, soulful, genius. It sounds mind blowing in 2016, imagine what it was like back then?

Buttermilk - Captain America/Eugenius
Eugene Kelly has written some incredible songs in his time. Captain America was his short lived post Vaselines band, changing names to Eugenius after a legal threat from Marvel Comics. Much loved by Nirvana. I love the guitar riffs and the urgent vocal melody.

Lounge Act - Nirvana
Speaking of guitar riffs and urgent vocals (and flow melody) - what about this gem from Nirvana's classic Nevermind album?! Kurt just gets to the stage where he injects extra ferocity and speed into his guitar and screams his heart out. Just listened to this for the first time in a few years - sensational.

Teenage Kicks - The Undertones
Teenage angst in purest punk pop form.

When You Walk In The Room - The Searchers
Speaking of teenage angst - this is wonderful loving pop music. I first heard this when my friend's Ben and Annisa had it as their first dance at their wedding. A Jackie DeShannon song - well worth tracking down some of the compilations of her songs.

If You Ever Get Your Hands On Love - Gladys Knight and the Pips
Motown at its best - beat, groove, melody, hooks, soul and advice.

It's You - Chris Grant
Recorded in his garage in Liverpool. This is a beautiful lofi love song that deserves to be recorded in Abbey Road with the London Philharmonic Orchestra. His It's Not About War album from 2013 contains several other stunner; particularly I Am The One and Like A 45.

Don't Wanna Grow Up - Scarlett Johansson
Scarlett Johansson does synth pop with childish charm - superb.

It's Just About The Weather - Alfie
I caught Alfie (from Manchester) at King Tut's one time and fell for their lazy charm. They looked like they had just got out of bed and produced gems like this.

The Magnificent Seven - The Clash
Surely one of the best opening tracks on an album ever. The Clash released a triple album with Sandista! and guaranteed that it would sell at normal price! Incredible value for fans and there is so much to take in - reggae, dub, punk, pop.

California Soul

Cover version of the month #16

California Soul by Marlena Shaw

I have to say that I always enjoy sitting down to write my monthly Cover Version of the Month blog. As well as sitting down to listen to music with my headphones on, I tend to discover loads of facts about, and additional versions of, the song that I choose.

This month is no different. California Soul is a song I have been in love with for decades. I have been fortunate enough to witness Marlena Shaw perform the song on two occasions, both at the Renfrew Ferry in Glasgow.

The first time was so long ago that the Ferry was on the other side (South) of the river. It had fallen into disrepair and was sloped to one side....probably slowly sinking! I have witnessed many incredible responses to songs at shows in Glasgow, but the rapturous reception to California Soul on that evening remains the best. It must have been a 10-minute ovation, the crowd just kept cheering.

So I always knew about Marlena's version. And I also knew about Marvin Gaye and Tammi Terrell's version; one of many stunning duets that the pair sang together until Tammi's death from a brain tumour - the single was released shortly after her sad passing.

I thought that was the original as the song was written by Ashford and Simpson, the talented songwriting duo behind several Marvin and Tammi gems like Ain't No Mountain High Enough, You're All I Need To Get By and Good Lovin' Ain't Easy To Come By.

In actual fact the song was originally released as a b-side!!!! Yes a b-side! By a Motown group called The Messengers; a b-side to a song called Window Shopping in 1967. I thought I had better check this song out if it relegated California Soul to the b-side! It's OK in a harmless early Beach Boys kind of way, but no California Soul!

The original is really the template used by The 5th Dimension who issued it has a single in 1968, then Marvin and Tammi in 1969 and by Marlena Shaw late that year on her Spice Of Life album. They just ramp it up a bit, the original is just a little too slow and lacks the urgency that the others bring to it.

The 5th Dimension bring in a Mama's and Papa's and Sly and the Family Stone kind of feel to it, I think it's only when Marvin and Tammi come in that the true potential is realised.

With Marvin and Tammi uplifting strings and a classic Motown beat kick in from the off, Marvin and Tammi's voices deliciously combine and entwine and then they each take their turn to take the song on. Interestingly their version was also a b-side; to The Onion Song.

As much as I love the Marvin and Tammi version (and virtually everything they recorded together) it is in the hands of Marlena Shaw that the song finds its definitive owner. The urgency is ramped up with the strings and the groove, Marlena's voice is effortless - soaring, injecting a bit of urgency when required. Listen in at 1 minute 16 when the strings take off for a ride and Marlena says in the background 'ooh it feels good'.

At other times she laughs into the mic, clearly enjoying the song, the feel and the soul. The closing 30-seconds are sensational as strings, brash, groove, beats and Marlena all come together to take the song to a glorious conclusion.

So this months cover version of the month is California Soul - it's a beauty and I have learned something about it. Hope you have too!

Previous covers of the month

1. You've Lost That Lovin' Feelin' 

2. Going Back To My Roots

3. Nirvana play The Vaselines

4. Slip Inside This House

5. Top 10 covers by Teenage Fanclub

6. Only Love Can Break Your Heart

7. Time For Livin' 

8. Sound and Vision 

9. All Along The Watchtower

10. I Am The Walrus 

11. Guiding Star

12. You’ll Never Walk Alone

13. Hurt
14. This Guy's In Love With You

15. I Wish I Never Saw The Sunshine

Five for Friday 20/01/12

Reach for the tissues for this one, I don't think I have listened to it for 4-years. I had it on my nano when I was travelling, I love the different voices and opinions, the soothing synthsm, the 'bow bam ba bow bam' backing vocals. Funny at times, very moving at others.

Beautiful. The bit at the end sends a shiver down my spine.

Hey, what can I say? I am a romantic.

We'll go on a love theme this week and lets move forward with this outstanding song and performance by Al Green.

How cool is Al Green? The feeling and flow of this song is just stunning.

When it comes to love songs the duets between lovers Marvin Gaye and Tammi Terrell are hard to top. This must be as close to perfect as you can get. Check out the Funk Brothers instrumental version of this tune too though - schweet!

The Bee Gees have some amazing songs. I have fond memories of a post club party back at my mate Phil's and our friend Fraser taking over the decks and playing loads of Bee Gees tunes at some ungodly hour and us all just singing along and dancing.

This is heartbreaking at times, the production and musicianship are outstanding, the lyrics and vocals just keep tugging at the heartstrings.

The Beach Boys have written some amazing love songs and this must rank up at the top of them. The lyrics are so simple yet so meaingful, sublime.

The Beach Boys version is on their Holland album. Dennis Wilson version would also re-record it for his stunning solo album Pacific Blue. Teenage Fanclub's Norman Blake also has a version here.

Six for Saturday 05/11/11

Five for Friday 26.08.11

This weeks tunes are inspired by the DJ Greg Wilson. I can't get enough of his amazing selection of mixes over at his soundcloud account

Greg's mixes are flawless and he drops in some amazing surprises at times.


We start with 'Ain't No Mountain High Enough' which appears at the end of his Bestival set, the edit played is just sheer joy. This is a rare and unreleased version that Greg may have got his hands on.

We then change pace with this Leo Zero edit/remix of 'No Tears To Cry' by Paul Weller - check the strings when they kick in, gorgeous.

Followed by a romp by ELO 'Last Train To London' again with glorious strings that Greg makes full use of in his Bestival set. The refain 'I really want tonight to last forever, I really want to be with you' would have sounded amazing at a festival.

Fleetwood Mac are next with the stunning 'Everywhere'. The opening lyric is just so catchy and emotional. 'Can you hear me calling, out your name? You know I'm falling and I don't know what to say.'

I'll end with a tune Greg has ended his sets with, the euphoric 'Movin' On Up' by Primal Scream.

Five for Friday, 05/08/11

Kicking off with Marvin and Tammi, if you don't own their duets album you really should track it down. If you or any of your friends are ever short of a first wedding dance song, pretty much any song off that album will hit the mark.

Super bad and super funky James Brown doing what he does complete with an outstansing moustache! I was lucky enough to catch him live in Glasgow a couple of years before he past away - one of my all-time top gigs. His band were shit hot and he was just the master.

Kick back with this super slow groover from Sly, the bass just melts everything else away.

And then get on your dancing shoes for this northern monster.


We end with one of the most life affirming tunes I have ever heard.