Wednesday, 20 November 2024

Unfinished Monkey Business

 

Recently, while snuggled up in bed with Lemsip and a cold, I decided to revisit Ian Brown's debut solo album,Unfinished Monkey Business, for the first time in ... a long time. I'd forgotten about its charmful lofi, D.I.Y vibe and soul. It certainly helped my cold!

Self financed and produced on an 8-track studio in Brown's flat, Unfinished Monkey Business was in complete contrast to the years and hundreds of thousands of pounds (possibly as much as £1 million) spent recording The Second Coming with The Stone Roses.

The Roses ended up a complete mess in the end. Brown and Squire, who formed the band and who had first met in a sandpit in nursery, fell out publicly and bitterly. 

In a statement released on April Fools Day in 1996, there was nothing funny about Squire announcing his departure, saying it was; "the inevitable conclusion to the gradual social and musical separation that we have undergone in the past few years."

Undeterred, Brown and Main recruited, Aziz Ibrahim, a former Simply Red guitarist, to replace Squire and soldiered on for a further 6-months. Their Reading Festival performance saw long term fans leave the site in tears. What was left of The Roses was officially dissolved in October 96.

Squire was quick to move on, forming The Seahorses, an anagram for He Hates Roses (also The Roses Ashes) and beginning to rehearse with them as early as the summer of 96, while his former band were still going. 

The Seahorses disintegrated after just one album and a stand alone single, with Squire later reflecting; "I thought 'This sounds shit, we don't deserve to be in this place.' The band sounded complacent. I don't suppose it was anyone's fault. Maybe it got far too much attention for very little effort in the early stages, because of what I'd done in the past."

It's a fair and accurate reflection.

Meanwhile, Brown's name would occasionally pop up in the NME or Melody Maker news pages with one rumour stating that he was going to work as a gardener. 

However, after a short break, Brown was back writing and creating. And his material was much more interesting and inventive than Squire's post Roses work.

My Star was Brown's debut single to launch his solo career in January 1998, with lyrics about space exploration, NASA corrupters, military missions to Mars and the brilliant;

Never seeking new life, only planning war

Brown's voice is quite distorted, there has been no attempt to polish it up and the song gets better as it develops. Aziz Ibrahim on psychedelic guitar (also with a co-writing credit) is fizzing and fantastic and the I'll see you in my star hook is hammered home. I haven't listened to My Star in ages and I have to say that it has aged well, in a different way to Ian's work with The Roses. The lo-fi dreamy psychedelia charm, the lyrics, the hook ... there is just something about it.

The video was typically psychedelic, with Brown wandering round a futuristic home, eating pills and appearing in front of some Pollock artwork on a few occasions. Brown also appeared on Top of the Pops with a band including someone playing percussion on boxes of eggs. Later in the performance Ian threw some eggs at his own image.

My Star - Top of the Pops

On to the album, which opens with Intro Under The Paving Stones The Beach, all Ian's own work. Drum samples, toy guitar, the title spoken by Ian's son. It's essentially a sound collage; the beats, church bells chiming, some Indian sitar sounds, leading into the aforementioned My Star.

Brown calls upon his mate Mani for inspiration with Can't See Me. Brown found an old tape of a bass demo by Mani with a breakbeat sample (some reports indicated Reni played along with it) and asked him if he could use it. One of his old mates also inspired the lyrics, with Brown allegedly writing them after waving to Squire when he saw him across a street and John pretended he didn't see him.

Lyrics about Squire are sprinkled liberally through the album and Brown doesn't hold back. Over the cool bass groove (what other gems are hidden on old Second Coming rehearsal tapes?!) Brown sings;

The man used to fly, he used to fly easy

Now he can't see me

Earlier in the song there is the lyric he needs a dealer, as a healer, and that's not the only reference to Squire's (self admitted) fondness for cocaine at that time.

Can't See Me - video

The Roses actually played Ice Cold Cube at their infamous last stand at the Reading Festival. This version is really brashy, Aziz's guitar is murky and blurred in the background, occasionally coming to the fore. It's a dark song, not (in my opinion) of Roses quality. I feel quite sad hearing it back. 

I suggest you think again my friend, love is a circle with no end

A message given heaven sent, I've seen you cause your own descent

I always loved Sunshine and still think back fondly to seeing Ian singing it in a tent at T in the Park. Ian' voice was really on it that day. I think Sunshine is rather beautiful, on the album it's just Brown and his acoustic, beautifully and gloriously a little out of tune. 

Then we have the near 7-minute rough gem of Lions and Ian singing with the late Denise Johnson. The drums are primitive, a bass kicks in at one point then drops out, a synth appears and is turned up loud, there is guitar, all kinds of effects, things pretty much fall apart and then Johnson repeatedly sing.

There are no lions in England, there are no lions in England

There are no lions in England, no, no, no

My friend Reddy and I loved this song, released 2-years after Three Lions (Football's Coming Home). Lions is rough, raw and soulful when you're in the mood. It can also be a difficult listen to get through it all. 

Corpses In Her Mouth was the second single lifted from the album, reaching a respectable 14 in the UK charts after the high placing My Star which got to the heady heights of number 5. For me, this is one of Ian's best solo singles and it kicks off the best run of songs on the album. The beats are cool, the guitar shimmers, there is plenty of space for the vocal melody and the lyrics are kinda beautifully weird.

What Happened To Ya Part 1 is deliciously ragged. Over an acoustic groove, Brown sounds confident and assured as he reflects on the Roses and Squire

You'll walk on water if they told you they like

There's just one problem, you just missed the tide

What happened to ya? Did you change your mind?

What happened to ya? We were one of a kind

Part 2 then kicks in and immediately veers off into a different full band groove, pure Roses territory - One Love mixed with a dash of The Second Coming, with Brown whispering menacingly at the start;

They got to ya, they got to ya, OK, OK, cocaine, cocaine

Aziz Ibrahim is in stunning form on guitar as Brown repeats the chorus of part 1 as his band groove on. This is as sublime a groove as King Monkey has ever been involved with.

Nah Nah is more Brown reflections, Ibrahim riffing gently over and acoustic groove. Deep Pile Dreams is pure Ian Brown, a slow stone groove. It's all Brown; playing bass over drum beats, a simple keyboard riff and a strong vocal melody.

The closing title track is Brown jamming on a keyboard over beats.

I enjoyed Unfinished Monkey Business when it came out and I've enjoyed revisiting it all these years down the line. It's honest and pure, lofi and 


Friday, 15 November 2024

God Only Knows

Cover version of the month #102
Betty Everett covers The Beach Boys God Only Knows


It was The Avalanches that alerted me to this cover version of God Only Knows. A couple of years ago they posted a video of them playing this impeccable 7-inch single.

Many artists have covered this truly special song; Neil Diamond, Taylor Swift, David Bowie and Glen Campbell to name four. But I'm going to focus on this gem of a version by Everett.


Recorded and produced over March & April 1966, God Only Knows was a landmark recording for The Beach Boys. Brian Wilson wasn't just pushing boundaries, he was blasting them away, bringing in 20 session musicians to play clarinet, flutes, strings, French horns, upright bass, sleigh bells ... 

For reference, The Beach Boys previous album, Beach Boys Party released in November 1965, consisted mostly of cover versions. Wilson, only 23, decided to shoot for the stars and beyond with his next recordings.

The reason Wilson was determined to reach higher than ever before was because his mind had been blown by The Beatles Rubber Soul album. Copious amounts of marijuana helped as well! Nothing was off limits, including referencing God, not only in the song, but in the title. 

You can listen to a great deal of the God Only Knows (and Pet Sounds) recording sessions online. Wilson is in his element, conducting, cajoling, energising, encouraging ... there are hours and hours to dig into.

Brian Wilson - genius at work

Remarkably, God Only Knows was released just a month after completion, as part of the momentous Pet Sounds album. In a pre-internet age, this was an album spoken of in hushed and revered tones and it wasn't exactly easy to buy for a while. It's an incredible piece of work, the songwriting, singing, harmonies, production, musicianship, arrangements ... everything is just perfect. 

Carl Wilson takes on lead vocals, delivering an exceptional performance that plays on listeners heart strings in addition to the strings on the song. God Only Knows is only 2 verses, it's only 3-minutes long ... yet it says so much, it makes you feel so much, it's an outpouring of love in a way that love had never been portrayed before in popular music - lyrically and musically.

I may not always love you
But long as there are stars above you
You never need to doubt it
I'll make you so sure about it
God only knows what I'd be without you

If you should ever leave me
Well life would still go on believe me
The world could show nothing to me
So what good would living do me?
God only knows what I'd be without you

The verses are delivered in just over a minute. Brian Wilson then takes listeners on a magic carpet ride through the clouds, coming back to the second verse, then falling to almost nothing at 2-minutes before layering everything back up again.


Betty Everett's version was released in 1975 and you can immediately see why The Avalanches fell for it ... it is very Avalanche-y! The horns, the little twists and tweaks on the melody, the dreamy quality of the production, the heavenly backing vocals and the sublime arrangement. The vocals are simply stunning, the musicanship and production is absolutely first class. It's impeccable, gorgeous.

The instrumental from 2-minutes flows and floats, before Everett and her backing singers come back in to take the song to conclusion, driving things for a wonderful 48-second outro, their voices dovetailing over the top of each other.

God only knows, what I'd be with out you
God only knows, baby
(God only knows) God only knows, (what I'd be without you)

The Beach Boys masterpiece and the sublime Betty Everett cover version of God Only Knows are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Previous covers of the month blogs

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
82. Drop
87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire
92. Valerie
101. Shout!

Monday, 11 November 2024

Brilliant debut singles part 4

Welcome to part 4 of my new semi-regular/ongoing feature on brilliant debut singles. When bands/artists appear perfectly formed with a song that is utterly brilliant!

Sometimes, this might be with a song that they didn't write! Is that cheating?! Well, no, not if they transform the song and make it their own. Saint Etienne certainly did that with their sublime cover of Neil Young's Only Love Can Break Your Heart that is included in this blog. 

I'm also pretty sure that I'll be writing about The Byrds Mr Tambourine Man and the likes of Hey Joe by the Jimi Hendrix Experience in future blogs.

Part 4 (below) features Arab Strap, The House of Love, McAlmont &  Butler, The Left Banke and Saint Etienne.

I've started a Spotify playlist HERE

Part 1 featured; The Doors, The Undertones, Pet Shop Boys, Stardust and Tracy Chapman

Part 2 featured; Booker T & The MG's, The Jackson 5, Kate Bush, Radiohead and The Sex Pistols

Part 3 featured; Teenage Fanclub, LCD Soundsystem, Boston, The Box Tops and Depeche Mode.

16. First Big Weekend by Arab Strap

Funny, emotive, original, soulful and beautifully authentic, Arab Strap's First Big Weekend documents a mid-90's weekend absolutely perfectly. It could easily have been written about me and my mates!

Aidan Moffat begins his tale over raw and sparse acoustic guitar. Like many of my own 90's weekends, Aidan's started on a Thursday. Moffat's was with a quiz where he approached an ex-girlfriends new boyfriend to say there is no issue as far as he is concerned ... he shouldn't have bothered.

Then on Friday night we went through to The Arches

A programmed (basic) drum beat kicks in and Malcolm Middleton then finds a guitar riff and some synth sounds fall in behind. Moffat then continues his tale; the travel through, skipping the queue, dancing, the aftermath, trying to keep going, falling asleep, missing the Scotland v England game, going out again, watching The Simpsons, going out to the pub on Sunday night, meeting up again on Monday night ....

Went out for the weekend and it lasted forever

High with our friends it's officially summer

First Big Weekend was like nothing my friends and I had ever heard before. It was (and is) raw, real, exciting and true.

17. Shine On by The House of Love

With shimmering psychedelic guitars and an incredible chorus that is beautifully simple, Shine On is the defining song of The House of Love. 

The piercing guitar riff that introduces the song is infectious, the burst of acoustic rhythm under a short electric guitar at the end of the first verse is glorious. Later on the middle eight leads to a sensational guitar solo by Terry Bickers who was widely considered to be the best guitarist around on the independent scene in the aftermath of The Smiths and pre-Roses.

Originally released back in 1987 on Creation Records, the song failed to reach the top 100.  A new version was released in 1990 and got to number 20 in the charts - the bands biggest hit.

The band, led by Guy Chadwick and with Terry Bickers on guitar, were making a mark. Alan McGee became their manager and was determined to get them a major record deal. This episode is reflected on in glorious detail in the legendary book My Magpie Eyes Are Hungry For The Prize up among the best music books I have ever read.

Chadwick was desperate for a major record deal and a lump sum of money to buy a house, he has lied about his age and is going a little crazy with ecstasy and LSD, while Bickers is having a mental breakdown on tour, while McGee is holed up in plush London hotels conducting interviews with prospective labels. It's a funny yet harrowing read. 

The band definitely had something, but never captured the excitement of early recordings after Fontana (who they signed with) ordered multiple re-recordings and remixes in search of 'a hit'.

Listening back to the song, I've never really focused on the lyrics in the verses before! They are quite abstract, I guess it's always been about the guitars and the chorus for me.  

She, she, she, she, shine on

She, she, she, shine on

She, she, she, shine on

18. Yes by McAlmont & Butler


Bernard Butler went quiet after leaving Suede, following a meteoric 3-years encompassing 4 brilliant singles, a landmark debut album and the stand alone single Stay Together. Perhaps, given the ferocious pace they worked at, it was understandable.

There were rumours abound that Butler was going to join other bands, but he surfaced with Yes and a partnership with singer David McAlmont. The two met in the Jazz Cafe in Camden and Butler was soon playing his new friend his first positive piece of music since leaving Suede.

And oh how positive it is, McAlmont wrote a verse but couldn't come up with a second, so Butler just told him to repeat the first with the duo hoping to commit something that could be held up as a classic single like those they loved from the 60's.McAlmont's lyrics match the positive surge of Butler's music. The strings soar and instantly sound euphoric, Butler's guitar crashes and provides a constant rhythm throughout, while seemingly simultaneously chiming and riffing.

The lyrics could easily be McAlmont's interpretation of whatever Butler told him about leaving Suede. The title, the simple Yes, is pure positivity, Butler has recovered from the dark post Suede months, he does look better and he does feel alright.

David McAlmont's vocal is exceptional and after a quick 1st verse that sounds like McAlmont relaying a conversation they are into the sky scraping chorus. The about me, about me, about me line that McAlmont yelps out is the perfect bridge into the chorus. Then they do it again for good measure, only they take it even higher and it sounds even better.

Exceptional! Check the outrageous live performance on Later with Jools and the way Butler stomps, whirls and attacks his guitar. 

19. Walk Away Renee by The Left Banke

In just 2-minutes and 46 seconds, The Left Banke produce heart aching pop music of the highest, purest quality. Everything tugs on heart strings. At the age of just 18, Steve Martin Caro has no God given right to sound so beautifully heart broken, while the strings, harpsichord and flute are utterly perfect, giving a sense of maturity to this band of teenagers.

The poetic lyrics speak of empty sidewalks, where perhaps lovers once walked, of tears, of pain, rain, names in a heart drawn on the wall, of being haunted and of a realisation that the writer can't follow Renee, it's not to be.

Astounding, outstanding, magical. 

Walk Away Renee by The Left Banke

The Left Banke were teenagers when they wrote the Walk Away Renee by The Left Banke, especially when you consider that the band were teenagers at the time.

Released in July 1966, Walk Away Renee is one of a number of songs Brown wrote about Renee Fladen-Kamm, then the girlfriend of his friend and band mate, Tom Finn. Amazingly, Fladen-Kamm was at the recording of the single, Brown had to wait for her to leave in order to play his parts.

Remarkably, considering the depth and quality of this song, The Left Banke were all teenagers!

20. Only Love Can Break Your Heart by Saint Etienne

Saint Etienne (with Moira Lambert on vocals pre Sarah Cracknell) transform Neil Young's beautiful Only Love Can Break Your Heart - modernising it, taking it into the future, somehow making it even more timeless than the original.

Recorded in just 2-hours in a makeshift bedroom studio - Saint Etienne's version has a beautifully raw, unpolished quality and it remains a true gem that continues to captivate audiences to this day. It still sounds super fresh and exciting. 

 Saint Etienne take Neil Young's genius songwriting to new places - clubs! Ensuring that Only Love Can Break Your Heart fitted seamlessly in with the Acid House and ecstasy scene that was gripping the nation at the time of release in 1990.

I was always thinking of games that I was playing
Trying to make the best of my time

But only love can break your heart
Try to be sure right from the start
Yes only love can break your heart
What if your world should fall apart

Wednesday, 6 November 2024

69 Police and Hey Lisa

Trust me #82 & 83
69 Police and Hey Lisa by David Holmes

David Holmes is DJ-ing in McChuills this Friday night ... and I'm not going! I was, but having been a little run down with a bug since last Thursday, I decided to sell my tickets - cost price naturally! At my age, going on a mad night out while not at 100% isn't a good idea!

Holmes is someone I have admired since my friend Reddy introduced me to his debut album This Film's Crap Lets Slash The Seats way back in 1995. Reddy also fell for the 1997 follow up Let's Get Killed which included snippets and samples of audio recordings Holmes made while walking around New York City. It was kind trippy and totally cool.

But it was Holmes 3rd album, Bow Down to the Exit Sign, released in 2000, before I truly fell for the Northern Irish DJ, electronic artist, producer and film composer. 

Two song in particular stood out. 69 Police is flowing gem, layered beautifully to take listeners on a journey. The synth riff is utterly sublime. A couple of year ago I was fortunate to DJ in McChuills on a Sunday evening and this went down a treat.

The production is insane; the spoken word intro is turned up high in the mix, then the synth sounds and beats kick in, leading to the a glorious synth riff with lovely squelchy sounds interspersed. Holmes layers things and keeps it all going. I doubt that David will drop this into his set, but any regrets I have on Saturday night would be considerably multiplied if he did!

The dreamy atmospheric Hey Lisa closes the album to leave you floating, the mellow beats and swirling strings are absolutely gorgeous. Holmes works real magic here, layering guitars, string samples, synth riffs and bubbles, and what sounds like a xylophone ... weaving them in and out of each other beautifully.

Hey Lisa is a piece of music that never fails to move me. What a way to close the album, listen to the strings as the song ebbs towards the end. Majestic.

69 Police and Hey Lisa are both added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE 

And why not check David Holmes incredible Radio 1 Essential Mix from 1997 HERE

Check below for all previous blogs in my Trust Me series.

Previous Trust Me blogs

1. Something On Your Mind by Karen Dalton
1A. Crimson and Clover by Tommy James and the Shondells
2. I Am, I Said  by Neil Diamond
3. Where's The Playground Susie?   by Glen Campbell
4. If You Could Read My Mind by Gordon Lighfoot
5. Gimme Some Truth by John Lennon
6. Gone With The Wind Is My Love by Rita and the Tiaras
7. In The Year 2525 by Zager and Evans
8. The Music Box by Ruth Copeland
9. The Ship Song by Nick Cave
10. Sometimes by James
11. I Walk The Earth by King Biscuit Time
12. Didn't Know What I Was In For by Better Oblivion Community Centre
13. When My Boy Walks Down The Street by The Magnetic Fields
14. The Man Don't Give A F**k by Super Furry Animals
15. All Flowers In Time Bend Towards The Sun by Jeff Buckley and Liz Fraser
16. Are You Lookin' by The Tymes
17. A Real Hero by College & Electric Youth
18. Feelings Gone by Callum Easter
19. Sunday Morning by The Velvet Underground
20. Did I Say by Teenage Fanclub
21. Don't Look Back by Teenage Fanclub
23. Belfast by Orbital
24. Clouds by The Jayhawks
25. Dreaming Of You by The Coral
26. Everlasting Love by Love Affair
27. Walk Away Renee by The Left Banke
28. Teenage Kicks by The Undertones
29. Shaky Ground by Sneeze
29. Rill Rill by Sleigh Bells
30. I Can Feel Your Love by Felice Taylor
31. The State We're In by The Chemical Brothers w/ Beth Orton
32. Sunshine After The Rain by Ellie Greenwich
33. Losing My Edge by LCD Soundsystem
34. Mondo 77 by Looper
35. Les Fleurs by Minnie Riperton
36. Rat Trap by The Boomtown Rats
37. How High by The Charlatans
38. I Can't Let Go by Evie Sands
39. Pop Song 89 by R.E.M.
40. Summertime Clothes by Animal Collective
41. There She Goes by The Las
42. We're Going To Be Friends by White Stripes
43. Autumn Sweater by Yo La Tengo
44. Sister Rena by Lomond Campbell
45. Revolution by The Beatles
46. Lazarus by The Boo Radleys
47. Wrote For Luck by Happy Mondays
48. American Trilogy by The Delgados
49. Loser by Beck 
50. Silent Sigh by Badly Drawn Boy
51. Comedy by Shack
52. Take The Skinheads Bowling by Camper Van Beethoven
53. Freakscene by Dinosaur Jr
54. Thank You For Being You by The Pastels
55. I Think I'm In Love by Spiritualized
56. Chestnut Mare by The Byrds
57. Cannonball by The Breeders
58. Like A Rolling Stone by Bob Dylan
59. You Make Me Weak At The Knees by Electrelane
60. Lucky by Radiohead
61. Strange Currencies by R.E.M.
61. I Am The Cosmos by Chris Bell
62. Like A Ship (Without A Sail) by Pastor TL Barrett and the Youth for Christ Choir
63. Nothing But A Heartache by The Flirtations
64. Made of Stone by The Stone Roses
65. Tonight In Belfast by Orbital, David Holmes, DJ Helen and Mike Garry
66. Anything by Adrianne Lenker
67. I Hold Something In My Hand by Bill Ryder-Jones
68. I Meant Every Word by Burnett Sisters
69. Dream Baby Dream by Suicide
70. Stove by The Lemonheads
71. Red Lady by Phil Cordell
72. Little Fluffy Clouds by The Orb
73. I Can Do It With A Broken Heart by Taylor Swift
74. Turnin' My Heartbeat Up by The M.V.P.'s
75. Razzle Dazzle Rose by Camera Obscura
76. Such Great Heights by The Postal Service
77. The Rat by The Walkmen
78. My God Has A Telephone by Aaron Frazer
79. Unfinished Sympathy by Massive Attack
80. Sweet and Tender Romance by The McKinleys
81. Hoppipolla by Sigur Ros





Sunday, 3 November 2024

Hoppipolla

 

Trust me #81
Hoppipolla by Sigur Ros

Hoppipolla, released by Sigur Ros back in 2005 as a single and on their Takk album, is one of the most uplifting songs I've ever experienced live. Everything swells and soars to take you to a special place. 

Sidenote - I've only just discovered that Hoppipolla is means hopping into puddles in Icelandic. Lovely!

The BBC quickly  picked up on the uplifting and euphoric qualities of the song, using it to incredible effect in the 2006 Planet Earth series which took the band to a new level.

Official video

Hoppipolla connects emotionally through the wonderfully widescreen cinematic feel of the song. The strings are almost out of this world. Starting with a simple piano riff, the song builds quickly, naturally and beautifully. The piano is layered with orchestral strings, horns, beats and a vocal and melody (that I find myself attempting to sing - even though it is a mixture of Icelandic and a made up language!) are introduced, falling and then rising mesmerisingly to an epic conclusion.

Hopelandic is the bands 'invented language'. It works. Hoppipolla is universal, filling listeners with heartwarming joy.

Sigur Ros, live in Glasgow, 2022
Photo by Dave Taylor

Sigur Ros played, arranged and produced the song perfectly. The way things float down gently from 1 minute 49 seconds to almost nothing, before rising majestically to soar even higher than before is remarkable. I don't mind admitting to pretending to conduct an orchestra while blasting this song in my flat when I was younger ... after a few beers of course! 

And it just keeps soaring for a while, then it glides down swiftly to land and finish. 

Check this beautiful live film of the band performing the song at the Icelandic festival Heima in 2006. 

Hoppipolla is added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE 

Check below for all previous blogs in my Trust Me series.

Previous Trust Me blogs

1. Something On Your Mind by Karen Dalton
1A. Crimson and Clover by Tommy James and the Shondells
2. I Am, I Said  by Neil Diamond
3. Where's The Playground Susie?   by Glen Campbell
4. If You Could Read My Mind by Gordon Lighfoot
5. Gimme Some Truth by John Lennon
6. Gone With The Wind Is My Love by Rita and the Tiaras
7. In The Year 2525 by Zager and Evans
8. The Music Box by Ruth Copeland
9. The Ship Song by Nick Cave
10. Sometimes by James
11. I Walk The Earth by King Biscuit Time
12. Didn't Know What I Was In For by Better Oblivion Community Centre
13. When My Boy Walks Down The Street by The Magnetic Fields
14. The Man Don't Give A F**k by Super Furry Animals
15. All Flowers In Time Bend Towards The Sun by Jeff Buckley and Liz Fraser
16. Are You Lookin' by The Tymes
17. A Real Hero by College & Electric Youth
18. Feelings Gone by Callum Easter
19. Sunday Morning by The Velvet Underground
20. Did I Say by Teenage Fanclub
21. Don't Look Back by Teenage Fanclub
23. Belfast by Orbital
24. Clouds by The Jayhawks
25. Dreaming Of You by The Coral
26. Everlasting Love by Love Affair
27. Walk Away Renee by The Left Banke
28. Teenage Kicks by The Undertones
29. Shaky Ground by Sneeze
29. Rill Rill by Sleigh Bells
30. I Can Feel Your Love by Felice Taylor
31. The State We're In by The Chemical Brothers w/ Beth Orton
32. Sunshine After The Rain by Ellie Greenwich
33. Losing My Edge by LCD Soundsystem
34. Mondo 77 by Looper
35. Les Fleurs by Minnie Riperton
36. Rat Trap by The Boomtown Rats
37. How High by The Charlatans
38. I Can't Let Go by Evie Sands
39. Pop Song 89 by R.E.M.
40. Summertime Clothes by Animal Collective
41. There She Goes by The Las
42. We're Going To Be Friends by White Stripes
43. Autumn Sweater by Yo La Tengo
44. Sister Rena by Lomond Campbell
45. Revolution by The Beatles
46. Lazarus by The Boo Radleys
47. Wrote For Luck by Happy Mondays
48. American Trilogy by The Delgados
49. Loser by Beck 
50. Silent Sigh by Badly Drawn Boy
51. Comedy by Shack
52. Take The Skinheads Bowling by Camper Van Beethoven
53. Freakscene by Dinosaur Jr
54. Thank You For Being You by The Pastels
55. I Think I'm In Love by Spiritualized
56. Chestnut Mare by The Byrds
57. Cannonball by The Breeders
58. Like A Rolling Stone by Bob Dylan
59. You Make Me Weak At The Knees by Electrelane
60. Lucky by Radiohead
61. Strange Currencies by R.E.M.
61. I Am The Cosmos by Chris Bell
62. Like A Ship (Without A Sail) by Pastor TL Barrett and the Youth for Christ Choir
63. Nothing But A Heartache by The Flirtations
64. Made of Stone by The Stone Roses
65. Tonight In Belfast by Orbital, David Holmes, DJ Helen and Mike Garry
66. Anything by Adrianne Lenker
67. I Hold Something In My Hand by Bill Ryder-Jones
68. I Meant Every Word by Burnett Sisters
69. Dream Baby Dream by Suicide
70. Stove by The Lemonheads
71. Red Lady by Phil Cordell
72. Little Fluffy Clouds by The Orb
73. I Can Do It With A Broken Heart by Taylor Swift
74. Turnin' My Heartbeat Up by The M.V.P.'s
75. Razzle Dazzle Rose by Camera Obscura
76. Such Great Heights by The Postal Service
77. The Rat by The Walkmen
78. My God Has A Telephone by Aaron Frazer
79. Unfinished Sympathy by Massive Attack
80. Sweet and Tender Romance by The McKinleys






Thursday, 31 October 2024

Paul Weller at Glasgow Barrowland

What a show! What a night!

Paul Weller rocked into Glasgow for a couple of nights at the Barrowland Ballroom. Reports from his show at Dundee Caird Hall on the Sunday night were unanimously rapturous. Friends who went to the Monday night at the Barrowland agreed and assured me I was in for a real treat.

How right they were!

The Barrowland Ballroom was awash with anticipation, Weller haircuts, Fred Perry polos, Harrington jackets, desert boots and boxfresh Adidas. Punks, skinheads, mods, Britpop kids, parents with their kids ... Weller united people from all walks of life last night.

Weller bounded on to the stage at 8.45pm sharp and after a warm welcome he warned us that he had a lot of songs to get through. He wasn't wrong! With his crack band, Weller blitzed the Barrowland with a 26-song set over 2-hours, only paused to change guitars (very quickly thanks to a top class roadie/guitar tech) or walk over to his keyboard. 

Looking suitably sharp, fit, energetic and healthy, Weller's voice was rich and soulful, his guitar playing was exceptional and his band were as good as any I have seen.

Paul Weller has been releasing music since April 1977 when he brought In The City out with his seminal mod/punk/new wave band The Jam. The Modfather shows no signs of slowing down with his latest album 66 being his 13th solo album this century, his 17th overall. In addition, Weller released 6 studio albums with The Jam and 5 with The Style Council - quite the catalogue.

With his discography, status and fanbase, Weller is at the age and stage in life where he can pick and choose where he wants to play, when and what he wants to release. He could play larger venues than the Caird Hall in Dundee or the the Barrowland Ballroom, but Weller and his crack band thrive on relatively intimate shows where they can see the whites of their audiences eyes.

Steve Cradock, in almost obligatory shades, was sensational on guitar, while Weller had 2 drummers driving the beats and percussion, bass, horns and keys to assist with his delivery of songs from across his catalogue.

I can't confess to being up to date with Weller's output, but every single song was excellent. I have to confess to being a little confused about how to capture how good this show was .... I am just going to spew my thoughts out ...... here goes!

Song wise, there was plenty from Weller's impeccable 'comeback' in the 90's, the era I discovered him as a teenager and still the period of his career I enjoy the most. We had sprinkles from his eponymous debut solo album; a dreamy Above The Clouds relatively early on, the band easing effortlessly into the stoned soul groove, the crowd helping with backing vocals. Later on there was a charged Into Tomorrow.

From Wild Wood we had the pastoral title track,  impassioned All The Pictures On The Wall, acoustic and electric guitars sounding sublime. Hung Up is one of my favourite Weller solo songs and it sounded truly impeccable at the Barrowland. It's a gem!

Stanley Road was released in 1995, almost 20-years after Weller's debut with The Jam. There can't have been many artists through history that have released albums of this quality so far into their career!

The title track, a gorgeous Broken Stones, an outstanding Out Of The Sinking (one of my favourites from the set), an electric Changing Man into Porcelain Gods with a dash of I Walk on Gilded Splinters and the sheer beauty of You Do Something To Me.

Will Weller play some Stanley Road 30th anniversary shows in 2025? Tickets would be snapped up!

I'd have been pretty happy with that set, but there was so much more!

'You might not know this one, but I'm gonna f**king play it anyway' was how Weller introduced Fat Pop, while he opened the show with Cosmic Fringes followed by That Pleasure from the same album. The former was a superb choice to set the energy for the entire show.

Shout From The Top from The Style Council years was another real highlight, a total crowd pleaser, a joyful soul stomp. My Ever Changing Moods was dropped early, swiftly followed by Have You Ever Had It Blue?

As for The Jam, Start! was funky and cool, played halfway through the set, Weller was on fire by this point. The song lifted the crowd and the band responded.

The night ended with a romp through That's Entertainment with Weller spitting out the lyrics and then a blast through Town Called Malice with the Barrowland jumping.

As I said at the Start!

What a show! What a night!

I'll add - what an artist! What a songwriter! What a voice! What a band!




Monday, 28 October 2024

Never Ending Mixtape part 94

Hello and welcome

Back in October 2016 I started my Never Ending Mixtape on Spotify, a platform that I had (after a great deal of scepticism and reluctance) signed up for. 

My idea was simple, I'd start a playlist and just keep on adding songs in no particular order and see what I could create. The complete opposite from my youth, when I would spend many wonderful hours pondering over tracklistings for mixtapes or mix CD's. 

I aimed to blog monthly on additions to the Never Ending Mixtape and I have pretty much stuck to that. I love playing my playlist on shuffle and marvelling at the songs the algorithms select. From someone who religiously bought music (either in physical format or via iTunes), it's quite something to reflect on how Spotify is now part of my life on virtually a daily basis!

My Never Ending Mixtape has now broken the 4,000 song mark, jumping from 3,972 songs to 4,012 with the addition of denver luna from the new Underworld album.

Thank you so much if you are one of the 353 people following the playlist. Thanks also if you dive in now and again. As always, I hope you discover an incredible song you've never heard before, or that you rediscover an old favourite you haven't heard in some time. 

Search for Everything Flows Never Ending Mixtape on Spotify or CLICK HERE

Here are a few of the latest additions.

Recent discoveries

Love - Building On Fire by Talking Heads
So It Goes by Nick Lowe
Skyway by The Replacements
Head over Heels by The Go Go's

New releases

Ready To Go Home (Farley mix) by Primal Scream
Change What You Can by Paul Weller
On My Own by Hinds
denver luna by Underworld

Old favourites

The Test by The Chemical Brothers w/ Richard Ashcroft
Standing In The Rain by Al Green
Forever by The Charlatans
Where Do I Begin by The Chemical Brothers w/ Beth Orton
Your Love Is The Place Where I Come From by Teenage Fanclub
I Wanna Be Your Dog by The Stooges
Glad and Sorry by The Faces