- So In Love With You (Beta Band Blues)
Saturday, 26 November 2022
Friday, 18 November 2022
This months 60(ish) minute mix goes all in. My aim from this mix is to make people smile or dance. Ideally both! The weather has turned, the cost of living crisis has gripped the country, the Tories still don't give a flying f**k and today it has been absolutely chucking it down.
So here are some tunes to make you feel all warm inside.
We kick off with the sublime orchestration of The Love Unlimited Orchestra and then we're straight into the tune that The Chemical Brothers would regularly open DJ sets with. Wait until the beats and strings kick in at 2 minutes!
Going Back To My Roots is one of my all-time favourites but I usually play the Ritchie Havens version. Then it's a couple of stone cold soul stompers, the wonder of Stevie, extended mixes and Dimitri re-edits of some all time favourites, followed by Candi Staton & Whitney Houston classics to finish
I hope you enjoy this mix/playlist as much as I've enjoyed creating it.
As always in this regular feature, this mix stems from pre-club nights I used to go to at The Variety Bar or McChuills in Glasgow. Two amazing bars where the DJ's would (and still do) have free license to take people on a journey with the motto Anything Goes and Everything Flows.
Search for Everything Flows DJ Mix 18 on Spotify or CLICK HERE
Love's Theme - The Love Unlimited Orchestra
Brother's Gonna Work It Out - Willie Hutch
Going Back To My Roots - Odyssey
Nothing But A Heartache - The Flirtations
Sunshine Of Your Love - Spanky Wilson
Superstition - Stevie Wonder
California Soul (Diplo remix) - Marlena Shaw
Move On Up (extended version) - Curtis Mayfield
Don't Leave Me This Way (Dimitri's re-edit) - Harold Melvin and the Blue Notes
I Believe In Miracles (extended version) - The Jackson Sisters
I Want Your Love (Dimitri from Paris remix) - Chic
You Got The Love (New Voyager radio edit) - The Source w/ Candi Staton
I Wanna Dance With Somebody - Whitney Houston
Tuesday, 15 November 2022
Trust Me #45
Revolution by The Beatles
When you talk about destruction
Don't you know that you can count me out ... in
I've welcome the recent protests by Just Stop Oil. While I initially questioned them throwing tomato soup over Van Gogh's priceless Sunflowers artwork (minor damage to the frame, painting unharmed), I quickly found myself on their side.
Activist Phoebe Plummer posed the question "What is worth more, art or life?" Her friend and fellow activist Anna Holland backed her up. "Is it worth more than food? More than justice? Are you more concerned about the protection of a painting or the protection of our planet and people?"
They are getting out there, making themselves heard, causing disruption ... of course they are pissing some people off. But hopefully some of these people are thinking more about the state of the world as a result.
Recently, the Antonio Gutteres, the UN Chief, warned that earth will be doomed unless there is a historic climate pact. Are politicians listening? Do they care?
Having marched with my (then) 10-year old daughter at COP26 in Glasgow last year. I don't think they do. I don't feel a sense of urgency. I certainly do not believe politicians are acting like we are on the verge of disaster.
No-one seems to be doing anything.
To start, we should be ring fencing and protecting the Amazon rainforest. I was learning about its destruction back in Modern Studies in 1992. It's now 2022 and nothing has changed. If anything, it sounds like it is worse. Sit down with Brazil, give them some money, put an army round the rainforest and protect it.
In March 2020 the world stopped to come together to fight a life threatening crisis. We need to do this again. To come together as one.
Is that going to happen? I don't see it. If it does, it will be too late.
Just Stop Oil are acting now. They are creating their own little revolution. They have my support and respect. I'm only surprised that more people are not marching on the streets to demand action to sort out the increasing number of crisis' we face.
I love this video of Austen Espeut after his own protest, with orange paint on his nose. Go on Austen!
While I'm not quite ready to douse the headquarters and offices of suspect companies in orange paint, I'd happily buy a few cans of paint for someone up for it. It feels like me and my generation didn't heed the warnings from our Modern Studies classes. We were too busy partying through the 90's and into the 00's.
But we must support our children to campaign. We must sit them down and let them know things HAVE to change. Because the world is changing. It's warmer, a lot warmer. There are going to be devastating consequences for everyone.
Thankfully, although it is still relatively quiet at present, revolution does feel like it is in the air. The generation above my daughters are ready for the fight. I hope my daughters generation will be right behind them to go over the wall.
I might not be on the frontline throwing paint about. I certainly won't be violent. But today I joined the Scottish Green Party for only £3 a month. Less than a cup of coffee these days. And I'm all in for independence for Scotland. I'm a Green Yes. It's good to see the SNP and The Greens working together. I'm in for the green revolution. The world needs it, Scotland needs it. Although I'm in, Lennon's line about out/in comes to mind again. I've never been a member of a political party before ... so I'll see how it goes!
Maybe don't count me out of the paint throwing just yet!
Which brings me back to this months Trust Me song; Revolution by The Beatles. That line by Lennon, don't you know that you can count me out/in. He was famously unsure about whether he was in or our when it came to violent/destructive revolution.
Lennon also sings the hook don't you know it's gonna be, alright?
At present, in November 2022, it really doesn't feel like it is gonna be alright. For multiple reasons! And that is why we need a revolution.
Lennon wrote the song in India on acoustic guitar and the version recorded for The White Album has an acoustic laid back bluesy groove. The burst of electric guitar at the start might have inspired the rerecorded version for the single.
Revolution 1, on the album, has shoo-be-doo-wop backing vocals, that sugar coat Lennon's trademark bite and cut to the bone/point lyrics.
You say you got a real solution
Well, you know
We'd all love to see the plan
The urgency of the song really comes out on the single though, the real Revolution for me. Lennon's primal scream, distorted and then fuzzed up guitar, Starr's crack beat, McCartney's bass groove ...
With added pace and menace, the song is cut from 4-minutes 14 seconds to 3-minutes 24 seconds. It sounds like The Beatles do want a revolution. Although Lennon is definitely out when it comes to violence/destruction.
Have Lennon & Harrison's guitars ever collided so deliciously? They are turned up and the sound is incredible. Nicky Hopkins plays electric piano. Everything builds towards a frantic conclusion with Lennon yelling alright, alright, alright, alright into his mic, vocals distorted like the guitars. It all sounds gloriously vital. Rock n roll.
The Beatles recorded an incredible video for the song with live vocals. Lennon goes back to count me out ... in. McCartney, as ever, revels in playing live, injecting real urgency into his own backing vocals and then sharing a mnic with George for shoo-bee-doo-wop sections lifted from the album verison. McCartney looks incredible as he sings the don't you know it's gonna be sections. He is loving it. Lennon improvises with primal grunts during the instrumental section, just adding to the urgency and pace.
Of course, I imagine that most of you reading this will know that The Beatles, or at least Lennon & Ono, recorded a sound collage entitled Revolution 9. Lennon said that he wanted to create the sound of revolution. I think I have listened to this once and although I attempted to listen again for the purposes of this blog ... I didn't make it very far before turning it off.
Revoltion 1 (White Album version)
I've also collated them all into a playlist on Spotify that you can find by searching for Everything Flows - Trust Me , or you can CLICK HERE
Previous Trust Me blogs
Friday, 11 November 2022
With a couple of festival shows in Germany and the Shine On Weekender coming up to round off 2022, Teenage Fanclub booked a warm up show at PJ Molloys in Dunfermline.
After buying tickets, my sister announced her band Poster Paints were playing a stripped back support slot! Happy days. A chance to see two great bands in an intimate 350 capacity venue in Scotland's most recently crowned city.
PJ Molloys has a delightfully dark, grubby and homely vibe to it. Vintage Guinness posters adorn the walls and the bar leads to steps down to a lower level where bands play.
Poster Paints were supporting, just over a year on from their debut shows with Teenage Fanclub. Riding high on the heaps of positive reviews their recently released album has been gathering, the band stripped back from a 5-piece to a 3-piece for the night.
This only highlighted the tender beauty of Still Got You and the fragile wonder of Hard To Sweeten, while Simon Lidell turned his guitar up an extra notch to stomp through the brilliant flowing pop of Falling Hard and Number 1.
Then it was time for Teenage Fanclub.
Everything Is Falling Apart was utterly brilliant, the band threatened to jam on a little, Raymond's My Uptight Life was as poignant as ever.
Coming on to an encore, Norman handed out Tunnocks Caramel Wafers from the rider! Good fun!
Back In The Day is a real favourite, so it was fantastic to hear its flowing chorus in all its glory. Norman highlighted that the band wanted Songs From Northern Britain to be a double album and that Middle Of The Road should have been on the album anyway. It breaks down into a super catchy post chorus section.
Another guitar pop romp? Oh go on then. Norman introduced The Who's The Kids Are Alright and the band played with a zip and zest, Francis was really going for it Moon style. I thought he might have been given a rest afterwards, but after declaring 'what a fucking song' Norman then introduced Everything Flows with all 5 band members singing. A glorious end to a brilliant evening.
Teenage Fanclub played with a real
This was Teenage Fanclub's first time playing in Dunfermline and the f
Sunday, 6 November 2022
Welcome to part 77 of my Never Ending Mixtape.
On 6th September the Mixtape was up to 2,845 songs. I missed an update in October, so it's now up to over 3,000! I'm not going to list all of the songs that have been added. I'll try and revert back to doing that next month.
What I can tell you is that there are additions by; Sebadoh (pictured above), Shack, The Beta Band, Buffalo Springfield (pictured below), The Jam, Sweet Baboo, The Isley Brothers, The Ohio Players, Erma Franklin, Marva Whitney, The Beths, The Pains Of Being Pure At Heart, Tim Burgess, Yo La Lengo, Teenage Fanclub, Angel Olsen (pictured above), Taylor Swift, Mark Lanegan (check his autobiography!), Charlotte Cornfield, The Reds Pinks & Purples, Poster Paints, Hanging Stars and Bob Dylan!
Then we come bang up to date with songs from the new Taylor Swift album with Question? and my personal favourite Karma sandwiched between Mogwai and The Only Ones. Where else would you get that?
There are a few songs from the recent Revolver boxset including The Beatles playing Rain at actual speed! It's incredible.
Stereolab (pictured below), Elastica, Aphex Twin, The Magnetic Fields, Peter Gordon & the Love of Life Orchestra and Diana Ross bring the Never Ending Mixtape up to 3,013 songs!
Search for Everything Flows Never Ending Mixtape on Spotify or CLICK HERE
Play from the start, the middle, click shuffle, or scroll down towards the end to find some of the songs I've been enjoying over the last couple of months.
As always, I hope you rediscover something you love, or that you discover something you've never heard before that you fall for instantly.
Saturday, 5 November 2022
Cover version of the month #81
Diana Ross covers Marvin Gaye & Tammi Terrell
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.
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
40. Jumpin' Jack Flash
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
52. Summer Holiday
53. Who Do You Think You Are?
54. Head On
55. Nothing Compares 2 U