Friday Night Music Club Vol 55

Friday night is upon us again, and that can only mean one thing: a new mix of tip-top tunes from yours truly. (Well, actually, it can mean a lot of things: a Friday night takeaway, a couple of post-work pints, you get the gist. What I’m saying is: there’s room in your hectic playboy/girl lifestyle for this too).

This week’s mix has been picked from the debris of the one I mentioned having jetisoned last time out, but don’t let that put you off. I’ve over-run the usual 60 minutes mark, mostly because I was enjoying this one so much I kept lobbing in extra tracks until I decided to rest back, fully satisfied and fit to burst.

What we have this week, is a load of songs which mostly fall into the following categories: quiet build up; wicked bassline; who are these/I’ve forgotten about these/where are they now?; absolute stone cold classic. I’ll let you decide which falls into which box.

So welcome one and all, to this week’s mix for which I’ve done some sleeve notes, and included links so you can stream the individual song or album it comes from (don’t get used to this level of customer service, by the way), so I won’t waste any more time with my attempts to fashion a new introduction, let’s crack straight on shall we?

Friday Night Music Club Vol 55

1. Kevin McDermott Orchestra – Mother Nature’s Kitchen

This is from 1989, but ignore the ever-so-slightly egotostical grandeur of the mention of Orchestra in the title. This is good old fashioned acoustic-driven folk/rock, like Mumford & Sons could have been if they weren’t insistent on being awful.

2. World Party – Ship Of Fools

I was very sad to hear of the passing of World Party main man, and ex-Waterboy, Karl Wallinger recently. I’ve been meaning to write something about how much I love their first album, Private Revolution, from which this is lifted, for a while, as a kind of eulogy, but time pressures blahblahblah. Maybe I’ll do something for SWC’s continually excellent Nearly Perfect Albums series over at No Badger Required. We’ll see.

3. The Charlatans – Forever

If you’ve ever been to see The Charlatans play live – and if you haven’t that’s something you should rectify as soon as possible – you’ll know that often – not always – they kick things off with this. It’s a near-perfect intro tune, the opening track on their 1999 Us and Us Only album, one of their finest in my opinion, and lawd knows they’ve been around for a goodly while, so it’s up against some stiff competition.

4. We Have Band – Hear It In The Cans

This lot should have been huge. I mean, listen to this: bouncy bass, spiky guitars, boy/girl shared vocals – I’m probably doing them a dis-service here, but I can imagine early B-52’s doing this, and I totally mean that as a compliment. This is from their debut album from 2010, WHB, a moniker under which they released further stuff, but, according to their wiki page, nothing since 2014, which is disappointing, because this is, well, just ace.

5. Metronomy – The Bay (Erol Alkan’s Extended Rework)

More boy/girl vocals and harmonies, more bouncing basslines, stretched out by DJ hero of mine, Erol Alkan. The original can be found on their 2011 album The English Riviera.

All these irresistable basslines mean I can’t resist, and nor can Alan…

Smooth.

6. Saint Etienne – Sylvie

Classic kitsch from Sarah, Bob and Pete. You don’t need me to tell you how ace they are/this is. It’s Saint Etienne, therefore….From their 1998 Good Humor album.

7. EMF – I Believe

It always struck me as amusing that their follow-up to the massive was Unbelieveable was a song called I Believe. If only they’d called the next one Now You Mention It, That’s a Thinker. From 1991’s Schubert Dip album.

8. Jesus Jones – Bring It On Down

Look, I know that time and history may not look favourably upon the likes of Jesus Jones. But what I think is often over-looked is how, with their blend of guitars and samples, bands like this very much laid the groundwork for devoted guitar obsessed indie kids, as I was back in 1989 (on their Liquidizer album) to like dance music. This was precursor for what was to follow: baggy, Madchester, indie/dance crossover, Screamadelica. It may have taken hold eventually, but it was because of the stuff that Jones’ and their likes released that blinkered idiots like me we were more receptive.

9. Pop Will Eat Itself – Def Con One

Ditto.

I bought this on 7″ single at college. with the specific intention of dropping it at the Indie Night I was DJ’ing at. Imagine my disappointment, and embarrasment having not listened to it before I played it out, that I’d bought the BBC-friendly version, where the integral “Big Mac” line had been changed to “Milk Shake”. How I ever managed to recover any credibility I’ll never know. You’ll find this of-it’s-time belter on 16 Different Flavours of Hell.

10. The Wonder Stuff – Don’t Let Me Down, Gently

Since we’re in the Black Country, an absolute banger from popular rhyming slang Miles Hunt and the boys, this, the first single from their 1989 second album Hup!, reached #19 in the UK charts, and deserved to have got a lot higher.

11. Crazyhead – What Gives You the Idea That You’re so Amazing Baby?

I’m not going to pretend this is a fine moment, let alone this Leicester band’s finest moment, but it does have one of the greatest titles of a single ever. This lot played the Students Union in my first year, before I was involved in the Ents side of things. I went to see them, liked them, but recall a conversation in the gents afterwards with a random which went pretty much like this:

Random: What did you think of them that, mate?

Me: Thought they were alright. Not sure about some of the song titles, though. I mean “I Don’t Want That Pint of Blood”? C’mon….

The song in question is actually I Don’t Want That Kind of Love and I was an idiot. Listen to their Desert Orchid album and tell me I’m a fool to have misheard.

12. The Jesus & Mary Chain – Taste of Cindy

There are three reasons this is here:

i) it’s ace

ii) it works at this point in the mix

iii) It provides a handy link to the next record, which you won’t know

13. John Moore & The Expressway – Something About You Girl

John Moore was, briefly, in The Jesus & Mary Chain. He took over from Bobby Gillespie on his very taxing drum duties, later moving to guitar, but left the band in 1988. He’s probably better know now for his involvement in Black Box Recorder, but this is what he did in between.

14. Westworld – Sonic Boom Boy

Whenever I hear this record, I immediately think of my old mate Tony, sadly no longer with us. Back in 2016, on what would have been his 50th birthday, I wrote this:

He sidled up to me once in the Sixth Form Common Room; a mixtape I had made was playing, and suddenly I was aware that Tony was standing by my side.

“This should be number one, shouldn’t it, mate?” he whispered to me.

In an ideal world, Tony, yes, it should have been. (It got to Number 11.)

And he was right, it should have been Number One because it’s bloody great, far better than most of the old tosh that was cluttering up the UK Singles Charts at the time. Who cares that they released nothing else of any note? That is a great record. Westworld were The Ting Tings of the 80s, only without the number one hit record.

I stand by that.

On a related note: I’m going to see The Wedding Present play in Cambridge in a couple of weeks (May 3rd). Tony would have loved to have been there, but for fairly obvious reasons, can’t be. As it happens, a mate who was supposed to be joining me and my old mate Richie has dropped out, so if you know anyone in the area who fancies joining us, let them know I have a spare, and to contact me via the Comments or by email.

15. Cliff Bennett & The Rebel Rousers – Got to Get You Into My Life

A Northern Soul-esque version of what is probably one of my favourite Beatles songs.

16. The Webb Brothers – I Can’t Believe You’re Gone

One of the tunes salvaged from the wreckage of that mix I mentioned last week. The Webb Brothers are the sons of Jimmy Webb, and that discarded mix ended with a run of Webb-related songs; this (from 2000’s wonderful Maroon album), the next song in this mix, and, sandwiched in-between, actor Richard Harris’ version of the Jimmy Webb MacArthur Park, which, much as I love it, I decided you probably don’t need to hear.

16. Glenn Campbell – Witchita Lineman

Written by Jimmy Webb, this is just one of the greatest records ever made. Fact.

That’s yer lot. ‘Til next time…

More soon.

Friday Night Music Club Vol 44

Back to the dancing GIFs, I got bored with the limited selection for numbers.

Here we go again, another Friday night, another mix that I’ve not had time to do sleeve notes for.

What can I say about this week’s effort? Well, to be honest, I’m not 100% happy with the running order, and if I had time I’d probably give it another go. Not that there’s anything wrong with it, mind, just…awww, you know me, such a perfectionist.

Shurrup, there’s loads of evidence to support this claim. How dare you!

So this week: some classic Grunge, grebo, alt-rock, punk and new wave, the return of The Wedding Present (well, it’s been a couple of weeks…), some banging early 90s dance tunes, and that Timo Maas remix of Muse I mentioned a while ago. I know you’ve all been on the edge of your seats for that.

Let’s get this show on the road then, shall we?

Friday Night Music Club Vol 44

1. Sonic Youth – Teenage Riot
2. Mudhoney – In ‘n’ Out Of Grace
3. The Wedding Present – Granadaland
4. Crazyhead – Baby Turpentine
5. The Damned – Love Song
6. The Cure – Lovesong
7. Buffalo Tom – Tailights Fade
8. Buzzcocks – Boredom
9. La Roux – In For The Kill (Skream’s Let’s Get Ravey Remix)
10. Opus III – It’s A Fine Day
11. Muse – Sunburn (Timo Mass Sunstroke Mix)
12. Urban Cookie Collective – The Key, The Secret
13. The KLF – America: What Time Is Love? (Radio Edit)
14. Utah Saints – Believe In Me

And that’s it for another week.

More soon.

Rant

There’s a very good reason why one of these hasn’t surfaced since I returned: I’m an avid watcher of Have I Got News For You and listener of Radio 4’s The News Quiz. Both, whilst recorded on a Thursday, are broadcast on a Friday, which gives them a headstart on anything I might be thinking about writing about for a Saturday morning post.

See, the last accusation I want to have levied at me is one of plagiarism; I’ve lost count of the amount of times over the past few weeks I’ve intended to post something here, then watched/listened to those shows, and deleted my post as there were a few too many similarities gag-wise.

But when a big news story breaks on a Friday…well, the tables are turned.

So no prizes for guessing who today’s post is all about…

Blur – Charmless Man

The problem is, I don’t have much to say that I haven’t said already, so this won’t be much of a rant, more a celebration. Not of the man, but of the fact that he’s gone. For now.

And it is extraordinarily good news, and it must be, because I’m not even going to spend much time gloating about Nadine Dorries, not someone greatly troubled by either facts or brain-cells, quitting as an MP because PM Rishi Sunak actually had the balls to block her peerage, a peerage which you’ll recall Johnson had nominated her for in his jump before he was pushed resignation honours list as a thank you for her unwavering support through all the…jeez, where do I start…I dunno…through everything. No matter what he did wrong, there was loyal Nadine, slurring her defence of the walking marshmallow in an ill-fitting suit.

This proved to merely be the amuse-bouche for the day of strops and sulks that would come later…

Belle & Sebastian – Nice Day For A Sulk

Billy Bragg – Sulk

(Perhaps appropriately, we appear to be a bit B heavy with the bands/singers so far…best I rectify that:

Radiohead – Sulk

…dammit. Bends. With a B. There’s no escaping him.)

Anyway, where was I? As yes: it was a day of toys being thrown out of prams, of allegations of a conspiracy against Johnson by the MP-led Privileges Committee who were looking into whether or not he misled Parliament over lockdown rule breaking parties at Downing Street. We all know they happened, at a time when mixing with those outside of your bubble was prohibited, but did he lie to the House about them?

Shortly after being advised of the contents of the report the Committee had prepared, Johnson realeased a resignation statement, where he said: “I am not alone in thinking that there is a witch hunt under way, to take revenge for Brexit and ultimately to reverse the 2016 referendum result.” Looking at the state the country’s in now, I bloody hope there is.

Bloc Party – Hunting for Witches

He still doesn’t get it, does he? He still thinks he can’t have done anything wrong, because he is Boris and he can do whatever he likes. I’m reminded of this extract from a letter written to his father back in 1982:

Crazyhead – What Gives You the Idea You’re so Amazing Baby?

Lest we forget, whilst the Privileges Committee was considering whether he lied to Parliament about Partygate, it has always been Johnson’s position that no rules were broken, but if they were, it was unintentional, and any statement he made to Parliament which may also have been incorrect was inadvertent. He told the Committee that social distancing had not been “perfect” at gatherings in Downing Street during Covid lockdowns but insisted the guidelines (as he understood them) were followed at all times.

“As he understood them.” Like he had nothing to do with creating the guidelines. Like he didn’t stand behind that expensive lectern and tell the nation precisely what the guidelines were. Perhaps if they’d been written in faux-Latin he might have remembered them better.

And then, a couple of weeks ago, his sister accidentally let slip that it wasn’t just at Downing Street that the lock-down rules had not been followed:

Oopsies.

Camera Obscura – I Missed Your Party

Let’s take a closer look at his resignation speech.

“I am now being forced out of Parliament by a tiny handful of people, with no evidence to back up their assertions, and without the approval even of Conservative party members, let alone the wider electorate.” You’re not being forced out, you bumbling comb-less oaf, you resigned (for the second time, I might remind you. No, wait – third if we count that time you quit as Foreign Secretary. But it’s interesting to note you struggle with the difference between resigning and fired. Between renuntiate et accentus, if it helps. You’re welcome). You could have stayed on and seen how the vote in the House of Commons as to whether the findings of the Committee should be accepted or not went, but you have chosen not to, because you know that vote would not go in your favour. And that’s with the massive majority that your party currently holds. Forgotten how many MPs rebelled against you to bring your time as PM to a close have you? 52. In one day. And that’s before we consider the 148 who voted against you in the confidence vote in June 2022 (although there was doubtless an overlap between the two, a bulging middle section of the Venn duagram, if you will).

“When I left office last year [you mean resigned, Boris], the government was only a handful of points behind in the polls. That gap has now massively widened. Just a few years after winning the biggest majority in almost half a century, that majority is now clearly at risk.” The old selective memory is really kicking in here. Let’s not forget that during your tenure as PM, Chris Pincher, a senior member of your government – appointed by you – was forced to resign after allegations he had groped two men on a drunken night at a private members’ club. His resignation prompted multiple reports of other past sexual harassment allegations against him. Your spokesperson initially said you had not been aware of any allegations made about Pincher when you appointed him to government. You backtracked after it emerged you’d been briefed about a specific allegation ahead of that appointment. Not forgetting that it was reported you had quipped “Pincher by name, pincher by nature.”

I mean, that kind of leadership can’t have helped the support getting decimated, now can it?

And then there was Neil Parish MP, who was forced to resign after admitting watching “tractor porn” in Parliament? (What even is tractor porn? I have visions of a Page 3 photo of a tractor, and a caption reading “Massey Ferguson just loves getting dirty out in the countryside…”). Another (whose name escapes me, and I am not going to Google it to find out) was found guilty of sexually abusing a teenage boy. In local elections held to replace the pair of them, opposition candidates won by large majorities. So yeh, everything was just hunky dory when you quit as PM.

But enough of this. Time to look to the future:

Viola Wills – Gonna Get Along Without You

Glen Campbell – I’m Not Gonna Miss You

…following his most recent resignation, the usual candidates lined up to pay tribute to him. Winner of Most Reasonable Employer of the Year award 2022 (current holder one Mr D Raaaaaaaaab) Priti Patel described Johnson as “a political titan” (two letters too many at the end there, Priti), whilst Richard Mills, Johnson’s local Conservative association chairman, said he had “delivered on his promises to local residents” (and if he hasn’t then he now has plenty of time on his hands to pop round and sire another couple of kids he’ll deny all knowledge of later).

Oh. Before I go, there’s just one more thing…

…those glad to see the back of him were much easier to get quotes from. Liberal Democrats, deputy leader Daisy Cooper simply said: “Good riddance.” And that’s where I’ll leave it.

Green Day – Good Riddance (Time of Your Life)

Good job I didn’t have much to say, eh?

More soon.

A Mix-Tape Maker’s Best Friend #4

I’ve not written one of these for a while, and a couple of things prompted me to dig out today’s compilation CD.

Firstly, on this week’s edition of The Chain, Alex G suggested a track by All About Eve, which reminded me that I had bought a compilation album entitled CD88 back in 1988 that had a track by them on it.

Secondly, I found that the ever wonderful Cherry Red Records have released a triple CD of Indie tracks from 1988, entitled C88, which, looking at the track-listing has just entered my list of must-get albums at number one.

CD88 was one of a long series of Indie Top 20 albums released by Beechwood Music Ltd which started back in 1987 and ran into the mid-1990s. There’s a pretty wonderful and comprehensive blog which focuses on these albums here.

The albums were released two or three times a year, with the occasional Best of the Year editions thrown in every now and then for good measure. CD88 was one such volume, sort of. For it’s important not to be misled by the title: it’s not a Best of the Indie tracks which were released in 1988, it’s a Best of Indie tracks which was released in 1988. Confused? Let me put it another way: it covers the first five volumes of the Indie Top 20 compilations, which were released in 1987 and 1988.

Here’s what it says on the booklet that accompanies the CD (which, I have found when writing this, also got a vinyl release):

“CD88 is a testament to the vital role played by the independent chart. Many of these hit singles have never been and might never be available on CD elsewhere.

CD88 is a collection of outstanding singles that have since become indie classics, and for many, subsequently served as the springboard from their Independent roots to major label and Gallup chart status.

Each track is chosen from the successful Indie Top 20 compilations, plus four classic tracks previously not included in the series. Indie Top 20 is released every three months to highlight the best of the new singles which have made a high impact on the National Independent Chart.”

It’s funny when you find yourself getting all wistful and nostalgic at the mere mention of the Gallup charts, isn’t it?

Anyway, I was going to just post the songs that I love from this compilation – a Best of the Best, if you will – but, on reflection, have them all, along with their original artwork. Perversely, for an album celebrating the Indie Top 20, there are only nineteen songs on it:

All About Eve – Our Summer

I’m not a massive fan of All About Eve (the band, not the film, or The Wedding Present track), but this is okay enough, and definitely fits the “before they were famous” mould that defines many of the acts/songs here, for this record reached the giddy heights of #87 in the UK charts in 1987.

Cardiacs – Is This The Life

If you’ve ever wondered where Chain Gang regular The Robster got the inspiration for the title of his excellent blog, then look no further.

As well as making me think of Rob, this record always reminds me of my first year at college, when me and my buddies would traipse along to the Student’s Union every other Tuesday to attend “Funk Off”, the Indie Night, and it was here that I first heard this tune.

This was before I started DJing there myself – I wrote about how I started DJ’ing at college, and how the chap who taught me to DJ had introduced me to quite a few records (here) and this is one of them – and one of the resident DJs, Jolly Jim, had played it; generally someone in our gang would be able to tell you what a record was if you didn’t know, but this one drew blank looks from everyone. I couldn’t not know, so I nervously shuffled up to the DJ booth which would soon become practically my second home.

“‘Scuse me mate,” I called to Jim. “What’s this record?”

Jim looked at me with some mixture of surprise and joy; surprise because admitting you didn’t know a record was definitely not considered a cool thing to do at Funk Off, and joy because he was able to impart some wisdom.

So the Cardiacs track was probably the one most responsible for me buying this album in the first place. If you’ve never heard this one before, I urge you to give it a listen (Part 1 of 2).

Fields of the Nephilim – Preacher Man

Goths, but Goths By Numbers. Wannabe Eldritches. That’s all I got.

Danielle Dax – Cat-House

This, on the other hand, is another absolute belter of a forgotten track. Although, having said that, a few years ago, Hel and I DJ’d a couple of times at the now defunct Mucky Pup bar in Islington. I happened to be there on a night when we weren’t playing, and was staggered when the DJ played this, partly because I was annoyed that I hadn’t played it the week before, but mostly because I genuinely didn’t think anyone else remembered it, much less did I expect to meet anyone else who did. As it played, I spoke to the DJ, commending him on his choice. He looked at me with an air of bafflement. “You know this record??” he asked. Oh yes. If you’ve never heard this one before, I urge you to give it a listen (Part 2 of 2).

Crazyhead – Baby Turpentine

This lot cropped up on my Replenishing the Vinyl series a couple of weeks ago, and The Robster left a comment about how this was his favourite track by them. Mine too, mate, mine too.

The Wedding Present – Nobody’s Twisting Your Arm

In the late 1980s, no Indie compilation worth it’s salt was without a track by The Wedding Present, a band who I still love to this day, as I have mentioned many, many times on these pages. This is one of their greatest (early) singles. Take it away, Grapper!

The Soup Dragons – Hang Ten!

Ditto: The Soup Dragons, whilst they were still in their playful pop mode, as they were here. Many happy memories of pogoing around the Students Union dancefloor to this one.

The Rose of Avalanche – Velveteen

Not really my cup of tea, this one, though it’s one of my brother’s favourites, so at least he’ll get chance to hear it again.

Half Man Half Biscuit – Dickie Davies Eyes

Any excuse to blow the dust of this one.

Michelle Shocked – Fog Town

Thankfully, the version lifted from The Texas Campfire Tapes, rather than the (nowhere near as good) rock version which crops up as a bonus track on Short Sharp Shocked.

The Chesterfields – Ask Johnny Dee

My old mate Rich got in touch after I last posted a track by this lot to tell me that this tune reminded him of when we were kids listening to records in my bedroom. I’m not sure there’s a finer definition of late 80s jangly indie pop than that.

Wire – Kidney Bingos

I’d never heard of Wire before I picked this CD up, but this is great. Not as great as similar period Eardrum Buzz and nowhere near as good as their earlier stuff, but a bad Wire record is still a pretty good Wire record in my book.

Bradford – Skin Storm

This lot were, not least because of the blessing they received from one Steven Patrick Morrissey, once tipped to be the next big thing, but it never happened for them. Mostly because every other record of there’s seemed to sound almost exactly like this, but not as good.

Sweet Honey In The Rock – Chile Your Waters Run Red Through Soweto

Perhaps the surprise inclusion on this compilation. Nowadays, this would doubtless attract sneery comments about diversity targets being met, but that would detract from the fact that this is a brave and beautiful political record, latterly covered by Billy Bragg.

A Certain Ratio – Mickey Way (The Candy Bar)

Manchester legends, who I’ve never really got into for some reason. My loss, I’d imagine. And having just listened to that for the first time in god knows how many years, it is pretty ace.

Ciccone Youth – Into The Groovy

A side project of the Sonic Youth gang, plus Firehose and Minutemen member Mike Watt and J Mascis from Dinosaur Jr, taken from a tongue in cheek tribute to Madonna which I’m not going to name as I have a sneaky feeling that if I did, it might crop up again on these pages quite soon….

The Beloved – Forever Dancing

From before they became successful, one listen to this will tell you why commercial success eluded them for another year or so.

The Shamen – Jesus Loves Amerika

The sound of another band, soon to be quite large indeed, still honing their musical sound. The deliberate mis-spelling of America is, I suspect, making a point still relevant today.

Pop Will Eat Itself – There Is No Love Between Us Anymore

Taken from Box Frenzy, their first album where they stepped away from their grebo sound and started using samplers.

One last thing before I go: this compilation holds a special place in my heart, for it was the first record of many that I ever bought in the oldest record shop in the world, Cardiff’s “Spillers Records”, a store which became a regular haunt for me over the following twenty years. It’s moved premises since I last lived in Cardiff, but this is how I remember it:

Now that’s a proper record shop. And now I’m getting all wistful and nostalgic again.

You can read about it here, or, better still, go here and spend a few quid to keep them going.

More soon.

Replenishing the Vinyl

Morning all.

A couple of weeks ago, in my occasional series where I feature compilation albums I picked up when I was a teenager making mix-tapes to please my peers in the sixth form common room, I featured an album called “Take The Subway To Your Suburb” which included, amongst a host of jingly-jangly indie-popsters, some proto-Pop Will Eat Itself, when they were still in their grebo mode.

Today’s vinyl selection is by a band who slotted into the same scene, but unlike the Poppies, they failed to move with the times, released one album (on Dave Balfe and Andy Ross’ Food Records, better known for fathering early Blur releases, amongst others) but were dropped by the label in 1989. They did release a further album, which I’ve never heard, but lack of commercial success meant their days were numbered.

I saw this lot once, in my first year of college, before I got involved in the Entertainments Committee (you should not take it from that that I wouldn’t have booked them when I did get involved); they were pretty good, good enough to make we wait until the end of their set before going to the Gents. High praise indeed.

As I entered the Gents, there was Keith, my housemate, washing his hands at the sink, which meant that Allie, a girl from Bristol who wore polka dot skirts that he was moderately obsessed with, was in the venue somewhere.

“What did you think of them lot?” he asked (he was from Yorkshire, hence the poor grammar).

I positioned myself at the urinal, my back to the rest of the room.

“Yeh, I thought they were alright,” I said. “Though I have reservations about any band that has a song called ‘I Don’t Want That Pint Of Blood’.”

At which point, the lead singer of the band crashed out of one of the cubicles.

“That’s not what it’s fucking called,” he slurred at me, pulled his leather jacket down taut, assumed rock star status and strutted out to meet his slightly more approving (and female) public.

And he was right, it’s not.

I may have misheard one of them, but they had some great song titles tucked under their belts.

Here’s some tunes from that Food release album I mentioned earlier:

Crazyhead – I Don’t Want That Kind Of Love

Crazyhead – Time Has Taken It’s Toll On You

 (that one has a key change at the end that would make Westlife fall off their stools)

Crazyhead – Have Love, Will Travel

Crazyhead – What Gives You The Idea That You’re So Amazing, Baby?

They haven’t dated all that well, but blimey I’ve loved hearing those again.

More soon.