Rant

It’s been a while since I felt sufficiently outraged to write one of these, and I imagine you’re expecting this to be about the Covid enquiry, or Rishi Sunak’s spineless leadership, or how he’s managed to offend the entire Greek nation, the appearance of Farage on I’m a Celebrity… or the long-overdue demise of Suella Braverman.

But no. Whilst this could have been about any one of those, instead I’m going to tell you about something that happened to me this week.

On Thursday I travelled via train down to London and work. So far so mundane. On the way back, however, I found myself in an unrequested discussion with someone that I can only describe as a racist fuckwit that I did not initiate.

Now, given my previous Rants on these very pages, some of you may find this rather hard to believe but I don’t really enjoy arguing with people. My mother would doubtless disagree, as I was an argumentative little sod in my teenage years – think Harry Enfield’s Kevin (of Kevin and Perry fame) only less tolerant and you won’t be far wide of the mark.

But, other than locking horns with my parents, I’ve since been far more reticent about getting into an argument. So lacking in the courage of my own convictions was I that, when I was on the Student Union Executive at college, I became known as The Fencesitter. My response was that my position as Social Secretary was a non-political role, so I didn’t see why I had to have an opinion on everything. Besides, I could usually see opposing opinions from both sides; a typical Libran, if I believed in such mumbo-jumbo.

It’s the fear of being challenged, of getting my facts wrong and then found out, I think. On subjects where I’m confident, which aren’t opinion based, then I’m fine. At work, for example, where I know exactly what I’m doing and have the experience and information to back it up, then I’m fine. I was once engaged in a 40+ minute telephone discussion with a claimant, who simply wouldn’t accept the reasons that I’d declined his claim; at the end of it, several people came over to congratulate me for the way I handled myself throughout, not once raising my voice or losing my temper.

In an old job, I ended one call to a motor insurers, and my boss said: “Please don’t ever leave this job. I’d hate for it to be me you’re arguing with.” And in yet another job (I’ve been around a bit), I had adopted my customary position when dealing with an awkward customer on the phone – slumped back in my chair, feet on the desk (it was my signature move, a way of communicating to my colleagues that I had “a live one” on the phone) – and at the end of the call, the work experience lad came over to me and said “Cor! You’re brilliant at arguing mister!”. (He really did say Cor! by the way; I remember thinking at the time that I’d never actually heard anyone saying it in real life, only in comic books when I was a kid):

Oh, and in Carry On films, of course. And anything with Terry Scott in it. But never in real life.

But I digress. What I’m trying to say that it’s easy for me to construct a narrative here, to present my side of the argument, knowing that, generally, it’ll be read by people who broadly agree with me, and I won’t be challenged on what I’ve said.

Besides, long ago I learned a valuable lesson from my old pal Tony: you’ll never change an adversary’s mind by arguing with them, you’ll just make them more entrenched and determined that they’re in the right. A withering comment, however, can be far more fatal. Tony related a conervsation he’d been in where one of the other participants said something racist; rather than challenging them, Tony just said: “Well, I think that’s sad,” shook his head and moved away. Shortly afterwards, I was working in a restaurant, where we did not serve anything as exotic or tasty as Indian food, when one of the waitresses whispered to me “God, it stinks of curry in here” as an Asian family walked in. “Shhh!” I said. “It’s ok, they didn’t hear me,” she replied. “No, but I did,” I said. It may not have changed her view, but she sure as hell never repeated anything like that in my presence again.

Whenever I remember this, the words to Kristofferson’s To Beat the Devil swirl across my mind:

Kris Kristofferson – To Beat the Devil

So, on Thursday evening – and before I go any further, lest any of the “This Didn’t Happen” brigade start parping up: every word you are about to read is true; I’m nowhere near talented enough to make any of this up – I was travelling back from London. Other than the joy all of us feel when we’ve finished work for the day, I’m not in the best of moods: I’ve endured standing in the cold waiting for my connecting train, delayed as usual, to arrive, and at work that day a colleague had told me that I reminded them of someone, but that they couldn’t put their finger on who it was. Until they suddenly managed to put their finger well and truly and annoyingly right on it:

Yeh, thanks, mate.

I board the train and manage to bagsy a seat, one of those foursomes, where two seats face the two opposite. The other three seats are occupied. Ordinarily I avoid these for two reasons: you’re constantly battling your fellow travellers for leg-room, and also it increases the chances of you sitting in the vicinity of someone you’d rather not be sharing air with.

As the train ventures on its journey, stopping at such places steeped in prestige as Biggleswade and St Neots…

“…Taplow…Winnersh…”

…inevitably empting as it goes, until I am sitting in the four-seater all alone. In the four-seater to my right is a bloke having an animated conversation with someone on his phone, about what I don’t know, as I have my ear-buds in. I click the volume on the iTunes app on my phone a couple of notches higher to drown him out completely, stretch out and wait.

The train approaches the penultimate station and passengers rise from their seats and head towards the doors, some having walked several carriage-lengths to be nearer the door they think will be closest to the station exit. It’s then that I clock him for the first time; he’s quite young, mid-20s to early 30s I’d say, white caucasian; whilst I notice him, he doesn’t really stand out from the rest, and I assume he is going to be alighting at the next stop.

The train stops, passengers disembark, the doors close and we start moving again. And he’s still there, standing in the aisle, now seemingly trying to decide whether to sit with shouty-on-the-phone man, or listening-to-music-quietly me. He plumps for my four-seater and sits diagonally across from me.

Literally seconds had passed before I was suddenly aware of him trying to attract my attention. I removed one ear-bud and looked at him quizzically.

“Excuse me, does this train go to Peterborough?” he asked.

I nodded, and pointed at the digitalised sign scrolling above his head. “It literally doesn’t go anywhere else,” I said. “Next stop. Last stop.” Knowing that he had got on to the train at least one station before the last, I briefly wonder why he has waited this long to check he was on the right train, and why he has been unable to either read the display or hear the pre-recorded “This train is for Peterborough” announcements, but I replace my ear-bud, the internationally recognised sign which means “Now leave me alone.”

But he didn’t. A few seconds pass, and this time he is trying to attract my attention by clicking his fingers at me. I sigh and remove one ear-bud again, annoyed because he was interrupting a rare moment of brilliance by Sting:

The Police – Can’t Stand Losing You

“Are you from Peterborough?” he asked.

“I live there, but I’m not from there, although I did grow up not far away. I moved back to the area a couple of years ago after thirty or so years living away.” I’m resigned to having to talk to him now, and plump for courtesy as the best way to get through this, although a part of me is terrified that he’s either going to ask me if I have somewhere he can stay, or worse, to recommend good night-spots in the city.

“I’m from Crowland”, he told me, “do you know it?”

I do. “The scene of my greatest moment ever”, I tell him, thinking that this isn’t so bad, he’s not that weird really. He looks at me quizzically. “I used to play football when I was younger, before I discovered booze and fags and girls”, but he cuts me short before I can tell him of my greatest moment ever, scoring two goals (admittedly, at U-15 level) against Crowland, the first where I nutmegged the thuggish and intimidating central defender before slotting the ball past the ‘keeper, after which the defender hissed “Do that again and I’ll fucking kill you!” in my ear. So a few minutes, I nonchalantly did it again, same result, and he didn’t kill me, or come even close to doing so. I don’t know, whatever happened to keeping your word, eh?

“Do you find there are less indigenous people in Peterbrough since you returned?” he interrupted my re-telling of the finest solo goal since Ricky Villa in the 1981 FA Cup final.

“Well, there’s only one person that I knew back then who still lives here,” I reply, thinking how he had used the word indigenous in rather a strange way.

“I bet you think that’s really quite sad, don’t you?” he ventured.

“Not really,” I replied. “People move. Some come back again. I have. My friend did. There’s probably more people living locally that I know if I could be bothered to look and particularly wanted to see them again.” He’s nodding and smiling at me sympathetically. I later realise that he wants me to think that he ‘gets’ me, that he understands.

“Can I ask you what you think about all these immigrants flooding into the country to take advantage of our benefit system?”

And it’s only then that the penny dropped and I realise I’ve been played. His enquiry about the train’s destination is merely an ice-breaker, the subsequent questions designed to see if and how I would react. He’s not just some lonely traveller looking for a bit of human interaction, he’s wanting to foist his frankly vile opinions on me. My courtesy has undone me, for he now has me engaged.

“Actually,” he says before I can answer, “let me tell you what I think and then you can tell me whether or not you agree with me.”

I’d rather you didn’t, I thought. Or rather:

The Ting Tings – Shut Up and Let Me Go

Your use of the word “flooding” and mention of our social benefits system being taken advantage of have already given me a pretty good idea what you think, I thought. But I kept my mouth shut. Keep your powder dry, old chap, you’re going to need it, I told myself, gritting my teeth.

“I don’t think it’s right that all of these immigrants, those non-indigenous people, can come to this country just to get put up in a hotel at our expense and sponge off the state,” he continued.

“They’re all doing that, are they?” I counter.

“Yes. Most of them.”

“I think you’re in very dangerous territory when you start attributing the same characteristics to a huge amount of people. Some may be doing that, I’d say the vast majority aren’t.”

“Don’t get me wrong, the ones trying to escape war-torn areas, fair enough, they’ve got something to escape from. But the ones that aren’t just want to take advantage of our generosity.”

“You’ve clearly never had to live on benefits if you think it’s generous,” I countered.

“You don’t get put up in a hotel if you’re on benefits.”

“Rather they live on the street, would you? But not in tents, of course. Anyway, those deserving of social housing where there is none available are often placed in paid accommodation. Local councils are doing it all the time.” You’ll have noticed I’m warming to the challenge by now.

“Then why do they come here? Travelling all that way, when they could stop in any of the countries they pass through?” He pauses, before adding: “I’m thinking about Albanians here.”

“What have you got against Albanians?” I ask.

“Nothing, nothing…but Austria, Italy, Spain, they could stop in any one of them, so why come here if not to take advantage of us?” he persisted. “France!” he adds triumphantly, like he has just wielded the best card at Top Trumps. “If it was me,” he adds, “I’d stop at the first place I could that was safe. Wouldn’t you? I mean, why not stop at France?”

“Oh, I agree with that to some extent. They have nice cheese and wine in France. But then, to off-set that, it is notoriously full of French people…so y’know,,,swings and roundabouts…” I offer, before remembering I will not defeat my foe with the use of humour.

“But seriously,” I continue, “They could stop in other countries, but they’re not obliged to, are they? I think there are a lot of answers to your “Why come here?” question. How about because the notion, however misguided it might be, that historically the UK, in spite of its “No Blacks, No Irish, No Dogs” signage, has been seen as a welcoming destination? We even invited migrants over in the Windrush scheme, not that that ultimately panned out particularly well for anyone. How about they just want to make a better life for them and their families, get a job, pay their taxes, contribute to society, and they think the place they’d most like to do that is here? Although,” I add, realising he has no idea where Albania is, “if they’ve taken the route from Albania you’ve mentioned then any job that involved map-reading is out of the question.”

“But we’re paying for non-indigenous people to stay in 5 star hotels when they get here…”

“Are we though?” I say in my best ‘U OK hun?’ voice. “Economically, since it’s councils placing them there, a lot of which are on the verge of bankruptcy thanks to Goverment cuts to their funding it’s more likely to be B&B’s, Travelodges and Premier Inns than 5 star hotels. And either way they’d mostly be empty at this time of year anyway, so they’re already contributing to the local economy, right? And perhaps if we weren’t so slow at processing their immigration applications, then they wouldn’t be such a burden on the state whilst they go through the process.” I’m quite good at this, I find myself thinking. “And unless I’m mistaken, I think current statistics show that immigration is higher than it’s been for quite some time and the backlog to process them is almost as big.”

“Well, that’s all Labour’s fault,” he offers.

“Labour haven’t been in power for the last thirteen years, how do you figure it’s their fault?”

“Corbyn,” he says, brandishing what he believes to be another winning hand, “he was on the left, wasn’t he?”

“I think history will agree that Corbyn was on the left,” I agree. “But he was also a left-winger with zero power. So, again: how exactly are Labour to blame for the current migration crisis, as opposed to, say the Conservatives – who are on the right by the way – who have been in power for much of the recent period.”

“Tony Blair,” he said, sitting back into his chair and crossing his arms. “Tony Blair was recent.”

“Blair resigned in 2007. That’s hardly recent.”

“But Labour were in power until 2010. That is recent.”

“Well,” I sigh, “that very much depends on what your definition of recent is. Is it more recent than Cameron, May, Johnson, Truss and Sunak? No. Is it more recent than, Ted Heath, Thatcher, Pitt the Younger…?”

“I’ve not heard of him…” he interrupted, like to mention someone he wasn’t familiar with was against the rules, and it was then that I knew this was not a man who was used to someone actually arguing with him. Most, I think, would either try to ignore him, or jusy agree with everything he said for a quiet life.

“Really? UK history not your thing, eh? Son of Pitt the Elder? First prime minister of the UK? No…?”

“No….I’ve heard of Margaret Thatcher though/”

“You do surprise me….”

” A fine leader.”

“I think we’re going to have to agree to disagree there.”

“You’re on the left too, aren’t you?”

“I’m certainly to the left of you,” I confirm. “I’ve never voted Conservative and I can’t imagine that I ever will.”

“I wouldn’t vote Conservative at the moment either.”

“Not right-wing enough for you?” I’m definitely feeling emboldened now.

“Socialists are on the left. Hitler was a socialist.”

“Hitler was not a socialist,” I counter with what I had thought to be the least controversial thing I’d said if not ever, then definitely all day.

“Yes he was. He was in the National Socialist Party!”

“Just because they called themselves the National Socialist Party doesn’t mean they were socialists. I could insist I’m…I don’t know…a donkey, but that wouldn’t make me a donkey. It’d make me someone insisting I’m a donkey.” [Why have I said donkey? I must stop saying I’m a donkey.] “I don’t think any socialists would include the systematic extermination of those holding a particular religious belief as an integral part of their political view,” I added, hoping he didn’t realise that we were potentially right back in Corbyn territory again.

“Let me ask you this,” he said, like he was changing subject, “this morning I caught the bus from Crowland to Peterborough. The bus was packed. And then this frail indigenous lady got on the bus…”

Here he goes with his use of ‘indigenous’ again. I wonder if he knows what the word means, or if he’s just heard someone use it before and is copying them, or, more likely if he has word-of-the-day toilet paper.

“How do you know she was indigenous? Was it because she was white…?”

“From her voice, the way she spoke. And the bus was full of non-indigenous people and not one of them got up to let her sit down. Don’t you think that’s terrible, that none of them subscribed to our views of what is right and gave up their seat to let a little old lady sit down?”

Non-indigenous people probably know not to start a conversation of any kind, let alone a political one, with a stranger on a train, I thought, but decided against vocalising it. And anyway, how did he know that they were all non-indigenous?

“I let her sit down. I stood, gave up my seat, and let her sit down,” he proudly crowed.

“Congratulations. I look forward to reading your name in the New Year’s Honours list.”

“I see you have a walking stick. Do you find people give up their seat for you?”

“They do, and I’m always very grateful and find my belief in human nature surprisingly restored.”

“And were they indigenous or non-indigenous people who offered their seat?”

“See, I never realised it was a competition, so I’ve not really been keeping score.” I stop short of saying “I don’t see colour….”.

At which point, the train pulled up at platform 5 of Peterborough station, and, instead of being relieved, I was suddenly more concerned about how I was going to shake this bloke off. Fortuitously, fate was on my side, not that I believe in that mumbo jumbo either: I stood on my own shoelace and I had to put a stop to my escape plans whilst I re-tied it. He was on his way out, unable to fight back against the tide of passengers getting off the train, and by the time I straightened up again, lace tied, he had disappeared. I waited a few more minutes, making sure he had definitely gone, until the train guard came on the tannoy to announce that any passengers left on the train had better get off sharpish, or they’d be locked on board, at which point I alighted, made my way to the exit and jumped into a taxi waiting at the rank.

Foo Fighters – My Hero

The driver made an effort to engage me in small talk of a “it’s turned cold, hasn’t it?” nature. Noticing he was of Asian heritage, I mentioned the conversation I’d just escaped from, thinking my position would earn some credit of the non-financial type with him. However, I had forgotten the default political position of taxi drivers: “Oh yes, in Peterborough there are loads of them, but it’s not like in Birmingham where there are no-go areas for white people.” Here we go again, I thought.

“Do you mean indigenous people…?” I said.

“What was that mate?” came the reply, the driver looking at me in the mirror.

“Nothing, nothing,” I replied, sank back into my chair and didn’t utter another word until we turned into the road where I live.

“Whereabouts mate?” the driver called back to me.

“Just up here, on the left,” I replied.

Kirsty MacColl – The End of a Perfect Day

More soon.

Friday Night Music Club Vol 36

I’ve written on these pages, a long time ago, about how I love Northern Soul, but know so little about it that it rarely features on these pages.

So it seemed the weekly Friday night mix is a perfect opportunity to rectify that.

So this week, the first half of the mix is pure Northern Soul gold, followed by a bit of 80s British ska, separated by a tune which, after last week’s Avalanches-heavy mix, I was reminded pops up, surprisingly, on their magnificent debut album Since I Met You. Then we round things off with a clutch of songs which at first glance have no business sitting next to each other, but trust me – you trust me, right? – may be disparate but they sound great together.

Let’s get things started, shall we?

Friday Night Music Club Vol 36

And here’s what you get for the price of your broadband:

  1. Johnny Taylor – Friday Night
  2. Edwin Starr – Stop Her On The Sight (S.O.S)
  3. The Contours – Just A Little Misunderstanding
  4. Rita & The Tiaras – Gone With The Wind Is My Love
  5. Frank Wilson – Do I Love You (Indeed I Do)
  6. The Velvelettes – Needle In A Haystack
  7. Marvin Gaye & Tammi Terell – Ain’t No Mountain High Enough
  8. Ike & Tina Turner – River Deep, Mountain High
  9. Kid Creole & The Coconuts – Stool Pigeon
  10. The Specials – Gangsters
  11. The Beat – Ranking Full Stop
  12. Bad Manners – Special Brew
  13. The Police – Can’t Stand Losing You
  14. Young MC – Know How
  15. Modjo – Lady (Hear Me Tonight)
  16. Bee Gees – Spirits Having Flown
  17. Foo Fighters – Learn To Fly
  18. Neil Diamond – Solitary Man
  19. Echo & The Bunnymen – Nothing Lasts Forever

That’s yer lot til next time.

More soon.

Friday Night Music Club

Hard luck.

After a week’s Glasto-induced hiatus, everyone’s least favourite sort-of-mixed playlist is back with an all-new mix, and I thought I’d blow all of those cobwebs away with another LOUD one.

The usual elements are here: tone-setting opener, a couple of forgotten beauties (Gallon Drunk, anybody….?), along with a very brief ad break and a classic to round things off.

Admin time: any skips or jumps are down to the mixing software; any mis-timed mixes are down to me; all record selections are, of course, mine.

So, to quote Def Leppard (and now I’m typing this, I can’t believe I haven’t included it in this mix…some other time, maybe…): “Let’s Get Rocked!”

Friday Night Music Club Vol 10

And here’s your Friday Night track-listing:

  • AC/DC – For Those About To Rock (We Salute You)
  • Queens of the Stone Age – No One Knows
  • The Eighties Matchbox B-Line Disaster – Mister Mental
  • Gallon Drunk – Some Fool’s Mess
  • The Cramps – Bikini Girls With Machine Guns
  • Ramones – Sheena is A Punk Rocker
  • The Datsuns – In Love
  • Focus – Hocus Pocus
  • Snuff – Shake ‘n’ Vac
  • The Mooney Suzuki – Alive & Amplified
  • The Raveonettes – That Great Love Sound
  • The Subways – Rock & Roll Queen
  • The Duke Spirit – Cuts Across The Land
  • Terrorvision – Alice What’s the Matter (‘Oh Yeah’ Mix)
  • Sugar – A Good Idea
  • Foo Fighters – The Pretender
  • Deep Purple – Speed King

That’s yer lot.

More soon.

Friday Night Music Club

As alluded to in yesterday’s post, had I been able to come up with an hour’s worth of anti-establishmentarian tosh then tonight’s mix would have been very different.

But I couldn’t, so here we are: Jubilee Night and part 3 of the completely unrelated and unpatriotic, non-flag-waving, Volume 4 which was super-long, nobody listened to, so I’ve broken it down into hour-long parts instead.

Volume 4 clocked in at 4:41 minutes, so to make it to a round hour, I either had to add 20 minutes or lose 41. You can guess which of the two won, I think.

So, if you happened to be one the people who listened to this mix in it’s full glory when I first posted it, you’ll note some changes to this one – to the running order, and there’s three tunes dropped and one added – the one added is making a point, which I’m sure you’ll get when you listen to this.

Brace yourself: next week sees the addition of the missing twenty minutes. You have been warned.

Here comes the admin: any skips or jumps are down to the mixing software; any mis-timed mixes are down to me; all record selections are, of course, mine.

And there’s a couple of tunes towards the end of this one which contain a bit of effing and jeffing so:

And here we go:

Friday Night Music Club Vol 4.3

And here’s your track-listing for this beautiful waste of an hour of your time:

  1. David Bowie – Rebel Rebel (Soulwax Re-Edit)
  2. The Rolling Stones – Lets Spend The Night Together
  3. Sammy Davis, Jr. – You Can Count On Me
  4. Al Wilson – The Snake
  5. Doves – Pounding
  6. Sebadoh – Flame
  7. Foo Fighters – This is A Call
  8. Deep Purple – Space Truckin’
  9. Noel Gallagher’s High Flying Birds – Holy Mountain
  10. Ricky Martin – She Bangs
  11. Pearl Jam – Do the Evolution
  12. Placebo – Teenage Angst
  13. Pixies – No 13 Baby
  14. Pavement – Box Elder
  15. John Grant – I Hate This Town
  16. McAlmont & Butler – Yes

That’s yer lot. Enjoy!

More soon.

How To Do a Cover Version

It may have escaped your attention, but the other week it was Record Store Day.

I’m never quite sure what to make of Record Store Day.

Sure, I see it’s intentions are honourable, the aim being to attract punters back into (independent) record stores, part with their hard-earned cash, and keep the shop alive and kicking for a while longer.

And that’s great.

But what it also does, with its slew of limited edition releases set free for that one specific day, is feed the record buying equivalent of the ticket tout.

Whilst you will see ticket touts outside gigs, flogging their grubby wares, they’re far more likely to sell over-priced tickets online, and these exclusive Record Store Day releases are going the same way.

Take, for example, one of the most sought after releases this time around, the Foo Fighters Hail Satin album, which includes a load of Bee Gees overs.

Now, I don’t know how much these were being sold for in-store; I would imagine being a limited edition release by one of the world’s biggest rock bands, who are fronted by a guy who used to be in one of the world’s most iconic and influential bands, I’d have thought round about the £50 – £60 mark would be appropriate.

Now have a look at how much they are being going for on ebay:

Fair enough, the first guy has had the decency to throw in a couple of DVDs which you could probably pick up in your local Cex store for a couple of quid each. But those prices are just ridiculous.

In the same way as bands, venues, ticket selling outlets and festivals are trying to crack down on the ticket touts, something needs to be done to prevent this exploitation of genuine fans.

As it happens, I’ve managed to *coughs* obtain a copy of the album in question. Released under the name Dee Gees, as a nod not just towards the source act in question, but to main Foo Dave Grohl. (I had to explain this to somebody on Twitter who thought it was a fake…)

I know what you’re thinking: the Foo Fighters covering the Bee Gees? That sounds awful!

It really isn’t. For a start, it’s only the ‘A’ side that’s covers (the ‘B’ side is a load of live recordings from the Foo’s most recent album, which I don’t own, so can’t really comment on, other than to say they sound like every Foo Fighters live song I’ve ever heard), but it’s quite surprising how good, and faithful to the originals, the covers are. For a start, Grohl rocks a really quite impressive falsetto which I don’t ever recall hearing on his previous records. He should try it more often.

Here’s a taster:

Dee Gees – Night Fever

More soon.

Friday Night Music Club

I was beginning to think this mix was jinxed.

I’ll explain, with some back story.

Firstly, I wanted to do a mix unlike the Not Christmas one, which I thought strayed a bit too far into the territories of cheese or chart music. Whilst it served a purpose, it wasn’t really indicative of the sort of tunes which usually feature here.

This one, though is a corker, even if I do say so myself.

Regular readers may recall that way back in the late 1980s, I started DJ’ing at college because I was fed up with being able to guess what song the indie DJs would play next. So imagine my annoyance when my own brother told me that on a previous mix he’d been able to predict my next choice a couple of times. Grrr.

But this mix has proved to be such a pain to complete; when I came to do it today, it tells me that some of the tunes have been played 22 times, which gives you an idea of how many times I’ve tried to get this one right. Pretty much once a week, since Christmas.

What’s gone wrong all those times? Well, on more than one occasion professional pride kicked in: I’ve messed up a mix between tunes, so have elected to start again.

On more than one occasion, preoccupied with playing Solitaire or Candy Crush just to have something to do whilst recording the mix, there’s a sudden, irretrievable silence where the next record should be. Oops!

Once I forgot to stop recording until an hour later, and, triumphant at how the mixes had worked out, I couldn’t understand why the mix lasted over 5 hours, until I listened to it.

The other problem is booze. More than once, I’ve taken drink to such an extent that I’ve forgotten I was doing a mix until the silence after one record has finished hits home and startled me awake.

Last weekend, I got to the third record from the end, and suddenly woke up to silence and realised I’d messed up again. That’s not an indictment of the standard of the mix, by the way, more an example of how drunk I’d gotten.

Even last night, when I finally nailed it, it was my second attempt of the night, having got through most of the mix when I had a drink-spillage event, which I thought I’d sorted, until, four records from the end, suddenly the sound cut out whilst the tunes kept playing and I had no idea if it was still recording the sound or the sound of silence.

Anyway, we’ve got here, and this has been a real pain, so if you could take a listen, that would be great.

I will confess that I have broken the golden rule of not featuring the same act more than once in this mix; this wasn’t intentional, but as the various run-throughs progressed, I simply forgot said acts already appeared as “featuring” acts. One is deliberate. Sue me (Please don’t).

Time for the usual disclaimer: any glitches, skips or jumps are down to the software or the uploading/downloading process, and nothing to do with my limited mixing skills.

Oh, and the usual “effing and jeffing” warning applies; it seems I’m incapable of doing a mix which doesn’t include more than the occasional swear.

I’m not posting a link to download here, other than the one to Soundcloud, where you can either download or stream it.

I couldn’t be bothered with the last ones, but I’ve done it this time: you’ll see a list of all the acts featured in this mix at the bottom of the page, so you can check whether this one’s likely to be your cup of tea before going to the hassle of actually listening to it. If you’re particularly short of things to do, you can try to guess which song I’ve picked by which artist. There’s fun.

But by way of a description: pretty much all life is here, from indie rock to 60s California hippy-shtick, some Old Skool dance classics, some hip-hop and some soul classics via some Northern Soul belters via some TV show theme tunes (sort of); there’s some hoary old rock and some psychobilly, and a couple of tracks which should have featured in a New post by now, but the bands in question played the 6Music festival last weekend so you’ll probably know them intimately by now. And, of course, there’s The Fall.

Easy on the cheese this time, there’s even some poetry so we can all pretend we’re intellectual. You’ll have chance to dance, sit and recover for a few moments, before getting back on it again.

Available for a limited time (i.e. until I do the next one), you can download or stream this on Soundcloud here:

Friday Night Music Club (Volume 4)

I hope you have as much fun listening to this as much as I had putting it together. And I found it utterly frustrating, so you’d better.

Oh, and it ain’t over ’til the fat bloke sings.

More soon.

Mixing Pop and Politics

A couple of months ago, I wrote a post with this title after I had discovered an old C90 cassette I had made during my student days, featuring pop songs with political messages. The plan was that I would post all of the songs from the tape, and see whether, thirty years later, they held any current relevance.

That was in July, and here we are, three months later, and not a single additional post has appeared in the series.

Until today, and even this post isn’t going to include anything from said outdated mode of musical storage. (It will return again, but you’ll just have to remain on the edge of your seats a little longer, I’m afraid.)

The subject crossed my radar again a couple of times recently, watching coverage of the US Election trail, and I was reminded that American politicians – make that American Republican politicians – have a proud history in using songs without the artistes’ permission, and, more often than not, using the song quite wrongly.

King of the unendorsed usage has to be Bruce Springsteen, and specifically Born in the USA. Ronald Reagan, Bob Dole and Pat Buchanan all used it at election rallies, and all received “cease and desist” notifications from Bruce.

To the untrained eye and ear, Born in the USA does sound like the sort of song a right wing politician should use to brighten up their campaign: it has a gloriously patriotic title, which is also the whole of the chorus; the iconic album cover depicts what appears to be a jean-wearing blue-collar worker, baseball cap stuffed in back pocket, standing in front of the good ol’ stars and stripes.

But when I say “to the untrained eye and ear” I actually mean anyone who has only ever seen that picture, had only ever heard what appears to be a triumphant fanfare at the start of the record which develops into the musical motif running throughout the song, and had never listened to any of the lyrics other than the title/the chorus. A pro-American record it most definitely is not:

It’s not just Springsteen who has a whole line of Republicans mistakenly using his tunes. John Mellencamp has had run-ins with as many of them as he has had own name changes. Just like glamour model and *ahem* best selling author Katie Price now insists on not being called Jordan anymore, and footballer Andy Cole asked everyone to start calling him Andrew, both because they had ‘matured’, so Mellencamp has been variously known as John Cougar, John ‘Cougar’ Mellencamp, and now just plain John Mellencamp.

On this side of the pond, he’s simply known as ‘the bloke who sang that song which introduced us to a foodstuff we have not embraced with quite the same vigour as our trans-Atlantic friends’ (by which I mean our friends from across the Atlantic, not our friends from across the Atlantic who are also trans – and that’s one open can I’m not going anywhere near): the ‘chilli dog’.

Sorry, I seem to have digressed: that’s not one of the songs appropriated by politicians, I’ve just included it because it’s ruddy great.

No, Mellencamp has locked horns with Reagan for using Pink Houses in 1984, John McCain for using the same song as well as Our Country in 2008, and with George W Bush in 2000 over the use of R.O.C.K. in the U.S.A.

I’m not familiar with Pink Houses or Our Country, but I am very familiar with R.O.C.K. in the U.S.A. as I bought it on 7″ single when I was a kid. And I’m here to tell you, it’s a little cracker:

Quite what lead the Bush campaign to land on that song is a bit of a mystery to me; I can see how it works in terms of The American Dream, for it’s a song about the early days of rock’n’roll, of Tamla Motown and Stax, a song which describes people from all walks of life – but usually ones from poor backgrounds – setting off to make music, doing what they want to do, in the self-proclaimed Land of the Free.

But it includes a list of successful black artists (“…there was…Frankie Lymon…Jackie Wilson, Shangri-La’s, Young Rascals…Martha Reeve….James Brown”) and let’s be honest, ensuring young black Americans achieve success in whatever field they choose (unless it’s in an actual field) has been shown (again) to be not exactly high on the list of Republican priorities over the past few months.

The song seems to have been picked solely for including the phrase “U.S.A.”, which can be shouted loudly along to it. Although I don’t think we can exclude the possibility that it’s usage also helped Dubya with his spelling lessons.

“Today’s letter, Georgie, is R. Ruh. R. And what does R stand for?”

“Rocket?”

“That’s good, Georgie,but it’s not quite what I was looking for. Rock. Ruh stands for Rock. Now what does O stands for….?”

“Oil?”

“Very good, Georgie, well done. Have a pretzel, you clever thing. Careful, don’t eat it all at once!”

Another American rocker not shy of issuing “cease and desist” notices was Tom Petty, who clashed with George W Bush when he used this song:

And this, which was appropriated by Republican/Tea Party/Lunatic candidate Michele Bachmann in 2011, and there’s no real mystery why she would select this absolute pearler:

Ahhh, 2011. It’s weird getting nostalgic for a time such a short while ago, but wasn’t it wonderful when all we had to worry about was the Tea Party nut-jobs on the fringes of the Republican party, as opposed to the actual nut-job occupying the White House now?

Actually, to digress for a moment, that song takes me back to the early 1990s, when I was, far too briefly for my liking, working in the Virgin Megastore in Cardiff. Lowlight of my time there: serving one of my college lecturers, who didn’t recognise me at all, and when I explained who I was and how he knew me, just looked at me as if to say: “Yes, I thought this might be where you’d end up working”.

Highlights of my time there: selling the entire Echo & The Bunnymen back catalogue to Nicky Wire of the Manic Street Preachers and, one evening, after the doors were closed and we were cashing up and tidying up, somebody put American Girl on the in-store sound system, and you could palpably feel the mood lift: everyone was singing along and dancing and twirling and hand-clapping as they completed their chores, like some choreographed moment from a high school musical. Happy times.

Also in 2008, John McCain used Foo Fighters’ My Hero:

Anyway. I could go on about all these improper uses of songs all day as there’s a whole list of them, but it’s a list that includes Nickelback and if you think I’m posting a song by them you are very mistaken, my friend.

So here’s why the subject cropped up on my radar the other week: because I read that Trump had been using this song at his rallies:

Now that, you have to concede, is a bold choice for Trump to use, for so many reasons.

Firstly: it’s called Fortunate Son, which can only serve to remind us that Trump didn’t make all of the money he has amassed (apart from the stuff that the Russians have given him, I mean), as that was all inherited from his father, Fred, who, lest we forget was a German immigrant – but a white one, so not one DJT would have an issue with now, natch – who made his own fortune (American Dream: tick!) in the thoroughly reputable world of real estate. In 1997, when his worth exceeded a billion dollars, he transferred the majority of his buildings to his surviving children, who sold them in 2004 for over 16 times their previously declared worth, effectively dodging hundreds of millions of dollars in taxes. Fortunate, indeed.

Speaking of tax, the song even mentions the taxman (“…But when the taxman comes to the door, Lord, the house looks like a rummage sale…”) which given the recent revelation that in 2017 Trump paid just $750.00 in Federal Income Taxes, seems remarkably apt.

The song, itself is, broadly, about how the sons of wealthy, powerful politicians and businessmen managed to avoid the draft to the Vietnam War because of daddy’s status. Trump, famously, didn’t have to go fight because of his “bone spurs” which are bony lumps that grow on the bones of the spine or around the joints, or, in Trump’s case, his feet. In 2019, his former lawyer Michael Cohen testified that Trump had invented the condition so that he didn’t have to do his national duty.

You have to conclude that whoever picked Fortunate Son to soundtrack his rallies knew exactly what they were doing, for it perfectly highlights all of the reasons you shouldn’t vote for Trump.

And this was a theory which Armando Iannucci floated on Frankie Boyle’s New World Order this week: that there is a Democrat working within the Trump campaign who has been given the responsibility of choosing appropriate records to play at the rallies. And given this remit, boy have they run with it, selecting not just Fortunate Son but also the music used in this clip, which I promise you has not been added after the rally, this actually happened:

Some excellent “working-the-crowd” gestures there from the Wotsit-coloured Wonder. Be afraid, Bono. He’s a pair of leather trousers, one foot-on-a-monitor, and a pair of redundant sunglasses behind you.

In case you’re not familiar with the record that soundtracks that clip, it’s YMCA by Village People, a song which, pretty much, promotes the idea of gay sex in Christian hostels. Here’s a picture of Village People from their hey-day:

Exactly the sort of fine, upstanding young men one would expect to find amongst Trump’s core voters.

Village People, you will not be even slightly surprised to learn, have asked Trump to stop playing the song at his rallies. I’m hoping instead they have permitted him to use their follow up hit:

There’s a joke about that submarine being full of seamen somewhere in there, but I’ll leave you to make it at your own leisure.

More soon.

The Chain #46

I got quite excited the other day, when I went into my Drafts folder and saw this title.

“Zut alors!” I exclaimed, thinking that I must have at the very least started writing the next installment of The Chain. And that I was French or German or whatever that language is.

But no, my laziness and ineptitude was laid out there before me, for all I had done was write the title, and that was it. Classic me, if my deadline nightmares are anything to go by.

Anyway, hello, and welcome back to the latest in what is turning out to be an increasingly infuriating occasional series: The Chain.

But at least it’s here, right? We all need distractions and things to think about at the moment, things to fill the time, and surely there’s no finer way to spend some time than reading what folks from all around the world can link to one particular song. It’s what Covid-19 was invented for, surely.

A brief reminder for those new to the shnizz we get up to here: we’re working our way through the songs played on The Chain section of Radcliffe & Maconie’s 6Music show, coming up with alternative suggestions, and listening to them all instead of just the one (Mrs Wembley). 80s sitcom gag, there, to help you acclimatise to the level of writing you can expect should you venture further.

I used to write these once a week, but then couldn’t be arsed lacked inspiration for a year or so, brought it back and suddenly find myself wondering where the days/weeks have gone and how it’s got to the point where I really should have written it by now has arrived.

Anyway, blah blah blah poor old me….let’s be off.

This episode, just to be different, we’re not going to start with the source record from last time. Well not quite, anyway.

No, instead, we’re going start with the first part of one of Rol from My Top Ten‘s suggestions:

The album version of Tubthumping opens with an inspirational quote from the great Pete Postlethwaite, taken from the movie ‘Brassed Off’…

Dammit, it’s done my head in for years trying to remember where I recognised that from! Cheers, Rol!

Chumbawamba – Tubthumping (Album Version)

Before we go any further with Rol’s suggestion, I’ll hand you over to one of the two people who insist on emailing me (which is fine, by the way) their suggestions rather than popping them in the Comments section:

You may recall that last time out The Great Gog got a little obsessed with the county of Hampshire. And rightly so: if Hampshire had a church steeple with a 123-metre spire, then them pesky Ruskies would be queuing up to smear Novochok all over it and any corporate Italian restaurant chain in the immediate vicinity (I’m nothing if not topical).

Anyway, things don’t appear to have changed much in the Land of the Gog:

The album containing Tubthumping is Tubthumper.

Thumper is a rabbit in the animated film Bambi.

There are lots of cartoon rabbits in the animated film Watership Down.

Watership Down is set in some Hampshire fields – which could take us all the way back…

Art Garfunkel – Bright Eyes

Is it too early to be handing out points for Comments Showboating? I think not: POINTS!

By the way, I’m not going to post the Points Table every time I write one of these, as nothing much will change from one post to another. It’d be like looking at any sports league table over the past four weeks. I’ll update things and do it every couple of posts or so.

Or…The Great Gog continues…stretching the link to breaking point (You’re by no means the worst cuplrit, fill your boots)…given my ramblings above…[this] would seem appropriate:

Bright Eyes – Down in a Rabbit Hole

Which gives me an unexpectedly early opportinty to to dust off my catchprase (he says, as he dons a spangly suit).

*Ahem*

Well, if you’re having that, then [all together now] I’m having this:

Chas & Dave – Rabbit

Sorry, Rol, where were we?

The soundtrack to Brassed Off was performed by the Grimethorpe Colliery Band, Rol continues. The Grimethorpe Colliery Band also played on this famous John Peel favourite:

Roy Harper – When An Old Cricketer Leaves The Crease

Next up, over to The Robster from the annoyingly still dormant Is This the Life blog who offers this:

All I could come up with is Get Up by R.E.M. but I’m sure I can come up with something else given time. Probably got, what, 18 months before the next installment? which is a bit rich, coming from the man who only posts anything at the end of the year. Go on click that link to his blog, let’s see if we can’t get him back in action. Your country needs you, Rob!

I posted the album version of this song not so long ago in my I’m Not Too Keen on Mondays series, so here’s a slightly different version, a live one, which pops up as one of the bonus tracks on the Collector’s Edition of the Shiny Happy People CD single.

But since the band themselves have practically disowned that single (guitarist Peter Buck once described it as “relentlessly upbeat” and also said “If we did one of those per record, I could see how it could get a little embarrassing”) maybe we should too; it’s notable for it’s absence from many of the Greatest Hits compilations, despite it being their =4th biggest hit in the UK (after, in reverse order: Leaving New York (#5), E-Bow The Letter (#4) and The Great Beyond (#3))

They weren’t so embarrased by it that they declined to do this, though (and who could blame them: would you turn down the chance to appear with the Muppets on Sesame Street???)

I love that the female vocalist is a Muppet who looks like Kate Pierson from The B-52s who, as you all know, provided the additional vocals on the single.

But I digress: this version is neither the album version nor the tucked-away-on-a-limited-edition-CD single version, but one I *coughs* obtained from a long gone and much missed blog called (I think…) The Independence of Tractors (long-time bloggers and blog followers may be able to jog my memory….I’m thinking of featuring this soon and would like to accredit, so if anyone has any info….y’know….), who once posted the whole of the band’s Tourfilm DVD as a series of mp3s:

R.E.M. – Get Up (Tourfilm Version)

Onwards, then, to the next suggestion, and to Alyson from What’s It All About? who proffers this:

I got a bit worried when you mentioned Jarvis and his controversial stunt at the Brits as I remember whose expense it was at. But no, it was our friendly water boys who if I remember correctly soaked Two Jags Prescott. Sticking to my Scottish band theme I’m therefore going to go with The Waterboys for the next link and sticking with my “water” theme in this comments box, the song….

The Waterboys – Fisherman’s Blues

I think I should step in and clarify that, according to their Wikipedia page, they’re a Scottish-Irish band..

Anyway, nice of you to bring up the subject of Chumbawamba’s dust up with John Precott at The Brits, as this gives us licence to go off at a bit of a tangent.

To start things off, here’s George:

A Chumbawumba was involved in an altercation with then deputy PM John Prescott, who was the MP for Hull. Also from Hull was Mick Ronson, who played guitar on:

Lulu – The Man Who Sold the World

It’s not really a surprise that Ronson was involved, given who wrote the song and who – keen-eared listeners will have noticed – also provides backing vocals on that: one Mr D Bowie Esq.

George adds: I was going to go from John “Two Jags” Prescott to The Jags and Back of my Hand, but changed my mind.

What, and you think that’s going to stop me posting it? Of course you don’t, you know I won’t be able to resist:

The Jags – Back Of My Hand

Since we’re on Prescott, indulge me for a moment with my two favourite clips involving him. The first isn’t really about him, but it is from a documentary he made back in 2008 called Prescott – The Class System And Me:

I guarantee you, she voted Brexit.

And then there’s this notorious clip:

In his defence: a) what would you do if someone chucked an egg at you? and b) later (admittedly when he’d had time to get someone else to write a witty response think of something clever to say, he came up with this: “Well, Tony Blair asked me to go out and connect with the electorate….”

Anyway, that leads me to my next suggestion of the week:

The Chemical Brothers (feat. Tim Burgess) – The Boxer

Over now to Martin from New Amusements who proffers this Prescott related…um… jewel, I guess:

Like George, I’m going with a John Prescott connection, but hope to craft mine into a Double Linker. Yes, Danbert Nobacon once up-ended an ice-bucket over John Prescott at the Brits, but John Prescott was also memorably once replaced on ‘Have I Got News For You’ with a tub of lard, so I can surely claim a double link to Tubthumping for anything lard-related, so I’ll pitch:

The Shirehorses – If You Tolerate This Piss

He’s not done yet: …which, lest we forget, featured Marc “Lard” Riley. Since this is also about drinking, much like Chumbawumba’s chorus, could this be a Triple Linker? And maybe a point for worst suggestion of the week?

I don’t think I can refuse, can I, dear reader? It’s unquestionably the worst record of the week (POINT!) and he has managed to get a triple link out of this, the first time this has happened as far as I can recall (Ermmmm…points, I guess….).

I think we need to cleanse our palate a little, and remind ourselves that Martin could easily have dodged the sub-Barron Knights tosh that is The Shirehorses by referencing it and then directing us to this:

Manic Street Preachers – If You Tolerate This Your Children Will Be Next

Which brings me back to Rol, whose first suggestion was this:

The Manic Street Preachers must be guilty of Tubthumping, since that’s what Street Preachers do.

Alice Nutter was in Chumbawamba. The Manics once covered an Alice Cooper song. So…

Manic Street Preachers – Under My Wheels

If that’s not a double-linker, than I don’t know what is.

Well, yes, Yes it is. POINTS!

Anyway, for continuity purposes, take a step back. If You Tolerate This… was the band’s first #1 single in the UK (I’m sure this can all be traced back to a shared cheese salad…) and it contains the line “Well, if I can shoot rabbits, then I can shoot fascists”, which leads me to another draft post of mine which I never got round to finishing. And neither Chas nor Dave are anywhere in sight.

This one even had a semi-clever title: “You’re Not The One For Me, Fascist”.

I’ll hand over to the ever wonderful Charity Chic to explain:

Chumbawumba recorded a song with Credit to the Nation called ‘The Day the Nazi Died’…

Chumbawamba & Credit to the Nation – The Day The Nazi Died (1993 Mix)

Ordinarily, I wouldn’t allow a suggestion which was simply “X recorded the source record, and they also recorded this”, but since this was a collaboration with the frankly quite marvellous Credit to the Nation, I’ll let it slide.

Plus: Charity Chic has a point to make:

….Morrissey (who may or may not be a Nazi) – he continues (“Not my words, the words of Top Gear car magazine!”) had a song called:

Morrissey – First of the Gang to Die

…And he is a bit of a tub these days who could probably do with a good thumping…Charity Chic signs off.

Just in case you’re not sure what CC is banging on about, or on which side of the fence you should be sitting when it comes to the whole “Is Morrissey a racist?” question, well I’ll leave you to make your own mind up.

And here to help you is a picture of him performing live on The Jimmy Fallon Show in May 2019:

And here’s a close-up of the badge he’s wearing on his lapel:

In case you’re not familiar with it, and I hope you’re not, that is a For Britain badge.

For Britain are not nice people.

Oh my, indeed.

Here’s my rule of thumb when it comes to Morrissey, which you are welcome to adopt: yes, when he was in The Smiths he made some inflammatory comments in interviews, but none of them leaked into his lyrics. Since The Smiths split and he went solo, they have. Regularly.

So: The Smiths – fine to still express love and admiration; Morrissey solo – tread carefully.

Which leads me to a suggestion from Jules of Music From Magazines fame, which *checks notes* I’m disqualifying becuase *checks notes*…well, I’m not sure why to be honest, but I am and that’s that:

Carrying on with the high five, Mel Brooks ‘Hitler Rap’

Ah now, I remember; in response to Charity Chic’s anti-Moz post, Jules responded: A high five for that and I don’t think that’s enough to allow it.

Yes, I am a strict Taskmaster, and yes, Greg Davies, watch your back!

What else have you got, Jules?

As I am a tad partial to a cider drink or eight anything I suggest at closing time will make sense….

I beg to differ, but nonetheless:

Tom Waits – Closing Time

Please allow me to interject with something more cheerful but less good:

Semisonic – Closing Time

And then with something less good and less cheerful:

Leonard Cohen – Closing Time

Ok, who’s left?

Well, long time readers of The Chain will know that certain things crop up repeatedly. For sure is eggs is eggs, someone will suggest either a record by The Clash or Bruce Springsteen just to annoy George, and Jules will suggest something by Lambchop.

No, not that Lambchop….

So let’s unclasp the shackles and let Jules free; I have to say that I almost rejected all that you are about to enjoy, until I thought about his first suggestion a little harder:

Any crossword fan would see the anagram “wham bam Cuba” and the country’s name was nailed by the Gibson Brothers:

Gibson Brothers – Cuba

Don’t think Debbie Gibson was related but her role in the film “Mega Python vs. Gatoroid” was ably supported by Tiffany...

Tiffany – I Think We’re Alone Now

Whoa there! You can’t mention Debbie Gibson and expect me not to slide this in, for no other reason than to direct you away from the schmaltz:

Mojo Nixon & Skip Roper – Debbie Gibson Is Pregnant With My Two Headed Love Child

Well, that hasn’t lost any of it’s charm, has it?

Right, where were we? Ah yes, with Jules. Off you go, feller. Pretend I said nothing. I promise not to interupt again.

Ah yes “Breakfast At Tiffany’s”, not that song

What, this song….? (I lied)

Deep Blue Something – Breakfast At Tiffany’s

Jesus, I’d forgotten how much I hate that record.

…not that song, but the film that featured Moon River...

This..?

Audrey Hepburn – Moon River

At last! A bit of class is introduced around these parts!

Oh wait, he’s not done yet.

…but more importantly was based on a novella by Truman Capote. Harry S. Truman was the 33rd U.S. president, the 37th was Richard Nixon….

Lambchop – The Old Gold Shoe

There it is! Normality restored.

Where next? Step up to the plate, if you will, Rigid Digit:

Tubthumping – a synonym for drumming (or it is in my world anyway).

Drummers doing solo singles? Not a rare thing. Plenty of stuff from Ringo…

Ringo Starr – It Don’t Come Easy

….and Phil Collins

Phil Collins – In The Air Tonight

Now, let’s be honest: every time we’re unlucky enough to hear that, all we can really think of is this:

…Dave Grohl left the drum stool, strapped on a guitar and became Mr Foo…which sounds like a George Formby record (“Oh Mr Foo, what shall I do…? A niche joke, I know), but I’ve gone off at enough tangents, so we’ll leave that.

Foo Fighters – The Pretender

Even Keith Moon managed a solo album (word of advice: approach with caution).

I have to draw the line somewhere…

But I’m choosing the drummer who was invited to join the reformed ELP in the mid-80s for two reasons:

1) He was a great drummer

2) His surname began with P

Cozy Powell – Dance With The Devil

Let’s hand the baton on to Walter from A Few Good Times In My Life:

The main thing of Tubthumping is keep your head up whatever will be. This leads me to:

Curtis Mayfield – Keep on Keeping On

 …otherwise by…

The Redskins – Keep On Keepin’ On!

If I could award points for Best Record of The Week, that would win, hands down.

Back then to some email submissions I received, and I’ll hand over to Pat from phonicpat for a bit:

“….a couple of suggestions – a link to a thumping:

Earl Vince & The Valiants – Somebody’s Gonna Get Their Head Kicked In Tonite

This song has featured in The Chain before so strictly speaking should be disqualified, but looking back I see that both this and The Rezillos version were suggsted at the same time, and, unable to choose between the two, I posted both. So I’ll let this slide too…but only so I can post my favourite record about somebody getting their head kicked in:

The Jam – Down In The Tube Station At Midnight

What else have you got, Pat?

Elvis Presley – Heartbreak Hotel

…link being Chumbawamba covered this on the “Fuck EMI” compilation.

Which leads me back to The Robster, who hasn’t quite had the eighteen months he ribbed me with earlier to think things over, but nonetheless has returned with this:

I remember when Tubthumping came out, it was released on EMI *shock-horror* a filthy major label. The band was deluged with accusations of selling out and going back on its DIY ethos. But one of the reasons they signed to EMI was because previous label One Little Indian rejected the ‘Tubthumper’ album as they didn’t like its sound. The band subsequently signed to EMI as “…experience had taught us that in a capitalist environment almost every record company operates on capitalist principles. Our previous record label One Little Indian didn’t have the evil symbolic significance of EMI but they were completely motivated by profit. Our position was that whoever we signed with would want us not for our ideas but for the potential profit, so we’d battle for a contract where we still had autonomy.”

So to that end, I’m offering up…a song about the music industry’s obsession with making moolah with little regard for the art:

The Kinks – The Money Go Round

Hang on a minute: that’s two mentions of the same record company in as many messages. It’s almost like somebody has manipulated it so the suggestions fell this way…

Sex Pistols – E.M.I.

We’re on the home stretch now, I promise. And with the finish line in sight, the baton is thrust into Alex G’s hand:

Of course, a song about a man who drinks a whiskey drink, a cider drink, a lager drink AND a vodka drink naturally leads us to Shane MacGowan. I suppose any song would do, but just to keep the theme going, it may as well be

Shane MacGowan and the Popes – That Woman’s Got Me Drinking

What Alex G omits to mention is that That Woman’s Got Me Drinking features the guitar work of one Mr Johnny Depp. When he’s not acting in the latest Tim Burton movie, or appearing in an advert for something smelly, or getting stopped at the border of an antipodean country trying to smuggle dogs across and subsequently being forced to make an apologetic if half-arsed video rather than go to jail, or defending himself against allegations of domestic abuse for that matter, there’s nothing Mr Depp likes more than to pop up in unexpected places:

Where were we?

Ah yes, booze related songs. I’m surprised there wasn’t more of these. Let me chuck one into the mix:

The Wurzels – I Am A Cider Drinker

And yes, The Shirehorses song is worse than that.

Hold up, Pat’s got another one:

Several booze songs come to mind but I’ll go for…

Pulp – Whiskey in the Jar

…on the bonus cd of Different Class, Jarvis trying very hard to keep his own accent rather than channelling Phil Lynott.

Pat has a point; I much prefer it when Jarvis sounds like Jarvis, rather than trying to sound like a drug-addicted partner of gameshow host Leslie Crowther’s daughter.

Hey Dirk! Dirk! DIRK! Fancy suggesting something mate?

Two famous song titles are more or less quoted in the lyrics of ‘Tubthumping’ – the first one being ‘Danny Boy’, which, as we all know, is the Anthem of Northern Ireland. And what is the finest thing Northern Ireland ever produced, apart from ships (minus the Titanic. Obviously)?

Oh blimey, there’s a can of worms opened…

It’s of course:

The Undertones – Teenage Kicks

Phew!

…which could well be the link here. (It isn’t.)

Alas it’s not [I know] (although, Jez, nevertheless this should be a good excuse to include said tune in your essay straightaway), because, as I said, another song is being mentioned and that is ‘Don’t Cry For Me Argentina’. Yes, I have noticed that Chumbawamba omit the ‘Argentina’ – bit (and replace it by ‘next door neighbour’). But this is purely for copyright infringement reasons, I’m sure.

Now, ‘Don’t Cry For Me Argentina’ is a song done by Julie Covington back in 1976. But only (freaks like) you and me know this. And Wikipedia. To the wider public another version is much better known, and that’s the one by Madonna from 1997.

So the link, no question about that, is, to my great dismay (because I would have LOVED to see my other option), Madonna’s version of ‘Don’t Cry For Me Argentina’.

I mean, love ya for trying and all that, but it isn’t the link, and frankly Covington’s version pisses all over Madonna’s attempt, so Dirk: you shall (metaphorically) go to the (metaphorical) ball!

Julie Covington – Don’t Cry For Me Argentina

I always thought that ended rather abruptly, like the whole orchestra had spotted that David Essex had the microphone again, and downed tools to wrestle it from his sweaty palms.

Last one, now (sort of), for inspired by Dirk’s moving words, Walter has something else to offer:

…as Dirk said ‘Danny Boy is is the North Irish anthem and House of Pain celebrated the Irish style on their first album. Therefore I suggest:

House of Pain – Jump Around

(We may have to explain the difference between Northern and Southern Ireland to our overseas friends one day. But not today.)

I say sort of, because of course I have something else to offer.

Dirk also mentions Danny Boy, and you’ll recall that, several hours ago when you first started reading this, Rol mentioned the film Brassed Off and The Grimethorpe Colliery Band.

Which, just to make this all nice and circular (you know, like I know what I’m doing) makes right here a pretty good point to jump off:

The Grimethorpe Colliery Band – Danny Boy

Brassed Off was on Film 4 the other night. It remains a thing of beauty. If you haven’t seen it, or even if you have, and have a couple of hours to kill (which, I think I’m safe in saying we all do at the moment) then you could do a lot worse than spend them watching this: it’s up to stream on the C4 app All4.

And that leaves just one thing: the unveiling of the next link in The Chain, and trust me, had anybody got this I would have been suspicious.

Here’s the official link from Tubthumping to the next record:

[Tubthumping] was once sung by Homer Simpson of cartoon fame. He also sang:

Donovan – Mellow Yellow

Your suggestions then, please, along with your explanation of how your suggestion links to Mellow Yellow by Donovan, via the Comments section below or, if you must, by email to dubioustaste26@gmail.com.

Minus points to anyone who suggests Coldplay. You’ve been warned.

More soon.

Promise Not to Stop When I Say When

OK, so Foo Fighters’ brand of kick-ass rock’n’roll may not be suitable for our Country Sunday morning slot, but what about now it’s Sunday afternoon?

Maybe not.

But back in 2006, they released a live acoustic album called “Skin and Bones”, 15 tracks split between new songs and acoustic renditions of old favourites.

Here’s the song they always close their set with:

Skin-And-Bones-cover

Foo Fighters – Everlong (Live and Acoustic)

More soon.