Same Title, Different Song

A couple of tracks from acts that I love this morning.

First, from their third – and my favourite – album, “Surrender”:

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The Chemical Brothers – Out of Control

The Chemical Brothers, of course, often employ guest vocalists (they’ve worked with Noel Gallagher, Tim Burgess, Hope Sandoval, Beck, Wayne Coyne, Beth Orton, Richard Ashcroft, Q-Tip, Kele Okereke, Will Mason, Fatlip, Klaxons, Lightspeed Champion…the list goes on) and, of course, on “Out of Control” it’s the turn of Bernard Sumner and Bobby Gillespie to make appearances; the above is the extended album version.

Similarly ground-breaking and influential are Super Furry Animals, who apparently I mention too often round these parts. If I do, so be it: it’s because they’re effing amazing.

From their sixth album, “Phantom Power”:

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Super Furry Animals – Out Of Control

The reason this song title has sprung to mind today is because this week Lush announced the imminent release of their first new material in twenty years, a four-track EP (yes, just like they used to in the good old days) entitled “Blind Spot EP”.

In the press release, Miki Berenyi said: “It certainly took some time to set up, but once we were in the studio, everything came together incredibly quickly. It was great fun! It’s been a long time since I’ve written Lush lyrics, and I realised early on with this EP that what I wrote about then is not what I feel comfortable writing about now. My perspective, and what is close to my heart, has changed, and I think that’s conveyed in the songs.”

Bass player Phil King adds: “I know I’m biased, but I work for a music magazine and so much of the music I hear played in the office sounds non-descript or derivative. Emma has this way of writing unusual chord changes and manages to weave lovely melodies over the top, and it immediately sounds distinctive, like Lush.”

I have a policy of not posting mp3s here that either haven’t yet been, or have only just been released, so you won’t be getting anything from me here – but you can have a gander at the video for the lead track from the new EP, called, you guessed it, “Out of Control”:

I think it’s fair to say that’s a real return to their earlier, ethereal, oh-go-on-then-if-I-absolutely-have-to-say-it-“Shoegazey” sound rather than their later Brit-poppy days, and that’s no bad thing. (I say that as if I don’t like their Brit-pop phase, but I think we’ve established in previous posts that’s not the case)

It’s scheduled for release on April 15th, but you can pre-order it here.

Enjoy.

More soon.

Friday Night Music Club

On “Waiting For The Great Leap Forwards”, the closing track of his “Worker’s Playtime” album, Billy Bragg muses:

“Mixing Pop and Politics he asks me what the use is
I offer him embarrassment and my usual excuses”

The question is one which is often brought when musicians make a political record, the inference being that there is no point in doing so, it will have no effect, they are preaching to the converted.

Politicians, however, seem to have a slightly different viewpoint, and try to bandwagon-jump onto whatever seems to be the current musical zeitgeist in an effort to curry favour.

For example: 1984 America. Ronald Reagan attempted to ride on the shirt-tails of Bruce Springsteen’s “Born in The USA”, blissfully unaware that the song is in part a tribute to Springsteen’s friends who had fought in the Vietnam War, some of whom did not return, and also protests about the hardships Vietnam veterans faced when returning home – hardly topics the Republican Reagan would want highlighting, you would think.

More recently, Adele requested that current candidate Donald Trump stop using her songs in his campaign. Trump’s had a bit of a tough week of it, as it goes, with the Pope wading in to tell him some of his suggestions were not particularly Christian. Which is actually one of the kinder things one could say about the weirdly-bouffanted madman.

Our politicians on this side of the pond are no better: remember Gordon Brown trying to claim he was a big fan of Artic Monkeys? Or Johnny Marr telling David Cameron that he isn’t allowed to like The Smiths?

But why do I mention this? Because several of these examples are about permission, or rather permission not being given.

This week’s selection of songs includes several which fall very firmly into what many people would describe as “Guilty Pleasures”, and regular readers will know that this is a term I very much disagree with. Part of my mission statement for this place is to reclaim these songs back, in the same way that the gay community have recaptured the term “Queer”. There should be nothing Guilty about gaining Pleasure from music, much less so from something so inoffensive and transient as pop songs.

So, I give you permission to like all that I post tonight. There. No need for you to feel bad now, okay?

But first, some housekeeping. We need to link last week’s loud choices to this week’s, so first a couple of tracks to bridge the weeks together.

In other words, some more loudness first:

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117. Wolfmother – Woman

Wolfmother are Australian and…er…well that’s literally all that you need to know about them, as after that track they won’t be troubling us any further.

Moving swiftly on, in comparison, here is one of the greatest post-punk/new wave/call-it-what-you-like-it’s-bloody-great singles ever committed to vinyl:

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118. The Only Ones – Another Girl, Another Planet

And I’m not alone in my love of this song; in the millennium edition of his Festive Fifty, where John Peel, rather than cataloguing the best fifty records of the year, widened the scope to best fifty records ever, “Another Girl….” came in at Number 18. Can’t all be wrong, can we?

We’re not into “this is not a Guilty Pleasure” territory yet, by the way. Almost, but not quite.

And have you spotted a theme yet, dear listeners?

This will do it for you if you haven’t. The opening track from their second album, “Hypnotized”, a tongue in cheek opener if ever I heard one, given the lyrical content of much of their eponymous debut album:

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119. The Undertones – More Songs About Chocolate and Girls

The Undertones are touring again, minus Feargal Sharkey unfortunately.

Right. Here we go. The moment when my credibility and musical taste will get called into question. Let me make something very clear: I like all of the records I am about to post. I recognise that many of them are kitsch or cheesy, and almost all of them are not, or have never been, fashionable or cool. I’m with Danny Baker on the concept of cool:

So, yes I like these records, and I’m neither embarrassed nor do I feel guilty to admit it. I am out and I’m proud.

Ready? Prejudices left at the door? Good. Here we go then:

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120. Sailor – Girls, Girls, Girls

I mean, for a start, look at the state of that lot! What’s not to like?

This dates back to 1975 (it reached Number 7 in the UK charts) which explains the…er…somewhat dated view of women.

Think that’s bad? You’re wrong. It’s ace. Cheesy, yes; cringe-worthy, definitely; but ace nonetheless. You will need a mantra such as this to get you through the rest of this post.

So. Get yer laughing gear round this then:

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121. Racey – Some Girls

Relax ladies, they’re married. Actually, since this came out in 1979, they’re probably not anymore.

This reached the giddy heights of Number 2 in the UK, and Number 1 in Australia, New Zealand, and South Africa, all countries renowned for their good taste and modern views on feminism and equality.

Racey’s “Some Girls” actually comes from good stock: it was written by Nicky Chinn and Mike Chapman, a song-writing/production due who reigned supreme in the 1970s and early 1980s, clocking up over fifty Top 40 hits, such as The Sweet’s “Blockbuster!”, “Teenage Rampage” and “Ballroom Blitz”; Suzi Quatro’s “Can The Can”, “48 Drive” and “Devil Gate Drive”; Mud’s “Tiger Feet” and “Lonely This Christmas”; Smokie’s “Living Next Door to Alice”; Toni Basil’s “Mickey”…the list is…well, not endless, but lengthy.

Something slightly, but only ever so, more contemporary now:

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122. Rachel Stevens – Some Girls

Phwwoooaaaar!! That’s more like it, eh, lads? Eh?

Get a grip. No not like that, put it away, you dirty boy.

Okay, part of the reason this is here is because the song title is the same as the Racey tune; but it’s here on its own merits too. This is from 2004, was produced by Richard X (more famous for that Sugababes “Freak Like Me”, Liberty X’s “Being Nobody” and Kelis “Finest Dreams” which all could easily have featured here tonight, and at least two of which will definitely appear on these pages in the future. You have been warned.), but cannot really be considered Miss Stevens’ finest moment.

If not this, then what would that be? Her founder membership of S Club 7? Nope. Her finishing 2nd on “Strictly Come Dancing” in 2008? Nope. Her involvement as a coach on “The Voice of Ireland”, the originally titled Irish version of “The Voice”? Nope. Her appearance in Series 5, Episode 1 of “Dick and Dom in da Bungalow”? Nope. The use of her 2004 version of porn star Andrea True’s “More More More” in a series of television adverts for SCS Sofas? Could be!

Is it just me that suddenly has this going through my mind now?:

Anyway. Back to the pop.

Some Girls has always reminded me of this, also from 2004:

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123. Goldfrapp – Strict Machine (Single Mix)

Released at more or less the same time (I think the Goldfrapp single was marginally earlier), or at least close enough to “Some Girls” to negate any allegations of plagiarism anyway, I wonder what it is that makes Alison Goldfrapp be held up as a much-revered, credible artiste (which she is, and rightly-so) whilst Rachel Stevens is considered…well…less so. I can only think it is because of her earlier S Club career, which doesn’t exactly seem fair to me. Pop snobbery, is the phrase that springs to mind.

But whilst we’re back in what many will consider more acceptable waters (not me, all are equal), I give you this:

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124. Ladytron – Seventeen (Soulwax Mix)

Glacier cool lady kraut-rock-esque vocals? Check. Uber-cool remix by Soulwax? Check. I love this, picking it up on a promo CD single in D’Vinyl Records, an absolute treasure trove of a second hand record store in the Roath area of Cardiff. If ever you’re down that way, pop in. I say pop in – you’ll be there for hours, I guarantee it. And you’ll come out financially poorer but culturally enriched by all of the goodies you’ll have unearthed.

And while we’re on Soulwax remixes, and since I mentioned them in passing earlier, have a go on this:

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125. Sugababes – Round Round (Soulwax Remix)

Another one I picked up in D’Vinyl. They do sell records that Soulwax haven’t got their greasy mitts on, I promise.

When Andy Warhol made that famous quote about everyone being famous for fifteen minutes, I very much doubt he realised that around 70% of them would be famous for being in Sugababes for fifteen minutes.

You may have noticed we’ve gone a bit girly. So, here is one hell of an all girl band, who in their early days were more about having a good time than being particularly proficient on their instruments:

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126. We’ve Got a Fuzzbox and We’re Gonna Use It – Rules & Regulations

This is one of those records that my brother and I both bought; he owned it first, of course, I went and got it after seeing them pop up on the Indie Chart section of The Chart Show, when it used to be on Channel 4 on a Friday evening, before it moved to Saturday lunchtimes on ITV. Now, like most music on British TV, it’s nowhere.

Anyway, what I love most about my version of this record is the fact it’s a 12″ and all 5 tracks are crammed onto one side. On the other side, this:

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Not sure if that comes across well, but those are etched drawings of each of the girls in the band, or as eil.com call it a “1986 UK limited edition autographed and picture etched 5-track 12” ‘.

We’ve Got a Fuzzbox and We’re Gonna Use It resurfaced a few years later, with a truncated name (“Fuzzbox”) and a more glossy, polished sound and image, and frankly the appeal was gone for me by then. As Billy Bragg (yes, him again) said on his version of “Walk Away Renee” that I posted a while ago: “Then one day she cut her hair, and I stopped loving her”.

Moving on to 1991, and to the short-lived riot grrrl scene, and another all-girl band, named after the transport of choice for the heroine in Pedro Almodovar’s movie “Women on the Verge of a Nervous Breakdown”:

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127. Mambo Taxi – Do You Always Dress Like That In Front Of Other People’s Boyfriends?

That’s one of the greatest song titles ever, and quite why I haven’t kept my powder dry and posted it in my “The One and Only” thread instead of here is beyond me.

Now, I have absolutely now idea how I came into possession of this next track. It wasn’t a single, it featured on the artistes only solo album, and even then only as a bonus track on the Japanese release of it.

It is, however, one of my favourite ever out-and-out pop songs, wittily skewing that revolting old sexist comment blokes make about shagging an ugly girl with a paper bag over her head. Here though, the roles are reversed; the singer is in a club having recently split with her ex, and to quote The Suit You salesmen from the Fast Show, she “wants it” – so much so that she pulls a guy with roughly the same build as her former beau, and takes him home on the condition that when they sleep together he wears a paper bag over his head:

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128. Lene – Paper Bag

Thinking about it, I probably like that so much because the lyrics give hope to us painfully ugly dudes.

And yes, that is Lene from Euro-pop act “Aqua”, but that doesn’t make it any less ace. You like Annie (the Norwegian recording artist , not the musical) don’t you? DON’T YOU????

It’s just pop music. Go with it.

Back into so-called more credible territory again now, and here’s Queen of the 6music airwaves Lauren Laverne from back when she was a pop star:

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129. Kenickie – In Your Car

Go on, just you try and listen to that without bouncing round the room and joining in the “Yeh Yeh”s in the chorus. You can’t can you?

Another Brit-poppy tune next, from a band who found their most commercial success around the same time, having previously flirted with the idea of fame and fortune in their shoe-gazey, ethereal phase a few years earlier:

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130. Lush – Ladykillers

Lush announced they would be reforming and playing some dates and releasing some new material in 2016; if they play this live, as they surely must, I’ll be regretting not getting tickets.

Okay, time to wrap things up for another week, and this one’s an absolute doozy. Released in 1983, co-written by Todd Rundgren and Stevie Winwood and featuring Carly Simon on vocals at the chorus, but mostly the brainchild of photographer-turned-singer/performer Lynn Goldsmith, this is a “How To” guide to ensuring your first date ends well:

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131. Will Powers – Kissing With Confidence

And we’re done. See? That wasn’t too painful, now was it?

I will try to restore your faith in my musical tastes over the weekend.

Maybe.

In other words: More Soon.

Oh, and you have spinach in your teeth.

The Election Section #4

Ok, so time for some impartiality. Every song so far has been anti-Tory, so let’s see what we can find that is a) pro-Con (which seems a contradiction in terms, but never mind), and b) a decent tune.

Hmmm….

Er…….

Nope.

I’ve drawn a blank on that one. I wonder if we should read anything into that……?

Let’s skip along.

The Lib Dems. Ah yes, we have a song which perfectly describes the public perception of them:

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Lush – Hypocrite

Okay, I may as well be honest. All of the rest of the posts will be anti-Tory, so we may as well squeeze the rest of the parties in now.

SNP? Here you go:

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The Proclaimers – Letter From America

You don’t need me to tell you what its about…

Plaid Cymru? Have this:

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The Alarm – A New South Wales

I genuinely love that record. I think it’s the male voice choir. You can’t argue (well you can if you like, but you’re wrong and lalalala I’m not listening) but there’s something about a Welsh Male Voice Choir (note the capitals) which means I love this (and for that matter this) more even than I love this. (And I love this quite a lot indeed too). I Can’t Explain.

Mike Peters from The Alarm (usually said in the same breathy tones as JimKerrfromSimpleMinds) has long since been a vocal activist in Welsh politicism and for me, this record is bang on the money – for the time it was written, back in the 80s. Since then, South Wales – and Cardiff in particular – has been regenerated beyond belief. Folks tend to be a lil sniffy about visiting Wales, but I would urge you to do so: it’s one of the most fantastic, beautiful places I ever visited, let alone lived in. Cardiff, wonderful as it is, is just the hub. A mere stone’s throw away are such beauty spots as the Brecon Beacons and The Gower and …ohhh…so much more…..

Ahem. I appear to have come over all Rhod Gilbert in those “Come to Wales” adverts.

Ah, feck it.

As someone who lived in Wales for 20 years and loved (almost) every minute of it, I can maybe do better than that. I’m going to get all adopted-Welsh on your butt. There is no finer sound for getting you all tingly and setting your hairs on end than hearing the crowd at the Millenium Stadium (or Cardiff Arms Park, back in the day) than this: Wembley 1999

The crowd don’t seem particularly engaged, do they? Trust me, by the end they were singing, alright.

Those two old looking geezers in the line up (not dressed in uniform) are Tom Jones, who’ll you’ll recognise and need no introduction to, and Max Boyce, who you might not recognise and will need an introduction to. Reader: Max. Max: Reader.

Max Boyce was, frankly, massive in the late 70s and early 80s, coming up as he did from the folk circuit in the same way that Billy Connolly and Jasper Carrott did around the same time. Billy and Jasper are touted as the fore-fathers of alternative comedy, doing observational stuff which didn’t involve mother-in-laws, wives being really fat, or black people called Chalky.

The very odd thing is that Max seems to have been air-brushed out of the accepted populist history of comedy around this time, and I can’t help but wonder if Max hadn’t been Welsh whether he’d have got such a rough deal in the annals (double n, innuendo seekers move along) of history.

I think it’s about time that was put right.

Even though his act was predominantly about Welsh Rugby – or rather, about Welsh men and their rugby (and affectionately, cheekily, anti-English in a way that only a rugby fan could get away with), Max still managed to find favour with many outside of Wales. The even odder thing is that the fact he was popular outside of Wales never seemed to be appreciated or understood by those inside Wales. When I lived in Cardiff, my friends were often gobsmacked that I knew the words to Hymns and Arias and Sospan Fach (not 100% accurately I’ll admit, but still, I had a go…)

I have to concede, I had a leg-up here. On Saturday afternoons when I was a kid, we’d have to drive over and visit the grand parents. I believe I’ve mentioned this before, so I won’t bore you with it again. Suffice to say, Kris Kristofferson and Johnny Cash were the staple diet of the car’s cassette player, but Max Boyce got a fair look in too. My dad owned copies of “Live at Treorchy” and “We All Had Doctor’s Papers” and they would be played as much as anything else. (My great grandmother, deposited in the car on one such occasion, announced “I have no idea what he is saying, but I’m sure it’s quite rude!”. And yes, she did sound like Lady Bracknell) My dad even burned copies of both these albums for a former flat mate of mine, so desperate was he to prove his non-existent Welsh links.

I met Max once. I was working in Boots the Chemist on Queen Street in Cardiff and I spotted him and hovered around the tills when he got served. He went to one of the prettier, younger ladies who did the till stuff, then looked up at him:

“It’s you, isn’t it?” she said

“Erm…yes…” Max Boyce said, modestly.

“It’s Max, isn’t it?” she said

“Yes, yes I am” said Max Boyce, modestly.

“Max….Bygraves!!” she exclaimed

“Am I fuck!!” said Max Boyce, angrily. “He’s in his fucking 80s!” said Max Boyce not very happily.

So anyway, from those two albums, I give you these:

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and

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But, in an effort to drag this back to something vaguely political, Max wasn’t just about the funnies. Listen to Rhonnda Grey which, to these Anglicised ears, is sadder and more poignant than “A New South Wales”, and paints a picture of the Merthyr, Pontypridd and Caerphilly area I remember from when I first moved there oh so many years ago. Sad and beautiful, see?

Ok so moving on, who’s next?

The Green Party. This seems appropriate:

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Swedish House Mafia feat. John Martin – Save The World

UKIP. Oh, just fuck off, will you? I’m not even going to grace you with a song. We all know what you are.

More utterly biased stuff soon.