I don’t post enough songs by the drop-dead wonderful PJ Harvey.
Time to rectify that, I think:
I don’t post enough songs by the drop-dead wonderful PJ Harvey.
Time to rectify that, I think:
“Sunday, Sunday here again in tidy attire
You read the colour supplement, the TV guide…”
Well, you can now add “The Chain” to the list of things to read on a Sunday, although events have rather caught up with me, meaning that it will be a race against the clock for me to get this finished by the end of the day.
We ended The Chain #36 with “Hyperactive!” by Thomas Dolby and the usual request for your suggestions for songs that can be linked to that tune. Let’s see what you came up with.
First, a batch of songs which link to “Hyperactive!” the song, and “Hyperactive!” the physical state, first amongst them being submitted by Rol from My Top Ten:
“‘Hyperactive!’ begins with a psychiatrist asking Dolby to “Tell me about your childhood.” So my first choice is…”
Which allows me to blow the dust off of my Chain Catchphrase early doors this week. So, if you’re suggesting that, then I’m suggesting this:
A few weeks ago, Babylotti got in touch to put me on notice that he was looking to suggest a song which he thought it would be impossible for me to locate a copy of. This week is the week he put that into practice:
“Okay so starting off with the Hyperactive link, it reminds me of another 80s songster, Alexei Sayle. He had a hit with ‘Ullo John! Gotta New Motor?’ (not the link yet) [which is lucky, as it’s featured before, so I’d have had to disqualify it] in the charts at the exact same time as ‘Hyperactive!’, [I’ve checked this, and it is correct: 26/02/84, ‘Hyperactive!’ was at #29 on it’s way down from #17, whilst ‘Ullo John! Gotta New Motor?’ was at #35 on it’s way to the giddy heights of #15] but in 1982 he released a single as the Albanian World Cup Squad, ‘Albania! Albania!’ (as threatened/promised!). With a chorus quite reminiscent of the Blackadder theme tune, I first heard it on the Anne Nightingale show back then, had been after it ever since.”
One of the rules here at The Chain is that if you suggest a song then you must be able to supply a copy of it in the event that I don’t already own it, or am unable to source it. This has happened 4 or 5 times since we started, and you won’t be surprised to learn than I couldn’t find this one. I had been prepared for this, as Babylotti previously advised me that as far as he was aware, it was only available on one website.
That website, he revealed, was his Soundcloud page. Should be easy enough to find, I thought, typing the words “babylotti” and “soundcloud” into Google. Did it find babylotti’s Soundcloud page? Did it heck. But what it did reveal is that some chap called Rick Shide has been reposting The Chain verbatim for a few months now on something called ‘Inoreader’.
Let’s all give Rick a wave, shall we?
I’m sure you’re all as flattered as I am.
Anyway, to babylotti’s suggestion, which he ended up adding to his own blog, Livin’ Out Rock’n’Roll in order that you can all hear it today. I have to admit, it is pretty funny:
Babylotti then goes off at a bit of tangent, which is fine, as long as it’s justifiable, and his next two suggestions are, linking to “Hyperactive!” via the aforementioned Alexei Sayle record:
“I’ll then stay with the football theme and choose the song from when New Order ruled the world, World in Motion. The greatest football song ever, and that’s coming from a Republic of Ireland supporter…”
Of course, one of the highlights of that record is the rap performed by John Barnes, and let’s be honest, other than that goal against Brazil, it was probably the most impressive thing he ever did in an England shirt.
Caught up on the tube in August last year, Barnes was kind enough to treat his fellow travellers with an impromptu rendition:
“And my last one,” babylotti rounds off, “which always reminds me of Goal of the Month:”
It wasn’t just the song title “Hyperactive!” that was linked to; many others linked to Hyperactive the condition.
Over now to Jules from Music From Magazines. In case you have any issues deciphering Jules’ contributions, as I did this week, please note something he said in a Comments Conversation we had yesterday:
“Please check the time I posted this , music from mags rules are only post in pubs…”
A fine rule, which I may have to bring in as mandatory…
Anyway, here’s Jules’ first suggestion:
“A Hyperactive Thomas can cause many problems, so let’s get it out the system and try Ivor Biggun and….”
Stop right there. Let me just slap one of these labels on this one:
Although, it’s hardly needed, you can pretty much get the gist from the sleeve, the artist (I use that term most misguidedly) and song title:
Ivor Biggun is a the “comic” creation of Doc Cox, who some of you may remember from his stint as one of the co-hosts of consumer show “That’s Life!”, a show spoofed here by the “Not The Nine O’Clock News” team (albeit, in pre-Cox days):
Thankfully, The Robster from Is This The Life? is here to de-smut proceedings:
“If you are hyperactive, some, or all, of your senses are working overtime so at the risk of requesting something that’s been used before….”
I must admit, I thought it had too, but nope!
A couple more suggestions from me now. A quick browse through my thesaurus tells me that synonyms of the word “Hyperactive” are “Over Excited”, so….
…and “Excitable”, so…
If you ever need to investigate whether there was a link between increased illegal drug use (non-contraceptive) and teenage pregnancies in the 1980s, then you could probably cite this record, for gleefully announcing over a summery, steel drum tune that the lead singer is “drowning in amphetamines” and, even more irresponsibly, that “I don’t care if you get me into trouble”. Yours faithfully, Outraged, Tunbridge Wells.
Finally in this first batch, here’s Alyson from What’s It All About, Alfie? who, like me, went to see ‘T2 Trainspotting’ this week and, like me, bloody loved it. That’s a recommendation, by the way.
“Ian Watkins from the group Steps was always called “H” which was short for Hyperactive – If you’ve ever seen him being interviewed on telly (no I wouldn’t admit to it either) you will know why. The song of theirs that I’m going to choose is…”
That’s not quite what I first thought the “H” stood for, if I’m honest…
Regular visitors to these pages will know that each week one suggestion is crowned “Worst Record of the Week”. Unbelievably, this week that record is not by Steps.
Moving on, and several of you provided links to Mr Dolby himself; here’s Rigid Digit from Stuff & Nonsense with one of them:
“Thomas Dolby was in The Camera Club (a band, not a photographic society) with Bruce Woolley. Bruce Woolley was co-writer (with Trevor Horn and Geoff Downes) of ‘Video Killed The Radio Star’, the song which epitomises all things 80s (even though it was released in 1979).
Many earholes have agreed that the Bruce Woolley and The Camera Club version is superior.”
Let’s find out, shall we?
Over to Walter from a few good times in my life:
“Thomas Dolby wrote ‘New Toy’ by Lene Lovich a song that was played often long long years ago”.
Not be my, it wasn’t: other than her totally ace/bonkers (delete as applicable) Stiff release “Lucky Number” I don’t think I’ve ever heard anything else by her:
Okay, now I have.
The first suggestion we received this week was from The Great Gog, whose nominated track leads us rather nicely into the next batch of similarly-themed-suggestions:
“A fairly straightforward double-link springs to mind immediately. Thomas Dolby was involved in the production of Prefab Sprout’s ‘From Langley Park To Memphis’ album (although duties were shared out on that one). That album just happens to include another song with an exclamation mark at the end of the titles, so “Hey Manhattan!” it is.”
Yes, The Great Gog was not the only person to suggest a song on the basis that it, or the performing artist, had an exclamation mark in the name somewhere.
Welcome to SWC from When You Can’t Remember Anything with a swift three in a row followed by a mic drop:
“Hyperactive has an ! at the end of it. This I think also adorns the cover of “Enough is Enough” by Chumbawamba…”
“If it doesn’t then I will go for ‘Hyper Enough’ by Superchunk…”
Well, it does, but I’ll allow this on the basis that, well, because it’s Superchunk:
“Or continuing the ! theme ‘Annihilate Now!’ By Idlewild.”
Next up, it’s Martin from New Amusements, who suggests a song by a band who are very dear to me indeed:
“Hyperactive has an exclamation mark at the end. Mid-80s twee-merchants The Chesterfields used to use an inverted exclamation mark as the “i” in their name, so how about ‘Ask Johnny Dee’ by The Chesterfields? Or maybe that should be The Chesterf¡elds…”
Taken from their jingly-jangly guitar lost classic “Kettle”, an album which came out in 1987 on the oft-overlooked Subway Records label; I recently placed it in a “Top 1o albums which have stayed with me” Facebook round-robin thing.
I’d completely forgotten about the ! in their name, and I have to say I’m bloody delighted to have the chance to post a song by them, even if they are very much “of their time”.
Oh but before I do, a clarification from Martin:
“On closer inspection, the exclamation mark in The Chesterfields wasn’t inverted, just normal i.e. The Chesterf!elds.”
It’s still in.
Last of the Exclamation Marks now, and another of my suggestions. In all honesty, when the first song linked by the exclamantion mark came in, I thought there would be no way that somebody wouldn’t suggest something by this lot.
If you don’t know this band, but like “House of Jealous Lovers”-era The Rapture, then I’d heartily recommend you give this a spin, if for no other reason than it’s prowling Slits “I Heard It Through the Grapevine”-esque bass line:
Okay, on to other Thomas’s now, and back to The Great Gog:
“Around the time that Mr. Dolby was first active musically, there was another keyboard player called Thomas releasing records, albeit with less commercial success – Thomas Leer. Mr. Leer later went on to be part of Act, who had a minor hit with ‘Snobbery & Decay’.”
Well, if you’re suggesting that, then I’m suggesting this, featuring Claudi Brücken, who was also in Act:
Also hailing from the When You Can’t Remember Anything blog, here’s Badger:
“From Thomas Dolby to a Thomas who actually quite good – Thomas Bangalter from Daft Punk and the click tastic ‘Giorgio by Morodor’.”
“My second choice,” continues Badger, “is ‘Thomas the Fib’ by much missed dancey jazz pioneers Red Snapper from their excellent ‘Prince Blimey’ album. Prince Blimey being the bastard son of Prince William and Katie Price from their ill advised affair of 2001. That was exposed by the Daily Mirror after Wills was seen leaving a kebab shop at 3 in the morning and letting himself into the back door of Price’s Penge Maisonette.” [Can we insert the word ‘allegedly’ in that at least once and preferably several times please? – Legal Ed]
Right, you know who this week’s instalment of The Chain is missing? George, that’s who. Up you step, George:
“From Thomas (Dolby) to the diminutive Tommy, which could lead to any number of tracks from a double by The Who, but won’t, but does lead to Eric Clapton who performed Eyesight to the Blind in the film Tommy (I went with my mum to see that film).. Sonny Boy Williams (the second one) does the original”
I’m assuming it’s the original version that you want:
Now, remember earlier that Jules revealed that he only ever posts when in the pub? Here’s another one from him, which he submitted after I had asked what on earth he was dribbling on about in two of his other suggestions (one of which i still don’t understand):
“St Thomas supported Lambchop at the Wedgewood Rooms in Portsmouth some years back, as the encore started we had to go to get the last ferry home. And the song a cover of The Stranglers “(Get a) Grip (of Yourself)’.”
Some admin, from me: the St Thomas referred to does not imply that Thomas Dolby has received some kind ecclesiastical sanctity; it is the performing name of one Thomas Hansen. Also, the cover isn’t by St Thomas, it’s by Lambchop, a live version of which appears on their “Rainer on my Parade” album, but I’m posting the studio version.
Some admin from Jules: “This [choice] is not a reference to my previous ‘I’m a Wanker’ suggestion.”
If you say so, Jules, if you say so…
Two more categories to go now, and unsurprisingly, many of you linked to Thomas Dolby’s surname, and the technical side of sound reproduction.
I’ll let Martin explain:
“Dolby, as anyone of a certain vintage (i.e. all of us) knows, is the de facto tape hiss reduction technology. Dolby-B was most common. Dolby-C less so – better hiss reduction but too much loss of treble. Dolby-S came knocking just as tape succumbed to burning your own CDs instead, but it was brilliant! Especially if recording on a good quality metal tape (TDK MA90 or, better still, Sony Metal-XR)… sorry, turning into a hi-fi geek. The suggestion. So for me, Dolby makes me think “S” and hence, unfortunately, S-Express and ‘Theme From S-Express’. Not something I’m desperate to hear again…”
Long-term readers will know that some time ago I ran a very short-lived thread about the samples used on certain records, and ran one post which looked at exactly this tune. You can read it again here (not sure if the links are still active, let me know if not).
Anyway, here’s S’Express:
Next to chip in is Michael, who suggests the sort of tune that Dirk normally does:
“Thomas Dolby > Alternative TV. Dolby as noise reduction, most TVs today have Dolby. I guess Action Time and Vision kind of sounds hyperactive.”
Before we go any further, a suggestion of a different sort. As mentioned earlier, one of the rules here is that we don’t play the same tune twice (unless the first time it was played it was because it featuring in The Official Chain, rather than being suggested by one of us). When you leave your Comment/Suggestion, you should have the option of ticking a little box which lets you know if anyone replies to your Comment – please tick this, for in the event of me being unable to source the song, or in case I need you to clarify your suggestion, or, as happened here, you suggested something that had already featured, it makes it a lot easier for me to get in touch with you. Thanks.
So, back to Rigid Digit:
“Spinal Tap reference time:
When discussing the failure of their new album (‘Smell The Glove’), Jeanine Pettibone (David St Hubbins’ girlfriend) stated that the problem with the album was that “You can’t do Heavy Metal in DOBLY”
Suggested track: ‘Stonehenge’.”
Which we’ve had before (#32). So, in the absence of a response from Rigid to my request for an alternative suggestion, I’ve, er, plumped for this one:
Back to George now, who picks up the Dolby theme and runs with it, followed, it has to be said, by more than one of us:
“The Dolby system on tapes was to reduce hiss. Something else that makes a hiss is a snake, hence the track ‘Long Snake Moan’ by P J Harvey”
“See how I didn’t choose Union Of The Snake by Duran Duran…?” George signs off.
A joint suggestion now, for The Swede of Unthought of, though, somehow nominated a tune that was on my not-so-shortlist, which he very graciously said he’d step aside and let me nominate. However, a better idea, I think is if we jointly suggest this and then both have another go at a snake related tune.
Over to you then, Swede:
“As George so rightly pointed out the Dolby system was developed in part to reduce tape hiss. Another thing that hisses is of course a snake, so let’s have ‘The Snake’ by Al Wilson.”
Bloody great, that, isn’t it?
Ok, so The Swede’s extra suggestion goes thusly:
“I’ll suggest ‘Snakes and Snakes’ by Bell X1, an old favourite tune of both me and Mrs S.”
Ah. Well that pretty much beats my alternative snake song, which features a snake, the arch nemesis of the titular character, called Hissing Sid:
Nope, that’s not the worst record of the week either.
Some of you knew that Thomas Dolby was heavily involved in the development of ringtones; Rigid Digit says that he “…invented the Nokia Ring Tone (cue oversized mobile phone a la Trigger Happy TV: “HELLO!, I’m on the Internet. It’s very boring (mostly, but there are some places worth visiting – honest!)”
In case the reference to oversized mobile phones means nothing to you, Rigid refers to this:
..which prompted babylotti to pipe up:
“You’d almost want to go with Mario Piu’s Library there, it samples Dom Joly’s favourite phrase.”
Quite an uninspring bit of cover art, that, isn’t it. Let me see if I can find a more appropriate library related picture…
Ah yes, this seems about right:
Anyway, where were we? Ringtones, that’s where. And here’s Alex G from We Will Have Salad with, without even the merest shadow of a doubt, the Worst Recod of the Week, by a country mile:
“Thomas Dolby went on to basically invent polyphonic ringtones. I therefore suggest this week’s worst record, ‘Axel F’ by Crazy Frog, on the grounds that it’s Thomas Dolby’s fault. I dimly recall there were some further, possibly even worse, follow-ups, but I think Axel F will suffice to remind us of the evil that Thomas Dolby has visited upon the world. His crimes must never be forgotten.”
It’s alright for you lot, you don’t have to listen to it, like I do when I check the copy I *ahem* aquired is clear and has uploaded okay.
Crazy Frog – Axel F
I once berated a guy I worked with for having that as his ringtone.
As I mentioned when Alex posted that, the one redeeming feature of that record is, if my memory serves, that it stopped Coldplay from getting their first ever number one single.
Speaking of Coldplay, a suggestion from Charity Chic of Charity Chic Music fame:
“Thomas Dolby had the look of a mad scientist and indeed did ‘She Blinded Me With Science’. So, ‘The Scientist’ please – not the Coldplay original but rather the Willie Nelson cover. If you can only find the original please don’t bother.”
Always a pleasure to deny Coldplay twice in one post.
“Failing that, E=MC2”, CC adds.
Just two more suggestions to go now; penultimately, back to The Robster:
“The quirky scientist Dr Magnus Pyke guested on another of Thomas Dolby’s hits ‘She Blinded Me With Science’. In his Wikipedia entry, it claims one of the many books he’s written is ‘Tricky and Portishead and Other Stonehead Bristol Sounds of the Future.’ I have seen references of this come up occasionally in other places, but have never actually managed to track down any credible suggestion that such a book even exists. However, it’s a fantastic thought that Dr Pyke would have written such a thing, so I’m also going to suggest some things links with my other suggestion: Tricky’s cover of XTC’s ‘Dear God’.”
Which would be where we’d leave it, but one last peek into the pub to see what Jules has been up to leads to something about him being too old to be in a fight, about Donald Trump, an admission that the one suggestion I still don’t follow “…still makes not a lot sense…”, that I should “…ignore previous drunken ramblings…” and most pertinently that “…I needed some Billy Bragg…”
So, as a one off, while I’m not at all sure how this links to the source record, I’ll assume that somewhere there is a link buried deep in Jules inner psyche, play it, and leave it at that. It is rather fine, as relevant today as when Woody Guthrie first penned the lyrics:
Woody Guthrie died in 1967.
And so to the next song in The Official Chain, and once again, once of you was mightily close, getting the right band, the right link, but the wrong song.
Here’s the link:
“…Thomas Dolby produced an album by Prefab Sprout…”
Here’s the song:
Here’s some Bonus Points for The Great Gog for proving Meat Loaf right when he sang “Two Out of Three Ain’t Bad”.
And here’s a request for your suggestions for songs which link to “Bonny” by Prefab Sprout, along with a brief description of the link, via the Comments Section down below, in time for next Sunday’s edition (by which I mean, by Saturday night, please!)
As the late great Sir David Frost would have said had he been hosting it, rather than faffing about interviewing Richard Nixon, or popping through the keyhole with a bloke who makes pasta sauce: Hello, Good Evening, and Welcome to the latest instalment in the series of posts known as The Chain.
We ended last week with “Up on Cripple Creek” by The Band, and I set you all three challenges:
And, as I hoped, you did not disappoint.
As usual, you can break down this week’s suggestions into various categories, so here we go with the first of those groups, which picked up on the fact that many of The Band hailed from the country who experienced some technical difficulties last week when the website which facilitates people applying to emigrate to their fine land crashed due to the amount of traffic it received after Trump won the election: Canada.
First out of the traps was George, determined to dazzle us with his knowledge of terrible records:
“Worst Record In The Chain challenge accepted! [see..?] The Band were mostly from Canada. And also from Canada were a group called Sway, who covered Ottawan’s ‘Hands Up (Give Me Your Heart)’, and if you thought that the original was bad, just listen to that cover.”
As it goes, I don’t think the original is that bad. Of it’s time, yes. As for the cover George has nominated though, well…he has a point. Also of it’s time, that time being when it was acceptable to churn out cheesy versions of old tunes, i.e. the late 80s. I’m looking at you, Stock Aitken and Waterman. And you can piss off as well, Cowell:
As an aside, you’d think that if you were going down the Canadian route, then simply suggesting something by Ottawan would be sufficient, what with Ottawa being the capital of Canada and everything. But no: it turns out Ottawan were not actually Ottawan at all; they were founded by French record producers Daniel Vangarde and Jean Kluger and fronted by Caribbean-born Jean Patrick Baptiste and Annette, who apparently is so famous as not to require a surname. Such things are for mere mortals like you and I.
Much as he might be keen to win the coveted crown of “Worst Record of the Week” (you haven’t, by the way George. Not even close), George is also keen to make a more credible suggestion, also tip-toeing his way along the Canadian route:
“And from that absolute piece of nonsense to something simply awesome, as The Swede will undoubtedly agree. Sticking with the Canada link, there’s a Canadian ballad dating from ca. 1839 called ‘Canadee-i-o’ which is on the Nic Jones’ album Penguin Eggs.”
Adding to the list of Canadian based suggestions comes Rol with a not entirely unpredictable choice (I mean that in a nice way, of course):
“Leonard Cohen was also Canadian. Take your pick… most of his songs are scarily prescient right now.
Death Of A Ladies’ Man will do if you don’t want to choose yourself.”
I’d be here all day trying to decide if I did.
Just in case you’re worried we’re about to move into (or remain in, depending on your thoughts on Mr Cohen) gloomy territory, we’ll move on to the next group now, which is songs which relate to the Creek in the Cripple Creek, and to get things moving on that front, here’s babylotti:
“The word ‘Creek’ inspires two songs from me, both ones I originally heard/taped off John Peel. The Fall, with Cruisers Creek probably my first or second memorable encounter with the band…”
“… and another Peel favourite, Half Man Half Biscuit’s ‘I Love You Because (You Look Like Jim Reeves)’ with it’s classic opening verse:
‘Me girlfriend looks like Peggy Mount, what am I supposed to do?
I’m up the creek and never mind the paddle boy, I haven’t even got a canoe”.
Oh, and just in case you’re interested, this is Peggy Mount:
Which in no way should be considered a neat segue to Charity Chic and his first suggestion of the week:
“Husband and wife Marc Olsen and Victoria Williams appeared together as part of The Original Harmony Ridge Creekdippers. Prior to this and whilst still a Jayhawk, Olsen penned a song ‘Miss Williams’ Guitar’ for his beau.”
Over to Badger now, who, unselfish chap that he is, nominates a band that his buddy SWC loves (as does he, it has to be said, and, after they posted them over at their When You Can’t Remember Anything blog a month or so ago and I went out and snaffled me their back catalogue, so do I):
“Saddle Creek is the next town up the Nebraska river after Cripple Creek and Saddle Creek Records house the totally wonderful Hop Along whose ‘Painted Shut’ was the second best album released last year. So to celebrate that let’s have ‘Waitress’ by them.”
Here’s Rol again:
“Can I suggest Shit Creek by The Icicle Works…? Seems very appropriate this week.”
Doesn’t it just?
“And…Up On Cripple Creek is about a girl called Bessie, so I also suggest ‘You Stand Here’ by Dressy Bessy (which does sound very much like Inbetweener by Sleeper to me… linking back a few weeks on The Chain… which might get messy: what happens if we cross links?)”
You need to ask? It’s like when streams cross, Rol:
Dunno about you, but I’m definitely imagining that’s Trump Tower and that two certain non-politicians are stuck in a gold lift.
Anyway, you suggested a tune, didn’t you?
PS – that reminds me more of Belly than anyone else. I think. Can’t quite put my finger on it, to be honest. Maybe The Breeders circa “Pod”. Either way, it gets a thumbs up from me.
Time for a big Chain Gang welcome now to first time contributor Lynchie, who writes:
“Am I being too stupid to suggest Buffy Sainte Marie playing mouthbow and singing “Cripple Creek” LIVE?”
Lynchie, no suggestion is too stupid for these pages, and yours is far from stupid. Plus, you were kind enough to post a link to the clip you were referring to in the Comments (I’ll not post it again here, but if you want it you can find it back on The Chain #28).
Instead, here’s the version you mention in glorious sound-only format:
Suggestions weren’t just restricted to Creek related, mind; a few nominated songs with a more watery flavour. Take Kay, for example:
“I have two which both link creek with river/water etc. A bit literal, but there you go….First of all the wonderful PJ Harvey – ‘Down by the Water'”
“…and secondly Kylie Minogue and Nick Cave – ‘Where the Wild Roses Grow’. A really dark record for a really dark day.”
No prizes for guessing on which day Kay suggested those, eh readers?
About time I joined in the water sports, I think (Stop it…). Who fancies some a capella fun?
Lifted from the soundtrack of the truly wonderful Coen Brothers movie “O Brother Where Art Thou?”, here’s Alison Krauss:
Ok, on then to the third group: The Band and it’s members.
But first, I love a good Factoid, and Alyson supplies a belter this week, even if she can’t quite remember the nuts and bolts of it:
“Discovered recently when I posted a video clip of One Of Us by ABBA that Agnetha got custody of the “Music from Big Pink” album by The Band, when she and Bjorn (or was it Benny) went their separate ways. Won’t take credit for spotting this – it was another chain ganger whom I won’t embarrass by naming – but that will be my suggestion for this week!”
So here for Alyson and The Swede (ooops!), is a bit of ABBA:
Of course, there’s nothing wrong with liking a bit of ABBA. One of the many purchases I made from Britannia music back in the 1980s was their Greatest Hits Volume 2, which I still own, long after much of my own vinyl has been sold, stolen or donated to charity shops. In fact, “One of Us” is taken from their final studio album “The Visitors”, a vinyl copy of which I have very happy memories of, not so much for the record itself, but for it’s sleeve. I’ll cryptically say no more than that for now, but at least one person reading this will know what I’m referring to, and they’ll have just spat their coffee all over the place in surprise. I’ll explain some other time.
In the meantime, here’s The Swede. Look innocent everybody, like we don’t know his little secret.
Oh hi, Swede. Us? Talking about you? Noooo, course not.
We’re on to links to The Band, and band members of The Band. Any suggestions?
“Robbie Robertson of The Band mentored Jesse Winchester’s early career, even producing his first LP in 1970. I’ll choose a much later track by Jesse though, ‘Sham-A-Ling-Dong-Ding’ from 2009’s ‘Love Filling Station’. “
I’ve never heard that before. It is properly gorgeous. The Swede: thank you for bringing that into my life.
“There’s a YouTube clip of Jesse performing the song on Elvis Costello’s American TV show that I’d defy anyone to get through without serious lip-quivering” The Swede adds. He’s not wrong:
That voice has no right to be coming out of that face. Just incredible.
Until I heard that, had you mentioned the word “Winchester” to me my reference point would have been this:
I think this might actually be a decent plan to escape the world right now, as it goes.
Back at the start of October, I wrote a post about how “Labour of Love” by Hue and Cry always took me back to a certain bar that we used to frequent in Peterborough when I was at Sixth Form, the name of which I couldn’t recall. My old mate Richie got in touch with a list of bars it could’ve been, and he nailed it first time: Miss Pears. A terrible name for a bar, I’m sure you’ll agree. I’m sure you’ll all sleep well tonight knowing that.
I mention this because the next song also reminds me of the same place; they had a TV which seemed to have the video for this eternally playing on a loop.
The Robster provides three suggestions “that don’t need much explaining”, and this was one of them, a double linker since there’s a water link in it too:
I always thought Robbie Robertson was one of those made-up joke names, like Boaty McBoatface. Seems I was wrong.
The Robbie Roberston suggestions don’t stop there. Here’s The Beard:
“The Band’s Robbie Robertson has worked with Martin Scorsese on the soundtracks to several of his films. One such collaboration was Casino. Las Vegas, in particular The Strip, is renowned for it’s casinos. Slightly off The Strip is a shiny gold hotel emblazoned with the name of an arsehole. Despite said arsehole’s bigoted views and alleged improprieties he is on the cusp of taking over as the King of the Jungle. With hopes of a Sam Allardyce style rapid fall from grace in mind, it has to be Impeach The President by The Honey Drippers.”
“Or if that’s too grim a link for something as joyous as The Chain, Love Is The Drug by Roxy Music….”
“…or Devo’s cover of ‘(I Can’t Get No) Satisfaction’, both of which are on the soundtrack to the aforementioned Casino”
There was more than one person in The Band, by the way, as Charity Chic explains:
“Garth Hudson played with his organ in The Band [I said stop it….!] You can cross a creek via a ford. Therefore Hudson Ford with Burn Baby Burn please”
The verse to that has a touch of “Yellow River” about it, doesn’t it? Wait a minute…river…creek…oh go on then. And as this week sees the 25th anniversary of their break-through album “Out of Time”, here’s R.E.M. doing a cover of the old Christie hit:
But undisputed king of suggestions to link to The Band this week is undoubtedly Rigid Digit:
“Lets do this literally: The Band can be alternatively spelt as The Banned, hence the 1970s punk cash-in “Little Girl” must be next up…”
“…or: The Band => Banned => Banned Records. Or in this case, a record that was banned by it’s creator when he discovered what the title actually meant. Is Cliff Richard and “Honky Tonk Angel” waiting in the wings?”
Well, it is now:
Which must be the worst record of the week, right?
Wrong. For our Rigid friend has another suggestion:
“…or: The Banned was the name of the made-up band on Eastenders. One of the group left and scored a massive hit with a piano-tinkly ballad. Could it be Nick Berry with ‘Every Loser Wins’..?”
Ok so THAT has to be the worst record of the week, surely?
Nope. But Rigid, you are about to find out how close you came to guessing the song that I was thinking off. In fact, with SWC you jointly nudge even closer to it. I’ll let SWC explain:
“The Banned were the name of the pub band in Eastenders which featured Sharon and Kelvin on vocals. The British public took them to their hearts and sent their one and only single in to the higher parts of the top 20. Sadly I forget what it was called. But it is a contender for the worst record of the week.”
“Something Outta Nothing” blurts out Rigid, with scant regard for his public perception.
Oooh, you’re both so unbelievably close…!
The record I was thinking of, and undisputed Worst Record of the Week was “Something Outta Nothing” but when it got released as a single they didn’t release it under the moniker ‘The Banned’, they released it as…well, sounding like a song that Samantha Fox rejected for being “too shit”, they released it as this:
No, I don’t have any shame, since you ask.
Need some help stopping your ears bleeding? Here’s The Robster with another of his brief, self-explanatory songs, one of my favourite records of all time, by one of the most under-rated indie bands of all time:
A little more The Band-related shenanigans now from The Great Gog:
“The Band also recorded as song called The Weight, so I immediately thought of a song title which is itself a weight – ‘4st 7lb’ from Manic Street Preachers.”
“I did also think of ’78 Stone Wobble’ by Gomez” The Great Gog continues, “which could technically be referencing a weight, but may well be concerning itself with something else altogether”
You’ve got me scratching my head there. Am I missing something? What else could it refer to…?
No matter, it’s bloody great so it’s bloody in:
Before we move on to the final grouping, which is songs which link to the word “Cripple” – a category I’m sure we’re all approaching with nothing short of nervous trepidation – here’s Walter:
“The B-side of the record is ‘The Night They Drove Old Dixie Down’. It became an anthem of America’s southern pride. That leads me to another song showing southern pride. So let me suggest Lynyrd Skynyrd with Sweet Home Alabama.”
This has actually featured before on The Chain – don’t let those streams cross!! – way back on the Chain #4. I’m allowing it’s inclusion this week because it wasn’t suggested by one of the Chain Gangers (at that point, there was only me, George and Charity Chic), it was the next link in The (Official) Chain, and because in those days I would ask for suggestions as to what the link was, as well as suggesting alternative links. So, as a testament to how this little corner of ours has grown and changed (for the better, I think), here you go:
No, no, I’m not crying, just got something in my eye, s’all….
We’ll ignore the fact that, unsurprisingly, Trump won 62% of the vote in Barmy ‘Bama.
Last week, I made a joke. I don’t know if you spotted it. I said that regular contributor Dirk “…has a different way of dealing the idea of linking records together. Whilst the rest of us ponder the staple tune and think of songs to link to it, Dirk seems to decide on what record he wants to hear then just make up any old stuff to get to it.”
Now Dirk took that in the spirit it was intended, although when I first read his suggestion this week, I wasn’t so sure:
“…if that…were even HALFWAY true, I’d by now have invented an interesting tale which leads to Intense Degree’s “He Was The Ukulele Player For Dr. Eugene’s Travelling Folk Show Band” just because it has “band” in the title …. and because I’d like to hear it again!”
Having just popped over to Dirk’s place I see that he has kindly posted the whole of the Colorblind James Experience’s second album, which I’ve never heard, and which I shall be returning to pillage and leave a nice comment shortly, so I figured I owed him a favour:
Not really my cup of tea that. In fact, the kindest way I can describe it is “mercifully short”. Still, each to their own and all that. S’not all about me, now is it?
Anyway, Dirk does continue to make an actual suggestion:
“…instead I took the complicated route and found something linked to “Cripple” (not many of you will do THAT, I’d have thought): The Crippled Pilgrims and ‘Black And White’: a mighty tune off their 1984 debut MiniAlbum … which I haven’t listened to for quite a while … admittedly, so …”
But as for not many linking to “Cripple”, well, sure, not many, but some. Step forwards, The Robster with another of his suggestions that “don’t need much explaining”:
Not just The Robster, either. Step forwards SWC:
“Eagulls released the imaginatively titled EP a few years back. The fourth track was called Cripple Hypokalemic Periodic Paralysis. But the best track on the episode was Moulting. And if that’s the correct link then I’ll run through Exeter tomorrow wearing just a feather boa and a pair of wellingtons.”
Regular Chain Gangers will know that when I insert the number of The Chain we’re at as part of the mp3 link, it can mean only one thing: that is the contributor has correctly guessed the next song in The (Official) Chain, has won some bonus points, and on this occasion gets an all expenses trip to Exeter!
Does anyone have any wellies SWC can borrow tomorrow?
Of course, on this occasion, I’m just winding you up. Of course that isn’t the next record. I don’t think it had even been released when The (Official) Chain was at this stage.
We’re nearly there though.
Just one more to go. And it wasn’t just The Robster and SWC who came up with a song linked to “Cripple”, yours truly did too. This is from the first album that I ever bought on CD, (purchasing it at the same time as The Housemartins ‘London 0 Hull 4’, in case you’re interested):
Now I don’t know about you, but when I find out what the source record is each week – and I genuinely don’t look until I start writing the post – the first thing I do is go to my iTunes (other music and multi-media playing devices are available), type in some of the words from the song title, or from the album it features on, and see what I already have which might be of use. This week, it gave me that record, The Fall record that babylotti suggested, the Buffy Sainte Marie record that Lynchie suggested, and one other, which just so happens to be the real next link in The Chain. And you’re all going to wish you hadn’t shot your bolt with your links to Creeks, Cripples, and Water this week.
Here’s the link:
“…Neil Young wrote a song called ‘Cripple Creek Ferry’, from the ‘After the Goldrush’ album…”
All that’s left for me to do this week is invite your suggestions for songs which you can link to “Cripple Creek Ferry” by Neil Young, via the Comments section below, along with your usual brief descriptions as to what links the two records together.
See you next week folks.
As a companion piece to my “Same Title, Different Song” thread, I thought it might be fun to look at some songs which, as far as I’m aware, have no such duplication and what’s more, are really unlikely to. So if you’re reading this expecting to see a homage to Chesney Hawkes, well I’m sorry to disappoint. Actually, I’m not sorry at all.
Sheela na gigs are architectural grotesques found on churches and castles in Ireland and Great Britain. Specifically, they are figurative carvings of naked women displaying an exaggerated vulva, said to ward off death and evil.
Makes you proud to be British, doesn’t it?
Sheela-Na-Gig is also an early single by the one and only Polly Jean Harvey. You will know her better as PJ Harvey and she is the Kate Bush of our generation: constantly innovative, always fascinating, permanently brilliant.
PJ is the only person to win two Mercury Music Prizes (for 2001’s “Stories From The City, Stories From the Sea” and 2011’s “Let England Shake” – truly she is the Tottenham Hotspur of music, only winning things when the year ends in a 1. Roll on 2021.), an annual music prize awarded for the best album from the United Kingdom and Ireland. She is also – and I had no idea about this until I was researching this piece – an MBE. Having chuffed on for ages a couple of posts ago about how reliable Wikipedia is these days, I did wonder if I was being pranked with that info – surely I’d know that?? – but no. Here’s the evidence:
PJ and Lizzy. What a collaboration that would be!
New PJ tuneage is afoot, and if you have Spotify you can listen to new track “The Wheel” here. I would strongly recommend that you do. It is, excuse my language, fucking immense.
In a year which has started off pretty shittily, the return of PJ is a much needed boost.
And Lo! So it came to pass that the majority of the same motley crew from Glastonbury 2003 all managed to get tickets for Glastonbury 2004, with a few additions. I’m not going to list them all for a couple of reasons: firstly, they may not appreciate being linked to some of the activities described below; and secondly, I’m not entirely sure who all of the additions were (by which I mean, I’m not sure I can remember who was there, rather than not being sure who they were). Anyway, by my reckoning there were 16 of us this time, a record figure never to be repeated, not by us anyway.
I’d learned three lessons from the previous year:
1) Arrtive early (we did)
2) The stuff on the Pyramid Stage is not necessarily the most interesting stuff that’s going on (I vowed not to spend the whole weekend there again)
3) Stay off the brownies (I’m pleased to report that not one passed my lips)
You may call into question how honest I’m being on that last point when I tell you that when writing and researching this post, I find not only are there dirty great holes in my memory, but also that some of the acts listed in the 2004 booklet, and on the Wikipedia page, are not listed where and when I remember them being. But trust me, it was a brownie-free weekend.
We’ll stick with what I can remember, and what I think I remember.
Friday began with me utterly failing to honour my promise to not just sit at the Pyramid Stage all day. Although there were 16 of us in total, two (who shall be named: Gary and Meg) didn’t arrive until the Friday afternoon and for some reason we’d arranged to meet them at our usual spot at the back of the Pyramid Stage.
Much drinking ensued, and since the majority of our party were Welsh (I think just three, maybe four, of us were English) we spent much of the day making up humorous puns based on Welsh place names/acts playing the festival, in much the same way that now “I Love The Diff” do mugs with the names of works of popular fiction altered to include a Welsh place name or phrase. I haven’t explained that at all well, have I? Well, have a look here and you’ll see what I’m banging on about.
We came up with dozens of these, the pick being “Kings of Caerleon”, which years later Newport’s finest, Goldie Lookin’ Chain named one of their albums. I knew we should have got a copy right on that.
We even adopted the words to “Molly’s Chambers”, which in our world now went:
“You want it, she’s got it, Bonnie Tyler’s gonna change your mind, Bonnie Tyler’s gonna change your mind. She’s got your, your rissoles! Bonnie Tyler’s gonna change your mind, Bonnie Tyler’s gonna change your mind.”
Well, we found it funny, anyway. That’s the scrumpy for you.
Truth be told, this is where the first of the black holes in my memory appears.
My source materials tell me the first act on the Pyramid was Ralph Myerz and the Jack Herren Band (Nope, me neither). It’s entirely possible that I started elsewhere, but a quick flick through the listings fails to jog my memory as to quite what I was doing. I know I definitely wasn’t over at The Other Stage, that’s for sure, for that would have meant I was watching Kasabian, and I’d already developed a healthy, well-founded aversion to Leicester’s finest exponents of deathly unoriginal cock-rock. To this day I would rather eat my own testicles than sit through a Kasabian gig.
Let’s assume I was sleeping off a heavy Thursday night. This is certainly not beyond the realms of possibility.
I do know that I was at The Pyramid in time to catch Bright Eyes, but remember nothing other than being totally underwhelmed by him/them. Next up: Wilco, a band who, given their association with Billy Bragg, you’d think I’d have some vague recollection of seeing, but no. Nothing. Zip.
Nelly Furtado. Yup, I remember her alright. Not quite sure why she was there, but there she was. You want proof? Ok.
Want more proof? What am I, your mother? Go YouTube it.
Next up, Elbow, a band enjoying a ground-swell in popularity at the time, which has seen them edge further and further up the bill as the years have gone on. This was, of course, in pre-Seldom Seen Kid days, and before that bloody song about opening your curtains became the obligatory soundtrack to every momentous event on television. Their set was notable for their performance of Grace Under Pressure; the version which appeared on their “Cast of Thousands” album featured a recording of the Glastonbury crowd from 2002 singing along (see what they did there? Quite literally, a Cast of Thousands), and which we were encouraged to reproduce, which most of us gladly did, even though we’d never heard the song before. I wondered loudly if I would get a share of their fee for assisting their performance. Suffice to say, I had not exactly entered into the spirit of things at this point.
Next: Groove Armada. I have a bit of a soft spot for this lot, mostly because a year or so later I saw them at Lovebox and during their set witnessed a bloke successfully – yes, successfully! – using the greatest, most bizarre chat-up line I have ever heard (for the record, it was: “Do you like Ian Dowie? I like Ian Dowie!!) And whilst, again, my recollection of their set is the very definition of “sketchy”, they definitely did Superstylin’, to my mind one of the happiest summer-ish records ever. So there.
PJ Harvey was next up, a typically wonderful set. I think. Can’t really remember it (it’s going well this, isn’t it?). Sadly, I’ve not been able to source much from her set, bar her rendition of The Letter which, marvellous though it is, isn’t the Alex Chilton/Box Tops classic of the same name. I think she’d do a tidy version of that. Probably wouldn’t even change the “she” to “he”, the saucy androgynous sexpot.
Next up were the Kings of (Caer)Leon, and if you thought my recollection has been a tad on the sketchy side so far, well, you ain’t seen nothing yet, for events were about to overtake us. In between Peej and the Followill brothers, O’Keefe and I were sitting on the grass, more than a tad pissed, happily watching the world go by, when I suddenly heard O’Keefe say “Ey up, eyes right!”. I assumed he had spotted an attractive lady, looked round, and spying nobody I thought likely to have raised his dander, said “Nice was she?”.
“No”, he replied, “on the ground. There.” I looked down to my right, and was greeted by the totally unexpected site of a rather large bag of white powder, nestling in the grass next to me. “Someone just dropped it when they walked by”. Quick as a flash, it was scooped up and safely stashed in my rucksack.
Now. I am not about to condone any kind of drug use. And I am certainly not about to suggest to anyone that they, in the event they are presented with a similar scenario, should do anything other than hand the contraband it in to the relevant authorities.
That said, at this time in my life, well….let’s just say that I had a bit of a reputation to uphold, and there was therefore only one place the contents of that bag were going. One quick dab confirmed it was speed. Not my favourite, but what the heck. A few more dabs, and Kings of Leon were on stage (the two facts are not linked, though I probably thought they were at the time. I very much doubt that Will Followill peeked out from behind the stage curtain, spotted me, and said “Hold on guys, he’s only had a few dabs…let’s give him a few minutes, eh?”). What seemed to be just a few more dabs later and their set was over. They did “Molly’s Chambers”, apparently. We sang the new improved chorus.
A few (okay, a lot) dabs more, the bag was empty (I’m not going to pretend I consumed the whole bag, but I am going to confirm I consumed most of the bag, and that none of the other people from our gang mentioned in this post had any), and suddenly, Oasis were coming on (similarly, there was no curtain twitching by Bonehead).
Never mind all of these Frank adverts which are supposed to scare folks off drugs; the most effective way to achieve total global abstinence from all things narcotic would have been to have a video camera permanently trained on me throughout Oasis’ set, for if ever there was an example of someone being off their tits and thinking they were the funniest bloke on the planet, but actually being an annoying, tedious prick, it was me, then. I spent the entire set with my hands clasped behind my back, leaning forward into an imaginary microphone, doing dreadful, oh so dreadful, Liam impressions (“Is it my imaginaayyyy-shun….”…”sunnnshiiiine” etc etc you get the giste), and also, bizarrely, encouraging everyone round me to “gather round…sing along…you all know the words”, phrases I don’t think I’ve ever heard him say.
It was later reported to me that my flatmate Llyr, when realising what was going on (and more pertinently, what I was on), was heard to mutter “Okay, own up: who’s given him a whole bag of speed?” and, later “If he wasn’t my mate I’d have fucking chinned him by now” He would have been well within his rights to have done so.
Here’s the performance of Cigarettes and Alcohol. Thankfully, they were loud enough to drown me out (just).
Saturday arrived. More (understandably, given the above) vague memories of making my way through the crowd on The Other Stage during Keane’s set at precisely the moment they performed Somewhere Only We Know the only song by them that I’ve ever liked. The intended destination was The Pyramid for Scissor Sisters, who seemed to be just about everywhere at the time, their debut album churning out an endless supply of glam-camp sing ‘n’ frug along pop nuggets, pick of the batch being Take Your Mama Out
Lostprophets were next on the main stage; bearing in mind the name of this blog, and the despicable, depraved behaviour which led to their lead singer’s recent incarceration, I’m glad I didn’t hang around for them. Nope: back over to The Other Stage for My Morning Jacket and British Sea Power (I got nothing) followed by a quick pit stop before returning to The Pyramid for……. the Black Eyed Peas! I’m joking, but sadly not about them playing there, for there they played. No, I did not return to The Pyramid to see them (though I did have the misfortune of catching their last song or two) – the possibility of seeing Fergie soil her trackie bottoms on stage was not sufficient a draw for me (or drawers, haha see what I did there?). No, I was off to see the headliner, Paul “Fab Macca Wacky Thumbs Aloft” McCartney (readers of Smash Hits in the 1980s will appreciate how much I loved just typing that).
McCartney divided opinion in our gang even before he came on stage. We were split pretty much 50/50, with half of the group (some might say, the cooler, or perhaps just the younger ones) opting to go and see Basement Jaxx play The Other Stage, the rest of us electing to watch McCartney. My position on this is that it’s not often you get chance to see one of the Beatles play live these days (and Lord knows we’re not exactly blessed with choices about which of them to see now anyway), and there was no way I would ever pay to go see McCartney anywhere else, so since he’d been nice enough to turn up…well, it’d be rude not to, wouldn’t it?
His set was one of the most enjoyable couple of hours I’ve ever spent at Glastonbury, one massive sing-a-long as he bashed out hit after hit after hit; kicking off with Jet (a song which always reminds me of Alan Partridge), Live and Let Die, and also treating us to a remarkable version of Helter Skelter. I have a vague recollection of being told this was the first time he had played it live since the whole Manson Family she-bang back in the late 1960s. Even more remarkably, his set didn’t end with an overly long rendition of either Let it Be or Hey Jude.
Sunday began, as every Sunday should, with a performance of Wagner’s Ride of the Valkyrie on The Pyramid, followed by, apparently, Joss Stone. This is another one of those occasions where my memory plays tricks on me, for in my head Goldie Lookin’ Chain were on next, but since I can find nothing to corroborate this, I’ll just have to accept that they weren’t. Or were they….? The Glasto 2004 booklet has a slot between the Opera and Stone listed as “tbc”, so maybe I have remembered that right. I know I didn’t sit through Joss Stone and her pseudo-American accent (although that was a few years away yet), but I do know that I sat through lashings of rain and Christy Moore who was on after her…so…oh, I just don’t know.
The early part of my afternoon was spent over at The Other Stage, watching Belle & Sebastian, a band I was only really just getting into, despite having bought The Boy With the Arab Strap a few years earlier after I was impressed by their whole internet voting to win a Brit award-thing. The weather until then had been pretty crappy, but mid-set the clouds parted and the sun made an appearance, along with a spectacular rainbow. It was one of those moments that ordinarily you’d find quite lovely, but at Glastonbury you find yourself grinning from ear to ear about, attributing the change in climate and improved spectacle purely to whoever was on the stage at the time. I’m reliably informed the mood was much the same over at The Pyramid, where Supergrass were playing instead of The Libertines. Any rumours that Pete Doherty had refused to play until someone located his missing bag of speed are completely unfounded.
Next: Morrissey at the Pyramid. Now I love The Smiths, and, despite buying pretty much everything he’s ever released since the split, I have to say I’ve always found his solo stuff somewhat lacking. Sure, there are highlights, but they are few and far between, generally restricted to a few great singles and the occasional album track rather than the utterly flawless output created by him and Johnny Marr (I am legally obliged to add “and by Andy Rourke and Mike Joyce too”; anyone who has ever read Morrissey’s biography cannot have failed to notice that the legal case which led to Joyce getting a large slice of royalties still sticks in Morrissey’s craw, so much space does it take up in the book). Live, Morrissey and his pub-rock backing band will often try and recapture some of those past glories; but just listen to their version of “The Headmaster Ritual” at the start of this five song snippet (also featuring “The First of the Gang to Die”, “The World is Full of Crushing Bores”, “Everyday is Like Sunday” and “Irish Blood, English Heart”): plod…..plod……plod…….. Be grateful I haven’t posted a link to them doing “This Charming Man”, one of the most splendid records ever committed to vinyl, but which they somehow manage to make sound like “Are You Gonna Be My Girl” by Jet. The problem is that the band is lacking a certain spark, and the certain spark is someone who can play guitar like Johnny Marr, or preferably, the actual Johnny Marr.
Bringing things to a conclusion on The Pyramid were Muse, a band renowned for their astonishing stage shows. We, on the other hand, decided we would rather end the weekend over at The Other Stage where Orbital were performing what at the time was supposed to be their final ever appearance anywhere ever. The Hartnoll brothers have since got back together and even played Glastonbury again in 2010; however, believing this would be our last chance to ever see them, and being well aware of their entry into the annals of Glasto history following previous performances at the festival, the majority of us decided that’s where we wanted to be.
I say “the majority”, for there was one of our gang who most decidedly did not want to see Orbital, she wanted to see Muse, and took every possible opportunity to remind us that she wanted to see Muse, and that Muse were her favourite band and she really wanted to see them and they were supposed to be amazing and they were her favourite band and she really wanted to see them.
Now, I’m usually quite a laid back kind of chap. It takes a lot to get me riled. And even more to make me snap at someone, preferring to restrict airing my discontent to catty comments whispered to whoever happened to be standing nearest to me, like the true gentleman I am.
But by the time Orbital started, I snapped. I could make a case for mitigation in my defence: I was tired. It was raining. I was soaked. But the fact is, I’d just had enough of her whining, and, on hearing her announcing for the umpteenth time that she loved Muse, I found myself whirling round to vent: “Right. I’ve had enough of you now! We are not going to watch Muse. We are going to watch Orbital. If you don’t want to watch Orbital then Muse are playing over there, so either fuck off to watch them, or shut up and stay here!.”
I’m a real charmer when I lose my rag, that’s for sure.
Despite the whine and the rain, Orbital were amazing, treating us to Belfast (played surprisingly early in their set, possibly in an effort to get me to chill the fuck out), Satan (nuff said), Halcyon (one of my all time faves) and, inevitably, Chime
And so ended Glastonbury 2004. Well, not quite. The next day proved to be one of the most hellish in respect of actually trying to get out of the site, with traffic gridlocked for hour after hour after hour. Those of us heading back to Wales were luckiest, our minibus finally hitting the main roads some 4 hours after we had set off. Our London buddies were less fortunate, some of them still sitting in their car in the car park as night fell on the Monday.
But this delayed ending did provide one final moment of unutterable pleasure. We in the minibus had the radio tuned to Worthy FM, the radio station which broadcasts from somewhere deep within the bowels of the Eavis farm buildings throughout the festival. Our collective ears perked up as we heard a dedication coming out the speakers:
“And here’s a request from Gary and Meg, asking us to play “Molly’s Chambers” by…oh, it says the Kings of Caerleon here, that can’t be right…never mind…anyway, thanks from Gary and Meg to all of the Welsh gang for a wonderful weekend, and don’t forget: Bonnie Tyler has got your rissole. Er…ok. I’m not sure I understand that. Anyway, here’s the Kings of Leon and Molly’s Chambers“
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