Another Wednesday with songs which, in some way, incorporate hand clapping as a stylistic device in songs. Let's start with 12:51 the first single form the second album by The Strokes, an overlooked album by the band which has not received the same overwhelming acclaim as their debut.
Those sharp, percussive sounds in the intro and throughout the songs are actually snare drum rim clicks, played in such a way that they sound exactly like rhythmic handclaps. In my view, that justifies the inclusion of songs by the Violent Femmes and T.Rex in this series.
In the early 1970's, as the hippie and psychedelic era was drawing to a close, music began to shift towards heavy blues, glam and, to some extent, the electrified folk of singer-songwriters. It was around this time that John Prine released his self-titled debut album.
Born in 1946 into a working-class family, he grew up in a suburb of Chicago. By the age of 14, he was playing the guitar and writing his first songs; to earn some pocket money, he delivered newspapers. After finishing school, he was called up for military service. He was lucky and was allowed to serve as a mechanic at a base in Stuttgart. Nevertheless, he naturally witnessed how inexperienced young people like himself ended up in Vietnam and returned as adults broken both mentally and physically.
And it is precisely this keen eye for detail that runs through many of his songs, which deal with loneliness in old age, Vietnam veterans and the lives of ordinary people. Musically, he draws on the traditions of folk, country and a touch of R&B. His voice was not particularly appealing: it was rough, nasal, gruff and unpolished.
During the last weekend I found time I decided to have a look through my inbox full of promotional emails and delete most of them. As always, there was a surprise to be found. London’s Heavenly Recordings label seems to have a knack for releasing great new music at the moment. Just recently, they announced the new – and presumably final – LP by Dexy’s Midnight Runners and released the fantastic album by The Orielles.
With the release of their debut album, they have made a complete musical turnaround and introduce us to Absolute Lilt. An Irish vocal duo comprising Lisa Canny and Niamh Hinchy, who breathe new life into the traditional Irish singing tradition within a modern framework. Two voices move in close, circling motion, creating something hypnotic, playful and deeply Irish, situated somewhere between folk, gently pulsating club music and vocal experimentation.
Another song that, once you’ve heard it, you just can’t get out of your head.
Rostam Batmanglij is an American producer of Iranian descent. Some may still know him as a co-founder of Vampire Weekend, which he left after their third album in order to focus more on producing. He recently released a new album, American Stories, in which he blends Americana with Persian instruments. On his latest single, Hardy, he has replaced the pedal steel guitar with strings.
Sampled strings feature prominently throughout, appearing regularly in the song and lending it a cheerful feel. Alongside violins, the cello and piano can also be heard, giving the song an organic sound. The song is named after the French icon Françoise Hardy – only the artist knows why. A beautifully arranged pop song that really sticks in your head.
Time flies, and once again a year has gone by far too quickly. Looking back, I have to say that the past year has given me far more wonderful moments than I could ever have hoped for. At 67, I continue to look forward to the years ahead with confidence and am eager to see what lies in store for me.
Charles Aznavour would have turned 102 today. He was an Armenian-French chansonnier, lyricist, composer and film actor, and I’ve always had a soft spot for his songs, which often featured poignant lyrics and made a real impact thanks to his distinctive voice.
On their third album, the Hamburg punk band Abwärts took a more laid-back approach and delivered a superb cover of Aznavour’s song.
Clap your hands for a new round of songs and the good news that I’ve found a new flat since yesterday, right across the street from where I’ve been living. The seemingly endless search for affordable accommodation looks set to come to an end once I finalise the arrangements on Saturday.. Stealers Wheel was a band formed by Gerry Refferty in the early seventies. They performed as a British version of CSN&Y and reached the charts with Stuck In The Middle OF You that later became a torture scene in Reservoir Dogs, Quentin Tarantino’s debut film.
The legacy of Gil Scott-Heron was his last album I'm New Here, a spoken word document how that would sound today. A man in the prime of his life who still had something to say
In 1977 Meat Loaf released his first album Bat Out Of Hell, An album overproduced by Jim Steinmann, whose sound is reminiscent of Phil Spector. But he clearly struck a chord with this fine record.
It doesn’t matter how you approach Patti Smith’s Horses – whether through the lyrics, the iconic cover artwork or simply the sonic experience. All paths lead to a magnificent album that embodies the spirit of 1975 in New York.
Patti Smith spent a lot of time in small, trendy clubs reciting her poems, which were mainly inspired by the French poet Arthur Rimbaud, who was all the rage at the time. Over time, she began accompanying her poems on the guitar, and it was only a matter of time before she recorded an album.
The honorable task of producing this fell to John Cale, who knew how to offer something fresh in contrast to the FM West Coast sound that dominated at the time. Musically, she often draws on the old rock greats like the Velvet Underground, but her lyrics go further: using simple words, Patti Smith conjures up powerful images in the listener’s mind. Images of sex, anarchy, suicide, aliens. Her voice has neither a wide range nor a beautiful tone – but it exudes a kind of uncanny charm.
The album is often cited as a precursor to punk, which is a bit of a stretch. But it makes a statement about what is musically possible, and in that sense, it is indeed punk.
One of the most interesting albums was released a few weeks ago by Lines Of Silence, the project led by David Little, a musician from West Yorkshire. He has already produced several albums, and on his latest release he makes effective use of Andrea Parra’s voice.
The sound isn’t new, but the way Little incorporates his influences from Kraftwerk and Neu! is exceptionally good. Motorik drums and percussion keep the structure tight, whilst synthesizers weave their way around the underlying layers of guitar. Psychedelic drone music as it should be.
Normally, I wouldn’t repeat myself here, but whenever I think of a long song, Ellis Island Sound regularly springs to mind. EIS was founded 30 years ago by Pete Astor and David Sheppard as an instrumental band. On their early albums, they broke down their krautrock-inspired songs into their constituent parts, only to reassemble them on a polyrhythmic foundation.
In 2014, they released their third album, Regions – which I consider their best – combining African vibes with the motoric rhythms of Can and a dubby bassline, resulting at times in a gloomy sound that was, however, brightened up by bursts of guitar reminiscent of Fela Kuti.
At the moment, the music press is once again hyping up a new band that’s supposed to save or revolutionize indie pop. Man/Woman/Chainsaw are a six-piece band from London who play art-punk (whatever that may be) and are set to release their debut album this coming August. To me, their music sounds more like experimental pop. On their new single, they largely do away with guitars, relying instead on pulsating synths which, enhanced by violins, create a hypnotic, danceable sound. A thoroughly enjoyable song, but certainly not a reinvention of indie pop.
Welcome to a new series featuring songs that use clapping hands either to emphasize the rhythm or simply because it suits this song.
Almost exactly 50 years ago, Steve Miller released his masterpiece Fly Like An Eagle, on which he moves between blues rock, country and atmospheric sounds. Take The Money And Run stands out from the rest of the excellent material.
That’s exactly how old Rose Royce’s Car Wash is – a funky disco hit that was played everywhere back in the day.
John Mellencamp, who was still known as John Cougar at the time, reached the top of the charts with this simple song.
Legendary hip-hop groups are a dime a dozen. N.W.A are considered the toughest, Gang Starr are the perfect duo for many, Native Tongue fans regard A Tribe Called Quest as the gold standard, whilst the alternative scene swears by the Beastie Boys or Cypress Hill. Yet many fans, despite their prolonged dry spell, still regard the political rappers of Public Enemy as ‘The Greatest Hip Hop Group Of All Time’. I agree with that to a certain extent, because as far as I’m concerned, the Beastie Boys are a cut above the rest.
In 1986, Def Jam was the music label of the moment, and Rick Rubin made his breakthrough as a producer with the Beastie Boys, introducing a distinctly heavier sound to hip-hop for the first time. Shortly afterwards, he signed a band that had recently been formed by Chuck D and Flavor Flav. Public Enemy took their hard-hitting sound a step further. Melodies were left out; heavy drums and an electronic wail set the rhythm, which is enhanced by samples.
Lyrically, Public Enemy pick up where the Black Movement in the US left off with the Black Panthers. They describe everything that is wrong with the country – issues that were only taken up again years later by the Black Lives Matter movement.
Their debut album was far less successful in the United States than in Europe, and it was only with their second album that they achieved cult status. After a few years, it was all over and the band called it a day.
Ian Dury would have turned 84 today had he not died far too young from bowel cancer 26 years ago. I think this is a good time to remember him here.
He was an exceptionally talented singer, songwriter, actor and artist who refused to let his disability – polio, which he contracted at a young age – stand in his way.
Together with some fellow students from an art school, he formed his first band, Kilburn and the High Roads, in the early 1970's. They became local stars with their pub rock, and even back then he incorporated various influences and instruments into their songs that were rather atypical for that sound.
However, he didn’t really get his career off the ground until he signed a record deal with Stiff Records. Alongside Elvis Costello, Nick Lowe and Wreckless Eric, he was part of the first wave of bands on the label, which was set to herald a new era in music. Drawing on classic rock, Ian Dury incorporated elements of jazz, funk and new wave into his songs. He often sang in a North London Cockney accent, which made it difficult for me to understand some of his lyrics. Ultimately, his debut album brought together a host of timeless songs that are still well worth listening to, even after almost fifty years.
Another song in this series, which has been running for over 50 years. The Allman Brothers Band released Jessica on their forth album Brothers and Sisters back in 1973. This song is atypical for the band, which has made a name for itself with its blues-infused Southern rock and often improvised jams. Lead guitarist Dickey Betts saw it as a tribute to Django Reinhardt, who popularized gypsy jazz 90 years ago with his guitar playing. Jessica is a timeless work that is unrivalled in its virtuosity, melody and build-up of tension.
To be honest, I’m not sure whether to write about the music video or the song. On the one hand, the video is the most breathtaking I’ve seen in a long time; on the other hand, whenever I hear the song, the images from the video always spring to mind.
Romain Gavras, the son of French director Constantin Costa Gavras (“Z”, “Missing”), also makes films and, from time to time, music videos. Gavras has now directed the video for “Storm” by GENER8ION, a project by musician, producer and DJ Benoit Heitz, who also goes by the name Surkin. At the heart of the video/song is Swedish rapper Yung Lean, who plays a school bully in the ‘Storm Class of 2034’. In the first half of the clip, all hell breaks loose at the school, after which choreographer Damien Jalet takes over, and the whole package is bloody impressive, with associations raining down on the audience (Dead Poets Society, The Wall, A Clockwork Orange). Despite the setting, nothing feels like the future; in fact, it’s just business as usual at an English school with a few lads who just want to be lads.
The music complements the video. Aggressive synths, most reminiscent of Underworld, a rumbling bassline and Yung Lean’s voice blend seamlessly with the images on screen.
A few weeks ago a new album by Broken Chanter was released. It is the stage name of David MacGregor, former principal songwriter of the fabulous indie band Kid Canaveral. Once again, it’s clear just how much musical potential Scotland has to offer. *This Could be Us, You, Or Anybody Else* is a classic indie rock album featuring top-notch tracks that could easily have been released 30 years ago. Sparkling guitar riffs and a band that really drives the rhythm forward are its hallmarks. Occasionally, the songs have a funky edge, which suits them down to the ground. I’ve only recently discovered this band, but I intend to delve deeper into their catalogue.
Welcome to the last round of featuring songs that didn't leave out the harmonica. Let's start with an old song by Ewan MacCall which has been covered by many artists over the years. One of the finest versions is by The Pogues.
At the start of his career, there was hardly a single photo of Neil Young in which he wasn’t seen playing a harmonica.
It’s hard to believe that ‘Tangled Up In Blue’ is already 50 years old and still sounds as fresh as it did back then.
I’ve never really been into Canned Heat’s blues rock/boogie, but this song had to be included in this series.
The same goes for the pop-rockers Supertramp.
Next week will probably feature a series focusing on hand clapping.
In the early 90's, grunge reached its peak. A lot of new bands appeared and many of them wanted to sound like Nirvana or Pearl Jam. Really good new and innovative bands were hard to find. Fortunately, after releasing a few EP's, Pavement put out their debut album, Slanted and Enchanted, in 1992.
Originally, Pavement was just another garage band from California, but Stephen Malkmus, the band's frontman, had bigger plans. He had a knack for hiding brilliant melodies behind a massive wall of noise. The guitars cut through the songs, the bass rumbles, and you’d think Moe Tucker was playing the drums. At first listen, it all sounds discordant, and Malkmus’ lyrics are so cryptic that I still don’t understand them to this day. But anyone who gives the music a chance will realize that this is a band that has far more to offer than just noise.
When you’re browsing social media, it’s inevitable that you’ll eventually come across clips that try to make that orange-haired and, unfortunately, dangerous lunatic from America look ridiculous. Most of them are AI-generated and generally not worth mentioning. I recently came across one such clip and would have long since forgotten it if it hadn’t been set to a song I’ve liked since I was young.
It was recorded 60 years ago by Jerry Samuels, an American singer-songwriter performing under the pseudonym Napoleon XIV. In the song, he narrates in the first person how he is slowly losing his mind because his love has left him, and how he is looking forward to being admitted to a psychiatric hospital. To top it all off, he reveals at the end that it wasn’t a woman but his dog. As if that weren't crazy enough, he had the same song pressed on the B-side of his single, but it plays completely backward.
That same year, Bryna Raeburn, an American radio actress, released a response as Josephine XIV.
I know it's total nonsense, but the mix of a thumping snare drum, bass drum, tambourine, and siren still works and rightly became a one-hit wonder.
Regular visitors to this site probably know that I have a soft spot for Nottingham's Coyote. Timm Sure and Richard Hampson, the DJ's and producers behind this project, have been consistently releasing new takes on the Balearic sound for years. They recently released another six-track EP titled The Higher The Sky, The Deeper The Ocean. On this EP, they expand their signature sound with psychedelic elements, celebrating an almost meditative downbeat sound and ambient house. On this EP, they expand their signature sound with psychedelic elements, celebrating an almost meditative downbeat vibe, dubby bass lines, and ambient house. There are few artists today who create music as relaxed and beautiful as these two.
At the end of last year Nick & June released their last album New Year's Fear which I only became aware of last week. Released after Nick Wolf and Suzie-Lou Kraft had ended their long-term relationship but still working as a band. Both are from Nuremberg, Germany, and currently live in Berlin. It’s worth noting that her songs aren’t solely about the pain of heartbreak. Despite this, her sound has a melancholic, contemplative undertone that is most reminiscent of Bon Iver and Mazzy Star. You could describe it as indie folk that captivates with reverb-soaked guitars, gently pulsating beats, and harmonized vocals. It’s an album I’ll be listening to a lot more.
There are still artists out there who couldn't care less about which musical genre is currently in vogue. One of them is Fay Fife, who has just released her new album under the moniker Countess Of Five. On this album, she clearly pays homage to her love of country music, but she also really lets the guitars rip. It’s in a league of its own compared to when she left her mark on The Rezillos/Revillos’ songs with her voice decades ago. Her duet with Kirsten Adamson (yes, Stuart’s daughter) alone makes this album worth checking out. An unexpected but compelling comeback by an almost forgotten singer. Thanks to the folks at Last Night From Glasgow for this.
Last autumn Hollie Cook released her last album Shy Girl, another fine reggae-pop album in the tradition of the so called 'Lover's Rock' sound. An album full of wonderful melodies carried by Hollie's clear voice.
Just as she has done in the past, she’s once again taken the entire album to a whole new level with plenty of dub, just in time for Record Store Day. Just as she has done in the past, she’s once again taken the entire album to a whole new level with plenty of dub, just in time for Record Store Day. She gives the songs a deeper, darker quality that’s much more rooted in soundsystem culture. An album that’s perfect for summer days like the ones we’re already enjoying.
The harmonica is typically associated with blues and folk music as a key instrument alongside the acoustic guitar. This makes it all the more surprising when musicians from the indie and electronic scenes use it.The harmonica is typically associated with blues and folk music as a key instrument alongside the acoustic guitar. This makes it all the more surprising when musicians from the indie and electronic scenes use it.
Matt Johnson released what is perhaps his best album, Dusk, as The The in 1993. Its success is largely due to Johnny Marr, who, in addition to playing tasteful guitar parts, also plays the harmonica, which carries nearly the entire album.
The French electronic duo Air has regularly expanded their sound by collaborating with guest musicians. This was also the case in 2001, when they worked with Beck on their album 10,000 Hz Legend in addition to vocals, Beck also contributed harmonica.
Camper Van Beethoven, who helped pioneer indie rock in California in the early 1980s alongside bands like Black Flag and Sonic Youth, released their final album in 1989 before disbanding. As on their earlier albums, they remained true to their surrealistic, humorous folk rock.
In the comments section of my post from yesterday, Ernie mentioned another band with a similar name that he likes better. Yeah Yeah Noh was an indie band formed in Leicester in 1983. They were jangly and lo-fi, with a singer sporting a distinctive bald spot who spoke rather than sang. They sound like a mellow Midlands version of The Fall. Their lyrics were ironic, sardonic, and silly, and they had the audacity to embrace psychedelia, which wasn’t particularly in vogue (with all due respect to Televison Personalities). A good but sadly forgotten band.
As I was typing these lines, I was reminded of the Yé-Yé music of the early 1960s in France. This genre is said to be named after the “yeah” often heard in British pop music. I wouldn’t go that far, but would rather call them chansons interspersed with pop references. The best example is Michel Polnareff, who combined these elements in his songs.
Yé-Yé is, however, primarily associated with female singers, as the French in continental Europe were more willing to accept pop music in their native language. This allowed artists such as Françoise Hardy, France Gall, Sylvie Vartan establish themselves in the charts during those times. Much like Rita Pavone did in Italy at the same time.
The new century was barely two years old when a band emerged from the United States that took garage rock to a whole new level. With Karen O., they had a wild front woman whose vocals, in the broadest sense, were reminiscent of PJ Harvey, but who could also strike a softer note. Nick Zinner contributes impressive guitar passages to the songs, which, taken as a whole, no longer have much in common with the punk attitude of the debut EP. The fact that YYYs manages without a bass is thanks to Brian Chase’s accentuated drums.
In addition to the upbeat tracks like “Rich” and “Man,” it’s the longer songs that really stand out—thanks to Karen’s voice and the breaks and tempo changes that would suit Sonic Youth just fine. The fact that they pay homage to their roots at the end makes them all the more endearing. “Modern Romance” could easily be an outtake from Velvet’s debut album.
In 1973 Roxy Music released their second album For Your Pleasure after causing a sensation in the glam rock scene with their debut. A few songs on this album Editions Of You and Do The Strand lived up to expectations for further chart success. Much more interesting, however, were the songs in which they took an experimental approach. The Bogus Man is about a mentally deranged sex offender. Ferry delivers the vocals with a similarly deranged intensity. For ten minutes, Roxy Music turns it into a playground of madness. The saxophone oscillates between delirium and free jazz, shifting from the left to the right channel. Eno uses the then-novel idea of looping to create his effects. Manzanera’s guitar weaves in psychedelic sounds, and the drums, symbolizing the stalker’s restlessness, echo the motoric beats of Can and Neu! A masterpiece far ahead of their time.
I'm back from a few days in Budapest and would like to introduce a band from Brighton that's new to me and I first heard them in a wonderful pub that used to be a factory building. Lime Garden is a four piece all female band and they play some kind of indie pop. With a driving beat and rockin' guitars paired with a catchy melody, they've written a song that isn't anything out of the ordinary, but one that will always remind me of my days in Hungary.
In 1970 Black Sabbath released their self titled debut album. It was a monument in heavy metal and screaming guitars combined with a bluesy harmonica.
David Bowie released this song in 1973 on his album Aladine Sane when glam rock was at its peak. A timeless classic even though people keep claiming that the song sounds too much like Blockbuster by The Sweet
Ten years later Elton John released another highlight of his later work, in which he dared to incorporate a harmonica that sounded as if it were being played by Stevie Wonder.
By the time you read this, I’ll have already been in Hungary’s capital, Budapest, for a few days. It’s a city I’ve wanted to visit for a long time, but Orban’s regime has kept me from going until now.
During the last weekend I found a song in the back of my hard drive. Shortly before The Sugarcubes broke up, they released It's It, an album of remixes from their debut album Life's Too Good. The standout performance came from Justin Robertson, who demonstrated just how much potential Birthday has. The standout mix came from Justin Robertson, who showcased Birthday’s potential. He transformed the new wave track into a dub gem.
Years later the brothers Reid did also an excellent Rework of Birthday.
And finally some songs with more post-punk power from their early days. Remember when I saw them live in summer 1989 on an open-air festival playing these songs.
Nothing has been posted here by Andy Bell for several years, and it's time to change that. 2019 saw the debut Andy Bell under his moniker GLOK, Dissident. It was an album I played often at this time because I was impressed by it's sound. Inspired by krautrock and house Bell layered guitars and synths on top of each other, letting them flow from the speakers in seemingly endless waves. It’s all so understated, and every note is perfectly placed. The songs have a hypnotic quality that draws you right into them. Yeah, it sounds corny, but I still love this album.
In the east of Ireland, there’s a small town called Bray in a county called Wicklow. Seven years ago, a group of childhood friends started making music there, and they recently released a new EP. They first appeared on this blog just under a year ago, when they released an EP. At the time, I wrote the result is nothing more and nothing less than a fantastic indie pop song about the end of a relationship. And that’s exactly where they pick up the thread: with clear song structures, powerful indie guitars that, in the broadest sense, bring to mind The Cranberries, catchy hooks, and Lily Aron’s clear voice. Nothing more and nothing less than what a good indie pop song should be.
Last year Penelope Trappes released her last album A Requiem, featuring dark, menacing avant-garde pop and ambient elements. The central themes of all the songs are death, fear, and self-destruction. Her hollow-sounding vocals, paired with a cello, take some getting used to, but they are utterly captivating. Now they've had some of their songs reworked, and Saint Etienne manages to lighten the somber mood a bit.
The new edition of songs featuring the harmonica kicks off with the wonderful Joni Mitchell. In 1974, she released *Miles of Aisles*, one of her most successful albums, recorded live in Los Angeles. It was the first time she had performed with a full backing band, which lent her songs a special depth.
King Gizzard & the Lizard Wizard are an Australian psych-rock band that isn't afraid to incorporate folk, garage and surf rock into their sound.
Finally, some Maori pop from 1996. OMC had only become famous for their global hit before fading back into obscurity.
Nottingham's DJ's/producers Timm Sure and Richard Hampson aka Coyote returns with a couple of new songs to disappear only to disappear back into the realm of dub. Nag Champa is a classic Indian incense scent prized for its calming, balancing, and purifying effects on the body and mind. I don’t know how many incense sticks they burned before these songs were finished, but the result is impressive. On Nag Champa they celebrate a sound that evokes the best days of Lee Perry yet remains distinct in its own right. A song destined for the year-end charts.
While doing my research for Harmonica Day, I couldn't help but listen to Bob Dylan's old songs again. “Desolation Row” was released in 1965 and once again showcases Dylan’s penchant for surreal lyrics. To this day, many have attempted to interpret it, yet no one has found the definitive explanation. For me, it is simply a description of a place where urban chaos reigns, a chaos that cannot be resolved. Lifelessness, depression, murder, and loneliness all converge there. Or simply one of his best songs.
I realize that a song released a year ago can’t exactly be called new. But I only found out about Cloth—the band formed by Scottish twins Paul and Rachael Swinton—yesterday, when my youngest brother invited me to a concert at the last minute. Unfortunately, I already had other plans for the evening and missed what was probably a great show.
Golden is from their album Pink Silence released last year and sounds most like Mogwai, if they were to play indie pop. Sparkling and occasionally distorted guitar lines, harmonies, and basslines that are unobtrusive yet commanding, combined with Rachael’s whispered vocals, create a multi-layered sound that captivates the listener.
It was only a question of time until Gang Of Four will issue a statement on the current situation. Given their nationality and their own frontman, there’s obviously a certain irony in the fact that they’re now chanting No Kings Here! The song is snappy and catchy, with a strumming style that’s as energetic as it is funky, and it sets the stage for lyrics that are unambiguously direct, delivered with more fire than one would have expected from the band. Word has it that a new album is also in the works. In that sense, this song leaves you wanting more.
II can hardly believe that this Van Morrison song is already 56 years old. Moondance is from his third album and is an incredibly great blend of rhythm and blues, soul, and folk, with his voice in top form.
Even the pub rockers from Dr. Feelgood couldn't resist using the harmonica from time to time.
War was a Californian funk band that was popular in the 1970's. I first heard this song in that crazy stoner movie Up In Smoke.
Flashback: London in the mid-1970s. Studded leather jackets and mohawks, Doc Martens boots and ripped jeans, safety pins and canned beer push the Empire to the brink of a national crisis. It all started with punk and the Sex Pistols, in whose orbit Susan Ballion—aka Siouxsie Sioux—also moved. And as was common back then, she, too, was convinced that she could make music with very little money.
And indeed, in 1978 they released the single Hong Kong Garden, which immediately caused a stir. Not only did they slow down the tempo of punk, but they also gave it a much darker edge, which caught people’s attention.
That same year, they released their debut album, The Scream, which further explored this dark side. John McKay’s razor-sharp guitar, Budgie’s voodoo drums, and Siouxsie Sioux’s echoing vocals made this album a blueprint for many post-punk bands.
Does anyone else remember Nightmares On Wax's masterpiece Inner Space Outta Sound? If not, you should catch up on it or at least listen to its newer versions.
Adrian Sherwood was commissioned to create a dub version to mark the 20th anniversary of the track's release. Sherwood's version reminds me much to the collaboration between Massive Attack and Mad Professor, which I used to play a lot back then.
While the original album was a carefree, soul-soaked masterpiece that defined the chill-out era, Sherwood takes these tracks and sends them hurtling through the reverb chamber.
Last year Red Snapper, a London based instrumental band, returned after a hiatus with Barb And Feather, an album I listened often. I played it during the eastern time and returned once again to their essential compilation of EP's and reworks Reeled And Skinned from 1995.
Formed in 1993 by drummer Richard Thair and Ali Friend on double bass. Shortly later David Ayers joined on guitar. On their early recordings their music was a mixture of a rough mix of jazz, breakbeats, rockabilly bass, country, surf punk, and early techno. For a few songs Beth Orton joined the trio which imbues the soundscape of In Deep with a dark, chanteuse-like charm. For me it is an another overlooked gem.
Yes, I do it again. I feature Lindsay Jordan aka Snail Mail again. A few weeks ago I featured her with Dead End, an appetizer of her upcoming album Ricochet. Now it was released and more of her indie-rock song are available. It seems that since her last album, she has developed a fondness for string instruments that complement her distorted guitar. After an extensive tour, she had to undergo vocal cord surgery. Otherwise, that would have been it. As you can hear, the surgery went well, because her voice is clearer and softer than before.
Yes, as the headline suggests, I’m going to say a few words today about Paul Simon’s album Graceland. In 1986 he had clearly passed his musical peak and had already recorded another successful live album with Art Garfunkel. So it was all the more surprising when, 40 years ago, he took everyone by surprise with an album. He completely turned his style on its head. Inspired by street music from Johannesburg, he set out to record an album with South African musicians.
With this album, he pioneered world music before the term even existed. It’s a complete album that blends pop/rock with African rhythms. Even decades later, the African tribal beats, strummed guitar chords, and harmonized vocals are still well worth listening to. If Simon managed to get even a few listeners to explore African music, such as King Sunny Ade, he achieved more than many others before and after him.
Paisley Dark Records from Leeds is always a good place for electronic music in all variations. Today they released a new song by Krabberz, a British producer whose name I hadn't heard of until then. The song operates within the broad scope of ALFOS, featuring a laid-back, rolling groove that flows warmly and hypnotically throughout the entire track. The highlights of this song are the remixes by 10:40 and Jay-Son.
Dear Mister Fantasy is a song by Traffic and released 1967. Traffic was in tIn hese days very successful with their psychedelia blues rock. This song is not my favorite of this album but shows how great Steve Winwood's voice was and Dave Mason played a fine guitar.
The Pretenders were always a band I could listen to and this song is from their third album Learning To Crawl. Another example for their sound when Chrissie Hynde's vocals meet classic rock music.
In 793, the Vikings raided Lindisfarne Monastery in northeastern England, looting it and murdering the monks. I can’t say for certain whether Newcastle’s Lindisfarne took their name from this event. What I can say is that in the late 1960's, they played some very good and successful folk rock.
