Clap Your Hands

 

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.

THAT'S WHAT IT SOUNDED LIKE WHEN SHE STARTED

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.

Patti Smith - Gloria (In Excelsis Deo)

Patti Smith - Redondo Beach

Patti Smith - Kimberley

Patti Smith - Horses/Land of a Thousend Dances/La Mer Dances

Kinetik

 

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.

Monday's Long Song

 

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.

Ellis Island Sound - The Letting Go

New Song On Sunday

 

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.

Clap Your Hands

 

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.

That's How It Sounded In Their Beginnings

 

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. 

Public Enemy - You're Gonna Get Yours

Public Enemy - Yo! Bum Rush The Show

Public Enemy - Miuzi Weights A Ton

It wasn't until years later that they returned to the limelight when they were commissioned to write the soundtrack for Spike Lee.

Billericay Dickie

 

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.

Monday's Long Song

 

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.

Allman Brothers Band - Jessica

New Song On Sunday

 

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.

Shake It To Bits

 

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.

Harmonica Day

 

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.

That's How It Sounded In Their Beginnings

 

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.

Pavement - Our Singer

Pavement - Zürich Is Stained

Pavement - In The Mouth A Desert

Pavement - Summer Babe

They're Coming To Take Me Away

 

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.

Monday's Long Song

 

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.

(Not-So-New) Song On Sunday

 

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.

Take Me To The Grave

 

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.

She Did It Again

 

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.