Listen with Danger

Pastures new...

2011-06-01T05:20:00.001-07:00

I've finally had enough of Blogger periodically losing paragraphs from published blogs so I've emigrated over to Wordpress. All old content and new posts can be found at:

http://listenwithdanger.wordpress.com/

Desert Island Discs

2011-05-31T14:45:00.000-07:00

A discussion which has brought an uncharacteristically interesting debate in middle class households throughout Britain has been - 'What would be your Desert Island Discs?' Well having finally heeded the call the good people at Radio 4 have given me the chance to make my choices official. Before you rise up in outrage that a nobody such as myself has been given such an honour you best realise that anybody can! Go here to post your own. For those unfamiliar with the format this is the BBC explanation:

'' The format is simple – a guest is invited to choose eight discs, a book and a luxury to take with them as they’re castaway on a mythical desert island. They’re given the complete works of Shakespeare and the Bible. During the interview they explain their choices and discuss key moments in their lives, people and events that have influenced and inspired them and brought them to where they are today.''

Track One:
Elizabeth, you were born to play that part by Ryan Adams

I've written about this before so won't repeat myself. Quite simply I consider this the greatest song ever written. The purest demonstration of love is sacrifice and this song communicates that better than any other. The back story is Ryan wrote it from the point of view of one of his friends who's wife had suffered a miscarriage. It is a twist of fate that along with Brick by Ben Folds Five such a tragic subject matter could inspire two of the finest songs ever produced. My own connection with it is ongoing - it was one of a clutch of songs that I sought solace in when my good friend Ryan passed away, and it continues to be the song I turn to when I need to reflect and truly appreciate both what I am lucky enough to have and have had.

Track Two:
Don't Think Twice, It's Alright by Bob Dylan

Choosing which Bob song to go with was a truly hellish task - would it be the introspective beauty of Visions of Johanna, the merciless social comment of It's alright Ma or the comforting optimism of Forever Young? I took the easy option and went for Dylan most-simple, the song that made me fall under his spell in the first place. I remember listening to this as a 19 year old reeling from the break up of my first 'real' relationship and Bob's words seemed to not only reflect how I was feeling but point me in the direction of recovery. For a song to have that level of emotional connection forty years after the time of writing speaks volumes of its enduring genius.

Track Three:
Barcarolle from Tales of Hoffman by Offenbach

Again this has appeared on the blog before so I will be brief. A truly magical piece of music that formed the soundtrack to my honeymoon in Tuscany.

Track Four:
Hoppipola by Sigur Ros

Ditto Track Four basically although replace honeymoon in Tuscany with adventure holiday in Peru where I proposed. I know of no other song that can simultaneously soothe and stir the senses so effectively.

Track Five:
Livin' for the City by Stevie Wonder

Where to start? Arguably the outstanding track on my favourite album. Wonder mixes up the political consciousness of Dylan and spices it up with some funk. This song reminds me of growing up with parents who regularly filled the house with the sounds of Stevie and it is a tradition I intend to follow when I start my own family. Not only has this song impacted on me directly but along with the rest of Wonder's golden period output it has influenced so many other incredible artists from Prince to Outkast to the Fugees.

Track Six:
After the Goldrush by Neil Young

Some songs are just utterly faultless. The imagery of the lyrics, the frail purity of Young's voice combined with the simple, sublime backing infuse to form a near perfect whole. I'm ashamed to say that despite working with a Neil Young fanatic for a short period I never gave him a chance; probably owing to his failure to appear on an American Pie soundtrack. Thankfully it didn't take me long to wise up and thanks to some wise men of Kendal I was soon appreciated the wondrous majesty of Young at his best. The song evokes great memories of a particular barbecue celebrating a friends birthday where Young formed the soundtrack whilst great company was enjoyed.

Track Seven:
My Name is Jonas by Weezer

The intro to this song is like a time machine. I'm 17 years old, my (admittedly crap) band were going to make it big, life was a never-ending succession of great nights out with the best friends in the world. Such is the bewitching power of this tune that ten years on in a basement club in Camden for three minutes I was transported back to a time where my whole life was in front of me. For all his sins over the last ten years for Blue and Pinkerton I can forgive Rivers Cuomo anything.

Track Eight:
Oh Happy Day by Children of Agape

This song has a series of extremely strong emotional connections. I first heard it whilst volunteering in South Africa when totally unprompted some of the kids at the Orphanage burst into song. It turned out some of them and their siblings had formed a choir that was beginning to get recognition in an effort to raise money to rebuild their orphanage which had been burnt down in a fire. Despite my lack of connection with the religious content of the song their was an undoubtedly spiritual power to the infectious joy of their song. At the risk of sounding like one of those gap-year types my spell in Africa has a profound effect on me. It changed my perspective from one of intentions to actions and most importantly of all it was sharing this experience that confirmed for me who I should spend the rest of my life with. It was fitting then that as we signed the register on our wedding day the jubilant voices of the Agape Choir filled the Church.
As part of the show you are expected to nominate one song above all the others and for obvious reasons for me it is Oh Happy Day.

The other two decisions are book, and luxury item. As tempting as choosing Robinson Crusoe would be for handy tips it has to be 'The Grapes of Wrath by John Steinbeck.' It's a book I never tire of reading and Shakespeare and the Bible should give me plenty of variety. The luxury item would be my acoustic guitar - on an island miles from civilisation there would be no-one to complain about my extremely limited musicianship and atrocious singing.

I'd love to know what you'd choose so please leave comments.

PS - You may have noticed I've opted for Grooveshark over youtube. Sometimes I fear that videos for the sake of it - especially of poor quality - can detract from the music so I'm paring back the amount of videos I use within my blog. Hopefully this will be evened out by posts offering a selection of interesting songs with videos to match.

I really should like them shouldn't I?

2011-05-07T01:55:00.000-07:00

One of the great things about ageing is developing a greater sense of perspective and shedding the adolescent stubbornness that characterises so many young males. The jury's out whether this makes up for the onset of hair loss and susceptibility to crippling hang overs. As a youth, in between declaring my devotion to Noel Gallagher I would take time to spout vitriol about the Manic Street Preachers. A number of my friends were big fans of the Welshmen and took great pleasure in attacking my love of the Beatles and their subsequent clones. Like many at that age I was fundamentally unable to distinguish musical output with the personality of the creators. Nicky Wire's attention seeking provocative endorsement of Mark Chapman's slaying of Lennon ensured I was firmly in the anti-Manics camp. As you'll suspect, in older age this view has changed dramatically. I still believe Nicky Wire to be a bit of a wanker, but can appreciate the brilliant feistiness of early Manics and have enjoyed their recent resurgence, particularly their 'Journal for Plague Lovers' album. It seems we both have aged for the better.

Last night my twitter feed was overwhelmed by exaltations for late eighties-early nineties indie bands. It centred largely around two bands who were routinely hailed as the finest the world has ever known. One was The Stone Roses, and though I stop short of declaring them untouchable, I heartily agree that they were a truly magnificent band. If you remain unconvinced have a listen to Mersey Paradise, which was only a B side. The other band drawing such a lofty praise inspired me to write today's blog after a month's hiatus. Reactions to my disclosure of 'not being a fan' of this band have ranged from disbelief to fevered outrage. Rob Blanchette gave a typical response 'the greatest band of all all all time bar none. Best lyricist. Best guitarist. Genius of epic proportions.' Covering this territory yet again I thought I'd share with you five artists who I'm constantly told I should love yet am yet to catch 'the bug.' Starting with the centre of last night's storm...

The Smiths
The Smiths remain a source of continual frustration for me. They are like a phobia I need to conquer - much like how abseiling down a cliff in Cornwall dealt with my vertigo issues, I continue to search for a cure to my aversion for a band that more than any other, people tell me I should adore. Even my leader in life Ryan Adams considers them the best. They're right; I know they're right! The melodies are imaginative, the musicianship on the money, and lyrically I can appreciate how for many they are poetry. To make matters worse I have actually become partial to a Smiths cover - This Charming Man , Ask and There is a light that never goes out. So why have I failed to cross the Rubicon and embrace their alleged greatness? One simple reason:

All is going well until he opens his mouth. As hard as I try I can't get passed the irritating maudlin wail that Morrisey emits. It is like toothache when you are trying to enjoy a delicious meal. It is always there, preventing you from appreciating what you know to be good but you just can't enjoy it.

Pearl Jam
Another band who I should probably like but do nothing for me. I find Eddie Vedder pompous and they to me always give off an impression of inflated self-importance. I was quite fond of 'Jeremy' for a time but the frankly comedy lyrics meant it soon descended into farce. It also upsets me that Vedder in particular spends so much time massacring artists I hold sacred with abhorrent cover versions. I once had the chance to see Pearl Jam at Leeds Festival but much to the ire of a few of my mates watched Maximo Park instead. Je ne regrette rien.

Doves and Muse
These two deserve co-billing as they fall into very much the same category. Both brought out first albums that had me crowing to all and sundry that they were the future of music, blah blah. Both have spent the remainder of their career seemingly doing their utmost to prove me embarrassingly wrong. They have fallen in to disregard for contrasting reasons - Muse have become overblown showponies who seem to value histrionics over songcraft, and Doves appear to be on a mission to produce music so anodyne and dull that they could cure insomnia. Like The Smiths and Pearl Jam I have often been told how great they are but whereas there is still hope for me if I can conquer my Morrisey antipathy, these two I fear are lost causes.

New Order

Joy Division were an incredible band. Ian Curtis is rightly considered one of the finest lyricists of his generation and his energy and magnetism characterised what made the band great. There is not greater testament to the brilliance of Curtis than the result when his influence is tragically taken away from the band. I had the misfortune of seeing New Order at Glastonbury in 2005 and the fact that the highlight was chanting for John Barnes gives you an indication of the poverty of entertainment on offer. The decision to play some Joy Division tracks was somewhat masochistic in the way it exposed for all to see the startling contrast between the thrill of their previous incarnation and the turgid dross on show. Their are some who have extolled the virtues of New Order to me, some going so far as to cite the tedious Blue Monday as a landmark moment in Dance music. To me New Order are the musical equivalent of men in their late thirties hovering around on the perimeter of the local nightclub they should long since have consigned to their lost youth.

Comments welcomed, particularly your own similar experiences of bands you should like.

SXSWRULEZ4EVAOKIDTINDT

2011-04-09T02:37:00.000-07:00

Glorious sunshine means no proper blogging today. Instead have these sensational videos of some amazing artists performing from Mellow Johnny's Bike Shop at South by Soutwest festival. One day I'll chuck in teaching, save up my pennies and finally go to the best festival not called Glastonbury.

How have I never seen this performance before?!

2011-03-30T12:04:00.000-07:00

Incredible.

The sound of conflict

2011-03-26T06:13:00.000-07:00

''The person who has nothing for which he is willing to fight, nothing which is more important than his own personal safety, is a miserable creature and has no chance of being free unless made and kept so by the exertions of better men than himself.''
John Stuart Mill, 19th century English economist and philosopher.

What difference does it make to the dead, the orphans and the homeless, whether the mad destruction is wrought under the name of totalitarianism or the holy name of liberty or democracy?

Mahatma Gandhi

War has been a hot topic in the news with events in Libya bringing arguments for and against military action centre stage. I'm certainly not going to dwell on these arguments on a music blog - for fear of losing what's left of my readership after 21 days of inaction which is tantamount to blogger suicide (in my defence I was busy sorting the aftermath of being burgled!). To return to the point, war has been a subject addressed by many artists over the years and the whole gamut of views have been covered. Edwyn Starr's 'War! (what is it good for?)' stands apart as one of the greatest protest songs in history yet there have also been many gems supporting war. I strongly recommend this site which has proved invaluable to me as a history teacher. Josh White's 'Berlin Blues' from 1943 is a superb example of the quality of writing engaged in the propaganda of war. In this blog I will choose five songs linked to the theme of war and offer my views on each.

'Masters of War' by Bob Dylan

It would be remiss of me not to include a slice of Zimmerman on here and although this might be a bit obvious I make no apologies. This song appeared on the wonderful 'Freewheelin' Bob Dylan' and contrary to popular misconceptions is an attack on the military-industrial complex rather than a condemnation of the act of war itself. The song was written around the time of the Cuban Missile Crisis and reflected the sentiments of Eisenhower's closing White House address when he warned of the growing influence of the arms industry. Dylan is at his most blunt, eschewing the abstract word play of his later work to offer a extremely simple address to those in power which is all the more powerful for its simplicity.

Like Judas of old
You lie and deceive
A world war can be won
You want me to believe
But I see through your eyes
And I see through your brain
Like I see through the water
That runs down my drain

Like the majority of great protest songs the message was far from heeded and within a couple of years of its release the United States were embroiled in a war where the only winners were the manufacturers of Napalm and Agent Orange.

Here are three versions I find particularly interesting as it shows how the message endures through a variety of interpretations:

'Just War (feat. Gruff Rhys)' by Dangermouse & Sparklehorse

Dark Night of the Soul is an absolutely stunning album bringing together the unique talents of Sparklehorse and Dangermouse with a sprinkling of perfectly chosen guest vocalists (including David Lynch!). It is so consistently excellent that choosing a favourite is all but impossible. On this track the vocals are provided by Gruff Rhys from Neon Neon and the Super Furry Animals. The appeal of the track is how the bleak subject matter is contrasting with the lilting, almost jolly backing. Whether this was an intentional comment on the ease with which we accept the need for military intervention or purely coincidental is secondary to the primary enjoyment of a successful combination of seemingly hostile elements. I've chosen a video which uses a brilliant animation from 1982 which compliments the song perfectly.

'Ballad of the Green Berets' by Sgt Barry Sadler

I suspect my affection for this songs comes more from its value to me as a history teacher rather than an admiration of its composition. The melody is basic but the lyrics are a fascinating depiction of war as glory and the fact this song topped the US chart in the mid-60s shows how public opinion was once in favour of the Vietnam Conflict. It is easy to dismiss it as disposable propaganda yet when considered as a tribute to fallen friends as the writer intended it is actually tremendously moving and far more affecting than the plethora of sanctimonious anti-war songs latching on to a public mood to revive their own flagging career (cough* Greenday*cough)

'Two Tribes' by Frankie Goes to Hollywood

I used to hate the eighties. Perhaps it was reaching my teens in the following decade which made me loathe the prior decade. It seemed so bombastic, cliched and full of atrocious music usually sung by men wearing make up. It was only when I bid farewell to my teen years that I began to discover that lurking beneath the surface of excreta was some of the most brilliant, socially aware music ever committed to record. In the case of Frankie Goes to Hollywood they managed to combine a wit and eye for parody with challenging messages. Two Tribes is a sublime comment on the Cold War which manages to avoid polemics and instead offers a withering rebuke to both parties.

'Landlocked Blues' by Bright Eyes

One of the highlights from one of my favourite albums ever made. I won't linger on analysing the song as it stands for itself but one angle that I'm not sure others share is how this song reminds me of this scene from Terminator 2: Judgment Day. I remember the first time I heard the lyric about 'kids playing guns in the street' it cast my mind back immediately to this scene. It seems like a cruel twist of fate that the facet which drives human kind to achieve great things - namely competition and desire to be the best - is also the catalyst for so much pain and suffering.

That's it from me, I'll try not to leave it so long between blogs in future. A word of warning; I managed to get Ryan Adams tickets for June so expect even more Ryan worship than usual as my excitement builds.

So what's my motivation here?

2011-03-06T12:25:00.000-08:00

Tonight's blog is about concept albums. It always tends to make my heart sink when I hear the news that a band I have grown fond of announce their latest record is a concept album. It might be considered blasphemy but I consider Dark Side of the Moon downright pompous and it seems for many to be the benchmark for concept albums. However despite this doom laden intro there have actually been some pretty damn fine concept albums. Here are five, with a brief description of the concept and a song to get your teeth into. The format seems to be increasing in popularity with major releases in the last year from Arcade Fire and Janelle Montae offering their own interpretations of the concept album formula. I'd love to know your opinions so it'd be just the ticket if you posted your comments below.

In the Aeroplane over the Sea by Neutral Milk Hotel
Rightly revered as an Indie classic this is loosely based around the unusual concept of the life of Anne Frank. The beauty of the approach is you could happily enjoy the album without knowing this yet once you do it makes the album far richer and poignant. In fact if I'm honest I could take it or leave it before the idea was explained to me and ever since I have grown to love it.

Songs for the Deaf by Queens of the Stone Age
Like many the involvement of Dave Grohl drew me to this band originally. What I never expected was such an exciting, thrusting, sonic experience based around the simple concept of a drive from Los Angeles to the Mojave Desert. The genius is how each song is supposedly from a different local radio station and there is genuine wit to some of the radio announcements; "We play the songs that sound more like everyone else than anyone else" being my personal favourite.

A Grand don't come for Free by The Streets
I suspect some of you will be reasonably disgusted by this choice as Mike Skinner appears to have divided opinion. This story constructed around the disappearance of a thousand pounds and the consequences is the most linear of the concept albums I'm featuring here. I actually think when you look past the admittedly grating single 'Fit but you know it' you find some gems. It is an ambitious idea and unlike with the albums that followed Skinner succeeds admirably.

The Fitzgerald by Richmond Fontaine
Grizzled, downbeat alt country songwriter holes up in Reno hotel; that isn't the concept it's how the album was written! The result is a stark but deeply moving document of events where the protagonist is trying to avoid being sucked into the dark. In contrast to the bleak sound scape the message of the album is undoubtedly optimistic as it recognises the daily triumphs of good over temptation.

Yoshimi battles the Pink Robots by Flaming Lips
As barking mad as the title suggests this is a special album to me as it became part of the soundtrack to my first year at University. A fantastic flatmate of mine was studying Japanese and we used to spend many an enjoyable afternoon playing Pro Evo whilst listening to the tale of a young woman battling evil pink robots. The undercurrent is actually an intuitive analysis of the fragility of global confidence post 9/11 but I prefer not to dwell on that and immerse myself in the wonder of the glorious world. Coyne himself denies that it is a concept album - pointing out that the 'concept' only really holds for four songs but they are utterly glorious and deserve recognition on here. In an act of moving bromance I gave my copy to my flatmate as he set off on his Japanese adventure and just a few years later he was raking it in as a James Bond lookalike. Dreams really do come true.

Bare with me kids!

2011-03-05T02:16:00.000-08:00

Apologies for the lack of recent blog posts, basically busy as a hyper-active bee so I have not had the time to indulge the pleasure of writing about the wonder music. Unfortunately that situation remains unless I can steal some spare time later this weekend. For now may I offer five sublime tracks by way of apology:

Richard Hawley - Don't get hung up in your soul

Rolling Stones - Please Please Me (acoustic Beatles cover)

Boston - More than a Feeling (Live from Giant Stadium, 1979)

Thin Lizzy - Are you ready? (Live)

Daft Punk surprise appearance at Phoenix gig (jerky camera I know but the crowd reaction is immense!)
Watch from 1m 55secs

Welcome back

2011-02-12T10:04:00.001-08:00

New single by The Strokes ahead of new album Angles. I've listened to 10 seconds of it and already love it. For me they are still one of the best band's on the planet.

What were you thinking?

2011-02-12T03:55:00.000-08:00

This week's blog might not excite and delight you as much as my usual dazzling array of tantalising tunes. My pre-Mancunian derby nerves has brought out the negative in me so I'm choosing five tracks I loathe by artists I love. I could of course make this easy and choose middling bands who I can take or leave, or dip into the catalogue or once great bands on the slide (yes I mean you Rivers Cuomo). Each track is by an artist released at the peak of their powers which contrasts sharply with the rest of their brilliance.

Bugger I may have set myself a very tough task. Time to get myself a brew and put the thinking cap on.

All Around the World by Oasis
It seems prescient to choose the famous Citeh fans as my first victims. Oasis were the band that made me want to learn guitar. Thankfully they also ensured that all their songs were simple enough for a clumsy teenager to learn and for that I will always be grateful to Noel. My sister and I collected everything they ever released (including imports) and I have spent many a duel with keyboard warriors defending their output. That most certainly extends to Be Here Now which was the victim of absurd revisionism when lazy journalists went from hailing it a masterpiece (which is isn't) to a catastrophe (which again, it isn't) inside of about a year. The album was made at their commercial peak and featured some truly brilliant tracks - Don't Go Away, D'yer Know What I mean? and the Girl in the Dirty Shirt. This abomination though is lazy Beatles parody at its worst - and not even good Beatles (more of that later). Everything about it sounds tired and laboured and one can only presume Noel dusted it off to finish the album asap so he could go and snort some more of his fortune.

Yellow Submarine by The Beatles
The track that killed the dream of the perfect album. If Revolver was a steak it would be lean, moist, juicy, succulent, with one unpleasant knot of fat so frustratingly placed that it threatens to ruin the whole gastronomic experience. Yellow Submarine is that fat. It isn't the worst song ever performed by the band - Hey Jude on repeat is my musical room 101 - but it is undoubtedly the most bewildering insert to an LP tracklisting I have ever known. Maybe Lennon, McCartney and Harrison didn't want to leave themselves with nowhere to go? Maybe Lennon wanted to see what he could get away given the manic adulation they received? Surely anyone else proposing a drug addled, children's nursery rhyme sung by the drummer would be told to forget it? I have no idea, but what I do know is this song is wretched.

Whatz Ya Phone Number? - Tupac Shakur
'Does a bear shit in the woods and wipe his ass with a rabbit?' This track has long threatened to cross the line into 'so bad it's good' territory. I wouldn't suggest for a moment that All Eyez On Me is one of the great albums but it was made by Tupac at his commercial peak; Cali love, I aint mad atcha, Heartz of Men, Life Goes On, and All Bout U are superb singles. The problem with the album - like many of the era - is how hideously bloated it is which allows room for this slice of dire, dire music. The track literally consists of Tupac 'sexy talking' on the phone for five minutes. For a man capable of poetry in his more reflective moments the lyrics are sub-viz and in many ways reflect all that is wrong with misogynistic, production line, commercial rap music.

You were Always on my Mind by Ryan Adams
It would be very hypocritical of me to save the golden boy from criticism so here it is - a Ryan Adams cover which is completely unnecessary and achieves the ignominy of bringing a brilliant album to a close on whimper. The intro is promising, building the expectation that this is going to be great and it just... well isn't. Don't get me wrong, this is a superb song. Elvis brings gravitas in the way that only he could, Pet Shop Boys gave their own unique twist and I even have a soft spot for the Willie Nelson version; so why did Adams decide to tag on his own lukewarm effort? I have no idea and given the amount of chemicals in his blood stream at the time I suspect he couldn't offer an explanation either.

Isn't She Lovely by Stevie Wonder
Praise be that my Dad has no idea about this blog else I suspect I would be in for a dose of his version of the 'hairdryer treatment.' Wonder was a God in my house growing up and rightly so - Innervisions is a contender for my favourite album of all time. However this song does my head in. The sentiment is commendable, the tune is jaunty and enjoyable and it features Stevie's harmonica skills which can never be a bad thing. So why do I loathe it? It goes on, and on, and on, and on, ad infitum. It marks the moment in Songs in the Key of Life where 'less is more' is decisively thrown out the window. Sadly too much of side two is overblown and borderline over-indulgent. Do I need to hear the baby being born? No. Do I need to listen to bath time whilst the same relentlessly upbeat melody drones on? Definitely not. If you try and slog through the entire song your love of Wonder diminishes to such an extent that you would gladly shove that harmonica down his gullet if it would just make him please, please, stop!

Christmas, Leeks and Sheep

2011-02-05T04:46:00.000-08:00

I'm afraid the White Stripes obituary has sapped my typing strength so I'm not offering a lengthy album review but highly recommend the new Decemberists album. They have made the wise move of getting the wonderful Gillian Welch on board and her vocal compliments Meloy perfectly to create a country sound which reminds me of Heartbreaker (unsurprisingly given the Welch connection) and Cassadega. There is possibly a hint of REM too - if not in the style of music but Meloy's vocal does have a touch of Stipe in places.

Enjoy the tasters below and track down this album!

Like London buses and Noah's ark.

2011-02-04T14:26:00.000-08:00

Wednesday was a rough day. Two important parts of my life came to a whimpering, and regretfully expected conclusion. Gary Neville - Mr Manchester United - retired with immediate effect. It frightens me to my core that just Scholes and Giggs remain from the glorious core of my football heroes as a youth. On a musical level Wednesday saw the official announcement of the end of the White Stripes. It has been pretty obvious as Jack White dedicates more time to The Dead Weather and The Raconteurs that his collaboration with hugely under-rated percussionist Meg would be put to bed. I admit to finding it a little odd that White decided to announce a split rather than simply leave The White Stripes option on the back burner for a possible future renaissance. It would appear though that he has become fed up with Stripes related questions when promoting his current projects and perhaps wanted to offer fans some closure. It is arguable that the Stripes persona had worn tired as recent albums though impressive have lacked the sparkle that Raconteurs and Dead Weather have offered. White's songwriting partnership with Benson in particular offers a truly exciting combination of talents that has already given two quite magnificent albums for a so-called 'side-project.' The cynic in me might also suggest that the 'unreleased material' he pledged to release as a thank you to fans will now generate much more publicity and consequent sales as a result. I tend not to think of Jack White as especially financially motivated - the extra cash gained from a Bond theme and Coke commercial will surely ensure he has enough to fulfill his penchant for fancy dress and red trousers for the foreseeable future (atleast until the Stripes reform for Glastonbury 2025 anyway.) If he really falls on hard times he can go back to teaching musical instruments to cartoon characters.

So as is my laboured tradition I present my five must have White Stripes tracks. They really are one of my favourite bands of all time; as long term followers will know from previous blogs eulogising over their Glastonbury set of 2005. Thankfully everything White does seems to appeal to me so I can enjoy his future output hopefully without pining too much for the red and white days of old. I will steer clear of songs I have previously featured in the blog which may explain some of the choices!

Best Led Zep style wig out
Jack has always managed to sneak at least one blatant homage to the more indulgent moments of 1970s rock. It seems that as the Stripes career these moments have become a resident feature of each album. Noteworthy moments include Hello Operator from Der Stijl and Prickly Thorn, But Sweetly Worn from Icky Thump. It is easy to pick out the crowning glory though. Page and Plant themselves would've been proud of the immense seven minute plus opus from Elephant. If you can listen to this without accompanying it with closed eyes, absurd lunges and air guitar soloing I have no time for you.

My, my, what a sweet heart you have!
In a world of ego driven, pompous showman playing the hardman Jack White is a bit of a no mark. Back in the day there was that scuffle with the frontman of some wretched Strokes wannabe band who's name escapes me but on the whole he has either failed to or shown no interest in being a rock star in the stereotypical sense. In fact, in the same way as a wig out per album is a given, so is an utterly charming, simple ode which exposes the sweet natured boy from Detroit. Fell in love with a girl is a tempting choice, as are I want to the Boy to warm your mother's heart and I'm Lonely (but I aint that lonely yet). However although a tad predictable perhaps, I can't look past this gem which the Moldy Peaches have spent their entire career trying to recreate.

An added bonus here is an awesome US school choir giving it a go; awesome not for the sound as much as one stand-out mullet - see if you can spot it!

The Bat Shit mental award
There really is never a dull moment with Jack White. He managed to pull out of the bag some of the most unhinged and ridiculous songs which somehow managed to work. I could make a case for Little Acorns and Little Ghost amongst others for this choice but ever since I first heard this song it has stood out as brilliant yet utterly crackers. The video is also absolutely glorious too.

Music as Art
I've never been a great lover of music videos. I think it stems from not having grown up with satellite tvGondry has proved fruitful from their early years and it would not be understated to consider the French director as one of the driving forces behind the band's success. My personal favourite is Dead Leaves on the Dirty Ground. What I love about the video is how a simple idea of homecoming to a trashed house is expanded into something so much more.

Masters of Interpretation
Many artists consider covers to be old hat and unimaginative. In many cases this is the case - brilliant covers are few and far between and two often today a switch of gender on a vocal is considered revolutionary. One thing the White Stripes could never be accused of is taking the easy option with their covers and in many ways they have set the benchmark. The two standouts are well known and in a break from tradition I'm going to link to both of them. In both instances White's vocal drives to the heart of the emotion of the song and fully interprets the original sentiment with remarkable ease.

Fantastic band who'll be sadly missed, maybe Meg can finally fulfill her dream of becoming a chef?

I'd love to know your favourite White Stripes moments so please leave a comment.

A night to remember

2011-01-29T03:23:00.000-08:00

At the outset of writing this blog I was conscious of avoiding turning it into a Ryan Adams fan-boy site. I recognise today that I am danger of going the same way with The Head and The Heart so I will keep this entry short for that reason.

On Monday night I had the privilege of seeing them make their debut performance in our green and pleasant land in a small venue in North London. The night itself didn't seem particularly promising as the support bands both exhibited the kind of faux-Mumford and Sons that has become the hallmark of the current folky scene. If the two support bands had been around ten years ago I have no doubt they'd be playing forgettable garage rock and dressing like The Strokes. Here it was a case of grandpa jumpers and 'oh how intense we are' facial expressions. The first band we only caught the end of but they looked and sounded like a bunch of public schoolboys whose guitars were too small for them 'having a go at this band lark.' The second band promised to be a step up but were undermined by their own self delusion. In their minds it was clearly a moving, awe inspiring set to stir the emotions - they were wrong. They were boring. I found myself far more engaged in pointing out attractive members of the audience to my friends like a Sky Sports night on the town. The saving grace was their lead singer looking vaguely like a fresh faced handsome Johann Cruyff which at least provided something worthy of comment. So after a lot of shoe gazing and a surprisingly good final song the support shuffled off.

It is a rare occasion that an artist I have grown to love are still at the level of setting up their own equipment. The band themselves do not look particularly remarkable, yet once they started their charisma was undeniable. The atmosphere in the room changed dramatically and the 'pin drop' effect took over. I sensed a genuine sense of wonder from the crowd which perhaps concerned the band who's effort to instigate melodic clapping fell flat as people appeared just too engrossed in the music to become reactive. We were admiring a show with no intention to form part of it, but even this changed as the gig progressed and a deeper connection was made. The biggest initial difference between TH&TH compared to their warm up acts was a sense of joy. It was like a revelation that it was okay, and positively encouraged, to smile and enjoy the music. Each of the three vocalists have gorgeous and contrasting delivery; incidentally I would dearly like to see Charity given more opportunity to take the lead as so far her unique delivery is underused. I'm not going to list the songs played and rate them individually as you can listen to their existing tracks yourself and make your mind up. It is fair to say the Lost in My Mind and Down in the Valley were as incredible as hoped for and goosebumps were sustained for long enough to be medically dubious. However a greater joy was new songs I was hearing for the first time which were as warm and inviting as last year's album which I adore so much. The set was an absolute triumph and it was well worth the uncharacteristic Monday night trek to the big smoke.

I am loathe to tip them for big things for fear of jinxing them as I have many others before (My Vitriol, Kinesis, and Thirteen Senses spring to mind). It might be that the rest of the world don't fall for this band in the way I have but I will always have that night in North London.

A few related links can be found here:
Hear Ya
Sound Cloud album preview
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Like a moonlight shadow...

2011-01-19T23:26:00.000-08:00

As regular readers will know I do a bit of moonlighting writing about my other passion - Manchester United. Here are links to a couple of articles I had published on a blog this week on my frustration with Wayne Rooney and my favourite Manchester United game.

Today in music

2011-01-15T09:57:00.000-08:00

Bit of an extra post. I've spent an afternoon doing a bit of marking and listening to a lot of music. The results of which can be summarised through the following points:

The Warpaint album starts well but gets a bit tedious

Lissie makes a fine EP but grates over an album

My Jerusalem are potentially a little bit special

Different Class sounds as good today as in 1995. For me the finest album of the britpop years.

'That's just talking over music son'

2011-01-15T05:04:00.000-08:00

The title of this blog is my Dad's articulate and well reasoned opinion on 'that rap music'. Now before you get angry and start castigating me for covering rap music again I am doing no such thing. Inspired by Big Daddy Frederick I'm taking his description literally and have chosen five brilliant songs of which the chief component is a spoken vocal over music. I have taken artistic licence with small bouts of singing but generally I have stuck to the formula which meant having to overlook such magnificent tracks as Little Acorns by The White Stripes and Popular by Nada Surf. Baz Lurmann did not make the cut on grounds of being shite.

Pow Pow by LCD Sound System

I chose this song as it came on my ipod whilst putting away the shopping this morning (rock and roll) and made me think of this subject for a blog. I long had an irrational dislike of LCD Soundsystem. They seemed to represent the try hard, indie wannabes that infested my favourite places as a student in Leeds and I never have (nor will) see the big fuss about 'Daft Punk is playing at my house.' So it was with some surprise that when enjoying the excellent Minnesota radio station The Current I heard a really interesting track and it turned out to be by the very band I'd often derided. Thankfully my stubborn days are over as meander towards my third decade so I can happily embrace the fact that I was wrong. The latest and allegedly final album is well worth a listen but then you are most likely cooler and trendier than I so know that already.

Be Safe by The Cribs

I love and always will love The Cribs. They were introduced to me by my best friend and we would take huge amounts of pleasure from experiencing groups of comedy outfitted scenesters bopping along to their songs totally ignorant of their meaning. It is always a bittersweet feeling when a band you have felt a personal link to becomes hugely successful. Although they have not hit the heights predicted The Cribs have undoubtedly gone up in the world - recording albums in LA and inviting Johnny Marr into the band. The mainstream output has left me cold in much in the same way as recent Kings of Leon songs have failed to resonate with me as Youth and Young Manhood so emphatically did. However it is doubtful that had they not pointedly looked to make an impact across the Atlantic they would have managed to attract Lee Ranald of Sonic Youth to collaborate on this absolute belter of a track. The Jarman brothers are underrated lyricists and this song is packed full of imagery so sharp you can picture it in your mind e.g. 'Ideas swirl but don't stick. They appear but then run off like rain on the windshield. One of those rainy day car rides my head implodes, the atmosphere in this car a mirror of my skull. Wet, damp, windows dripping and misted with cold. Walls of grey. Nothing good on the radio. Not a thought in my head.' Bob Dylan would be proud of that.

The Revolution will not be Televised by Gil Scott-Heron

Here is where it all began. My first awareness of this classic was somewhat ironically a television advert about Nike basketball. As cool as that advert was as a yank obsessed teen it jars somewhat with the original which is a devastatingly cool and pithy take on the political and cultural whirlwind that was enveloping the globe with the fall out from the changes of the previous decade. It is hard to believe but this song initially featured no backing other than percussion in the form of bongos and conga drums. The right choice was made when it was re-recorded as what I can best describe as audio silk. The man himself has enjoyed an unlikely revival in the past couple of years and a good friend and fellow blogger even saw the great man in concert. You can hear Gil Scott-Heron explaining the meaning behind the song here.

Fire coming out of the monkey's head by Gorillaz feat. Dennis Hopper

Dennis Hopper is cool as fuck. Whether you feel Gorrilaz are a brilliant, avant-garde art project proving unexpectedly popular or a mawkishly self-indulgent vanity vehicle for Damon Albarn and friends you have to admit that Dennis Hopper reading a fable about primate dominated land facing environmental difficulties is inspired. His sad passing has left behind so many great moments on and off screen, but this might just be my favourite.

Going the Distance by Cake

Two songs always seem to sneak onto mixtapes and play lists I put together. One is the fantastic Teenage Angst by Placebo which seems ever relevant and the other is this ode to tenacity. It is essentially Aesop's tortoise and hair fable turned into a song yet it works brilliantly. I'm no great fan of Cake's other material but praise is due for concocting this quite ingenious motivational nugget.

Somebody up there likes me...

2011-01-12T11:17:00.000-08:00

Even as a cynical, embittered Humanist, sometimes out of the blue something happens that makes you wonder whether the almighty is a reality.

THE HEAD AND THE HEART ARE COMING TO LONDON!

Dusting off a classic

2011-01-01T09:21:00.000-08:00

Last night I watched the BBC adaptation of Nigel Slater's toast. It was potentially brilliant but was let down by woeful pacing that fractured the emotional connection built up in the first half. Anyway the undoubted highlight was the use of this absolute gem that I had never heard before. So I thought I'd share it with you...

If You Go Away by Dusty Springfield

Utterly beautiful.

For those in need of some soothing relief...

2011-01-01T08:58:00.000-08:00

I had a quiet New Years but judging by my twitter feed (http://twitter.com/TomPattison) I was in the minority so perhaps some of you might appreciate five delightfully chilled tracks. No complicated words for you to read, just blissful music.

Alone in Kyoto by AIR

Breathe Me by SIA

Love Will Tear Us Apart covered by José González

Nocturne Op.9 No.2 by Chopin

Jigglypuff's Song by Jigglypuff

Albums of 2010

2010-12-20T07:01:00.000-08:00

Well I'm watching National Lampoon's Christmas Vacation so it must be almost Christmas. As is the spirit it seems only right I give you my ten albums of the year two thousand and ten. You can enjoy a selection of tracks from these albums on the following Spotify playlist Albums of 2010 (listenwithdanger.blogspot.com). You can also download a selection of tracks from this list, and other standouts from 2010, using the following link http://rapidshare.com/files/438527450/Listen_with_Danger_2010_Best.zip. Here goes...

10. The Lady Killer by Cee Lo Green

Check out if you enjoy: Prince, Michael Jackson, Outkast

Good because: A welcome slice of funk in a year heavy on melancholy.

Even better if: If this was limited to the best ten tracks it could've been a real contender for #1 spot.

Stand out track: Bright Lights Bigger City

9. Interpretting the Masters Volume 1: A Tribute to Daryl Hall and John Oates by The Bird and The Bee

Check out if you enjoy: Hot Chip, LCD Soundsystem, Rilo Kiley
Good because: Impossible to keep still to, rightly places pop melody at the core of dance music.
Even better if: Some tracks seem to end a little weakly with a rushed fade out so greater attention to closing the deal would be well received.
Stand out track: Heard It On The Radio

8. If Shacking Up Is All You Want To Do by The Roadside Graves

Check out if you enjoy: Ray Lamontagne, Gomez, Bruce Springsteen
Good because: Simple, rootsy whisky soaked tales of America. The Dude would like this.
Even better if: It was five tracks shorter, quantity over quality leaves the album a little bloated.
Stand out track: The History of Lilies

7. Nice, Nice, Very Nice by Dan Mangan

Check out if you enjoy: Willy Mason, Ray Lamontagne,
Good because: shows a tremendous flair for infectious choruses.
Even better if: Showed a little more variation, follows a similar template throughout
Stand out track: Sold

6. God Willin' & The Creek Don't Rise by Ray Lamontagne and The Pariah Dogs

Check out if you enjoy: Otis Redding, Neil Young, Creedence Clearwater Revival

Good because: Strikes a nice balance between the majesty of Ray's voice on slower numbers and rootsy, uptempo stomps.

Even better if: It may well be that some tracks are slow burners but there does feel like a trio of fillers lurk on this record.
Stand out track: Are we really through?

5. Tiger Suit by KT Tunstall

Check out if you enjoy: Kings of Leon, Beck, Willy Mason

Good because: Shows a progression on previous albums with a willingness to experiment whilst still delivering classic songwriting.

Even better if: A predictable result of an experimental approach is that the album doesn't hold together.
Stand out track: Golden Frames

4. High Violet by The National

Check out if you enjoy: Wilco, Interpol, Editors

Good because: A vocal seemingly born to haunt the foreboding, paranoid tone of this album gives Berninger the chance to provide his finest performance to date.

Even better if: The first half of the album (opener apart) is lacking in pace and results in an already slow burning album taking far too long to ignite.

Stand out track: Bloodbuzz Ohio

3. Broken Bells by Broken Bells

Check out if you enjoy: The Shins, Gnarls Barkley, Gorillaz

Good because: An unlikely collaboration between two of the most innovative interesting characters around could easily fall a little flat under weight of expectation - this doesn't.

Even better if: In a way it is so consistently good it can wash over you, it lacks a stand out track which hooks in your consciousness. A very harsh criticism admittedly.
Stand out track: The Mall and The Misery (hard to choose - see above)

2. I Speak Because I Can by Laura Marling

Check out if you enjoy: Johnny Flynn, Mumford and Sons, Joni Mitchell
Good because: Proves immune to trends and contextual influence, could have been written in any era.
Even better if: Hard to criticise anything but would hope for some variation on future releases.
Stand out track: Darkness Descends

1. The Head and The Heart by The Head and The Heart

Check out if you enjoy: Mumford and Sons, Fleet Foxes, Laura Marling

Good because: Beautiful heartfelt collection of classic song writing. Incredibly simple but utterly magical.

Even better if: It was longer! It goes against everything I believe in but leaves me demanding more!

Stand out track: Down in the Valley

Mr Pattison goes to London

2010-12-05T03:57:00.000-08:00

The story of sir staying out on a school night:

A fairly surreal spectacle unfolded on Monday morning as a frozen man paced around the foot of Big Ben singing manically to himself. Fear not, I have not entered that place but was manfully battling bracing cold to round up shuffling sixth formers ahead of an A level politics conference. Attempts to distract myself from the cold brought mixed results; 1) spending the best part of two quid on a flavourless tea at Cafe Nero was an error although is did Quantum Leap style view of what my life could have been had I become a commuter, 2) Jiggling on the spot with hands firmly tucked into pockets in between greeting youngsters is the kind of behaviour that raises suspicions that a man in my profession can ill afford, but 3) Listening to every single song by The National on my ipod managed to successfully transport my thoughts away from the numbness overwhelming my limbs and onto the exciting fact I was seeing the premier purveyors of North American indie that very night.

Fast forward through a stimulating conference and a delightful couple of hours devouring the brilliant Jonathon Wilson's 'Inverting the Pyramid' (essential reading on the history of tactics for the football geek) and I was enjoying the atmosphere at Brixton academy alongside my fellow mustachioed chum and blogger Mr Craig Armer (the taches were for charity for those losing respect for me). As it happens sporting a ridiculous middle-aged 80s business tache seems to be the norm in 'trendy London' anyway as people who live in the capital appear unable to resist the overwhelming desire to dress as a Shoreditch Dickhead.

The support was a band I had never heard of but Craig was very keen to see. As with most things in life; Craig was annoyingly one step ahead of me in coolness as what followed was comfortably one of the better support bands I have seen. Full credit to The National who resisted the usual label urge to promote some raw label mates and instead chose a band with three albums behind them who have yet to make waves over this side of the Atlantic. Menomena made an immediate impression with the full band lined up on the stage. No single member was given special prominence and the reason for this became clear - Karl Marx would adore this band - everyone plays their part. Every member takes on vocal duties at some point boasting an exciting range of styles from a Kings of Leon howl to a wistful tone reminiscent of Guy Garvey (Elbow). The eclectic nature doesn't stop there as the whole gamut of instruments are on show including saxophone and maracas as drum sticks. This could very easily descend into a muso-friendly smugfest yet each quirk is integral to the song and the band rightly resist the urge to show off. In my experience bands with vast instrumental talent often fall into proggy noodling much to the apparent delight of their worshippers, yet Menomena adopt a clean, almost clinical approach which delivers flair through the variety of components as opposed to a showy stage presence. As commendable as this might sound it would all be wholly redundant if the music was rubbish but the opposite was true. The highlight of this whole night for me was actually discovering Menomena and spotify has been well used as I greedily imbibe all they have to offer. Enjoy the videos below and I urge you to investigate this band.

The mixture of anticipation and impatience before a band come on is one of life's most frustrating experiences. Thankfully The National didn't force us to wait too long after the support and what followed was a quite brilliant performance. I'm not going to indulge in a detailed post-match analysis - I'm sure you will be able to find hundreds of gig reviews which will tell you all you need to know about the band's unexpectedly strong stage presence. Personally I was far more impressed than I expected - as stated earlier on this blog I have grown to really love the band but whereas some bands on record demand to be seen live I have never felt that about The National. The way that I was invited by Craig rather than pursue the tickets myself is testament to that fact. As things turned out the band were far more exciting live than presumed and the songs possessed more energy, passion and at times outright hostility than on record. The perfect example being the primal cry of the chorus on Squalor Victoria. Brixton Academy is perhaps London's finest venue for atmosphere and there was a tremendous sense that the people in the room would each be able to share a story related to how and why they fell in love with the band. I felt a triumphant sense of collective joy as England was sung with verve and defiance. The sense of community was further emboldened by Berninger's quite insane wander through the whole crowd whilst singing Mr November. My heart went out to the poor roadie/security bloke who's job was to follow him and hold up the implausibly long microphone lead. It was a hugely impressive performance, neatly capped off with an acapella performance of Vanderly Crybaby Geeks at the end of the encore.

By the time of the encore I was making ready for my dash to the door as the minutes ticked by ahead of my train home. Craig and I embarked on an exciting mission through the streets of London, guided by an i-phone sat nav which appeared to be on satellite delay a few dead ends were negotiated and the heart was racing. Thankfully by demonstrating the street smarts and courage that only Men of Kendal can conjure we made it to the station on time and the night had ended in triumph.

A good music week was further enriched by sneakily having a listen to the new release III/IV from Ryan Adams- a double album of previously unreleased stuff with The Cardinals which is as fantastic as expected. One thing I would say though is I am kind of glad they have parted ways as I feel far more connection with his solo work. Further to this delight my spiritual guide in the ways of music Ben passed on a fantastic collection from Bon Iver's label Jagjaguwar which neatly showcased a lot of artists I was previously unaware of but warrant further investigation.

Football related: So what did we learn?

2010-11-28T06:10:00.000-08:00

Here's a preview of a Manchester United blog post I've written which should hopefully be appearing on http://www.stretfordendarising.com/ before long.

So what did we learn?
Last weekend I made the trek up to Manchester to watch the home game against Wigan. In many ways the performance and result encapsulated our season so far. We won comfortably but it felt somehow hollow. It was a game that once upon a time would have potential for a cricket score yet the players on the pitch seemed uneasy at the prospect of facing nine men and were it not for the excellent Rafael and introduction of Scholes a one goal victory would have been all we had to show. The dominant feeling through much of this season has been that too many of our players have been playing within themselves and taking the easy option. The number of times we declined crossing opportunities to cut back inside and play in front of Wigan was alarming and in the absence of Scholes we laboured in possession - Nani in particular being guilty of slowing down opportunities to counter attack and Michael Carrick seemingly relapsing to the form that led me to question his future just a couple of weeks ago. It would be grossly unfair to overly criticise a team shorn of the craft of Berbatov, Scholes and Rooney (for the most part) but it had become a worryingly familiar pattern.

Then came yesterday - if I were Dannii Minogue I would do that annoying standing up and waving my hands at the audience thing about now. Manchester United showed up and for the first time in a long while our swagger was back. As the chant joyously celebrates we were Manchester United and we were doing what we want. Gone was the fretting over formation shapes, and even personnel, instead it was a relentless red tide of exhilrating football which completely blew Blackburn away. In light of the scoreline comparisons were understandably made to the destruction of Roma and the style with which players interchanged, sharing the ball like it was a precious gift and seeking out space to unleash yet more damage was certainly reminiscent of that famous night.

So what have we learned?

1 It was only Blackburn - The Guardian match report chose to focus on the inadequacies of Rovers much to my chagrin yesterday, yet it is important to bear in mind that they were poor and in the case of Chimbonda remarkably generous. An eerie sense of de ja vu took over as Michel Salgado produced a superb impression of Gary Neville at Stoke. No attacking threat of any sort was offered and the ease with which players were lured out of position brought back memories of Silvestre at his worst. However you can only beat the team in front of you. Could we have played that way against Chelsea, Arsenal or City? Perhaps not, but after listening to endless odes to Chelsea's ruthlessness against weaker opposition it was glorious to see us hand out a beating ourselves. I actually feel comfortable in our ability to hold a firm shape and retain posession against the bigger sides but what has been missing was the feeling that we can move up a gear and play pure attacking football. Each of Ferguson's great teams, whether featuring Kanchelskis, Yorke or Ronaldo have shown this quality and yesterday was a timely indication that the current incarnation can do the same.

2 We need Wayne Rooney - He will never win back my affection and will forever be sullied as just like all the other money obsessed modern mercenaries but bloody hell can he play football. The signs he showed midweek blossomed here and his contribution to the performance yesterday should not be overlooked. A hugely underrated quality of Rooney - and the main reason I have often called for his deployment in the traditional Scholes role - is his awareness of when to hold possession and slow the tempo and when to pop off passes quickly or drive at the opposition. As we contemplate a future without the Ginger Prince I feel happier knowing that in his absence we can rely on at least one other player to recognise the importance of moving the ball quickly to exploit space. The best outcome of this is it influences other players - witness Park and even Nani keenly looking to move the ball into good areas at the first opportunity.

3 Berbatov is a luxury we can afford - We may have to wait another six weeks to witness anything significant from the deft Bulgarian but can any Red really want to see a player of such mercurial talent sold in favour of a more functional alternative? I am not suggesting he be awarded the keys to Old Trafford and picked for every game - like many I have found it hard to defend him at times - yet in two games this season he has brought untold pleasure and quite simply plays the game in a way which epitomises what Manchester United should be about. He is the polar opposite to that tw*t from Argentina and I hope he stays at the club for years to come.

4 Rafael is the real deal - Call off the search for the right back, what we all hoped has come to pass. Many of us have called for Rafael to be given a run of games and it is amazing the rapid progress he has made when given just that. Like all young players he has and will continue to make mistakes but what has impressed has been how he learns from them. The temptation to fly in on the contemptible El Hadji Diouf is something few could resist. Diouf always wears the expression of the Stay Puft Marshmallow man when under attack from the Ghostbusters and goes out of his way to bait players. Yet Rafael maintained his composure, continued to build the growing understanding with Nani and put the imbecile back in his box whenever the situation called for it. I feel the decision to sustain Neville's inclusion in the playing squad can be justified by his role in the development of the young Brazilian.

5 The curse of South Africa has lifted - As poor as Rooney had been upon his return from the World Cup a far less high profile but equally damaging slump was afflicting Patrice Evra. It is no conincidence that in the early games of the season with Evra subdued and O'Shea or Neville on the other flank we looked weak both going forward and defensively. Over the last few games Evra has emphatically reminded us of just how vital he is to our style of play - the value of having such a talented natural footballer in the full back position was underlined by his contribution to the sublime Berbatov third which was the finest at Old Trafford for some time.

6 It's not all good news - I was delighted to see Ferguson make the decision to grant our imperious leader a well earned rest and offer a chance for Evans to feature in a great team performance in front of a crowd amongst whom several have doubted his appointment as the heir to Rio and Vida. This should have been a great opportunity yet the ease with which the admittedly monstrous Chris Samba handed off the Irishman before planting a consolation header was more fuel for the view that he lacks the presence to dominate the penalty box. I personally still feel Evans deserves time and hope to see this obvious flaw to his game eradicated over the next couple of seasons but the nagging fear remains that this is a quality that can't be coached into him.

7 What the hell happened in three days? - The chubby, man boobed substitute that looked to be blowing out of his arse merely from the jog onto Ibrox morphed into a totally different animal by Saturday afternoon. Anderson put in the performance we have been craving since his early promise and it was a tantalising glimpse of what he could become. 94 out of 99 passes completed and a leading role in no less than three of the goals - the stats don't lie. Had this been the statistical report of a Paul Scholes performance you can bet your life Greedy Alan and the Preston Irishman would have eulogised the display on the Match of the Day sofa. As it was he garnered not a word of recognition but those who saw the game genuinely wondered whether he might be a more deserving recipient of man of the match than Dimitar 'Five Goals' Berbatov. That tells you everything you need to know about this display. Doron Solomon posted an excellent and timely blog yesterday morning on the issue of the frustrating Brazilian and let's hope this was the first step on the road to becoming the player we want him to be.

Well a magnificent seven seems an apt place to finish. Please comment and criticise to your heart's content.

and it's LIVE!

2010-11-28T04:46:00.000-08:00

Tomorrow I am going to see the brilliant band The National at Brixton Academy. What is especially exciting about the gig is at the time of being offered the ticket I liked rather than loved The National, yet as I've listened to them loads since I have fallen head over heels for them. It promises to be a terrific gig and I might even grace the blog with a review. I have been lucky enough over the years to see countless gigs - the prime time being whilst studying at University in Leeds. I thought it might be apt if I add to the Five series with five artists who are fantastic live. These were certainly not my favourite artists at the time of viewing - in most cases far from it - yet they each massively impressed me and fast became essential parts of my collection.

Feeder
Picture the scene. Leeds Festival 2006. If I'm honest I wasn't that fussed about many of the bands on show and was kicking my heels waiting for The Raconteurs. By mid afternoon I was feeling the effects of the previous night/morning as the brief adrenalin rush of laughing at the lead singer of The Hair's ridiculous expressions had worn off. So for reasons of not being arsed to move more than anything I hung around to watch Feeder. Now I used to really like Feeder - Comfort in Sound being a hugely underrated album - but had moved on and upon seeing them a few years ago in a support role I had been far from impressed. Enter the band, who reeled off hit after fantastic hit, playing with supreme enthusiasm that infected the whole crowd and awoke everyone from their slumber. By the finale of Just a Day as you looked around the crowd previously weary and tired faces were a sea of beaming smiles and bouncing. A notoriously difficult slot became a triumph.

A grainy video of that very song...

The Dears
No Cities Left was for me the finest album of 2003. So it was with great anticipation and excitement that the Canadian band came to my Uni city of Leeds to play the humble Cockpit. By the time I saw The Dears in February 2005 I had already seen many, many gigs at The Cockpit of varying quality. Quite frankly though I have a great deal of affection for it, as a venue it is pretty rubbish. The acoustics have never been good and clarity of sound is often lost. You can appreciate therefore that although excited I was not expecting much of a show - how wrong I was. The Dears made most of the previous bands I had seen at the venue appear unimaginative and lazy as they transformed a mediocre venue into an atmospheric wall of sound and vision. The light show, smoke and compelling stage presence of all members of the band brought a new quality to the music and it stands alone as the most impressive gig I saw in Leeds during my time there.

The Killers
One of the great melancholic experiences of life is connecting with an artist only for the rest of the population to steal them away from you. It leads to the nauseating 'I liked them before they went commercial' attitude of which I confess to having lapsed into at times in my younger days. Massive success of a band can at times mean you lose that emotional bond you once shared - Arctic Monkeys and Kings of Leon are recent examples. Like a reluctant mother they fly the nest and never seem the same. On the flip side, it can be tremendously thrilling to see a band you first saw show raw potential climb the ladder to gain huge success without compromising their style. Pleasingly the latter scenario describes my experience of The Killers. I dragged my best mate along to see this band who I had heard a single track from late night on Radio 1 and we witnessed an exhilarating performance in a small venue. We both suspected this band were going places and so it turned out when just a year later we saw them steal the audience away from home favourites Franz Ferdinand at T in the Park in 2004. The coup de grace though was to see them just two years after seeing them in a small venue in Leeds play second on the bill with a triumphant set at Glastonbury. It was spectacular to see such a rise yet still feel that same electricity that I felt when I saw them for the first time. On a side note, this was also the last song at my wedding so it ranks pretty highly on the nostalgia scale. Enjoy!

Stevie Wonder

Guns N Roses
My final choice is a classic example of how anticipation and atmosphere can actually contribute to a performance. It would be ridiculous to claim that Guns N Roses of 2002 were anything close to the heady days of Slash in the late eighties. However for a group of lads from Kendal to actually see Axel Rose performing Guns N Roses songs live was something we never, ever expected. Even on the day itself the expectation was that they wouldn't show and as we waited over an hour after The Prodigy it seemed that we would be disappointed. Even when the shady intro video came up still a further twenty minutes passed with nothing happening and spirits fell. The moment captured below when the intro to Welcome to the Jungle comes on and Axel emerges is the single most exciting moment I have ever experienced at a gig. The release of pure, unbridled joy as the realisation dawned that we were actually seeing Axel Rose singing Appetite for Destruction was almost too much to believe. On reflection they were most likely nowhere near their peak musically but it certainly didn't matter that wet night in a field in Leeds.

That's your lot. I'd love to know your own memories of great live moments.

Football Moonlighting

2010-11-14T09:18:00.000-08:00

If you follow me on twitter @TomPattison you'll already ne aware that football and especially Manchester United dominates a lot of my primitive thinking. I wrote for an excellent Manchester United blog today so if you feel the urge please have a look http://www.stretfordendarising.com/2010/11/14/should-the-end-be-nigh-for-michael-carrick/

Melancholy Extra

2010-11-13T04:09:00.000-08:00

Good news, you can put your prayer mats away, I am officially now feeling better. To celebrate here are some videos of great melancholic tracks in the spirit of yesterday's blog:

Brick by Ben Folds (live with orchestra)

The River by Bruce Springsteen (on a street in Copenhagen!)

Billy Davey's Daughter by Stereophonics (Live solo acoustic performance by Kelly Jones)

Never Again by Justin Timberlake (yes seriously, great song)

No Distance Left to Run by Blur (live in Paris)

Live It Up by Willy Mason (Live in Brighton Record shop)

Not Dark Yet by Eric Clapton (Live cover of Bob Dylan)

Send in the Clowns by Frank Sinatra (live)

Thoughtful sadness

2010-11-12T13:53:00.000-08:00

So without boring you with the details I have had a bit of a crappy run of luck over the last couple of weeks culminating in being laid low with a virus today. Dark times, which in turn leads me on to thinking about that type of song which feeds into this mindset. I confess it to be one of my favourite themes so the five songs are a selection I recommend rather than hailing them as the greatest of their kind;

Melancholy

Wedding Bells by Hank Williams
As somebody younger and cooler than me would say, let's take it old school (actually they would probably drop the apostrophe but I can't bring myself to commit grammatical larceny). This was a track that I only found a couple of years back as I began to explore the roots of country and it stands out in the way Williams expresses the utter devastation of realising something you felt would happen is never going to. The contrast between the jubilation of the wedding guests and the emptiness of the defeated suitor is stark. The saddest aspect is how the fight has completely left the protagonist who can only lament what might have been.

I planned a little cottage in the valley
I even bought a little band of gold
I thought some day I'd place it on your finger
But now the future looks so dark and cold

The issue of lost love is a well covered topic and it would be remiss of me not to mention 'She's out of my life' which I consider to be Michael Jackson's most underrated song.

River Man by Nick Drake
Melancholy can be communicated in several different ways. Hank Williams shows us the most common and direct route - narrative. A more difficult yet no less effective method is to create the atmosphere of melancholy through the music and vocal delivery. Drake is the master of this and I could have chosen several other of his tracks but Riverman stood out for me. It appears to be a sad reality that artists capable of producing the finest melancholy must be afflicted by mental torment and Drake was no exception to this rule. Eliot Smith and Jeff Buckley are other wonderful, creative talents who were unable to reconcile their problems. For examples of their brilliance click their names.

Golden Age by Beck
I simply had to include something from the outstanding Sea Change album from 2002. It is common when an artist takes a dramatic change from what they have been known for - in Beck's case innovative, sample laden, pop-funk - for the results to be less than impressive. Sea Change saw Beck adopt a far more simplistic, stripped down approach as he wrote an entire album about the collapse of his relationship with a long-term girlfriend. Golden Age opens the album and I feel beautifully articulates that borderline moment where you hope the worst might be behind you. It is far from an optimistic song as uncertainty of the future permeates the lyrics.

It's a treacherous road
With a desolated view
There's distant lights
But here they're far and few

Yet the acknowledgement that a dark time has been endured suggests that things might just be looking up.

Not the Girl you think you are by Crowded House
'Weather with you' is both a great song and a curse. Great because it is undoubtedly a wonderful pop song that is loved by millions. Curse because it seems to have led millions more to dismiss Crowded House as 'fun and quirky.' It might make me sound like Alan Partridge but I genuinely consider Neil Finn to be one of the greatest song-writers of the last thirteen years and this song is a great example of that. The lyrics at first may appear positive yet the dark heart of this song is the dream boyfriend is a fiction to cover up the girl's feeling of inadequacy. My Dad has always said this sounds like a great lost Lennon and McCartney song and I'm inclined to agree.

Shadowlands by Ryan Adams
This won't come as any surprise and I will try and set aside the hero worship and focus on the song in question. It comes from the album 'Love is Hell' which as you might guess is a collection of songs very firmly in the melancholy category. There are several I could have chosen from this album and in fact many of Ryan's others but this has a highly personal resonance for me. At the risk of sounding like a therapy session this song essentially soundtracked a very difficult time for my family. In the Summer of 2004 we lost my Uncle. I was not yet 21 and found the whole experience hugely difficult never having gone through bereavement before. I listened to the album a hell of a lot and this song in particular. As a way to try and deal with it as much as anything I decided to accompany my Dad down to the South to help sort out the funeral arrangements. We have a shared love of Ryan so it was natural that it wasn't long into the journey down that Love is Hell was on the stereo. It was then my Dad revealed that when at the hospital waiting for the inevitable to be confirmed he sat in the car park, in the pissing down rain, and listened to Shadowlands. It seemed oddly fitting that when dealing with such a loss both Dad and I turned to the same song. As fate should have it, we saw Ryan later that year perform in Manchester and I don't need to tell you the opening track. Suffice to say that the Pattison men had something in both their eyes for a few minutes that night. Apologies if a twee little story like that is pretty self indulgent but I guess writing a blog means I'm already guilty of that charge of intellectual vanity. Anyway, enjoy and absolutely timeless song.

Come worship at the Church of Dylan.

2010-11-07T08:22:00.000-08:00

I could blog about the great Robert Zimmerman all day but I don't have all day so instead have a few choice versions of his songs. Enjoy.

Marianne Faithfull covers Visions of Johanna

Magnet and Gemma Hayes cover Lay Lady Lay

The Roots cover Masters of War

Jeff Tweedy (Wilco) covers Simple Twist of Fate

Jimi Hendrix covers Please Come Crawl Out Your Window

Adele covers Make You Feel My Love

Monsters of Folk cover Girl from the North Country

Norah Jones covers I'll Be Your Baby Tonight

George Harrison covers If Not For You

KT Tunstall covers Tangled Up in Blue
#

Beck covers Leopard Skin Pill Box Hat

The White Stripes cover One More Cup of Coffee

Antony and The Johnsons cover Knocking on Heaven's Door

Middle class white boy discusses music from da streetz

2010-11-06T05:29:00.000-07:00

First blog in a little while and I'm going to keep on with the Five choices format. Today's choice reveals me as a massive cliché but so be it.

Hip Hop

I'm well aware that arguments continue to rage over whether a distinction exists between rap music and hip hop music. For the purposes of this blog there isn't - as you will notice from my choice I am far from a purist in this area and will happily embrace the mainstream when the results are good. I won't divert to a tangent but quite honestly I haven't heard a genuinely exciting mainstream hiphop album for as long as I can remember. Not even the return of Jay-Z has challenged my view that the genre is in a rut as despite good moments even the 'greatest of all time' has failed to recapture the brilliance of times gone by. In light of this my choices may appear a little dated and undoubtedly reflect a time when hip hop was far more prominent in my musical consciousness than it has been in recent years.

Fu Gee La by The Fugees
This is where it all began for me. A football mad, Oasis obsessed early teen sat down to watch a basketball show and was blown away when NBA 24/7 spent five minutes focusing on a trio of rappers who were making waves in the states. The track they focussed on was Fu Gee La and I was immediately hooked. I remember chatting excitedly at school to my good friend Joe who had long since embraced the hip hop/basketball culture and was good enough to humour me as I rambled on about my 'discovery.' Everything about this song is exciting - the subdued intro crashed into by Wyclef demanding attention, the simple yet hypnotic hook, the complimentary yet dramatically different lyrical delivery and of course THAT chorus which once in the brain never lets go. The crucial element of any rap song is the lyrics and it was the subject matter that most excited this thirteen year old British white boy from a northern backwater. It is safe to say that Brit pop tales of Mancunia or Essex surburbia never included lyrics like 'Stevie Wonder sees crack babies becoming enemies of their own families.' The confirmation that this discovery was going to have a huge impact on musical palette was my Dad's furious reaction when I put The Score on in his car. I am proud to have inherited my Dad's musical taste and was fortunate to have a musical upbringing of Stevie Wonder, Jimmy Hendrix and Led Zeppelin. Despite this though every teenager is keen to find their own identity and distinguish themselves from their parents - Lauren, Pras and Wyclef had shown me the way.

Brenda's got a Baby by Tupac Shakur
As any self respecting teen rap fan it was natural to gravitate towards the big two - Biggie and Tupac. Many a dull technology lesson was spent debating the conspiracy theories that 2pac was definitely alive and I even pathetically dismissed Biggie for many years due to my allegiance to the West side. I'm sure it was of great comfort to Suge Knight locked up in prison to know that the Kendal mafia had his back. It might be frowned upon today but I have great affection for Tupac and feel that unlike many of his contemporaries he was a true superstar. The brilliance of Tupac was how comfortable he was in producing party jams like California Love whilst at the same time writing personal, socially reflective odes like Dear Mama. My choice is one from the latter group, a brilliantly composed narrative tale of a young girl's struggle which is genuinely reminiscent of the masterful Village Ghetto Land by Stevie Wonder.

Break Ups 2 Make Ups by Method Man feat. D'Angelo
I've got a bit of a confession - I've never been that big a fan of Wu Tang. Don't get me wrong I still listen to Enter the Wu and when on form they could be magnificent but I always tended to find their solo projects to be more interesting. Arguably the most commercially successful has been Method Man and although far from the greatest lyricist I have always been an admirer of his flow. He has a delivery which never fails to make a connection with the subject he is focusing on. It is no surprise he is often in demand for guest raps as he has lifted many an otherwise forgettable track (Got My Mind Made Up with 2pac springs to mind). The track I've chosen is a laid back collaboration with D'Angelo which really shows off his talents. Enjoy.

Oh No by Mos Def feat. Pharoah Monche and Nate Dogg
Three of my favourite artists collaborating on one track was always going to end well and this is a classic slice of Rawkus records at their finest. This was featured on the second volume of Lyricists Lounge and was the pick of a very fine bunch. Special plaudits have to go to Pharaoh Monche who lifts a good track to greatness with a quite brilliant verse. So much of rap is polluted with lame verses about how great the rapper is but when PM takes this approach so sharp is his flow and lyrical composition that you can't argue with his claims that he's untouchable.

What more can I say? by Jay-Z/The Beatles produced by Danger Mouse
If you are unfamiliar with The Grey Album by Danger Mouse I urge you to do something about it. In a way this album is a fitting example of how my love of hip hop has developed as a few years ago the idea of splicing Jay-Z with Lennon & McCartney would inspire outrage and cries of sacrilege. I am an unashamed admirer of Danger Mouse and he doesn't disappoint as his love and respect for both artists shines through. I'd go as far as to say this is one of the finest albums of the last decade and I've chosen this track as it beautifully uses one of my favourite ever Beatles songs to make Shaun Carter sound better than I thought possible.

That's your lot, please comment whether praise or criticism.

Happy John Peel Day!

2010-10-25T01:12:00.000-07:00

Six years on from John's death. I won't pretend to have listened to him religiously - I think he would've been more essential listening had I been around a decade earlier - but I can think of few others with such immense passion for music. In many ways he's the forefather of the myriad of bloggers all over the internet who have no time for marketing and financial reward, instead relishing the pure joy of music. For that reason, John I salute you. Here are a few of my favourite sessions:

Dancing in the Moonlight by Thin Lizzy (1974)

A Forest by The Cure (1980)

Drain You by Nirvana (1991)

Come out 2nite by Kenickie (1996)

Downs are feminine balloons by Mercury Rev (1993)

There goes my gun by The Pixies (1988)

Satan's comin' round the bend.

2010-10-24T05:07:00.000-07:00

I was planning on taking a detour from the FIVE series and doing an old fashioned album review but the Lord of Blogs Turner requested Heavy Metal so I am obliged to oblige him. As you will be familiar with from my previous desperate efforts to save face my choices come with a large caveat; Heavy Metal is extremely vague. I think Hard Rock is generally a better category but less exciting sounding. The reason for my caution is that Heavy Metal as a genre is extremely hard to define. Does there need to be a certain percentage of satanism for bands to qualify? Surely Alice Cooper is HM or is he more glam? Thin Lizzy are loud enough but does Phil Lynott's flair for small town lyricism exile them from the grandiose paganism of Osbourne et al? Can Guns N Roses be pigeon holed as metal when they seem the anti-thesis of so much of its early proponents? I don't have an answer to these questions but I simply propose that the very fact I have raised them be enough for you to forgive any controversy my selections raise.

Heavy Metal

Run to the Hills by Iron Maiden
I certainly feel my opening track to be at home in the genre and quite frankly there are few better at show-casing the uncontrollable adrenalin rush that make this style of music so appealing. As a History teacher I even admire the shamefully hyperbolic interpretation of the consequences of wide-scale population migration in the American West. I would suspect that much of the global sympathy for the Sioux Indians originates from sweaty, long haired metallers. Historical contribution aside, the simple drum beat that starts the track is guaranteed to inspire palpable excitement amongst groups of men all over the planet. When the guitar comes in and Bruce begins any plans you had for the next four minutes can be put on hold.

Child in Time by Deep Purple
An unusual choice perhaps as in terms of volume Deep Purple's finest hour is muted for the majority of the track. It is an extremely measured exercise in control - both in terms of the haunting, mesmerising vocal from Ian Gillan and equally the uncharacteristic restraint of Ritchie Blackmore's guitar accompaniment. I won't go into the gory details of the number of fantastic howling renditions of this song I've participated in after a heavy night but I'd be lying if I denied a smoke machine being involved. Whatever your views on the track - and several of you may find it utterly preposterous and hilarious - you have to admire the composition of simple elements to create such a powerful effect.

Enter Sandman by Metallica
I spent several of my formative years involuntarily listening to Metallica. I never liked them, still don't, and would find it a struggle to listen to the entirety of a Metallica without losing interest around the halfway point. What this song demonstrates is that metal, like all genres, is magnificent one off songs by artists who are otherwise uniformly dire. What Sandman also showcases is how production can still have a phenomenal influence over a style of music fundamentally entrenched in live performance. Bob Rock's production has gone down in history, believed by some to have either saved or killed metal depending on your point of view. I personally think on this track he is responsible for a masterpiece - the intensity of the percussion married to the triple layering of the rhythm guitar creates a gigantic yet taut sound. I will always associate it with the unusual setting of Hluhluwe-Umfolozi Safari park as our 'enigmatic' guide decided to stick it on full blast shortly after passing an elephant crossing a road. Now that's rock n roll. The video I've chosen is a live performance despite what I've just discussed as the reaction of hundreds of thousands of Russians is too good not to include!

Dazed and Confused by Led Zeppelin
It'd be wholly wrong to focus on metal without including an offering from the great Led Zeppelin. Page, Plant, Bonham and Jones are so widely revered that they are less and less often referred to as Heavy Metal. I think it is part of the accepted derogation of the genre that such a band are seemed too good to be termed as such. It's massively unfair, Led Zep are a prime example of everything that is good about Heavy Metal and wholeheartedly fulfill the mantra of Heavy Metal as 'the sensory equivalent of war.' I could have chosen any of twenty incredible songs such is there back catalogue but I've opted for Dazed and Confused as for me it most effectively exhibits the peerless base of John Paul Jones. If you haven't heard any of his recent stuff with Dave Grohl and Josh Homme I recommend you seek out 'Them Crooked Vultures.' That's not to say they come anywhere near the brilliance of this track but only a select few ever have.

Woman by Wolfmother
Heavy Metal as a description has now widely fallen out of favour in terms of industry marketing. It is rare that a new act - despite fulfilling all the seeming requirements of metal -are described as such. The genre seems to have been the victim of Thatcher-esque diengagment as speed, thrash, dark, black and even the loathesome nu have taken turns in rebranding and distancing metal from its heavy roots. Wolfmother are a classic example of this, for me their style is unquestionably Heavy Metal yet even their wiki entry describes them ludicrously as 'stoner rock' before admitting the term Heavy Metal could be applied. I see no reason to be ashamed.

A browser and a rich black lady

2010-10-15T14:04:00.000-07:00

I'm talking OPERA of course! Well I thought it was clever but I never profess to be great wit. Anyhow, seamless link over I'm doing another five to check out but after the bright lights and pounding beats of Dance I've gone in a very different direction for this one. I'm no more knowledgeable about this one either so frankly as a blogger I'm failing but hopefully my hokey charm will save me. So here goes, five Opera songs I absolutely love...

Barcarole by Offenbach (from The Tales of Hoffman)
Unsurprisingly my adoration of this piece originates from it being used to stunning effect in a wonderful film. If you have seen La Vita e Bella (Life is Beautiful) - and I'm sure you have - you will recognise it from that. I was actually lucky enough to visit the town where the film was made Arezzo in Tuscany on my honeymoon but that's a needless tangent. The music is utterly enchanting, like being swept along in a dream and it perfectly encapsulates that feeling of being utterly in love in someone. Enjoy.

Un bel di vedremo by Puccini (from Madame Butterfly)

If Barcarolle is all about the enchanting feeling of being in love, Un bel di vedremo is all about the pain that love brings. I can honestly say I have never heard a more utterly heartbreaking yet at the same time completely compelling female vocal than Maria Callas performing this track from Puccini's opera. I especially love the brevity of the track - it is short yet fuelled with emotion and sticks in the mind long after it has finished. A side note which some of you might like to know is that Pinkerton by Weezer is said to be loosely based on the story of Madama Butterfly. The album is named after B.F. Pinkerton and is based around similar themes of lost love and sexual longing with a heavy Japanese influence. River Cuomo and Puccini - who knew?

Una furtiva Lagrima by Donizetti (from L'elisir d'amore)

One thing about Opera that I have always quite liked is quite frankly I often massively misread the message of the song due to the language issues. This is a classic example - for me the tenor appears defiant yet forlorn when in fact he has apparently just found out his 'love potion' works. This might be treason but the story in Opera is usually an absolute load of bollocks but despite massive flaws a narrative is vital to effectively tie the collection of songs together. Let's face it if a naff story about borderline date rape inspired Donizetti to write this then fair play to it. I've included a first for the blog - a vocal which is over a hundred years old. According to those who know about these things i.e. not I, Enrico Caruso is the greatest tenor of all time and based on this performance it is hard to disagree. Masterful.

va, Pensiero by Verdi (from Nabucco)
Stirring can't begin to cover this hypnotically powerful patriotic ode. This song has such power to move the emotions that the myth was long perpetuated that a defiant encore of va, Pensiero was the trigger for the final unification of Italy. This differs from my other choice so far as it does not focus upon a single vocal instead showcasing the majesty of orchestra and choir working in perfect harmony.

Nessun Dorma by Puccini (from Turandot)
I'll be honest - I was sceptical of including this. I feared it had become the Hey Jude or Bohemian Rhapsody of Opera; loved by the masses yet loathed by the purists. Then I listened to it and realised I would be a pretentious dick not to include what is arguably the greatest vocal ever created by man. One listen immediately transported me back to special night at the Arena di Verona where as our honeymoon came to a close my wife and I sat in the cheap seats (well steps) and experienced the wonderful theatre of a live Opera. Expectations could not be higher as I knew the big number was approaching. This tends to be the cue for a let down but not one bit of it - for around four minutes it felt as if the world stood still as an entire amphitheatre was captivated. No matter how many times I hear it I can't help but feel moved and if that makes me an Opera chav than so be it. Over to the big fella...

Let me know your thoughts and I'd love some suggestions of other genres to get the five treatment.

Dance, dance, dance the night away

2010-10-09T06:58:00.000-07:00

Swift blog today as much to be doing but I thought I'd kick off a mini-series of five great tracks from a chosen genre. I'm conscious that my love of North American Indie could come to dominate this blog if I'm not careful and as there are other bloggers who do it far better 'everybody cares, everybody understands' and 'I am fuel, you are friends' are two great examples.

So genre one, and it's not one I am especially knowledgeable of so apologies if my choices are highly offensive:

DANCE

I love a good dance. I have very little rhythm but what I lack in technique I make up for in enthusiasm. All kinds of music can be great for dancing - Motown and Northern Soul being the best - so I've always taken issue with the label of dance but I'll stick with it for this.

Heads will Roll by Yeah Yeah Yeahs

I accept that YYYs are far from a dance act and perhaps suggest I am immediately cheating but for me this is a straight down the line dance music and is all the better for it. There is something exciting about a band exploring a new genre but so often it falls flat and frankly embarassing (yes I mean you Bloc Party). However Karen O and friends manage to produce a relentless, pounding track which is humanly impossible not to at the very least tap your foot to.

U Don't Know Me by Armand van Helden

This is a slice of unashamed commercial dance which topped the charts at the top of the charts when dance was king. 99% of commercial dance at this time was garbage and forgettable - Wamdu project, Toca's Miracle, blah, blah. This however had a hook which sticks in your head without getting incredibly annoyingly. I think the trick is to follow quite a conventional song structure in terms of verse and chorus thus avoiding the hook becoming repetitive. Analysis aside, it is a brilliant track that livened up many a Kendalian night out.

Aerodynamic by Daft Punk

It would be quite wrong of me not to include a Daft Punk track in the five and I plumped for Aerodynamic for a reason. Discovery was the first 'dance' album I ever fell in love with. As only a cliched 18year old could I played the mini-disc (!) the moment I crossed the border into France when inter-railing and along with Air it formed the soundtrack to my enlightenment which is so often tread by guitar loving indie kids. Aerodynamic stand out because it begins with an unintentional homage to ACDC and boasts one of the finest guitar riffs of any song. Magnifique.

Setting Sun by The Chemical Brothers (feat. Noel Gallagher)

'Noel Gallagher on a dance record? Oasis' Noel Gallagher? My beloved Oasis' Noel Gallagher on a *spits* dance record?' It is fair to say that as a frankly obnoxious fourteen year old the prospect of the man who made me learn guitar and want to be in a band teaming up with some drug addled ravey types was not a happy one. My immaturity was exposed yet again as the result was a track which sits happily alongside any of Gallagher's other output and most pleasing of all may have contributed to Oasis' bold decision to experiment with loops on Fucking in the Bushes to great effect. Setting Sun has an apocalyptic sense of desperation with Noel's vocals placed cleverly low enough in the mix to create the feeling of an all encompassing storm led by the driving drum loop. The two artists would collaborate again on the enjoyable but less exciting Let Forever Be and not to be outdone Liam lent a terrific guest vocal to Death in Vegas' Scorpio Rising. Death in Vegas were even recruited to produce Don't Believe the Truth which promised a dramatic change of direction but proved a step too far and the sessions are now confined to online rarities.

Tomorrow Never Knows by The Beatles

I know doubters still exist but they are ignorant fools, The Beatles are actually underrated to the extent that trash like Hey Jude is considered by the majority to be their peak yet their innovation and pushing of musical boundaries is appreciated by comparitively few. It has been said before that you can chart a person's musical awakening by which Beatles songs they enjoy. Like most I grew up loving the perfect guitar pop of Hard Days Night, etc but it is only when you delve into the delights of the Eastern infused tracks and experimentation of the White Album and Revolver that you recognise their true majesty. One accolade that is rarely bestowed upon The Beatles is their invention of dance music as we know it but Tomorrow Never Knows is exactly that. If you don't believe me listen again to Setting Sun and tell me there isn't a nod to The Beatles in the use of loops. It is something of a quirk that even when stepping out of his comfort zone Noel still managed to supply a hefty nod to the Fab Four.

I'd love to know your favourite dance tracks or critical slating of my choices so if you read, please leave a message. After all, just like Chrissy the Witch says, I'm you.

Ladies' Night

2010-10-02T03:32:00.000-07:00

Friday night:

I'm sat here after a long week, enjoying the absolutely fantastic KT Tunstall album 'Tiger Suit'.

This is my third listen to the new album and the highest praise I can give it is it just made ironing shirts actually bearable. In all seriousness this is a far better album than I was expecting - Tunstall is established as a talented song-writer but what truly surprises on this album is her confidence to use this as a base for experimentation. I have read the album described as taking a dance-oriented direction; 'nature techno' apparently. At times undoubtedly there is a hint of Pet Shop Boys (Lost) but it is misleading and frankly unfair to dismiss Tiger Suit as some kind of pet dance project. I found myself making links to Kings of Leon and even INXS on occasion yet the country, acoustic staple of Tunstall still has plenty of input. A huge amount of credit must go to Jim Abbiss the producer (of Arctic Monkeys and Editors debut album fame) who matches Tunstall's ambition and delivers a glorious, fuller sound that raises the bar. It is honestly one of the best albums I have heard this year and urge you all to buy it.

Eight out of Ten.

Saturday morning

So given my eulogising over KT it seems only right that I look to sort of meet Turner's request for a focus on the greatest female singer-songwriter. I say sort-of because quite frankly I don't feel able or particularly inclined to make that decision. It would lead me down a well trodden path of mining history and most likely ending up in a face off between Billie Holiday and Joni Mitchell. Instead I'm going to pick out a handful of female artists I rate highly, tell you why and let you see/hear a bit of them in action:

Bjork

Probably my favourite of the lot, an artist guaranteed to divide opinion. I liked Bjork right from the first time I saw her as a young whippersnapper finding her incredibly interesting and unconventionally highly attractive. I accept that physical appearance shouldn't come into views on a musical artist but as a hormone driven teenager it was a major factor. I even bought Echobelly and Elastica albums in the futile hope that in some way this might push me closer to my britpop dream romance. Anyway I digress; the majesty of Bjork is that she has always sought to challenge the conventional without ever losing sight of the fundamentals of crafting a song. Her greatest asset of course is her voice and this never more evident than on her interpretations of classic Icelandic folk music like the gorgeous Gling-Glo. Her finest work for me has to be Hyperballad - the way the ominous music builds the tension and perfectly matches the imagery of the lyrics before unleasing a hit of pure emotion is simply glorious. Bjork also bears similarity with Ryan Adams and Gnarls Barkley in her flat refusal to simply reproduce the album mix in live performance, instead experimenting with new approaches often infusing different cultures.

Jenny Lewis

Unlike Bjork, Jenny Lewis of Rilo Kiley has yet really to become more well known as a solo artist as in her work with a band. However I genuinely think it is only a matter of time. I really like Rilo Kiley but since the fantastic More Adventurous the solo projects of Lewis have been far more interesting and memorable than anything produced as a band. The most notable, and in my view most enjoyable, off shoot has been her gospel tinged collaboration with The Watson Twins. The style of music really suited Lewis' songwriting style as it laid bare her vocal and gave her lyrics a new clarity which highlighted her gift for story-telling. Although dramatically different in musical direction her writing style reminds me of Richmond Fontaine in the way she creates a scenario that feels too real to be fiction. Her other solo work includes the lively Americana 'Acid tongue' of which Elvis Costello was a contributor. For me undoubtedly her finest moment is the majestic 'Rise up with fists' which is one of the finest songs of the last decade.

Cathy Davey

You would be forgiven for thinking 'who?' Back in the days of being a carefree student going to gigs on my Leeds doorstep I went to see 'Thirteen Senses' and Davey was the support act. Talk about hitting the jackpot - she was absolutely mesmeric as she effortless switched between sultry and veangeful showing off a repertoire of songs which made a mockery of only having released one EP at that point. She has since produced three albums - the best of which in my view being her debut Something Ilk. The pounding drums which open the barnstorming Come Over are an unmistakeable declaration of intent and would be a worthy pick of the bunch were it not for the brilliant 'Cold Man's Nightmare' which is the closest anyone has come to explaining the infuriating case of lovely girl being treated like shit yet staying around. Davey's voice is remarkable without being overpowering and this is beautifully showcased in the clip I found of her covering Arthur Hamilton's Cry Me a River. It is criminal she hasn't received the levels of press that the equally brilliant Laura Marling has enjoyed.

I could happily go on with this all day but alas duties call. I could for example have waxed lyrical about the unexpected excellence of the debut album of Natalie Imbruglia (seriously!), the sensual brilliance of Melody Gardot, or the brash anarchic joy of MIA. However I will leave you with three performances from three magnificent, enduring female performers:

And this one is specifically for Mr Turner...

A great week for music

2010-09-26T08:24:00.000-07:00

It's a pretty damn exciting time for music at the moment - a lovely mix of finding brilliant albums I never knew existed and anticipating exciting new releases from artists I already love. This week see's the release of the new album from the massively under-rated KT Tunstall. KT will always be dear to me for forming a part of the soundtrack to my road trip across South Africa a few years back. Like many people my first glimpse of KT came with her performance on Jools Holland which absolutely blew me away.

Another new release I'm excited about is Jimmy Eat World returning with Invented. At the risk of repeating myself they are a hugely underrated band who are capable of both truly beautiful fragile and visceral, energetic music. Chase this Light was gloriously pop and I secretly hope for more of the same although it would be nice to get a Hear You Me or Drugs or Me on this album as there wasn't anything comparable on the last record. To get in the mood here is a great video of them performing in the studio from the Bleed American sessions and just for sheer nostalgic joy Salt Sweat Sugar on Letterman:

This was also the week that I embarrassingly only just found out that the finest voice in music Ray LaMontagne had released a new album last month with a backing band called The Pariah Dogs. I actually only found out thanks to the single 'Repo Man' being played on the brilliant Minnesota radio station The Current that I have been listening too a lot online. 'God Willin' and the Creek Don't Rise' will probably receive the full blog treatment before long so I won't say much except that I am far from disappointed. I've added a live performance below of Repo Man and the sumptuous Can I Stay? which had the honour of being second dance at my wedding. I'm sure Ray views that as his greatest achievement!

I've also had the pleasure of discovering a couple of artists I wasn't familiar with; Clem Snide and Matt Costa. All credit has to go for the peerless Heather Browne at fuel friends blog who continues to enrich my musical palette with every post. Costa has a new album out this year 'Mobile Chateau' which is a soulful, sixties tinged album which showcases his impressive knack of matching catchy hooks with inciteful lyrics. Mobile Chateau is his first venture into self-production and importantly features a drummer called Corey Gash which is to be applauded. Similarly Clem Snide had not previously entered into my consciousness despite a large back catalogue. It is one of life's great pleasures to find an artist you enjoy only to discover they have hours of material to enjoy. The band's seventh studio album 'The Meat of Life' is a great slice of alt-country which I heartily recommend. Enjoy the videos below (the Clem Snide track needs forwarding to 1m 35s).

All that leaves is for three quick observations and an excuse for a couple more videos. I drove back from the in-laws on Sunday and listened to Whatever, and ever, amen for the first time in a while and I think it deserves to be considered one of the finest albums of all time. Ben Folds is a genius. Secondly on my cycle in the Autumn sunshine yesterday I listened to Reservoir by Fanfarlo again and can't believe they aren't absolutely huge. Fans of Arcade Fire, Fleet Foxes, Mumford & Sons and The National really should check them out if they haven't already as they deserve a bigger following. Finally in a seamless link I'm lucky enough to have a wonderful friend who picked me up a ticket to go an see The National in Brixton on November 29th. I will make it my first live review blog and am really rather excited.

Enjoy your week everyone (well all five or six of you!)

ps - If you have enjoyed this or have some constructive advice it would be most kind of you to leave a comment. x

Sounds like a Tim Burton movie...

2010-09-21T12:43:00.000-07:00

A slightly unsettling love of Laura Marling led to me deciding to have listen to these chaps - mainly due to the excellent name. The only other thing of interest I have discovered about them is the lead singer and writer is good friends with Robert Pattinson.

Been Listening by Johnny Flynn & The Sussex Wit

So it seems folk is cool now. Well bloody good stuff as despite having plenty of cringe worthy moments as a genre it has give us some glorious, magical music whether it be Nick Drake, Joan Baez or more recent gems like Rachel Unthank and The Winterset. That's without mentioning the obvious (initials: BD, answers to Zimmerman). So I was intrigued to listen to this album and see if Flynn is next in line to follow the success of Marling and Mumford & Sons. In all honesty, I don't think they will. The opening track Kentucky Pill sets things off to a flyer and had this quality been maintained I would be absolutely raving about 'Been Listening' but unfortunately such heights are only briefly rivalled on a couple of other occasions on this album. A little too much brass and some frankly irritating percussion too often overshadows the talents of a sparkling lyricist. Flynn is capable of composing charming phrases which unmask a predilection for Shakespearean prose - I'm thinking in particular of 'prickled interest seizing pride' from the charming, wistful 'Been Listening'. This flair for language is also effectively employed on the album stand-out 'Barnacled Warship' telling the story of an eager recruits transition to disaffected military campaigner. This track in particular made me think of the wonderful Decemberists album 'Picaresque' which is high praise indeed. Perhaps an unexpected negative is the duet with Laura Marling on 'The Water.' Perhaps my love of Marling is impeding my ability to fairly judge Flynn but I couldn't help but feel this track would be better without him. His voice simply doesn't compliment hers and there is no sense of harmonic synergy. The bluesy 'Howl' which follows is far better and transports the listener to a smoky bar.Flynn closes the album with two ballads; the beautiful Amazon Love, which features Lillie Flynn (presumably a relative) from Noah and the Whale, is a far more successful duet as the vocals are much more in harmony to create a track of pure velvet. Album closer 'The prizefighter and the heiress' has ambitions to be an epic but despite being a pleasant listens falls short of the grand statement it hoped to be.

I feel like Flynn is capable of great things and would perhaps be better served following a separate musical path from his band who consistently seem at odds with the talented writer. This is an enjoyable album but feels overall like an opportunity missed.

Definitely one to watch but far from the finished article yet. As a caveat I suspect this could be a grower and I could well scold my middling initial rating. I'll keep you posted (if you excuse the pun).

Six out of Ten.

Awful name, decent band

2010-09-10T14:40:00.000-07:00

Just a short little blog - it's been a tough week back at the schoolhouse and I'm cream crackered. I thought I'd share a little review of the recent album from Philadelphia indie band Dr. Dog. Here goes...

Dr. Dog - Shame, shame

I heard about this band through passing comments on a couple of blogs and after listening to a few tracks from their back catalogue thought I'd give their latest offering the blog treatment. Dr. Dog are a band who haven't really made a significant mark in the music world. They have been a group who are easy to like but seem to lack that special spark which makes you love them. In fact in recent years they have received criticism for sounding increasingly polished and having diminishing soul. This is a hugely difficult slide to arrest - if you are happy and content what is there to write about without sounding offensively smug? On this latest effort they have made a conscious effort to amp up the emotional content and reaffirm that connection. So do they succeed? Perhaps surprisingly they do. Lyrically there is a new freshness and a darker tone pervades the album creating a markedly different feel from the quirky, breeziness of previous offering Fate. For a borderline psychedelic indie times at this on this record they plunge deep into country territory which fuels the personal story telling approach. 'Station' is a glorious ode to touting which whilst lamenting the repetition recognises the comfortable security of consistent affirmation of your art. 'Jackie wants a black eye' could easily be a Bright Eyes album track were it not for the absence of the trademark Oberst cracked delivery. Vocally this is a really interesting sound, harmonies often drive the melody of the music not unlike Crosby, Stills, etc. Dr. Dog operate the duel vocalist approach to good effect - though lacking the bite and frission of Gomez for example. The 60s pop-rock comparisons are less relevant on this album though it would be incorrect to claim a dramatic new direction has been taken. One issue I do take with the album is the odd insistence on fading tracks out abruptly and clumsily. This could perhaps be a product of the uneven nature of the album - a handful of tracks had been written and set aside over the years - and it doesn't quite work together as a cohesive piece. Ordinarily this wouldn't be of great concern, but it is when a band is looking to stimulate an emotional connection with the listener. I couldn't help but feeling that Leaman and McMicken set out with the intention of creating a Richmond Fontaine record yet couldn't bring themselves to entirely leave the old habits aside. The result is an enjoyable but ultimately forgettable album.

Five out of Ten

(Skip to 4:05 for the performance)

Obeying the General's command

2010-09-02T05:23:00.000-07:00

Allow me please to take a detour into some previously unchartered territory today. This blog is primarily a music blog but I have recently done a bit of moonlighting in other areas. I was asked to do a guest blog by Peter Turner for his magnificent blog It's been a long time General. Click the hyperlink to find mine and some other guest movie reviews as well as Pete's impressive back catalogue. This is to celebrate the blog reaching 50 posts and if you haven't already take some time to pour yourself a brew and read through his previous reviews. They really are of the highest quality and I know Pete (like me) really appreciates feedback. If by chance you read his or my blog anonymously please sign up to blogger to follow and hopefully offer your thoughts. I am also a passionate fan of Manchester United and the wonderful people at ManUtd24 have included my thoughts on the great Eric Cantona as part of their latest feature. Follow the hyperlink to the site and enjoy.

*Massive side note; Love, love, love by The Mountain Goats came on BBC 6music during this blog and I had completely forgotten how utterly charming it is. I think it could well be their finest hour. Enjoy.

Covered in sunshine

2010-09-01T03:56:00.000-07:00

Okay some weird phenonmena known as sunshine has appeared (albeit briefly) today so I'm not going to stay indoors typing away. Instead have a few videos of entertaining covers to put a smile on your faces:

Enjoy!

How ears compliment eyes.

2010-08-31T12:12:00.000-07:00

I feel like going off on a bit of a tangent today. After the dentist appointment from hell (one filling, one hour, massive head ache) I treated myself to a solo trip to see Scott Pilgrim Vs The World. The film was ace but that's for another blog. However what struck me as integral to the film was the soundtrack. It is something I am extremely conscious of in the films I watch and thought I would share a few snippets of gems today. I am considering both scores for films and songs included in a movie for effect. The art of composing a series of pieces for a movie deserves huge respect, but so does compiling the perfect accompaniment to different scenes. I have often listened to a song and thought about how it would fit into a film.

Summer '78 by Yann Tiersen (from Goodbye Lenin, 2003, Ger)

For those of you who haven't seen GL it is yet another magnificent German film from the last decade looking at the impact of East German socialism on a single family. Tiersen (who also sound tracked Amelie) wrote the film's score and he pitches the music perfectly to reflect the melancholic atmosphere of the film. For a film dealing with the fall of the Berlin Wall it must have been extremely tempting to go down a very obvious route of using music from the era yet Tiersen boldly ignores such influences to create a truly original, atmospheric score.

Summer in the City by the Lovin Spoonful (Die Hard with a Veangence, 1995, US)

Michael Kamen was wisely invited to return to soundtrack the third (and finest) movie of the Die Hard series. Kamen is well-respected in Hollywood and has been rewarded with high profile gigs like Robin Hood Prince of Thieves and X-Men. Arguably his finest to date was on the small screen as he scored the majestic Band of Brothers series. However in this instance it is his choice of song that I am heralding rather than his own composition. It is quite simply the perfect song to reflect the heat and bustle of NYC. On top of that (and perhaps the director takes the credit for this) the timing of the explosion cutting in is genius. Even though I have seen the film countless times I never quite guess the exact point the song is interrupted by an almighty boom. Brilliant.

Superstar by Sonic Youth and Sea of Love by Cat Power (Juno, 2007)

Pilgrim has obviously inspired me to link back to Michael C and Juno is genuinely one of my favourite movies of the last decade. It is quite rightly lauded for its use of music and many of you probably own or have heard the soundtrack. The soundtrack is dominated by The Moldy Peaches but it is actually two other cover versions which for me are the highlights of the soundtrack. Both are used to perfection at key moments in the film to indicate the development of relationships in the film. Sonic Youth's deeply unsettling cover of The Carpenters encapsulates the differing outlooks of Mark and Juno and hint at something darker in Mark's intentions. Cat Power's fragile and beautiful cover of Phil Phillips I'm not ashamed to say moves me to tears every time in the film. I don't want to spoil a key plot in the film so will be deliberately vague but it compliments the sublime acting skills of Ellen Page to produce a truly powerful emotionally moving scene.

I genuinely would love to hear your own favourite soundtrack moments and why so please sign up and leave a comment.

Mangan speaking

2010-08-26T03:45:00.000-07:00

Right only a short one today motivated by guilt over last week's drought. I'm back at work before too long (boo!) so the pace will slow somewhat although I really will update regularly so don't lose faith!

Today's review is inspired by the wonderful Fuel Friends Blog who brought this artist to my attention. I'm streaming the album from here for this review but if I like it I'll definitely be buying it. So far I've heard part of one song on Heather's blog but will now have a listen to the entire album and let you know what I think. Really excited about this!

Nice, nice, very nice by Dan Mangan

The immediate thoughts when you listening to the start of the album opener 'Road Regrets' is Springsteen. This has been an exciting feeling I've had on many occasions but so often it fails to sustain or falls into Boss parody. In fairness sometimes it really does work; Sam's Town by the Killers and Gaslight Anthem spring to mind. However in this case the Springsteen influence though continuing through the track does not overpower it and the song structure does not mimic that of Bruce which is a positive step. I wonder if Mangan is playing a game of spot the influence as the opening bars of Robots is pure Kinks yet to Mangan's credit he again keeps this influence as an undercurrent rather than an overpowering element. Robots has a really enjoyable Sea Shanty feel which as a fan of Picaresque really works for me. It is a real clap your hands and stomp your feet moment and it is unfortunate Mangan hadn't received recognition earlier as this style would have been extremely well received at this summer's festivals given the rapturous response enjoyed by Mumford & Sons. I really like how the old fashioned music marries with the lyrical content of the need to maintain feeling in our gadget ridden world. There is a striking and endearing earthy quality to Mangan's voice which provides a depth of sound whilst maintaining clear intonation allowing every lyric to be heard. As someone who enjoys uncovering the meaning of songs this is refreshing. An affectation Managan employs is disrupting or pausing the rhythm of the melody to integrate his vocal pattern. Those who enjoy Damien Rice and/or Bon Iver will be familiar with this technique. Overused this would fast become irritating but he manages to keep it just on the right side of endearing although he does push it close on the delightful Indie Queens Are Waiting. Some of these songs have that brilliant quality of feeling like you have loved them for years and I found myself happily singing along to Sold by the end of the three minutes; when you consider this is the first time I have heard the track it really speaks volumes about Mangan's ability to craft an instantly memorable song. Probably my favourite track of the album is Et Les Mots Croisés; an absolutely charming ode to the miserable tales of heartbreak beloved by singer/songwriters the world over and lapped up by the likes of me. The first verse says it all:

I don't want to be a pioneer
A singer sings a sad song when he's sad
But honey all these years I've been upset
I've slowly turned the kind of blue that keeps your jeans dry

Now I don't need to reinvent the wheel
The singer needs to feel like he's been had
It's all so sad
It's all so sad

This isn't genre bending, era defining music; it doesn't need to be. This is a collection of classically simple songs beautifully written. There is filler here as with most albums but considering the high expectations I placed on this album based on one track it has delivered on every level. Thanks so much to Heather Browne for the tip and please check out this album for yourself.

Seven and a half out of ten.

What was the space dog called?*

2010-08-23T02:10:00.000-07:00

I know I have been neglecting my blogging duties and can only apologise. I have promised a good friend with an imminent birthday I'd review an album for him so here goes...

Astro Coast by Surfer Blood

Astro is a very exciting word. Seriously. Stick it in front of a more mundane noun and you transform it into something exciting and mysterious. No company could successfully market 'fake grass' so instead we had hoardes of New Labour money flushed headmasters eagerly shelling out for 'ASTRO TURF.' The Farm are an uncomfortable repetitive dour scouse beat combo from the early nineties, yet when you add Astro they become an animated family trying to get by running an agricultural business on an asteroid; who could ever forget ASTRO FARM? It's basically The Wire in space. Even the short lived, ill-fated 'biscuit smarties' were briefly a top seller at Lound Road garage purely because they were called Cadbury's ASTROs. All of this means I cannot help but admire the moxy of Surfer Blood before I even listen to their debut album. They have cautioned against any possible laissez-faire attitude with a simple edition of the magic word. So onto Astro Coast we go...

The album opens with Swim - a song if you didn't know who it was by you have probably heard used to make an exciting montage link on TV. It has a catchy pop hook ready made for festivals and chugs along at refreshingly merry pace. The first interesting point to note is the singer is a fan of The Shins. In fact his dream appears to be James Mercer singing covers of sadly short-lived britpop phenomenon Symposium. The vocal effect could be lifted straight off Oh Inverted World which when placed in a garage rock track should be a disaster but actually works extremely well. Despite this New Mexico vocal flavour the predominant music influence is avowedly British. I have heard this group compared to Weezer and I will no doubt address that later in this review but on first song alone they are more reminiscent of early Feeder than Rivers and co. This British influence bleeds into track two which would be at home in the background on This Life or even on the seminal indie-comp Shine Too. Floating Vibes is much more interesting than Swim and thankfully reveals a band with more depth. The melody is still rightly free of unnecessary noodling but the elements on this track are far more effectively balanced producing a richer sound which provides a platform for some really interesting realist song writing reflecting on the fragility of early success. This is a surprising topic for a band at such an early stage of their own career and shows stark self-awareness that brings to mind Alex Turner (though lacking comparable talent of lyrical composition). Take It Easy regretfully never escapes the spectre of a Vampire Weekend off-cut which blunts any impact. For me this is the first candidate to be a skipper. It is not alone - not every track on this album maintains the highest standards of quality (Neighbour Riffs - the point?) but that is to be expected on a debut album by a young band.

I have to say on balance though I'm really impressed; there are elements of a truly exciting band - the interplay of vocals particularly in the use of harmonies shows a real grasp of how to craft a song. Again unsurprisingly for a debut album the influences are worn on the sleeve including Room on Fire era Strokes (Harmonix), Wes Anderson movies (Twin Peaks) and Pavement (Catholic Pagans). The standout track of the latter half of the album - and possibly the whole album - is Slow Jabroni which though abysmally titled is a majestic slow-burner which subtley builds to a crescendo. This song must be festival gold. It is also the only track for me which warrants the Weezer golden period comparisons. The slow burning build is reminiscent of Only In Dreams and I can see how reviewers have jumped on this. However - and I mean no malice when I say it - to compare this album to Blue and Pinkerton is wholly wrong. At no point on any level does it approach the brilliance of either of those two albums. Lyrically and musically Blue and Pinkerton deserve to be considered two of the finest albums ever made. I actually think it is wholly unfair and detrimental to Surfer Blood for lazy critics to trot out the comparison. Cuomo's descent into self-parody in recent years has ignited a yearning for early Weezer and this pressure is wrongly being thrust onto raw bands like Surfer Blood who as this album shows possess huge potential.

As an album this certainly contains far more positive moments than filler. Ultimately though it fails to be truly memorable and too often sounds like songs 'in the style of'. I will definitely continue to take an interest in Surfer Blood and look forward to them developing their own sound. On this evidence they have a long road ahead but are certainly moving in the right direction.

Six and a half out of Ten.

*If you've made it this far I applaud you, the dog's name was Dinko

Birthday Blog!

2010-08-12T04:38:00.000-07:00

It was twenty seven years ago today that I entered the world. So much has changed in that time, in this blog I am going to describe the top 100 key events during my lifetime.

Or perhaps not as frankly that would be far too much like work (I'm a history teacher) so instead I am going to share with you three albums that in my humble opinion you really, REALLY should own.

Weezer - by Weezer (also known as the Blue album)

It saddens me to say it but I wish Rivers Cuomo had never decided to bring Weezer back together after Pinkerton. Much like the return of Family Guy after a hiatus there output since has become a more and more desperate to recapture the glorious early days with increasingly embarassing efforts to appear relevant. The new song is garbage and sticking the fat bloke from Lost as the album cover is like, so edgy, and like, hilarious! I sound far too grumpy for a man enjoying his birthday so I'll quickly return to focus on Weezer's debut. If you do not own this album I envy you, I would love to experience listening to it for the first time. The good news is everytime you listen it's like a hit of sunshine; the opening bars of My Name is Jonas never fail to give me a surge of excitement. I'm not going to do an in-depth track by track analysis as I have a limited knowledge of synonyms for brilliant. Just bloody buy it.

Three great tracks: No One Else, Say It Aint So, Surf Wax America
Like this? You may also like: The Replacements; Lemonheads; Death Cab for Cutie;
Rating: 9 1/2 out of 10

Innervisions - by Stevie Wonder

Growing up mum and dad always had Stevie Wonder and Jimi Hendrix on so I knew of them without really considering them anything special as they were my parents' music. I can't remember exactly when or why but have a strong memory of being about 17 and for the first time really listening to Songs in the Key of Life. From that moment I was hooked, and I consider Stevie's Golden Period ('72-'80) to be just about the finest music ever created. The pick of the bunch is Innervisions. Music as social commentary is often overtly worthy and tedious, yet on this album it is nothing of the sort. Wonder has an ability like no other to create joy; if you dispute that try and listen to the opening of Sir Duke without smiling. This album is absolutely packed full of songs guaranteed to have you at the very least tapping your feet but more likely dancing around the house like an idiot (perhaps that's just me). It is in fact easy to listen to this album purely as a dance record and in this form it undoubtedly succeeds but when you actually listen to what Stevie is singing about you realise that this is nothing short of poetry. James Brown may be more closely associated with black rights yet I find his blunt approach and bellious delivery to be off-putting and even patronising. Wonder manages to weave in relevant social commentary about 1970s America into his songs with a subtletly that enriches rather than detracts from the musical joy. His music speaks to people in a way few others manage; only Dylan, Young and Springsteen have had a comparable impact.

Three great tracks: Visions, Living for the City, He's Misstra know it all
Like this? You may also like: Gil Scott-Heron; The Fugees; Mos Def;

Rating: 9 1/2 out of 10

Buena Vista Social Club - by Buena Vista Social Club

First of all I know my ignorance is staggering. Recommending this to anyone with a knowledge of Cuban music is a bit like saying 'hey have you heard Definitely Maybe by this Oasis band?' My knowledge of Cuban music is regrettably minimal so for me this album was a fantastic introduction. I took an extremely roundabout way of getting into it. The roots can probably traced to my Peru trip where I loved the music even if the panpipes were a bit overkill by the end. Shortly after having arrived back and like any self-respecting middle class Guardian reader I decided I was now 'into World Music.' A documentary came on TV about the making of this album and experiencing music for the first time visually was an unusual method but the songs really shone out for me. Ever since this album has regularly brightened up a rainy afternoon in my classroom slogging through marking. It showcases a wide variety of styles and performers but what is always consistent is the sky high standard of musicianship and infectious rhythms. If you have never listened to latin music I urge you to give it a go.

http://www.youtube.com/watch?v=8c6u4PFKg_o (El Carretero)
Three great tracks: Chan Chan, Y Tú Qué Has Hecho?, ElCarretero
Like this? You may also like: Ibrahim Ferrer; Omara Portuondo; Rubén Gonzaléz
Rating: 81/2 out of 10

Mr Sparkle!

2010-08-11T07:58:00.000-07:00

As stated in my Pavement review, I suffer from considerable guilt over bands I should really be familiar with yet no little about. Sparklehorse are one of those bands. The first experience I had was of their collaboration with Danger Mouse and David Lynch (Dark Night of the Soul) which is one of my favourite albums of the last year. It seemed natural therefore to dip into the history of this band; sadly there will be no future as Mark Linkous tragically took his own life earlier this year.

Vivadixiesubmarinetransmissionplot - by Sparklehorse

The album I chose as my introduction to Sparklehorse was there first from 1995. It is revered in American Indie circles and it was with lofty expectations that I approached listening. It was a distressing experience for me to discover the cover as I have a deep fear of clowns as a result of my caring if misguided father's decision to choose It as a family film when I was about eight. He went on to repeat the trick less than a decade later as we all sat down to American Psycho. My theory is he likes watching films on his own. Anyway I digress, the origin of Viva is an unusual one as it was recorded primarily by the band Cracker for whom Linkous was a guitar tech and occasional collaborator. From unorthodox beginnings has emerged a terrific album. I was anticipating a darker tone to the album as I didn't realise Linkous' overdose came after the release of Viva. The real strengths of this album are the way simple, quite old fashioned songs are delivered in a variety of styles; from stripped down, Wilcoesque backing on the incredibly charming love song Saturday to the rambling experimental interlude Little Bastard Choo Choo which wouldn't be out of place on the White Album. As a great lover of The Strokes I admire a band who refuse to make room for self-indulgence and the way in which songs are brought to a swift conclusion adds to the rhythm of the album. Personally the highlight of the album comes on the seventh track 'Most Beautiful Widow in Town.' The acoustic backing is minimal so as not to detract from the magnificent imagery of the tale of unrequited love which really made me sit up and take notice of why Linkous is so highly rated.

many years later
the glassy month of December
I stood with my hands in my pockets
trying to avoid
a shiny wedding portrait
hanging on that old woman's wall
'cos I knew you'd be wearing a smile
that'd be too painful to look upon

Maybe it is the theme that made me make the connection but 29 by Ryan Adams came to mind when listening. It would be wrong to identify Linkous as possessing a show-stopping or even unique voice but the delivery is tender and seems to invite the listener into his very private world meaning Linkous is a great communicator of emotion and as a result this is a great album. I look forward to discovering the rest of their back catalogue and it is a great thrill to embrace an artist who has influenced so many of those I adore. Listening to Viva is like listening to the roots of Willy Mason, Ryan Adams, Ben Gibbard and Ben Kweller and on that basis alone it could be destined to become one of my favourite albums.

8 1/2 out of 10

Sound of The Suburbs

2010-08-04T09:07:00.000-07:00

Hotly anticipated can be a poisoned chalice. Sometimes mass expectation can bring out the best in a band (Room on Fire springs to mind) whereas for others it can prove a dead weight disrupting the atmosphere that fostered the previous brilliance (MGMT I'm scowling in your direction). For Arcade Fire's follow up to the decade defining Funeral they really fell between two stools. Yes there were great moments but despite critical acclaim I couldn't help but underwhelmed. The infamous difficult second album can come as a blessing and I approach the third release by Arcade Fire in hope that the absence of dizzying expectations that surrounded Neon Bible will result in a finer end product.

The Suburbs - by Arcade Fire

The album opens with the track of the same name and it is immediately striking that grand drama appears to have been dispensed with in favour of a rootsier, folksier sound. If the band were intending to create a Neil Young vibe then on the evidence of the opener they have achieved it. Ready to Start sees an increase in the urgency - the driving tempo and insistent vocals remind me of The Dears and this is much more like the Arcade Fire with which we became familiar in their early tracks. They have stuck with Markus Dravs, producer of Neon Bible, but there is a notably more stripped back approach with a more conventional structure to songs and an emphasis on a clean, clear vocal. This is crucial as lyrically this album has a lot to say. It follows a consistent theme of questioning our consumer society and the suffocation of ambition this implies. The Suburbs makes more sense as a title when you grasp this, and the album certainly seems to be addressing the creeping frustrations of twenty somethings who have become part of the furniture rather than succeeding in changing the world as they once hoped. The plethora of media and artistic opportunities have fragmented rather than emboldened a movement for change which has left a generation confused:

Maybe when you're older you will understand
Why you don't feel right
Why you can't sleep at night now (from Modern Man)

Let's go downtown and talk to the modern kids
They will eat right out of your hand
Using great big words that they don't understand (from Rococo)

Music divides us into tribes,
You choose your's and I'll choose mine (from Suburban War)

This really is an album that lyrically is verging on bitterness. Butler seems uncomfortable and unhappy with his own role since he has found fame and this comes through consistently, like in the bleak 'City with No Children' where he warns:

You never trust a millionaire
Quoting the sermon on the mount
I used to think I was not like them
But I'm beginning to have my doubts

The recurring messages of self-doubt and dissatisfaction with modern living have been poetically covered before by the likes of Conor Oberst yet this album is far more direct and I can't help but feel less effective as a result. Suburban War is potentially the stand out track with a slow development of drama bringing a much needed injection of theatre to proceedings. It heralds a second wind to the album and is followed by the stomping Month of May which sounds like it has been nicked off an Eagles of Death Metal record. It really is great to hear that this band are capable of composing an old fashioned punky track and I'd love to see this indulged in the future. On the whole though the album sticks to the alternative Indie formula which sees a rich palette of influences from Radiohead to The Cure shine through at different points.

As a rule albums I immediately adore are often short lived in my affections whereas those I grow to love become personal favourites. I have a suspicion that this could well fall into the latter category. On first listen it is good but not great yet I sense there are nuances in this album that will take time for me to appreciate. This is very much a first listen rating, and it will be interesting to see whether I feel the same after several repeat listens.

7 out of 10

Rainy day, Rainy Music

2010-08-04T06:22:00.000-07:00

God bless the British summer - it is currently throwing it down in leafy Thunder-Ridge so I thought I'd have a listen to an appropriate album.

Rainy Day Music - by The Jayhawks

The Jayhawks had brought out seven albums by the time this landed in 2003. They had made their name through jangly, acoustic melodic alt-country and this album continues in that vein. Produced by Ethan Johns and Rick Rubin it is a marriage of experienced, successful producers and a band who had honed their craft. Rubin may raise a few eyebrows given his heavy background (Metallica, Slayer, Slipknot) but there is no hint of a harder edged influence on the album. The result is a delight - the whole album is peppered with Byrds style harmonies and a lot could easily come off a Crosby, Stills, Nash and Young record which can't be anything but a positive in my book. Gary Louris' vocals have never sounded better and his occasionally earthy rocky delivery offers a neat contrast to the gentle harmonies I alluded to earlier. This is an album which though released in 2003 could easily have been part of the California movement of the 1970s and for some this may prove off-putting. I cannot help but sound hypocritical when I laud The Jayhawks for maintaining a classic rock style whilst deriding The Courteeners for a lack of imagination but the key difference is the quality of songwriting. The Jayhawks have earned the right to indulge their own wishes and you sense this is an album they took great pleasure in putting together. 'Save it for a rainy day' is easily the standout track for me and if you only seek out one song following this review than that is the one. 'Come to the River' is also a noteworthy track which has a rootsy, raw power not commonly found in the rest of the album. An interesting element is when drummer O'Reagan takes over lead vocal duties - on 'Don't let the world get in your way' there is more than a touch of Neil Finn to his delivery and given Johns later produced Crowded House comeback album 'Time on Earth' there is a clear cross-over of styles. Unfortunately the back end of the album fails to offer the same impact as the front six - 'Will I see you in heaven' is something of a return to form but even that track fails to counter the feeling that the album is petering out.

One criticism I would make of the Jayhawks generally is they lack their own distinct identity - as a reviewer I struggle to describe their sound without relating it directly to others and this in my view is the reason why they have not received greater recognition. An hugely enjoyable band they may be but there is no hint of revolution in their output and as a result they fail to sustain interest over the course of a long album such as this.

6 & 1/2 out of 10

Double whammy

2010-08-03T14:48:00.000-07:00

So today I tried a slightly new approach to the blog, rather than being sat on my portentous behind listening and blogging in perfect harmony I decided to get on my bike and ride. As a result this pair of reviews are briefer than recent but that hopefully won't render them any less interesting.

Eels - Electro-shock Blues

Anyone who knows a bit about Eels frontman Mark Everett (E) won't be surprised to learn that this album follows some of the darkest themes possible. E should have been on cloud nine following the critical and commercial success of previous album Beautiful Freak (including one of the standout tracks of the decade and as fine an intro as you'll ever hear in Novocaine for the Soul). Tragically it proved to be a time of unquantifiable loss as he lost his mother to terminal cancer and his sister took her own life. It goes without saying therefore that these events directly influenced Electro-Shock blues. What is surprising perhaps is that it is not as difficult a listen as one might expect. Eels continue to innovate on this album showing a novel aptitude for using strings and jurassic five style beats together to compliment the laid back delivery of the vocal. This works most effectively on 'My descent into madness' - a sublime track which sees the subject coming to terms with his own incarceration:

the jacket makes me straight so I can just sit back and bake

you know I think I'm gonna stay

talking very loud but no one hears a word I say

I'm not the first to draw comparison with Odelay era Beck and though this understandably lacks the same pop hooks that pepper the work of Mr Hansen (Beck not Alan). One of my favourite tracks is Hospital Food - a jazz infusion which would not look out of place on a B-52s album. Despite these two wonderful tracks I did find that the experimental style did not always effectively compliment the lyrics. A technique Eels have used to good effect before is the haunting use of childlike instrumentation but on an already bleak affair I found this added little merit to the album. To end on a positive - so does the album. It finishes with the album's finest moment - PS. I Love You, which is a redemptive song based around the central couplet; 'Everyone is dying; and maybe it's time to live'.

In many ways this album flys in the face of normal releases, there is no agenda for commercial success - this is song writing as therapy and I applaud E for doing so. However it is perhaps a reflection on me that I felt at times like I was intruding on private grief.

6 1/2 out of 10

The Courteeners - Falcon

I have only had two previous experiences of The Courteeners. One was on a weekend in Manchester in an Indie club where I was feeling upsettingly old as all around appeared to be yet to enter their twenties. A song came on that provoked exuberant scenes and I had no idea what it was. I was duly informed it was 'Not nineteen forever' by The Courteeners and I was impressed that a song could instigate such a response. The second experience was catching a short snippet of their T in the Park set this year on TV. Again, the crowd were relishing singing along to every word and I can honestly say I paid no attention to the actual music. This turns out to be for the best. On listening to Falcon it appears that the Courteeners have been bottled up from five years ago and let loose on the world today. Yes there are some clever lines but whereas I imagine the writer thinks he is rivalling the Arctic Monkeys the woeful Wombats would be a more apt comparison. I hope for their sake that they have developed a sterling live reputation as on record they are desperately lacking in any sort of imagination. Musically they are completely unadventurous - settling for plodding, lifeless generic indie background that recalls the barren days where garbage like The Datsuns were considered worthy of airplay. Lyrically the trick seems to be find a rhyming couplet, repeat ad nauseum and chuck in the odd reference to something uniquely English. It is as if they heard Alex Turner use the line 'Can I buy you a tropical reef?' and decide that was why the Arctic Monkeys debut was so wonderful. Whatever people say I am... was a dazzling, exhilirating album with Turner's lyrics masterfully capturing the social context in which they had grown up. By comparison The Courteeners are tired and laboured. The message really hit home on one of the final tracks which declared 'The good times are calling...' - so why does the singer sound so unbelievably bored! Oh that's right he's read his own lyrics. The good times were calling; the album was coming to a close although not without one final sting in the tail - I got a puncture.

2 out of 10.

Alcohol provokes debate shocker

2010-08-02T07:01:00.000-07:00

What a tremendous weekend - full to the brim it featured a wedding, a christening and barbecue. An undoubted highlight was the discussion in Leeds on Saturday night centred on choosing three songs that could be considered the best of the decade 2000-2010. Now being the type who enjoys such things I made a two CD selection reflecting the best of the decade at the turn of the year so I felt well equipped yet there is no denying that such a decision is tough. It was interesting that almost immediately two friends agreed on one inclusion. B.O.B. by Outkast is a choice that is hard to disagree with - it stills sounds as fresh and important today as on its release. It is sometimes easy to forget that Outkast have not always existed in the mainstream and this magnificent track shared an album with their major cross-over success Ms Jackson. Bob has a relentless urgency which in many ways was an apt dawn to a new age.

Of course it would be entirely remiss of me not to share my own thoughts on such a 'hot topic.' The chat took place two days ago now and I've had time to reflect but I confess to in no way having my choices set in stone. I fully expect to return to this blog in the future filled with rage at my decision - in some ways the perfect circle.

Anyway here goes:

Sigur Ros - Hoppipola

'Jumping into Puddles' as it is known in Iceland is perhaps the most offensively over-exposed piece of music in the last ten years. Only Romeo and Juliet's balcony scene can compete. Lazy television directors the world over have taken great pleasure in using it as the backing to many a tedious montage. Most disgracefully I remember it being used to commemorate Scottish Gargoyle Andy Murray edging past some poor Slovak in an early round of Wimbledon. If ever a piece of music did not reflect the context of its use it was there. The reason? This piece of music is stunningly beautiful. I will make my peace with those employed in the visual arts by applauding the use for the BBC Planet Earth series as in that case it really did tie in superbly with the subject matter it was used to promote. I've said on here before of my belief that music is about emotion and Hoppipola is a stunningly upliting work of art that is genuinely life affirming. I probably should be ashamed to say I purposefully chose to have it on my ipod when I watched the sun rise over Colca Canyon in Peru but I'm not. It is music for the soul. An area of music I gain a lot of pleasure from without having any level of knowledge about is Classical Music and Sigur Ros appear to have managed to create a moving, theatrical piece which had it been composed by Verdi or Puccini would be considered up there amongst their finest work. An honourable mention while I'm at it to Arcade Fire who I feel tread a simiar path and are very unfortunate not to make this list.

Ryan Adams - Elizabeth, You were born to play this part.

Yes I know, I'm predictable. The inclusion of a Ryan track was a given but the choice might be a little more surprising. The album 29 it comes from was not the receipient of heavy critical acclaim - in fact in some quarters it was given something of a slating. Quite incredible when you consider that it contains for my money, the finest love song of the last ten years. Elizabeth certainly isn't a conventional tale of love; the narrator does not live happy ever after, in fact he appears to live a tortured existent frozen in a state of utter love that cannot be reciprocated. The feeling of losing someone is hard enough when you still feel so deeply for them, but to know in your heart that it is irreversible is simply interminable. The song to me is about heartbreak and lost love but this doesn't necessarily mean love between two adults. Adams himself has suggested the song was inspired by close friends losing their baby. A dark, painful experience articulated described by Ben Folds in the astonishingly personal Brick . Adams communicates this hugely complex emotion so effectively I'd be lying if I didn't admit to feeling a bit tearful during more than one listen. Blue Sky blues from the same album and Shadowlands have a similar impact but it is the simplicity of Elizabeth which sets it apart. The verse is emotion laid bare, the words are not particularly clever but are searingly honest. The chorus is pure heartbreak:

Wherever you are, I hope you're happy now

I'm caught in a dream and I can't get out

I'm caught in an endless dream

And I'm not strong enough to let you go

It takes you to the brink and then offers an enchanting lilting outro. My words simply don't do it justice. Genius.

Now for a third and final choice. There are several magnificent songs that spring to mind that; Transatlanticism by DCFC takes some beating, Landlocked Blues is Conor Oberst's finest moment and Rise up with Fists by Jenny Lewis is a glorious impassioned rail against hypocrisy. However I can't help feel I'm in danger of representing a whole decade as a melancholic struggle of self-doubt when in fact it was the most fun I've ever had! So with that in mind I'll leave this blog with a song that is pure pleasure. The reaction of a good friend's normally restrained brother was testament to the power of music to turn a composed, grown man back into a 4 year old boy on a bouncy castle.

Here's the performance in question. Enjoy.

If you don't disagree in some way you are downright strange so please leave a comment and let me know your views.

Sharing the love

2010-07-30T03:44:00.000-07:00

I have come fairly late to the party when it comes to blogs - only really discovering them after prompting from my wonderful friend Mr Ruddles.

It's early days and I intend to expand this selection as and when I find new sources of interest but here are a few of my current favourites that you may wish to check out.

I am Fuel / You are Friends - Heather Brown's blog is a must for true music fans looking for a gateway to interesting stuff old and new. Her mixtapes are outstanding, particularly her latest Summer mix but the real value is her superb ear which has picked up gems like The Mynabirds who I desperately hope are destined for big things.

It's Been a Long Time, General - Peter Turner's blog offers genuine insight and discussion on a wide range of varied films. His is in fact the blog that inspired my own. The premise is as simple as it gets - Pete watches films, Pete writes about them. The selection are not what you would expect, and at times you may strongly disagree with his views, but the passion, knowledge and above all quality of writing can't be ignored. This review of the Burton/Depp combination in two lesser known films is one of my favourite.

Luther Burger - How to categorise Luther Burger? Hmm pop culture maybe? It is basically an articulate account of the likes and dislikes of a twenty something living in London and indulging his loves - chiefly food, music and movies. This might not sound like the most inspiring way to spend your valuable reading time but there is an undoubted charm and intelligence about the writing. The gig reviews offer a truly honest appraisal and avoid the fanboy platitudes so prevalent in online blogs. The food focus though is absolutely fascinating from someone who works in the indsutry and has been known to worship at the church of Takeaway. He is a little obsessed with Michael Cera though - you have been warned!

Zonal Marking - A dip into my love of the football. This site has saved me considerable time as I no longer have to bother with the transfer gossip packed bullshit of the majority of football sites. This guy has Jonathon Wilson levels of knowledge and offer tactical analysis of key games along with articles about the development of the game. This might sound like it would put you to sleep (and for those of you who dislike footy it will) but give it a try. It will certainly give you a new perspective on some aspects of the game and as a long time football obsessive it has made me re-evaluate my beliefs on how the game should be played. Most importantly Alan Green and Jamie Redknapp are nowhere to be seen.

Ok that's your lot for now, I will post periodic links and hints.

I'll leave you with a Goat showing Usher how it's done:

Nostalgia calling

2010-07-29T05:01:00.000-07:00

Pop Punk. Two words that when fused together describe one of music's most derided genres. The case for the prosecution is a strong one - remember Good Charlotte? All American Rejects? Horrific. However the description could also be used appropriately for some truly excellent bands - Blink 182, The Ataris and the criminally under-rated Lit spring to mind. Another band who could join this list was chosen through the medium of a shuffle for me to review. For a certain generation this choice will likely inspire some good and embarrassing memories.

Right first of all let's get the embarrassing memory out of the way. As a naive 18 year old I visited some mates at the university I would later attend. They were going to a Sum-41 concert whilst I enjoyed a few pints of red wine. This was a terrible idea and the end result involved vomit and buses. I would therefore be entitled to associate Sum-41 with negative memories but I really don't. I genuinely think this is a fantastic album which although unable to back up it's bolshy title comes pretty damn close. 'Crazy Amanda Bunkface', 'Summer' and 'Heart Attack' are harmless but forgettable tracks which certainly warrant the description of Filler but they are more than outweighed by some true brilliance. The album is produced by the late Jerry Finn who made his name producing other successful punk acts like Offspring, Rancid and most successfully Blink-182. Finn knew how to transfer somewhat chaotic live performances effectively into the studio so he was a perfect choice for this album. Fat Lip has long been considered a classic and arguably the finest example of the genre (although in my view My Own Worst Enemy deserves that accolade). The beauty of these songs is there really is no waste - Fat Lip clocks in at just shy of three minutes and delivers a perfectly judged punch of youthful exuberance. Sum 41 have been likened to the Beastie Boys and though they never reach the lofty lyrical heights of Licence to Ill that same spirit of reckless abandon is undoubtedly present in Fat Lip. All the songs do follow the same blue print which is a little tiresome but taken as joyous nuggets of pop punk gold Motivation, Nothing on my Back and In Too Deep really do take some beating. An unexpected highlight to the album is 'Pain For Pleasure' - a witty homage to Maiden/ACDC which hints at the influence of metal which becomes more prominent in Sum 41s later (and lesser) albums.

Many of you might find it an odd departure from my two previous reviews to be so effusive in my praise of what is essentially a pop record. I believe music to be about evoking emotion and whereas Whiskeytown may be capable of articulating heartbreak, and Pavement able to transmit introspection and longing, neither come close to Sum41 in terms of the ability to provoke mindless joy.

7/10

Freddie's prize...

2010-07-29T02:36:00.000-07:00

Ok so the Mercury list was announced recently. 'Who gives a shit?' I hear you cry. Admittedly like all subjective industry awards it is a creative veneer for a basic sales push but I don't mind that - in fact I celebrate it. It is something of a paradox that with so much music available on the internet and blogs aplenty for many people their contact with interesting, rich music is minimal. For many their main channels of musical exploration amount to national radio and video music channels. Thank christ for 6 music but that's a blog for another time. The Mercury list is rightly considered a selection of creative, quality music produced by real artists as opposed to brands. The real value of the contest is not the contest itself but the fact that many people who otherwise would not come into contact with artists such as I Am Kloot will seek them out for a listen as a result of the Mercury list. Last year's choice of Speech Debelle was widely criticised for being too clever, yet the real problem with the choice was it simply wasn't very good.

So who do I think should win? Well having already established that the contest itself isn't important I feel freed from the burden of significance. The early favourites are The XX and Dizzee Rascal. I have listened to both albums on a number of occasions and I fail to see the excitement in either. The XX is perfectly good background music but they are doing nothing that Stars for example don't already do much more creatively. I'm a long term admirer of Dizzee and unlike some applaud his mainstream success yet no way can Tongue 'N Cheek be regarded as his best work. It lacks the lyrical imagination and social commentary of Boy in Da Corner and though an above average pop album it shouldn't win this award (a Brit is probably a dead cert). Any winner from four would for me be a fine reflection on the year's music - Laura Marling, Wild Beasts, Mumford and Sons and Paul Weller. There is much to applaud about each of these artists. Wild Beasts are of course from the mighty Kendal and as a result are already winners in life. Two Dancers showed clear improvement on their first album Limbo Panto and they have a great talent for crafting interesting, challenging yet accessible songs. Mumford and Sons have rightly received huge acclaim on both sides of the atlantic, particularly for their mesmeric live performances. They seem to have come along at the right time with the door recently opened by Fleet Foxes and Band of Horses. These songs seem to have real soul and make a connection with the audience. If you like M&S I urge you to seek out Fanfarlo who I suspect will similarly cheer your heart. Weller has frustratingly not produced a great solo album with the possible exception of Stanley Road. How brilliant then that such a talent has put together a wonderfully coherent album of timeless songs. I'm not sure how much Wake Up The Nation is a document of our times but it is a fantastic album. Which brings me to my choice, Laura Marling 'I speak because I can.' Her first album was one of my favourites and I had high expectations for her follow up. Those expectations have been blown out of the water; the song writing has gone up a notch but the true masterstroke was enlisting Ethan Johns to produce who brings his unparalleled talent for bringing out the personality of the person behind the music. If you don't already own this album what the hell are you doing?

Nothing to do with George W or sodding vampires

2010-07-28T13:06:00.000-07:00

Confession time: I have in the past pretended to know about Pavement long before I actually listened to them. I blame Damon Albarn - when Blur's excellent self-titled album came out the standard critic response was 'rips off/inspired by' Pavement (depending on the view). For an albeit brief period lo-fi was king as even the biggest band in the world at the time (fuck off Bono) REM experimented with the genre. So blink and you'll miss it, Stephen Maulkmus was an acclaimed rock star and his final album as Pavement was 'Terror Twilight.' So named after the most dangerous period for traffic, which is nice.
The album has been described as having something of a Radiohead feel thanks to Nigel Godrich's production and the harmonica hollywood cameos of Johnny Greenwood. Make no loose aspersions though - this is unmistakeably Pavement. The bold move to kick off with Spit on a Stranger may have been record company influenced being the most instantly commercial effort on show but it certainly proves a worthy welcomes to Maulkmus' message. If you aren't familiar with Pavement's previous albums then I highly recommend you seek them out. Those who have will understand what I mean when I say everything sounds fuller and more precise on this album than before. Pavement are in a good place and the confidence shows in the willingness to show off musicianship and vocal abilities whilst erring on the right side of self-indulgence. The famed fuzzy-sonic sound and experimental approach to melody still remains - as brilliantly evident on You Are A Light. Not all of the album is happiness and rainbows as the rage comes to the fore in brilliant yet repugnant ode to the damage women can do 'Cream of Gold':

So much for destiny,
A pin prick on my knee,
The frost you paint
across our dead affair.
I sensed the toxic aura
from the second we touched,
You were stitched up venom
and I was the cursed from the Vedic.

The repetition of beige throughout the lyrics creates the image of a departing lover having taken all the singer's passion. All in all this makes for a striking contrast to the song that follows; Major Leagues is the lilting lament of a man dealing with lost youth and the reality of growing up. This may sound depressing subject matter yet the combination of honey vocals and beautifully intwined guitar makes for an uplifting experience. However this certainly falls short of being the perfect album; Maulkmus' style is on such a knife edge that any drop in form stands out a mile and Ann Don't You Cry certainly falls short alongside many of the other tracks. It just goes to show that even bands of this standard are susceptible to the odd filler track. Similarly (and this might well lead to some abuse) Billie just doesn't work for me. One tangent too many is followed which undoubtedly detracts from the overall impact of the song. There is a swift return to form though as Speak. See. Remember. succeeds precisely where Billie fails showing the fine margins that this style of music operates under. I'm surely not the first to draw comparisons between Maulkmus and Beck and nowhere is it more apt than on this track which wouldn't be out of place on Modern Guilt. I think Godrich deserves credit here as like on the rest of the album he resists the temptation to meddle and keeps the production refreshing clean which as I said earlier provides an opportunity to appreciate the musicianship in a way earlier albums simply didn't offer. The Hexx is a fine example of this - it is tragic that this was the final album Pavement made as it really documents a band in the form of their life. Maybe Maulkmus knew this as he finishes with the absolutely triumphant Carrot Rope. It quite simply is the most brilliant song ever to involve a wicket keeper!

Pavement fully deserve the description as the Velvet Underground for the 90s. This is a fine album with minimal filler and will stand the test of time as the legacy of a quite brilliant band.

8/10

Spit On a Stranger live
Cream of Gold live
Buy from Amazon

A fitting start

2010-07-28T12:08:00.000-07:00

Okay cards on the table, Ryan Adams is a God to me. As a result I felt slightly guilty when Houses on the Hill came up on the ipod as it is from an album by none other than Ryan. However rather than his solo work which I listen to more than any other it comes from Strangers Almanac by Whiskeytown - his now defunct band who became alt-country royalty.

I really haven't listened to this in full more than once before and the immediate thing that strikes me is how crisp the production is. There could certainly be an argument that it is overproduced as the harmonies, violin and acoustic picking all sound clean as a whistle. I very much doubt this holds up as a criticism but it is a marked contrast to the at times rugged and highly personal feel of Adams' solo output. It's interesting to note that the lead producer was Jim Scott who is most closely associated with Wilco and has also worked with Crowded House, Tom Petty and Radiohead. This is a man with formidable credentials and experience of producing large bands which perhaps is an explanation for the polished end product. These songs sound perfect for middle of the road US radio stations in the Mid-West. Inn Town is a frankly sedate opening which is forgotten within moments of a new song beginning. Not that things become noticeably remarkable until 16 Days appears four tracks in. A gorgeous story telling song which hints at what was to follow in Adams' solo career - there is a hint of Springsteen here although the writing is very basic by comparison. The improvement continues as Everything I Do follows straight away. This is the stand-out track for me with Wilco style understated instrumentation supporting a raw, open-hearted vocal delivery from Adams. The lyrics encapsulate the frustration of a young girl growing up - hardly what you'd expect from a band of twenty something blokes. I still can't help but feel an opportunity is missed to explore the emotional state as room seems to be made to allow for a needless bit of guitar noodling but I guess being in a band is about compromise. The hammond organ plays a key role in this song. Then I'm afraid the album goes into drift - Houses on the Hill are plodding at best, Turn Around is a half-hearted attempt at The Cure, and the other tracks fail to catch fire. Interest picks up again with Avenues which is a short but poignant lament of a man who can't accept his love has moved on. The album closer Not Home Anymore is a sense of what could have been as it brims with brooding menace of a relationship gone bad. It is a real shame that it is one of only three or four songs where the band as a whole gel together. There are too many fillers here which so often are the product of compromise between members. It is no surprise that touring this album saw numerous line-up changes in no small part as a result of Adams' volatile character. I guess some people just aren't meant to be part of a team.

Enjoyable enough but too often forgettable given the talent on show.

5/10

16 days live
Buy it from amazon:

The big oidea...

2010-07-28T11:49:00.000-07:00

Right massively inspired by the great Peter T and his magnificent movie critique I'm going to do the same sort of thing except with albums, and less well written obviously.

My aim is to avoid the scrum for reviewing new releases and instead listen to music I have acquired at any point. I have over 13,000 songs on my iPod so the reality is most I have rarely listened to and some I probably never have. The range varies from alt-country to Opera to African Hip-hop so hopefully we'll get a good flavour.

The initial plan is to simply shuffle songs and the THIRD song chosen I will instead listen to the album it belongs to in its entirety and post my thoughts on here.