The continuing story of Dead Flowers

Dead Flowers Make It Bright

Reviewing Dead Flowers’ debut album Midnight At The Wheel Club at the end of last year I wrote: ‘I think most people would agree that there are songs that make you want to cry, and songs that make you want to dance. But the opening track on Dead Flowers’ debut album ‘Make It Bright’ makes me want to do both of those. And I think that’s got to be a first.’

As it happens, the album topped my end of year list, and ‘Make It Bright’ was no.11 in my Festive 50 list.

And ‘Make It Bright’ is out now as a single in its own right. It still deserves five stars. And if you haven’t heard the album yet…what are you waiting for?



There’s something awesome about three-pieces, it really is the magic number.

Glasgow three-piece Inuit are Chris Monan (guitar), Darren Gibson (guitar and vocals) and Andy McMillan (drums). So far they’ve put out two releases, the now sold-out At One Time, For A Time EP last year and last month’s ‘I’m No Sun Expert.’ The latter really is one of the most beautiful tracks I have heard this year.

Their debut album Don’t Forget You’re Here Forever is coming soon on Good Grief Records, and they are playing at Glasgow’s Classic Grand on April 10 (this Thursday). THey will be heading off on a co-headliner tour with labelmates Bianca at the end of the month.

This will see them play Dundee Redd Suite Studios (April 27), Aberdeen Cellar 35 (April 28), Inverness Market Bar (April 29 and Edinburgh Opium (April 30). In addition, they will play Bristol Stag & Hounds with support from Cleft on May 3.

The continuing adventures of SOAK and Chvrches


I’ve long supported Chvrches on this blog and back in February wrote about the first signing to their Goodbye label, SOAK.

Ahead of a gig this Thursday (April 10) in London at St. Pancras Old Church, SOAK has unveiled this rather fine cover of the tune that first brought Chvrches to wider attention ‘The Mother We Share.’ Whilst that is an electronic wonder, this version strips it down so that the vulnerability in the song is laid bare for all to hear. And hear it you most definitely should.

To download it, go here – you just need to put in your email address.

And because it goes with this post, here is Chvrches’ remix of Blud.

Album Review: Kirsty MacColl


Kirsty MacColl -‘All I Ever Wanted – The Anthology’ (Edsel)

Even reading about the death about Kirsty MacColl still saddens me, nearly fourteen years later. It must be fairly bittersweet for her two sons, Jamie and Louis, every Christmas, when the anniversary of their mother’s death – through no fault of her own – happened right in front of them. Her most famous part – that of the female protagonist on The Pogues’ ‘Fairytale Of New York’ became a million-seller and is rightly regarded as the nation’s favourite Christmas song.

Of course, there’s far more to Ms. MacColl than her death and ‘Fairytale.’ It appears here, of course, but it’s telling that it appears halfway through the second disc of this compilation. Not because I think it needed to buried (hell, I’m still not sick of 26 years later), but because as the other 42 tracks reveal, there was so much more to her than that song.

So we have a number of her singles from over the years, songs that were deservedly hits -‘Walking Down Madison,’ her covers of The Kinks’ ‘Days’ and a radio session version of ‘A New England’ recorded with Billy Bragg; singles that weren’t hits -‘They Don’t Know,’ ‘Terry’ and ‘In These Shoes?’ as well as album tracks that showed just how awesome she was on that format, too – ‘England 2 Columbia 0’ and ‘Us Amazonians.’

It’s a genuinely comprehensive overview of her career as you’d expect, and hope, and one I feel does her twenty-year career justice. It’s also got decent sleevenotes (so nice when us reviewers are sent these rather than just streams or downloads!); and is both a great introduction and fantastic round-up.


All I Ever Wanted – The Anthology is out on Edsel on April 7.

(not this version on this compilation but I had to share!)

Why I put together a petition about the scourge of touts


Like many people, I tried and failed to get tickets for Kate Bush live in London when they went on sale last week. It was annoying, frustrating and just one of those things. I’m not the only person who never thought I’d see her live -and had hopes briefly raised when the dates were announced.

My Mum – a Yorkshire lass through and through – brought me up to understand that life wasn’t fair. But what really rankled with me and so many other people was the way that within a matter of moments of tickets being sold out was how quickly tickets were going online for way more than the going rate. Snapped up by touts who had no intention of going but making a quick buck.

Like many unpleasant aspects of society, touting has been around for many years. It’s not just a curse in the music scene, but a curse for theatre and sport and other fields too. The only people who win are those selling the tickets (if you honestly think that someone who sells you a ticket on the corner is going to wait while you run to the box office to check if it’s legit and give you a receipt, then you probably shouldn’t be let out of the house unsupervised).

Touts probably fall into three groups. First there’s the traditional one, almost certainly male who hangs arounds venues going ‘any tickets? I’ll buy or sell!’ They will almost never give you face value for the ticket that your mate couldn’t take and you couldn’t find someone else who wanted. They will rip you off. They are not nice people. There are those who will argue that they are entrepeneurs and they are simply fleecing people who have more money than sense. This is blatant crap. They are the people who buy up the tickets so legitimate fans cannot get tickets and rip people off.

Then the second group: the ‘company.’ They manage to block buy, and sell on with ridiculous mark-ups online or in suspiciously tiny offices. They have no higher moral highground than the touts, except they probably have more chance of getting inspected by the tax office. Finally, there’s the e-bay tout or the deluded music fan. Stuck in their bedrooms, they buy four tickets and justify selling on three others at higher prices on e-bay within minutes on the grounds that they are legitimate music fans.

It was because of the Kate Bush debacle – something I do not blame her, her management or her promoters for, by the way – that I have set up a petition calling for it to be illegal for people to be able to sell on tickets for events such as sport, music and theatre above the face value price of a ticket, and calling for such behaviour to be an offence.

This is not against those people who got tickets fairly, nor is it against those people who pass on their tickets at face value when they realise they can’t go. I won’t get Kate Bush tickets -and I hope those who got their tickets really enjoy themselves. But those who seek to justify that they’re putting food on the table or that it wouldn’t be enforceable really shouldn’t be allowed anywhere near a venue.

The petition can be found here

Please sign and spread the word!

New track from Jack White


There have been rumours of a new Jack White album for a bit now, a follow-up to the awesome solo debut that was 2012’s Blunderbuss (and that’s not to mention the fact that the forthcoming Neil Young album appears to have had White’s involvement as well).

But it turns out -happily – that rumours of a new album were right – and his second solo album Lazaretto will be out on June 9.

According to NME this track ‘High Ball Stepper’ is not the first single proper – that will be the title track, but this instrumental track sounds like a taster for something utterly wonderful And I thought the aforementioned Blunderbuss was the best album he had been involved with since Elephant.

See what you think of this…