This is happening without your permission

huggy-bear-herjazz

Ah…1993. It did feel like revolution was in the air, even to those of us isolated from so much, living for a glimpse into an alternative reality provided by reading NME (it used to be more radical, honest) and listening to John Peel. I read George Orwell’s Keep The Aspidistra Flying and it changed my life, making me question the politics that I’d accepted. ‘Every intelligent boy of sexiteen is a socialist’ it says. Some of us idealistic 32 year olds still try to hang onto that.

In just a couple of years bands from the ‘indie/’alternative’ spectrum would take on the charts, and it seemed like a victory until a certain lad’s mag started seeming to make it okay to be a lad (for which read lager lout, and sneering at anyone who attempted to stick up for oppressed minorities). Girl power ultimately became more synonymous with the

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Spice Girls, but for a while, there were many female fronted bands who would terrify the bejaysus out of everyone. That is, they pointed out that guys groping girls at gigs was not on (believe me, I wouldn’t have), and that there was still a lot of misogyny going on in the music business, and indeed in life in general. The school I was at refused to let girls wear trousers; quite why they weren’t challenging this I don’t know, and the female staff were not confronting the powers that be about it either). Looking at John Peel’s Festive Fifty for that year, the amount of female-fronted bands who gave the impression that they were going to kick a lot of backsides was quite a force to be reckoned with, and they hailed from both sides of the Atlantic: Hole (before they signed to Geffen), Voodoo Queens, P J Harvey- and Huggy Bear.

Huggy Bear are perhaps now best remembered for an episode when they caused chaos on TV show The Word. Some people seem to remember The Word as being this era-defining show, I don’t know that it was (though a few years later, a version of it was sanitised, presented as teatime entertainment and called TFI Friday. oh, come on, you KNOW I’m right). Having performed their song ‘Herjazz’ (which I’d heard on John Peel, natch, along with Cornershop), they were not amused about “a report on 2 American models who called themselves “the Barbi Twins”. Huggy Bear and their fans became upset at this and started shouting at the show’s noticeably uncomfortable presenter Terry Christian. They were violently ejected from the studio and a spokesperson for The Word later said that one of the band’s friends had “bit the face of a member of our production team.” The performance was given a Melody Maker cover story, the event being compared to the Sex Pistols’ Bill Grundy incident.” (This seems to be quoted verbatim about the internet; hence why it is in quote marks; they are not my words and I am not sure who to c

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redit*). I missed the performance, but the fact that it happened seemed pretty radical. As did the rumour of them playing women only gigs, though it appears that they only did two, one with Bikini Kill and one with Hole. This led to discussions about whether this was discrimination, and there was a fair amount of attacking the girls on the grounds that they couldn’t play their instruments. ‘Scuse me?! Yup, this was nearly two decades after punnk, and people were still coming out with this tripe.

Alas, the promised revolution never happened. The band broke up in 1995. As to whether there wasn’t an influence going on, I beg to diffe

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r, ever so politely: Sleeper, Echobelly and Skunk Anansie may have had more commercial success over the following years, and may have been less overtly feminist, but they continued to challenge the traditionally misogynistic and sexist ideas about women just being there to look front the bands and look pretty. And Riot Grrl, as it was known, has had a far longer lasting influence than the so-called ‘New Wave of New Wave.’ **

I’d never forgotten them, though I couldn’t get my hands on the 7″ at the time. Then yesterday, a mere sixteen years later I found it (and yes, in a plastic bag, not a proper sleeve. Proper indie, kids). It still has the po

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wer:

Huggy Bear -‘Herjazz.’ mp3

…and because I think they belong with this post

Voodoo Queens -‘Supermodel Superficial.’ mp3

P.J.Harvey -‘Dress.’ mp3

Hole -‘Beautiful Son.’ mp3

Bikini Kill -‘I Like Fucking.’ mp3

Huggy Bear myspace tribute

* It is possibly Grrrls: Viva Rock Divas by Amy Raphael

** I should admit, though, that I do still have a copy of the mini-album by S*M*A*S*H

Summer’s here…

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Blisteringly

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Well, by the standards that we’re used to, aircon is something that most people are workplaces don’t have because ther

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around the corner and the possibility that a Scot might, just might, win Wimbledon.

However, we’re passed the summer solstice, and as folks are prone to annoumcing (round about June 24) ‘The nights are fair drawing in…’

There’s only one track that I could possibly post:

Field Mice -‘September’s Not So Far Away.’ mp3

Mind you, after a few weeks of the festvals in August (yes, that

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is festivals plural) this might seem appropriate too, if a little cynical:

Bright Eyes -‘Tourist Trap.’ mp3

Presenting…The Heavy

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There’s some great soulful, jazz mad…thing going down in the the southwest of England. There always has been, thinking of The Pop Group, Massive Attack, PJ Harvey

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…and now to that list, add The Heavy.

The Heavy come from Noid, a tiny hamlet situated to the south west of Bath. They are vocalist Swaby, guitarist Dan ‘T’ Taylor, bassist Spencer “Big Daddy Spence” Page and drummer Chris El

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lul. Their debut album Great Vengeance and Furious Fire was released in 2007, and their sophomore release The House That Dirt Built will be released in Se

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ptember in the UK and October in the US. They switch, seemingly effortlessly from Sonics-inspired mayhem (‘Oh No! Not You Again!!) to Curtis Mayfield-style songs like ‘How Do You Like Me Now?’

This is their new track, ‘Sixteen.’

The Heavy -‘Sixteen.’

Like this? Thought you might…

The Heavy -‘Sixteen.’ mp3

For sheer contrast, two of their previous singles

The Heavy -‘Oh No! Not You Again!!’

The Heavy -‘Set Me Free.’

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The Heavy’s myspace

Does there have to be a reason?

arctic-monkeys1
It’s been a stressful time, but family, friends, the cats, and most particularly Mrs. 17 Seconds are keeping me sane.

Have been having a bit of an Arctic Monkeys session this evening, and that’s done a fair bit to lift my spirits. Funny to think that when they first appeared, I dismissed them as Libertines copyists. I still th

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rt (and that

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got rammed down all our throats a decade or so ago), but Alex Turner is an excellent lyricist a

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nd tunesmith. There’s supposed to be a new album later on this year, produced by Josh Homme, of Kyuss/Queens Of the Stone Age fame, no less.

Still think this is my favourite Arctic Monkeys song of all, in true indie style a ‘single between albums’ from 2006:

Arctic

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Monkeys -‘Leave Before The Lights Come On.’ mp3

Enjoy…x

Album Review: Monty Python’s Flying Circus – The Infamous TV Soundtrack 1969-1974

monty-python-de-wolfe

De Wolfe Music Presents: Monty Python’s Flying Circus -30 Musical Masterpieces from the Infamous Television Series 1969-1974 (De Wolfe)

First things first: read the above carefully. This is the soundtrack to the groundbreaking and still celebrated TV series, so if you are looking here for ‘Always Look On The Bright Side Of Life,’ ‘Every Sperm Is Sacred’ or ‘the Lumberjack Song’ this is not the compilation you are looking for. (That’s called Monty Python Sings and has been available for twenty years.)

So, yes, this is what is called ‘Incidental music.’ Except of course, this being the Pythons, a comedy troupe made up of six geniuses, nothing was incidental. The compilation starts off with ‘The Liberty Belle’ which always ended with that splat. As the sleevenotes point out, on its own, the music may seem innocent enough, but to a Monty Python fan there’s a hidden layer of comedy in each track.

The thing about the Python’s humour, be it TV, Film or Live was the sheer absurdity of so much of it. In some way the ‘innocent’ music made things that little more believable. Whilst many of the songs from the films have been widely available for years (and in the case of ‘Bright Side’ a hit single), this is the first time that these recordings have been available. De Wolfe, responsible for last year’s staggeringly comprehensive Kung Fu soundtracks have put this compilation together and for a Python fan it’s a dream come true.

Will it appeal to people who aren’t Monty Python fans? There are some of this disturbing breed of people around, they worry me, and I think we’re just better ignoring them. They might go away…

For the rest of the populace, this is a compilation long overdue.

****

Monty Python’s Flying Circus -30 Musical Masterpieces from the Infamous Television Series 1969-1974 is released by De Wolfe on June 29.

The opening credits

Spot The Looney

Blackmail

Michael Jackson Remembered

michael-jackson

Michael Jackson has died at the age of 50 in Los Angeles. Whatever the rumours, the whispers, the suggestions and some uncomfortable feelings at times, there was no doubt that the man wrote and performed some amazing songs, influenced and soundtracked a generation.

As an eleven year old, I remember knowing on my birthday in 1987 that what I was spending the £5 from my Grandad on was Jackson’s latest album, Bad. The title track had been a massive hit, and indeed almost every track on the album was a single, and a hit at that. It did not disappoint – and it still doesn’t.

It was announced that Jackson was going to be playing Wembley Stadium. The tickets were £17.50. The place held 72,000 and sold out within days (bear in mind that there was no internet then, which meant people had to queue in person or ‘phone; on the other hand, touts couldn’t flog them on ebay within minutes either). My parents, perhaps not unreasonably in retrospect, refused to shell out to pay for them, and I remember being bitterly jealous of those who got to go. But when Jackson arrived the following summer it seemed like the whole country was beside itself. That Christmas the two big films at the cinema were Who Framed Roger Rabbit? and Moonwalker, the latter starring Michael Jackson. It was an odd mixture of music videos and a bizarre film in which he was a ‘benevolent gangster.’ It was odd, but fun at the time. His autobiography Moonwalk had also come out that year. He really was a big deal.

Thinking about Moonwalk, and the

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comments on Radio, TV and the Internet already, he’d had a hell of a career over forty years, and that’s leaving out the details of his private life. It started back in 1969 when after a couple of independent singles the Jackson 5, featuring an eleven year old Michael signed to Motown…

Jackson 5 – ‘I Want You Back’

His solo career started in parallel to the Jackson 5 in the early seventies and truly came into its’ own with the release of 1979’s Off The Wall album. Produced by Quincy Jones, who would produce his next two albums, it captured the disco zeitgeist, and the NME has frequently included it in its’ list of the 100 best albums ever made.

1982’s Thriller album is the best selling album off all time – and it continues to sell because it is, frankly, absolutely fantastic. Jackson has been credited with breaking the colour bar on MTV. The title track featured a voice over from none other than Horror legend Vincent Price performing a voice over, and was directed by John Landis. (Landis’ film An American Werewolf In London had made a big impact on Jackson.) Other hits from the album included Beat It, with a guitar solo from Eddie Van Halen, at a time when Va

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n Halen were going stratospheric, and perhaps the album’s weakest point, a duet with Paul McCartney on ‘The Girl Is Mine.’ The following year, they collabor

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ated on another song together ‘Say, Say, Say.’

Perhaps the best song on the Thriller album was this, and nothing to do with a well-known tennis player either:

Michael Jackson -‘Billie Jean.’

In 1987, Bad was released, spawning its’ many hits. Despite the lead-off single being ‘I just Can’t Stop Loving Yo

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u’ which isn’t one of the album’s better tracks, the many hits kept coming. The video for the title track was directed by Martin Scorcese. ‘Man In The Mirror’ featured a montage of starving children which made for slightly uncomfortable viewing, but at least he gave the money to charity. UNLIKE A CERTAIN ENGLISH SLAPHEAD WHO USED A SONG ABOUT THE HOMELESS TO LAUNCH A VERY BIG ALBUM THE FOLLOWING YEAR, DIDN’T GIVE THE MONEY TO CHARITY AND THEN ANNOUNCED HE WAS VOTING CONSERVATIVE.

Umm, anyway, as an eleven year old, this was my favourite track on the album:

Michael Jackson -‘Dirty Diana.’

In 1991 he returned with Dangerous, and a string of collaborators in tow. Lead single ‘Black Or White’ the video for which can be seen here, included Macaulay Culkin, then the biggest child star in the world. Slash from Guns’n’ Roses played guitar, and KRS-1 rapped. The Jackson videos were an event, still: ‘Remember The Time’ starred Eddie Murphy,

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and Naomi Campbell appeared in the video for ‘In The Closet.’

Around this time, The Wire magazine, synonymous with left-field music had stuck Jackson on it

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s’ cover.

michael-jackson-on-the-wire. In the editorial that month, then editor Richard Cook stated: “if you also think that Michael Jackson is some addled freak making music for ten-year-olds, and not one of the creative masters of today’s black music, we’d like to suggest a different perspective.” The Wire included ‘Black Or White’ the following year in their list of Top 50 Rhythms of all time, commenting: ‘The facts about “Black Or White” are these: it’s discometal, a genre he more or less invented with “Beat It”, he’s singing for his life, to protect his honour, to declare his politics, it has a bass line like a funky needle-skip on a dust-covered record, and it’s affecting because it proves he knows how trapped he is – he’s as impassioned as he was on love songs ten years ago, but throws all the technique of passion, the little gasps and screams, at you as if they were easy and meaningless.’ Thriller also made The Wire’s list of The 100 Greatest Records ever made.

The nineties were a very up and down time for Michal Jackson. Though the records were continuing to sell, the rumours were getting louder about what he was like. In 1996, at the Brit Awards during a performance of ‘Earth Song’ Jarvis Cocker invaded the stage, fed up at what he felt was a completely over the top performance. ‘Earth Song’ had been the Christmas no.1 the previous year, one of many singles from the HIStory album.

For my money, ‘Scream’ beats it (no gag intended), not only as a video (Many of his videos were rumoured to cost into seven figures), but as a song, and features younger sister Janet, who was also making some pretty brilliant music of her own, and had been for a decade:

His final album Invincible arrived in 2001. NME summed up lead singleYou Rock My World‘ by pointing out that when Jacko was around, things were never dull.

And that’s pretty much an understatement. Remember him for the music and the videos, for that we could see and hear, and share. It would have devastated me in 1988, but twenty-one years later, it’s still no little shock.

Michael Jackson’s official website

Advance warning…Escape Act!

Well, folks, if all goes to plan, this will be Escape Act’s second single on 17 Seconds Records:

It’s called ‘Cabin Fever’ and is taken from their rather fine debut album Loosely Based On Fiction.

This is the video…and(biased as I am) I think it’s just as good as ‘God Says’ if not better!


Escape Act – Cabin Fever on MUZU.

We’ve had some nic

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Go and buy it if you haven’t already!

Escape Act website/Escape Act myspace

…and just in case you haven’t done so already, make friends at our Myspace page

Presenting…Member Of The Wedding

member-of-the-wedding

Member Of The Wedding hail from Glasgow.
The three members are ” Rory, who sings and strums the guitar, Louisa who plays bass, synth and percussion and Stephen

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who thumps the tubs and keeps the rest of them in time.” they got in touch with the blog a few weeks ago, and sent me a copy of their debut EP ‘Chapter & Verse’ which is out on Cosy Recordings. Limited to 300 copies only, it is well worth tracking down a copy.* And no, it is not on iTunes, I’ve just checked.

So what do they sound like? Well, they channel the songwriting skills of Jonathan Richman and the Go-Betweens with the spirit of The Vaselines, Josef K and Orange Juice, to name but a handful of influences. I’ve played this EP loads, and I can’t believe that if you hear this EP, which merits ***** in my opinion, that you won’t want to do the same…

So…what are you waiting for? Check their myspace here and go get a copy!

…and as always, once you’ve listened to the tracks, let me know what you think!

*check thei

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r myspace for details : )

Does there have to be a reason?

jimi_hendrix_02

It’s been quiet around here the last few days…many apologies.

But good to see people are still reading and leaving comments – and may anyone who’s spammed me spend eternity with Daily Mail readers with a soundtrack of Celine Dion, in the ninth circle of hell: the one that is

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reserved for betrayers.

Anyway, there are many good people in this world – and they deserve something good and life-affirming.

…so why not

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Jimi Hendrix Experience – ‘All Along The Watchtower.’ mp3

Album Review: Dion Roy

cd_cover_web_large

Dion Roy -‘Gallery.’ (Daily Honey)

Back in December, I came extremely close to chucking in the blog. I was fed up with takedown notices from the DMCA, and being used by people who were getting support from the blog only to turn round and mess me around. I’d been sent a CD of four tracks from America of four tracks by Dion Roy. As I sat down to mark in an empty classroom and feeling despondent about, well, everything, I thought I’d chuck o

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his friendly publicist when I emailed her to say I wouldn’t be doing the blog anymore.

It didn’t come to pass. The sampler was so strong that I started to remember why I was writing the blog. I may even have smiled at one or two points. The blog continued.

Dion Roy’s strength -and I mean this as a compliment – is in his simplicity. These are ten very nicely crafted songs. There is no ‘I wanna be the next Bob Dylan’ idiocy here, nor an ego that tries to cov

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er up mediocre music. It’s ten straight down the line gorgeous pop songs. Is it sonic innovation? No, and nor does it claim to be nor need to be. But in a world of so many copycat singer-songwriters, on the strength of this debut, Dion Roy is the guy waiting patiently to quietly deliver something very strong.

My favourite track – and the opening on on the sample

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r that stopped me in my tracks at the tail end of last year is ‘Wants It.’ It typif

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ies this album, slightly self-effacing and utterly endearing. After weeks of tearing my hair out, it makes me feel that there’s a meaning to this.

The lyrics are straightforward without being cliched -sometimes when you’re waiting for what might be an obvious rhyme, something else comes up instead. No rhyming fire with desire here. The voice is proof that easy on the ear does not equal easy liste

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ning, middle-of-the road naffness.

So what are you waiting for?

****

Dion Roy -‘Wants It.’ mp3

Dion Roy’s website/Dion Roy’s myspace