Here's a very 2023 Christmas song to end this year's blogging nonsense on. Amazed to see that the blog's just clocked up 700,000 hits. Hurrah! It's only taken 17 years...
Whatever you're up have a very Merry Christmas and Happy New Year!!!
Yet another music blog, blah blah blah...but wait...this is different...it's funky, fresh and new...oh...no it's not...it's just another music blog.
Whatever you're up have a very Merry Christmas and Happy New Year!!!
I've been meaning to post this for a couple of weeks now but as we're just a week away from the big day I'd better get on with it. It's a instant new Christmas classic from Captain Sensible and chums, with a video filmed in my home town too! Apologies in advance if this track gets stuck in your brain for the next few weeks...it makes a change from Slade though eh?
And if you like your jazz a little faster try this for size...
...and finally Wings where he co-wrote the classic Mull Of Kintyre, which stayed at number one for a chart busting nine weeks (at a time when getting to number one really meant something).
Back at Exeter Phoenix for the second time in a couple
of months, this time for a dose of BC Camplight (aka Brian Christinzio) who I last
saw waaaaaaaaaaaaaaaay back in 2007. Who knew then what a ‘shitshow’ (his
words) the next 16 years would turn out to be for him but with a quadrilogy of
critically acclaimed albums under his belt I had high hopes for this evening’s
gig.
BC (that’s Before Camplight) though Personal Trainer put us through our paces with a set that scaled the heights of Polyphonic Spree at their soul lifting best (see set opener Big Love Blanket) and got the booty shaking courtesy of the LCD Soundsystem-ish Rug Busters.
In a world increasingly stuffed full of AI generated pop trash and wannabe gangsta grime shite it’s refreshing to see a band (all 8 of ‘em too) that can really cut it live.
Speaking of cutting things live, just one song into his set and Brian’s keyboard’s a bloody mess (the result of an ill-advised attempt to spin a glitter ball like a basketball backstage, not realising that glass is a tad sharper than rubber) and his mic stand’s collapsed. With no one rushing to his aid an audience member steps up to hold the mic for the second song after Brian ruefully acknowledges that this is typical for a BC Camplight show.
It takes more than a bloody finger and knackered mic stand to keep a good man down though and, with his digit clotting rapidly and a new stand rampant we spent the next hour and a half in the company of a performer who’s weathered more storms than most and come out with s series of classic albums to prove it. Unsurprisingly a number of cuts from current album The Last Rotation Of Earth (a top 40 hit as Brian reminded us several times) get an airing, including I’m Ugly, tonight bringing to mind Robert Wyatt at his fragile best. You Should’ve Gone To School (from 2015’s comeback album ‘How To Die In The North) was another highlight and possibly Brian’s poppiest and most upbeat moment since his great lost track Lord, I’ve Been On Fire which he doesn’t seem to play these days. Shame! Pop it back in the set Bri.
With a top-notch band behind him and some great one liners, one addressed to a heckler, “Two rules sir…don’t talk to me during the show…or after it” and “Anyone been in a mental home?”, the whole set was a delight from start to finish and possibly not since Billy Joel in his 70s prime (hey, don't knock the Piano Man) has the piano been used to such fine effect. Addiction, mental illness and heartbreak may have fuelled Brian’s muse over the past 18 years or so but judging by tonight’s sold out show hopefully there’s (camp)light at the end of the tunnel for Brian now.
There was also this track too, possibly the only ska song in history about going to the dentist, cop a load of the lyrics...
PS: For those who like their jazz with some hippity hoppity rappity in it check out their new single with Doc Brown.
Regular readers of the Aid over the years (and
apparently there are a few of you…bless) will know that my live gig going
pretty much slowed to a dribble after we moved to Devon, mainly due to the frankly lousy
public transport (and the fact that we got rid of our car back in 2007). Our last train back home leaves Exeter at 10.55pm, which doesn’t
leave a lot of room for error, but the chance to catch up with the great
Jeffrey Lewis again was too much to resist. Would we catch the train…or am I
writing this from under a bush somewhere…oh the suspense.
Anyway, for those of you unfamiliar with The Phoenix it’s
a decent venue (more of an arts centre really) with an above average bar - I can
highly recommend the Mena Dhu Cornish Stout - just a short stagger away from
Exeter Central Station. Tonight’s gig was seated, which was a little unusual,
but given that I’m 103 I ain’t complaining. Opening act Moya Silk (sometimes a
band but tonight flying solo…her name’s not Moya Silk either but I forgot her
real name…as I say I’m 103) warmed things up nicely with some spiky grunge/Riot
Grrrrrrrrrrrrrrrrrrrrrrl tinged tracks including recent release Grotbag Girl, which
wouldn’t be out of place on a Kim Gordon album in my humble opinion. Moya Silk,
the band, play Exeter Cavern on October 31st.
I’ve lost count of the number of times I’ve seen Jeffrey Lewis over the years but it’s been a while since we last shared oxygen. Joined tonight by his band The Voltage I’m happy to report that he’s lost none of his unique charm, the only slight change being the use of a projector rather than a flip chart to illustrate some of his tracks, including brilliantly witty summaries of Star Wars Episode 4, The Great Gatsby and part 7 of his history of communism…you don’t get that from a Megan Theeeeeeeeeeeeeeeeeee Stallion gig do you eh? Lyrically Jeff pisses all over…well, pretty much everyone…and it’s a constant source of amazement to me that he’s not revered but there we go, give it another 30 years and maybe the rest of the world will catch up. Tonight I particularly enjoyed his Covid tracks (they’re just begging for an album release) and a speedy thrash through Except For The Fact That It Isn’t, which is rapidly becoming my theme tune.
PS: I had the great pleasure of briefly meeting Jeff after the gig before making a quick dash to the station, making the train with…ooooh…a good four minutes to spare. What a bloody lovely bloke.
PPS; Bought one of his bootleg CDs and a signed UK tour poster to add to my stash of Jeff stuff, the lady in front of me dropped £100 on merch which tells you something about the kind of fandomania that Jeff brings out in people.
Co-written with Ed Harcourt it's top notch pop stuffed full of instantly memorable tracks, several of which remind me of other tracks but I'm buggered if I can remember what they are. Maybe that's why the album's called Familia (no, I know it's not but I can't resist a bit of mild punning). She even strays into folk territory in Unrequited (surely ripe for a Marc Almond cover version?).
PS: For extra summertime fun have a listen to The Ripps' Holiday. How the hell can this be 16 years old?!!! Good grief I'm ancient.
Another year, another Let's Rock (our sixth I think) and as usual it packed in more 80s acts than a KTel Raiders Of The Pop Charts album (remember them kids?). First up Livin' Joy, Neal X (Marc Almond's musical foil for the past decade or two and former member of Sigue Sigue Sputnik), Janet Kay (pictured above) and Odyssey, all of whom did a couple of tracks designed to warm up the crowd which, let's face it, is a bit of a challenge at our age.
Blancmange up next. Always a favourite of mine and Uncle Neil gave us a particularly spirited rendition of Livin' On The Ceiling in an all too short set. Speaking of short sets who the hell gave Hue and Cry just 20 minutes?
I was halfway to the loo/bar when they came on, kicking off with Looking For Linda, and managed to dash back (sloshing pints in hand) just in time for the remaining three songs including the truly funktastic Labour Of Love. Give 'em an hour next time please.
Sinitta had a bit of a wardrobe malfunction and threw her toys out the pram, berating her poor dancers when she couldn't find her Toy Boy t-shirt appropriately enough. She could've borrowed Roland Gift's jacket if she'd waited around for a few minutes.
Gift's one of the 80s great lost voices in my humble opinion. Fine Young Cannibals were massive for a while but I believe he packed it all in to spend time with his kids. Fair enough. That voice is still in fine form though, especially on a spunky run through one of FYC's finest ska/jazz/rock/pop fusions Johnny Come Home.
From one Brummie to whole bunch of 'em...The Beat...and I was dead chuffed to see Dave Wakeling up there as I was expecting the Ranking Roger Jnr version (nowt wrong with that but I'd seen that version...with Ranking Snr before). Wakeling still has that fire in his belly, ruefully noting that the world's in just as much of a mess now as it was back in the very early 80s when recession, inflation and the imminent threat of nuclear war was just a moment away.
Still, he did play a light and breezy Can't Get Used To Losing You and awesomely brooding Mirror In The Bathroom, so if we all go up in giant mushroom cloud next week I can die a happy man.
Next up The Farm. Lead farmer Peter Hooten looks barely a day older than back in the late 80s/early 90s...but maybe he just looked a bit knackered back then.
Anyway, I finally got to see 'em do Groovy Train live so I could do that weird Bez type dance with my hands in the air and All Together Now, possibly the only top 5 single to fuse lyrics about a World War 1 footie match with music from Pachelbel's Canon.
I had reservations about a Fergal Sharkey-less Undertones but 'new' (24 years and counting) lead singer Paul McLoone does a top notch job of delivering some of the finest two minute pop songs the world's ever heard.
He's got a bit more swagger than Fergal and managed to blaze through everything from Jimmy Jimmy to Here Comes The Summer (a set and festival highlight for me) to the anthemic Teenage Kicks without seeming to pause for breath. Alright!
Having stood at the front for 6 hours or so we needed a wander so we only heard Go West in the distance but they sounded okay.
Still with me? Good. Nearly there. Midge Ure next and it was nice to hear Fade To Grey get an airing again but it was the twin classics of Dancing With Tears In My Eyes and Vienna that got the biggest cheers.
I love Tony Hadley. I'll just put that out there if he fancies a pie and pint one day.
Forty plus years on from Spandau Ballet's first hits that voice has mellowed and warmed like a big piece of brie left out in the sun. He makes it all look and sound so effortless (and this after playing a gig in Italy the night before). Gold, True, Through The Barricades, To Cut A Long Story Short...all backed by a band that clearly love playing this stuff as much as Tone does. Surely a Glastonbury legend slot beckons?
All too soon we were down to the last two acts, OMD, who seemed to be the highlight for a lot of the crowd (I loved 'em too but I've seem 'em play Let's Rock a couple of times already) and then the mighty Soft Cell. Amazingly Dave Ball showed up, despite his pretty serious health issues, and the whole set (bathed in the western world's entire supply of dry ice) sent me spinning dizzily (maybe that was the vodka?) back to hearing Non Stop Erotic Cabaret for the first time in 1983, a mere 40 years ago. Good grief.
As a massive fan of the Cell I would've liked an eighteen hour set but over sixty minutes they crammed in most of the hits, ending on a particularly emotional Say Hello Wave Goodbye, as several thousand slightly squiffy 50 somethings waved their hands and inflatable pink flamingos in the air in perfect sync. As Dave waved back from his wheelchair I wondered if I'd ever get to see them play live again. I do hope so, but if this was my last night (in sodom) I had really a Ball...
I can heartily recommend Manda Rin's solo stuff too.
Sayonara Mr S.
If As Good As New's got you in the mood for some disco ABBA check out this live version of Summer Night City too.
If you read this blog regularly (bless you) you'll know that I've been banging the drum for CDs for a while and I reckon if record shops got on board with this they'd get even more people through their doors. Why? Well, owning, storing and playing a CD's a doddle compared with vinyl (as I have far too much of both, you can trust me on this one) and you can pick second hand ones up for pennies right now. Of course record shops would want to charge a little more than the charity shops but I suspect they'd do pretty well if they sold a carefully selected range of CDs for a few quid. Vinyl heads can be pretty sniffy about CDs...I used to be...but if you want a physical copy of your favourite music with the same artwork and liner notes that you get with vinyl (albeit in a handier size) CDs are a great bet. And, unlike vinyl, it'll sound just as good on the 1000th play as it did on the first...which certainly can't be said of any other format. If they launch National CD Day soon you'll know who to blame.
It's rare to find XTC CDs in the chazzas so I was chuffed to pick up a first pressing of their early 90s masterpiece Nonsuch for £1. It's a genuine shame that the band pretty much stopped working together almost 20 years ago but there's still time for a reunion right? Over you you Andy and Colin...
If these tracks don't make you feel at least 78% happier then you need some new ears.
RIP Trugoy.
...I knew this was a Burt track, but what a classic. And then there's this...