The Costal Town, That They Forgot To Close Down..

Sang Morrissey 20 years ago on his second solo single 'Everyday is like Sunday'. Potentially it could have been about any antiquated resort by the sea, but as the whole video was shot in Southend, I got the hint. And you know what? I think ol Mozza may have had a point.

This post was going to be a review of 'local lad done good' Jake Shillingford’s live return to Southend after over 20 years… but after attending the show last night and witnessing the shocking turn out (I counted 32), I'm up for a moan on the continual apathy of music fans in South East Essex instead…

Strangely enough, this part of the world has a pretty good record for producing local talent. In the 70’s it was the Southend\Canvey Island Pub Rock scene that discovered the likes of Dr Feelgood, Wilko Johnson, Eddie and the Hot Rods and the Kursaal Flyers. In the 80’s Basildon spawned Depeche Mode, Yazoo and Alison Moyet. Recent successes from Southend have been These New Puritans, The Horrors and Get Cape Wear Cape Fly. However, like Jake, I imagine that in order to find success, they all learned one important lesson -- get out of town!

I can't speak for the 70s, but I've been going to live shows in the area for about 25 years. There has been the odd rammed show from time to time, but on the whole I’d have to say attendance has often been on the quiet side – no matter who the artist. A friend of mine was the promoter for a local club in the late 80s and brought some of the cream (at that time) of the indie scene to the venue. And whilst these same bands were selling out around the rest of the country, my friend lost money on just about every show (incidentally, he too had to leave Southend in order to become a successful promoter!).

20/25 years ago Southend had some great little clubs and live venues, today there is almost nothing -- and that's despite it now being a university town, flooded with students. However it's not difficult to understand why so many of these venues have disappeared over the years, as for almost 3 decades the occupants of the town have not supported live music in great enough numbers. I'm not saying people should be frog-marched into the nearest live show, but if people want live music on their doorstep, then there's only one way to ensure it keeps coming.

Just three months ago Jake (with his band My Life Story) was playing to 1500 people at the Shepherd's Bush Empire, tonight (31st March) he continues his solo tour in Portsmouth and it's already sold out, so how come the return to his roots was so poorly attended? On this occasion it may not entirely be the fault of the locals. The advertising for this show was shocking! I live here, and had it not been for MySpace, I doubt I'd have known it was on either. Not a single poster anywhere in town, and it was even missing from the venues leaflet of upcoming shows.

Armed with a 12 string guitar and Toni Krause on keyboards, Jake gave those who did turn up at night to remember. He performed stripped down versions of songs right through his 20+ year career. All three My Life Story albums were touched upon, as was material from his electronic project Exile Inside. There was also plenty of new material from his debut solo album. A great night out, and a chance to catch up with a few old faces… but I won’t hold my breath for his next return to Southend!

You can watch Jake and Toni performing at an earlier date on this acoustic tour here, with the My Life Story song 'If You Can't Live Without Me Then Why Aren't You Dead Yet?'

Exclusive Martin Gordon Interview - Part 2

The final part of my exclusive interview with Martin Gordon is below.
If you missed Part one, you can view it here


In the 70s, being in the charts was a really big deal -- I don't think it is anymore -- how much difference did it make when you had a hit single?

Well, I discovered you can get people to go to bed with you much easier if you have a record in the charts.

You’ve had a few connections with Marc Bolan in your career, both direct and indirect. You worked extensively with Andy and Chris (who both worked with Bolan in John's Children), and the Radio Stars even appeared on Marc’s TV show, what was he like? Did you ever get a glimpse of him outside of his ‘larger than life’ character?

It was just post fat-period when we were on his show. He was kind of jolly and bouncy and I remember him being very nice, very articulate, but then if you're hosting a TV show that’s called by your name, I guess you can afford to be very gracious. Whether that was the real Marc I met or not I don't know, but he was very nice.

You can watch that Radio Stars performance on Marc Bolan's TV show here:



After you split with the Radio Stars, you went to Paris to work as a producer for Barclay Records. The story goes that the Rolling Stones were rehearsing/recording nearby so you wandered along to try and blag some free booze!!

Well. the guitarist from the band I was producing knew somebody on the Stones road crew, and we wandered along to see what might develop.

Well, the God of music must have been on your side, because your visit coincided with Bill Wyman doing a 'no show' and you got an instant promotion from freeloader to Rolling Stones bass player!

Well, not instant, no. There was a series of rooms that you had to go through -- something like an imperial court. You had the outer ring with the ‘hoi polloi’ and then once you were accepted there you moved one ring in, and slowly over the course of the evening, amazingly, we ended up sitting in the studio with the guys and they were moaning… and by that time of course I was rather buoyant and I said "you haven't got a bass player? I'm your man!". So Jagger showed me these chords and I remember sitting down and he said "it goes like this, got it?" And all of a sudden I'm playing bass for them.

How long did it last? Was it just for that day?

No, it was a few days. Amazingly, they asked me if I would go back, so I did. I remember at one point, listening to a Ronnie Wood solo from inside the control room, with Wood on one side of me and Jagger on the other. Jagger turned to me and said "what do you think of that?". In earlier times I might have been a little less diplomatic, but I said "Oh, it was great, great, fantastic".

Can you remember what songs you played with them?

No, there's a Stones web site which lists all the tunes they’ve ever recorded, day by day, location, engineer, additional overdubs etc and it appears on that.

But nothing you recorded with them ever got released I assume?

Not as far as I know. Apparently they have this thing of recording hours and hours of stuff and then they might go back and use something from two years ago and rework it into something else. So I don’t know, but I certainly don't recognise anything.

And what did Bill make of it?!

Oh, we never met.

When you came back from Paris, you started Blue Meanies. But there was only one release, a single 'Pop Sensibility'. How come it was also brief?

Well, it was more for pleasure really. We didn't really have a concept, it was just a thing that happened. But it could have been quite good, some of the tunes we did as Blue Meanies ended up on my first solo album and everybody said they were great, so we must have had something. If anybody had had the foresight to allow us to develop for a year or so, it might have been quite good.
Recently there's been an i-Tunes only release of 20 odd Blue Meanies tracks. What's the story with this material? Was it recorded for an unreleased album?

It's all mostly demos. High-quality ones, that ultimately would have gone to make up an album.

In recent years you've worked with some big artists as a musician and producer.. Blur, Primal Scream, even Kylie Minogue.

Yeah, different things with different people. For Blur it was as a keyboard player, for Primal Scream it was as remixer, for Kylie I was mimer of cheeseboards and hoister of Kylie onto a piano at the NME awards. It was a grand piano and I had to lift her up onto it, and then she crawled towards me as I was playing. She was wearing this red bustier thing, very low-cut too, it was a good job I was only miming really…

You can see Martin trying admirably to keep his eyes on the keyboard here!



You now live in Germany, what made you choose that location?

Sausages! I love sausages, and Germany is the home of the sausage, it could be wurst…

Do you see yourself ever returning to the UK?

No, I have a small boy, he is a Berliner, he speaks German.

What do you think of the UK now when you come back to visit?

It's nice to visit, but I couldn't bear to live here anymore -- it's so incredibly expensive. But it's multi-cultural, Germany isn't, it is absolutely mono-cultural. There are at least a lot of possibilities here, and while it may not be working very well, it's working better than it is in Germany. There you have houses being burned down, East German right-wing fascists killing people in the streets and chasing Indians.

Bizarrely, it wasn't until the turn of the 21st century that you finally got round to starting a solo career! How come it took so long?

I didn't want to rush it! Didn't want to overdo it. Well, really the reason is singing. It's always a problem finding a singer, and it wasn't until I found Pelle Almgren that the solo work took shape. Pelle was a Jet fan, he sent me an e-mail -- he told me he was a songwriter, he didn't tell me he was a singer. So we met up in Stockholm, and we wrote some songs, and then he said "okay, shall I sing them now?" And I said "Oh, you can sing as well?". And he just had this incredible voice, and I thought “fuck”. Instantly I started thinking about the stuff I’d been designing for my solo album and I said "I'll come back in three months, with a pile of songs. Book a studio!", and he said "oh yeah, great".

You've done four solo albums to date -- all part of the Mammal Trilogy (!). Intelligent, catchy guitar pop. I hear so many different things in your solo work, and there's definitely a nod to English musical hall in there. Blur dabbled with that sound a lot around the time of Modern Life Is Rubbish….

Yeah, music hall is a common source, I think. I researched it, bought lots of CDs and it's great. Actually it’s not too far away from what I do -- populist music that you can listen to and sing along with even if you don't quite 'get' it.

Ever been to Wilton's music hall?

I used to live round the corner from there. I went to a party there once, but I've never seen a performance. I have a notion to do a modern Gilbert and Sullivan piece, and I keep saying that Wilton’s would be the ideal place to do it. In fact, tonight we are doing what could be the germ of that idea.

You have included some well-chosen cover versions on your solo albums, putting your own stamp on them in the process. How do you go about choosing the right cover, are they songs you feel would suit the album or just songs you like?

I think it has to be a song that I like, but also a song that will do the job, showing what you do in the context of a familiar piece of music. There are certainly songs that I like that wouldn't be suitable covers. I've tried covers that haven't been finished because they didn't work.

Any future covers lined up?

Well, every album will have some, but I haven't decided yet. At one point, I was trying ‘Tiny Demons’ by Todd Rundgren, and I think I might revisit that.

So you're working on the fifth part of the trilogy then?!

Yes, I’ve just started it. Trying lots and lots of things, and throwing half of them away. I think the more you can throw away the better -- for the last album I had about 25 tunes, so I'm beginning that whole process again, it will go on for some time.

Finally, a quick fire round… Had you ever considered writing an autobiography?

Check the website.

Proudest moment of your career?

Making my solo debut in Boston last August. Outside the venue was "Martin Gordon", and somebody had climbed up on top, and in chalk had written "(!!!)", which I thought was very ambiguous. But then I thought, fuck, it's me, finally!

Lowest point of your career?

Probably being fired from Sparks actually. It was 4 o’clock in the morning, I’d come home from celebrating my new-found celebrity, and was phoned up by some minion, that late: "Hello Martin, how are you? Oh good. You're not in the group anymore, anyway goodbye". That abruptly, it was quite shocking, really.

What's your most rock 'n' roll moment?

I don't really do rock ‘n’ roll moments. We were talking about this the other day. Steve the drummer has come over from Boston, and I think he was expecting us all to be like members of Aerosmith or that kind of thing. And we're all well-brought up middle-class English people, we don't really do rock ‘n’ roll moments. Chris Townson and I once pulled up a flower bed when we were pissed, and we got arrested and locked up in Bow Street, and had to appear in front of a magistrate… not very rock ‘n’ roll though, is it?

Who do you admire in music?

Todd Rundgren -- Todd is God! He's very consistent, his last stuff is as good as his first, he's a real hero.

Any current bands that excite you?

Yes, Niacin. They are an American prog jazz rock trio with Billy Sheehan on bass, Dennis Chambers on drums and John Novello on keyboards.

How about Silvery?

Yes, very nice. We were going to do something together, I did some mixes for them but it didn't work out. It's a bit difficult communicating e-wise, it’s much easier if you're sitting in the same room as somebody, and we were doing everything by e-mail. But no hard feelings, they have some very nice songs, very funny, similar in a way to the stuff I'm doing -- quite poppy. I mean, there are a lot of grown-ups about, and they need pop music, let's face it.

Who would you most like to work with?

I’d love to work with Todd Rundgren, but it would be completely fruitless because he does it all himself, and he’d just tell me what to do.

What one record would you take with you to a desert island?

The Mahavishnu Orchestra live in Munich 1972. I've just recently got a soundboard recording of it. It's two hours long and I've listened to it every day for two months and I still haven't tired of it.


So there you have it, the final piece of the interview, and that brings to a close what has fast become 'Martin Gordon March'! Once again, Many thanks Martin for your time earlier this month, it was much appreciated.

Piley

LINKS:

The Official Martin Gordon website

See the Rolling Stones 'Complete Works' database here - click on 1979 to view Martin's entry (ref: 790621A)

Exclusive Martin Gordon Interview - Part 1

Martin Gordon has packed a lot into his 30+ years in the music business. From Glam to Punk to perfect 80’s pop to an accomplished solo career, he’s done it all (see my earlier Martin Gordon review here for more info!). Linking all these together is his distinctive bass sound and an ever-present talent for writing intelligent, quirky and original songs. Add to this a brief stint as a Rolling Stone and working with the likes of Blur, Primal Scream, Boy George and George Michael and you’ve got a very full and varied career... One I've been itching to find out more about for some time!

Earlier this month I was lucky enough to meet up with Martin in London for an exclusive chat. An enormously engaging interviewee, he was happy to talk about every aspect of his career, and I found him incredibly honest and candid. It turned into quite a lengthy chat, so below is the first part of this two part interview.


First things first, what instruments do you play, and when did you start learning them?

I play bass, all manner of keyboards, and guitar fairly crudely. I started learning at around 10 or 11 years old with piano and classical guitar lessons at school. And from classical guitar I ended up playing bass, it was a direct link. I think it was piano first, that’s what I really wanted to play, but it needed to be taught differently. In those days they didn't use the Suzuki method, you didn’t learn how to play a tune, and it was very frustrating, so I moved on to classical guitar, something I could directly play.

Who were your musical influences as a child, who made you want to be a musician?

I remember being completely obsessed with all things Jack Bruce. These days I can analyse it in a way that I couldn't back then - I see him as a very accomplished singer, a very accomplished arranger and a very accomplished composer -- and incidentally a bass player too. You can't really make a career out of just being a bass player, you have to be a bass player in the context of something else… what a great role model.. The only thing he doesn't do of course is write bearable words, but you can't win ‘em all.

Do you still go back to his albums now?

Yes, it’s timeless stuff. Jack Bruce is a good example of somebody who continues to make great music. If I get bored, I rediscover things that used to excite me. Another good example is the Mahavishnu Orchestra. They were one of the first live concerts I ever saw, back in 1972, and their first album [The Inner Mounting Flame] was one of the first albums I ever bought. Recently I've found a whole load of bootleg recordings of them that you can download. On that first album the songs were about five minutes long, these are expanded to 25 minutes live! It’s just so exciting. Over 30 years on, nothing has replaced it.

Your first band is always listed as Sparks, but were there any bands before that?

No, there was a school band, then there was one band which never played any gigs, so Sparks were my first proper band.

Sparks had just relocated to England at that time, and you answered an ad in Melody Maker looking for a "beard free bass player". Had you heard of Sparks at that point?

I'd seen them on the Old Grey Whistle Test about two weeks beforehand… and I didn't like them very much. But then I also didn't like the ethic of the Old Grey Whistle Test either, and Bob Harris was rather irritated by this group, so I thought okay, maybe they're not quite as terrible as I think they are. But actually I didn't really care too much, because I was just keen to do something.

Do you remember your audition for Sparks?

Yes, it wasn't a musical audition, it was a spoken one. The brothers were there and it was a personable, social audition at John Hewlett's house in Croydon. It was quite sensible really, to see if we could bear each other as people.

So they didn't ask you to play?

No, we just chatted and I didn't hear for some months and eventually I had a phone call saying "let's do it again" And I said "shall I bring the bass this time?" And they said "erm, oh yes, good idea". So I brought the bass along and we rehearsed at Barnet rugby club. I played Girls from Germany and some other songs that had the word girls in the title. I remember thinking "they have to broaden their subject material".

The fortunes of Sparks changed rapidly after you joined….

I'm glad you noticed that..

…a massively successful album [Kimono My House] and the hit singles that came from it [This Town Ain't Big Enough For Both Of Us & Amateur Hour]. It was a radically different sound for this third album compared to previous two, how much of an input did you have in this change of style?

Well, the main difference was they now had a bunch of people who could play, and who had been playing for some time. Various people say that I made a big contribution to things like arrangements, but to be honest, a lot of it was about tension, musical tension. There was Adrian, who hated all this glam, fey, limp wristed stuff, and wanted to make it tougher, and then you had this 'twinky' tendency going on in the other corner of the room. And it was actually all these tensions that produced something quite good. I came from the prog world, so I was another piece of the jigsaw, but I had communication skills, where as they would just do something and there it was and it wasn’t integrated necessarily, they wouldn't try and bend anything else around it.

It was quite an arty thing wasn’t it, where as a lot of the glam rock thing was very one-dimensional. Roxy were very arty to…

Yes, it had 'art concepts' behind it. To me when I think of glam, I think of the Sweet and Gary Glitter, I don't think of Sparks. Glam rock was more about double tracked tom-toms and not much else going on.

Ultimately though a short lived affair, and you were drummed out of Sparks before the fourth album. I hear various rumours as to why, but what's the real one? Did you grow a beard?!

No, no. The final straw really was being asked to play Ian Hampton’s bass [a Fender Precision], as they decided they didn't like the sound of mine [a Rickenbacker 4001]. But obviously that was indicative of greater issues.

They also weren’t keen on looking at some of the songs you were writing at that time is that right?

Yeah, I think "weren’t keen" is a very appropriate way of describing it. John Hewlett said recently that he felt he rather fucked up as a manager at the time, because a manager should have the confidence to smack his protégé around the ears and say “stop being so stupid, you’ve got someone who is contributing here”. To quote him he says they "felt threatened", whatever that means. Not physically, although they were threatened physically by my friend Chris Townson who once punched Russell in the face over dinner. Russell was being snooty, as he often was, about Chris's band Jook. These were the days before Chris had acquired anger management skills, so he said "don't you take the piss out my band" and BAM hits Russell in the face. whereupon Russell burst into tears and ran off. ….It always makes me smile..

I always get the impression that there is bad feeling between you and the Mael brothers even now, is that the case?

Well, I made an attempt to try and clear the air about this ongoing thing about Kimono royalties. I was invited to the after show party at the Shepherd's Bush Empire in 1994, we spoke but it was like…. in Berlin they have this expression they go… [Martin pulls a blank face and waves his hand in front of it].. meaning if somebody has a wall in front of their face, you can't get words through it. So it all remains unresolved.

And what about the Sparks fans, how do you think they feel about you? are they appreciative of what you did or do you think there is a clash of loyalties there too?

I have the impression that my 'fans', for want of a better word, are not from the Sparks community. I remember there was a rather nasty personal attack on me on one Sparks message board... I think I made it worse by joining in under another name, agreeing that I was a total and utter bastard and should be shot. but still the sentiment was unpleasant. Perhaps the fact that I am not a great ‘Mole’ lover is to blame. Or the fact that I find the aforementioned story of Chris Townson hitting Russell very funny. Quite why the fans insist on using the term 'the boys' about a couple of sixty year-old men leads me to think that some of them are not really all there.

So you weren’t asked to re-joining Sparks for the upcoming Kimono My House show then?!

What being the only living member of the band you mean? It's got novelty value at least. No, no.

But if they’d asked you, would you have done it?

John Hewlett asked me this last week, I said I would just play Barbecutie, in fact, just the Barbecutie intro, then hand the bass over. So on that symbolic level… maybe.

What do you think of Sparks idea to perform all 21 of their albums over 21 nights?

It’s very good, it's inventive. It has been done before of course, Cheap Trick did it, but it's not a bad idea. I don't know how it's going to work out financially though.

I always think of Sparks 4th album, Propaganda, as Kimono My House II. Although you had gone by that time, did you have any input into the songs that eventually turned up on the outcome?

No, I think a couple of songs we recorded may have turned up on it, but I'm not sure.

Let’s move on to your next band Jet, who at the time were considered a bit of a supergroup [Martin and Peter Oxendale both ex-Sparks, Andy Ellison and Chris Townson were both ex-John’s Children - Townson of course had also been in Jook, and Davy O'List had played in the Attack, the Nice, and Roxy Music]. Personally I think they were a really underrated band, that album is a classic! I recently interviewed James from Silvery (read the full interview here) and he described it as "a slightly more ridiculous Kimono My House, a real junk shop glam classic". I think that sums it up well, and to people who are aware of it, it is almost universally described as one of the ultimate glam albums.

Well it’s that thing we were talking about earlier with Sparks, it wasn't glam as in double tracked tom-toms, it was more art glam, and in that sense, yeah it was a glam band, but then when you have people dressed up as Little Lord Fauntleroy and dinosaurs, wearing white flowing capes, it’s hard to be anything other than glam, I suppose.

The album got re-released on CD a few years back, but it disappeared almost immediately. What's happening with that?

Well BMG, who now own it, are not interested in putting it out, for some reason. I get lots of e-mails from people saying "when's it gonna come out?". If BMG knew people were asking for it, perhaps they'd have a change of heart.

Or at least just put it up on i-Tunes, where there are no real overheads

Sure, there's no costs involved whatsoever if you use that medium. It's even remastered, so it's a bit short-sighted really.

What's your favourite memory of Jet?

Chris Townson said his favourite memory of Jet was the free sandwiches in the studio. In fact, he said it was his most joyous memory, and all the other memories of Jet were appalling. My favourite memory…. well, we once played a gig to one person in Dunoon. That was quite funny, but I wouldn’t like to do it again.

You didn't think to cancel it??!

Well, it was too late. We were on a stage which had curtains, they opened them and by that time you're committed. The guy became comatose halfway through the gig though, so he couldn't actually leave -- he slid down the bar and lay on the floor… probably just as well.

Did you mix with any other glam acts at that time?

I used to bump into the Sweet at Top of the Pops…. bunch of bricklayers. And of course the Glitter people because Mike Leander was the manager of Jet as well. But no glam soirées discussing the ins and outs of the glam concept.

Ian MacLeod replaced Davy O'List on guitar, and then Jet pretty much morphed into the Radio Stars, just as the music scene was morphing from glam to punk. You didn't particularly consider yourselves as punks, but you seemed to be accepted by the scene?

Yeah, being on a punk label (Chiswick) helped too - in fact Chiswick were just old rockers rather than punks really. But anyway we adopted suitable clothing and it was a fun thing, it wasn’t some sort of alien notion that had nothing to do with us. We got very good at that time though, we were playing 250 gigs a year, so it was very slick.


Was it a help or hindrance being associated with the punk scene?

Oh, it was a help because you can be identified by outsiders. We did get spat on a lot though.

There's a story that the Radio Stars were once wrongly introduced on Top of the Pops by Dave Lee Travis…

That's right as Paul McCartney and Wings. And we collectively went into a dreadful acapella version of Mull of Kintyre. It was never broadcast of course, but we added it to our set list after that. We did it as the encore at the Lyceum, our first major headlining gig. We’d always choose two different keys, Andy would sing one part and we would play the other… it was all rather confusing. And that was our encore.

What can you tell me about the new Radio Stars live CD, Something For The Weekend?

It's a compilation, I don't think we ever played all those songs in one go. That's why the quality is pretty good, it’s selected from lots and lots of material.

The best of what's available….

Yeah, well, the least worst...


The second and final part of this interview will be published in a few days time, where amongst other things we talk about the Rolling Stones, Marc Bolan, Blue Meanie, Martins solo work and Kylie’s bustier! Don’t miss it!

LINKS:

Visit The Radio Stars official website here

The Official Martin Gordon website

Buy Martin Gordon CDs at Amazon!

Not sure if this is the same website Martin was refering to in the interview, but you can certainly download a lot of free Mahavishnu Orchestra live audios here
Jazz Fusion Free Downloads!

See my Sparks article here, containing exclusive comments from Ron and Russell Mael,

When I Interviewed James from Silvery last year, we had a long chat about all maner of things, including his love for Sparks
read the full interview with Silvery here

Piley

The Radio Stars \ Martin Gordon - Live Review

The Radio Stars \ Martin Gordon – Live at the Metro Club, London. Saturday 1st March 2008.

Two top-notch shows tonight for the price of one…. the first live performance in over 30 years by 70s pop punkster's The Radio Stars, plus support from Martin Gordon. Both of these acts could have legitimately been the headliner, but seeing as Martin Gordon is also a member (and chief song writer) of The Radio Stars, it became a lineup too good to miss!

After almost 35 years in the music business, Martin Gordon has a very rare commodity…. an unblemished CV! From Sparks to 70s art/glam outfit Jet, from The Radio Stars to Blue Meanies, he has consistently written quality, intelligent tunes that stand the test of time and are glued to your brain from the very 1st play. Tonight however he’s showcasing his solo material, which to date consists of four excellent albums – hidden gems the lot of ‘em (just check out the reviews on Amazon, nothing less than 5 stars for all of them).

Martin’s solo work is an eclectic mix, which reminds me of so many things... 60s Britain, 70's Macca, early Squeeze, 90s Britpop (in particular on his 3rd album God’s on his Lunchbreak, Please Call Back, which you can easily imagine a Modern Life is Rubbish era Damon Albarn performing - no wonder Blur were so keen to acquire Martin's services a few years back). Add a quirky slant reminiscent of 90's US power-poppers Jellyfish, throw in a healthy mix of humour (ala the Bonzo’s), take a detour through traditional music hall, wrap it all up in Martin's trademark gift for a catchy tune... and you're still nowhere near describing just how good his solo albums are!!

Believe it or not, despite having such a wealth of quality material in his armoury, this is only Martin’s second-live solo show (a recording of his first -- in Boston USA last year -- is a free bonus disc issued with initial copies of the new Radio Stars album tonight). However, it's a polished performance from a band so tight, you'd think they'd been doing it every night for years, and Martin must rank as one of the best bass players in the business. This journey through his solo work was a joy, but the highlight must have been the delightful vaudeville run through of Gilbert and Sullivan's A Policeman's Lot Is Not A Happy One. Members of the audience were invited on stage, given song sheets and helmets and duly provided the traditional accompaniment. Looking around the room at the smiling faces of the audience, all swaying with their pints and singing along, it was easy to imagine a night out at Wiltons Music Hall or The Shoreditch Empire in the 1800's, as artist and audience became joined in song.

Before long, Martin retook the stage with the main event. This 'one night only' reform of The Radio Stars was predominantly to promote a new CD - Something for the Weekend, compiling some of the groups best live moments. Although their career was fairly brief in the late 70s, they certainly packed a lot in; two albums, chart success, TV appearances and hundreds of sold-out shows.. and 30 years on they still have a loyal following (hence the new CD!).

The band is made up of Andy Ellison (original vocalist of 60s wild men 'John's Children', Marc Bolan's first band) on vocals, Ian Macleod on lead guitar and Martin Gordon on bass. For this reunion gig, Steve Budney expertly handles the drums. I understand that due to logistical reasons (with band members travelling from England, Germany and the USA), only a handful of rehearsals had taken place beforehand, but you'd never have known, as they cranked out all the fan favourites as though their last gig were three days ago rather than three decades.

Energetic frontman (or should that be stuntman?!) Andy Ellison has lost none of his spark. Born to entertain, he scales drum kits and speaker towers throughout, regularly disappears into the crowd, and at one point, somehow manages to scramble through to the bar, clambering on top without missing a note, and eventually finishes the remainder of the song from behind the pumps! There is a stage presence and charisma that some of today's dowdy ‘ol bands could learn a thing or two from, and it was impossible to take your eyes off them as they ripped through blistering renditions of songs such as Nervous Wreck, Johnny Mekon, No Russians in Russia, Dirty Pictures and The Beast of Barnsley.

In the 70s they couldn't be pigeonholed - lumped in with punk for convenience, but it was much more than that… Pistol-esqe riffs combined with Martin Gordon's irresistible pop genius and a lead singer with all the energy of a schoolkid OD’ing on E numbers, equaled something a bit different back then. Today, they would be the Kaiser Chiefs or Maximo Park (who no doubt both own one or two Radio Stars CD's!).

There was an intoxicating atmosphere throughout the gig - as many band reunion shows tend to have. But it was more than that, almost the feel of a family reunion, as fans new and old made the pilgrimage to meet up with their long lost brothers. Even the (still) gorgeous Kelly (Martin Gordon's ex-girlfriend from that time, who poses seductively with the boys in the classic photo used on the cover of the new CD) was in the front row, and still appeared to know the words to every song!

A great night out -- made all the more special for me, as Martin Gordon kindly gave me almost an hour of his time prior to the show for an exclusive interview. He was a thoroughly charming and entertaining interviewee, full of anecdotes from almost 35 years in the business -- the transcript of our chat is coming soon, where amongst many other things Martin talks about his time as a temporary Rolling Stone (as replacement for an AWOL Bill Wyman), his fall out with Sparks, Glam Rock, memories of Marc Bolan and being mistaken for Paul McCartney and Wings!

Keep tuned to Start The Revolution Without Me!

LINKS:

The Radio Stars official website

Buy Radio Stars CDs at Amazon!

The Official Martin Gordon website

Buy Martin Gordon CDs at Amazon!

Piley

Medicinal Music

Firstly, I must say a big thank you to Planet Mondo for keeping the ‘ol bloggin seat nice and warm in my absence -- top work fella! If you havn't already checked out his blogs, do yourself a favour and pop over now!

Planet Mondo
Channel Mondo

Since my last eye test discovered my cataracts now really did require action, I have been on the waiting list for surgery, I had also put myself down for any last-minute cancellations…. and last-minute it turned out to be! I got a call at 1pm saying if I could get to the hospital by 2pm they would do me, and by 2:30pm I was on the slab!

Although not exactly looking forward to someone poking around in my eye with a scalpel whilst I was still awake, I was actually quite keen to have this operation. However, recovery has not been as straightforward as I had hoped, and led to me being 'signed off' for a couple of weeks after the procedure. It's amazing how little is left when you're down to one peeper and are told to "rest your eye". All the obvious things to do are out of bounds, no PC, no TV, no reading, no driving… It didn't take long to realise that the radio is pretty dire during the daytime (unless you like five hour phone-ins to discuss a football game that lasted 90 minutes!). But my trusty favourite hobby was there to stop me going completely crazy, and I spent my time doing little else but listening to music.

Although I always seem to be playing music anyway, this was a particularly concentrated two-week session, as there was little else to distract me (part of my recuperation required me not to bend down, so even changing dirty nappies was out the window!). It also meant I got to rediscover some gems I’d temporarily forgotten about… although this was not always planned. A large music collection combined with bad eyesight effectively turns the whole process into the largest iPod shuffle button in the world, as albums you thought you'd picked, turn out to be completely different!

It was during my enforced CD-athon that I started thinking about the musical journeys and discoveries you take in life -- how one artist leads to another like a musical family tree. Let me give you an example:

In 1977 I got into Bowie after hearing the single Breaking Glass. It opened the floodgates for me, and I started buying up everything I could. As I started reading more about the man, his work and his influences, I came across more and more names that I felt the need to investigate, such as Iggy Pop, Lou Reed, The Velvet Underground, Mott the Hoople etc. Iggy was an instant hit with me and unsurprisingly, led me back to the Stooges. In turn the Stooges were responsible for me discovering the MC5 and the New York Dolls, who in turn of course led me to Johnny Thunders and the Heartbreakers…. the list goes on and on. If you're really into music, I guess these links are continually expanding subconsciously, but it wasn't until now that I really started to notice it -- as a Bowie session geared me up for a play of Lou Reed’s Transformer, which in turn had me diggin out The Velvet Underground.

Inevitably these links will lead you to a few dead ends on the way (I could have probably done without the Dana Gillespie and Anthony Newley albums via my Bowie trail!), but it’s an organic process that on the whole works well and enriches your collection.

In the old days -- BC (before computers), you had to work bloody hard to establish these links, reading biographies, interviews, magazine articles etc. Today it couldn't be easier to sniff em out -- particularly with that fatal "customers who bought this item also bought…." tactic used by Amazon and others, guaranteed to keep the serious music buyer permanently broke.

Being a typical anal kinda guy, I started thinking a bit more about other musical family trees in my life, there are plenty of them. The below is a good example, which starts in my early teens when I discovered Soft Cell and Depeche Mode. The list is almost certainly not complete (I tried not to think about it too long!), but it shows just how wide and diverse the links can go (note -- there are some dead ends here too!).

Anyone else got an interesting 'family tree' to share?

Piley

Guest Blogger - Planet Mondo - Public Information Films

Poor ol' Piley's still on the mend but is hoping to be back next week, until then it's me again - here to have a rumble about Public Information Films.

Do they still make them? I don't think I've ever seen a contemporary 'Take Care' TV shortie for years - they seemed to be everywhere up until the Eighties.

The 'Charlie Says' DVD released a few years ago, collected the best of the Sixties and Seventies PI films and is an absolute joy packed with educational gems from end to end. Yes, there's all the textbook safety subjects...

Crossing the Road - Green Cross Code and The Tufty Club,

Swimming - Rolf Harris'Get in the Swim' and 'Learn To Swim '

Driving - Think Once. Think Twice. Think Bike and 'Clunk Click'.

But the real revelation is the volume (over 150 on Vol. 1 alone), and depth of Health and Safety issues spoon fed to the public.....

Tidy up at night, the dangers of chip pans, polystyrene ceiling tiles and rugs on overly polished floors...

Don't get me wrong, I'm not knocking these films, we could probably do with more of these punchy numbers today - mobile phones, dangerous dogs and stodge diets for starters.

Set dressed for earthy authenticity (apart from a few of the scenarios) these thumbnails capture an accurate snapshot of Seventies lifestyle and deliver all the detail lacking from the over dressed grotesques in shows like 'Life on Mars'. Why not treat yourself and have a peep at Billy Blunders with the great juxtaposition of "'ello me dandruffs back" and "me luck could be in 'ere" in the same sentence. (There's a complete set of shorts for each member of the Blunders family if you fancy filling your boots)

I Love the moment they've chosen to freeze frame at the end..


Or have a peep at the genuinly creepy Donald Pleasance as a Dark Rider/Grim Reaper in 'Lonely Water'


If you in the mood for more funky nuggets and youtube treats - why not pop over either of my pieces of ol' puffery for some Valentine's Day treats
Planet Mondo
Channel Mondo

Guest Blogger - Planet Mondo

Vox Not Popular

Hello bloggers and bloggettes, poor ol' Pileys unable to do any blogging at the moment, I'll let him give you all the details when he's back on the bounce. But in the meantime he's asked me to stop by as a guest blogger.

So I'm going to have a mumble, grumble and moan about certain voices that grate on me, the sort of singers that are hugely popular and sell by the sackload, but I find them about as listenable as dental drilling. People like those squiddly diddly 'Divas', Power Ballad lungbusters and X Factor autotune types but the real offenders on my list are...

Sophie Ellis Bextor - pretty as a pixie, but the bored nasal monotone drone of a pub Folk singer.

Neil Young - like Mickey Mouse hitting the helium.

Janis Joplin – as easy on the ear as a late night cat fight.

Ja Rule - the sound of a Rottweiler gargling broken bricks.

Dean Freidman - whiny whingemonger.

These are my nominations - but who would you put on a roll call of rotten singers?

If you need a break from a brainful of bad bellowing, why not pop over to my pieces of ol' puffery for some Funky nuggets, Punky rarities, Soul stompers, bootleg remixes and Youtube treats...

Planet Mondo

Channel Mondo

Everybody's on Top Of The Pops!

January 08 saw the death of someone who was probably more influential than anyone in setting me off on the road of a lifetime of obsessive record collecting. It wasn't a singer, musician or producer, nor was it a friend who showed me the path on how to keep yourself permanently broke. Nope, it was Cy Leslie, who founded Pickwick Records in 1950.

As a small child I don't think I really came into contact with 'new' records much. Sure my parents had quite a few, but they had all been bought when they were younger, and they didn't really add to their collection much when I came along. You can't fail to come into contact with CDs these days, a visit to a petrol station, supermarket, card shop, newsagent or post office are all likely to bring you in contact with em. But in the early 70's 'proper' records were predominantly for 'proper' record shops, and my parents didn't go in them. Pretty much the only exception to that rule was the spinning rack of Pickwick records.

I'm not sure how old I was when I first became aware of the Pickwick 'spinner', but I could only have been 4 or 5. The first one I remember was in the local supermarket (The Home and Colonial). It contained a selection of low budget LPs (which I wasn't really interested in at the time), and some brightly coloured 4 track 7" singles for kids - which I was very interested in! (these had their own 'Mr Pickwick' branding, complete with a friendly cartoon of the famous Dickens character). The kiddie singles were even cynically placed in the bottom row of the spinner, to ensure all the toddlers spotted them! I didn't get one on every visit to the supermarket, but I didn't do bad!

For me, Pickwick were the saintly equivalent of a dealer who stands outside a school - and both must have had a similar mantra... Get 'em early with a few cheap purchases, then once they are hooked, they'll be paying top dollar for the hard stuff! So 2 or 3 years later, when the interest in the kiddie singles was waning, I moved into phase two of the Pickwick range, the Top of the Pops 'sound-a-like' albums. An obligatory item for every charity shop and boot sale these days, but the number still floating around shows just how popular these albums once were. Between 1968 and 1979, Pickwick released a TOTPs albums every six weeks (91 volumes in total), each containing 12 'sound-a-like' versions of the very latest chart hits. Astonishingly, each album was recorded in less than 4 days, and it is common knowledge that a number of future stars appeared on them (Elton John, Rod Stewart etc).

It's weird to believe now, but in the early 70's there was no such thing as the chart 'compilation album'. It was buy the 7" singles or nothing. My pocket money didn't stretch to many 7" singles, so 12 hits on an album for less than a quid was a 'must have' bargain! The fact it wasn't the original artist didn't seem to matter much then (we were simple folk in simple times!). And what a great leveller they were too - they were the i-Pod shuffle of the 70's, where the (fake) Sex Pistols were followed by the Bee Gees, The Goodies, Clive Dunn, Blondie and Demis Roussos! With almost certainly the same musicians appearing on each track!

There is some real muse-o snobbery around these albums - no doubt from people who slam them as inferior, then happily attend a 'tribute act' concert, or sit down to enjoy Stars in Their Eyes on the box! They are seen as absolute tat these days, yet they once sold by the shedload (300,000 a piece at their peak) - in fact in the early years, the album charts used to be full of these LPs, until the 'proper' record companies complained, and had the chart rules changed, so the TOTP albums could no longer qualify. The legit labels weren’t the only ones to have their nose put out of joint by these albums, the BBC were miffed at the use of the title 'Top of the Pops' - however this was completely their own fault, as the Beeb had neglected to register the name. Sharp work by the Pickwick legal department! The Beeb were no doubt less than pleased with the design of the covers too, as each contained a model who looked like she'd just stepped out of Pans People. Sales started to dwindle in the late 70's (mainly due to companies like K-Tel and Ronco starting to release compilations featuring the real artists) and in 1979 they stopped making them. They did try to revive the idea in the mid 80's, but unsurprisingly, they didn't sell.

By about the age of 10 or 11, I had moved into the final phase of the Pickwick scene - the budget 'original artist' album. Slowly but surely, Pickwick had started to bolster this section of the label - picking up defunct albums from the back-catalogues of the major labels. It was around this time that I got completely obsessed with Elvis, but even then an LP was pretty expensive, and I struggled to buy much of his RCA material. Pickwicks re-issuing of Presley albums (often under their Hallmark label) was perfectly timed to meet my insatiable demand for 'the king', and I regularly trundled off to Woolworths with a pound note to purchase another addition.
Like a kindly old gent who nurtures sick animals and releases them back to the wild, Mr Pickwick finally set me free into the big world of record collecting around 1980, by which time I had been well and truly bitten by the bug. My Vinyl must have been 80% Pickwick and Hallmark at that point (and I still have them all today!), but I'd already decided that record collecting was the greatest hobby in the world (I still do!).

Piley

No More Heroes?

I mentioned in an earlier post about my obsession with real-life superheroes… and when we're going to get one!! (you can read the full article here).

So whilst idly flicking through the Sky box over Christmas, you'll perhaps understand why a show titled 'Who Wants To Be A Superhero' caught my eye! It transpired that the Sci-Fi Channel were doing a marathon run of this US reality TV show, screening all 8 episodes over a couple of days. At 1st glance it looked like the very cheesiest of the cheesy, but it was hosted by one of my all time heroes, Stan Lee (creator of the X-Men, Spiderman, Hulk, Fantastic Four, Daredevil and more), so I thought I'd give it 5 minutes… 3 hours later I kinda realised I liked it!!

The programme started off much like a lycra-clad X-Factor. An arena full of hopefuls in home-made costumes, all vying for a place in the finals. The rules were simple, contestants needed a name for their superhero, a costume and the 'origins' of the character. And what a prize on offer for the lucky winner… a brand new comic title would be released, staring our very latest hero (and written by Stan himself), and a special Sci-Fi Channel movie would be made featuring the character (played of course by the winning contestant).

Pretty soon we were down to the final 12, ready to enter 'the lair' (a cross between the Big Brother house and the Batcave!). Once encaserated, Stan started to set our heroic ones daily task, to help him whittle down the numbers. The tasks were the real genius of the show, and almost always had an alteria motive…. One in particular saw the remaining contestants (about 9 or 10 by this point) in what looked like a theme park. It's common knowledge that nobody ever sees Peter Parker or Clark Kent transform into their alter-ego. Therefore the task was for them to change from their civi's into their superhero costume (by this time, Stan had replaced all the homemade costumes with professional, film quality ones) without being seen, then belt it to the finish line as quickly as possible. A test of cunning, agility and speed (or so it seemed). One by one, each contestant was dropped into the park and the stopwatch began. Some very inventive 'changes' took place, followed by some pretty nifty speed. However, what most of them failed to see was the small distressed child, conveniently placed on the route of their 'home sprint'. Only 2 heroes spotted the child, forfeiting their race against the clock to safely escort her to security. Of course, it transpired that it was only the two who stopped who 'won' the task - as Stan pointed out to the team afterwards, real superheroes always put others before themselves, no matter what the consequences.

And in some shape or form, all the tasks were geared like that, and it soon became apparent that the essence of this programme wasn't really about finding the next Spiderman at all, it was actually about finding what used to be called in England an all round 'bloody good egg'! Not so much super-human abilities, more inner qualities. Maybe I was still immersed in the Christmas spirit, but it was this celebration of old fashion values that really made the programme (and SOME of the contestants) so endearing. We are so used to reality TV shows that bring the worst out in people, with their staple diet of back-stabbing, bitching and appalling behaviour in a effort to screw the other contestants and grab the prize. Wonderful role-models for our young indeed.

By the time the show had got down to the last 4, I'd have been happy for any of them to win it, but in the end, I think the best man really did win. Matthew Atherton (with his alter-ego Feedback) conducted himself impeccably throughout, and was genuinely a fan of comic book superheroes. In fact it transpired that tragically he had lost his father when he was a child, and in his absence, adopted Peter Parker (Spiderman) as a role model and father figure in his early years. A throwaway line from Stan in one episode, where he said something like "nice work son", reduced Matthew to genuine tears, as he pointed out to Mr Lee that nobody had called him that in a very long time.

Fast forward to a week or two ago, and I'm messing about on MySpace and genuinely stumble on Matthew's page. I drop him a quick line, not really expecting to hear anything back, but receive a wonderfully warm reply. It seems Stan really did pick the right guy, as Matthew excitedly told me of everything he'd been up to since winning the show. He pointed me to his website, and in particular his merchandise page, and requested that if I was thinking about buying the comic, would I consider buying it from him. The reason? Matthew is donating profits from all his merchandise to the 'Make A Wish' charity, and told me that from sales so far he'd "raised enough money to grant two entire wishes for kids who might not be with us much longer". Matthew has been keeping pretty busy since winning the show... In between numerous personal appearances, he's appeared in a Sci-Fi Channel movie (part of his prize) and been working with the audio drama company BrokenSea, producing free podcasts of the continuing adventures of his character. Shocker Toys are currently producing a Feedback action figure, due out any time now!

In answer to the question I posed back in September 2007, "when will we ever have a real-life superhero?" I think I've found him, his name is Matthew Atherton.


LINKS

Vist the official Feedback website here

Visit Matthews MySpace page here

Download free Feedback audio adventures here

Piley

The Best of 2007 (Part 2)

The second part of my favourite CDs from 2007.

Mark Ronson - Version (released April 2007)

Possibly a surprise inclusion for some of those who know me. The complete flipside of an album such as The Good, The Bad and The Queen. Damon Albarn's release really made you work for the rewards, but this album was an instant payout.

Despite my dislike for lazy, insipid covers (and with millions of songs to chose from, how come these reality TV show winners always release CDs with the same tracks on??!!), I'm a big fan of the cover version. My criteria for a good one is simple (yet rarely carried out!!):

- It shouldn't be an exact copy of the original. If it is, why bother covering it??

- It shouldn't be SO different, that you don't recognise the song any more

- The artist should (if they are of the right quality) be able to stamp their authority on it, and without changing it completely, make it sound like their own song.

As predominantly a covers album, this CD has a couple of interesting, quirky slants - the main one being that a few of the covers are sung by the original artists! Not every track is a winner, but the good far outweigh the bad.

The album kicks off with an instrumental version of Coldplays 'God Put a Smile Upon Your Face' - which despite being instantly recognisable, you'd swear came directly from one of those funky Studio 2 recordings from the 60's and 70's. The biggest surprise proved to me that 2 wrongs can indeed make a right, as an artist I'm not keen on sings a song I don't like to produce an absolute stormer! Yup, Mark's collaboration with Amy Winehouse convinced me that the Zutons' Valerie should have been a Motown hit of the 60's! Lilly Allen is also on hand to help cover The Kaiser Chiefs Oh My God, which she does in her tried and tested 'chav serving you in McDonalds' voice ("it dow matta ta me-eee"). Its not a bad cover by any means, but it's a shame it wasn't the far superier version Mark performed on The Jonathan Ross Show over Christmas, where Chief, erm, Kaiser Chief and Candie Payne shared the vocals. Maximo Park and Kasabian both contribute new vocals to Ronson re-workings of their own tracks. Worst track by far is Robbie Williams attempting to do The Charlatans, The Only One I Know. His voice isn't up to it and he just comes across like a Tim Burgess sound-a-likey on Stars in their Eyes.

It’s a real mish-mash of an album, with something for pretty much everyone included… everyone that is except possibly Morrissey fans! I love the fact that he dared to cover The Smiths on it (an odd mix of The Smiths' Stop Me If You Think You've Heard This One Before and The Supremes' You Just Keep Me Hanging On with vocals by Daniel Merriweather), which prompted some upset die-hard Smiths fans to actually send him death threats (one particularly jovial fan told him 'I want to stab you in the eye.'… nice!). Of course by being so ridiculous, this minority of idiotic fans are simply helping to confirming that stereotypical image that all Smiths fan have had to suffer with for years. Anyway, I know of at least one Morrissey fan who thought the cover was fab! (she is currently in hiding alongside Osama Bin-Laden!!).

If you missed the performance on Jonathan Ross, you can check it out right here!

The Wolfmen - 5 Track Promo\Sampler
Although not strictly an official release from 2007, this 5 track sampler gave me a lot of pleasure at the back end of last year. See my review of the CD here for full details.

Marc Almond - Stardom Road (released June 2007)
What can I say about Marc Almond? He's been at the very centre of my love of music for over 25 years, and still he keeps coming up with the goods. Marc has always been a prolific writer, but a near-fatal motorbike accident in 2004 left him with brain injuries that rendered him unable to compose (something I'm pleased to say is now starting to ease).

So, after dozens of operations and 3 years of intensive rehabilitation (and with the 'imposed' writers block in mind), 2007 seemed the ideal time for him to release an album of cover versions. I must admit that I was a little concerned when this project was first announced - recent lazy, lacklustre cover albums from the likes of Rod Steward, Michael Bolton, Russell Watson, X-Factor contestants etc have left a nasty taste in the mouth. But I needn't have worried, Marc is much more than cheap rip-offs of over used tracks. What we actually got were personal, re-interpretations of mostly little known classics that have influenced Marc over the last 50 years (in fact, the majority of the songs included are so obscure that the casual listener would be forgiven for assuming it was mostly new self-penned material).

From a 'twin peaks-esque' Dream Lover to a simply beautiful version of Third World War's Stardom Road, Marc takes these songs and makes them his own. Although a 50 piece orchestra was used for the album, the production is beautifully understated, creating the perfect atmopshere for Marcs 'off-centre' take on these songs. Marc has made a career out of 'doom and gloom' songs where every silver lining has a cloud, but this album is truly uplifting and inspiring (it's amazing what nearly dying can do to you!). There is not a bad track on here, but the stand out one for me (and probably my favourite song from the whole of 2007) was his version of Charles Aznavour's I Have Lived. Oddly, I actually have the original of this song in my vinyl collection, but it had never struck a chord with me before (although I doubt the lyrics would have hit me so much back in my 20's as they do now in my 40's!). Hats off to Mr Az, these lyrics are so touching and thought provoking - In fact I now know this is the song I want played at my funeral! I was like a teenager with this record, playing it over and over continually, and have still yet to tire of it.

2007 also marked the 1st live shows for Marc since the accident, and this album formed the centrepiece of these dazzling concerts.

So that's my top 6 Cds that were released in 2007. However the vast majority of CDs I purchased last year were 'back catalogue', and I don't think I can finish without mentioning at least a couple that really hit the spot.

2007 was officially the year of the Marc's (Almond and Bolan), and there was a big 'Bolan buzz' at Piley Towers throughout much of the year. Most of my Bolan collection has always been on Vinyl, but thanks mostly to Amazon 'new and used', I've now finally rectified that! I love almost all of Marc's albums, but the recent Edsel re-releases of the later albums, with a full extra cd of alternative takes and rarities was just too tempting. However it was Slider that I really fell in love with all over again, and it became the soundtrack to my summer. It's definitely Bolan's best work, and one of the greatest pop\rock album ever. Every track is so darn perfect, and it can happily be left on 'repeat' for days without annoying you!

I'd always liked what I'd heard of Barry Ryan (Eloise is the obvious track), but had never really investigated his work seriously. In 2007 I spotted that his 1st 2 albums (Barry Ryan Singing The Songs Of Paul Ryan - 1968 and Barry Ryan - 1969) had been re-issued on one disc so thought I'd give it a go - to be honest I expected to give it a couple of plays, be a bit non-plussed and then file it (never to be played again!). But what I got was quite simply a revelation! Ryan has gotten a raw deal over the years.. Whilst similar acts such as Scott Walker have been elevated to legendary status (and rightly so), Barry has remained languishing in the 'cheesey 60's pop' category (possibly due to his earlier 'pop' career as a duo with his brother Paul). But some of the material included on these two albums is right up there with the best of those 60's torch singers. I couldn't believe the quality of this disc, it's all very orchestrated, and OTT, but no more so that Scott Walker.

It's a long CD (24 tracks), but as soon as it finished I had to keep re-playing it, and if I went out I took it with me to play in the car. I think it kept me going for the best part of a month! One of the best ten pounds I've ever spent! This album lead to a spending frenzy, as I picked up a number of other Ryan CDs - alas, everything else available are just various compilations, and his other 'proper' albums all remain unreleased on CD.

Here is Barry Ryan with the wonderfully OTT Kitch




Piley

The Best of 2007 (Part 1)

Well, Unbelievably, yet another year has gone by. In these depressing times of real music being nudged out of the CD racks by reality TV show winners (AND losers!), it's heartening to know that good music is still out there… even if you do have to dig a bit deeper and search a bit harder to find it at times. This was going to be my Top 5 CDs of 2007, but I've had to bend the rules slightly, as I just couldn't quite narrow it down to 5! So it's gonna have to be my favourite 6 from last year.

Ash – Twilight of the Innocents (Released July 2007)
Ash are one of those band who, despite owning all of their albums, I always seem to forget how good they are - yet to date I have never been disappointed with any of their output (far from it). Last years release was the first since the departure of guitarist Charlotte Hatherley (after a 9 year stint), and Ash are once again back to the original trio that formed 16 years ago (YES, SIXTEEN!!!). They have an uncanny knack of producing sublime, beautiful and noisy tunes that are instantly memorable. In later years, sparing use of strings have been weaved into their distinctive sound to create their very own brand of anthems. This Cd shows the band are in top form at the moment, and contains some exceptional tunes, in particular Polaris and Twilight of the Innocents. Rave reviews all round, and many have said this is their best album since their debut, 1977. Probably the best thing about this album, was it re-igniting my passion for the band in general, and it instigated a spell of several weeks where I reacquainted myself with their earlier work, and in particular Meltdown, which for me is their finest (and nosiest!) album.

Black Rebel Motorcycle Club – Baby 81 (Released April 2007)
When these guys hit the scene back in the late 90's, they completely blew me away. I saw them live quite a bit at the time, and each time was mesmerised by the intensity of their sound. Two fantastic albums were released (B.R.M.C and Take Them On, On Your Own) but then it all went wrong with the 3rd one, Howl - and odd folky\country kinda thing that was truly awful! I've continued to play those 1st 2 albums throughout, but to be honest, did not expect to be adding to them. Alarm bells were ringing the moment I learnt of the release of this album - but I'm delighted to report the boys are back on top, ear-splitting form. Howl was a blip, and the BRMC 'wall of noise' is back with a vengeance. A Strong album throughout, but if you really push me, best tracks might be Weapon of Choice and Not What You Wanted.

The Good, The Bad and The Queen - The Good, The Bad and The Queen (Released January 2007).

Damon Albarn has been treading the fine line between self indulgence and genuine genius for some time now, but I'm a firm believer that he has remained in the latter category throughout. You can't argue that he hasn't been involved in some pretty diverse project in recent years, and this album continued that trend. Billed (not by him) as a supergroup (as well as Albarn, the band includes Paul Simonon - The Clash, Tony Allen - Africa 70/Fela Kuti and Simon Tong - The Verve), expectations were high for this release. After an initial listen I was unconvinced, and started to think maybe he'd finally tipped the scales into self indulgence, but after a few more plays, it was one of the best things I'd heard from Damon in many a year. An eerie atmosphere is present throughout this album, and it does not make for 'easy' listening…. It is however, essential listening (in the Piley household at least!). As his 'Modern Life Is Rubbish' was a statement on Britain in 1993, so The Good, The Bad and The Queen is Damon's lecture about the London of now. It's a sobering album, and needs a little patience to get the best out of it, but it is well worth the time invested in it. Standout tracks? Hmm, again no fillers here, but you've got to go a long way to beat Kingdom of Doom or Herculean.

I'll post the final three in a few days time - in the meantime, let me know your musical highlights of 2007.

Piley