You will never guess how I'm going to ring in the new year. Kidding. It's nearly time to play my favorite live show of all time... Big Country's New Year's Eve concert from Barrowland, circa 1983/1984. So let's pop the cork and raise a toast to Stuart, Bruce, Tony and Mark as they make a triumphant homecoming just after conquering America. Here's what they had to say about the special evening:
The Barrowland Ballroom is a great rock venue. It became our spiritual home. This gig could go down as one of the best moments in my gigging life. Long live the Barras and all who play in her."
-- Tony Butler
"Even just before the gig the atmosphere was electric, and just walking on stage can only be described as being at a cup final and scoring the winning goal."
-- Mark Brzezicki
"The excitement going on in the room that night was really a Scottish thing. We tried to make it a huge party, as much as possible."
-- Bruce Watson
"That was a memorable show. It was New Year's Eve, and everyone was out of their heads. I remember in the middle of the show - at midnight - an entire bagpipe band came on stage and did a few numbers. It sounded so cool, we decided to keep it in the recording."
-- Stuart Adamson
This year I'm going with the the show's hits and more words from Stuart. Whatever you're doing this evening, be safe, my friends. See you in 2020.
We lost one of the real giants of rockabilly last week when Sleepy LaBeef passed away at age 84. LaBeef was one of our last active performers linked to the birth of rock 'n' roll. He will be missed. This guy knew how to make a good record, but it's his live performances and physical stature that will be most remembered. Nick Lowe once said of his presence, "Sleepy speaks... liars tremble."
Speaking of Lowe, with the help of C.J. Chenier on accordion, G.E. Smith on guitars, T-Bone Wolk on bass and Steve Holley on drums, LaBeef played lead guitar and sang one of my all-time favorite Lowe covers for the 2001 tribute album 'Labour of Love: The Music of Nick Lowe.' Just try to keep those toes from tappin'. Thanks for the music, Sleepy.
Merry Christmas to you all, and thanks for stopping by in 2019. I'm going rogue with the Christmas songs this year.
For casual fans of Motown, Kim Weston is probably best known for singing the duet "It Takes Two" with Marvin Gaye. I'm more than a casual fan of Weston's. She is, in fact, my favorite female voice on the label. Weston's song "Wish You a Merry Christmas" was written by Motown's A&R manager Mickey Stevenson, and she recorded it as an unknown and newly signed artist in 1962. She was just 22 years old. The song was ignored and not even included on Motown's huge holiday compilation, the double LP "A Motown Christmas, when it was released in 1973. Only big names like the Temptations, the Supremes, the Jackson 5, Stevie Wonder, the Four Tops and Smokey Robinson and the Miracles were included. I could be wrong, but I don't think the song ever appeared on a compilation until 1994. Since then, however it has become a staple on just about every Motown Christmas album and reissue.
Marvin Gaye is a household name, but he doesn't pop up on the holiday radio stations too often. That's probably because his seasonal tune "I Want to Come Home for Christmas" was never a hit, and the lyrics are most unusual. Gaye helped write Forest Hairston's composition in 1972, during the Vietnam War, and the song is sung in the first person from the point of view of a POW. The lyrics begin this way:
I'd give anything to see
A little Christmas tree
And to hear, hear the laughter
Of children playing in the snow
To kiss my baby, under the mistletoe
But I can't promise my eyes this sight
Unless they stop the fight
'Cause I'm a prisoner of war
Lying here in my cell
Hoping my family is well
Wish they wouldn't worry so much about me
Just try to get us home
In time for the Christmas tree
The song wouldn't be released until 18 years later and six years after Gaye's death. It's a beautiful song but a tough one to hear next to the often upbeat holiday standards.
It's funny how I can listen to the Ronettes, Darlene Love and the Crystals over and over, but I feel like if I'm subjected to Mariah Carey one more time, my car radio is going meet a yule log in the most unpleasant way. Thankfully, some new holiday classics have come down the chimney this year.
I have been giving 'The Molly Burch Christmas Album' plenty o' spins this season, but Austin's favorite chanteuse has had company in recent days with the release of the three-track "Christmas EP" from Cardiff band the School.
As you would expect from Liz Hunt and the gang, there are Spector flourishes throughout, as well as some nods to more contemporary acts like the Aislers Set and Shop Assistants. Well, if you are my age, those are considered contemporary. For you young whippersnappers, the folks at Elefant Records mention the sounds of Alvvays too.
This is a digital-only EP, and you can give yourself a gorgeous gift by listening to the whole shebang and purchasing here. Still not convinced? Give this video a go:
Your greatest Christmas wish will be fulfilled in late 2020 when the School's next long player is released. It has been a far to long, hasn't it?
Here are the EPs, singles and album tracks that kept my head bobbing this year. There were quite a few other songs that belonged here, but in a nod to Mr. Peel, I like to keep it at 50. Apologies to these acts who were in the first 10 out: Cate Le Bon, Zebra Hunt, Lloyd Cole, Flying Fish Cove, Lisa Prank, Joy Cleaner, the Groove Farm, Elva, the New Pornographers and, especially, Seattle's own the Regrets. Their song "Swagger" was No. 51. There are a couple of songs on this list that debuted before this year but appeared on 2019 albums. As in the past, I considered these fair game. If a single had a spectacular B-side, I listed that too. Also, as usual, one slot per band. What did you like this year? What did I miss? Rants and raves in the comments, please. Much appreciated. It's a great way to discover new music.
30. Patience - 'Dizzy Spells'
There were more than a few vying for this last spot, and I had it whittled down to Wilco (been a while, Jeff!), Yola and an excellent sampler from Emotional Response Records before choosing this Roxanne Clifford vehicle. I was sorely disappointed when Patience sounded nothing like her old band, Veronica Falls. 'Dizzy Spells' should be too dance oriented for my taste. Upon repeated listens, however, she won me over. There is one song in particular I can't get out of my head and will rank high on my list.
29. Mammoth Penguins - 'There's No Fight We Can't Both Win'
This trio got my attention with "Propped Up" in 2015 (No. 13 on my list of top songs that year). Since then they have become louder, tighter and much more in your face. Let's just say Emma Kupa tackles topics head on, and that will be grating to some but works for me.
28. The New Pornographers - 'In the Morse Code of Brake Lights'
I used to be a huge fan, but I must admit I started to lose interest after 'Challengers' and stopped buying after 'Brill Bruisers.' Heck, I didn't even know Dan Bejar was no longer around (although that always felt like a matter of time). This album may not pop like the early days, but A.C. Newman can still write a great song, and Neko Case certainly hasn't lost the pipes. Now I'm even considering going back to get 'Whiteout Conditions.'
27. Flying Fish Cove - At Moonset'
Here's the first of two bands from my hometown of Seattle. Check out this description on their Bandcamp age: "A band that invokes the spirits of Heavenly, Teenage Fanclub, and The Pastels." I would gasp at the audacity if it weren't spot on.
26. Bob Mould - 'Sunshine Rock'
I feel like this release fell through the cracks a bit which is a real pity because this is a happy Mould that sounds a lot like Sugar during the days of 'File Under: Easy Listening.' I wish I had this guy's energy.
25. TC&I - 'Naked Flames: Live at Swindon Arts Centre'
Terry Chambers and Colin Moulding take on your favorites from their days in XTC along with a few from their 2017 album 'Great Aspirations.' Slower numbers like "Wonderland" and "Grass" are especially beautiful and seem made for this setting.
24. Champion of Youth - 'Champion of Youth'
You don't have to miss Manchester band Amida any longer. They are more or less back with a new moniker. If you miss Pavement as well, this seven-song mini album is going to warm your cockles.
23. Mighty Mighty - 'Misheard Love Songs'
'C86' vets return after 30 years (this is a trend, as this list illustrates), and I couldn't be happier. The lads are contenders for my track of the year too. Thanks to Uwe at Firestation Records for getting this one out there.
22. Rat Fancy - 'Stay Cool'
I have been a loyal listener of Diana Barraza since her days in Sweater Girls. She isn't about to get rid of me now. This album is the kind of pop that's impossible to play without doing some dancing and singing along of your own.
21. The Stroppies - 'Whoosh!'
This won't be the last Melbourne act to appear on this list. Must be the lager. Influences from the Clean to Stephen Malkmus can be heard on this, their first proper album. I wonder how many times I listened to "Cellophane Car" this year? Sounds like a cover from some Flying Nun band.
20. The Groove Farm - 'Groovy Pharmacy'
Thirty years after their last long player, the garage-rock aficionados (and Subway Organization vets) bring the noise like no time has passed at all. Yep, they still live by the formula of 20% Shop Assistants and 80% the Seeds. This was the most pleasant surprise of 2019.
19. Lloyd Cole - 'Guesswork'
He does keep us guessing, doesn't he? This album is pure electropop, and I tossed it aside after one listen thinking it would collect dust. A month later I gave it another go. Slowly, I came to realize this is actually classic Cole with a slightly different veneer. With more time this one would have likely moved up the list.
18. The Lilac Time - 'Return to Us'
I almost took a pass on this one. Thanks to reader Friend of Rachel Worth for nudging me in the right direction. My tastes lean toward the Fonatana albums of the late '80s and early '90s, and the songs I had heard before buying this one didn't seem to fill that bill. Turns out great songwriting prevails.
17. Cate Le Bon - 'Reward'
She's a true original whose sound in the past has been far enough from the mainstream to keep her from being a thing. 'Reward' is easily her most accessible work. If you have been scared off in the past, this is the time to climb aboard. It won't be long before you realize those earlier albums are amazing. For Cate at her best, check out this perfromance at KEXP from earlier this year.
16. Joy Cleaner - 'You're So Jaded'
Their sound has edged towards Matthew Sweet power-pop territory... so what's not to like?
15. Zebra Hunt - 'Trade Desire'
Without a doubt, this is my favorite band here in Seattle. Their last album, 'In Phrases,' made my top 10 in 2017. This one is even better, but the competition is a little steeper this year. Expect more sounds of the Feelies and Flying Nun, but they go to new places too.
14. House Deposit - 'Reward for Effort'
These Aussies said they were influenced by the Chills and the Feelies. Seems to be a reoccurring theme here, eh? That was enough for me to give them a go. This is my plea to indie labels everywhere: Pick up this quartet up and release this on a physical format other than cassette.
13. The Catenary Wires - 'Til the Morning'
Amelia and Rob continue to turn it down out in the Kent countryside with moving results. They really are indie-pop's Serge and Brigitte.
12. The Monochrome Set - 'Fabula Mendax'
That lengthy 17-year hiatus is so long ago now it's difficult to even remember. This is the sixth album since returning to us in 2012 and the fourth in five years, and I'm always among the first in line to hear Bid's acerbic lyrics and catchy melodies. I haven't been disappointed yet. If I did a list of best shows I saw in 2019, they would take the top spot too.
11. Business of Dreams - 'Ripe for Anarchy'
Corey Cunningham is not one to rest on his laurels. You might know him from Terry Malts or Smokescreens, whose album 'Used to Yesterday' was No. 10 on this list last year. There is the jangle you would expect but against the backdrop of beautiful '80s-era synths. These songs get in your head and stay there.
10. The Ocean Blue - 'Kings and Queens / Knaves and Thieves'
I lost track of this band after the Sire albums many years ago but rediscovered them with the excellent 'Ultramarine' in 2013. This might not be one you see on everyone's list, but the "it" boys of '89 still got it.
9. Robert Forster - 'Inferno'
The former Go-Between seems downright happy on his seventh solo album, and he should be because this one rivals 'the Evangelist,' my personal favorite.
8. The Claim - 'The New Industrial Ballads'
The Kent band makes a triumphant return after more than a quarter century, and they weren't aiming to just jump on the nostalgia circuit. There was much to say, and they use much more than jangle to get their point across.
7. Seablite - 'Grass Stains and Novocaine'
Jangle and fuzz is a lovely combination, isn't it? Members of this San Fran quartet must have had parents with great record collections. If this was 30 years ago, Martin Whitehead would have invited them to join the Subway Organization.
6. Comet Gain - 'Fireraisers Forever!'
They're back, and they're angry. Can you blame them? This followup to the sublime 'Paperback Ghosts' is closer to the old stuff than, say, Belle and Sebastian.
5. Tullycraft - 'The Railway Prince Hotel'
Twee is not a bad word. This is pure pop for now people! he Seattle band makes their best album in a flawless nearly 25-year-career. Please don't wait so long between albums.
4. Jeanines - 'Jeanines'
Anyone band that covers the Siddeleys will get my attention. Alicia Jeanine and Jed Smith wear their '80s indie-pop influences on their sleeves through 16 songs that rarely exceed two minutes.
3. Mick Trouble - 'Here's the Mick Trouble LP'
Hmm, how do I explain this one? Jed Smith of My Teenage Stride and Jeanines has this alter ego named Mick Trouble who would have been really been something about 40 years ago if only he hadn't screwed up and missed his Peel Session. Seems ridiculous until you listen to the album. It sounds like something you would have heard on Stiff in the very early days. Some have compared this to Television Personalities too. This lark will be too big a leap for some... but not for me. I seriously considered this for the top spot.
2. The Hit Parade - 'The Golden Age of Pop'
Julian and the lads aren't No. 1 for one simple reason. I waited five years for a new album only to have six of the 12 songs come from singles spread out over the past three years. I worked pretty damn hard to track down those Record Store Day 45s from shops halfway around the world too. I'll get over it. Being a quality LP helps.
1. Le SuperHomard - 'Meadow Lane Park'
The French band's debut album made my top 10 in 2016, and this one somehow betters it by miles. The hype sticker on the plastic sleeve describes them as follows: "A mix of Stereolab, Broadcast, St. Etienne, Air, the High Llamas, the Gentle People, Komeda..." High praise, indeed.
In an attempt to make myself feel young and relevant, I always try to split my bounty between reissues and new releases. This year, I failed miserably. The old stuff was just too good. This is the longest list of reissues I have ever had in the 11 years of doing this on these pages, and that's with leaving an incredibly long list of wants I didn't pick up because they were either too expensive or seemed silly to buy because I owned so much of the material. That would almost make sense if not for the fact there are plenty of titles below I didn't really need to buy... again. We the music obsessed are a strange lot. I could have made this a top 40, but I combined some titles and created meaningless ties to keep it to a strong 30.
A few bands you won't find on the list but would be here if money was no object include Happy Mondays, Goodbye Mr. Mackenzie, Chet Baker, the Replacements, the Dukes Of Stratosphear, A Certain Ratio, the Pooh Sticks, OMD, Beat Happening and the Go-Betweens. I asked Santa for the mammoth 'G Stands for Go-Betweens Volume 2' box (retails for $180!), but I'm not sure I was that good this year. Outside shot the Pooh Sticks 7" box could be under the tree too.
Seeing these together, I find it interesting the CD and vinyl formats are pretty evenly split. Some of these were available only on CD, but I went CD in some instances because the vinyl was so expensive. Many of these were imports and killers to the pocketbook. Josef K and Stephen Duffy, for examples, were $35 each before shipping. Madness! On with the countdown. I hope you find something that piques your interest...
30. (tie) Queue Dance - 'Full Stop'
Jo and Nick were made for Paul Weller's Respond label. Too bad they didn't form until the late '80s.
30. (tie) Andy Pawlak - 'Lost Demos 1985-1986' and 'Low Beat Folk'
'Demos' expands on last year's excellent 'In the Kitchen' album. As for 'Low Beat Folk,' Pawlak records under the moniker Monkey, and a Japanese label resurrects it many years after a major label shelved it. Bad decision, Universal!
29. Prefab Sprout - 'I Trawl the Megahertz'
This is miles from the pop of 'Steve McQueen.' Paddy is pretty out there with this orchestral manoeuvre, but the results range from interesting to stunning.
28. Remember Sports - 'Sunchokes'
The original 2014 pop-punk album clocked in at about 20 minutes of angst but is now twice as long with bonus tracks. With lyrics like "you're looking real clean in your jeans and it's making me sick, and I haven't showered since Tuesday and my shoes are too big," if I was a surly teenager, this would be my favorite purchase this year.
27. Sparks - 'Past Tense: The Best Of Sparks'
This was to plug some serious gaps in the collection. Do yourself a favor and opt for the 58-song three-disc version. You won't be disappointed.
26. Ian Broudie - 'Tales Told'
First released in '04, this is the pop genius' one and only solo album, and it's issued on vinyl for the first time. Don't expect his usually sunny synth self, but it's quality nonetheless.
25. The Gerbils - 'Are You Sleepy'
Scott Spillane was the resident horn player at the peak of the Elephant 6 collective, but the Gerbils were his baby. This '98 album is as weird and wonderful as you're thinking.
23. The Wedding Present - 'Tommy 30'
This may not have worked as well as the 'George Best' redo, but it's still a joy to hear Gedge interpret his earliest songs through a mature lens. Yes, you could argue this belongs on the list of new releases.
22. The Nightingales - 'No Love Lost - Expanded Edition'
The brilliant 2012 album goes vinyl (limited to 500) for the first time and is blown out to a double. Proceeds go to Robert & Co. for a trip to America to support the release of a documentary film about them. Big thanks for that! This band has quietly (well, not so quietly, but you get my meaning) had a hell of a decade.
21. Pylon - "Cool/Dub"
DB Recs had a stable of Georgia's stars... the B-52's, Oh-OK, Guadalcanal Diary, the Swimming Pool Q's. As this debut single shows, nobody topped Pylon.
20. Stephen Duffy - 'I Love My Friends'
Duffy and new label Needle Mythology play with the '97 tracklist a bit and release the album on vinyl for the first time. Completely missed this one back then.
19. Mick Trouble - "It's The Mick Trouble EP"
I also missed this 7" first time around a couple of years ago, but it got a second life with the release of a 2019 LP (sold separately) via Emotional Response Records. More on this mysterious bloke when we get to the list of new releases.
18. Supercrush - 'Never Let You Drift Away'
Seattle duo has its first four singles (front and back) compiled. Think Teenage Fanclub.
17. Prince - 'Originals' and '1999: Super Deluxe Edition'
A big thumbs up to Prince's estate for opening up the vault. On 'Originals,' hear the demos of the songs Prince wrote and gave to other artists. I opted for the five CD/one DVD version of '1999' for the great price and because I have had the original double album on vinyl since I was a kid. Now this is how to put together a deluxe edition.
16. The Popguns - 'Love Junky'
This '95 album is issued on vinyl for the first time. If you only know the Brighton band from the Midnight Music era, you've missed a lot.
14. Various Artists - 'A Sunday Records Compilation'
The Midwest has had a few indie labels all about the jangle, and Sunday is just about the best of them. They brought back their legendary and long sold out 'Sunny Sunday Smile' (1993) and 'Songs About Our Past' (1996) comps in one package... a must for all indie-pop enthusiasts.
13. The Motorcycle Boy - 'Scarlet'
Former members of Meat Whiplash and Shop Assistants had an indie smash for Rough Trade with "Big Rock Candy Mountain" before signing to Chrysalis. Their LP never made it off the shelf until now.
12. Josef K - 'The Scottish Affair (Part 2)'
Les Disques du Crepuscule presents a live show recorded from the mixing desk at Beursschouwburg Arts Centre in Brussels on April 8, 1981. This one sounds better than both shows on 'Crazy to Exist.'
11. The Claim - 'Boomy Tella'
What a year! A Turntable Friend dusts off this album from 1988 and also releases their first full-length LP in 31 years. More on that gem when we get to the next list.
10. Friends Again - 'Trapped and Unwrapped' and 'In the Beginning'
One of my favorite bands goes deluxe double CD with LP, B-sides, 12" versions, demos and the EP. I didn't need much from this one, but I couldn't resist. My vinyl has been sounding tired anyway. A couple of years ago a little birdie delivered a slew of demos to my inbox. 'In the Beginning' could be the start of a series of demo-related releases.
9. Dolly Mixture - 'Other Music'
I made a major investment in the tough-to-find three-disc 'Everything and More' a few years back, but this covers some songs not on that box set. If you don't already have it, 'Demonstration Tapes' is available again on vinyl too, but hurry. I'll stick to my CD copy of that one.
8. Various - Optic Sevens 1.0
Optic Nerve's first series of 12 classic indie 7" singles in 12 months wrapped up in the spring of 2019. Selections from East Village, Apple Boutique, the Servants, the Siddeleys and the Wake were my favorites. Optic Sevens 2.0 has already kicked off and is certain to be on this list next year.
7. Kate Bush - 'The Other Sides'
For those who already had her albums years ago, these four discs of mixes, B-sides and covers practically made buying those fancy album reissues moot.
6. The Springfields - 'Singles 1986-1991'
Here are the five singles Ric and Paul released on Sarah, Picture Book, Summershine and Seminal Twang (plus one extra song) before the Velvet Crush days.
5. Baby Lemonade - 'Baby Lemonade'
Roque at Cloudberry Records gives these late '80s Scottish indie popsters the attention they always deserved. Other than appearances on comps, all I ever had before this was the 7" of "A Secret Goldfish."
4. Jazzateers - 'Blood Is Sweeter Than Honey'
The shelved second album (which included new faces and was post Bourgie Bourgie) has never been released as a stand-alone LP and never on vinyl... until now. I can't seem to take this off my turntable. Beautiful presentation by Creeping Bent too.
3. Stereolab - 'Emperor Tomato Ketchup' and 'Dots And Loops'
This is my favorite era of the band so I splurged for the expensive expanded vinyl editions. These look and sound spectacular.
2. Echo & the Bunnymen - 'The John Peel Sessions 1979-1983'
Remember that legendary four-track session from '79 Strange Fruit put out in 1988? That's about 12 minutes long. This is 78 minutes and takes you from there to just before the release of 'Ocean Rain.'
1. Various Artists - 'Big Gold Dreams: A Story Of Scottish Independent Music 1977-1989'
Cherry Red beats all of their other geographical box sets with this one because, hey, it's Scotland. Even if you're a fanatic, there is bound to be enough here you haven't heard to keep you interested. For me, there were quite a few new discoveries on disc 1.
Slumberland Records is really sticking it to me. Even though I already had the Summershine compilation 'The Ballad of Ric Menck' (on two formats, I might add), I couldn't resist picking up doppelganger 'Singles 1986-1991' from the Springfields a couple of weeks ago. Now comes news the label has raided the Summershine vaults again to reissue the singles collection 'Hotrod Hotel' by East Village... on vinyl! Like a bad joke, I paid big bucks for it on CD via Discogs a couple of years ago because I couldn't have dreamed it would be reissued again. Just to rub it in, this past year, I bought the 7" reissue of "Cubans in the Bluefields" as part of Optic Nerve Recording's excellent singles series.
There's no way I would consider buying this, then, right? Wrong. Slumberland's reissues are always done with such care, and the insert and liner notes alone would have me reaching for the wallet. It just so happens there are a couple of bonuses that have me excited too. The album includes the original version of "Freeze Out" first issued as half of a split flexi that kicked off Bob Stanley's Caff label back in 1989. That is not on my CD. Also, if you order quickly and directly from Slumberland, they are going to throw in a beautiful 'Drop Out' album poster. Yes, it's the one you're thinking... only bigger (clears throat). Preorder now for an expected Jan. 24 release.
I was told the other day it was too early for holiday music, but what about music recorded on the holiday itself? On the shelf next to the somewhat obscure Wild Flowers we listened to last time you'll find the more familiar Wild Swans. I have just about all there is to have by the Liverpudlian band, and I'm pulling out the holy grail this evening. I rarely play the 2013 double-LP hardback-book edition of 'Incandescent' because it was kind of pricey and, although quite sturdy, I'm always afraid I'm going to ruin it somehow. That's too bad because records are meant to be played, not just admired for their physical beauty, and there are plenty of gems to be had on the wax. There are remixes of their first single, multiple BBC sessions, demos and live recordings, not to mention a beautiful booklet chock full of photos, memorabilia, interviews and reminiscences from Paul Simpson himself.
From Christmas 1981, when the Wild Swans were supporting fellow Liverpool band Echo and the Bunnymen on their UK tour, here are both songs from the band's legendary first single. Two things Paul mentions when introducing the songs on stage worth noting are that the coveted 12" was not even out yet (he says January but it would actually be March 1982) and he didn't know which one of these songs would be the A-side for the Zoo release. As for the performance, Simpson says in the liner notes, "I don't remember us ever being this good on stage." Here's yet another spot where I'll be stopping once we have time machines.
Have been spending lots of time in the W section of the vinyl collection. Dusted off and resurrected these two 12" singles from 1985 and 1986. David Newton co-founded this band in 1983 but moved on to form the Mighty Lemon Drops in 1985. He was replaced by Dave Atherton, and the band signed on to the legendary indie label Chapter 22. Bands on the roster at that time included, among others, Mighty Mighty, the Mission, Pop Will Eat Itself, Suicide and the Pastels.
It's a funny thing that Newton wasn't on these two singles because they sound an awful lot like the Mighty Lemon Drops, particularly "A Kind of Kingdom." By extension, Echo & the Bunnymen may come to mind as well since the Mighty Lemon Drops always sounded a lot like Ian and the gang. Both of these songs would eventually reappear on the 1987 long player 'Dust.' The Wild Flowers never had a hit on the UK indie charts in the '80s, but they did garner enough attention to sign a deal with Slash Records in America. They were the first ever British act to do so. Prepare to pogo.
Calvin Johnson's K label is arguably best known for releases from his band Beat Happening, early Beck or a slew of local bands in and around his hometown of Olympia, Washington. Some of us, though, revere Johnson for bringing UK indie pop to our shores by licensing the occasional single or album from the likes of the Pastels, Flatmates, Bis, Teenage Fanclub and a bevy of bands from Amelia Fletcher's musical tree, including Talulah Gosh, Heavenly, Marine Research and Tender Trap.
Speaking of Marine Research, here they are in 1998 sharing a single on K's 7" series International Pop Underground (IPU). This is one of those split singles where each band covers a song first recorded by the other. Boise's own Built to Spill spent the better part of two decades on major label Warner Bros., but they released the single "Joyride" on IPU in 1994, for which "Sick & Wrong" was the B-side. That's the one Marine Research nabbed. Built to Spill took "By the Way" from Heavenly's 1996 album 'Operation Heavenly.' That would have been the last release from Amelia and Co. before drummer (and brother) Matthew Fletcher passed away. Thus the new band name and fresh start. This split single would have been the first release as Marine Research. Their single "Queen B" would come out on Where It's At Is Where You Are a little later in the year. The chapter called Marine Research was a short one, but there were some great songs, especially the sublime "Parallel Horizontal."
It's my tradition to purchase one holiday-themed album per year. I try to make it a new release whenever I can, but long players from this decade like Tracey Thorn's 'Tinsel and Lights' and Nick Lowe's 'Quality Street' are few and far between. For instance, last year I "settled" for a reissue of ATCO's 1968 classic compilation 'Soul Christmas.' No such problem this time around because Texan chanteuse Molly Burch will be the one to get me in the spirit with 'The Molly Burch Christmas Album,' out today via the always dependable Captured Tracks. It's a mix of holiday standards and Burch-penned originals sung by a voice that melts my heart every time I put on her records. I know there are a few of you humbugs out there who don't care much for holiday music, and I do get it, but this is an album that will have you rethinking your Christmas list.
In the early 2000s, I caught Swedish fever and haven't really ever been able to shake it. Jens Lekman, the Concretes and Shout Out Louds have all spent time on my turntable this weekend, and it's this U.S. promo 12" from the latter that has won the day this time around. Debut album 'Howl Howl Gaff Gaff' was released in their home country in 2003, but I didn't hear it until Capitol picked it up in May 2005. By then the album had been remastered, and the tracklist had changed significantly. Five songs from EPs were combined with six songs from the original album to create a collection with nary a duff note. The two standouts were "Very Loud" and "The Comeback," the latter released as a single in the fall that year.
I prefer the album version of "The Comeback" in all of its simplicity, but these alternative takes would be fun out on a dance floor. Tommie Sunshine has made a career out of remixing songs like this, and electro-rockers Ratatat would have been just a handful of months from hitting it big with their "Wildcat" single. As for Shout Out Louds, they have released four albums since "Howl Howl Gaff Gaff," but to these ears they have never come close to bettering their debut. It's an old story read on these pages time and time again.
I hope everyone has been enjoying JC's Sunday series on the Auteurs. You will find only 'New Wave' and 'Now I'm A Cowboy' on my shelf, meaning things are about to get really interesting for me at the (new) Vinyl Villain as we move beyond that era. Being a fan of '80s indie pop, it probably won't surprise you my interest in Luke Haines has more to do with his connection to the Servants than the Auteurs, Black Box Recorder or his vast solo work. Even I realize this is ludicrous since his time with that band was so brief and, let's face it, the Servants were much more the vehicle for the brilliant David Westlake.
If you know the Servants at all, chances are your in was either hearing "Transparent" on NME's 'C86' comp or picking up the singles "She's Always Hiding" and "The Sun, A Small Star," both minor indie-chart hits in 1986, peaking at No. 25 and No. 47, respectively. Through the years, it's "The Sun, A Small Star" that has become the band's signature tune, appearing on comps and even getting a 7" reissue last year on Optic Nerve Recordings. The point I'm trying to get around to is Haines didn't appear on any of those recordings. He didn't come around until after the band's lengthy recording hiatus ended in 1989. One footnote: Westlake did release a largely ignored solo album put out on Creation in 1987.
Here is Westlake and Haines together. This 1989 single was done for Dave Barker's Glass Records in both two-track 7" and four-song 12" forms. Glass didn't have many releases, but the bands they did work with during this period were epic, the Pastels, Jazz Butcher and Apartments being among the best of the bunch. Barker would shutter Glass shortly after this one and revamp as the excellent but also short-lived Seminal Twang label in the early '90s, but here I go on another tangent. Let's listen to the "It's My Turn" single in its entirety.
In 1990, the Servants would release a single and the 'Disinterest' album for Paperhouse. As Haines wrote in the liner notes for another of the band's releases, the label was just that, disinterested, as they had all their eggs in the Teenage Fanclub basket at the time. There was another album after 'Disinterest' with quite a different sound that upon completion Westlake and Haines felt would probably get shelved. They were so right. 'Small Time' finally saw the light of day two decades later via Cherry Red. Haines called it the Servants' best album, adding that "it's a strange and wonderful thing, and we're lucky that it is now in the world." Here's one from 'Small Time.'
The other day our pal Drew had a fun read on finding a Red Bird comp in the most unlikely of places... and on vinyl to boot. That, of course, got me listening to the Shangri-Las and then on to one of my favorite albums from this century. With the exception of a couple of very brief on-stage reunions, Mary Weiss had been out of the spotlight since the Shangri-Las called it quits in 1968.
In 2007, seemingly out of nowhere, Mary teamed up with Memphis garage rockers Reigning Sound for 'Dangerous Game.' The album's best songs were composed by uber fan and Reigning Sound frontman Greg Cartwright, and he turned out to be the perfect partner to bring Mary back to us. Here were the two singles... a blend of organ-heavy mid-'60s power pop, drama and modern flourishes. As for Mary, she was in great voice. A dozen years later, I'm still hoping for another comeback.
While we're here, how about something from the Shangri-Las? Written and produced by the legendary Shadow Morton and appearing on the iconic Red Bird label, here's a No. 18 hit from 1964 that appeared on 'Leader of the Pack.'
I professed my love for the Go-Go's on these pages last year, and I was pleasantly surprised I wasn't raked over the coals. This post is certain to test your kindness, but I pulled out these 12" singles on Saturday night and danced like a teenager. Well, at least until I got winded. Perhaps I should have gone with the 7" versions.
Belinda Carlisle got the attention, but Jane Wiedlin was my Go-Go. "Rush Hour" was her one solo smash, cracking the Top 10 in 1988. Five years earlier, "Cool Places" was the lead single from Sparks' album 'Outer Space.' During the Go-Go's heyday, Jane's involvement helped propel this one to No. 49 on the Billboard Hot 100, Sparks' highest ever charting position for a single before or since. Even with Sparks here for a little legitimacy, I realize these two singles are fluff of the highest order. I just don't care. C'mon, go with it. A good time will be had.
I have been spending all kinds of time with the new four-song EP 'Planet England' from heroes Robyn Hitchcock and Andy Partridge, and that also has me exploring the recesses of the Partridge discography. Those twists and turns brought me to "It'll End in Tears," the second of three singles from the Lilac Time's 1990 album '& Love for All.'
Partridge produced much of the lush long player with help from John Leckie. Until about a year ago I had nothing from the Lilac Time and only a 12" single from Stephen Duffy's "Tin Tin" days... well, outside of the sublime "She Loves Me" from the 'Some Kind of Wonderful' soundtrack. That all changed while thumbing through a bin of singles with no clue what I was about to find. Jackpot! Obviously, someone had come in recently with a stack of Duffy's work, and they were all $1 each. Sure, they were a little scratchy, but I took the lot with no regrets. It was one of those moments those of us with a passion for digging in a record store never forgets. Do you hear any of Partridge's flourishes in this one? I do. '& Love for All' is a gem I wish I had discovered about a quarter century earlier.
Here's another one of those mid-'80s pop bands you tend to hear a lot on these pages. The Reflection hailed from Essex, and they got started in 1985 with a mess of Hammond organ and a couple of trumpets to go along with that jangle. Covers by the likes of the Action and Dobie Gray on stage helped gain a following with the mods, and there was a seven-song cassette of originals in late '85 featuring the excellent "No Compromise" you could pick up at their shows.
In 1986, the brass section was beefed up with some sax, making them a seven piece at that point, and their name was altered slightly to the Reflection A.O.B. to avoid confusion with another band that had a similar moniker. The band had some monumental slots opening for Makin' Time, Howlin Wilf & the Vee-Jays, the Kick, the Moment and even the legendary Geno Washington. A couple of these shows were at the 100 Club.
Principal songwriters Harks and Rich Drury whipped up four songs for the self-released "Only In My Dreams" 12" EP. It's one of those releases that should have raced up the indie charts, at the bare minimum, but it was not to be. Perhaps there is such a thing as being too indie, and coming out on the band's own Keep It label may have made it a tough find at the shops. In late '86, they become an eight piece with the addition of Sarah Beale on tenor sax. Alas, life began to get in the way, and members started defecting. The Reflection A.O.B call it quits in late 1987.
Fast forward to 2011-12 and members of the band assembled 'The Complete Collection 1985-1987' as a digital download. The Reflection A.O.B. were a perfect fit for Firestation Records, and they picked up the compilation for physical release in 2015. The vinyl is out of print, but you can still get the CD from the German label. You'll hear some Dexys Midnight Runners in there (especially on "Paint Some Colour") and maybe even a little of the Jam. Based on the bands they opened for, you get the picture, but the Reflection A.O.B. were really doing there own thing. These ears are quite taken with their sophisticated sound. "Only in My Dreams" is a pop classic, and the instrumental "Mind the Gap" should be on your next mix when you take out the scooter.
As mentioned on these pages in 2016, the Cars were one of my favorite bands in middle and early high school. What I liked most about them was how they were common ground for every clique in class. Hoods and new wavers were especially in agreement on the first two albums. The self-titled debut is perfection. The biggest hits were on the A-side, but the B-side trifecta of "Bye Bye Love," "Moving in Stereo" and "All Mixed Up" was where I always went. A kid at a summer camp I went to when I was 13 had the cassette and played it on his boom box several times a day. I was hooked.
With the passing of Ric Ocasek, the accolades have been pouring in, and rightly so. I'm pleased so many are remembering him as a crack producer as well. There has been talk about how he influenced the sound of those he worked with behind the glass, and it got me thinking about a song where I think the opposite occurred. In 1982, between the 'Shake It Up' and 'Heartbeat City' albums, Ocasek released his first solo album. 'Beatitude' featured the safe single "Something to Grab For," and the song sounded a lot like, well, the Cars. It was album opener "Jimmy Jimmy," however, that I hope will be remembered. It has a real Suicide vibe, and I imagine it's no coincidence that Ocasek had produced 'Suicide: Alan Vega · Martin Rev' in 1980.
I saw the Cars once, and it was at the band's zenith. It was on Aug. 6, 1984, at an outdoor theater in Chicago. A friend's mom took us. Wang Chung opened. What I will always remember was that they played "Jimmy Jimmy." It was a bold and surprising choice that I learned much later was a mainstay throughout the 'Heartbeat City' tour. Playing 'Beatitude' again today after so many years was special, but I wish the circumstances for remembering it was different. Rest easy, Ric.
This one is for a pal of ours in Germany. Dirk, you have waited patiently these 17 Saturdays to get to the heart and soul of the Bristol label, and your patience will be rewarded.
When I think of the Subway artifact I hold most dear, Subway One from Shop Assistants is what springs to mind first, but the next five would all be by the Flatmates. If we bump into each other on the street, ask me their assigned numbers and I'll run them off like a winning lottery ticket... 6, 9, 14, 17, 21. Those are the band's five Subway singles, and I love them all. They were big indie hits too. Four of the five made the top 10, and the one that petered out at No. 18, "I Could Be in Heaven," is the song most revered on indie-pop compilations in the 21st century.
The seeds of label boss Martin Whitehead's own band were planted in 1985 when he met a drummer named Rocker (as nicknamed by the Blue Aeroplanes for the way he danced) at a show in Bristol. Rocker's flatmates Kath Beach and Debbie Haynes were later added on bass and vocals, respectively. Thus, the band name. Kath was replaced rather quickly by Sarah Fletcher, and the Flatmates were off and running. Because Martin and Rocker were indie-show promoters in Bristol, the Flatmates were able to pencil themselves in as opening acts for the likes of Half Man Half Biscuit and the Wedding Present. Their sound on stage was quite a bit harder than how they came off in the studio, and Martin has said more than once that their quick cover of Ramones' "I Don't Care" on the B-side of the "Happy All the Time" 12" probably came the closest to the way they were live.
You may wonder why the guy that controlled Subway never put out a long player of his own band. As Martin tells it, after the success of the "You're Gonna Cry" single, the band got representation. Management said to wait on an album until the big boys came calling. London Records showed interest in the band and even paid to have some demos laid down. Unfortunately, the band had a big row on stage at a huge London University show in front of major-label brass. All their momentum came to a screeching halt. The Flatmates called it quits soon after. Martin has resurrected the Flatmates name for most of this decade, but that's a story for another day.
I have featured my two favorite singles, "I Could Be in Heaven" and "Shimmer," before. Let's listen to the other three today. Other tidbits to consider while listening: "Heaven Knows" is the only single, EP or proper album to get released on CD during the active years of Subway. Fortunately, I have the 7" vinyl edition. "You're Gonna Cry" was written by Rocker, his only A-side, but he didn't even play on it. He left and was replaced by Joel O'Beirne after the second single. As a little bonus, I'm including "Trust Me." Had the Flatmates continued, this was going to be the sixth single. It can be found on Cherry Red's 2005 compilation 'Potpourri {Hits, Mixes, Demos '85-'89}.' A must for fans.
Finally, I wanted to include my favorite promo photo of the band. This is an insert from the single "You're Gonna Cry." Fall approaches. I hope you enjoyed the Summer of Subway.
If not for the fact the Rosehips appeared fairly early in this series, you might say I have been saving the best for last, and today and next Saturday feature just about my favorites from the Subway label.
The Chesterf!elds go way back with Martin Whitehead as the pride of Yeovil appeared on a flexi he put out in his fanzine in 1985. Many of the bands on Subway popped in for a quick single or an LP and were off again. With that history in mind, the Chesterf!elds were downright prolific in 1986 and 1987, releasing three singles/EPs, a long player and a compilation. They also appeared on both of the label's samplers.
The band is often described as "breezy" or "lightweight." Indeed, the Chesterf!elds during the Subway era were of the jangle that gets the head bobbing and the toes tapping, but the real strength of the band could be found in the wit of the words. I always sing along to lines like "Sir Edmund Hillary hasn't got a patch on me" from "Love Mountain," "here come the saviors, and they come with electric guitars in their hearts!" from "Completely & Utterly," "well if you'd like to know what pop stars have for tea, ask Johnny Dee" or "I really can't manage the twelve-inch version, what's your perversion?" No, they may have never hit the big time, so to speak, somebody out there must have really liked them because everything the Chesterf!elds released spent time on the indie chart.
The rotating cast of characters continued to put out music on their own Household label in the late '80s before calling it quits. In the ensuing years, fans in Japan kept the Chesterf!elds name alive, and Vinyl Japan reissued the music. There would be a best of put out by Cherry Red in 2006 that brought the Subway and Household work together and, yes, there would even be reunion shows in recent years headed up by original member Simon Barber and sometime member Andy Strickland (yes, from the Loft). One of my biggest regrets is not making the 3,000-mile trek to see them at the 2016 NYC Popfest. I know a couple of people who were there, and they called it a special night. Jerks. Ha! Tough to decide what to play today. I went for the three singles. Wise choice, I think.
The end is drawing nigh, my friends... for the series and the summer. In fact, I thought this would be our last Saturday. The initial idea was 15 Subway bands in 15 Saturdays, but I ended up including very minor players in the label's story I didn't plan to highlight, such as Pop Will Eat Itself never having an actual release but appearing only on a Subway sampler. The final tally will end up being 17 bands in 17 Saturdays, which still works since summer doesn't actually end until Sept. 23. So, for the few of you who still remain, here is the antepenultimate post.
Razorcuts have appeared on these pages so many times in the last decade there isn't much more to say. You already know their name comes from the Buzzcocks' classic "Love You More," and you regulars certainly realize Gregory Webster is one of my heroes. Don't give me any crap about whiny vocals either. His pipes are perfect. I have followed him throughout his career, especially around the turn of the century when he assembled indie supergroup Sportique with Amelia Fletcher, Rob Pursey and Mark Flunder. I admit, for me, part of the the appeal of Razorcuts is their label pedigree. They split a flexi with Talulah Gosh for Matt Haynes on Sha La La just before he co-founded Sarah Records, had a single on Flying Nun's UK arm, released two long players on Creation during Alan McGee's golden age and even dug up a handful of delightful early demos for Bob Stanley's Caff Corporation just as the band called it quits.
That's the stuff of legends, and I love every one of those records dearly, but it's the two for Subway I spin the most. What can I say? The jangle of '86 will always warm the cockles of my heart. You'll notice plenty of '60s folk-rock influences (think Byrds), which is also in my wheelhouse. Here's the band's entire Subway output. "Big Pink Cake" peaked at No. 44 (absurd!), and "Sorry to Embarrass You" raced to No. 10 and hung around for 13 weeks on the UK indie chart. Now that's more like it.
All mp3s posted at LTL! are to highlight music you should buy... right now. Sure, give it a listen, but then run to your nearest indie record shop and pay up. Mp3s are linked for a limited time. Rants and raves to lineartrackinglives@gmail.com.
