In a rare moment of "getting my shit together" two months ago, I took the bus to the yonder side of the city to meet up with Mark Burgess, lead singer of the Chameleons, who now fronts Chameleons Vox, performing the old band's material. The purpose was for an interview to go up on No Ripcord.
I've been lucky to meet several people whose work I greatly admire, and Mark is certainly in that group. Putting aside personal feelings, there's always a slight anxiety when you're doing a big piece that the subject won't be forthcoming or give short answers.
Thankfully, Mark was a brilliant interviewee, offering up more than I could have asked for. Smoking like a chimney throughout the 90 minutes he generously talked to me, we covered more subjects that I could fit into one article.
You can read the result here.
Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts
Tuesday, 13 May 2014
Thursday, 11 July 2013
Listless Age
No Ripcord has recently published their writers poll of the top 100 albums of the 1990s.I took part and was surprised that a fair number of my picks got in. I won't bore you all with the top 40 I was asked to send away, but the ten highest choices here:
10. The House of Love - Babe Rainbow
9. XTC - Nonsuch
8. Sugar - Copper Blue
7. My Bloody Valentine - Loveless
6. Ride - Nowhere
5. Teenage Fanclub - Bandwagonesque
4. World Party - Goodbye Jumbo
3. Talk Talk - Laughing Stock
2. Mansun - Six
1. Slowdive - Soulvaki
A totally unsurprising list, I'm sure the people who know me will agree. The truth is, I found it tough to think of 40 albums. There was no Radiohead, because they ceased to be relevant to me when I hit my 19th birthday, I found.
Oasis appear, naturally, though they didn't crop up in my list, because I blame them for my complete ambivalence at the time to Britpop. A lot of people here will respond here "Ah, but Definitely Maybe..." to which I can say that I listened back to the whole album recently and bar Live Forever and Slide Away remained fairly unmoved throughout.
The issue, now if probably not back then, is the total lack of groove in the band. Frankly, the rhythm section must be amongst the worst to ever grace the top of the charts. A rhythm guitarist who studied well at Johnny Ramone school of technique, a bassist who rarely strayed beyond the safety of root notes and a drummer... well, this says it best.
Yet all the same, I guess Noel Gallagher and Alan McGee deserve a wedge of credit for taking a bunch of pub players from Burnage and getting the music press to piss themselves bigging them up as the future of rock and roll. Image is everything, of course, and it is amusing in hindsight to think that they were bigged up as a bunch of lads from the hard streets of Manchester. Presumably, any journalist who bought that line had never took a walk around the pleasant (no sarcasm) streets of Burnage. Still, to a lot of London types, the second you head North of Watford, you may as well be in Bandit Country.
Manchester, I fear, has yet to recover from the shadow of Oasis. It's become a city too keen to attach labels of the past to new bands. Everyone has to be the "next Smiths" or next New Order, Joy Division, Stone Roses or Oasis. Like Liverpool, the shackles of history seem to grip tighter as we go along.
In conclusion: musically, I found the 1990s a crappy time to grow up. Thank fuck for Eric Cantona, who has more rock and roll in his small finger than Liam Gallagher every could.
10. The House of Love - Babe Rainbow
9. XTC - Nonsuch
8. Sugar - Copper Blue
7. My Bloody Valentine - Loveless
6. Ride - Nowhere
5. Teenage Fanclub - Bandwagonesque
4. World Party - Goodbye Jumbo
3. Talk Talk - Laughing Stock
2. Mansun - Six
1. Slowdive - Soulvaki
A totally unsurprising list, I'm sure the people who know me will agree. The truth is, I found it tough to think of 40 albums. There was no Radiohead, because they ceased to be relevant to me when I hit my 19th birthday, I found.
Oasis appear, naturally, though they didn't crop up in my list, because I blame them for my complete ambivalence at the time to Britpop. A lot of people here will respond here "Ah, but Definitely Maybe..." to which I can say that I listened back to the whole album recently and bar Live Forever and Slide Away remained fairly unmoved throughout.
The issue, now if probably not back then, is the total lack of groove in the band. Frankly, the rhythm section must be amongst the worst to ever grace the top of the charts. A rhythm guitarist who studied well at Johnny Ramone school of technique, a bassist who rarely strayed beyond the safety of root notes and a drummer... well, this says it best.
Yet all the same, I guess Noel Gallagher and Alan McGee deserve a wedge of credit for taking a bunch of pub players from Burnage and getting the music press to piss themselves bigging them up as the future of rock and roll. Image is everything, of course, and it is amusing in hindsight to think that they were bigged up as a bunch of lads from the hard streets of Manchester. Presumably, any journalist who bought that line had never took a walk around the pleasant (no sarcasm) streets of Burnage. Still, to a lot of London types, the second you head North of Watford, you may as well be in Bandit Country.
Manchester, I fear, has yet to recover from the shadow of Oasis. It's become a city too keen to attach labels of the past to new bands. Everyone has to be the "next Smiths" or next New Order, Joy Division, Stone Roses or Oasis. Like Liverpool, the shackles of history seem to grip tighter as we go along.
In conclusion: musically, I found the 1990s a crappy time to grow up. Thank fuck for Eric Cantona, who has more rock and roll in his small finger than Liam Gallagher every could.
Thursday, 13 June 2013
Break From The Idle
I've written the best part of nowt recently, and health reasons mean I'm not likely to do much for a little while yet. However, I did manage to put together a review of the Teardrop Explodes' superb second album Wilder a few weeks ago and No Ripcord have just published it.
Take a read, if you want.
Take a read, if you want.
Thursday, 31 January 2013
Put Your Head Back In The Clouds
In a rare spout of doing some actual writing, I was asked and agreed to write a review of the reissue of Julian Cope's 1987 album Saint Julian. Read it here.
Thursday, 12 April 2012
Side Project
Against my better judgement, I've decided to start another blog. I've long wanted to write more about football, specifically Manchester United, but just wanted a decent angle to do so.
So, I've embarked on a mission to write short (around 500-1000 words) biographies on everyone who has played for the club in the time I can recall being a supporter - since the summer of 1988 - up to anyone who has played for us this season. I figure it could make for a half-decent history of the team over the last couple of decades.
I don't expect it to garner anything but the smallest of interest, or even care that much, as I'm doing it mainly for myself. Though one hope is that by the time it's finished, it'll be a superb tool in helping any United fan waste an afternoon at work.
I'm fully intending on continuing to work on The Tedious World, however. Any excuse to write random bits of crap and stick them on the internet has to be taken, after all.
For what it's worth, Some Redshirts Live Forever can be found here. I may sort out the crap layout at some point in the future.
So, I've embarked on a mission to write short (around 500-1000 words) biographies on everyone who has played for the club in the time I can recall being a supporter - since the summer of 1988 - up to anyone who has played for us this season. I figure it could make for a half-decent history of the team over the last couple of decades.
I don't expect it to garner anything but the smallest of interest, or even care that much, as I'm doing it mainly for myself. Though one hope is that by the time it's finished, it'll be a superb tool in helping any United fan waste an afternoon at work.
I'm fully intending on continuing to work on The Tedious World, however. Any excuse to write random bits of crap and stick them on the internet has to be taken, after all.
For what it's worth, Some Redshirts Live Forever can be found here. I may sort out the crap layout at some point in the future.
Wednesday, 30 November 2011
Link to a Very Long List
It would be amiss of me to not mention that this week No Ripcord are running a huge feature of "The Best 100 Debut Albums of All Time". Essentially, they asked every contributor to send in their top 40 and went from there.
Yes, I know - I don't understand why they didn't include all the ones I picked either, but "democracy" takes precedence. Go and take a look at www.noripcord.com to see a few of my contributions.
Yes, I know - I don't understand why they didn't include all the ones I picked either, but "democracy" takes precedence. Go and take a look at www.noripcord.com to see a few of my contributions.
Wednesday, 17 August 2011
Should It Have Been Pelican Vest...?
... preceding Monty Burns with his gorilla vest that he was so keen on us seeing?
In a further example of "Pulling My Thumb Out" syndrome, I've written a piece for Noripcord.com paying tribute to an album I think rarely gets the props it deserves. Have a mooch.
http://www.noripcord.com/features/perfect-pop-3-haircut-one-hundred-pelican-west
In a further example of "Pulling My Thumb Out" syndrome, I've written a piece for Noripcord.com paying tribute to an album I think rarely gets the props it deserves. Have a mooch.
http://www.noripcord.com/features/perfect-pop-3-haircut-one-hundred-pelican-west
Thursday, 28 July 2011
Cold Patience
Have a groove over to NoRipcord.com, who have just put up my review of the Wild Swans' rather splendid new album.
http://www.noripcord.com/reviews/music/wild-swans/coldest-winter-hundred-years
After you've read that, strongly consider going out and buying it. It's a superb piece of work.
http://www.noripcord.com/reviews/music/wild-swans/coldest-winter-hundred-years
After you've read that, strongly consider going out and buying it. It's a superb piece of work.
Friday, 6 May 2011
Birthday Bash
No Ripcord, a esteemed organ I have contributed crap to for some time, is celebrating it's 12th birthday. As part of this, they've published my article about the top 40 on the day I was born.
http://www.noripcord.com/features/uk-top-40-singles-28021981-part-one
If you missed it first time, take a look. It's a piece of work I feel a little bit of pride towards.
http://www.noripcord.com/features/uk-top-40-singles-28021981-part-one
If you missed it first time, take a look. It's a piece of work I feel a little bit of pride towards.
Friday, 18 March 2011
Dumb Waiters Part Three
Dee has done work in this building before and within seconds of us entering the bedsit he gives me the inside line.
"Wait till you see the lass who works in that shop across the road."
He raises his eyebrows and makes a face to show that this girl does indeed make Dee’s motor run. I step over to the window and sit down on its low sill. The window of the shop across the road features many shoes, boots and trainers, but no girl. I point this out. Dee looks at this watch.
"It’s half one, probably on her lunch hour."
I accept this as likely.
Given I never go to parties and do my utmost to avoid meeting new people, I’m never asked "what is it you do then?" But if I ever was asked so, the answer would be: "I drive a guy around while he fits carpets. If needed, I help him carry stuff and go to the shops to buy sweets and cigarettes."
I've been doing it for a few months now, only a couple of days a week while Dee’s regular partner is doing his community service. For a few hours of my time, I get £40 a week and occasional cups of tea and biscuits if we’re doing a job round some house where the lonely housewife appreciates a break from the Hallmark channel and the chance for interaction with someone other then the cat.
Dee (abbreviated from his surname ‘Kennedy’ due to his Ramones fixation) is a good man to work with. In other words, he never expects me to turn up before noon and agrees to let me choose the music while we drive. Occasionally I let him indulge in a blast of Blitzkrieg Bop or I Wanna Sniff Some Glue but the sight of an overweight man in his mid 30s bouncing around in a Transit, singing in a broad Geordie accent loses it’s appeal faster then you’d think.
The bedsit Dee is currently preparing to carpet is totally bare bar the basic stuff in the kitchen, though I'm being told this wasn't always the case. Dee has been told tales of horror from the landlord.
"He was telling me that when the previous occupants moved out, couple of smack heads apparently, they was all sorts’a needles and used condoms on the floor. Plus it was full o’ dog shite. Scruffy cunts. Had to get the place fumigated. The full works."
Lovely.
"How, check the kitchen out, make sure nothing needs shifting."
The tiny kitchen area has all the basics: fridge, oven, microwave and a few cupboards. I’m surprised the junkies didn't clean the place out. There’s a small bin in the corner. And then I spot...
"Aww... fucking hell."
A dead mouse lies right in front of me. Dee comes over to see what’s caused the repulsion in my voice.
"What?"
"What d'you mean ‘what’? There’s a dead fucking mouse there."
"Oh aye? Well, chuck it away then."
"Eh? Fuck right off. You pay me to drive and shift, not throw away dead pieces of wildlife."
Dee examines the situation. He’s hoping my sense of machismo will overpower me to prove myself the bigger man by throwing the late Mickey there away.
"Howay man, it's only a mouse. You can't call that wildlife."
He’s no chance; I don’t have a sense of machismo. I look down at it, no blood or signs of being mauled to death by the dog.
"No fucking way, Dee man. It could have 'owt. It could have..." Mind is racing trying to think of some clever disease. Can’t think of one. "... could have plague or something."
Basic but effective. Dee tries to think of a comeback, fails. He goes over to his toolbox and gets out his pliers. Carefully, his uses them to grab hold of the tail after which he marches out the room, coming back in with the look of a man satisfied after a job well done.
I ask what he did with it.
"Lobbed it out the landing window onto that field. Now he has returned to the earth which bore him."
Dee has an almost saintly look to him as he says this. Rather then get involved in some lengthy discussion about the nature of life, death and God that this would bring on if I had five pints of Guinness inside me, I instead go back to sitting on the window sill gazing at the window of the shoe shop opposite, hoping this girl will appear to add a bit of light to the day.
By the time the job is finished, she hasn't appeared and instead I’m relegated to hearing Dee give me a detailed explanation of what made her so appealing in the first place. It’s not quite the same.
"Wait till you see the lass who works in that shop across the road."
He raises his eyebrows and makes a face to show that this girl does indeed make Dee’s motor run. I step over to the window and sit down on its low sill. The window of the shop across the road features many shoes, boots and trainers, but no girl. I point this out. Dee looks at this watch.
"It’s half one, probably on her lunch hour."
I accept this as likely.
Given I never go to parties and do my utmost to avoid meeting new people, I’m never asked "what is it you do then?" But if I ever was asked so, the answer would be: "I drive a guy around while he fits carpets. If needed, I help him carry stuff and go to the shops to buy sweets and cigarettes."
I've been doing it for a few months now, only a couple of days a week while Dee’s regular partner is doing his community service. For a few hours of my time, I get £40 a week and occasional cups of tea and biscuits if we’re doing a job round some house where the lonely housewife appreciates a break from the Hallmark channel and the chance for interaction with someone other then the cat.
Dee (abbreviated from his surname ‘Kennedy’ due to his Ramones fixation) is a good man to work with. In other words, he never expects me to turn up before noon and agrees to let me choose the music while we drive. Occasionally I let him indulge in a blast of Blitzkrieg Bop or I Wanna Sniff Some Glue but the sight of an overweight man in his mid 30s bouncing around in a Transit, singing in a broad Geordie accent loses it’s appeal faster then you’d think.
The bedsit Dee is currently preparing to carpet is totally bare bar the basic stuff in the kitchen, though I'm being told this wasn't always the case. Dee has been told tales of horror from the landlord.
"He was telling me that when the previous occupants moved out, couple of smack heads apparently, they was all sorts’a needles and used condoms on the floor. Plus it was full o’ dog shite. Scruffy cunts. Had to get the place fumigated. The full works."
Lovely.
"How, check the kitchen out, make sure nothing needs shifting."
The tiny kitchen area has all the basics: fridge, oven, microwave and a few cupboards. I’m surprised the junkies didn't clean the place out. There’s a small bin in the corner. And then I spot...
"Aww... fucking hell."
A dead mouse lies right in front of me. Dee comes over to see what’s caused the repulsion in my voice.
"What?"
"What d'you mean ‘what’? There’s a dead fucking mouse there."
"Oh aye? Well, chuck it away then."
"Eh? Fuck right off. You pay me to drive and shift, not throw away dead pieces of wildlife."
Dee examines the situation. He’s hoping my sense of machismo will overpower me to prove myself the bigger man by throwing the late Mickey there away.
"Howay man, it's only a mouse. You can't call that wildlife."
He’s no chance; I don’t have a sense of machismo. I look down at it, no blood or signs of being mauled to death by the dog.
"No fucking way, Dee man. It could have 'owt. It could have..." Mind is racing trying to think of some clever disease. Can’t think of one. "... could have plague or something."
Basic but effective. Dee tries to think of a comeback, fails. He goes over to his toolbox and gets out his pliers. Carefully, his uses them to grab hold of the tail after which he marches out the room, coming back in with the look of a man satisfied after a job well done.
I ask what he did with it.
"Lobbed it out the landing window onto that field. Now he has returned to the earth which bore him."
Dee has an almost saintly look to him as he says this. Rather then get involved in some lengthy discussion about the nature of life, death and God that this would bring on if I had five pints of Guinness inside me, I instead go back to sitting on the window sill gazing at the window of the shoe shop opposite, hoping this girl will appear to add a bit of light to the day.
By the time the job is finished, she hasn't appeared and instead I’m relegated to hearing Dee give me a detailed explanation of what made her so appealing in the first place. It’s not quite the same.
Friday, 4 February 2011
Dumb Waiters, Part Two
He chains smokes through the three cigarettes in the box on one shot, being gracious enough to ensure any smoke is kept well away from my more delicate lungs. It’s not even to win the game, but the nature of this particular trooper means that ever moment has to be precisely planned and thought out so to maximise chance of success.
Of course, this may well fully depend on amount of intoxication at said moment, this one being early on in the sessions hence the use of every angle examination. At first it used to think it was gamesmanship, then I just worked out it was natural, which means that when he hits the shot, it perfectly pots the intended ball and lines up the next shot. With the grace of a man who has spend many a stoned Sunday afternoon watching 'The Hustler', he flips open a fresh pack from his inside shirt pocket and sparks up, leading me to wonder whether this is part of some whole caricature he’s invented to entertain his mates.
The Shipwrights Arms is where I've always gone to drink with Charlie since we were 17, leaving school on Friday dinnertimes to learn to play pool. The times we go there are always quiet enough to allow us a few hours of interrupted attempts of playing over cheap pints. This is to be my final weekend before I finally fuck off to Sheffield and luckily he's home from Newcastle for the weekend.
Same as always, he puts a pound of his and a pound of mine in the jukebox and selects Paint It Black by the Stones amongst more recent fare. I elect to get my moneys worth by picking the five longest songs, which includes, much to our amusement, The End. Anyone entering the Arms during that particular 11 minutes isn't likely to find the soundtrack one to encourage jovial drinking. Then again, in this town drinking for pleasure is below killing boredom and survival on reasons to do it.
I’m glad to be getting out of here. I thought I’d escaped during my three-year sojourn into student land but this place has claws that can drag you back down. Finally, I've managed to get the motivation and confidence to get out, and it’s crucial I keep my bottle. He has been in my situation before and may well be again. His job at some law firm is looking shaky and rather then have to come back home, he’s looking into joining the Army. Some may say drastic, I call it sensible in the circumstances.
Two pints in and already I’m on one, over half a year of knock-backs, frustrations and constant rejections from every job under the sun has come right to the hilt and I’m found myself an excuse for today.
"I tell you, man, it’s living in this shite-hole that does it. You apply to some job in Manchester or London and the cunt working in the Human fucking Resources department sees your address and thinks..."
I put on some mocking middle class London accent:"‘Oh! Cumbria! Where is that? Up North somewhere? Well, he wouldn't want to move down here, all the noise might scare his sheep! Har har har!’ And they give the job to some arse kissing Cambridge graduate who know fuck all about the job!"
I’m far off the mark and I know it. He nods, takes his shot and doesn't interrupt.
"Thing is with this place, right... no one knows who we are or gives a shit. I know! When I meet people and they ask where I’m from, they go ‘Oh, is that in Scotland?’ ‘Oh, you sound like a Geordie!’ Fucks sake - haven’t they seen a map? Bit hard to bloody miss Cumbria but then, most those gets think England ends somewhere just after Manchester."
I pause to eye up my shot. It’s an easy one, which I obviously miss.
"Shite."
Charlie takes a long draw on his cigarette.
"Aye, you’re not wrong mate. Same crap happened to me and I was only living in Preston. I’d go ‘You ever watch Byker Grove?’ ‘Yeah’ ‘Do I talk like they do?’ ‘Well, no’ and you think ‘So why say I sound like a Geordie? You know as well as I do man, that people are thick as fuck."
The two of us met in the sixth form common room, I can’t remember how we got talking but we did and have somehow stayed friends despite having apparently very little in common outside football and appreciation for beer. Unlike everyone else bar one that I know, I can safely say the two of us will still be meeting up like this when we’re in our 30’s. Though he’s into his night-clubs, smoking his weed and taking regular trips to Amsterdam, he is the only person who has similar slightly sociopathic tendencies to me. An average conversation of ours will tend to eventually swing towards dishing out unique methods of punishment to politicians. After he’s beaten me three games to two, this is where we end up. Obviously, I’ll neglect to mention the names of our hopeful victims.
", that knobhead, the only solution to that problem would be making him bob for apples in fucking acid."
This makes me laugh, he has a great way of thinking up ways to inflict horrible pain on people. Soon, however, we begin to talk about my immediate future.
"Sheffield, huh? So what’s going on down there?"
I’m not sure what to say and spend 10 seconds polishing off a pint to give myself time to think.
"Don’t know. Got a mate who’ll put me up and I’ll take it from there, I guess."
"Well, uncertainty in a city is still a step up from this place."
Which is a better reaction then I got from my parents. That the boy who aged ten was predicted could do anything has wound up directionless and spending his life waiting around for nothing in particular has not gone down well. I could tell you of all the arguments and flak that goes along with being in this situation but I’m sure many of you already know what I’m talking about.
My beer money spent, it’s separate ways time once again for us. We never shake hands and we don’t start here.
"Hope you get it sorted down there, stay in touch."
"No problem, man. If I get sorted you’ll have to drop down for a weekend."
"Yeah."
I go home and pack my single case.
(Note: If you're wondering what Part One was, it was the entry entitled 'Entering the Real World from 18/01/2011)
Of course, this may well fully depend on amount of intoxication at said moment, this one being early on in the sessions hence the use of every angle examination. At first it used to think it was gamesmanship, then I just worked out it was natural, which means that when he hits the shot, it perfectly pots the intended ball and lines up the next shot. With the grace of a man who has spend many a stoned Sunday afternoon watching 'The Hustler', he flips open a fresh pack from his inside shirt pocket and sparks up, leading me to wonder whether this is part of some whole caricature he’s invented to entertain his mates.
The Shipwrights Arms is where I've always gone to drink with Charlie since we were 17, leaving school on Friday dinnertimes to learn to play pool. The times we go there are always quiet enough to allow us a few hours of interrupted attempts of playing over cheap pints. This is to be my final weekend before I finally fuck off to Sheffield and luckily he's home from Newcastle for the weekend.
Same as always, he puts a pound of his and a pound of mine in the jukebox and selects Paint It Black by the Stones amongst more recent fare. I elect to get my moneys worth by picking the five longest songs, which includes, much to our amusement, The End. Anyone entering the Arms during that particular 11 minutes isn't likely to find the soundtrack one to encourage jovial drinking. Then again, in this town drinking for pleasure is below killing boredom and survival on reasons to do it.
I’m glad to be getting out of here. I thought I’d escaped during my three-year sojourn into student land but this place has claws that can drag you back down. Finally, I've managed to get the motivation and confidence to get out, and it’s crucial I keep my bottle. He has been in my situation before and may well be again. His job at some law firm is looking shaky and rather then have to come back home, he’s looking into joining the Army. Some may say drastic, I call it sensible in the circumstances.
Two pints in and already I’m on one, over half a year of knock-backs, frustrations and constant rejections from every job under the sun has come right to the hilt and I’m found myself an excuse for today.
"I tell you, man, it’s living in this shite-hole that does it. You apply to some job in Manchester or London and the cunt working in the Human fucking Resources department sees your address and thinks..."
I put on some mocking middle class London accent:"‘Oh! Cumbria! Where is that? Up North somewhere? Well, he wouldn't want to move down here, all the noise might scare his sheep! Har har har!’ And they give the job to some arse kissing Cambridge graduate who know fuck all about the job!"
I’m far off the mark and I know it. He nods, takes his shot and doesn't interrupt.
"Thing is with this place, right... no one knows who we are or gives a shit. I know! When I meet people and they ask where I’m from, they go ‘Oh, is that in Scotland?’ ‘Oh, you sound like a Geordie!’ Fucks sake - haven’t they seen a map? Bit hard to bloody miss Cumbria but then, most those gets think England ends somewhere just after Manchester."
I pause to eye up my shot. It’s an easy one, which I obviously miss.
"Shite."
Charlie takes a long draw on his cigarette.
"Aye, you’re not wrong mate. Same crap happened to me and I was only living in Preston. I’d go ‘You ever watch Byker Grove?’ ‘Yeah’ ‘Do I talk like they do?’ ‘Well, no’ and you think ‘So why say I sound like a Geordie? You know as well as I do man, that people are thick as fuck."
The two of us met in the sixth form common room, I can’t remember how we got talking but we did and have somehow stayed friends despite having apparently very little in common outside football and appreciation for beer. Unlike everyone else bar one that I know, I can safely say the two of us will still be meeting up like this when we’re in our 30’s. Though he’s into his night-clubs, smoking his weed and taking regular trips to Amsterdam, he is the only person who has similar slightly sociopathic tendencies to me. An average conversation of ours will tend to eventually swing towards dishing out unique methods of punishment to politicians. After he’s beaten me three games to two, this is where we end up. Obviously, I’ll neglect to mention the names of our hopeful victims.
"
This makes me laugh, he has a great way of thinking up ways to inflict horrible pain on people. Soon, however, we begin to talk about my immediate future.
"Sheffield, huh? So what’s going on down there?"
I’m not sure what to say and spend 10 seconds polishing off a pint to give myself time to think.
"Don’t know. Got a mate who’ll put me up and I’ll take it from there, I guess."
"Well, uncertainty in a city is still a step up from this place."
Which is a better reaction then I got from my parents. That the boy who aged ten was predicted could do anything has wound up directionless and spending his life waiting around for nothing in particular has not gone down well. I could tell you of all the arguments and flak that goes along with being in this situation but I’m sure many of you already know what I’m talking about.
My beer money spent, it’s separate ways time once again for us. We never shake hands and we don’t start here.
"Hope you get it sorted down there, stay in touch."
"No problem, man. If I get sorted you’ll have to drop down for a weekend."
"Yeah."
I go home and pack my single case.
(Note: If you're wondering what Part One was, it was the entry entitled 'Entering the Real World from 18/01/2011)
Friday, 3 September 2010
280281 (The Conclusion)
And we have arrived, at last, at the top 10 UK singles from the day I was born. Excited? Then you should get a life. In the meantime:
#10 - The Oldest Swinger In Town - Fred Wedlock
Another song that gains a first ever listen to these ears and one listen was far too many. Comedy records, for the most part, are complete and utter shit. This doesn't buck the trend.
The jist is some old codger going out to the clubs to pick up young lassies and getting up to all sorts of mischief. It's terrible beyond words and it smacks of the kind of novelty thrash that Simon Bates or Noel Edmonds probably played constantly in that stupid 'ironic' way they did to make it a baffling huge hit.
#9 - Southern Freeez - Freeez
Freeez would have a much bigger (and much better) hit a couple of years later with IOU, but this was their first shot at the top.
Taking cues from the kind of commercial pop-jazz that George Benson had made big bucks from, it's easy to make the jump to assume this was the soundtrack to wanky cocktail parties in the London jet set. Vaguely funky bass and percussion fight it out with synths and smooth vocals singing meaningless lyrics. It's never made quite clear what "doing the Southern Freeez" is, exactly. Harmless enough, I suppose.
#8 - (Do The) Huckleback - Coast to Coast
As I'd never heard this before, I was chancing my arm it was some kind of floor-filler 80s funk number of the ilk of the Gap Band further down the charts.
How wrong I was. Instead, it's a kind of insight into a nightmare world where Showaddywaddy were as influential as punk. Honking Bill Haley-style sax careers all over the place as we're urged to dance whatever style the band doubtless demonstrated if they got to perform this on Top of the Pops.
I'd imagine this ties in with the Stray Cats in people getting retro, though this is a far more innocent offering - I doubt the Huckleback involves doing anything vaguely sexual and would be perfect to the kids to shuffle around to whilst on holiday at Butlins in Ayr or Pontins at Southport (shudders at childhood memories).
#7 - The Return of the Los Palmas Seven - Madness
First, I'll come right out and say that the only CD I had when I got my first stereo was Divine Madness, so therefore this band will always have a soft spot in my heart. And indeed, many of the songs still stand up very well today.
This, however, isn't one of their classics. For one, it's missing the lyrical wit and observation that, say, House of Fun or Baggy Trousers has, or even the irresistible dance beat of their other big kind-of-instrumental hit, One Step Beyond. What can be said is that it's the sound of a band stretching their wings from their roots, and Madness were lucky that their audience followed while others haven't been so. This was their seventh single, and it peaked at this very position. Funny, that.
#6 - Jealous Guy - Roxy Music
Labelled "A Tribute" on the single sleeve, this was on it's way to being Roxy's sole chart topping single. Might have been nicer if had been Street Life or All I Want Is You, but those are the breaks.
My main feeling of Roxy is that my mother was a huge fan, based on having a crush of Bryan Ferry as a young lady. This caused a bit of a row over dinner one Sunday when she insisted to my Elvis-loving dad and brother that she always preferred Washington's finest to the fat warbler. Naturally, I took her side.
As "A Tribute" goes, it's harmless enough. Ferry's croon suits the self pity of the lyrics, and yet the main feeling is that Lennon's original, recorded about a decade beforehand, has aged far, far better.
#5 - St Valentine's Day Massacre - Motörhead/Girlschool
Around this time, Motörhead were at the top of their game, still riding high on the Ace of Spades single and album. Teaming up with all-girl heavy rock band Girlschool must have seemed a good idea, and so it proved with another big hit.
The lead track is a cover of an old Johnny Kidd song, Please Don't Touch, and it's what you'd expect: 100mph thrash with Lemmy growling along with his female counterpart. It's not my cup of tea by a long way (perhaps due to a total lack of amphetamine in my system) but it's quite fun in it's own way. Interesting to note that Motörhead's drummer at the time, "Philthy Animal" Taylor was on a rest at the time, due to a pub-related mishap involved lifting an Irishman as high as he could.
#4 - Woman - John Lennon
Exhibit (a) in the case that McCartney wasn't the soppy one in the Beatles is this piece of candy floss fluff inspired by John's other half.
This was on it's way down from being a chart topper, but you have to wonder how it would have done had Mark Chapman elected to use that gun just on himself. As slush goes, this is right at the top of the cup, as our man apologises again as he never "meant to cause you sorrow or pain". It's pretty much covering the same ground as Jealous Guy, but without a Phil Spector production around it.
Not that the song is hateable, it's just a bit anonymous. I once heard it playing in a supermarket in Estonia, and that kind of seems it's natural habitat.
#3 - I Surrender - Rainbow
Another ex-member of Deep Purple (see Gillian way back down the chart), only guitarist Richie Blackmore scores the huge hit, which I wouldn't be surprised if he reminded his singer about on those DP reunion tours.
This is the kind of thing for which the term "AOR" was invented for. I'm convinced that whoever wrote it is still cashing in large royalty cheques from the amount of radio play this surely gets. It's all built around hooks, and the lyrics must have taken all of about five minutes to knock together. But yeah, pretty cack, really.
#2 - Vienna - Ultravox
I've never quite known what to make of this song, as I have the vague suspicion it's not actually about anything, despite the pretenses it carries with that grandiose arrangement.
Ultravox were pioneers of the whole synth sound back in the late 70s, before Gary Numan stole all their thunder. This may well have been a last desperate throw of the dice at the time, helped by dashes of yer-actual piano showing that they actually play to refute those rumours about the new wave of synth-poppers being all style and no substance.
Which this song may well be. It sounds pretty, but it's also overblown to fuck and part of me always want to laugh at the chorus line of "This means nothing to me, oh, Vienna!" just for it's sheer pomp.
#1 - Shaddup Your Face - Joe Dolce Music Theatre
And after all that, we come to this. Is it a big a disappointment to you as it was to me? The day I was dragged out into this world, the most popular song around was by some wretched one-hit wonder putting on the dodgiest of dodgy Italian accents.
I could write more about this... but it's just crap, pure and simple. The joke doesn't have a chance to wear thin, because it's not funny in the first place. What were people thinking? I demand answers for this travesty!
#10 - The Oldest Swinger In Town - Fred Wedlock
Another song that gains a first ever listen to these ears and one listen was far too many. Comedy records, for the most part, are complete and utter shit. This doesn't buck the trend.
The jist is some old codger going out to the clubs to pick up young lassies and getting up to all sorts of mischief. It's terrible beyond words and it smacks of the kind of novelty thrash that Simon Bates or Noel Edmonds probably played constantly in that stupid 'ironic' way they did to make it a baffling huge hit.
#9 - Southern Freeez - Freeez
Freeez would have a much bigger (and much better) hit a couple of years later with IOU, but this was their first shot at the top.
Taking cues from the kind of commercial pop-jazz that George Benson had made big bucks from, it's easy to make the jump to assume this was the soundtrack to wanky cocktail parties in the London jet set. Vaguely funky bass and percussion fight it out with synths and smooth vocals singing meaningless lyrics. It's never made quite clear what "doing the Southern Freeez" is, exactly. Harmless enough, I suppose.
#8 - (Do The) Huckleback - Coast to Coast
As I'd never heard this before, I was chancing my arm it was some kind of floor-filler 80s funk number of the ilk of the Gap Band further down the charts.
How wrong I was. Instead, it's a kind of insight into a nightmare world where Showaddywaddy were as influential as punk. Honking Bill Haley-style sax careers all over the place as we're urged to dance whatever style the band doubtless demonstrated if they got to perform this on Top of the Pops.
I'd imagine this ties in with the Stray Cats in people getting retro, though this is a far more innocent offering - I doubt the Huckleback involves doing anything vaguely sexual and would be perfect to the kids to shuffle around to whilst on holiday at Butlins in Ayr or Pontins at Southport (shudders at childhood memories).
#7 - The Return of the Los Palmas Seven - Madness
First, I'll come right out and say that the only CD I had when I got my first stereo was Divine Madness, so therefore this band will always have a soft spot in my heart. And indeed, many of the songs still stand up very well today.
This, however, isn't one of their classics. For one, it's missing the lyrical wit and observation that, say, House of Fun or Baggy Trousers has, or even the irresistible dance beat of their other big kind-of-instrumental hit, One Step Beyond. What can be said is that it's the sound of a band stretching their wings from their roots, and Madness were lucky that their audience followed while others haven't been so. This was their seventh single, and it peaked at this very position. Funny, that.
#6 - Jealous Guy - Roxy Music
Labelled "A Tribute" on the single sleeve, this was on it's way to being Roxy's sole chart topping single. Might have been nicer if had been Street Life or All I Want Is You, but those are the breaks.
My main feeling of Roxy is that my mother was a huge fan, based on having a crush of Bryan Ferry as a young lady. This caused a bit of a row over dinner one Sunday when she insisted to my Elvis-loving dad and brother that she always preferred Washington's finest to the fat warbler. Naturally, I took her side.
As "A Tribute" goes, it's harmless enough. Ferry's croon suits the self pity of the lyrics, and yet the main feeling is that Lennon's original, recorded about a decade beforehand, has aged far, far better.
#5 - St Valentine's Day Massacre - Motörhead/Girlschool
Around this time, Motörhead were at the top of their game, still riding high on the Ace of Spades single and album. Teaming up with all-girl heavy rock band Girlschool must have seemed a good idea, and so it proved with another big hit.
The lead track is a cover of an old Johnny Kidd song, Please Don't Touch, and it's what you'd expect: 100mph thrash with Lemmy growling along with his female counterpart. It's not my cup of tea by a long way (perhaps due to a total lack of amphetamine in my system) but it's quite fun in it's own way. Interesting to note that Motörhead's drummer at the time, "Philthy Animal" Taylor was on a rest at the time, due to a pub-related mishap involved lifting an Irishman as high as he could.
#4 - Woman - John Lennon
Exhibit (a) in the case that McCartney wasn't the soppy one in the Beatles is this piece of candy floss fluff inspired by John's other half.
This was on it's way down from being a chart topper, but you have to wonder how it would have done had Mark Chapman elected to use that gun just on himself. As slush goes, this is right at the top of the cup, as our man apologises again as he never "meant to cause you sorrow or pain". It's pretty much covering the same ground as Jealous Guy, but without a Phil Spector production around it.
Not that the song is hateable, it's just a bit anonymous. I once heard it playing in a supermarket in Estonia, and that kind of seems it's natural habitat.
#3 - I Surrender - Rainbow
Another ex-member of Deep Purple (see Gillian way back down the chart), only guitarist Richie Blackmore scores the huge hit, which I wouldn't be surprised if he reminded his singer about on those DP reunion tours.
This is the kind of thing for which the term "AOR" was invented for. I'm convinced that whoever wrote it is still cashing in large royalty cheques from the amount of radio play this surely gets. It's all built around hooks, and the lyrics must have taken all of about five minutes to knock together. But yeah, pretty cack, really.
#2 - Vienna - Ultravox
I've never quite known what to make of this song, as I have the vague suspicion it's not actually about anything, despite the pretenses it carries with that grandiose arrangement.
Ultravox were pioneers of the whole synth sound back in the late 70s, before Gary Numan stole all their thunder. This may well have been a last desperate throw of the dice at the time, helped by dashes of yer-actual piano showing that they actually play to refute those rumours about the new wave of synth-poppers being all style and no substance.
Which this song may well be. It sounds pretty, but it's also overblown to fuck and part of me always want to laugh at the chorus line of "This means nothing to me, oh, Vienna!" just for it's sheer pomp.
#1 - Shaddup Your Face - Joe Dolce Music Theatre
And after all that, we come to this. Is it a big a disappointment to you as it was to me? The day I was dragged out into this world, the most popular song around was by some wretched one-hit wonder putting on the dodgiest of dodgy Italian accents.
I could write more about this... but it's just crap, pure and simple. The joke doesn't have a chance to wear thin, because it's not funny in the first place. What were people thinking? I demand answers for this travesty!
Sunday, 22 August 2010
280281 (Part Three)
Into the business end of the chart now, which is perhaps shown by the fact I only had to listen to three songs to remind myself how they went. Not that most of them are any good, mind...
20 - Antmusic - Adam and the Ants
Yes, them again. But this is the Ants Mk. II, taking on pure pop direction after poor old Stu had been shafted by Malcolm McClaren.
It's two-drummer approach works well on the big hits, such as this. The lyrics are all absolute nonsense, of course, but the man himself had decided at this point that artistic creditability didn't pay the bills and instead got working on being the biggest pop star in the country, which he was for a year or so.
19 - Something Bout You Baby I Like - Status Quo
Seems almost inevitable that the Quo, like Cliff, would be gracing this chart at some point. And of course, it sounds pretty much like every other one of the six billion hits.
It's easy to hate the Quo, but I've always had a vague feeling of admiration for their sheer stubbornness in mining the same seem of music for the last 35 years or so. A story you might not know is that Rick Parafitt's dad drunk in the same pub as the very young Paul Weller's dad, and he once called round to give the brooding teenage mod a few words of encouragement. I've noticed that subsequently, Weller has had kind words for the Quo.
18 - Sgt Rock (Is Going To Help Me) - XTC
It's said by some that Andy Partridge was a little jealous that it was Colin Moulding's songs that were proving to be the hits in the early days of XTC. And then he goes and finally gets his first decent sized success, with a song he wasn't really that keen on.
It also, apparently, got him into some trouble for it's alleged misogynistic lyrics ("make the girl mine/keep her stood in line"), though the context of the song is of a wimp of a guy recruiting Sgt Rock - "the expert at kissing and stuff" - to help him be more popular with girls.
It's not the best XTC song by a long distance, but it's a fun enough number from a belter of an album (Black Sea) and Partridge would get the big hit he deserved with Senses Working Overtime, before his stage fright ensured his amazing band never again got the mainstream acceptance they deserved.
17 - Kings of the Wild Frontier - Adam and the Ants
I've run out of things to say about these lot now, on their fourth (and thankfully last) entry in this particular chart.
Saying that, I just remembered an episode of The Equalizer in which Adam here played a rather nasty piece of work who kidnapped girls from the street to use as sex slaves. Our man Eddie Woodward soon puts a stop to that, though, and equalises in true fashion by shooting the villainous Ant with a dagger-gun-type-thing affair.
As for this song, it's not as good as Antmusic, Dog Eat Dog or Stand and Deliver, though the twangy guitar is pretty enjoyable.
16 - Fade to Grey - Visage
Apparently, three members of Magazine (Barry Adamson, Dave Formula and John McGeogh) were in Visage. None of them play on this, as far as I know, which is bad for the song (as it might have been better with them on it) but good for them (as it might have always been awful).
Despite my opinions, it was a huge hit and is held up as some kind of synth classic by a lot of people. My own stance is that the weird synth song with detached vocals was done so much better by Japan on their own biggest hit, the superbly spooky Ghosts.
15 - Message of Love - The Pretenders
The original Pretenders line-up was a very fine rock band indeed, as seen on this excellent tune. The appeal of the band was always Chrissie Hynde's voice, of course, which is one of the finest to be heard anywhere at anytime, but Hereford's finest do more than their fair share here.
Tragedy was just around the corner for the band at this point, and they've never hit the heights they did with James Honeyman-Scott in the line-up. This is probably my favourite single of theirs, primarily because when Hynde sings "talk to me darling", it's one of the sexiest sounds imaginable.
14 - Romeo and Juliet - Dire Straits
I really can't stand Dire Straits. Mark Knopfler's guitar style has always been far too "show off" for me and you get the impression he usually has a smug look of self-satisfaction on his face whenever he finishes a lyric, despite the fact they're rarely all that and at times just offensive.
This, I'm almost loath to say, is actually a really good song. The guitar theatrics are kept to a minimum and the narrative is pretty solid. Proof if ever needed that even a totally hateful band can change your stance for even a brief moment.
13 - We'll Bring the House Down - Slade
Wolverhampton's finest emerge from their wilderness years to score their first big hit in half a decade.
Like Status Quo, it's difficult for me to dislike Slade. A big part of this are the Reeves and Mortimor sketches from the 90s and that Noddy Holder just seems so damn likeable. The song comes across as less cartoony as their big early 70s hit and it's rocks well enough to make you see why it did pretty well: you can imagine young men not impressed by New Pop or the grey overcoat bands would relish this as "proper music" but what strikes me most is that I can understand none of the lyrics except the title.
12 - In The Air Tonight - Phil Collins
Like Dire Straits, part of the 80s establishment whose track record always leaves me somewhat cold. Cold might actually be putting it mildly - I can't stand anything about him and it was delicious seeing him make a complete bell-end of himself on Brass Eye, wearing a "Nonce Sense" cap.
For some reason, songs like this appear to have given him some creditability back. You hear terms like "great production", "superb drumming" and all that. Well, fuck that shit - it's complete dogwank and I'd happily never hear another Phil Collins song for the rest of my life.
11 - Rock This Town - The Stray Cats
Generally, the 50s music I love is the blues stuff. I've never been much into Elvis, Jerry Lee and all that scene, so the Stray Cats and other 50s revivalists have never really been my bag, Eddie Cochrane being the exception to the rule.
For whatever reason in the early 80s, there was a burst of this kind of thing. The Stray Cats had a few big hits and Shakin' Stevens sold singles by the warehouse load throughout the decade. Rock This Town does indeed rock pretty well and I'd imagine it would be fun to swing your gal around to at the local Hop, or whatever. It sounds so much like what it's copying, though, that it's tough to remember anything original about it. Oh well.
20 - Antmusic - Adam and the Ants
Yes, them again. But this is the Ants Mk. II, taking on pure pop direction after poor old Stu had been shafted by Malcolm McClaren.
It's two-drummer approach works well on the big hits, such as this. The lyrics are all absolute nonsense, of course, but the man himself had decided at this point that artistic creditability didn't pay the bills and instead got working on being the biggest pop star in the country, which he was for a year or so.
19 - Something Bout You Baby I Like - Status Quo
Seems almost inevitable that the Quo, like Cliff, would be gracing this chart at some point. And of course, it sounds pretty much like every other one of the six billion hits.
It's easy to hate the Quo, but I've always had a vague feeling of admiration for their sheer stubbornness in mining the same seem of music for the last 35 years or so. A story you might not know is that Rick Parafitt's dad drunk in the same pub as the very young Paul Weller's dad, and he once called round to give the brooding teenage mod a few words of encouragement. I've noticed that subsequently, Weller has had kind words for the Quo.
18 - Sgt Rock (Is Going To Help Me) - XTC
It's said by some that Andy Partridge was a little jealous that it was Colin Moulding's songs that were proving to be the hits in the early days of XTC. And then he goes and finally gets his first decent sized success, with a song he wasn't really that keen on.
It also, apparently, got him into some trouble for it's alleged misogynistic lyrics ("make the girl mine/keep her stood in line"), though the context of the song is of a wimp of a guy recruiting Sgt Rock - "the expert at kissing and stuff" - to help him be more popular with girls.
It's not the best XTC song by a long distance, but it's a fun enough number from a belter of an album (Black Sea) and Partridge would get the big hit he deserved with Senses Working Overtime, before his stage fright ensured his amazing band never again got the mainstream acceptance they deserved.
17 - Kings of the Wild Frontier - Adam and the Ants
I've run out of things to say about these lot now, on their fourth (and thankfully last) entry in this particular chart.
Saying that, I just remembered an episode of The Equalizer in which Adam here played a rather nasty piece of work who kidnapped girls from the street to use as sex slaves. Our man Eddie Woodward soon puts a stop to that, though, and equalises in true fashion by shooting the villainous Ant with a dagger-gun-type-thing affair.
As for this song, it's not as good as Antmusic, Dog Eat Dog or Stand and Deliver, though the twangy guitar is pretty enjoyable.
16 - Fade to Grey - Visage
Apparently, three members of Magazine (Barry Adamson, Dave Formula and John McGeogh) were in Visage. None of them play on this, as far as I know, which is bad for the song (as it might have been better with them on it) but good for them (as it might have always been awful).
Despite my opinions, it was a huge hit and is held up as some kind of synth classic by a lot of people. My own stance is that the weird synth song with detached vocals was done so much better by Japan on their own biggest hit, the superbly spooky Ghosts.
15 - Message of Love - The Pretenders
The original Pretenders line-up was a very fine rock band indeed, as seen on this excellent tune. The appeal of the band was always Chrissie Hynde's voice, of course, which is one of the finest to be heard anywhere at anytime, but Hereford's finest do more than their fair share here.
Tragedy was just around the corner for the band at this point, and they've never hit the heights they did with James Honeyman-Scott in the line-up. This is probably my favourite single of theirs, primarily because when Hynde sings "talk to me darling", it's one of the sexiest sounds imaginable.
14 - Romeo and Juliet - Dire Straits
I really can't stand Dire Straits. Mark Knopfler's guitar style has always been far too "show off" for me and you get the impression he usually has a smug look of self-satisfaction on his face whenever he finishes a lyric, despite the fact they're rarely all that and at times just offensive.
This, I'm almost loath to say, is actually a really good song. The guitar theatrics are kept to a minimum and the narrative is pretty solid. Proof if ever needed that even a totally hateful band can change your stance for even a brief moment.
13 - We'll Bring the House Down - Slade
Wolverhampton's finest emerge from their wilderness years to score their first big hit in half a decade.
Like Status Quo, it's difficult for me to dislike Slade. A big part of this are the Reeves and Mortimor sketches from the 90s and that Noddy Holder just seems so damn likeable. The song comes across as less cartoony as their big early 70s hit and it's rocks well enough to make you see why it did pretty well: you can imagine young men not impressed by New Pop or the grey overcoat bands would relish this as "proper music" but what strikes me most is that I can understand none of the lyrics except the title.
12 - In The Air Tonight - Phil Collins
Like Dire Straits, part of the 80s establishment whose track record always leaves me somewhat cold. Cold might actually be putting it mildly - I can't stand anything about him and it was delicious seeing him make a complete bell-end of himself on Brass Eye, wearing a "Nonce Sense" cap.
For some reason, songs like this appear to have given him some creditability back. You hear terms like "great production", "superb drumming" and all that. Well, fuck that shit - it's complete dogwank and I'd happily never hear another Phil Collins song for the rest of my life.
11 - Rock This Town - The Stray Cats
Generally, the 50s music I love is the blues stuff. I've never been much into Elvis, Jerry Lee and all that scene, so the Stray Cats and other 50s revivalists have never really been my bag, Eddie Cochrane being the exception to the rule.
For whatever reason in the early 80s, there was a burst of this kind of thing. The Stray Cats had a few big hits and Shakin' Stevens sold singles by the warehouse load throughout the decade. Rock This Town does indeed rock pretty well and I'd imagine it would be fun to swing your gal around to at the local Hop, or whatever. It sounds so much like what it's copying, though, that it's tough to remember anything original about it. Oh well.
Tuesday, 17 August 2010
280281 (Part Two)
Continuing on from numbers 30-21, in which we find a number of songs I actually really like...
#30 - The Freeze – Spandau Ballet
Second single from leading lights of the New Romantic movement. For a band typically associated with synths and other electronic tricks, this is fairly guitar heavy, leaning towards the funk/soul influences they’d perfect on the Chant #1 hit later on, with a slight Bowie tint.
As a single, it’s nothing special and probably hit the top 20 on the back of media hype. More interesting is the video, which is worth it for cheap giggles at Tony Hadley’s stubble/shades/moody look and Gary Kemp trying to look all serious in a string vest.
#29 – Reward – The Teardrop Explodes
This is much more like it. I remember I heard this for the first time on some New Wave compilation album I picked up aged 14 or so. It’s possibly one of the most instant songs I’ve ever heard, the horn riff and Cope’s proclamation of ‘Bless my cotton socks, I’m in the news!’ ensuring a love for the band that remains to this day.
Though they had better songs, this was their biggest hit by a mile and deservedly so: it’s the classic pop song in all respects. Part of it becoming such a big hit may have been a first appearance on ‘Top of the Pops’ where Cope admitted he and one or two other band members were off their heads on LSD. Just a shame the band couldn’t keep it together to earn the status afforded to rivals Echo and the Bunnymen.
#28 – A Little In Love – Cliff Richard
I find it hard to think of Cliff without wondering if it would be funny if he really was a cliff, and the fascists kept trying to push him over. Also, I still remember the laughs of derision from my dad whenever a mention of him being "the British Elvis" was heard.
Cliff was on a roll at the time, scoring top 20 hits for fun in the US, though this would be his last. Like most of his songs, it’s bland to the point of being transparent – when he coos "I need you so", he sounds about as convincing as the Pope advertising durex. It’s all wrapped in a MOR package that shows off it’s commercial appeal: you can imagine middle aged couples from Arkansas to Aylesbury smiling contently at each other as it plays on the radio.
#27 – Rapture – Blondie
Not my favourite Blondie song by a long shot. Viewing it alongside the other significant rock/rap crossover song of the time, the Clash’s The Magnificent Seven (released a couple of months later), it seems fairly lumbering.
Debbie Harry’s nonsense lyrics may have had a kookiness, but next to Strummer railing against capitalist systems and consumerism, there’s no comparison. Where it does win over is the commercial stakes: this sold by the bucket load and doubtlessly introduced a lot of people to an emerging musical genre. So, kudos for that if nothing else, and it’s worth adding Debbie looks fab on the cover, as always.
#26 – Four from Toyah EP – Toyah
First hit for the Brummie screamer, who I remember having a weird crush on about 12 years ago. It’s a Mystery is the one that got the airplay.
What does struck me is that she sounds like a more mainstream Siouxese Sioux, but the actual band are more workmanlike than the innovative Banshees. I would wager that it’s hit status owes a lot to Toyah’s image values than any songwriting skills. It plods along in second gear, while you wait for something to kick on. Which it never does, obviously.
#25 – I’m In Love With a German Film Star – Passions
Great title, great song. Another one-hit wonder, but this deserves better status than that label would suggest. The guitars sound fucking light years ahead of the time, Barbara Gogan sings about a guy she "once saw in a movie" in detached tones.
Really, in a just would this would have made #1. Not even making the top 20? Fuck off, the British public. Go listen to this song now, if you haven’t heard it before.
#24 – Once In a Lifetime – Talking Heads
While their homeland weren’t too keen on Remain In Light, it proved to be a breakthrough here, cracking the top 20. It was also my introduction to the band: I remember seeing the video on VH-1 as a 15-year-old or so and being taken by David Byrne’s dancing and the high anxiety in his voice as he wailed "how did I get here?"
It works on its simplicity, like a lot of their songs, and it’s all about Byrne. Questioning the American dream (nice house, nice car) and going on about water on the moon – Byrne manages to keep it together long enough to see the song out. Top notch song from a top notch album.
#23 – Imagine – John Lennon
John Winston had only been expired for a couple of months or so at this point and the sentimentality for his death hadn’t gone away just yet (as we shall see more later). I don’t feel I need to write anything about Imagine – for good or bad, it’s all been said before.
#22 – Somebody (Help Me Out) – Beggar & Co.
It seems funk was enjoying a peak in the charts at this time. This is the British variety from a band perhaps better known for providing the horn section on several hits for other acts, notably the aforementioned Chant #1 for Spandau Ballet.
The main touchstones here, influence wise, seem to be Earth, Wind and Fire. Unlike the numbers elsewhere in the chart, the bass here rocks pretty well. The vocals do little but chant slogans in a sub-James Brown way, and the horns avoid that wretched 80s sound that would plague many a record. Not the best of it’s type, but compared to what we’ve seen so far, a vast improvement.
#21 – That’s Entertainment – The Jam
It’s hard for me to remain impartial, given how much I love the run of Jam singles from Down The Tube Station at Midnight to their concluding Beat Surrender. They’re a huge part of the soundtrack to my life aged 15-20 and this song (along with A Town Called Malice) is one I return to the most, perhaps because it less sums up the mood of being the age Weller was at the time.
This was also helped by a period in my mid 20s when I was living in "a freezing cold flat with damp on the wall", though I would wager the man himself (being in a hit making band of four years by this point) never had to sleep on a sofa bed in his jacket just to keep warm. Cue violins.
For all that, he does sound like he means it and by keeping the Buckler and Foxton’s contributions to a minimum produces a superior Jam acoustic moment to English Rose. That it was the only single by the Jam from David Watts onwards (13 singles, by my count) not to crack the top 20, due it being an import, shows just how huge they were at the time.
In 2010, Weller is the only one of the class of ’77 who still holds even vague credibility with a large group of people. Strummer is gone, Lydon has long since become a kind of figure of fun and Costello ceased writing good songs sometime in the late 80s. Despite his gruff obnoxiousness and mediocre solo albums of the last decade (or more, depending on your point of view), this shows him on the form when he actually did matter to a lot of people.
#30 - The Freeze – Spandau Ballet
Second single from leading lights of the New Romantic movement. For a band typically associated with synths and other electronic tricks, this is fairly guitar heavy, leaning towards the funk/soul influences they’d perfect on the Chant #1 hit later on, with a slight Bowie tint.
As a single, it’s nothing special and probably hit the top 20 on the back of media hype. More interesting is the video, which is worth it for cheap giggles at Tony Hadley’s stubble/shades/moody look and Gary Kemp trying to look all serious in a string vest.
#29 – Reward – The Teardrop Explodes
This is much more like it. I remember I heard this for the first time on some New Wave compilation album I picked up aged 14 or so. It’s possibly one of the most instant songs I’ve ever heard, the horn riff and Cope’s proclamation of ‘Bless my cotton socks, I’m in the news!’ ensuring a love for the band that remains to this day.
Though they had better songs, this was their biggest hit by a mile and deservedly so: it’s the classic pop song in all respects. Part of it becoming such a big hit may have been a first appearance on ‘Top of the Pops’ where Cope admitted he and one or two other band members were off their heads on LSD. Just a shame the band couldn’t keep it together to earn the status afforded to rivals Echo and the Bunnymen.
#28 – A Little In Love – Cliff Richard
I find it hard to think of Cliff without wondering if it would be funny if he really was a cliff, and the fascists kept trying to push him over. Also, I still remember the laughs of derision from my dad whenever a mention of him being "the British Elvis" was heard.
Cliff was on a roll at the time, scoring top 20 hits for fun in the US, though this would be his last. Like most of his songs, it’s bland to the point of being transparent – when he coos "I need you so", he sounds about as convincing as the Pope advertising durex. It’s all wrapped in a MOR package that shows off it’s commercial appeal: you can imagine middle aged couples from Arkansas to Aylesbury smiling contently at each other as it plays on the radio.
#27 – Rapture – Blondie
Not my favourite Blondie song by a long shot. Viewing it alongside the other significant rock/rap crossover song of the time, the Clash’s The Magnificent Seven (released a couple of months later), it seems fairly lumbering.
Debbie Harry’s nonsense lyrics may have had a kookiness, but next to Strummer railing against capitalist systems and consumerism, there’s no comparison. Where it does win over is the commercial stakes: this sold by the bucket load and doubtlessly introduced a lot of people to an emerging musical genre. So, kudos for that if nothing else, and it’s worth adding Debbie looks fab on the cover, as always.
#26 – Four from Toyah EP – Toyah
First hit for the Brummie screamer, who I remember having a weird crush on about 12 years ago. It’s a Mystery is the one that got the airplay.
What does struck me is that she sounds like a more mainstream Siouxese Sioux, but the actual band are more workmanlike than the innovative Banshees. I would wager that it’s hit status owes a lot to Toyah’s image values than any songwriting skills. It plods along in second gear, while you wait for something to kick on. Which it never does, obviously.
#25 – I’m In Love With a German Film Star – Passions
Great title, great song. Another one-hit wonder, but this deserves better status than that label would suggest. The guitars sound fucking light years ahead of the time, Barbara Gogan sings about a guy she "once saw in a movie" in detached tones.
Really, in a just would this would have made #1. Not even making the top 20? Fuck off, the British public. Go listen to this song now, if you haven’t heard it before.
#24 – Once In a Lifetime – Talking Heads
While their homeland weren’t too keen on Remain In Light, it proved to be a breakthrough here, cracking the top 20. It was also my introduction to the band: I remember seeing the video on VH-1 as a 15-year-old or so and being taken by David Byrne’s dancing and the high anxiety in his voice as he wailed "how did I get here?"
It works on its simplicity, like a lot of their songs, and it’s all about Byrne. Questioning the American dream (nice house, nice car) and going on about water on the moon – Byrne manages to keep it together long enough to see the song out. Top notch song from a top notch album.
#23 – Imagine – John Lennon
John Winston had only been expired for a couple of months or so at this point and the sentimentality for his death hadn’t gone away just yet (as we shall see more later). I don’t feel I need to write anything about Imagine – for good or bad, it’s all been said before.
#22 – Somebody (Help Me Out) – Beggar & Co.
It seems funk was enjoying a peak in the charts at this time. This is the British variety from a band perhaps better known for providing the horn section on several hits for other acts, notably the aforementioned Chant #1 for Spandau Ballet.
The main touchstones here, influence wise, seem to be Earth, Wind and Fire. Unlike the numbers elsewhere in the chart, the bass here rocks pretty well. The vocals do little but chant slogans in a sub-James Brown way, and the horns avoid that wretched 80s sound that would plague many a record. Not the best of it’s type, but compared to what we’ve seen so far, a vast improvement.
#21 – That’s Entertainment – The Jam
It’s hard for me to remain impartial, given how much I love the run of Jam singles from Down The Tube Station at Midnight to their concluding Beat Surrender. They’re a huge part of the soundtrack to my life aged 15-20 and this song (along with A Town Called Malice) is one I return to the most, perhaps because it less sums up the mood of being the age Weller was at the time.
This was also helped by a period in my mid 20s when I was living in "a freezing cold flat with damp on the wall", though I would wager the man himself (being in a hit making band of four years by this point) never had to sleep on a sofa bed in his jacket just to keep warm. Cue violins.
For all that, he does sound like he means it and by keeping the Buckler and Foxton’s contributions to a minimum produces a superior Jam acoustic moment to English Rose. That it was the only single by the Jam from David Watts onwards (13 singles, by my count) not to crack the top 20, due it being an import, shows just how huge they were at the time.
In 2010, Weller is the only one of the class of ’77 who still holds even vague credibility with a large group of people. Strummer is gone, Lydon has long since become a kind of figure of fun and Costello ceased writing good songs sometime in the late 80s. Despite his gruff obnoxiousness and mediocre solo albums of the last decade (or more, depending on your point of view), this shows him on the form when he actually did matter to a lot of people.
Thursday, 12 August 2010
280281 (Part One)
Background
The idea for this came from my recent debate article on the 80s, in which I made an attempt to defend that time. As I also have a copy of the NME from the day I was born (Marvin Gaye on the cover: excellent) I wondered how the singles chart from the time stands up.
Have the 40 singles weathered the time inbetween well, or, like me, have they been battered by the harsh eroding winds of time, leaving them looking crocked and knackered? Well, cue ‘Pick of the Pops’ music and let’s find out!
New Releases
Of interest to me is the debut singles from New Order – Ceremony - and Heaven 17, with (We Don’t Need This) Fascist Groove Thang. Both were groups trying to step out of the shadows of previous incarnations, though in extremely different circumstances. The Sheffield group managed it first by incorporating a funk bassline into their purely electro sound. Ceremony sounds what it is – a group making a last statement of their past before moving on.
The Actual Chart
#40 – Star – Kiki Dee
Her ‘other’ hit, in my mind at least, and her only solo one. Though she had top 20 hits before after her chart topping adventure with Elton, none of them seem to have lasted as much as this. It brings back memories of holidays at the Butlins camp in Ayr, a theme which I feel may return in this countdown.
Listening to it now, probably for the first time ever all the way through, it’s the kind of early 80s rock fare that would be taken to it’s conclusion in the US by the likes of Pat Benatar. It’s got a nice feel to it, but is essentially inconsequential, albeit feeling like a bigger hit than it was (#13). The references to ‘video stars’ and the synth bubbles at the end date it nicely, though.
#39 - Jones vs Jones/Summer Madness – Kool and the Gang
I can remember finding out with surprise that Kool was not the singer I saw in the video for Celebrate, but the bassist. The follow up to their biggest hit, a double A-side with Summer Madness being a song from seven years prior which, when I listen to it, is instantly memorable from being in ‘Rocky’.
It’s also the best song of the two. The ‘modern’ number is bland soul/funk by numbers that I’d be staggered if it has gotten any airplay in the last 20 years. It’s a divorce tale possibly inspired by the film ‘Kramer vs Kramer’, but it’s incredibly forgettable and I’m surprised it made the top 20.
#38 – Cartrouble – Adam and the Ants
By this point, Antmania had got well under way and the re-issues of the early stuff was underway. This was taken from the first album, Dirk Wears White Sox, recorded with Ants who would take Malcolm McLaren’s advice and fuck poor Adam off to form Bow Wow Wow.
Outside of the big hits, I’ve not heard much of the Ants, certainly not the more post-punk tinged numbers. This is a pretty good, actually: there are clues of what’s to come, but the ghost of punk is there in the guitars as Mr Goddard yelps about motorways. Worth a listen.
#37 – Mutual Assured Destruction – Gillan
Just the title alone dates it. Cold war paranoia, eh? How we all laughed at the time as we read our ‘Protect and Survive’ leaflets. Gillan, being fronted by Ian Gillan from Deep Purple, offer up their own thoughts on the subject in a style that Spinal Tap parodied beyond redemption. It’s not too much of a leap to imagine elaborate stage sets and explosions when Mr Gillan screams the high notes.
"Where I stand/I know just what they’re planning/I know they’re planning one big bang/They call it mutually assured destruction" – people, we owe our survival to ROCK with a MESSAGE such as this. Be grateful.
#36 – Burn Rubber On Me – The Gap Band
Probably the soundtrack to many a boy racer down Essex way in his new Golf GTi. This was a year after their Oops Upside Your Head success. Research shows their albums sold millions in the US, but I’d guess the name doesn’t say too much to many here.
It’s a nice enough number, despite the production – I’d imagine if it was played with a grittier funk sound, it would sound miles better. Not rubbish, by any means, but definitely one for the dancefloor, not the sofa.
#35 – Gangsters of the Groove – Heatwave
A group known to me for two reasons: first, the obscene amount of bad luck they had, with two members stabbed to death and a singer left paralysed by a car crash. Secondly, that their original creative force – Rod Temperton – went on to write some of the songs that made Michael Jackson the most famous person on the planet. For his role in that, I assume he lives on his own tropical island, sleeping on a bed of money.
Though familiar with their big hit Boogie Nights, I was surprised to see a band so associated with the disco sound have a hit in 1981, albeit this would be their last significant chart action. It’s harmless enough fluff, a final present from Temperton to this old band, and indeed it sounds like something Jackson would have rejected for Off The Wall. My guess would be it was popular in discos in the less fashion-conscious corners of Britain.
#34 – Twilight Café – Susan Fassbender
The first artist so far where I have no idea whatsoever who they were. A quick check shows she came from Bradford and this was her only hit.
Unlike many one-hit wonders, this is actually really good. It’s very well put together and the chorus is fucking great. I’ve listened to it about three times on the bounce now, and it’s not wearing thin. I am a sucker for a good synth-pop ditty (though there’s guitar and bass in here too), and this qualifies as one of the best. The rest of the chart can throw any old shit at me now, it’s been worthwhile just for this. Excellent.
#33 – Don’t Stop The Music – Yarbrough and Peoples
No, I’ve never heard of them either. From the name, I half expected a kind of second division Ashford and Simpson. In a nice link, they were discovered by a member of the Gap Band and like them, would have just the one big hit here: this one.
Music like this really hasn’t aged well. While songs like Twilight Café used synths to add charm, funk/R&B seemed to lose it’s way a bit, as the new fangled tools take away (for me) the basic purpose i.e. to make you dance. A robotic beat and plodding bassline added to an irritating melody make this very heavy going, and that’s before some ultra-irritating vocal effects.
Someone liked it though, as it seems it’s been sampled by a fair few, including P Diddy and Alicia Keys. All I can think is that Yarbrough People sounds like a local newspaper in rural Yorkshire.
#32 – Young Parisians – Adam and the Ants
Yes, him/them again. Debut single from three years prior making somebody some easy money.
Not really much of a song, the band shuffle along trying to sound vaguely French while Adam mumbles away. The only notable thing here is the thought of the teenybopping hordes buying this up and the shock on their faces when they realised it was nothing like Dog Eat Dog, for example.
#31 – Hot Love – Kelly Marie
Scots Disco Diva best known for her chart-topping Feels Like I’m In Love, which was written by the guy from Mungo Jerry and intended for Elvis Presley, I’ve just found out.
Like many acts who enjoy a massive success out of nowhere, this is essentially an attempt to replicate the formula. The backing track sounds almost exactly the same, and I’m sure there’s some lyrics copied over too. Bizarrely, there’s a instrumental solo that sounds like bagpipes blustering away (young Kelly was from north of Carlisle, after all).
I do wonder who exactly was buying this kind of thing, but then I remember it’s always been the way. I’m sure if I listened to the top 40 of today, not much of it would be any better than this.
The idea for this came from my recent debate article on the 80s, in which I made an attempt to defend that time. As I also have a copy of the NME from the day I was born (Marvin Gaye on the cover: excellent) I wondered how the singles chart from the time stands up.
Have the 40 singles weathered the time inbetween well, or, like me, have they been battered by the harsh eroding winds of time, leaving them looking crocked and knackered? Well, cue ‘Pick of the Pops’ music and let’s find out!
New Releases
Of interest to me is the debut singles from New Order – Ceremony - and Heaven 17, with (We Don’t Need This) Fascist Groove Thang. Both were groups trying to step out of the shadows of previous incarnations, though in extremely different circumstances. The Sheffield group managed it first by incorporating a funk bassline into their purely electro sound. Ceremony sounds what it is – a group making a last statement of their past before moving on.
The Actual Chart
#40 – Star – Kiki Dee
Her ‘other’ hit, in my mind at least, and her only solo one. Though she had top 20 hits before after her chart topping adventure with Elton, none of them seem to have lasted as much as this. It brings back memories of holidays at the Butlins camp in Ayr, a theme which I feel may return in this countdown.
Listening to it now, probably for the first time ever all the way through, it’s the kind of early 80s rock fare that would be taken to it’s conclusion in the US by the likes of Pat Benatar. It’s got a nice feel to it, but is essentially inconsequential, albeit feeling like a bigger hit than it was (#13). The references to ‘video stars’ and the synth bubbles at the end date it nicely, though.
#39 - Jones vs Jones/Summer Madness – Kool and the Gang
I can remember finding out with surprise that Kool was not the singer I saw in the video for Celebrate, but the bassist. The follow up to their biggest hit, a double A-side with Summer Madness being a song from seven years prior which, when I listen to it, is instantly memorable from being in ‘Rocky’.
It’s also the best song of the two. The ‘modern’ number is bland soul/funk by numbers that I’d be staggered if it has gotten any airplay in the last 20 years. It’s a divorce tale possibly inspired by the film ‘Kramer vs Kramer’, but it’s incredibly forgettable and I’m surprised it made the top 20.
#38 – Cartrouble – Adam and the Ants
By this point, Antmania had got well under way and the re-issues of the early stuff was underway. This was taken from the first album, Dirk Wears White Sox, recorded with Ants who would take Malcolm McLaren’s advice and fuck poor Adam off to form Bow Wow Wow.
Outside of the big hits, I’ve not heard much of the Ants, certainly not the more post-punk tinged numbers. This is a pretty good, actually: there are clues of what’s to come, but the ghost of punk is there in the guitars as Mr Goddard yelps about motorways. Worth a listen.
#37 – Mutual Assured Destruction – Gillan
Just the title alone dates it. Cold war paranoia, eh? How we all laughed at the time as we read our ‘Protect and Survive’ leaflets. Gillan, being fronted by Ian Gillan from Deep Purple, offer up their own thoughts on the subject in a style that Spinal Tap parodied beyond redemption. It’s not too much of a leap to imagine elaborate stage sets and explosions when Mr Gillan screams the high notes.
"Where I stand/I know just what they’re planning/I know they’re planning one big bang/They call it mutually assured destruction" – people, we owe our survival to ROCK with a MESSAGE such as this. Be grateful.
#36 – Burn Rubber On Me – The Gap Band
Probably the soundtrack to many a boy racer down Essex way in his new Golf GTi. This was a year after their Oops Upside Your Head success. Research shows their albums sold millions in the US, but I’d guess the name doesn’t say too much to many here.
It’s a nice enough number, despite the production – I’d imagine if it was played with a grittier funk sound, it would sound miles better. Not rubbish, by any means, but definitely one for the dancefloor, not the sofa.
#35 – Gangsters of the Groove – Heatwave
A group known to me for two reasons: first, the obscene amount of bad luck they had, with two members stabbed to death and a singer left paralysed by a car crash. Secondly, that their original creative force – Rod Temperton – went on to write some of the songs that made Michael Jackson the most famous person on the planet. For his role in that, I assume he lives on his own tropical island, sleeping on a bed of money.
Though familiar with their big hit Boogie Nights, I was surprised to see a band so associated with the disco sound have a hit in 1981, albeit this would be their last significant chart action. It’s harmless enough fluff, a final present from Temperton to this old band, and indeed it sounds like something Jackson would have rejected for Off The Wall. My guess would be it was popular in discos in the less fashion-conscious corners of Britain.
#34 – Twilight Café – Susan Fassbender
The first artist so far where I have no idea whatsoever who they were. A quick check shows she came from Bradford and this was her only hit.
Unlike many one-hit wonders, this is actually really good. It’s very well put together and the chorus is fucking great. I’ve listened to it about three times on the bounce now, and it’s not wearing thin. I am a sucker for a good synth-pop ditty (though there’s guitar and bass in here too), and this qualifies as one of the best. The rest of the chart can throw any old shit at me now, it’s been worthwhile just for this. Excellent.
#33 – Don’t Stop The Music – Yarbrough and Peoples
No, I’ve never heard of them either. From the name, I half expected a kind of second division Ashford and Simpson. In a nice link, they were discovered by a member of the Gap Band and like them, would have just the one big hit here: this one.
Music like this really hasn’t aged well. While songs like Twilight Café used synths to add charm, funk/R&B seemed to lose it’s way a bit, as the new fangled tools take away (for me) the basic purpose i.e. to make you dance. A robotic beat and plodding bassline added to an irritating melody make this very heavy going, and that’s before some ultra-irritating vocal effects.
Someone liked it though, as it seems it’s been sampled by a fair few, including P Diddy and Alicia Keys. All I can think is that Yarbrough People sounds like a local newspaper in rural Yorkshire.
#32 – Young Parisians – Adam and the Ants
Yes, him/them again. Debut single from three years prior making somebody some easy money.
Not really much of a song, the band shuffle along trying to sound vaguely French while Adam mumbles away. The only notable thing here is the thought of the teenybopping hordes buying this up and the shock on their faces when they realised it was nothing like Dog Eat Dog, for example.
#31 – Hot Love – Kelly Marie
Scots Disco Diva best known for her chart-topping Feels Like I’m In Love, which was written by the guy from Mungo Jerry and intended for Elvis Presley, I’ve just found out.
Like many acts who enjoy a massive success out of nowhere, this is essentially an attempt to replicate the formula. The backing track sounds almost exactly the same, and I’m sure there’s some lyrics copied over too. Bizarrely, there’s a instrumental solo that sounds like bagpipes blustering away (young Kelly was from north of Carlisle, after all).
I do wonder who exactly was buying this kind of thing, but then I remember it’s always been the way. I’m sure if I listened to the top 40 of today, not much of it would be any better than this.
Sunday, 20 June 2010
Music for an Unquiet Mind
A review of Paul Simpson's new download-only albums is up on No Ripcord for y'all to have a read.
http://www.noripcord.com/reviews/music/paul-simpson/man-in-a-burning-anorak
You can pick up both at the Wild Swans website, and I'll repeat my recommendation that Vol. 2 is a good an album of songs as you're likely to hear this year.
http://www.thewildswans.co.uk/cart/
http://www.noripcord.com/reviews/music/paul-simpson/man-in-a-burning-anorak
You can pick up both at the Wild Swans website, and I'll repeat my recommendation that Vol. 2 is a good an album of songs as you're likely to hear this year.
http://www.thewildswans.co.uk/cart/
Sunday, 13 June 2010
Ten Years
Take a look at http://www.noripcord.com/features/debate-series-2-1980s. I've made some kind of attempt to defend the music produced in the 1980s while an esteemed colleague argues that it was a wretched time full of crap.
If you agree with me, be a darling and comment saying so.
If you agree with me, be a darling and comment saying so.
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