New Releases w/c 27th April 2015

headphonesI’m having one of those weeks where nothing is jumping out at me (no, I don’t get it, either!). Because of that, I’m doing away with reviews this week and will instead give you links for new songs – just because I’m not feeling it doesn’t mean you won’t find something you love! Enjoy…!

Odessa is making a name for herself by playing violin and singing with bands such as Edward Sharpe and The Magnetic Zeros and The Lone Bellow. She’s now releasing her eponymous debut solo EP. Have a listen to “I Will Be There”:

Art Is Hard Records are releasing “Family Portrait Part II”, featuring Bruising, Fruit Bomb, Living Hour & Abattoir Blues. Here’s a preview…

Album number 8 from Blur, “Magic Whip”, is out this week! Have a listen to “My Terracotta Heart”:

Check out “Up Up and Up” by Robert Pollard of Guided By Voices, from forthcoming album “Faulty Superheroes”:

Here are Turn To Crime with the title track from their new album, “Actions”:

Canadian band Braids are releasing their 3rd album, “Deep in the Iris”, this week. Listen to Taste right here…

Finally this week, chill out and wrap your ears around “Auction Block” from the project entitled “If” by Paul de Jong.

Decades in Music; Part 4 – The 70s: A Tale of Many Genres…! by @musicvstheworld

Imagine you are the year 1970. You have two seemingly impossible tasks on your hands: 1) Put the general unrest of the 1960s firmly in the past and 2) Give people a new lease of life; show them a way forward. Where can you possibly start? You need one thing that unites people; that can mould and move and spread far and wide. After a considerable amount of thought (about a nanosecond), you realise there is only one answer: music.

70sBThe 60s was a mixed up, beautiful, angry, confused, weird and wonderful decade in so many ways, not least in what it produced musically. Something amazing started to happen at the very end of the 60s that the 70s grabbed hold of with both hands and made into its own unique innovation, which was known in America as The Disco Movement. People were fed up of the battles within life and throughout the world, and they found safe havens in dance clubs where they could forget all of the worldly troubles and simply have a good time.

The rebelliousness people discovered in the 60s didn’t disappear entirely, of course, and we will see later on how that affected music, and how people used it to get the frustrations of life out of their system with the explosion of Punk.

Although relatively short-lived as a genre, and positively hated by some (especially those who gravitated towards rock music), if a decade was to be defined by its musical style, I’m pretty sure a huge percentage of people would cite the 70s as being about Disco and Dance music. From the hugely vast amount of artists (Donna Summer, Chic, The Bee Gees, Diana Ross to name a few) and music produced, to the fashions of the decade, to the immense popularity and influence on future artists and styles, this was a real whirlwind romance of a genre. Disco started as a form of black commercial Pop music, later becoming something that transcended all races. A lot of Disco music is characterized by a steady, bass beat in 4/4 time, sometimes called four on the floor. Occasionally, though, songs that were not originally of that genre were given the Disco treatment. Walter Murphy even took a favourite Classical piece and turned it into a Disco hit known as A Fifth of Beethoven. However, it was the release of the Saturday Night Fever movie that catapulted Disco music into virtually every home. Indeed, when we see imagery portraying the 70s, one of those pictures is inevitably a young John Travolta in *that* white three-piece suit under the disco ball! All sorts of people started jumping on the Disco bandwagon, and with this the fans unfortunately started to see a commercialisation to this genre that they were far from keen on – fashionable and safe was the very thing they were trying to get away from. The downfall of Disco happened quickly and on quite a scale. Many radio stations held events dedicated to ridding the world of Disco music with public album burnings. Yes, really! Youths rebelled against the genre as well, and “Disco Sucks” t-shirts soon became a new fashion accessory.

Another well-liked music genre of the 70s was Funk. James Brown is frequently considered to be the creator of Funk. He relentlessly developed his sound in the 70s and simultaneously formed a pathway for groups such as Kool and the Gang, Sly and the Family Stone and Parliament to dominate the charts with their infectious tunes that people couldn’t stop dancing to, and their wonderfully crazy fashion styles. There were no limits – from Psychedelia to Soul, Funk encompassed it all. Towards the end of the 70s, many artists also brought in a Disco element to their music which only served to increase its widespread approval.

Rock n’ Roll and Heavy Metal were still very much present in the 70s, but was becoming even heavier and louder, and morphed into what is known as Hard Rock, also drawing influences from Jazz, Blues and occasionally Folk. Many new bands emerged at this time, or existing bands started experimenting with this new type of music as well as pushing themselves to the limits technically: Deep Purple, Black Sabbath, Rush, Scorpions and many, many others! The use of the electric guitar was pretty much essential – pedal effects, distortion, catchy riffs, guitar solos and power chords were commonplace and musicians found ways of making them sound truly awesome.

In the early 70s, Glam Rock was very fashionable. Artists like T-Rex and David Bowie performed Rock music whilst wearing heavy make-up and dressing in feminine style clothing, bringing a hugely flamboyant, theatrical element to their image, particularly in their elaborate live shows. Lyrically and musically, the songs echoed the looks. Melodies tended to be catchy, and lyrics were very forward-thinking whilst at the same time being about subjects of the moment, e.g. drugs and sexuality. Among the most successful Glam Rock bands were The Sweet, Mud, Slade, Kiss and Wizzard.

Prog rock was massive in the 70s. I guess you could say it was a multi genre – often, musicians would combine Rock with something else, and they were very much experimental, particularly when playing live – they very much had the freedom to do so! There were bands like King Crimson, Genesis, Focus, Gentle Giant, and Electric Light Orchestra. There were a lot of “concept” albums – Pink Floyd were a band who did that very well – the best example probably being “The Wall”, which explored intense feelings of abandonment and being entirely alone. The main character, Pink, was based on Syd Barrett himself. Jethro Tull became very much admired, with their unique vocals together with the birdlike sound of the flute. This was music people could completely immerse themselves in, at the same time tapping into the worlds of their own imaginations. Prog Rock had a lasting influence on so much of the music to come, from Post-Punk to Folk to Metal. It’s a genre that seemingly refuses to die out, helped along by bands such as Arcade Fire and The Decemberists who have brought their take on it into the 21st century.

As mentioned earlier, the Punk Rock genre emerged in the 70s. This was a style that continued on the legacy of the 60s, but with a more upbeat and harder style. Punk was actually three things rolled into one: a sound, a look, and also for many bands, a working class political movement, with varying degrees of each element per band. To put it simply, Punk was originally designed to shock and scare anyone who wasn’t prepared for it! Heavy guitar riffs and more decibels helped to motivate those who were still upset about the status quo in the country. The Ramones are often referred to as the original Punk band. Their song “I Wanna Be Sedated” became a generational anthem depicting the feeling that society is so messed up that the only way to get through life with your sanity is to be sedated for the entire experience. The Sex Pistols also enjoyed a short-lived success as a Punk Rock band of the 1970s. The band members recklessly used drugs and alcohol which eventually led to their dissolution shortly after forming, but not before releasing two hit albums, “God Save the Queen” and “Never Mind the Bollocks”, that created a wave of rebellion throughout the United States and the UK. Some other favoured Punk bands from the 70s included New York Dolls, The Jam, Crass, The Clash and The Ruts.

Gradually, musicians with a similar way of thinking to punk rockers revealed themselves, and brought with them music that was technically refined, and lyrics that were astute and profound. This was to be known as New Wave music. By the late 70s, New Wave had emerged in both the United States and England as “the intelligent answer to Punk Rock”, with artists such as Blondie, Talking Heads, Elvis Costello and Devo coming out of the woodwork. Incorporating electronic instruments including synthesizers, and bringing along a different approach to making music, New Wave was a distinct and refreshing break from the blues and guitar Rock that had dominated music until this point. New Wave continued on into the 80s and beyond, having a massive impact on musicians of the future even today.

What do you get if you mix together Ska, Punk Rock, Reggae and Pop? This isn’t a joke, there’s no punch line – the answer is 2 Tone. It gets its name because many of the bands were signed to 2 Tone Records, a label founded by Jerry Dammers of The Specials. The sound was created by musicians who spent their youth listening to 60s Jamaican music. They moved things forward by combining that classic Ska sound with Punk and Pop. In the late 70s, the UK was experiencing some turbulence, economically speaking. As with everything bad that happens, there were songs written about it or because of it. 2 Tone served to provide a positive, harmonious movement which was embraced so completely by a country who desired exactly that in a time of need. Just a few notable members of the 2 Tone music scene were The Specials (of course), The Beat, Madness and Bad Manners.

New Wave of British Heavy Metal, or NWOBHM developed from an underground genre in the late ’70s, quite some time after Heavy Metal bands like Led Zeppelin and Black Sabbath started becoming popular in the late 60s. NWOBHM was a purer form of heavy metal with fewer Rock and Blues influences than the first Metal bands. It was pretty much responsible for rise in popularity of Heavy Metal across the world, and was also an inspiration that helped bands evolve into Thrash and Speed Metal. NWOBHM didn’t really have a particular style or sound, although generally the songs produced had a sense of melody in common, whether the band’s basic sound was Progressive or full on Metal. NWOBHM offered a glimpse of Rock and Roll escapism, Sci-fi themes and having a good time with alcohol, drugs and the opposite sex. Some bands under this banner were AC/DC, Motorhead and Judas Priest, and by 1979 Iron Maiden, Def Leppard and Saxon had joined the fray.

So, from Disco to Heavy Metal in the space of ten years – did the 70s achieve what they set out to do? In some ways, yes, absolutely. People were actively questioning the way things were and making moves against the things they disliked, in their own way. Bands were using music to speak out against the things they felt were unjustified, and vast numbers of people supported that public voice and what it was saying. Different types of people were starting to come together as one unit, joined by a love of the same thing and a mind full of the same ideas and morals. Did music save the world? No, of course it didn’t. However, it certainly gave people an outlet, and a freedom to express themselves that possibly wasn’t present beforehand.

Music is ever-changing, equally inspired and inspirational, and what happened in the world of music in the 70s was, in my opinion, a platform for every band and musician to follow in their own ways. Long may that continue…

As part of this process, I asked a few friends some questions about their thoughts on music of the 70s. Here are the results…


1. Who do you think were the bands or musicians that defined the 1970s?

2. What 70s music did you or do you listen to?

3. Do you think any 70s music was influential in any way? How?

4. Do you think music in the 70s affected people’s attitudes? How?

5. If you were to describe music from the 70s in one word, what would it be?


@danthompson78 said…

  1. David Bowie, T-Rex, The Stones, Lynyrd Skynrd, Neil Young, Pink Floyd, Stevie Wonder, Black Sabbath, The Who, Queen, Lou Reed, Fleetwood Mac, Kiss, Springsteen, Iggy Pop. Loads really! I’m tempted to add the punk bands like The Clash and the Pistols.
  2. Bowie, Stones, Lynyrd Skynrd, Neil Young, Pink Floyd, The Who, Queen, Lou Reed, Springsteen, Television, Clash, Iggy Pop, Ian Dury.
  3. I think new and established bands still dip into the 70s when it pleases them – bands like Haim and War on Drugs owe almost everything of their sound to slim aspects of the 70s, as do bands like the Strokes and even Arcade Fire. Every new era of music dips into the previous ones to varying degrees, and the scope of music which was popular in the 70s (and is still listened to today) was probably a lot broader than that of the 60s.
  4. I think that the end of the 60s probably made people a bit more cynical, and the feel-good rock of the 70s was maybe a response to that cynicism, and harking back to a more innocent time.
  5. Brown. (I just always think of brown cords and cheesecloth shirts when I think of the 70s. And then, probably as much a product of the way the 70s are portrayed by film and TV, guys in flared brown suits.)

@gentlyallaround said…

  1. I would say the musicians that defined the 70s were Joy Division, David Bowie, T-Rex, Blondie, Sex Pistols, Television, Magazine, Buzzcocks, etc – but I suppose this answer would depend on what you’re into (note my lack of ABBA – hurrhurr).
  2. I would listen to all of the above but Joy Division are the ones I listen to habitually, plus The Kinks’ 70s stuff, John Lennon, George Harrison, Cat Stevens. I’m a big fan of The Jam but I always associate them more with the 80s even though they were 1970s too.
  3. I think 70s music was very influential – maybe more so now than ever. It’s hard to think of a current band that I like that have not got some kind of 1970s sound.
  4. I think it has affected people’s attitudes, even if indirectly (like through new bands influenced by 70s bands). Maybe people don’t realise how much the music they listen to has been shaped by 1970s influences. Also, bands from the 70s had a lot to say, and they said it with conviction, which is one of the reasons why a lot of the artists have lasted in people’s record collections.
  5. Bold.

@guitartutorrich said…

  1. There were several really – people such as Elton John, Queen, David Bowie, The Eagles, Fleetwood Mac, Led Zep, The Jam, Stevie Wonder, Bob Marley, even the Bee Gees! Artists that defined a sound and also made massive inroads with song writing, new sounds, and huge fashion statements too. 
  2. Lots of the early 70s hard rock and glam was good – Slade, The Sweet, Mott The Hoople, and US. artists such as Rush, as well as favourites Black Sabbath, and the Prog Rock giants like Jethro Tull, Pink Floyd, Genesis and Yes. 
  3. Massively so. Punk emerged from as far back as 1971, New York Dolls, MC5 and Iggy Pop were very seminal in the later new wave and punk scenes, Bear in mind that recording techniques from 1970 onwards were on a rapid advancement – 8 track to 16 track then 24 track tape machines, allowing for better production and more adventurous   arrangements and complex mixes. Also, new technology produced new sounds – synthesisers from 1973 onwards gave whole new soundscapes, as well as guitar effects such as the chorus pedal and the use of delays – drum machines made their first defining appearance in the mid 70s and led the way for the electronic music of the early 80s. Technique too – slap bass and tapping guitar styles were very full on by 1978.   
  4. The punk thing REALLY changed attitudes – 1976 was a year that changed not only fashion, but the complete outlook – music became more politically aware, and working class, short hair was suddenly back, as well as a total ‘anti-rock star’ stance. This was the mid 60s all over again, but with a sneer. 
  5. Flamboyant!

@bringitonskippy said…

  1. Not being a fan of the mammoth 70s act such as David Bowie, Pink Floyd etc, for me the 70s can probably be split into glam and punk. Some bands/artists who I associate with the 1970s – whether this is the same as “defining” the 70s would be a moot point – are: David Bowie, Pink Floyd, Marc Bolan/T-Rex, Slade, Sex Pistols, Ramones, Undertones.
  2. Not a great deal to be honest. I am in a covers band and we have a few 70s punk tunes (Teenage Kicks, Blitzkrieg Bop, etc). Apart from the well known glam and punk tunes which will be familiar to most people, I couldn’t really claim to have listened to much music from the 70s, either previously or currently. The only exception to this really would be Dr Feelgood – my dad knows their manager Chris Fenwick and I have their Greatest Hits, which is pretty good, if not particularly groundbreaking. 
  3. Speaking to older (!) people who were teenagers in the 70s, it is apparent just how much punk called out to the working classes. It was like nothing that had been seen before – the kids loved it and the older generations either disliked it intensely or were actually scared of it. I guess it could be argued though that, while it might have felt fresh at the time and the younger generation might have felt like it would lead to the overthrow of the monarchy and government, it did little good in the long term, particularly when you look at Thatcher’s Britain in the 1980s and decimation of British industry.
  4. Again, with regard to punk, I think it gave the younger generation the feeling that they didn’t have to stand for authority etc. This is really only apparent from speaking to people of that era though, and the odd documentary I may have seen.
  5. Uninspiring. (Sorry if this goes against what you might have been expecting!)

@annatheforager said…

  1. Sex Pistols, the Clash, Siouxsie and the Banshees, Ramones, the Jam, the Who, Rolling Stones, the Beatles, Fairport Convention, Steeleye Span, Fleetwood Mac, David Bowie, Joy Division, Kraftwerk, Queen, T-Rex, Hawkwind, Genesis.
  2. I used to listen to Goth music (e.g. Siouxsie and the Banshees, Joy Division, Bauhaus) but not so much now. I still listen to Fleetwood Mac, Squeeze (probably better associated with the 80s, but they started being brilliant in the 70s), Fairport Convention. I’m currently investigating The Band, but so far I think I generally prefer other people’s versions of their songs. Although I do listen to 70s music when the mood takes me, these are the only ones I regularly put on.
  3. I think it was hugely influential. Teen identity was relatively new, and the seventies saw the emergence of a huge array of subcultures. I think that subcultures offered (and still offer) a sense of belonging; a way to express individuality and perspective. The divergence of youth culture paved the way for the vastly different types of music currently being created.
  4. Punk certainly did! I was only a nipper (born in 1975) but my parents later told me that they really felt the status quo was under threat. I think it awakened young people to the fact that they didn’t have to go through life as a voiceless minion. They had the power to question things and do something to change them.
  5. Innovative.

@skylarkingmatt said…

  1. Joni Mitchell – I think she took confessional song writing to a new level. I think she’s influenced every singer songwriter since. David Bowie – hugely important, both as a performer & writer. He took lots of influences & made them into a style that was purely his, & every album he made in the 70s was different from the previous one – not many can do that. Led Zeppelin – far more than just an out & out rock band; the finest exponents of light & shade. Pink Floyd – the most British of bands (even more than the Kinks), and the band who I think took production & sound to a new level. The Clash – the best of the Punk era by a country mile.
  2. At the time (being only very young) I tended to listen to whatever my parents were playing – Elton John, Rod Stewart, Cat Stevens, Dire Straits, and I still do. The first 2 albums that I owned in the 70s (& they were both hugely important) were the Saturday Night Fever soundtrack & Blondie’s Parallel Lines. Now I probably own more records from that decade than any other- everything from Yes to The Buzzcocks.
  3. I think the most influential record of the 70s was Donna Summer’s I Feel Love – it sounded other worldly when it came out, almost hypnotic. Modern dance music (& certainly groups like New Order & producers like Brian Eno) was listening closely. I suspect Bob Marley probably needs a mention here too – without him I suspect Reggae would have remained a bit of a joke or novelty to a rock audience.
  4. I think the 70s was probably the era when pop and rock started to be taken seriously, and wasn’t dismissed as mere fluff. I think it’s also when artists started to think about albums as proper works rather than a collection of three strong singles and six or seven filler songs. Of course, this had started in the 60s with The Beatles, Beach Boys, Hendrix, but I think it became the norm in the 70s – stuff like Tubular Bells & Dark Side Of The Moon. Plus I think some of the performers in the 70s allowed some of the gay/bisexual community to find an identity (even if it was to be much later before society in general caught up – if indeed it has). Bowie’s appearance on Top Of The Pops doing Starman (where he puts his arm round Mick Ronson) is often cited as being a key moment (Boy George, Holly Johnson & Marc Almond have all mentioned it)
  5. Progressive. Not in the sense of Prog rock, but constantly changing & moving forward.

 @sunderlandandy said…

  1. There are loads, but these stand out for many reasons so will just name them in no particular order: David Bowie, Sparks, The Sweet, Kraftwerk, Barry White, Abba, Supertramp, Bee Gees, Ian Dury, Sex Pistols, 10CC, The Carpenters, Siouxsie and the Banshees, Fleetwood Mac, Fox, The Osmonds, Suzi Quatro, Elton John, Donna Summer, T-Rex, Blondie, Gordon Lightfoot, Gilbert O’Sullivan, The Stranglers, Olivia Newton John, Neil Diamond, Kate Bush, ELO, Bob Marley and Hot Chocolate to name a few.
  2. Mainly all glam rock, punk and all the people named above.
  3. I’d say glam rock and punk were influential in the fact they told people you don’t in theory have to be talented to be famous and on top of the pops, For many, this music was escapism from the mundane reality of real life, and I bet many a sad young teenage fan sat in their bedroom playing their vinyl dreaming of better things.
  4. There was a lot of negativity going around in the 1970s with unemployment strikes, poverty etc and again I think music allowed people to dream of nicer things.
  5. Radical.

 @southallio said…

  1. When I think of the 70s I picture it in two halves. The start of the decade you had quite a few acts who had started off during the late 60s psychedelia coming into their own. On the one hand the friendly rivalry between Marc Bolan and David Bowie led to the birth of glam rock, with Slade taking up the mantle and running with it. At the same time you had the boom of the Prog rock movement, led by Pink Floyd, which reached its peak in the mid 70s. Simultaneously you have rock music and the dawn of heavy metal. The big 3 of Black Sabbath, Led Zeppelin and Deep Purple, who all began life toward the end of the 60s but really reached their peak between 71 & 75. Towards the end of the decade, glam rock had died a death, the peak of the metal bands was over and Prog rock had vanished up its own Phil Collins shaped arsehole. Something was needed to shake it all up when punk, led by the Sex Pistols, came along to quite literally spit in the face of the establishment. The freshness of the 77 punk still radiates to this day when you listen to it, so I can’t imagine what it felt like at the time. The Buzzcocks, The Clash, The Jam (though they hated being called punk) and countless others blew apart the music scene and gave it the shake-up it massively needed. As punk evolved into new wave at the end of the decade, then arose Joy Division and with them Factory Records, a group of people who would go on to define music for the following decade. That’s not to ignore the phenomenally successful disco scene, defined by the Bee Gees and Saturday Night Fever. Or the more underground Northern Soul scene, which took over the youth of the north of England. All it all over a 10 year period there was quite an incredible amount of music.
  2. I’ve dipped into all of the above from time to time, but for the most part David Bowie, Pink Floyd, Black Sabbath and The Jam would be my most listened to 70s artists.
  3. Without doubt. In David Bowie the 70s had probably the most influential musician of all time. His constantly evolving styles have influence pretty much every genre of music that followed and he’s still going strong to this day. I don’t think indie music would have existed without punk and the new wave music that followed. And there’s not a metal band around that isn’t inspired in some way by Sabbath, Led Zep or Purple.
  4. It’s hard for me to say, not having been there, but you would have to say that punk influenced a whole generation of youths both musically and politically. It gave them a voice and helped them to speak out against a stale society.
  5. Revolutionary.

@lucy_raggy_doll said…

  1. The artists that spring to mind for me are ABBA, Queen, The Beatles and Pink Floyd. 
  2. ABBA, Fleetwood Mac, The Eagles, The Beach Boys. 
  3. 70s music has influenced artists that are popular today. I’ve recently read Mark Everett’s autobiography (Eels), and The Beatles were an influence on him pursuing a musical career – he wanted to be part of that vibe. 
  4. I think 70s music influenced people in the way that we realised how massively it can impact others. The cult following of bands such as The Beatles set a precedent for others to follow. I think The Beatles were the first band to make girls faint at gigs!
  5. Bohemian.

Decades in Music; Part 3 – “What Do I Know About the 70s???? ” – Guest blog post by @stamfordcowboy


So a few weeks back I volunteered to write a blog for my friend Dotty about a decade of music. There was me thinking I would be able to write about my love of the 90’s and how the Britpop era influenced my musical outlook and got me into the whole live music scene which I have been hammering for last 18 years or so. Naïve of me to think it would be that easy!

Having been placed in a hat and drawn at random with fellow bloggers I was assigned the task of writing about the 70s. I was born in December 1977 so my actual memories of this decade are non-existent. As I set about thinking of the 70s, the first thing that came to mind was John Travolta strutting down a New York street swinging a pot of paint to the backing of “Night Fever” by the Bee Gees – then I had the images of the three of them with their dodgy perms, tight trousers and ridiculously white teeth. Donna Summers’ “I Feel Love” then entered my head, followed shortly after by Chic “Le Freak”. Now, not being an advocate of disco music I found this pretty concerning, and the final straw was when I had little Michael Jackson jiving in my head with “ABC”. I was all set to dismiss this task and write it off as a bad idea.

Then I had my moment of clarity…

Quadrophenia – recorded in 1973, film released in 1979. A film and a soundtrack that I got to grips with in my early twenties, but which was truly hammered home on a memorable night at the Royal Albert Hall in 2000. I had gone to the first Teenage Cancer Trust concert where I would witness a near 3 hour masterclass from the Who and special guests including Paul Weller, Noel Gallagher, Kelly Jones and Eddie Vedder amongst others. I remember outside that venue just being a sea of Lambrettas and Vespas, blokes in sharp suits and fish tail parkas, ladies in little penguin dresses or sharp black and white two tone numbers, and Union Jack flags to be seen everywhere you looked. It was the first time I had properly seen the Mod movement in all its glory and, having already fallen under the spell of Paul Weller a few years earlier, it properly drew me into the scene and the music that came with it. Before someone pulls me up on it, I am aware the mod scene developed in the 60’s but had it not been for Quadrophenia I wouldn’t have gotten to know it.

I wouldn’t have known who the star of that film, Phil Daniels, was had it not been for Blur and their Parklife song in the 90’s. It was only after enquiring about him and getting ridiculed for having not seen Quadrophenia that I eventually found out. It’s now that you realise that if it wasn’t for bands like The Who, The Clash, Sex Pistols and The Jam – the Britpop 90’s thing probably would never have happened?

The words which spring to my mind therefore about the 70’s are influential and nspirational. The fact those disco tunes were stuck in my head is a testament to the song writing from that era – I might not dig them, but I know of them and their grooves and basslines.

After more thought and reflection, I got to realising just how much this decade of music has shaped my tastes and my music collection. Your iPod doesn’t lie when it comes to the amount of times a song has been played and 2 songs immediately jumped out at me from the 70’s:

Down Down – Status Quo

This was the very first song I saw played live aged 13 years old. Francis Rossi in classic Quo attire creeping from behind a black curtain playing the opening riff before the curtain dropped and the band kicked in. Extremely loud and massively influential in getting me into live music at that age. Great memories and a very credible first gig I reckon, even though my mate who was with me now disagrees!

Band on the Run – Paul McCartney and Wings

I got to know and love this song through my Dad playing his best of Wings cassette in his Ford Sierra when I was 7 or 8 years old. It always made me think it was 3 songs in one at that age – many layers to it, and styles which I’ve always loved.

I could go on and on about other songs from this decade but it would just get boring to read. Below is a playlist of my top played songs from this decade which as I look at it I’m quite proud of. I’ve taken a lot of inspiration from people over the years who have gotten me into these artists and for that I’m extremely grateful , and I hope my little lad grows up to appreciate them too!

In The City – The Jam

The Passenger – Iggy Pop

Peaches – The Stranglers

Won’t Get Fooled Again – The Who

Holidays In The Sun – Sex Pistols

London Calling – The Clash

Germ Free Adolescence – X Ray Spex

What Do I Get? – Buzzcocks

Life On Mars? – David Bowie

Boys Don’t Cry – The Cure

20th Century Boy – T Rex

Walk On The Wild Side – Lou Reed

Up Around The Bend – Creedence Clearwater Revival

Across The Universe – The Beatles

Wish You Were Here – Pink Floyd

Stay With Me – The Faces

Teenage Kicks – Undertones

One Way Or Another – Blondie

Milk and Alcohol – Dr Feelgood

Heart Of Gold – Neil Young

The Sideboard Song – Chas n’ Dave

(No I’m not taking the piss with Chas n’ Dave!!!)

Cheers folks…!

New Music Releases w/c 20th April 2015

mistakeIt’s been two weeks since my last confession… well, since I last blogged about new music releases, anyway!

This week, I do have a confession, though. I quite like Pop music. Sorry if that offends you, but not *that* sorry. I’m the girl who was brought up listening to Prog Rock and derivatives thereof, so it was a bit of a shock to my parents when I became a fan of Take That when I was about 12 years of age. I couldn’t help it – the catchy tunes got to me good and proper. I’m not ashamed, although it’s fair to say I’m not keen on what they’ve produced lately! However, if you played A Million Love Songs to me, I’d have a good old sing!

I do have a point to this – my first recommendation this week is quite “Pop”. He’s called Dustin Kensrue, and has a new album out entitled “Carry the Fire“. Now, I don’t want to put you off, or annoy a musician at all, so let me show you a definition: “commercial popular music, in particular accessible, tuneful music of a kind popular since the 1950s and sometimes contrasted with rock, soul, or other forms of popular music”. See, that’s not so bad, right? Kensrue‘s music is easy to listen to, there are good melodies, and a pleasing folk rock element. I like it, particularly its simplicity. Vocally, he reminds me everso slightly of Glen Hansard, who I adore! So there you have it – listen for yourselves here:

Next up is the band whose song “Swirl” I chose as my Song of the Week this week. Swedish band Westkust are on the verge of releasing their debut album, “Last Forever“, and it’s one I’m happily parting with my hard earned money for! This band draws influence from indie, punk & shoegaze, and I think I detect a little bit of electronica influence too. The music is frantic and the vocals are effortlessly bright and smooth, with a touch of echo which brings a certain edge to these songs. You could do a lot worse than spending some time listening to this album!

The last band to have worked their way into my mind this week are Brooklyn’s own Miniboone, and they’re about to release their album “Bad Sports“. From the very first notes of the title track, I was hooked. I LOVE that feeling when I hear music! There’s nothing like it, is there?! Beatles-esque harmonies, witty lyrics, and full of energy, this has the makings of an album from a band who I really hope will go places! Miniboone have already played on the same bill as the B-52s and Art Brut, and for this album they worked with the same producer as Built to Spill favour, Travis Harrison. I love them – do you?!

Thanks for reading – I hope you’ve heard something you like! There are, of course, other musical releases next week – here’s a list for your perusal:

Speedy Ortiz – Foil Deer

Wire – Wire

Girl Band – The Early Years (EP)

Tom DeLonge – To the Stars… Demos, Odds and Ends

Nicki Bluhm and The Gramblers – Loved Wild Lost

Built to Spill – Untethered Moon

San Fermin – Jackrabbit

Turbo Fruits – No Control

Passion Pit – Kindred

In Tall Buildings – Driver

Squarepusher – Damogen Furies

Great Lake Swimmers – A Forest of Arms

Decades in Music; Part 2: “I Don’t Get Nostalgic for the 60s!” – Guest blog post by @ageingraver

I don’t get nostalgic for the 60s. Not much!

60sBMy first brush with pop music, however, came in the late 50s with Oh Boy by the Crickets (my first single I think) and Paul Anka’s Diana and the Everlys’ Bye Bye Love on 78rpm. Very breakable!

I came into the 60s with the chart sounds of Marty Robbins, Brenda Lee, the Miracles, Maurice Williams & the Zodiacs, Rosie & the Originals. That’s the US chart sounds of course. It was the American charts that interested us – the songs you could only faintly pick up on your transistor radio from AFN (American Forces Network) and slightly less faint, but still crackling away, on Radio Luxembourg – not the wishy washy state of the UK pop charts at that time. We wanted the original records not the British covers.

A year or so later we were in thrall to rhythm & blues, and the country blues of the deep south, and urban and Chicago blues, and there was no looking back from there! Chuck & Bo, Sonny Boy, Muddy, Hooker, the Wolf, going to gigs in the UK – T-Bone Walker and Jesse Fuller and Jimmy Reed and Champion Jack Dupree and Screamin’ Jay Hawkins. These were near-religious experiences; small smokey jazz clubs, up close and personal.

Apart from the dance halls and clubs and dives, it was all about one night stands in the early sixties, mostly at your local ABC cinema. Try these for the line-ups of just a couple of shows we saw back then; in 1962, Del Shannon, Bobby Vee, Clarence ‘Frogman’ Henry, Tony Orlando, and it would be hard to beat this one from October ’63 with the Stones on their first major UK tour, fourth down the bill from Little Richard, Bo Diddley and the Everly Brothers.

A year later, we stood in line overnight to get front row seats for Chuck Berry at the Bournemouth Winter Gardens (May ’64) in a bill which included Carl Perkins, the Nashville Teens and the Animals. At the interval, Alan Price came to admire our ‘Chuck Berry is The Greatest’ home-made poster (hand painted on a yellow sheet half-inched from my mother) and sat with us on the floor on the sheet to watch the great man’s show. And what a show – maybe not quite Beatlemania but a significantly male version with the crowd going nuts, duck-walking like crazy!

Then there was folk music in all its guises – Bob and Joan, Pete and Buffy, Bert and John, Roy and Davey, the American Folk Blues Festival in ’65 in Bristol and ’66 and ’67 in London, and that all took me to Clive, Robin & Mike, the Incredible String Band, the touchstone of the 60s for me. Saw them many times. Their concerts were happenings, their music electrifying, the vibe – far out man! The ISB played all the major venues in London, from the Palladium to the Roundhouse, and we were there at most of them, cash permitting. So different to anything that had come before, or that I had heard before, and after a lean time critically in the following decades, it’s really good to see their music now restored to its rightful place in the pantheon; a collision of musical styles, groundbreaking, inspirational, influential.

The music of the Incredible String Band drove bands at the time such as Dr Strangely Strange, Comus, Forest, Heron, Dando Shaft towards recording contracts and much later spawned a whole new genre now referred to as psych folk, the likes of Devendra Banhart, Vetiver, Tunng, Trembling Bells…

Here’s a link to a playlist of 20 of the best songs from the ISB.

Moving on (as we did with some alacrity during the 60s), there were many memorable concerts and here’s just a few of them.

The first UK tour by Tamla Motown artists in 1965 was a joy, and one of the most anticipated events ever. Take a look at the line-up:

TamlaI’m almost ashamed to say that we walked out to the bar before Georgie Fame’s performance; some misbegotten protest about his inclusion on the bill, even though his credentials as a British R&B singer were impeccable. That’s how fanatical we were about the Motown sound!

And there were so many other fantastic occasions: the unique voice and spellbinding piano of Nina Simone in the haunting spotlight of the Albert Hall; the greatest soul singer of them all, Otis Redding, “for one night only” at the Hammersmith Odeon with Sam and Dave, Arthur Conley, Eddie Floyd, Booker T and the MG’s; and then, the toppermost, the “hardest working man in show business”, James Brown playing Walthamstow in 1966! Yes, Walthamstow. Unstoppable showmanship and unforgettable excitement.

One big memory; an episode that these days it’s hard to believe really happened. On 28th September 1966 after a gig at the Albert Hall that meant missing the last train home from Waterloo, a couple of us went to a late nighter at Les Cousins folk club in Soho’s Greek Street intending to hunker down, hear some sweet music, and then head off for the milk train. Alexis Korner, the “founding father of British blues”, was headlining that night, but the highlight was a surprise guest spot some time around 2 a.m. The unexpected act, announced as a “sensational guitar player who was going to make it big”, had flown in from America for the first time just a few days before, and yes we were incredibly lucky to witness a jam session with Korner’s band and Jimi Hendrix. I can remember Hughie Flint on drums and an inscrutable Chas Chandler standing in back. As for the sensational guitarist? Yep, he was pretty damn good!

Recently on twitter, hashtag #50yearsoftunes, there was a challenge to recall your fave album for each year starting with 1965. Some interesting stuff with votes for Love’s Forever Changes, Safe As Milk by the good Captain, Pet Sounds, and Dylan of course … in the space of fifteen months in the mid 60s, three Bob Dylan soon-to-be-classics held sway: Bringing It All Back Home, Highway 61 Revisited, Blonde On Blonde.

I’d have trouble putting together my own favourite LPs between 1965 and 1969 as the bulk of them would have to come from just one year; the summer of love, 1967. But how can you separate them and how on earth could you put them in order of preference. You can’t and that’s that. Let me try alpha by artist: Country Joe and the Fish – Electric Music For The Mind & Body; Cream – Disraeli Gears; The Doors debut and the follow up Strange Days; Jimi Hendrix – Are You Experienced; Love’s Da Capo (side one) and Forever Changes; Joni Mitchell’s beautiful first album Song To A Seagull recorded that year; and Moby Grape; and The Piper At The Gates Of Dawn; and Mr Fantasy, and etc.

If push came to shove, the Incredible String Band’s The 5000 Spirits or The Layers Of The Onion would grab the 1967 No.1 slot, vying with their ’68 release The Hangman’s Beautiful Daughter but then that would be a toss up with Roy Harper’s Come Out Fighting Genghis Smith and the bedsit album of choice, Songs Of Leonard Cohen. Then mix in a cotchel of Beatles, Stones, Who, Kinks, and from over there, Byrds, Spoonful, Dead, Airplane, Zappa. Impossible!

1969 gets a bit easier but how do you decide between Liege & Lief and Kick Out The Jams, Family Entertainment and Aoxomoxoa, The Band and Hot Rats. Truth is, you can’t, but it’s good fun having a go.

For a short while, music for free was everywhere in the 60s. It was where it’s at! “The one man band by the quick lunch stand…” The first free concert in Hyde Park (and the first one I saw there) was in June ’68 with the perfect bill of Pink Floyd, Tyrannosaurus Rex, Roy Harper, Jethro Tull, and it was memorable: “I think it was the nicest concert I’ve ever been to.” John Peel

Pink Floyd were to play Hyde Park for free once again: “There was a really nice one when Pink Floyd premiered Atom Heart Mother with orchestra and choir, and the chap conducting had just commissioned me to write a piece for his choir, so it was my two worlds sort of mixing up. It was a really hot day and really nice, it was a good piece…” David Bedford

Trouble is, turns out that it was in July 1970 so it doesn’t count for this piece. Ah well, they say if you can remember the 60s you weren’t there.

The decade was drawing to a close. The counter culture was having its unwanted day in court; the International Times, the trials of Oz, John Peel’s “Perfumed Garden” on pirate Radio London, no more Technicolor Dreams at the Ally Pally, all were either going or gone. Then, at the end of the summer, Bob Dylan and the Band played the Isle of Wight (on the occasion of my first wedding anniversary!) along with the Who, Joe Cocker, Free, Pentangle, King Crimson etc. There was still hope. The music hadn’t died at all. It was all really just beginning. I came into the sixties a schoolboy and left them as a married man, still rockin’ and a-rollin’.

You see, I really don’t get nostalgic for the 60s. Just wish I could do it all over again!

Merric Davidson is a contributor and editor at Toppermost. You can follow him on twitter @ageingraver

Decades in Music; Part 1: “What Have the 1960s Ever Done for Me?” – Guest blog post by @recrwplay

What have the 1960s ever done for me?


There’s a myth in the nostalgia industry that paints each decade in different colours. Reality is rather more blended. The 1960s witnessed great change, socially and culturally: by the middle of the decade, four-fifths of UK homes had a television, and they had shows like Ready Steady Go! and Top of the Pops to watch. It was even OK now to borrow your servant’s copy of Lady Chatterley’s Lover. But just as the world didn’t suddenly become neon-lit and full of yuppies and shoulder pads the moment the last chimes of 1979 were heard, neither did London become a swinging flash mob twenty years earlier. And no, everybody was not too busy discovering sex…

Take the first number one album of the 1960s, The Explosive! Freddy Cannon, by Freddy Cannon. It was the first time in the UK that an album by (that 1950s creation) a rock ‘n roll singer had topped the charts. “The greatest decade in the history of mankind” had begun with what now seems a throwback, its style and joyful abandon utterly modern in its day, but now closer in tone to the music hall era, where some of its tracks had originated, than any present day rockism.

Some time passed, roughly ten years in fact, before the decade closed, appropriately given their cultural dominance of the day, with The Beatles atop the charts. Although Abbey Road wasn’t the final Beatles studio album to be released, it did mark the last time the four were all fab and recording together. Earlier that year they’d made their famous rooftop appearance, the band’s last public performance.

And when the decade was over, The Beatles had scored 10 of its 13 biggest selling albums. No other artist got close: only the soundtracks to The Sound of Music, South Pacific and West Side Story outsold any albums by The Beatles in the 1960s. It’s no wonder people have long agreed that we’ll never see the like of it again.

Which is absolutely fine by me.

Whether it’s Monopoly or 50 Shades of Grey, I can’t stand a runaway leader. It’s just not possible for that one thing to be so outstandingly brilliant in its field that it naturally and rightfully kicks all competition to the kerb. Magnified through the rose-tinted spy-glass of time, you end up with a cultural landscape that appears blandly homogenous. Take 1966, the year London did finally swinging, the year a World Cup victory was achieved. In 1966, a total of four albums topped the chart. Four! They were: The Soundtrack to The Sound of Music, Aftermath by The Rolling Stones, and Rubber Soul and Revolver by The Beatles. And you thought 1991 was a tiresome struggle, with Bryan Adams taking up most of the summer and autumn on top of the singles chart, and Simply Red on their way to having the best selling album two years in a row with Stars. 1967 wasn’t much better – you had The Monkees (two albums), The Sound of Music (again), Sgt Pepper’s Lonely Hearts Club Band (for half the year), and Mr Val Doonican (Val Doonican Rocks, but Gently).

So, not a lot of variety, and a runaway leader.

The other thing I can’t stand is being told what to like, and there’s an awful lot of that about when it comes to the ‘60s. Eat your greens, learn your musical history, respect the icons, it’s all derivative, that modern music, it’s all been done before you know, and better. What do you mean you don’t like The Velvet Undergound? And what’s that enormous elephant doing in here?

Oh, um, yeah. I was coming to that.

You see, I own Sgt Pepper’s Lonely Hearts Club Band. Of course I do: it’s a statistical inevitability given the size of my album collection. I also have a copy of Rubber Soul, although I’ve listened to it maybe twice. And yes, Revolver is in there, too. And I love it.

After I got into the madchester scene and baggy indie in the early 90s I found She Said She Said on Revolver, and my mind was, to use the modern parlance, a little bit blown. it seemed to so perfectly encapsulate the sound I loved, with its percussion bouncing all over the place, the constant presence of that lead guitar melody, and lyrics you could drop seamlessly into any number of indie-pop hits.

And then Revolver goes and closes with Tomorrow Never Knows, and Freddy Cannon, kicked to the kerb, lies in the gutter looking up at the stars, wondering which gave birth to the new sound. They appear to be dancing, laughing, but it could just be the LSD talking. And while I’m feeling confessional, The Blue Album and The Red Album (I much preferred the latter) were among the tapes in my Dad’s collection that I most frequently played. Nothing quite matched a Buddy Holly compilation, I found, but since tragedy took him in February 1959 he’s not a part of this story other than for us to wonder what might have been, what his incredible talent could have stretched to, and how pop music could have been his to shape for years to come.

But apart from The Beatles, what have the 60s ever done for me?

My confused feelings about the 1960s are best summed up by a compilation album I bought, probably in about 1990 or 1991, seduced no doubt by the budget price. Top Ten Hits of the 60s was a 1988 album released on the Music For Pleasure label. It contains 16 hits of the decade, by artists ranging from The Animals (House of the Rising Sun), The Hollies (Look Through Any Window), The Beach Boys (Do It Again) to the hippy sounds of The Flower Pot Men (Let’s Go To San Francisco), and not one but two appearances each by Cliff Richard and The Shadows – together on In The Country, and separately with The Twelfth of Never and FBI.

Yes, that’s two Cliff Richard appearances. Whether or not he appears on either of the Now! compilations I own that puts him, in terms of number of tracks I’ve bought, ahead of The Velvet Underground and The Who. Until last year it would have put him ahead of Marvin Gaye.

For no discernible reason of continuity The Temperence Seven’s 1961 number four hit Pasadena is also included. A nine-piece who based their sound around old-time jazz, they rose during the trad-jazz revival and were sunk along with so many others by the Beatles behemoth.

LSD didn’t make me buy Top Ten Hits of the 60s, but I do recall that it was about this time I got properly drunk for the first time. That’s probably just a coincidence.

OK, apart from misjudged cheapo compilation purchases and Revolver, what have the 1960s ever done for me?

Well, there’s this, for starters:

If you don’t know The Box Tops, and despite the huge success of The Letter in 1967 it’s possible you don’t, the kid out front is Alex Chilton, later to become lead singer of Big Star, a band second in influence only to The Velvet Underground, and who I found through listening to Teenage Fanclub and from seeing their name referenced by the likes of Michael Stipe.

And then there’s some of my favourite albums – albums I’ve been listening to since I started exploring beyond the scattergun and feeble offerings of Top Ten Hits of the 60s, like Astral Weeks (1968) and Blonde on Blonde (1966). Songs that never seem to grow old, like Wichita Lineman (1968), California Soul (1969), The Zombies – She’s Not There (1965), Scott McKenzie – San Francisco (1967), Jimi Hendrix – Castles in the Sand (1968)

There are artists that have grown old, but whose music from the 60s can still electrify, like the hard not to love Neil Young, whose ‘60s output alone puts many to shame: from Buffalo Springfield…

…to his solo / crazy horse releases

There’s Simon & Garfunkel, who provided in The Graduate (1967) one of the finest movie soundtracks of all time, and whose 1968 song America evokes the spirit of frustrated freedom as well as any. I was thrilled in 2003 to see them live, their differences reconciled for long enough to charm audiences once again. They even brought out The Everly Brothers for a mid-set performance, so that was two legendary duos from the 60s in one night.

And there’s Nick Drake, about whom I could write another thousand words (it’s ok, I won’t) without blinking or pausing, and whose debut album Five Leaves Left was released in the Summer / Autumn of 1969. I was handed a copy of Drake’s third and final album Pink Moon (1972) by a friend at school one day. He wasn’t a friend I can ever remember talking about music with; he just handed me this CD with the words “I think you’ll like this”. He was right, but I don’t think he could have anticipated the extent of the obsession he was helping to create.

It still feels like a select shortlist, but every time I think about it, I think of ways to lengthen it. And this is really only a snapshot of a decade based on the parts that I’ve fallen in love with at one time or another. And it’s not just strictly limited to music. As well as The Graduate, there’s the emergence of James Bond on screen through the decade, and Lindsay Anderson’s “If….”, a tale of anarchic rebellion set in a public school. This in turn led me to the fascinating Missa Luba, the Sanctus from which features prominently in the film

I’d always had this feeling that the 1970s had more influence on my musical soul, but I’m less certain of this now. True, the influence on my ‘90s and future indie tastes seemed to flow more from that decade: Big Star were active in the 1970s; it was arguably Neil Young’s greatest decade; ‘60s David Bowie had little impact compared to his later output. And yet, there are moments when the 1960s creeps in. There are nods to it in a lot of jangly indie-pop and Britpop, and even instances of overt mimicry: compare You Don’t Understand by The House of Love (1992) with I’m a Man by The Spencer Davis Group (1967) or In The Country (1966) with Wrapped up in Books from Belle & Sebastian’s 2003 album Dear Catastrophe Waitress. Krautrock, which has inspired wave after wave of new music, was a 70s innovation, but one with some links back to the 60s: like Bowie and Young, Can released their first album before the decade was out. Stevie Wonder, whose Songs in the Key of Life has been a favourite of mine since being turned on to it by Giles Smith, had already had nine Top 40 hits in the UK by the end of the 60s. Those hits include Uptight (Everything’s Alright), a Motown classic that still sounds dazzling and fresh 50 years on. You can make the same claim for many of the classic Northern Soul sounds that I adore.

So what HAVE the 60s ever done for me? Apart from give me one of my favourite films, one of my favourite soundtracks, one of my favourite artists, a great part of my musical education growing up, and starts for other artists who would go on to influence the music I listen to for decades to come, that is?

Neil writes about the music he loves on his blog Record Rewind Play. His book of the same name will be self-published later this year (or at least that’s what he keeps telling people!). Follow and encourage him on twitter @recrwplay

Dots Jukebox: “Races” 11th April 2015

boat race 2

SONG OF THE WEEK: This week, I chose @serendipitymaz ‘s suggestion…

Band Song Suggested by
The Primitives Crash @hungryhatter
Blur No Distance Left to Run @captain_parsnip @skylarkingmatt
The Hold Steady Chips Ahoy @rickjleach
The Trash Can Sinatras All the Dark Horses @johnynocash
The Flaming Lips Race for the Prize @chops_top_fives @contra_flow @cjcole01
Cake The Distance @jamesoldham @maffrj @danthompson78
Bad Religion The Gray Race @musicvstheworld
Eek-a-mouse How I Got My Name @gasheadau
Bob Marley Rat Race @ladyofsonnets66
Yello The Race @scan4lessinfo @purpleink1310 @iancpeacock
UK Subs Keep on Running Till You Burn @robertleith @kezwilliams13
Tiger Race @call_me_cynical
Thirty Seconds to Mars The Race @icequeenfidel
Architecture in Helsinki Heart it Races @slowthrills
Mogwai Mexican Grand Prix @flintsghost @lippykidmusic
Kraftwerk Tour de France @daveorv41 @jamescollingwo1 @recrwplay @jason_dobson
Kenickie Drag Race @substandardnerd
Rival Schools Racing to Red Lights @jonesrl86
Le Mans Un Rayo de Soi @cavedweller71
Woodkid Run Boy Run @serendipitymaz
Queen Bicycle Race @newky_brown @webb_times
Spencer Davis Group Keep on Running @instantkarma80
Paul Robeson Canoe Song @musicvstheworld
The Specials Rat Race @richarde1875
The Pogues Bottle of Smoke @pauldn1
The Velvet Underground Run Run Run @staffs77
Seth Lakeman Race to be King @annatheforager
Elbow & Richard Hawley The Fix @jacobs_ladder71 @lsherrington1
Lindisfarne Run for Home @amcyoung
The Stills-Young Band Long May You Run @richard0x4a

Dots Jukebox with guest host @starsfrighten – “Easter” 4th April 2015

easterThis week’s Dots Jukebox was hosted by Twitter’s own @starsfrighten who is also of The People’s Chart fame – a brilliant night with great music – thank you to him & to all who contributed.

SONG OF THE WEEK (this week, this was the song with the most favourites & retweets on twitter):

Band Song Suggested by
The Stone Roses I Am The Resurrection @Miss_AmandaBee, @Suntan_Napalm, @StamfordCowboy, @juliepie76, @SharonBeckerPhD, @Kedwondo, @VinylVictim, @myrtleleaf, @colinb65
Iron and Wine Resurrection Fern @OCJonnyoc
Lead Belly They Hung Him On A Cross @ladyofsonnets66
Crowded House Nails in My Feet @maffrj
The Charlatans Jesus Hairdo @Kedwondo
The Triffids Jesus Calling @darrenmjones
The Associates Tell Me Easter’s On Friday @contra_flow
Modern Romance Good Friday @recrwplay
CocoRosie Good Friday @slowthrills
Happy Mondays The Egg @1HowardWalker
Mansun Egg Shaped Fred @neilc79, @MonkeyMarl
Nirvana Jesus Don’t Want Me For a Sunbeam @starkitten8
Depeche Mode Personal Jesus @NostalgicPus
The Jesus and Mary Chain April Skies @jason_dobson, @instantkarma80
Jefferson Airplane White Rabbit @MirandaKitten, @MonkeyMarl, @danthompson78
Proud Scum I Am A Rabbit @RiverboatCapt
Girls Honey Bunny @HertfordSoul
Deacon Blue Chocolate Girl @maffrj
Bob Dylan Just Like Tom Thumb Blues @minigong
The Blue Nile Easter Parade @oneillpaudie, @Skylarkingmatt
Marillion Easter @PeterMinihane
Patti Smith Easter @SDWheatley
The Smashing Pumpkins Egg @MonkeyMarl
The Flaming Lips Fryin’ Up @chasethegroove
Andre Previn & Ted Neeley Gethsemane (I Only Wanted to Say) @clairhorne
Al Stewart Gethsemane, Again @minigong
Valerie June Pushin’ Against a Stone @NostalgicPus
The Rolling Stones Sympathy For the Devil @VinylVictim
Mott the Hoople Roll Away the Stone @RealPaulMurray, @1HowardWalker, @theheliocentric
Emmy the Great The Easter Parade @substandardnerd
Tigercats Easter Island @darrenmjones
The Seahorses Happiness is Egg Shaped @StamfordCowboy, @instantkarma80
The Beatles I Am The Walrus @1HowardWalker
Echo and the Bunnymen Nothing Lasts Forever @DronHillTweets
Nick Cave and the Bad Seeds Jesus of the Moon @red_winter_band
The Vaselines Jesus Don’t Want Me For a Sunbeam @Staffs77
The Boo Radleys (I Wanna Be) Touchdown Jesus @SharonBeckerPhD
Badly Drawn Boy Born Again @HeliumDelirium
Depeche Mode New Life @MildManics
Pink Floyd Coming Back to Life @TheAlbumWall
The Hold Steady How a Resurrection Really Feels @starsfrighten
Common Resurrection @LippyKidMusic
The Faith Brothers Easter Parade @MildManics
XTC Easter Theatre @nobrightside, @jacobs_ladder71
Julian Cope Easter Everywhere @durutti74
Tori Amos Crucify @substandardnerd
Gorky’s Zygotic Mynci Cursed, Coined and Crucified @mixless
Manic Street Preachers Crucifix Kiss @Suntan_Napalm, @Raindogtaylor
Art Garfunkel Bright Eyes @TwittyODriscoll
Monty Python Always Look On the Bright Side of Life @Kedwondo

New Music Releases w/c 6th April 2015

recordBrand new music this week for your aural delectation, and apologies A) for the lateness and B) for this short & sweet blog post! Normal service will be resumed next week!

Up first is the agitated, tense and dramatic comeback album from Canadian band Limblifter, entitled “Pacific Milk“. Have a listen to “Dopamine”…

Up next is the third album from This Is The Kit, “Bashed Out“. An elegant, touching and reflective offering with a subtle humour to lighten it up a tad. Here’s the title track…

My final recommendation this week is for Lord Huron‘s recent offering, “Strange Trails“. With quirky melodies, layered harmonies and a general feeling of wistfulness, I’m finding it difficult to see how you could go wrong with this! Wrap your ears around “The World Ender”, the most recent upload on Lord Huron’s Soundcloud page…

Also released this week are the following…

Marriages – Salome

Ralegh Long – Hoverance

Gabi – Sympathy

Doldrums – The Air-Conditioned Nightmare

The Very Best – Makes a King

Waxahatchee – Ivy Tripp

Shlohmo – Dark Red

Garden City Movement – Modern West (EP)

Avid Dancer – First Bath

Trickfinger – Trickfinger

Matt and Kim – New Glow

American Wrestlers – American Wrestlers

East India Youth – Culture of Volume

Lapalux – Lustmore

Toro y Moi – What For?

Say Lou Lou – Lucid Dreaming

Drenge – Undertow

The Wombats – Glitterbug

The Mountain Goats – Beat the Champ

Brian Wilson – No Pier Pressure

Nadine Shah – Fast Food

Marina & The Diamonds – Froot

Young Fathers – White Men are Black Men Too