Ronettes With Baguettes

This popped up on Twitter today and I thought you might like it. It is a special kind of internet brilliance.

Come The Revolution

IF? were a three piece progressive house group from the early 90s, one of the three being Sean McLusky who was previously a member of Subway Sect and JoBoxers and also the man behind a multitude of influential London clubs including The Brain Club and Love Ranch. Although IF? didn’t see much in the way of chart success they did record some good singles. This one, remixed by The Grid (Richard Norris and David Ball, Ball being one half of Soft Cell), is a lovely, expansive, end of night tune.

IF (Come The Revolution Mix)

And The Question Is Answered

This is an updated version of Big Hard Excellent Fish’s Imperfect List from a couple of years ago. The original came from the combined talents of Pete Wylie, Robin Guthrie and Josie Jones (and on the 1990 version Andrew Weatherall). The original list had range of targets from the late 80s and the re-worked list brings things up to date while also showing how little has changed.

Both versions mention Hillsborough. The justice the families of the 96 have been finally been given this week is truly right and proper. It also sadly confirms what many of us have known all along- that football fans in the late 80s were treated worse than cattle and seen as scum, that we were despised by an establishment that was engaged in something that was tantamount to class war and governed by a lying and corrupt government that colluded with a lying tabloid press that actually hated its readers, and that events were manipulated and covered up by at least one, probably two, corrupt police forces.

In 1989 I lived in Liverpool while at Liverpool University. I shared a house with a friend who was at Hillsborough, not the Leppings Lane End but another part of the ground. He returned home with both parts of his ticket- no one checked him into the ground. The Saturday after the disaster we were in Liverpool city centre. At six minutes past three the city centre stopped in absolute silence. Nothing moved and nobody spoke. It was one of the most moving, emotional minutes I’ve witnessed. As a Man United fan I’ve always felt deeply ashamed by the songs some of ‘our’ idiots sing and the heart of the matter is while it happened to be Liverpool fans who were unlawfully killed at Hillsborough in 1989, it could have been any of us, at another match, in another ground. Yes- this is justice for the 96 and for their families. But it is also justice for all of us.

Remember- don’t buy The Sun.

Prince Paul And King Paul

I saw this recently, an excerpt from Bob Mehr’s excellent sounding new book on The Replacements, and it made me smile…

‘Prince was rumoured to have lurked in the shadows at some of the Replacements shows at First Avenue, but it was in the bathroom of a club in St. Paul where Westerberg finally ran into him.
“Oh, hey,” said Westerberg, seeing the dolled-up singer standing next to him at the urinal. “What’s up, man?”
Prince turned and responded in cryptic fashion: “Life.”

Paul Westerberg called time on The Replacements re-union recently having fell out of love with it again. He called the re-union ‘whoring himself’. I’ve said it before- The Replacements were such a great little band. Paul’s gone straight back to work, recording and releasing an album with Juliana Hatfield as The I Don’t Cares. This upbeat song has clanging Westerberg guitars, a bitter-sweet lyric and drawly vocals from the pair of them. Good stuff.

King Of America

Can’t See At All

Woods have made several albums, mainly in the Americana kind of area, beards, denim workshirts and hunters caps. I adore the song Blood Dries Darker, from 20101, which is still on my car mp3 player having survived many culls of songs I liked and then got fed up with. Their new album Sun City Eater In The River Of Light is a step onwards or to the side maybe. It’s shot through with sunny psychedelia and wah-wah pedals and on this song, Can’t See At All, dub reggae.

A State Of Mind

I’ve flip-flopped around with Primal Scream’s RSD cover version of Mantra For A State Of Mind, starting off thinking it just sounds lazy, then liking it more (Jason Pierce’s guitar probably making the difference). The original S’Express version (from 1991) is pretty wonderful, discofied and then a housier last few minutes. As Craig at Plain Or Pan pointed out, it isn’t a million miles from Don’t Fight It, Feel It.

Mantra For A State Of Mind (Club Mix)

And just because I’m kind to you this is the Weatherall remix of Find ‘Em, Fool ‘Em, Forget ‘Em, a loved up, piano and synth driven excursion with heavy breathing and airhorns, also from 1991.

Find ‘Em Fool ‘Em Forget ‘Em (The Eighth Hour Mix)

I Was Just In The Middle Of A Dream

Sometimes the songs that seem to be the obvious songs to post are indeed the ones that are obvious songs to post. It is Monday. Prince wrote Manic Monday for Apollonia 6 but pulled it and offered it to The Bangles.They then Banglified it, turning it into a number two hit in both the UK and the US in 1986.

Manic Monday

This Top Of The Pops performance has Susanna Hoffs achieving peak Hoffsness.

Musicaaaaa!!!!

Those early 90s Andrew Weatherall remixes have been hanging around my stereo a lot recently- there’s something about them that is really pushing my buttons right now. You probably guessed that. There are two remixes of Jah Wobble’s Bomba, from his Invaders Of The Heart period (with Natacha Atlas on vocals and in the picture above). The Miles Away Mix is a glorious acid house riot, from the marching band fanfare that opens it to the shouts of ‘Musicaaaaaaa’ and the almost chaotic clash of rhythms and sounds. Played loud it sounds like the maddest moment of the best party you went to. Slinky and sexy. The bass playing is superb too, obvs.

Bomba (Miles Away Mix)

Seven Hours And Fifteen Days

The death of Prince was shocking. Growing up in the 80s he was inescapable and while I was never a huge fan I liked some of his singles/songs- you couldn’t not like at least some of them. I saw him play in Manchester two years ago, a friend had a spare and it seemed like a good opportunity to see a legend. Over the two hours he blew the audience at Manchester’s indoor arena away, song after song after song. The thing that really struck me was the crowd. I’m used to going to gigs that are attended by roughly 60%-80% middle aged men, many either in leather jackets or cagoules depending on the band. Prince’s audience ranged from younger teenagers to people in their 60s, racially mixed, glammed up twenty-something couples, gangs of forty-something women, obsessive men on their own, gay and straight- the most socially diverse gig crowd I’ve ever been a part of. I’ve since grown to love some of his songs that previously were just part of my musical wallpaper. The energy he put into the show, dancing, playing guitar, singing was immense- partly why it is so shocking that he’s died less than two years later aged just 57.

I have always liked this one.

Alphabet Street

There is a Jesus And Mary Chain cover version of Alphabet Street which, trust me, you don’t want to hear right now. It doesn’t do anyone any favours.

If you were around in 1990 this Prince penned song was inescapable too.

On

Until a couple of days ago I never knew there was a video for Apex Twin’s 1993 song On (from the e.p. On).

I caught it by accident on TV, on a music channel I flicked onto while waiting for a lift. On is a delicious track- it could be serene ambient were it not for the buzz and distortion of the bass and the harshish drums. Yet it still manages to be beautiful. I was then doubly surprised that the video was directed by Jarvis Cocker, making brilliant use of water dripping, a beach, a deep sea divers outfit, a cardboard cut out of Richard D James and stop-motion photography. The only shame with the video is it’s only three minutes forty five seconds long. Luckily the e.p. version is seven minutes long.

On