Rant

It’s been a while since I felt sufficiently outraged to write one of these, and I imagine you’re expecting this to be about the Covid enquiry, or Rishi Sunak’s spineless leadership, or how he’s managed to offend the entire Greek nation, the appearance of Farage on I’m a Celebrity… or the long-overdue demise of Suella Braverman.

But no. Whilst this could have been about any one of those, instead I’m going to tell you about something that happened to me this week.

On Thursday I travelled via train down to London and work. So far so mundane. On the way back, however, I found myself in an unrequested discussion with someone that I can only describe as a racist fuckwit that I did not initiate.

Now, given my previous Rants on these very pages, some of you may find this rather hard to believe but I don’t really enjoy arguing with people. My mother would doubtless disagree, as I was an argumentative little sod in my teenage years – think Harry Enfield’s Kevin (of Kevin and Perry fame) only less tolerant and you won’t be far wide of the mark.

But, other than locking horns with my parents, I’ve since been far more reticent about getting into an argument. So lacking in the courage of my own convictions was I that, when I was on the Student Union Executive at college, I became known as The Fencesitter. My response was that my position as Social Secretary was a non-political role, so I didn’t see why I had to have an opinion on everything. Besides, I could usually see opposing opinions from both sides; a typical Libran, if I believed in such mumbo-jumbo.

It’s the fear of being challenged, of getting my facts wrong and then found out, I think. On subjects where I’m confident, which aren’t opinion based, then I’m fine. At work, for example, where I know exactly what I’m doing and have the experience and information to back it up, then I’m fine. I was once engaged in a 40+ minute telephone discussion with a claimant, who simply wouldn’t accept the reasons that I’d declined his claim; at the end of it, several people came over to congratulate me for the way I handled myself throughout, not once raising my voice or losing my temper.

In an old job, I ended one call to a motor insurers, and my boss said: “Please don’t ever leave this job. I’d hate for it to be me you’re arguing with.” And in yet another job (I’ve been around a bit), I had adopted my customary position when dealing with an awkward customer on the phone – slumped back in my chair, feet on the desk (it was my signature move, a way of communicating to my colleagues that I had “a live one” on the phone) – and at the end of the call, the work experience lad came over to me and said “Cor! You’re brilliant at arguing mister!”. (He really did say Cor! by the way; I remember thinking at the time that I’d never actually heard anyone saying it in real life, only in comic books when I was a kid):

Oh, and in Carry On films, of course. And anything with Terry Scott in it. But never in real life.

But I digress. What I’m trying to say that it’s easy for me to construct a narrative here, to present my side of the argument, knowing that, generally, it’ll be read by people who broadly agree with me, and I won’t be challenged on what I’ve said.

Besides, long ago I learned a valuable lesson from my old pal Tony: you’ll never change an adversary’s mind by arguing with them, you’ll just make them more entrenched and determined that they’re in the right. A withering comment, however, can be far more fatal. Tony related a conervsation he’d been in where one of the other participants said something racist; rather than challenging them, Tony just said: “Well, I think that’s sad,” shook his head and moved away. Shortly afterwards, I was working in a restaurant, where we did not serve anything as exotic or tasty as Indian food, when one of the waitresses whispered to me “God, it stinks of curry in here” as an Asian family walked in. “Shhh!” I said. “It’s ok, they didn’t hear me,” she replied. “No, but I did,” I said. It may not have changed her view, but she sure as hell never repeated anything like that in my presence again.

Whenever I remember this, the words to Kristofferson’s To Beat the Devil swirl across my mind:

Kris Kristofferson – To Beat the Devil

So, on Thursday evening – and before I go any further, lest any of the “This Didn’t Happen” brigade start parping up: every word you are about to read is true; I’m nowhere near talented enough to make any of this up – I was travelling back from London. Other than the joy all of us feel when we’ve finished work for the day, I’m not in the best of moods: I’ve endured standing in the cold waiting for my connecting train, delayed as usual, to arrive, and at work that day a colleague had told me that I reminded them of someone, but that they couldn’t put their finger on who it was. Until they suddenly managed to put their finger well and truly and annoyingly right on it:

Yeh, thanks, mate.

I board the train and manage to bagsy a seat, one of those foursomes, where two seats face the two opposite. The other three seats are occupied. Ordinarily I avoid these for two reasons: you’re constantly battling your fellow travellers for leg-room, and also it increases the chances of you sitting in the vicinity of someone you’d rather not be sharing air with.

As the train ventures on its journey, stopping at such places steeped in prestige as Biggleswade and St Neots…

“…Taplow…Winnersh…”

…inevitably empting as it goes, until I am sitting in the four-seater all alone. In the four-seater to my right is a bloke having an animated conversation with someone on his phone, about what I don’t know, as I have my ear-buds in. I click the volume on the iTunes app on my phone a couple of notches higher to drown him out completely, stretch out and wait.

The train approaches the penultimate station and passengers rise from their seats and head towards the doors, some having walked several carriage-lengths to be nearer the door they think will be closest to the station exit. It’s then that I clock him for the first time; he’s quite young, mid-20s to early 30s I’d say, white caucasian; whilst I notice him, he doesn’t really stand out from the rest, and I assume he is going to be alighting at the next stop.

The train stops, passengers disembark, the doors close and we start moving again. And he’s still there, standing in the aisle, now seemingly trying to decide whether to sit with shouty-on-the-phone man, or listening-to-music-quietly me. He plumps for my four-seater and sits diagonally across from me.

Literally seconds had passed before I was suddenly aware of him trying to attract my attention. I removed one ear-bud and looked at him quizzically.

“Excuse me, does this train go to Peterborough?” he asked.

I nodded, and pointed at the digitalised sign scrolling above his head. “It literally doesn’t go anywhere else,” I said. “Next stop. Last stop.” Knowing that he had got on to the train at least one station before the last, I briefly wonder why he has waited this long to check he was on the right train, and why he has been unable to either read the display or hear the pre-recorded “This train is for Peterborough” announcements, but I replace my ear-bud, the internationally recognised sign which means “Now leave me alone.”

But he didn’t. A few seconds pass, and this time he is trying to attract my attention by clicking his fingers at me. I sigh and remove one ear-bud again, annoyed because he was interrupting a rare moment of brilliance by Sting:

The Police – Can’t Stand Losing You

“Are you from Peterborough?” he asked.

“I live there, but I’m not from there, although I did grow up not far away. I moved back to the area a couple of years ago after thirty or so years living away.” I’m resigned to having to talk to him now, and plump for courtesy as the best way to get through this, although a part of me is terrified that he’s either going to ask me if I have somewhere he can stay, or worse, to recommend good night-spots in the city.

“I’m from Crowland”, he told me, “do you know it?”

I do. “The scene of my greatest moment ever”, I tell him, thinking that this isn’t so bad, he’s not that weird really. He looks at me quizzically. “I used to play football when I was younger, before I discovered booze and fags and girls”, but he cuts me short before I can tell him of my greatest moment ever, scoring two goals (admittedly, at U-15 level) against Crowland, the first where I nutmegged the thuggish and intimidating central defender before slotting the ball past the ‘keeper, after which the defender hissed “Do that again and I’ll fucking kill you!” in my ear. So a few minutes, I nonchalantly did it again, same result, and he didn’t kill me, or come even close to doing so. I don’t know, whatever happened to keeping your word, eh?

“Do you find there are less indigenous people in Peterbrough since you returned?” he interrupted my re-telling of the finest solo goal since Ricky Villa in the 1981 FA Cup final.

“Well, there’s only one person that I knew back then who still lives here,” I reply, thinking how he had used the word indigenous in rather a strange way.

“I bet you think that’s really quite sad, don’t you?” he ventured.

“Not really,” I replied. “People move. Some come back again. I have. My friend did. There’s probably more people living locally that I know if I could be bothered to look and particularly wanted to see them again.” He’s nodding and smiling at me sympathetically. I later realise that he wants me to think that he ‘gets’ me, that he understands.

“Can I ask you what you think about all these immigrants flooding into the country to take advantage of our benefit system?”

And it’s only then that the penny dropped and I realise I’ve been played. His enquiry about the train’s destination is merely an ice-breaker, the subsequent questions designed to see if and how I would react. He’s not just some lonely traveller looking for a bit of human interaction, he’s wanting to foist his frankly vile opinions on me. My courtesy has undone me, for he now has me engaged.

“Actually,” he says before I can answer, “let me tell you what I think and then you can tell me whether or not you agree with me.”

I’d rather you didn’t, I thought. Or rather:

The Ting Tings – Shut Up and Let Me Go

Your use of the word “flooding” and mention of our social benefits system being taken advantage of have already given me a pretty good idea what you think, I thought. But I kept my mouth shut. Keep your powder dry, old chap, you’re going to need it, I told myself, gritting my teeth.

“I don’t think it’s right that all of these immigrants, those non-indigenous people, can come to this country just to get put up in a hotel at our expense and sponge off the state,” he continued.

“They’re all doing that, are they?” I counter.

“Yes. Most of them.”

“I think you’re in very dangerous territory when you start attributing the same characteristics to a huge amount of people. Some may be doing that, I’d say the vast majority aren’t.”

“Don’t get me wrong, the ones trying to escape war-torn areas, fair enough, they’ve got something to escape from. But the ones that aren’t just want to take advantage of our generosity.”

“You’ve clearly never had to live on benefits if you think it’s generous,” I countered.

“You don’t get put up in a hotel if you’re on benefits.”

“Rather they live on the street, would you? But not in tents, of course. Anyway, those deserving of social housing where there is none available are often placed in paid accommodation. Local councils are doing it all the time.” You’ll have noticed I’m warming to the challenge by now.

“Then why do they come here? Travelling all that way, when they could stop in any of the countries they pass through?” He pauses, before adding: “I’m thinking about Albanians here.”

“What have you got against Albanians?” I ask.

“Nothing, nothing…but Austria, Italy, Spain, they could stop in any one of them, so why come here if not to take advantage of us?” he persisted. “France!” he adds triumphantly, like he has just wielded the best card at Top Trumps. “If it was me,” he adds, “I’d stop at the first place I could that was safe. Wouldn’t you? I mean, why not stop at France?”

“Oh, I agree with that to some extent. They have nice cheese and wine in France. But then, to off-set that, it is notoriously full of French people…so y’know,,,swings and roundabouts…” I offer, before remembering I will not defeat my foe with the use of humour.

“But seriously,” I continue, “They could stop in other countries, but they’re not obliged to, are they? I think there are a lot of answers to your “Why come here?” question. How about because the notion, however misguided it might be, that historically the UK, in spite of its “No Blacks, No Irish, No Dogs” signage, has been seen as a welcoming destination? We even invited migrants over in the Windrush scheme, not that that ultimately panned out particularly well for anyone. How about they just want to make a better life for them and their families, get a job, pay their taxes, contribute to society, and they think the place they’d most like to do that is here? Although,” I add, realising he has no idea where Albania is, “if they’ve taken the route from Albania you’ve mentioned then any job that involved map-reading is out of the question.”

“But we’re paying for non-indigenous people to stay in 5 star hotels when they get here…”

“Are we though?” I say in my best ‘U OK hun?’ voice. “Economically, since it’s councils placing them there, a lot of which are on the verge of bankruptcy thanks to Goverment cuts to their funding it’s more likely to be B&B’s, Travelodges and Premier Inns than 5 star hotels. And either way they’d mostly be empty at this time of year anyway, so they’re already contributing to the local economy, right? And perhaps if we weren’t so slow at processing their immigration applications, then they wouldn’t be such a burden on the state whilst they go through the process.” I’m quite good at this, I find myself thinking. “And unless I’m mistaken, I think current statistics show that immigration is higher than it’s been for quite some time and the backlog to process them is almost as big.”

“Well, that’s all Labour’s fault,” he offers.

“Labour haven’t been in power for the last thirteen years, how do you figure it’s their fault?”

“Corbyn,” he says, brandishing what he believes to be another winning hand, “he was on the left, wasn’t he?”

“I think history will agree that Corbyn was on the left,” I agree. “But he was also a left-winger with zero power. So, again: how exactly are Labour to blame for the current migration crisis, as opposed to, say the Conservatives – who are on the right by the way – who have been in power for much of the recent period.”

“Tony Blair,” he said, sitting back into his chair and crossing his arms. “Tony Blair was recent.”

“Blair resigned in 2007. That’s hardly recent.”

“But Labour were in power until 2010. That is recent.”

“Well,” I sigh, “that very much depends on what your definition of recent is. Is it more recent than Cameron, May, Johnson, Truss and Sunak? No. Is it more recent than, Ted Heath, Thatcher, Pitt the Younger…?”

“I’ve not heard of him…” he interrupted, like to mention someone he wasn’t familiar with was against the rules, and it was then that I knew this was not a man who was used to someone actually arguing with him. Most, I think, would either try to ignore him, or jusy agree with everything he said for a quiet life.

“Really? UK history not your thing, eh? Son of Pitt the Elder? First prime minister of the UK? No…?”

“No….I’ve heard of Margaret Thatcher though/”

“You do surprise me….”

” A fine leader.”

“I think we’re going to have to agree to disagree there.”

“You’re on the left too, aren’t you?”

“I’m certainly to the left of you,” I confirm. “I’ve never voted Conservative and I can’t imagine that I ever will.”

“I wouldn’t vote Conservative at the moment either.”

“Not right-wing enough for you?” I’m definitely feeling emboldened now.

“Socialists are on the left. Hitler was a socialist.”

“Hitler was not a socialist,” I counter with what I had thought to be the least controversial thing I’d said if not ever, then definitely all day.

“Yes he was. He was in the National Socialist Party!”

“Just because they called themselves the National Socialist Party doesn’t mean they were socialists. I could insist I’m…I don’t know…a donkey, but that wouldn’t make me a donkey. It’d make me someone insisting I’m a donkey.” [Why have I said donkey? I must stop saying I’m a donkey.] “I don’t think any socialists would include the systematic extermination of those holding a particular religious belief as an integral part of their political view,” I added, hoping he didn’t realise that we were potentially right back in Corbyn territory again.

“Let me ask you this,” he said, like he was changing subject, “this morning I caught the bus from Crowland to Peterborough. The bus was packed. And then this frail indigenous lady got on the bus…”

Here he goes with his use of ‘indigenous’ again. I wonder if he knows what the word means, or if he’s just heard someone use it before and is copying them, or, more likely if he has word-of-the-day toilet paper.

“How do you know she was indigenous? Was it because she was white…?”

“From her voice, the way she spoke. And the bus was full of non-indigenous people and not one of them got up to let her sit down. Don’t you think that’s terrible, that none of them subscribed to our views of what is right and gave up their seat to let a little old lady sit down?”

Non-indigenous people probably know not to start a conversation of any kind, let alone a political one, with a stranger on a train, I thought, but decided against vocalising it. And anyway, how did he know that they were all non-indigenous?

“I let her sit down. I stood, gave up my seat, and let her sit down,” he proudly crowed.

“Congratulations. I look forward to reading your name in the New Year’s Honours list.”

“I see you have a walking stick. Do you find people give up their seat for you?”

“They do, and I’m always very grateful and find my belief in human nature surprisingly restored.”

“And were they indigenous or non-indigenous people who offered their seat?”

“See, I never realised it was a competition, so I’ve not really been keeping score.” I stop short of saying “I don’t see colour….”.

At which point, the train pulled up at platform 5 of Peterborough station, and, instead of being relieved, I was suddenly more concerned about how I was going to shake this bloke off. Fortuitously, fate was on my side, not that I believe in that mumbo jumbo either: I stood on my own shoelace and I had to put a stop to my escape plans whilst I re-tied it. He was on his way out, unable to fight back against the tide of passengers getting off the train, and by the time I straightened up again, lace tied, he had disappeared. I waited a few more minutes, making sure he had definitely gone, until the train guard came on the tannoy to announce that any passengers left on the train had better get off sharpish, or they’d be locked on board, at which point I alighted, made my way to the exit and jumped into a taxi waiting at the rank.

Foo Fighters – My Hero

The driver made an effort to engage me in small talk of a “it’s turned cold, hasn’t it?” nature. Noticing he was of Asian heritage, I mentioned the conversation I’d just escaped from, thinking my position would earn some credit of the non-financial type with him. However, I had forgotten the default political position of taxi drivers: “Oh yes, in Peterborough there are loads of them, but it’s not like in Birmingham where there are no-go areas for white people.” Here we go again, I thought.

“Do you mean indigenous people…?” I said.

“What was that mate?” came the reply, the driver looking at me in the mirror.

“Nothing, nothing,” I replied, sank back into my chair and didn’t utter another word until we turned into the road where I live.

“Whereabouts mate?” the driver called back to me.

“Just up here, on the left,” I replied.

Kirsty MacColl – The End of a Perfect Day

More soon.

Friday Night Music Club Vol 41

Well, here we are again. It’s Friday and I’m desperately trying to think of something original to write to introduce this week’s mix.

As it happens, it’s made slightly easier by the fact that I owe you guys an apology.

See, one of the underlying premises of doing these, the rules if you like, is that I don’t feature the same song twice (or, for that matter, more than twice) over all of them, and last week I let you down. Not that anyone complained, but I noticed, and so I’m hanging my head in shame.

Last week I featured the Parental Advisory Version of Girls Aloud’s No Good Advice, and, because I’d included the Non-Parental Advisory Version, I didn’t pick up the duplication. Sorry about that.

Still, at least it wasn’t the same Quo record, eh? Not that anyone would have noticed then either, cos they all sound the same, amIright?

So, moving swiftly on, what do we have for you this week? Well, this week’s mix has been knocking around for a while – I even played it to my brother on the driver to visit my Dad in hospital a month or so ago, he’s probably been wondering what’s happened to it.

Truth be told, there’s a song in it which I had grave reservations about keeping in. It sounded, to these ears, perfect for where it sits in the mix, but the tone and lyrical content bothered me. But, in the end I’ve kept it in, with this huge disclaimer and one of these slapped on it:

The tune after it isn’t particularly tasteful either, mind. Do I need to put that image in twice?

Nah, you’ll cope, I think.

Let’s do this, shall we?

Friday Night Music Club Vol 42

And here’s you track-listing and – yes, again – sleeve-notes:

  1. T. Rex – 20th Century Boy

I figured I’d start this week with a crunching intro, and there’s none more crunching than this, is there? Not even Placebo’s cover of it. Although maybe the noise Bolan’s car made when it hit that tree comes close.

2. Muse – Supermassive Black Hole

Obviously I wish to avoid libel litigation about copyright, but there’s something about the start of this one which reminds me of the record which precedes it.

Muse will forever in my mind be the band that, when a friend wanted to go see them headline the Pyramid Stage at Glastonbury on the Sunday night back in 2004, caused me to snap, my persona as the mild-mannered janitor father figure of our group (because I was the oldest, and carried a ruck-sack with paracetamol in it, amongst *coughs* other things) briefly exposed, when I told them to “Fuck off and watch Muse then, we’re staying here to watch Orbital” (who were excellent, by the way).

3. Nine Inch Nails – Head Like A Hole

A tune which will forever remind me of Metros, the oft-mentioned indie club in Cardiff that gave out free toast at 3am, because if there was one thing you could guarantee in there (apart from the toast) was that they would drop this at some point.

Also: Nine Inch Nails have only got two decent tunes, haven’t they? This, and Hurt, which most of us only know because of the (far-superior) version by Johnny Cash. (*Sits back and waits for the vitriolic comments telling me Trent Reznor is a genius*)

4. Radiohead – There There. (The Boney King of Nowhere.)

Glastonbury memory time again, and if I recall correctly, they opened their 2003 set with this, and I still get goosebumps whenever I hear it.

5. The Kills – Future Starts Slow

The Kills have more than one one decent tune – who knew? 2-2 with Nine Inch Nails.

6. My Morning Jacket – Holdin’ On to Black Metal

This was out at roughly the same time as The Kills’ tune, and I always thought they’d sound good next to each other, and now I know whether I was right or not (clue: I was).

7. The Soundtrack Of Our Lives – Sister Surround

Speaking of Black Metal, we’re off to Scandinavia, the home of such dark forces, for this one, for one by the vastly underknown and under-rated The Soundtrack Of Our Lives. If you like this, check out the album it’s from, Behind The Music.

8. Broken Social Scene – 7/4 (Shoreline)

A collective from Canada. Canada don’t do ‘bands’, do they? It’s all collectives. Oh, and Bieber, Celine and Bryan, but let’s ignore them.

This is the original source of my oft-used phrase “a great cacophony of glorious noise”, which is still my favourite description of a record ever (by me) (athough, I’d rather substitute ‘great’ for ‘magnificent’, because that’s what this is).

9. The Polyphonic Spree – Lithium

A couple of Nirvana covers for you now. This is just chuffing great. That’s all.

10. Richard Cheese – Rape Me

Ok, so this is the tune I had reservations about including. And here’s why: I think the original is woefully misguided. To be serious for a moment; rape, be it of women or men, is not an easy subject to be addressed in song. Also: you can’t ask to be raped, because that infers complicity, and that’s the polar opposite of what rape is.

That said, I do think Mr Cheese manages to prick the balloon of pomposity here, so it’s in. My apologies to anyone offended.

11. Mojo Nixon & Skip Roper – Debbie Gibson Is Pregnant With My Two Headed Love Child

Speaking of offensive, here’s a side-burned rockabilly type with a long and objectionably titled tune, which I have to admit I have a bit of a soft spot for.

For younger viewers, Debbie Gibson was one of a clutch (along with Tiffany, also name-checked in the song) of teenage pop singers with a schmaltzy, sweeter than sweet, girl next door image. I also thought that, when the pop hits inevitably dried up, she appeared in some porn movies, but this turns out not to be correct, and trust me, I’ve spent many hours searching. Which reminds me, I most clear my browser history.

12. Billy Bragg – A13, Trunk Road To The Sea

I went to see Billy last night, and he was every bit as brilliant, charming, engaging, polemic and funny as he has been every time I’ve seen him. He didn’t play this, which is a bit disappointing, but then he can’t possibly play every song I love by him or we’d still be there now. Fortuitously, I have a lot of his records, so the past 24 hours (when I haven’t been writing this) have been spent mostly with him blaring away in the background

Anyway, this is a riotous romp and a piss-take of Route 66 and it’s bloody grear, but you already knew that, right?

13. Kirsty MacColl – There’s A Guy Works Down The Chip Shop Swears He’s Elvis

Of course, when Billy did A New England last night – final song, as always – we all sang the extra verse he wrote for her version, as a tribute to Kirsty. But that’s already featured in this series before, and I’ve learned my lesson, so this is one which is just as great, has one of the greatest titles in pop history, and which, crucially, she wrote herself.

14. The Beach Boys – Heroes and Villains

I dunno, it just sounded right next to Kirsty. Also: it’s November, we all need a little sun in our lives right now, right?

Also, it gives me the opportunity to post this (again):

I saw Adam live a few years back, preparing and refreshing material he intended to include on his Old Bits DVD; he did this, the clip went on for much longer, and I was laughing so hard I almost slid off my chair.

15. Sugababes – Push The Button

Shut it. I can throw a random 2000s girl group banger in if I like. S’my blog, I’ll do what I like.

16. The Jam – Man In The Corner Shop

Time for a serious, Red Wedgey ending. I first became aware of this record years after it was released, when I saw The Men They Couldn’t Hang do a (rather fine) cover of it live, introduced by the words: “Paul Weller’s asked us to stop doing this one. He’s not here tonight, is he? Good. Let’s do it.”

17. Redskins – Keep On Keepin’ On!

Right-oh, brothers, sisters and siblings, will do!

And that’s it for another week. More soon!

Friday Night Music Club Vol 5.4

Yup, it’s that time of week again, and many of you will be delighted to hear this is the last time we’ll be doing admin, by which I mean revisiting a tediously-long older mix, splitting it down and spicing it up into a series of shorter (around 60 minutes, give or take) mixes. Hoorah!

And, as you may have gathered from that gif up there, this week’s edition is very much one which will hopefully have a fair few of you singing along, preferably a few sheets to the wind. There’s even one where you can properly test your memory of the lyrics, or make your own up if you prefer. I don’t have to listen to you, so fill your boots.

As usual, it’s a right old time-and-space busting edition, with stuff from the 60s, 70s, 80s, 90s..in fact – and be warned, you should be sitting down when you read this next bit – there are even two songs which were released post-2020. I know! Something that could be described as modern! Here! On this blog! Who’d have thunk it?

Hopefully that’s whet your appetite, so without further ado, let’s get going shall we?

Friday Night Music Club Vol 5.4

And here’s your tracklisting (no sleeve notes again this week, I’ve just not had time, sorry!):

  1. Billy Bragg – Lovers Town Revisted
  2. An Emotional Fish – Celebrate
  3. Arcade Fire – Everything Now
  4. Teenage Fanclub – Everything Flows (‘Teenage Fanclub Have Lost It’ version)
  5. Kirsty MacColl – A New England
  6. The Long Blondes – Once And Never Again
  7. Nik Kershaw – Wide Boy
  8. Hall & Oates – Maneater
  9. Miley Cyrus – Angels Like You
  10. Dua Lipa – We’re Good
  11. Cheap Trick – If You Want My Love
  12. Paul McCartney & Wings – Jet
  13. Belinda Carlisle – Leave A Light On
  14. Janis Joplin – Me & Bobby McGee
  15. The Kinks – Waterloo Sunset (Session Excerpt – Backing Track Take Two)
  16. Blur – The Universal

There won’t be an edition of Friday Night Music Club next Friday, as I imagine many of you will be at, or watching, Glastonbury (I’ll be doing the latter, sadly).

But there will be more soon.

More soon. (See?)

Friday Night Music Club

Well done to you all, you completed another level in this game that we call life, and got through the week relatively unscathed (I hope).

Your reward this week is yet another all-new mix courtesy of yours truly. I know, I know, I’m too ruddy kind for my own good.

What have we got for you this week? Well, we kick off with John Lydon taking a break from advertising butter, waxing lyrical about Donald Trump and generally being a living, breathing caricature of himself, by popping by to say “Hello!” (although he practically scowls it, rather than saying it), followed by the second best record I own which samples the late great Bill Hicks, then a track by a guy I once saw about 15 years ago supporting Los Campesinos! (he was incredible, all guitar effects pedal, looped beats and other electronic gizmo-ness I can only explain like this: imagine if Ed Sheeran was entertaining and had something to say), then we’re off on a bit of a vegetable tip with Dan le Sac & Scroobius Pip and Kate Nash, followed by a side-swipe at the vacuous world of celebrity, topped off with a couple of classic old garage rock numbers which have been covered with much more success than they managed, a tune by one of the groups who recorded the more famous version of one of them, then a song responsible for probably my most favourite appearance on Top of the Pops ever, then a bit of Julian Cope and his bendy microphone stand, an overlooked rave-era classic before we’re back safely ensconced in the arms of Mr Lydon again.

There’s a modicum of swears on this one, so best I wheel out the ‘Effing and Jeffing Warning Sign’ for an airing:

Admin time: any skips or jumps are down to the mixing software; any mis-timed mixes are down to me; all record selections are mine, all mine, and you can’t take them away from me, okay?

You can, happily, download or just stream this though:

Friday Night Music Club Vol 12

And here’s your track-listing:

  1. Public Image – Public Image Limited
  2. Freeland – We Want Your Soul
  3. Napoleon IIIrd – Hit Schmooze For Me
  4. Dan Le Sac Vs Scroobius Pip – Cauliflower
  5. Kate Nash – Pumpkin Soup
  6. Kirsty MacColl – Fifteen Minutes
  7. Paris Hilton – Stars Are Blind
  8. Saint Etienne – Who Do You Think You Are
  9. Lily Allen – The Fear
  10. The Bobby Fuller Four – I Fought The Law
  11. The Strangeloves – I Want Candy
  12. Bow Wow Wow – Go Wild In The Country
  13. Adam Ant – Goody Two Shoes (Chris Hughes Single Mix)
  14. Julian Cope – World Shut Your Mouth
  15. Sunscreem – Pressure
  16. Leftfield/Lydon – Open Up (Full Vocal Mix)

Hope you kids have fun with this one.

More soon.

This Is Pop #16

I’d say there are four things that Tracey Ullman is known for here in the UK:

  1. Being a very funny comedian;
  2. Having a very busy 1980s where, in reverse order, she had her own TV show in the States in the late 80s which gave birth to The Simpsons;
  3. Appearing in Three of a Kind, a sketch show in the UK in the mid-80s, in which she starred with Lenny Henry an David Copperfield (not that one);
  4. Having a brief but wonderful pop career in the early 80s, which included 3 Top 10 and a further 2 Top 40 hits in the UK.

It is of course the pop career we’ll be looking at this morning. And just in case you’re already turning your nose up and thinking “novelty hits” well…you’d be partly right, for all of her hits were cover versions.

But these were novelty hits with some artistic weight behind them, for they were released on the legendary Stiff Records label, home at some point or another to such luminaries as Nick Lowe, The Damned, Lene Lovich, Wreckless Eric, Ian Dury, Elvis Costello, Devo, Madness, The Pogues, The Belle Stars, and, most importantly, Kirsty MacColl.

MacColl actually wrote the title track for Ullman’s debut album, You Broke My Heart in 17 Places:

Tracey Ullman – You Broke My Heart In 17 Places

I mean, it’s got early Kirsty written all over it, hasn’t it?

The first of her hits was a cover of an old Irma Thomas tune, written by Jackie DeShannon and Sharon Sheeley, and was probably the least well-known as a cover when it was released in March 1983, peaking at #4 in the UK charts:

Tracey Ullman – Breakaway

And, in case you’re as unfamiliar with the original version as I was when Ullman’s version came out, here you go:

Irma Thomas – Breakaway

I have two things to say about that; firstly, when she first released that, it was called Break-A-Way rather than Breakaway; and secondly, if you’re of a similar vintage to me, and if your brain is wired the same way as mine (and heaven help you if it is) then you too will have seen the word Breakaway and immediately thought of this, and are now feeling a bit peckish:

But I digress.

You may have noticed a recurring theme when looking at Ullman’s album and single sleeve; Ullman dressing up in various guises. This is something which she carried over into her videos; here she is in the Breakaway promo, where, when not dressed as a go-go dancer with an array of beehive hair-do’s, she demonstrates the art of singing into a hairbrush:

This is entirely in keeping with Ullman’s background, for truth be told she very much stumbled into her pop career: “One day, I was at my hairdresser,” she once recalled, “and Dave Robinson’s [head of Stiff Records] wife Rosemary leant over and said, ‘Do you want to make a record?’… I went, ‘Yeah I want to make a record.’ I would have tried anything.”

Before she embarked upon her brief life as a popstar, she had won a full scholarship to the Italia Conti Academy at the age of twelve, attended a dance audition at sixteen, which resulted in her landing a contract with a German ballet company for a revival of Gigi in Berlin, then joined Second Generation dance troupe on her return to the UK, before branching out into musical theatre where she was cast in numerous West End musicals, such as Grease, and The Rocky Horror Show.

Now, if you thought having written the title track of Ullman’s first album, that Kirsty McColl’s work here was done, then you’d be very much mistaken, for the second single was a cover of Kirsty’s ruddy marvellous They Don’t Know, which reached #2 in the UK charts in September 1983.

Rumour has it that Ullman was unable to hit the high “Baby!” after the instrumental break, so Kirsty had to do it. It certainly sounds like her…:

Tracey Ullman – They Don’t Know

And of course, I cannot resist also posting Kirsty’s version:

Kirsty MacColl – They Don’t Know

Probably one of my favourite records ever, that. It’s certainly in the Top 10.

The video for Ullman’s version not only gave her further opportunity to dress up and show both her acting and dancing chops, it started a trend which she continued through her next few singles: the celebrity guest appearance.

Wait for it…..:

Single number three from the album was a cover of Doris Day’s Move Over Darling; released in December 1983, it peaked at #8 in the UK:

Tracey Ullman – Move Over Darling

Here’s the original, for completeness’ sake:

Doris Day – Move Over Darling

There were more guest appearances in Ullman’s video:

I should end this here, but the next single from the follow-up album You Caught Me Out is worth mentioning. Not because it was her final Top 20 hit (it wasn’t – it peaked at #23; the next single Sunglasses got to #18 and that was the last time Ullman bothered the Top 40)…

Tracey Ullman – My Guy

…not because it was yet another cover version (which it was, albeit with a gender swap in the title)…

Madness – My Girl

…but because this time the video contained the most infamous of cameos:

Yes, that really is then-Leader of the Labour Party, Neil Kinnock, hamming it up.

It’s hard to imagine reliably-dull Kier Starmer doing anything so glamourous…

More soon.

All Those Years of Hurt

OK.

I’m sorry.

I’ve tried to ignore it, vowed not to write about it, but I can’t really ignore it any longer.

So if by writing this I somehow manage to jinx it, I’m sorry.

With apologies and deference to my Welsh, Scottish and Irish friends (and you lot over in that Europe thing), tonight a pretty big thing is happening in the world of sport.

The mens’ England football team have made it to a final of a tournament for the first time since 1966.

I imagine this comes as a surprise to you. It’s barely been mentioned in the mass media over the past couple of weeks.

And this is why I have issued a rallying call to many of my non-English friends: support us tonight, because if we win, we just might shut up about having won the World Cup once. (We won’t, of course. We’ll continue to bang on about that and this as the greatest triumphs in our history, along with a couple of World Wars, conveniently glossing over the colonialism and slavery that we definitely weren’t part of.)

The other week I mentioned in passing the age old discussion about which is the better England football song, this (from 1990):

New Order – World In Motion

…or this, from 1996:

Baddiel & Skinner & The Lightning Seeds – Three Lions

(Incidentally, nobody ever sings the less “30 years of hurt”-centric version from 1998, do they? I watched England v Columbia (2-0) and England v Argentina (1-1, Argentina won on penalties) in a pub in Nottingham with my old friends Daints and Louise. After the Columbia game, I was challenged by a local drunkard to sing-a-long to both versions. I won, obviously. Can’t quite recall what the prize was, for some reason….)

OK, I can’t let that reference slide past:

Kirsty MacColl – England 2 Columbia 0

The reason that its these two songs – World in Motion and Three Lions – which come up in competition against each other as being the Best Football Song…Ever! is, in my book, clear: neither of them make the mistake of referencing players in the England squad for the tournament being sung about.

I’m sure this is the main reason that this is not viewed equally fondly (although the “Gerard to Beckham…” coda is my favourite bit of this):

Ant & Dec – We’re On The Ball

Both songs are brilliant for different reasons. World in Motion is technically the better song (even if it was an old throwaway New Order song, given new life by Keith Allen and a John Barnes rap), but Three Lions is the far superior terrace sing-a-long.

One of them now has a distinct disadvantage though, for, just like when politicians try to earn credibility points by claiming to like bands they think they should like (see Gordon Brown and the Arctic Monkeys, David Cameron and The Smiths), as England have progressed through the competition, so we have seen growing numbers of politicians suddenly try to gain some column inches by grabbing on the coat-tails of something popular in the hope that some of that love and admiration displayed by the public to the football team, may in some may rub-off on them.

I’m so sorry, I appear to have used the phrase “rub-off on them” just as I’m about to post a link to Jacob Rees-Mogg. For the record, please do not rub anything off, on, near or whilst looking at Rees-Mogg.

1-0 to Three Lions, because I don’t think I can ever listen to World in Motion again after that.

But then there are problems with the very title of the Baddiel/Skinner/Lightning Seeds smasheroo:

1-1, and it’s looking more and more like We’re On The Ball taking over.

Anyway, the slew of (mostly Conservative) MPs jumping on the bandwagon of supporting the England team has been a truly nauseous sight. King of these charlatans was Boris, who turned up at Wembley dressed as most football fans do, with an England shirt over the top of a shirt and tie:

Boris doesn’t care about football. Boris cares about photo-opportunities. He was, rightly called out by Gary Neville in a bit of marvellous punditry where he compared Johnson’s record and professional demeanour with the current England manager, Gareth Southgate:

Boris wasn’t alone in climbing on this particular bandwagon. Here’s Priti Patel, daughter of immigrants, who earlier in the tournament said this:

Which makes all of her subsequent tweets, such as this one from Wednesday night, seem all the more disingenuous:

She may be wearing an England shirt, but there’s no evidence here that she’s watching the match. I suspect that, just out of shot, is a man holding up photos of babies – of colour, obviously – drowning as they and their parents raft goes down as they try to escape the horrible world from which they came.

For this week, Patel has been banging on about the new Borders Bill, passed through the House of Commons this week, which *ahem* gives us back control of our borders (this which, as you all know by now, we already had before Brexit but couldn’t be bothered to implement by way of funding properly).

Amongst other things, the Bill makes it illegal to help or assist anyone that you know or suspect to be a potential immigrant to get to our shores safe and sound. So were you to be out in the Channel in a boat, and you came across a load of immigrants on a disintegrating raft, you are now forbidden to help them. You must, says the Bill, leave them to drown, or you will be prosecuted for saving them.

Which makes the RNLI’s job a lot trickier.

So, if Priti Patel had her way, this is how the current England team would line up:

I mean, it’d be tense match, but I don’t rate our chances of scoring too highly.

And to clarify, here’s the rest of the starting eleven’s roots, all banned under Patel’s blinkered thought process:

What I’m saying is this: you don’t get to encourage people to boo the England football team, and then try to wrap yourself in the glow of their success. People remember this sort of thing.

Patel may win the Most Hypocritical MP of the Month – or pretty much any month, as it goes, but she doesn’t win the Stupidest MP of the Month award, for that can only go to Lee Anderson, who refused to accept that the England players taking the knee before kick off, in a show of unity against all forms of inequality, was their reason for doing so – despite them issuing a formal statement to explain their motivation – and had vowed not to watch any of the England matches in protest:

Excuse my language, but what a fucking idiot. I’m glad he’s missing out on all of this (although I’ll bet he’s watching really).

Anyway, when it comes to discussing which is the best football song ever, I always find it hard to get past this one:

The Scotland World Cup Squad 1982 – We Have a Dream

Although, from the same tournament, the first I can remember watching, this – bar the mention of the squad being ‘Ron [Greenwood]’s 22’, which if you try really hard can be changed to ‘Southgate’s 22’ anyway – seems much more appropriate:

The England World Cup Squad 1982 – This Time (We’ll Get It Right)

Although, were there any justice in this world – which there isn’t – then this, from 2010, would be our go-to England record every time. There’s only two things wrong with this: firstly, the Shuttleworth referred to isn’t John, and secondly: it’s not actually very good.

Which makes it perfect in some ways, no?

Shuttleworth And Mark E Smith – England’s Heartbeat

More soon.

********

Oh, you want a prediction, do you?

Well, as my workmates will doubtless attest, I’ve been less than optimistic all tournament, and have happily been proved wrong all the way through.

In all honesty, I can’t see us beating Italy, who have looked imperious since Game 1, and have only grown stronger since. Were I a betting man, then my money would be on an Italy win.

Of course I’ll be delighted to be proved wrong again.

But just in case, should my prediction come true, then I always have this in my back pocket:

Brian Clough & Friends – It’s Only a Game

I don’t believe that for one second, and I’m pretty sure Cloughie didn’t either.

I hope we don’t need that come Sunday evening.

Whatever happens, if you own an Italian car, I’d make sure it’s parked in the garage tonight.

More soon.

Friday Night Music Club

For quite some time now, I’ve been pondering what it is that is preventing me from posting with the same regularity as I was last year.

I’ve worked it out.

Regular readers will know that I generally sit on a Friday night, have a few drinks and write posts for the next week. But for a while now, I’ve become preoccupied on doing a new mix.

Warning: artist at work excuse incoming.

See, whilst they seem remarkably unpopular, I really enjoy piecing together a long playlist/mix/call it what you will, and that inevitably means a few drafts which don’t quite, to quote Echo & The Bunnymen, cut the mustard.

So, I’ve been working on this mix for some time now, but somehow something always seemed to prevent me from finishing it, be it me tinkering with the running order, or thinking of new tunes to toss in, or some kind of technical calamity, or (more often) listening to it and realising I’ve utterly messed up a mix and I simply can’t bear to have anyone else listen to it.

I’m not going to pretend all of the mixes between tunes here are perfect – there’s at least one which I know isn’t – but I’ve reached the point where it’s close enough to let it go and move on to something else, before I drive myself mad searching for perfection.

So here’s my latest mix, imperfect though it may be; frustrating as it has been, I really like this one, which starts off in the usual way – slowly – before getting into a groove which includes Kings of Leon from before they went stadium and knew how to use a cowbell, a new(ish) track by The Chemical Brothers, an obligatory Soulwax remix, two of the finest female pop stars going: Miley Cyrus & Dua Lipa (not on the same tune, sadly), the occasional hidden ‘joke’ (by which I mean it seemed funny when I first put the songs together, less so now), via Madonna having a short chat with Johnny Cash.

It’s the usual mix of songs you love, songs you’ve forgotten about, and songs which make you think “What the hell has he put this on here for??”. Some might say eclectic, but I couldn’t possibly comment. Think mainly Indie guitar stuff, with a few dance tunes, 80s pop songs and a couple of timeless classics – at least one of which you probably won’t have heard before – thrown in.

As always, no track-listing – I like to imagine your faces when the next song kicks in – but there’s a list of featured artists on the right hand side in case you want to see what you’re letting yourself in for. Which is a treat, obviously. If you desperately need to know what a track is, either Shazam it or, if you’d like to feed my ego, ask me via the Comments at the bottom of this post.

Usual disclaimer: any skips and jumps are down to the mixing software; any mis-timed mixes (and, as I say, there is at least one) is down to me. Either way: Sorry!

One more thing: you may recall that last time out I mentioned that my brother had said he managed to predict what I was going to play next, which annoyed me greatly. No such criticism of the last mix, although he told me he listened to it whilst out on his morning run, so some of the sudden gear changes weren’t helpful. I’ve tried to rectify that this time, with a relatively steady beat and tempo maintained throughout (after you’ve got past the traditional slow start) for those of you who listen to this whilst doing your exercises (not that I really understand what that means). The danger was that it would denigrate into either a Ministry of Sound pumping dance mix or a Top Gear/Best Driving Songs…in the World…Ever! playlist, but I think the song choices just about keep us on the right side of that happening.

Let’s say it starts slowly, gets into a groove, and then has more false endings than a Status Quo single.

I’m a bit annoyed that since I first decided to include it, at least on song here has popped up in an advert – and you know how I feel about them – for burgers, of all things. Rest assured, the advert in question was not the inspiration for the song’s inclusion. You’ll know it when you hear it, I think.

Oh and there are several songs which feature effing and jeffings – “sexual swear words” as Simon Bates used to say at the start of videos – so please avoid if you are easily offended by unfettered vulgarity and sauciness. Look, there’s a Goldie Lookin’ Chain tune which is probably the rudest and most inappropriate (but funny) thing I’ll ever post, so beware.

For a limited time (until I do another one, so y’know, could be months), you can stream or download it via Soundcloud here.

More soon.

How To Do A Cover Version

The rules I have in my head as to what does and what does not constitute a good cover version exist only in my head, are completely arbitrary, and subject to change.

It’s my game, I’ll do what I like with it.

For example, I’m fairly sure that I’ve previously argued on these pages that there’s no point in just making a cover which sounds exactly like the original. If you want everyone to know you really like a particular song or artiste, just make sure you bring it up in an interview sometime, don’t bother us with a dutifully faithful replication.

And yet…

Glastonbury 2004, I think. Our sizeable gang has landed in what became our usual rendez-vous position at the Pyramid Stage: right at the back, top of the slope, near the First Aid tent. We hadn’t planned on this being our staging post, but this is where, attending for the very first time the year before, we had ended up at the start of the first day, so it just became “our spot”. Plus, one of our group, Mark, was really tall, so this made him even easier to pick out in a crowd.

(I’m reminded of comedian, actor and human beanpole Steven Merchant relating a story about how once, as a much younger man, he had found himself standing with some friends in a similar crowd. As he stood, he noticed a couple of very pretty girls looking in his direction. Eventually, they approached him.

“Excuse me,” they said.

“Hello,” he thought. “I could be ‘in’ here.”

“Hi,” he said, as casually as he could muster.

“Are you going to be here for a while?” they asked.

Oh, yes, you bet I am,” he thought.

“Yeh, I think so,” he replied, coolly. “Why do you ask?”

“Oh,” the girls replied, “me and my friends have just decided that if we got separated, we’d meet up near you, but if you’re going to move, we need to think of something else.”)

But I digress. On this Saturday afternoon, most of our group had gone a-wandering, and just Hel and I remained at base camp. We sat, people watching in between acts, the sound system booming out an advertisement for a clean water charity the festival was supporting that year, followed by You Only Get What You Give by The New Radicals.

These two seemed to be on a continuous loop, so when a different song came on, it caught both of our attentions. The song was a couple of lines in, when I let out a satisfied sigh.

“Ahh, I love this record,” I said.

“Me too”, Hel replied. A moment passed before a confused look played across her face. “But I can’t remember who sings it.”

Another couple more lines passed. “Me neither,” I conceded.

And then it came to me.

“Tracey Ullman!” I squealed.

“Yes!” Hel agreed, “Tracey Ullman!! Of course!!”

We rested back on our laurels.

A few more moments passed before I sat bolt upright again.

“Is it heck Tracey Ullman!” I exclaimed. “It’s Kirsty MacColl!!”

“Oh, God, yes!” Hel agreed, “Kirsty MacColl!! Of course!!”

“Let’s never speak of this error again,” suggested Hel.

“Agreed,” I said.

With my fingers crossed.

More soon.

Remembering Kirsty

It was twenty years ago today, as the song almost goes, that we were robbed of one of the most wonderful musical talents the UK has ever produced: Kirsty MacColl.

Every year (provided I remember in time) I try to post something by Kirsty to remember her by. Here’s what I wrote the first time I wrote one of these posts:

In case you don’t know the story of her untimely demise, on 18 December 2000 she and her sons were on holiday in Mexico, and went diving in a designated diving area at the Chankanaab reef, that watercraft were restricted from entering. As the group were surfacing from a dive, a high-speed powerboat entered the area. Kirsty saw the boat coming before her sons did; Jamie (then 15) was in its path but Kirsty was able to push him out of the way. Tragically, in doing so she was struck by the boat and died instantly.

The powerboat involved in the accident was owned by Guillermo González Nova, multimillionaire president of the Comercial Mexicana supermarket chain, who was on board with members of his family. One of his employees, boat-hand José Cen Yam, stated that he was in control of the boat at the time of the incident. He was found guilty of culpable homicide and was sentenced to 2 years 10 months in prison. However, under Mexican law he was allowed to pay a punitive fine of 1,034 pesos (about £61) in lieu of the prison sentence. He was also ordered to pay approximately £1,425.22 in restitution to Kirsty’s family, an amount based on his wages.

To add insult to quite literal injury, eyewitnesses contradict Cen Yam’s claim that he was in control of the speedboat, and people who have spoken to him since say that he has admitted to receiving money – presumably from Nova – for taking the blame.

In May 2006, Emilio Cortez Ramírez, a federal prosecutor in Cozumel, was found liable for breach of authority in his handling of the MacColl case.

But Kirsty and her family have never found justice for her death.

*****

Here’s the first record I ever bought by Kirsty, the song which catapulted her to the pop-stardom she’d been flirting with the idea of for a few years prior to its release in 1984:

It’s ironic that someone who became so well-known for the brilliance of her own compositions should gain fame via a cover versions. But the writer of A New England has never forgotten that boost the song gave to both of their careers; to this day, whenever he plays it live, Billy Bragg still dedicates the extra verse that he penned for her version to Kirsty:

R.I.P. Kirsty.

More soon.

The Chain #48

I know I have often moaned in the past about how time-consuming it is to write The Chain, but this morning, at around 2am, having put off writing it every day this week, it suddenly occured to me that there are three reasons why it takes me so long:

1. You won’t be surprised to learn that I don’t own every record that gets suggested, so I have to track down a copy to post here. I quite enjoy this aspect, as it goes;

2. As I’m going through all of your suggestions, I put all the songs on a playlist so I can familiarise myself with them, and hopefully come up with either some decent jokes (I’ll let you be the judge of how succcesful I am with that) and/or some funny video clips to include in the post. This latter aspect, as I’m sure you can imagine, often leads me down a YouTube rabbithole. That said, I quite enjoy this aspect too;

3. For practically every song you suggest, I manage to think of at least one more to link to either the source record, or your suggestion. That’s not meant to sound like a boast, more a statement of fact: people who write music-based blogs tend to know quite a lot of records. I try to exert some kind of control over the amount of my own suggestions I include but sometimes I just can’t resist. I really like this aspect as well.

So next time I moan about what a pain it is to write The Chain, ignore me. Once I get going on it, I bloody love it.

As can be seen by the amount of suggestions I’ve made this time.

And that’s despite the source record being, in my opinion, one of the worst singles by – well, I’m not going to say the worst bands, not when Black Eyed Peas and Coldplay are both things – but certainly by a band that I don’t much care for.

In case you’ve forgotten, said source record this time around was this:

U2 – Beautiful Day

As usual, the suggestions can be split into categories, one for each word: ‘U2’, ‘Beautiful’ and ‘Day’, with a few tangents thrown in for good measure.

We’ll save the vitriol of links to U2 for later I think, so let’s start with a suggestion from PhonicPat:

“[Beautiful Day] is from their ‘All That You Can’t Leave Behind” album which leads nicely to…:”

Over to C from Sun Dried Sparrows to kick off all the nominations linked to the word ‘Day’ and complete the cleansing of the palate:

“I think ‘keeping it simple’ will be my mantra from now on, so… Beautiful Day takes me to beautiful Days. I’ve just been through your back pages and I couldn’t see Kirsty MacColl’s sublime cover version appearing here before, so can we have that one please?”

But of course!

Kirsty MacColl – Days

Next up is a clutch of suggestions/songs mentioned in passing – which you all know I can’t resist – from Kay. For those of you who don’t know, Kay is my manager at work, but also a friend. She, too, wants to keep things simple:

“I’m a simple soul [I’m saying nothing – Ed], so I immediately started thinking of songs about a particular day of the week. First thought was…”:

New Order – Blue Monday

“…then remembered [Look out, folks, she’s off. Experience tells me to get comfy and look like you’re paying attention – Ed] Foals had a song called Sunday, and I thought I would choose that, so you’d have to post it (much to your disgust)…”

Foals – Sunday

Allow me to explain that “much to your disgust” comment: I’m not a Foals fan. I don’t dislike them either, to be honest. I just find them a bit “meh”. I don’t understand why anyone would want to pay money to go and see them, unless they need to pick up a new Yasser Arafat-type scarf from the merchandise stall, that is.

Anyway, carry on.

“…but then thought neither a Monday or a Sunday is a beautiful day. So I’m going for…”

The Cure – Friday I’m In Love

“…as Fridays are really quite beautiful.”

I’m not sure if this has any bearing, but before we all had to work from home, Friday would be the day when someone was most likely to bring cakes into the office.

In the spirit of full disclosure, Kay’s email to me with her suggestions began like this:

“Here’s my suggestion…(it’s a bit basic, so doubt I’ll win the Showboating prize)…I have an alternative (that could be a Worst Record of the Week Award contender)…”

You know me, dear reader. I was intrigued and pressed Kay as to what that might be.

This:

Whigfield – Saturday Night

No, I don’t understand that record sleeve either.

I’m not going to give you the satisfaction of being the recipient of the Worst Record of the Week Award.

Now get back to work, all those complaints about me aren’t going to answer themselves, you know.

Over to Martin from New Amusements next:

“There’s already been mention of Kirsty’s sublime cover but what of The Kinks’ original version of Days?”

I wouldn’t normally do this kind of thing, but oh, go on then:

The Kinks – Days

Martin will be back shortly, but in the meantime previously thought Missing in Action Chain Ganger George is back! Back! BACK!:

“From the song Beautiful Day to Darren Van Day of Dollar (don’t worry, it’ll get better)…. “

Too late! You’ve mentioned them now!

Dollar – Hand Held in Black and White

Sorry. As you were.

“…to Working For The Yankee Dollar (Skids)”

Skids – Working For The Yankee Dollar

Well, he says, blowing some dust off the box marked “Catchphrases”, if you’re having having that, then I’m having this:

The Men They Couldn’t Hang – Greenback Dollar

“Also,” Martin pipes up again, “a beautiful day might even qualify as a Perfect Day, by Lou Reed?”

Don’t mind if I do:

Lou Reed – Perfect Day

Time for a clip, and I imagine most of you will know that popular comic creations Lou & Andy from Little Britain…:

…are based on Lou Reed and Andy Warhol as played by David Walliams and Matt Lucas in an old Rock Profile sketch, reprised here on The Ralf Little Show (no, me neither):

Anyhoo. Kirsty MacColl also covered Perfect Day, with the Lemonheads’ Evan Dando, of course. But I’d be overdoing it if I posted that too, so we’ll save that for another…erm…day.

Instead, here’s Kirsty doing something which just begs to be played right after that:

Kirsty MacColl – The End Of A Perfect Day

And since we’re on the subject of perfect days, I was mightily suprised nobody came up with this:

PJ Harvey – A Perfect Day Elise

That’s all the ‘Day’ suggestions, and before we move let’s move on to the “Beautiful” links, a suggestion which covers both, and I’ll hand you over to The Robster from on/off/on-again/no-he’s-definitely-gone-this-time Is This The Life?

“Beautiful Day was used by ITV for their ill-fated coverage of The Premiership back in, erm, I don’t remember. Quite a few years ago. The song I always associate with football on TV is Life Of Riley by the Lightning Seeds which Match Of The Day used for its Goal Of The Month feature.”

The Lightning Seeds – The Life Of Riley

Ill-fated it certainly was, for two reasons: firstly, given an alternative, I don’t know anyone who would elect to watch football on ITV, and secondly, tactical analysis was provided by former professional footballer Andy Townsend, not from the comfort of a warm studio, but from what was know as The Tactics Truck, for no other reason, it seemed, than alliteration.

Whilst we’re on the subject of football, here’s PhonicPat with a couple of suggestions which I’ll allow, even though they link to The Robster’s suggestion more than to the source record:

“Late to the party this time around and some of my thoughts already reflected in the comments [but I haven’t got to them yet in this post, in case you were wondering – Ed]…More footy with…”:

“…and one more football song:”

Sorry, Pat. I can’t say I enjoyed that one. Worst Record of the Week, in my book.

Now we’ll move on to just plain Beautiful, words often used to describe Swiss Adam from Bagging Area, I’m sure:

“There are lots of songs that link to beautiful – Peaking Lights’ Beautiful Dub has the double pleasure of the word in its title and being beautiful to listen to.”

He’s not wrong:

Peaking Lights – Beautiful Dub

In fact, he’s not wrong on both fronts: there are loads of songs which link to “Beautiful”. Like this, for example (a bit of a gear change here):

Marilyn Manson – The Beautiful People

And then there’s this:

Suede – Beautiful Ones

And:

Not forgetting:

Neil Diamond – Beautiful Noise

Somebody stop me!

Ok, to break me out of this run, since we’ve now learned that a Beautiful Noise makes Mr Diamond feel good, just like a hand in a glove, I have to post this, don’t I….?

The Smiths – Hand In Glove (7” Version)

Anyone else care to add to the list?

“So many ‘beautiful’ songs,” PhonicPat thankfully chips in, “but eels’ Beautiful Freak could almost have been sung about Bono and the band.

eels – Beautiful Freak

I’m not sure if that’s meant to be a compliment or not. If it is, then frankly that’s not what we expect when asked to comment about U2 round here. Please allow Swiss Adam to show you how it’s done:

“U2 are bad. Really bad. Negativland nailed them and their egos with The U2 Song, daring them to sue. Which they did.”

Effin’ and jeffin’ alert:

Negativland – I Still Haven’t Found What I’m Looking For (Special Edit Radio Mix)

There’s a little snatch (and no, I don’t mean Bono) of the melody of that, such as it is, which reminds me of Una Paloma Blanca by Jonathan King, but since I’ve banned Morrissey’s solo records from the blog because of his extremist views, I guess I should extend that to convicted paedophiles too. So instead, here’s the George Baker Selection with the titularly-truncated (presumably Ms Stubbs complained) Paloma Blanca:

George Baker Selection – Paloma Blanca

Bet you thought I was going to follow that up with a certain spoof version by The Wurzels, right?

Of course not. How dare you.

No, I’m going to follow that up with a cover of a certain spoof version by The Wurzels:

Going back to expressing one’s…erm…admiration for U2, perhaps one could take a leaf out Stevie from Charity Chic Music who does it in a much more subtle way:

“A mention of U2 leads to You’ve Already Put Big Old Tears in my Eyes (Must You Throw Dirt in my Face) by the Louvin Brothers”

Louvin Brothers – Must You Throw Dirt In My Face

Personally, whenever I hear the name U2, I want to rebel against it, and listen to the complete opposite. So, like a typically confusing clue on 70s game show 3-2-1

…here we go: The clue mentions the complete opposite and the the opposite of U could be Me or it could be We; the opposite of the opposite of 2 is the number immediately adjacent to it, so it could be 1 or it could be 3; if you want to rebel against something then you want to bring about change, and perhaps the most famous rebels were the French Resistance…so the next suggestion is of course:

I mean, really I should be awarding myself some points for Showboat of the Week. Not that I can be bothered awarding points anymore. Nobody really cares about them, do they?

Here’s Martin again with another song which sort of links to the band’s name:

“Finally I want to mention ‘U Talk 2 Much’ by Sultans of Ping FC, not least for its U2-referencing sleeve art”:

Which takes me back to PhonicPat, and an alternative Sultans of Ping FC tune, suggested “…for the footy link”:

Do you remember when U2 graciously and modestly decided that everyone with iTunes should be blessed with a free copy of their 2014 Songs of Innocence album, whether they wanted it or not? Well, that leads me here:

Janelle Monáe – Dirty Computer (feat. Brian Wilson)

Time to go off on some (non-football) tangents, I think, and so here’s Alyson from What’s It All About?:

“U-2 is a kind of plane and another plane become the inspiration for a song by OMD, so I’m going for Enola Gay, which very scarily was a big hit for them in 1980, 40 years ago now. The awful event addressed in the song, the atomic bombing of Hiroshima, happened only 35 years prior to that. Is it just me or is time running away with us as we get older?”

Keep it light, Aly, for Gawd’s sake:

Orchestral Manoeuvres in the Dark – Enola Gay

Well, if we’re side stepping to planes, then – surprise, surprise – I have a couple.

Predictably, this lot:

Status Quo – Paper Plane

And, perhaps less predictably, this:

M.I.A. – Paper Planes

On the same theme, some suggestions from a couple of first-timers (I think – apologies if you’ve contributed before and I’ve forgotten); firstly, give a big Chain Gang welcome to Devonian:

“U2 is a plane named after a letter and a number. B-52 is also a plane named after a letter and a number. Something by The B-52s, then… let’s say…”

The B-52’s – Mesopotamia

And follow that up with an equally warm hand on his entrance for Stevo Kifaru, who, for a first-time Chain Ganger has certainly got the hang of naming a load of records knowing full-well I won’t be able to resist posting them all:

“U2 were named after an American spy plane, the Lockheed U-2, so I’m going with the theme of Spies for a second. My initial thought was…:”

Was (Not Was) – Spy In The House Of Love

“…but then I thought…”

The Untouchables – I Spy (For The F.B.I.)

“…to be a cooler track.”

Hmm. Not sure about that, because of this:

Anyway, if we’re side-stepping into the world of spies and espionage, then we’ll have a bit of this, I think:

Super Furry Animals – She’s Got Spies

And this, too:

Pulp – I Spy

He’s not done there, though, is our Stevo:

“But as I’m typing this I think ‘The House of Love’ ooh Christine is such a sublime single, I mean those guitars…”:

The House of Love – Christine

Pop the handbrake on for a moment and hide the jacket potatoes, I have (yes, yet another) suggestion:

….which I’m sure you’ll agree is the very best of the mixes, right Chums?

It turns out Stevo is quite the Chatty Cathy (a bit rich, coming from me, granted), for he continues:

“I also thought U2 reminded me of the nomenclature of German submarines, always beginning with a U, & that brought me to Das Boot. Many years ago my friend randomly asked me, what was the number of the sub in Das Boot? I thought for a second & said U96. I have felt like such a nerd since that day, my friend obviously grateful that I answered his question, but the look he gave me was one of shock at my depths of geekness….In reality I just remembered the techno remix of the theme tune that was released under the name of U96….”:

U96 – Das Boot

So, having dealt with all things U2-related (was that what we were doing? I’ve lost track…), what about the individual band members?

And by band members, I mean your Bono fide ones, not charlatans like this chap:

Back to you, Robster:

“I’m also going to throw a Half Man Half Biscuit song into the mix, just because it’s Half Man Half Biscuit. Something from their ‘Achtung Bono’ album. How about…:”

Half Man Half Biscuit – For What Is Chatteris

In the interest of balance, perhaps I should point out that Bono at least seems to be vaguely self-aware and have a sense of humour about how many people view him, even if that sense of humour has been written by somebody else:

Right, who’s left?

Rigid Digit from Stuff & Nonsense, that’s who:

“U2 to Stiff Little Fingers to Grandmaster Flash and back to U2 in 3 moves:

There is a story that Adam Clayton says the bass line for U2’s ‘With Or Without You’ is basically Stiff Little Fingers’ ‘Alternative Ulster’ slowed down.”

Now. I know you haven’t suggested it, and I wouldn’t ordinarily post a second song by the source artist (especially when it’s U-Sodding-2), but I don’t think I can let that slide without investigating. So here’s both of those records, to allow us to compare and contrast:

U2 – With or Without You

Hmm. I suppose he may have a point. But it’s not exactly the most complicated bass-line in the world is it?

“SLFs 1997 album Tinderbox,” Rigid gamely continues, undeterred, “contains a cover version of ‘The Message’, which includes the lyric: “Don’t push me cos I’m close to the Edge”

So, here’s both the cover and the original. I do like a bit of SLF, but I know which of these I prefer:

Sounds a bit Walk This Way, only not as good to me, no? Imagine the Run DMC boys hadn’t turned up at the studio and so Aerosmith recorded their part too.

Where were we? Ah yes: Grandmaster Flash:

Much better.

Of course, any mention of The Edge being close to the edge means that I’m contractually obliged to share this clip:

Last ones before we find out what the next record in The actual Chain is, and I’ll hand over to The Great Gog to bring things to a thrilling climax as only he can:

“The phrase ‘close to the edge’ has already been mentioned. Of course Bono and the other two are close to The Edge when they play live. Close To The Edge was also an album recorded by Yes in 1972. Later versions of this album include a cover of the Paul Simon-penned America, also recorded in the same year.”

Now, I’m no Yes man, so I checked what Wiki has to say about this, and GG is quite correct:

In 1987, ‘Close to the Edge’ was reissued by Atlantic Records on CD in the United States and Europe. Another issue of the album was digitally remastered by Joe Gastwirt in 1994. In 2003, the album was reissued again on disc in an expanded and remastered edition by Rhino and Elektra Records. Included were two previously unreleased tracks: an alternate version of ‘And You and I’, an early run-through of ‘Siberian Khatru’, and Yes’s 1972 single ‘America’ with its b-side, an edit of ‘Total Mass Retain‘.”

Never in doubt:

It’s not so much a cover version as a lot of proggy noodling with the Simon & Garfunkel lyrics chucked in after a while.

I should be careful how I phrase that, really; for to describe them as ‘Simon & Garfunkel lyrics’ does rather give the impression that Art had some involvement in the song-writing process, a goof that Annie Nightingale made when she interviewed Paul Simon for The Old Grey Whistle Test many years ago:

“1972 saw Simon record the song ‘Mother & Child Reunion’,” GG continues. “He performed this song on stage (and presumably close to The Edge) with U2 at Madison Square Garden in 2015. The performance is on YouTube but the quality isn’t great and there’s a load of waffle from Bono at the start of it.”

Which seems a good enough reason to just post the Paul Simon version:

And all that leaves me to do is….oh wait. Rigid Digit is back:

“Forgot to include the story of my U2 branded SatNav. It’s terrible – the streets have no names, and I still haven’t found what I’m looking for.

And I think my U2 fridge is on the way out – all it does is Rattle and Hum.”

Thanks Rigid, I trust you’ll be here all week?

Anyway, as I was saying (he says, locking the door behind him to be on the safe side), all that leaves me to do is to give you the next song in The Chain, along with the way the person suggesting it got there. And don’t worry, it’s a waaaaaaaay better record this time:

The link: As PhonicPat said right at the top, Beautiful Day appeared on the band’s All That You Can’t Leave Behind album. What Pat didn’t say was that said album was produced by Brian Eno (and Daniel Lanois); and the album that this is taken from (Fear of Music) was also produced by Brian Eno (without Daniel Lanois):

So, your suggestions, please, for songs which link to Cities by Talking Heads, along with a brief description of the link, via the Comments Section down below or via email to dubioustaste26@gmail.com in time for whenever The Chain circus next rolls into town, in a month or so’s time (probably).

More soon.