Written for the 1973 film Pat Garrett & Billy The Kid, the original single release hit the Top 20 in majority of countries (except France and Germany for some reason? - maybe they're just not big Dylan fan's there).
Based around 4 chords - G D Am / G D C (and repeat) - even the most ham-fisted of guitarists (ie me) can get their chubby fingers around that
Referring to the Second Hand Songs site, which counts the numbers of different versions available:
"Yesterday" = 1252 versions
"My Way" = 679 versions
"Hallelujah" = 608 versions
"(I Can't Get No) Satisfaction" = 406 versions
Note: at the other end of the scale The Cockney Rejects "Greatest Cockney Rip Off" has only 2 versions
"Knockin' On Heaven's Door" shows 251 versions
James Last had quickly done a loungey/big band/easy listening version in 1973, before Arthur Louis reggaefied it in 1975, and Eric Clapton (who had played on the Louis version) placed his own stamp on it..
Kevin Coyne - hippified it
Booker T Jones - Stax-ed it
Sisters Of Mercy - added darkness
The Alarm - enormodomed it in a U2 wannabe moment (and came close for a time, but ultimately fell away and returned to small venues)
Guns n Roses - just cos it sold the most, don't make it the best
Bryan Ferry - stylised it on 'Dylanesque'
Tracy Chapman - infused it with raw emotion
Randy Crawford - gospelises it, imbues a bit of soul, but ultimately places it in the middle of the road
Avril Lavigne - delivers a Canadian pop princess version (but how many teenyboppers note the darkness in the lyrics?)
Wyclef Jean - locates it in New York, and casts it as a tribute to Biggie Smalls, Tupac, Princess Aaliyah and other departed R&B rappers (and does a fine Bob Marely impression in the mix too)
Roger Waters - Waters always sounds a bit angry or in pain, and it's no different here
Tom Petty - the Live At The Filmore sounds more like Dylan than Dylan at times
Warren Zevon - adds a certain poignancy, because he was ...
How does one consume music? Well, both methods are acceptable, seemingly with streaming being the preferred method of many.
But not me ... me, dinosaur. I like physical product (CD mainly, but I maintain a vinyl collection) and only really use streaming as a "try before you buy" option, or in the case of Youtube, something to listen to as the muse and the moment occurs.
There is an element of ritual, and perseverance, with physical product. One must go through in the order given to arrive at favourite choices, and who knows by doing this you just might find new delights in an album you thought you knew inside out. Cherry picking is all very well, and has it's place (see the Youtube reference above), but you wouldn't choose to watch a film and fast-forward through to your favourite scenes, spin on again to another, and then select another film for a 30 second scene. No, so why do it with music?
I do "get" the concept, and inexorable rise of streaming but just do not indulge myself. But I am more than happy for others of my acquaintance to go down this route (even if I have to put up with the conversation telling me how many albums they have stored on their phone). Why? Because as they have decluttered themselves and are now living with 1s and 0s, I am gradually filling up my house with the unwanted product.
Weekends and evenings can be spent going through boxes saying "Got, Got, Need, Interesting ..." in a sort of musically-flavoured shoutback to collecting Panini Football stickers as a kid. So I'm filling gaps in the collection, finding new stuff I never got round to buying first time out or never actually knew I wanted. But, I'm also finding myself stumbling across stuff that I have no interest in, but at least can claim ownership.
A great voyage of discovery is on the cards, but I am constantly asked (and my wife does have a good point here): "where are you going to put it all?". And this is true - I am rapidly running out of storage space (again!), and now need to start getting creative about my storage solutions. There is some shelf space I can commandeer - basically, that space that was left unshelved/unfilled with the express intention of breaking up the flow with ornaments and general toys and (so I'm told) "it doesn't look like a flipping record shop". Well, some of the boxsets I can move to the top of the units, some of the inaccessible spaces can be made accessible. but ... space is becoming premium. The compilations may have to be moved to another bookcase (sadly, in another room - which breaks the cardinal rule of having the collection all in one place). The second option is to do a bit of pruning by getting shot of the things I'm just never going to listen to, but have ownership of (does anyone want a complete set of Robbie Williams CDs?).
When asked where I will put it all, my response is the same: "It's OK, I'll find room" Thing is, I'm not so sure at the moment.
There's a fine line between a collector and a hoarder ... but I don't believe I have crossed it yet
In July 1976, Glam Rock fan and Bank Clerk Mark Perry was wandering his favourite record stores when he asked at the Rock On Stall in Soho Market if they had any magazines about this new “Punk thing” he’d been reading about in the NME – his interest piqued by the first Ramones album, The Flamin’ Groovies at the Roundhouse, and the spying of familiar faces at Gigs.
The Rock On Stall had nothing to offer other than an American publication, but nothing about what was clearly happening in London. The man on the stall – half-jokingly – suggested that he start one himself if he can’t find what he was looking for. So that’s just what he did – he returned to his bedroom in Deptford, armed himself with a ream of paper, a cheap typewriter, and some felt tip pins and produced Issue 1 of Sniffin’ Glue. He went back to Rock On with the 50 copies he’d photocopied, and to his surprise they sold and Rock On gave him some money to produce more.
Issue 1 was pieced together on enthusiasm and adrenaline, rather than a journalistic ideal. And it was this DIY style that appealed and gave the confidence to produce more – not on a regular basis, but as and when the moment took him.
One thing to note: at the time of publication, they were few bands about and even fewer records – Issue 1 featured 2 pages reviewing Blue Oyster Cult albums.
By Issue 2, Mark Perry had been invited, along with Caroline Coon (Melody Maker) and Jonh Ingham (Sounds) to Eddie & The Hot Rods gigs, travelling in the back of their van. He got to see the Sex Pistols at the 100 Club, and as Sniffin’ Glues reputation spread, Brian James asked to be on the cover of the next issue and offered The Damned up for interview. 3 issues in, and they’re getting exclusive access already. Just after Issue 4 in October 1976, Sniffin’ Glue moved from a Deptford bedroom to a backroom at the Rough Trade shop, and then onto office space provided by Miles Copeland, who also gave Mark Perry his own record label.
From 50 hand made copies to quitting his job at the bank inside 3 months. He also roped in 2 friends to help with the scribbling and reviewing – Steve Mick and Danny Baker – and Sniffin’ Glue became a job, rather than something knocked up cheaply and flogged off quickly.
Sniffin’ Glue was now a mainstay of the scene, and even started to take on advertising – mostly from Rock On and Chiswick Records, but also offering advance membership of the (yet to open) Roxy in Covent Garden. The style was becoming more confident, the content richer, more photos and more (freebie) records to review, and still for the bargain price of 30p
Issue 12 was the last, appearing some 14 months after the first issue (Note: although nominally Issue 12, it was actually Issue 15 as the had been 3½, 7½, and a Christmas Special (Sniffin’ Snow). The final print run was 20,000 copies. What started as a mouthpiece for enthusiasm, was becoming a commercial enterprise, and Sniffin’ Glue – although the first – was now just one of many fanzines competing for attention. Better to end it while it was still “fun” – and the perfect opportunity to promote your next venture by sticking a flexi-disc of your new band Alternative TV on the cover.
This book (first published in 2000, re-published in 2009, and now available again) collects together all those issues, and through the pages one can see the rise and fall (or should that be disillusionment?) of Punk from it’s DIY, small scene London-centric beginnings, ending (I think) presciently before both Punk and Sniffin’ Glue became a bloated parody.
One of the last items written is from Danny Baker expressing annoyance with the cheering reaction from the crowd when the DJ at The Vortex announced that Elvis Presley had died.
What is surprising about the book is that what on the face off it essentially a disposal artefact has now been preserved. One can only assume that the copies are drawn from Mark Perry’s Master copies as it’s unlikely that any of the purchased copies survived and probably ended up littering the floors of The Roxy and The Vortex, or floating in the wind down Wardour Street.
Learning point: Don’t go looking for the “Here’s chord, here’s another, here’s a third – now form a band” headline. That was another fanzine – Sideburns – in January 1977, but is attributed to Sniffin’ Glue – so much so, you can buy a t-shirt with the Sniffin’ Glue headline, and the picture from Sideburns.
Tough job getting back into this "spilling your brains on a given subject" blogging thing. And my return has been further delayed by a certain malaise because I have spent more time than is probably healthy listening to the catalogue of Yes.
Actually, that's not fair - much if it (very much of it) was a fine listen - wonky guitar solos and over-indulgent keyboard tinklings included. But it has taken a while, and much re-listening, to get my thoughts clear on a few of the offerings (particularly the later ones)
Yes came together in 1968 - Chris Squire was bassist in Mabel Greer's Toyshop alongside guitarist Peter Banks. Drummer Bill Bruford joined the line-up in mid-1968, followed soon by pianist Tony Kaye. Jon Anderson worked in the club that Mabel Greer's Toyshop often played live, and had become friends with Chris Squire. He was drafted in as vocalist in late 1968, just as the band were concluding that their name had run it's course, and it was time for a fresh start. The suggested name came from Peter Banks but one can't be sure if it was a suggestion, or whether he was just answering one of the other suggested names when he said "Yes". The newly-monikered 5 piece went straight into the rehearsal rooms and into performance wherever a gig could be found in London, and by the end of the year had snuck onto the bottom of the bill at Cream's final show at the Royal Albert Hall - a performance Bill Bruford had to be convinced to return for as he had quite the band to go to University. In Spring 1969, after more gigging, the band were invited to audition for Atlantic Records, and secured a contract. And by Summer, their first album was on the shelves.
Now, this is something new to me that I never knew before starting this thing - I always believed that the first Yes album was 1971s 'The Yes Album', I was completely unaware of the existence of 2 albums before it, and that guitarist Steve Howe is on neither of them.
Yes The first Yes album was released in Summer 1969, and if you have a slight knowledge of Yes in their heyday, the sound and content of this one is very different. It has the sound of equal parts The Byrds, The 5th Dimension, and the musical Hair. The musicianship - especially the rhythm section of Squire and Bruford - is exceptionally tight, with Jon Anderson's falsetto sitting on top of everything. There is a suggestion in some of the tracks where the band would head later, but only in slight moments (and perhaps more with the benefit of hindsight. Commercially it was a flop, but Atlantic (At that time) were loyal to their charges, and a second album was planned.
Time and a Word And their second chance 12 months later probably wasn't what Atlantic had hoped for on their investment. In terms of scope, it isn't a huge step forward from it's predecessor, but does start to incorporate more of the future tropes, including orchestral parts, and referencing back to classical music and passages. Unlike the debut album, this one actually feels like it was planned and has an endpoint, where the debut just seemed to stop. And on the subject of endings, this album marked the final turn of guitarist Peter Banks, who was replaced by Steve Howe soon after work on the album was finished (the US Rel;ease featured a picture of the band, including Howe, on the back cover even though he didn't actually play on it.
The Yes Album After the commercial non-performance of their previous 2 albums, Atlantic were on the verge of pulling the plug. A change of manager, and renewed inspiration with the presence of Steve Howe who had a wider scope and style than Peter Banks, gave Yes a reprieve and studio time. With stronger production, and a more technical approach to song (including multi-part songs, and moments where the band play different tunes in different time signatures but make it sound tuneful rather than cacophonous), The Yes Album starts to give a return to record company patience, and is the launch pad for what many cliche quoting commentators term as "Classic Yes"
Fragile With increasing confidence, Yes were looking to expand their sound and songs. However, organist Tony Kaye wasn't so sure it was the correct move, and soon found himself replaced by Rick Wakeman - someone who did want to expand and explore. On the same day as the Yes offer, David Bowie invited him to join his touring band. Rick declined believing he would get more artistic freedom with Yes. And they got to work quickly - within a couple of days of rehearsals they had the shape of two key songs from the album - "Roundabout" and "Heart Of The Sunrise", and a collective desire to share ideas and get this next record done. These 2 songs bookend the album, with 6 of the remaining seven clocking in under 3 minutes (and one barely breaking 35 seconds). Who says Yes songs are over-expanded and bloated ...
Close To The Edge Well ... here's the opportunity to level that very accusation - a 40 minute album consisting of just 3 tracks. Track 1 (basically side one) is the title track in 4 movements ... stand by for Prog tropes in excelsis ... inspired by J R R Tolkien, Symphonies #6 and #7 by Sibelius, and Herman Hesse. There's a lot of ideas and playing going on - almost like the band is fighting each other to get their "bits" heard. And there is much truth in that thought - by the end of the recording drummer Bill Bruford (tired of being asked to play a certain way to match Chris Squire's bass parts, and general bad feeling in the studio) downed sticks and left Yes. Side 2 (which contains 2 tracks) is for my money the more enjoyable half, but can still feel ponderous. And talking of ponderous...
Tales from Topographic Oceans Rick Wakeman's take on the album was "we had too much for a single, not enough for a double, so we padded it. And it wasn't very well padded." Alan White (late of John Lennon/Plastic Ono Band, George Harrison's 'All Things Must Pass', and stints with Ginger Baker's Airforce and Steve Winwood) joined up after Bill Bruford's departure, and ushered in a more sol,id rock based style and opposed to the jazz-esque swing of Bruford. Not that it was truly in evidence here. As is usual with Yes, the creation and development of the album was fraught with disagreements and confusion - "what is the concept?", "how do I get my little flourish heard?", "why is the studio dressed up like a farm?", "remind me, what actually is the concept here?". In fairness, despite it being hard work and not truly feeling like it hangs together, it isn't actually that bad (it just takes several listens). The stories of Rick Wakeman eating a take-away Curry on stage during some of the instrumental passages may be an urban myth, but by the end of the tour Rick Wakeman had left the band.
Relayer Rick Wakeman has gone, Patrick Moraz is in - it was going to be Vangelis (who Jon Anderson would work with later in the 80s), but despite shipping his keyboard rig to London, Brain Lane (Yes manager) was informed of Vangelis fear of flying, so potentially putting elongated US Tours at a bit of a risk. Patrick Moraz was invited to audition (using Vangelis rig) and then went straight into the studio to finish writing, buff up existing demos and commit to tape. 'Relayer' continued the "3 tracks, 1 on side one, 2 on side 2" principle, as per 'Close To The Edge'. Economic times were tough in 1974, so Yes made sure of optimum use of vinyl be squeezing 22 minute in to 1 track. This is an odd album in the timeline - it is well played, with some great invention and experiments, well produced, and hangs together as well as anything before - but it doesn't truly hit "the spot"
Going For The One As the tour in support of 'Relayer' ended, the band took a break, and each member recorded a solo album. Reconvening a year later ,and as is often the case in the late 70s, for Tax reasons many big bands spent time working and living abroad, and Yes decamped to Switzerland - home land of new keyboarder Patrick Moraz. However, within weeks of starting rehearsals for the next album, Rick Wakeman returned to the fold and Patrick Moraz was out. Stories/reasons vary, ranging from Moraz was "playing, but not participating", his sound was too clean for the what the band wanted to do, and Rick Wakeman was skint. Whatever the reasoning, and possibly down to being outside the UK, the newly reconvened band was often getting on in the studio and seemed to be pulling in the same direction and supporting each others work. That is, until the departure of producer Eddy Offord, and the bands decision to produce the record themselves. Then the relationships in the band returned to old ways, where they were effectively working on their own and arguing for their own contributions. Without a producer, one would expect the resultant album to be something of a mess. They still had the one long song (in this case "Awaken" clocking in at 15 minutes) but 'Going For The One', but the supporting songs were shorter and more direct (allowing a total of 5 tracks this time), and the album as a whole is one of their stronger outings (if not always held in that esteem by contemporary reviewers)
Tormato Apocryphally, Punk was supposed to kill off Prog Rock excess like Yes and ELP. Recorded and released during the ending days of Punk, The original intention was to have 2 albums at each of the year, but when it came down to it, there was only really enough strong material for a single album And lack of self-discipline in the self production, the continuing deterioration of inter-band relationships (again), their propensity to try and fit more notes into a single bar than each other, and some terrible artwork saw to it that 'Tormato' is perhaps the least fondly remembered of all the albums (certainly by the band, as proved by the lack of live outings for these songs since release). Punk killed off the Prog hippies? Nope, Yes were managing to do that for themselves.
Drama The creation of 'Tormato' was difficult, as was the ensuing tour. By the time the band got back to the studio for the next opus, divisions were forming over direction, sound and presentation. The division was strong enough for Jon Anderson and Rick Wakeman to leave. Yes manager Brian Lane had recently taken on The Buggles as clients, so rather than cast around for auditions, Trevor Horn and Geoff Downes were drafted in. A seemingly peculiar move on the face of it, but both Horn and Downes were Yes fans, and Chris Squire wanted to move into a more new wave-esque direction (and the presence of The Buggles may facilitate that). 'Drama' was fairly quickly recorded (at least in comparison to previous Yes albums), but what came out was neither a Yes album, nor a Buggles album, nor a hybrid. It's not a bad album, just not a good one either. Steve Howe and Geoff Downes would - within a year - join forces again in Asia. For my money, the first Asia album is what 'Drama' could've been
90125 Yes effectively disbanded in 1981, but a year later Chris Squire and Alan White starting to seek new musicians to work with the band. Session musician Trevor Rabin was found (pre-armed with a bunch of demos, which appalled to Chris Squires desire for a change of sound), and the new band was named Cinema. And in the circular world of Yes membership, original keyboard player Tony Kaye was back in the band. With more circularity, Trevor Horn was engaged as producer. With the music recorded, Horn expressed doubts with Rabin's vocal abilities for the material, and Jon Anderson was invited to add vocals. At this point, the Cinema name was dropped and the Yes flag raised again. It may say Yes on the title, but the album is a shift in sound resulting from Rabin's drive and Horn's production. Despite being Prog royalty and over a decade in the game, this album was their biggest seller in America and gave them a new calling card in the shape of "Owner Of A Lonely Heart"
Big Generator After the success of '90125', the record company wanted more of the same. And Trevor Rabin had a bunch of songs that could deliver on that. But the drawn out recording process, and the loss of Trevor Horn as producer meant the 4 year gap between releases lost any momentum. It wasn't really '90125 Part 2', but it could certainly be seen/heard as an accompanying album, almost like the off-cuts that didn't make the original. Jon Anderson, who had been sidelined in the creation and recording process, left the band and soon after re-joined with Bill Bruford, Rick Wakeman and Steve Howe to release the album 'Anderson, Bruford, Wakeman, and Howe' - which I believe is a stronger album, and despite the absence of Chris Squire, is the last Yes album.
I do know that the 2 factions of the band came together for the album 'Union' in 1991, but never actually played together as a collective and split the tracks between the 2 groupings - one suspects a record company thought it a good idea (Rick Wakeman renamed this album Onion "as it makes me cry!"). But I believed that 'Big Generator' and 'Anderson, Bruford, Wakeman, and Howe' were the last outings for the band. Not so, wikipedia tells me there are 10 more albums to listen to (with possibly another coming in 2024). I'm sure that these will be spotified at some point in the future, but right now I think I am Yessed-out ...
I've been away ... will, not away just lacking inspiration (and time) to compose informative missives and critical investigation of musical things (and any other slightly mad thoughts that pass through my head).
Or maybe it was just listening to a combination Mike Oldfield and Yes that rendered me incapable of putting finer to keyboard since mid-Summer. More of that to follow soon (I bet you can't wait, can you ...)
Inspiration may still be lacking, and in October and November only ONE new thing arrived to fill my over-clogged shelves, so I'm not sure a fix is fully in place, but:
I was lost, now I'm found I believe in you me, I've got no bounds I was lost, now I'm found I believe in you me, I got no bounds I'm movin' on up now Gettin' out of the darkness My light shines on, my light shines on My light shines on
But ... I can't let a years ending pass without getting excited about some musical highlights from the past 12 months.
The Top 15 essential purchases of the year 2023 are:
1. Jim Bob - Thanks For Reaching Out
You know you're doing something right when an album you release in 2021 is still getting plenty of playing time as the new one arrives. So much so, that my brain now perceives 'Who Do We Hate Today' and 'Thanks For Reaching Out' as a double album. 'Thanks For Reaching Out' arrived with a press release of some hyperbole, but as soon as the title track starts, one can see the reason for the PR excitement. My earlier review placed the album as "a collision of indie, punk, folk, Billy Bragg, Buzzcocks, Slade, and Ian Dury (without the funk)". Add in social comment, biting criticism and rhyming couplets abound, and there's enough going on here to keep the listener entertained for another 2 years until the next Jim Bob missive may arrive.
2. Blur - Ballad Of Darren
The phrase "return to form" or "their best since {insert name of favoured album}" may be an overused staple, but in this case I can't think of a better summary. 'The Ballad Of Darren' contains everything that was great about peak-Blur with added experience. And in the shape of "The Ballad", "St. Charles Square", "Barbaric" and "The Narcissist" this album contains songs that are destined to form a true part of Blur's legacy. (interestingly, Britpop associates Suede did a similar thing last year (although with a couple more "reformed" albums under their belt - back for a second shot and unleashing a new album every bit as good as their first outings, and scoring a highly acclaimed album - number 3 on my 2022 list, which is, after all, the only list that counts. Both bands will probably hate me for this, but they are destined to be intertwined in history, legacy and output - usually with Blur a year behind)
3. Wreckless Eric - Leisureland
Wreckless Eric had his moment in the spotlight at the fag-end of the 70s, and then went and explored his "art". Since 2015 he has released 4 stand-out albums, maybe not reaching a big audience but they probably deserve a wider hearing - as does his 3 outings with spouse Amy Rigby. Liesureland continues that run of highly listenable albums featuring Eric's unique vocal stylings (OK, not to everyones tastes), his lo-fi playing (with added sheen on this album), some fine melodies, and a bit of depth in the songs and lyrics. Liesureland largely imagines life and going ons in the run-down town of Standing Water (possibly based on Cromer in Norfolk, although Mr Goulden will neither confirm nor deny). Not all the songs relate to the overall narrative, but mix into the story with no jarring or loss of mood.
4. Sparks - The Girl Is Crying In Her Latte
After more than 50 years, one would think that Sparks may be entering that formulaic, easily recognisable phase. Not a bit of it, they have released another album stuffed full of great songs that burrow there way into your imagination. Always different, but always unmistakably Sparks. Although, I may be the only person on the planet who dislikes the title track (even with Cate Blanchett's mad dancing), but second single - "Nothing Is As Good As They Say It Is" - restores all faith in Sparks ability to deliver wonder.
5. Hamish Hawk - Angel Numbers
The collison of Scott Walker meets Morrissey with literary and thesaurus referencing lyrics continues from where 'Heavy Elevator' left off. And after multiple listens, 'Angel Numbers' is an even stronger, more consistent album. "Once Upon An Acid Glance" may well be one of the best song titles of the year, but then again "Elvis Look-alike Shadows" isn't far behind. And if the song titles are good, then the songs themselves more than live up to it. All is well in the world of Hamish Hawk, and long may it continue.
6. Public Image Limited - End Of World
I saw John Lydon in early 2022 on his Q&A "An Evening With ..." tour, and whilst in sparkling form it was clear how strong his love for wife of 44 years Nora. January 2023 saw the release of "Hawaii" written for Nora - an atypical ballad written in her honour. ("atypical" and "perfectly normal" are interchangeable phrases in the world of PiL) When Nora's passing was announced, many expected John to retreat to the shadows (as would be his right). Yet second single "Penge" hit the streets soon after, followed by the full album in August. It would be easy to give 'End Of World' extra points in sympathy or recognition of his loss, but that does the album an injustice. OK, not everything on here can be considered in the mould of "classic Pil", but after 8 years since it's predecessor it's more than a welcome return.
7. Duncan Reid & The Big Heads - And It's Goodbye Form Him
After starting out in The Boys (who in January 1977 were the only Punk Band in the country signed to a major label (well, Nems were a national label, not an independent), followed by a period working for Andrew Lloyd Weber, and then a spell as a Director of Nottingham Forest FC, Duncan Reid returned to performing, first with the reformed The Boys and then with his own band with The Big Heads. Since 2012, Duncan Reid & The Big Heads have released 4 albums (including this offering) and played to rapturous audiences all over the country and beyond. However, all things must come to an end, and this is the last outing from The Big Heads. And this last album is a fitting epitaph containing all the melody and punk-pop attack of old. All things must come to and end, but with an album as strong as this and a firm following (admittedly at a club/small theatre level, or lower down the bill of a festival) one must question why now?
8. The Damned - Darkadelic
The Damned's original deal with Stiff was for one single. Whilst recording their debut album, they were effectively unsigned and in negotiation with Dave Robinson at Stiff to release more stuff (namely the album they were recording, and he had paid for). Hence, The Boys info-nugget above. Since that 1977 debut album, they have been through more line-up changes, hiatuses, disbandments, and reformations than most, but are still performing and recording - the core revolves around Dave Vanian and Captain Sensible, but next year original member Rat Scabies is re-joining permanently alongside Paul Gray. The pressure may be on to do the "cabaret" / greatest hits shows, but when you have an album as strong as 'Darkadelic' under your belts, why go for the comfy option? All known bases of The Damned are covered from the Scott Walker-esque vocal (I'm sure Dave's voice is getting deeper), the dark gothic undertow to the delivery of the lyrics (no matter the subject matter) bolted to soaring melody and guitars with a sprinkling of psychedelia and glam rock stomp thrown in.
9. Madness - Theatre of the Absurd Presents C’est La Vie
Did Madness really believe they'd still be active 45 years after their first release. And they would surely not have believed they would (or should) fall in the "National Treasure" bucket. But here they are releasing another album of ska-infused Music Hall, and as expected it is recognisably Madness from first listen. The prime difference being that (certainly since 'The Liberty Of Norton Folgate') Madness now work in the album mode rater than being the Singles band they will forever be known for. Now constructing albums that can have singles lifted from it, rather than constructing albums around the singles. And this surprised me - this is the first Madness album to achieve a Number 1 placing in the Album Chart. And a thoroughly deserved accolade it is too.
10. Glen Matlock - Consequences Coming
And here's another still doing the rounds since the late 70s. Maybe not as visibly as Madness, but always around, often as a sideman gun for hire (currently assisting Blondie) but also pursuing a low-key solo career. I was due to see Glen Matlock live - first in April which was then postponed to November. And then cancelled. Glen remains the only active past member of the Sex Pistols I've not seen live (yet). Following on from 2018s 'Good To Go' the rockabilly tendencies remain but now with a smoother delivery, and almost as much venom on a coupe of tracks as his Pistols days. 'Consequences Coming' is a more consistent (or maybe just better sequenced?) set, and boasts one of those seemingly unlikely cover version choices in the shape of kd lang's "Constant Craving".
11. Wingmen - Wingmen
The members of Wingmen have a few years experience under their belts, comprising Baz Warne (The Stranglers), Paul Gray (The Damned), Leigh Heggarty (Ruts DC) and Marty Love (Johnny Moped) they've broken free from their host bands to produce an album stuffed full of top tunes for no other reason than they can. The songs here could've found a home on their "home" bands output, but this was obviously a case of "I have some songs and my band is not doing anything at the moment. Who do I know that will give them life?". This collaboration may be a one-off (although there is possibly enough life to go again), and they may scuttle back to their original homes, but the sheer joy of playing together and breathing life into these songs is most welcome.
12. The Coral - Sea Of Mirrors
I think of The Coral as one of those bands that no-one can really dislike. There is something appealing about their jangle, noise, delivery and creation. Things is with "likable" bands, there is often substance missing - well not in the case of The Coral. 'Sea Of Mirrors' proves that 'Coral Island' was no blip in the matrix. And couple this album with 'Holy Joe's Coral Island Medicine Show' and The Coral deliver yet another stunning listen.
13. Joe Jackson - Presents: Max Champion in “What A Racket!”
Purporting to be a collection of newly discovered songs from little-known Music Hall entertainer Max Champion (so little known he has no presence on the internet), what this actually is Joe Jackson looking to start a Music Hall revival (and what not, he's tried it before with swing and jazz in the early 80s). The songs have a whiff of the Hackney Empire about them, so much so you could almost believe the conceit. Goes nicely with Matt Berry's TV Themes album from a few years ago - an album you want to return to, but need a combination of the right mood and the right audience to indulge.
14. Alice Cooper - The Road
I admit that this isn't a truly strong album, but the choruses of many songs have the ability to play in your head on auto-repeat. Musically it's a bit formulaic, especially when one considers last years 'Detroit Stories', but it does have just enough about it to play again (and again). Will I still be playing it this time next year? Maybe not regularly, but I'm sure selected bits will get continued airtime
15. Rolling Stones - Hackney Diamonds
Arriving in a hail of hype and expectation, this news Stones album probably get more column inches than their last 5 albums (going back to 'Steel Wheels') put together. It even get a mention on the BBC News. Does it deserve the plaudits? In the main, yes. This is The Rolling Stones being The Rolling Stones, and proving that no-one does it better. Featuring a guest list including Stevie Wonder, Paul McCartney, Elton John, Lady Ga Ga, Benmont Tench, past member Bill Wyman, and Charlie Watts last recorded work. If this is the last Stones album, then it is a fine way to sign-off
Observations? Where's the new bands. I am patently aware that the whole of my list is "of a certain vintage" - only Hamish Hawk has a recording career in single figures, and only Wingmen can be classed as a debut album (but the members of the band have plenty of past experience and glories). Thing is, I've not truly found anything this year that makes me go "Hang on, that's a bit good". Still, there might be something in 2024 ...
But ... all is not lost of the "new music" front - the debut album from Sharp Class arrived on my doormat - a punt based on some Facebook posts, and one or two tracks heard on Youtube, and admittedly with a 2022 date stamp, but I wasn't aware of it until this year. Whilst the whole album may not be Top 15 worthy, it does contain one track that was stuck in my head for most of the summer. OK, I know what you'll be thinking: "hmm ... sounds a bit like The Jam circa 1979". And that's a good thing, The Jam in 1979 were pretty much unimpeachable
I've sat on this one a couple of weeks contemplating ... is this a great album by Blur, or is this a great album because it's by Blur and I want it to be great? No, my ears did not deceive me, and I need no fanboy excuses to declare this a great album.
There are echoes of Bur-past, echoes of Blur-current and future, and some of Damon Albarn's arty-fartiness and meandering melodies and lyrical tracts are kept in check. There have been recent interviews where each member has expressed the notion that when the four of them come together, something clicks, chemistry chemists, and Blur comes forth.
After the release of their debut album, one could be forgiven for thinking they may not have a bright (or long) future. Their re-invention of themselves and evoking a Mod-infused view of England changed fortunes (slightly) on 2nd release 'Modern Life Is Rubbish'. But it was 3rd album 'Parklife' that seared them into the national consciousness. Continual re-invention followed: 'The Great Escape', 'Blur', '13', 'Think Tank' - all Blur, but all a different version of Blur. When 'The Magic Whip' arrived in 2015, all signs were Blur were back, but ultimately the album didn't deliver in the long term (certainly for me, repeated listening is limited at best).
So why would I expect anything more from 'The Ballad Of Darren'? Well, early release 'The Narcissist' suggested there was something special on the way, and now the full package has arrived those early thoughts are not misplaced.
Opening with "The Ballad" which evokes "The Universal" from 'The Great Escape' (maybe not as epic) followed by 'St Charles Square' showing Blur are placing themselves in their post-Britpop years re-inventing themselves for current times. They know what makes a Blur song, and now have the opportunity to imbue it with autobiography and experience. "Barbaric" is an achingly melancholic earworm, and you could be forgiven for believing the album has peaked by track 3 - far from it - the peak is ridden from now through to the final track "The Heights".
OK, there is an argument that this run of tracks rarely lifts from the considered, slower, emotive and withdrawn. But where there may have been riffing, there is now considered arpeggios, where there was once solid rhythm backing there is now considered service to the song and lyrics. And there be the voice of experience - too many slow Blur songs on the trot could once have paled, now the collection is right for the band (and let us not forget the great moments of their passed are not the "Oi Oi ... Parklife" moments, but the feted "The Universal", "Tender", "No Distance Left To Run" et al
I wanted Blur's return with 'The Magic Whip' to be a monumental moment - it nearly was, and I had to wait a few years for 'The Ballad Of Darren' to be that glorious return moment.
Everyone has a favourite road (don't they? just me then). Motorways do a job, conveying the driver from point A to point B with relative ease (unless you're stuck in traffic jams, roadworks, or "Improvement Schemes" restricted the speed limit to 50mph for most of your journey. Yes they do the job, but Motorways are quite dull. The monotony may be broken every 30 miles or so by a Service Station but there ain't much to look at except the back of the car in front. Before the motorways arrived - the first being the Preston by-pass in 1958, and then followed by a massive increase in miles of road over the next 15 years - the A Road (usually following established routes between major towns and cities, which in turn followed Stagecocah routes or Trade routes) was the road of choice. And despite the appeal of the Motorway, the A Road offers a more relaxing and picturesque experience. Service Stations may be further apart (or consist merely of a burger van in a layby), but the journey just feels more involved.
From where I live, there are 2 prime routes to travel west.
M4 & M5
A303
The M4 & M5 route may be quicker, but it's also 10 miles longer (and did I mention the dullness of motorway travel). Also, you can never trust the traffic on the M5 south (even at the quietest times), and returning home going north is often as bad. The choice is to take the hypotoneuse of the triangle and travel on the A303, and not purely for the Co-Op Distribution Centre south of Andover, Boscombe Down and Salisbury Plain, the sight of Stonehenge, and Mr Blobbys' former home at Cricket St Thomas. It's a straight route with the momotony broken by regular roundabouts, and great lengths of dual carriageway which, despite the reputation of traffic jams, frees up traffic flow so it never truly reaches dashboard-banging proportions. Another great attraction of the A303 was the regular appearances of Little Chef or Happy Eater - both long gone, and now replaced by Starbucks, Costa, or a scantly stocked BP Petrol Station. The A303 also leads (with slight diversion) to Glastonbury - around June the stories of traffic congestion are no doubt true as (if all those that say they have gone are included) a quarter of the population of the UK decamps to the roadways. It's possible that Glastonbury was the location in mind when Kula Shaker released "303" on their debut album (then again, maybe like me they just like the road)
After backpacking around India for a year, Crispian Mills (son of actress Hayley Mills) returned to the UK and formed The Kays in 1993. Their debut live performance was at that years Glastonbury Festival, but started to fall apart soon after. Kula Shaker was the re-named, re-configured band formed after the fallout. Fortuitously for the times, the mixture of psychadelia, Indian mysticism, themes, and instrumentation, bolted to a Britpo-esque attitude and sound proved a winner. Kula Shaker benefited from rabid record companies signing up anytone who was British and played guitar. Kula Shaker though stood out as there was a little more about them than some other fag-end of Britpop landfill. Their debut album 'K' came off the back of 3 successful singles, and no little media exposure and critical plaudits. The album became the fastest selling debut album in the UK since Elastica a couple of years before, and is actually a pretty good album ("Hey Dude" is one superb song that fitted the times just right). And when the following year a cover version of "Hush" hit the Top 10 all looked good in the Kula Shaker garden, as success in the US appeared likely. The second album though ' Peasants, Pigs & Astronauts' was not as well received, sold relatively poorly, and coupled with Crispian Mills comments about swastika imagery, saw Kula Shakers stock fall. Although he qualified his statements, expressed his aplogies for his naivite, the damage was done and Kula Shaker ceased trading in 1999.
Kula Shaker - 303
Bob Dylan released 'Highway 61 Revisited' in 1965 - the name coming from the north-south highway that passes through his birthplace of Duluth, and winds along Mississippi River down to New Orleans. The route also passes near the the birthplaces and homes of Muddy Waters, Son House, Elvis Presley and Charley Patton. There is also an intersection with Highway 49 - the crossroads where Robert Johnson (allegedly) sold his soul to the devil in return for increased playing ability (and no little future legend status). Arguments rage as to which is the best Dylan album, but 'Highway 61 Revisited' contains "Like A Rolling Stone" so I think that should be enough to secure it's place. In a roundabout homage to the album, John Otway recorded "A413 Revisited" documenting his return home to the Vale Of Aylesbury.
John Otway - A413 Revisited
Perhaps most famous road song is "Route 66" - Billy Bragg tended to agree so he took the tune and re-imagined the lyric travelling east from Docklands to Shoeburyness
Lotus was formed in 1952 by Colin Chapman and Colin Dare. Arguably, the beginnings of Lotus were 4 years earlier when Chapman had built his first car in his garage at home. The basic ethos of Lotus was to design and build innovative, affordable and competitive sports cars. The first widely available car from Lotus was the 7 (not as sometimes believed based on an Austin 7, it just happened to be the 7th vehicle designed by Lotus. This was a stripped out 2 seater track car aimed at motor trialists and privateer racers. Available pre-built or in kit form, the popularity of the 7 remained until the mid 70s when production ceased and was taken over by Caterham who continued with the pre-built or kit versions to this day - the basic vehicle remains the same despite some obvious safety and reliability upgrades. Following the success of the 7, Team Lotus was split off to concentrate on racing (primarily with the aim of Formula 1 entry), and Lotus Cars and Lotus Components established as 2 separate companies as Lotus moved into manufacturing road cars. The first road car proper was the Elite - designed and built by Lotus using whatever parts they could find, and fitted with a Coventry Climax Fire Pump engine. The cobbled nature of the build led to reliability issues with the Elite. But it proved popular and so began a succession of road cars each beginning with the letter E - Elite, Elan, Europa, Eclat, Excel, Esprit, Elise, Exige, Evora, Exos, Evira (OK, by the end they were just making up words) Reliability issues continued as each model rolled on - Lotus were always looking to innovate - particularly with their own engine and gearbox designs, and often used whatever parts they could source from partners. So as with the Elite, something was going to give sooner or later.
This innovative streak obviously didn't harm Team Lotus, winning 6 Drivers Championships and 7 Constructors Championships over 15 years. They were one of the first teams to recognise aerodynamics and experiment with wings on their cars, one of the first to run with tobacco sponsorship, and the first to come up with the concept of ground-effects cars where using a skirt around the car would allow a vaccum of sorts to suck the car to the road and go round corners almost as fast as they could along the straights. The Lotus 72 car that took Emerson Fittiapldi to the 1972 Championship (bedecked with the Black and Gold JPS livery) continued at the front of the grid for the next 5 years with no major upgrades. When it was finally updgraded - first to the Lotus 78 which was the first ground-effect car, and then later the 79 which refined and (very probably) perfected the principle. The 78 and 79 were maybe a little fragile (as all good Loutus's tended to be) but when they stayed working they were unbeatable. Colin Chapman continued to focus on innovation rather than winning, although performances remained with the front-runners. However, when he died in late 1982, Lotus began a slow decline towards the back of the grid - their last race was in 1994. Colin Chapman's passing also opened up the crisis at Lotus Cars and the marque went through a series of owners never quite achieving enough stability to fully re-establish itself.
If you want to get your product noticed, then a blockbuster film is a pretty good placement. In 1977, just after the launch of the Lotus Esprit, it was the vehicle of choice for James Bond. But this was no ordinary Esprit - in addition to the guns, cement jet sprayer, and it's ability to out-run and out maneuver the baddies helicopter, this particular Esprit had retractable wheels and a submarine mode.
In the Summer of 1977, I was taken to the Cinema to see The Spy Who Loved Me - we arrived late, but as was the way you could just stay in your seat and re-watch the film played in rotation. So my first experience of James Bond was in 2 halves. Maybe because it was my first, I will argue with anyone that The Spy Who Loved Me is the best Bond film, Roger Moore is the best Bond, and the Lotus Esprit is the best Bond car.
The Bond Films have history with their theme songs. While Monty Normans Bond Theme was the main music for the first film (Dr No) and has subsequently appeared in all Bond films since, the singing of the main theme was given over to a popular voice of the day - tis quite an eclectic list:
Shirley Bassey has done 3 themes
Matt Monro
Tom Jones
Nancy Sinatra
Wings
Lulu *
Sheen Easton
Rita Coolidge
Duran Duran
A-Ha
Gladys Knight
Tina Turner
Sheryl Crow
Garbage
Madonna
Jack White and Alicia Keys
Adele
Sam Smith
Billie Eilish
* Lulu provided the theme for The Man With The Golden Gun. Alice Copper were supposed to be in the running for the theme, but excessive booze and touring saw to it their submission failed to arrive in time for consideration.
For The Spy Who Loved Me, songwriters Marvin Hamlisch and Carole Bayer Sager submitted the first Bond Theme not to share a tile with the film (it was however levered into the lyric towards the end of the first verse). Carly Simon was invited to perform the song after a throw-away comment from Marvin Hamlisch to Carole Bayer-Sager noting that the lyric seems to be "incredibly vain". Carly Simon had had a US number 1 with "You're So Vain" so that is very probably where the connection was made. So I think I have another "Best" to add to the list: Best Film, Best Bond, Best Car, Best Theme Song
Carly Simon - Nobody Does It Better
And if you're not sure, or need a reminder of the opening sequence of the film, Alan Partridge is here to help ...
Album number 12 for Mr Bob (18 if you include Carter USM), and whilst there may be 30 years distance from his first outing, his ability with a tune, a pun, a lyric, a narrative, and an affecting ballad shows no sign of fading.
Over on that there Facebook, Jim Bob shared the story (a True Story) of sharing the demos with his manager who replied "I bet this is how Tony Defries felt when Bowie sent him Ziggy Stardust. Just don't muck it up in the studio". (except it wasn't the word "muck" that was used, but one that sounds very similar)
And I can report that Jim Bob certainly didn't muck it up and delivered 38 minutes of very fine music indeed. Like a collision of indie, punk, folk, Billy Bragg, Buzzcocks, Slade, and Ian Dury (without the funk).
Opening with the title track where Jim Bob observes "it's an effed up world" but turns in a song of hope. "Day Of Reckoning" fires up the guitars baiting Putin that there will be a spreadsheet listing his misdemeanours. "Bernadette (Hasn't Found Anyone Yet)" lists the undesirables she's encountered looking for love - interestingly Bernadette's rejects may well be the blokes that Shona ended up with on his last album (if you own the last album, you'll get the reference. If you don't own 'Who Do We Hate Today' get yourself along to bandcamp, Cherry Red, Amazon, or other vendor and correct that oversight).
"This Is End Times", "We Need To Try Harder", and "Billionaire In Space" are a trio of commentaries harking back to the initial observation (it's an effed up world"). "This Is End Times" is ostensibly written from the point of view of the Taliban controls, but could equally apply to the current climate of Cancel Culture. "We Need To Try Harder" (harking back to "Where's The Back Door Steve" ergo the planet is bit effed) paints a dystopian picture of how it happened ("a single-use tent discarded at a festival by an entitled kid") - there's also a reference to Ian Dury ("In the desserts of Sudan and the gardens of Japan") and later one of Jim Bob's best couplets: "Whatever tune does it for you. Mozart's Requiem or Black Lace's Agadoo". The final words of the song set up the next with "Billionaire In Space" - I wonder what the inspiration was for that? A bit of politician-baiting up next (with a psychobilly soundtrack) - "Sebastian's Gone On A Ride Along" considers politicians habits of donning a hi-viz vest, a stab vest, or some form of uniform and tagging along where perhaps they're not wanted or needed. The video received a take-down request from Jacob Rees-Mogg (or his Twitter account administrators anyway). The request was due to the use of his image rather than the lyric (but I do hope he listened to the lyric as well). "Befriend The Police" calls for tolerance, and is attached to one of those sing-along choruses, which is much in evident on "The Prince Of Wales" (the pub, not a comment on the King) - 2 short verses - including another Jim Bob zinger "Don't cry over spilt milk, you'll only end up with spilt salty milk"and a repeating chorus set-up for a pub singalong. The publicity suggest this track is "Kooks" for older people, and the repeating: "When your day feels mediocre, we'll drink tequila til it's over" could well support that thought.
David Bowie followed 'Ziggy Stardust' with 'Pin-Ups', and something similar happens here if you get the deluxe version - you'll get 7 perfectly Jim Bob-ised cover versions including "Are Friends Electric?", "Pretty In Pink", "Labelled With Love" and a storming take on Dexy's "Geno"
So, just over halfway through the year and I believe here we have a contender for the Top 2 in the "best of what I have been listening to" list later in the year
On holiday recently in Gibraltar, I noted that all road signs are (much like the majority of Gibraltar) British - using the Transport font developed for use on the first standard road sign collection in 1957, and the speed limits are displayed in Miles Per Hour. But ... they also drive on the right side of the road and all the cars are left hand drive. As a result, all these cars will be sourced from the European manufacturers and be fitted with speedometers that show Kilometres Per Hour. Confusing, but is it's such a small place, it probably does no real harm.
As every driver knows (although many seem to think these numbers are purely advisory), the speed limit in a built up are is 30MPH, the national speed limit on a single carriageway road is 60MPH, and on a dual carriageway and motorway the maximum speed is 70MPH. The earliest speed limits for powered vehicles date back to 1865 and was set at 2MPH in built up areas and 4MPH anywhere else. You were also required to have someone carrying a red flag in front of you. By the late 1870s, the Red Flag requirement had gone and the speed limit raised to a giddy 14MPH. It jumped again in 1903 to 20MPH, but many cars could easily exceed this limit, and no-one really paid attention anyway. The 1930 Road Traffic Act removed all speed limits, but by 1934 saw fit to introduce the blanket 30MPH limit in built up areas. Open roads (ie those not in towns) remained unlimited. With more open roads, better surfaces, and by 1958 the first motorway, it seemed that the unlimited speed might need taming. The 70MPH limit on motorways was introduced in mid-1967, following 18 months of deliberation and investigation. And as most family cars of the 1960s would struggle to top out, or maintain that speed without exploding at some point, 70MPH seemed to be a suitable limit. There was one slight revision during the Oil Crisis of 1974, but the standard as defined by the Road Traffic Act and Highway Code has remained in force since 1977.
Like many of those 1960s cars, I was thrilled if my first car exceeded 70MPH, and the first time I drove a car at 100MPH was in a friends Ford Capri. Ford speedos were not the most reliably calibrated, so I was probably doing about 80 really. My current car - a Vauxhall Insignia - has a quoted top speed of 138MPH (ie basically twice the legal limit), and I admit to being heavy footed once or twice and have gone into 3 figures, but 77MPH (yes Officer - no more than 10% above speed limit) is ample.
Vardis were a 3 piece band from Wakefield led by Steve Zodiac (note: it's not his real name, but Stephen Hepworth is not really a Heavy Metal name is it). Playing the pub and club circuit tightened the band's sound to a collision of high speed, high energy, glam rock boogie heavy metal (sort of Slade meets Motorhead with a bit of Hawkwind and Status Quo in the mix). With the look, the sound,m and the following they found themselves in the right place at the right time to benefit from the burgeoning New Wave Of British Heavy Metal. Their first album was a live affair titled '100MPH' and in apt description of the content. It also bore the legend "Guaranteed No Overdubs" - so it was straight from the mixing desk to the tape. Underpinned by relentless touring, and some minor success, the second Vardis album 'The World's Insane' came in 1981 followed by 'Quo Vardis' in early 1982. By the mid-80s, Vardis still weren't getting paid, and Steve Zodiac entered into lengthy legal disputes and the band disbanded. They may have been at the edges of NWOBHM, but do warrant a mention in most write-ups of the period and have been cirted as one of the bands that occupied a place in Metallica drummers Lars Ulrich's collection - maybe not as mentioned or lauded as Diamond Head, Samson, Tygers Of Pan Tang or others who shone albeit briefly, but no less important to the movement and development.
Vardis - 100MPH (complete with Vim Fuego-esque Guitar histrionics)
If I ever needed proof that someone is reading this guff, then a question posed in the comments on an earlier post from Rol at My Top Ten asking "Have you done the Ford Galaxie yet?" proves that at least one soul is taking notice. And the answer is: No, the Ford Galaxie has not been tributed in these pages.
So ... The Ford Galaxie is a full-sized car that was built in the United States by Ford for model years 1959 through to 1974. The name was used for the top models in Ford's full-size range from 1958 until 1961, in a marketing attempt to appeal to the excitement surrounding the Space Race. In 1958, a concept car was introduced called "la Galaxie" which incorporated the headlights into pods inline with the grille and a reduced front profile.
(I nicked that straight from wikipedia)
One musical point of note is it was the vehicle of choice (in Police livery) for the KLF. Thing is, the Ford Galaxie was never actually used by the US Police, and Ford Timelord was actually an imported Ford Galaxie that the previous owner (before Jimmy Cauty) had painted up in a tribute to The Blues Brothers Bluesmobile.
Anyway, when I read the question my mind went straight to an alternative spelling ... The Ford Galaxy
Domestic tribulations and responsibilities call for a "sensible" car, maybe an estate. Equally likely is an MPV. The first MPV I came across was sometime in the early 80s when a friends family had added a bench seat into the back of an Escort Van. Not a People Carrier by design, but a Multi Person Vehicle in intent. I went through the "sensible option" period with a Vauxhall Zafira sat on the driveway. The Zafire was based on the Astra, and was not without issues, but did ferry myself, Mrs D and 4 kids around the country for a good few years. It was only the basic 1.6 model - I couldn't convince she who must be obeyed of the slightly mnore exciting choice of the VXR version. Vauxhall did actually consider entering it in the Touring Car Championship - an unlikely choice, like the Volvo 850 Estate a few years before - but I think they may have dropped the idea when they realised how ustable it could be on fast heavy turning corners (mine never fell over, although it di feel like it would a couple of times)
The MPV is predominantly a European invention, with just about every major manufacturer using the running gear and frame of a tried and trusted model and placing a spacious body with 6 or 7 seats on top of it. Arguably it was the Japenese who led the way with the Toyota Previa, Nissan Prairie and the Mitsubishi RVR. Renault were probably the first European to the market with the Scenic in 1999. A couple of years later, a joint venture between Ford, Volkswagen and Seat saw the launch of the Galaxy, Sharran and Alhambra (basically the same vehicle with a different badge). The 3 vehicles shared body parts, mechanicals, and were built in the same factory - it was just the badges fixed on at the end of the production line that were different. The engines were basically VW plants badged up for the relevant vehicle - the most notable (unlikely?) choice was the deployment of the 2.8 engine from the Golf VR6. A powerful engine in the Golf, but when shifting something 175% heavier, and did the job well but was not what you would call a "Hot MPV".
When launched, it was the Ford that topped the sales charts, and it was Ford that pushed for updates and developments. By 2006, the joint-venture parted ways, and the Galaxy became built of the Ford Mondeo running gear. With just about every manufacturere having an MPV in the range, Ford went down the route of developing the S-Max (which was a compact Compact MPV) and enlarging the Galaxy. In terms of size and internal space, the Galaxy became a 21st Century version of the Transit (but with windows)
There was a 5 year gap between the second and third Monty Python films - The Life Of Brian and The Meaning Of Life. Much had splintered in the Monty Python world in those 5 years. Their first 2 films had been given direction and purpose by one or two of the Team wrestling the Project through, and on The Life Of Brian all were pulling together in the face of adversity (and George Harrison's mortgage). Off the back of the last hurrah of Live At The Hollywood Bowl, the team assembled to make their next film. Whilst ideas weren't short, a narrative or story-arc was absent. What was decided was to take several of the ideas and weave them together against a backdrop of The Meaning Of Life. And what was produced was a similar filmic event to 1971s compilation film And Now For Something Completely Different. Initial reviews were disappointing as was public reception (maybe there was too much expectation of Life Of Brian 2?) There is much in the film that is quotable, memorable, and has made it into the British language possibly without the user realising it's source ("it's only wa-ffer thin" for example). Among the sketches were some songs supporting the narrative of the moment. Eric Idle had obviously taken courage from the acclaim received for Brian's closing song "Always Look On The Bright Side Of Life" and penned a clutch more including a song about the penis in the style of Noel Coward, celebrating the adventure of a career in Accountancy, and this one - a musing on the universe (not 100% scientifically correct, but close enough)
When the first single landed, I admit to being a tad concerned about the album. There was something typically Sparks-ian about the video featuring Cate Blanchett dancing in headphones with Ron and Russell in the background. But I wasn't enamoured of the song - nice enough, but didn't seem to have a lot of depth or invention.
But, when the album arrived, all fears were quickly dispelled and I found myself thinking "well, they done it again haven't they. Another superb addition to their 50+ years and 26 album catalogue.
However, as I listen from Track 1, each listen suggests my misgivings for the title track are slowly be displaced. From there on, what would a Sparks album be without trying to cover as many genre bases as possible? Which is exactly what the do. Name a style, and they've probably got it covered - and within each song Ron seems to find a new, undiscovered demo sequence in his synth banks.
The album has 14 tracks, so rather than give a detailed run through of each I'm cherry picking the higher-highlights. Much of the reviews I've read so far make a point of stating that this album marks a return to Island records, their first label, and the release of their breakthrough album 'Kimono My House' in 1974 (49 years ago). And the track "Nothing Is As Good As They Say It Is" has the sound and feel of those times. It may be the most straightforward constructed song here (verse, chorus, solid drums, nifty 70s-esque classic rock guitar solo), but how many other bands would write a song from the perspective of a 22 hour old baby wanting to return to it's mothers belly.
"The Mona Lisa's Packing Leaving Late Tonight" is a big Sparks baroque production with African drums. And only Sparks can construct a song about the Mona Lisa's enigmatic smile hiding more emotions. Comes complete with one of Ron's best plinky-plonk (not a great description, but I hope you get what I mean) synth inserts.
"We Go Dancing" is a virtual straight dance track (think "Number One Song In Heaven" sans Giorgio Moroder) and gives Russell the chance to weave a few long words into the narrative.
"When You Leave" has Russell dueting with himself observing that members of the party are just waiting for him to leave so they can break out the good music and heavy Belgian beers. As he says, he's staying just to annoy them.
"Take Me For A Ride" sounds like a future entry for my Car series mentioning the Chevy Powerglide. For this one they go a bit Krautrock backing Russell's near falsetto vocal.
And that's only half the album spoken of - there is so much more to enjoy, as it races towards the closer "Gee That Was Fun", which for all expected Sparks tongue-in-cheek, turning the narrative on it's head sounds like a straight ballad looking back at a life together. Of course it's possible to read it (mis-read it?) as a sign-off to the audience.
And yes 49 years of albums from 2 men with a combined age (now) of 151, if this is the last then Gee, that was fun. I sincerely hope I have mis-read that song, and plenty more madcap melodies, twisted lyrical passages, and entertainment will be forthcoming
And as the publicity run has mentioned it, if you've not seen Edgar Wright's film The Sparks Brothers, then do yourself a favour and search it out on your steaming platform of choice.
This entry was originally going to be about the Toyota Motor Company, linking to the illustrative track "I'm Stuck In A Pagoda With Tricia Toyata". However, I later discovered that Tritia Toyata (yes, I know it's spelt differently) was in fact a US Newsreader, and had nothing to do with the manufacturers of the Prius, the MR2, the Celica, or the Corlloa (and there are many more vehicles beginning with "C" in the past and current range). Never mind, just bounce back a few tracks on the bands second album, find a lyrical reference, and make this entry about black rubber rings.
Horse carts, push carts, farm tools, bicycles, anything that rolled basically got by using metal or wooden wheels. Yes, the ride was uncomfortable but be honest they never really went fast or far enough to consider comfort. But all metal wheels were expensive and heavy, and wooden wheels brittle when faced with stony/rocky roads and tracks. To increase the life of a wooden wheel, a metal band would be heated and shrunk over the wheel. The life of the wheel increased, but not the comfort. The metal banding was replaced by the use of rubber, albeit in solid form which at least provide some form of shock absorption. The first pneumatic tyre (basically a rubber skin filled with compressed air) was patented by Robert William Thompson in 1847, but never went into production. John Dunlop then conceived a similar method of encasing air in rubber and attaching it to a wheel and was granted a patent in 1888. Dunlop's patent was declared invalid 5 years later when the similarities were noted - the possible confusion coming from the fact that Thompson's design was intended for Horse Drawn carriages, whilst Dunlop's was primarily for bicycles. He may not have had the patent, but it was Dunlop that developed and exploited the technology and it's wider use. Many tyre manufactuers followed including those still big names today: Goodyear, Firestone, Pirelli, BF Goodrich, Continental (to name a few big names) all utilised Dunlop's methods of construction and production. In 1946, Michelin further enhanced things with the radial tyre - this gave the tyre better re-inforcement and flexibility, increased comfort, better heat sustainment, and a longer life. Michelin had already bought the bankrupt Citreon company in 1924, and was now able to launch a new car (the 2CV) with it's new radial tyres. Within 30 years, the radial tyre became the industry standard. Tread patterns, water disbursement, road holding, wear indicator markers - the basic tyre has developed a lot in recent years (gone are the days when the choice was: Remoulds for £10, Kwik-Fit Own Brand for £25, or a big name brand for £50+. You now need speed rating, seasonal variation, efficiency rating, and (if you're at the top end of the market, or riding round in a 4x4, you need very deep pockets). Tyres - possibly the most important component in any car (apart from, perhaps, the nut behind the wheel). As Robert Mark explains: (note: not the real Robert Mark ...)
The Dickies formed in Los Angeles in 1977. Their debut gig was at the Whiskey a Go Go on Sunset Boulevard, and were the beneficiaries of A&Ms search for something easier to handle than the recently paid-off Sex Pistols. The Dickies musicality, stage entertainment, and growing following convinced A&M to give them a contract. Now, it's true that The Dickies legend (if that is the correct term?) is built on their break-neck speed cover versions of tunes such as "Paranoid", "Nights In White Satin", "Sounds Of Silence", "Eve Of Destruction", "Silent Night" and more. It's not helped by the fact that their biggest and best known hit was the childrens TV theme "Banana Splits (The Tra-La-La Song)". Yet in the space of 18 months, they also managed two albums stuffed full of their own tunes. And very good they are too. However, internal fighting, loss of band members and management, as well as their record contract expiring meant it would be 2 full years before a third album appeared - by that time, the musical landscape and their original audience had moved on. But they re-grouped and kept ploughing on, releasing albums where a label would give them support, and playing support slots to bands who cited them as an influence.
Their second album 'Dawn Of The Dickies' was released in 1979 and includes their cover of "Nights In White Satin". Whilst only modestly successful on release, with it's irreverence, sound, and focus on melody, it stands today (along with the debut 'The Incredible Shrinking Dickies') as a direct line to the later Punk bands to emerge from LA, including Green Day and The Offspring who both cite The Dickies as major influences.
Track 3 is titled "Manny, Moe and Jack" and is basically an advert for their mates garage:
When your on the road and your car wont pull that load and your wheels aren’t feeling fine Well I know of this joint where they’ll check your plugs and points I know these guys they're three good friends of mine
Manny Moe and Jack They know what I’m after Manny Moe and Jack They Know what I’m after They're Manny Moe and Jack
Once your inside they wont take you for a ride they got a good deal for you and your automobile for the right price they will sell you fuzzy dice and leather hand grips for your steering wheel
If its tires you want they got a lot for you Dunlop, Firestone, Pirelli too
When I started listening to and buying music, there was 20+ years of the past to supplement the current offerings. At this point everything is new (even if it is old). A regular balance of old and new began to fill my shelves.
And then as one settles into a preferred style or genres, the new becomes the focus and discoveries of the past become more focussed. Like when such-and-such releases a new album and you realise that you don't own the back catalogue (or selected parts of it) - this is where mid-price re-issues come into their own, allowing the latecomer to build a collection at a reduced cost. And then in the internet age, the simplicity of Amazon Marketplace and MusicMagpie makes the "gap filling" even easier.
But I can't help noticing that a lot of new stuff that arrives and I get overly excited about is the latest album from an established name.
Over the last 5 years (off the top of my head) has seen the new names appear on my spreadsheet:
Public Service Broadcasting
The Strypes
First Aid Kit
The Vaccines
Parquet Courts
Trembling Bells
White Denim
Fontaines DC
Mattiel
Sam Fender
Chubby & The Gang
Hamish Hawk
Yard Act
Block 33
Wet Leg
Humdrum Express
Massive Wagons
Sports Team
Big Joanie
Fine names, and fine albums released and thoroughly enjoyed. But ... in that time period, I have bought around 200 CDs , the 19 names above represent about 10% of the total. Even ignoring the relentless gap filling and back catalogue buying, I reckon it's still only 25% that is from new artists.
So what does it all mean? Nothing really - it's all music, and very good music too. I'm just concerned that (a) I might be missing something, or (b) maybe there isn't that much new (which appeals to my taste) out there.
I have a subscription to Mojo, trawl various websites and blogs for recommendations, and listen intently to 6Music hoping for inspiration. It does happen, just not as often as it did in my younger days. Is there less new stuff around, or have my tastes dictated that there is little worth investigating as I settle back to enjoy so-and-sos debut album from 1984 ... for the 973rd time.
And the slightly more sobering thought - many of those I have purchased, seen live, followed in print, and generally advocated to anyone who'll listen are now nearing (or passed) the generally accepted retirement age of 65 to 67, and may well be thinking of stepping back taking it easy and enjoying a quiet life.
The quest continues ... I'm sure it's out there, but like some Grail I must continue to search. There must be some New somewhere ...
Oh I'm looking around, but I ain't hit the spot I need three minutes now that'll make my heart stop Oh so tell me that it's too late It's a race against the clock But I'm still looking around I'm searching for the sacred scrolls of pop
Glen Matlock wrote the songs for the Sex Pistols. When he left the band / was ousted from the band (depending on which version of the story you go for - Glen's version or the legend) he retained a relationship with EMI leading to an outlet for his new band The Rich Kids. The album 'Ghosts Of Princes In Towers' was prime power-pop harking back to Glen's infatuation with Small Faces and 60s Mod, but was scuppered by production. Mick Ronson basically turned the faders up to full and left them there. The album was "recorded" rather than "produced". Within a year The Rich Kids started falling apart and Midge Ure and Rusty Egan decamped to Visage (with Billy Currie and Steve Strange) and effectively set the template for New Romanticism. He may not have had the highest profile solo career, but he has kept himself busy with the writing of a memoir (I Was A Teenage Sex Pistol - he got in there quick to tell his side of the story, and the book still sits as an essential text in the story), plenty of session and sideman work including Iggy Pop, Faces, Sex Pistols reformations, King Mob, and most recently Blondie. He's also kept his own name out there (albeit at a small-scale level) with his own solo outings - the last of which was 'Good To Go' in 2018.
Since that album there have been 2 major events that feed into this album. The first being Brexit - he is an outspoken opponent of Brexit, and the Covid pandemic. Whilst his opinions on the latter are not as vociferous as the former, his position as a touring musician (ie where most of his income is from) was in suspension. So taking the frustration of the former and using the time given by the latter has produced 13 songs with something to say, and a bunch of riffs helping the message along. Plus his address book affords a guest list that anyone would be pleased with including Earl Slick (David Bowie sideman), Clem Burke (Blondie tub thumper), Neal X (Sigue Sigue Sputnick / Iggy Pop) and bass duties by Nornan Watt-Roy.
"Head On A Stick" and "Consequences Coming" open the album fully charged and railing. But next track "Magic Carpet Rides" drops the levels. All good songs (including an unexpected cover of kd lang's "Constant Craving". It is side 2 (in old money) where the album picks up speed again with a duffer-free run of 6 tracks - the prime picks being "Face In A Crowd" and "The Ship". Musically it's a mix of a 70s Rock sound (no doubt inspired by his love of Faces and Humble Pie) plus a bit of Slade thrown in and a Rockabilly swing throughout. My only real criticism is Glen's voice - it's a good voice, and good for the song styles here. But mate, you're from West London. Why the mid-Atlantic singing voice? A minor quibble for an otherwise consistent quality album - he wrote the songs 40 odd years ago, and is still capable of penning a catchy little number with a message. It just may not get the same audience (either now or in future years).
The first commercial CD was released in late 1982. Since then, Record Companies have found ever more inventive ways to entice buyers into buying (again) what they already own. I'm sure like most others I have re-bought much of my vinyl collection on CD, but if the price is right (or if the package is right) I will continue to fill gaps in the collection, or even start new collections that I never knew I needed.
But once the duo-ownership of vinyl and CD is satisfied, surely no-one is mug enough to buy the stuff again?
Guilty m'lud ...
I own 13 different versions of Sex Pistols 'Never Mind The Bollocks'. There are other releases which fall into the multiple ownership category, but this one represents the peak.
My owning Carter USM's '30 Something' on vinyl, picture disc, cassette and CD has now been extended with the procurement of the 3 CD + 1 DVD 30th Anniversary Box Set. It contains the album, a second disc of B-Sides and Live recording, a full live show from Kilburn in December 1991, and a DVD (In Bed With Carter) of a Brixton Academy show from June 1991. A very nice package, and good to have all the pieces together in a single box.
How often will I revisit the extras and/or watch the DVD?
I also recently visited a record fair where I plugged gaps in the CD collection, took a punt on a couple of bands that I've heard good things about (The Rockingbirds, and Big Big Train), and found the 2nd and 3rd Beatles Anthology discs at a decent price. I now own all 3 Anthology sets - again (like Carter USM above) nice to have on the shelf, but will I ever put aside 2 or 3 hours to listen through?
Many early CDs were straight copies of the vinyl masters pressed onto a 5" shiny disc, later came expansions with contemporary singles, maybe a couple of live tracks, and/or radio session versions. And then came advances in recording technology where the Masters could be re-visited, cleaned-up and re-mastered to sound better on CD (OK, you do need good ears to hear some differences, but reading the phrase "Digitally Remastered" psychologically suggests you're getting something new (the bass higher in the mix, an unheard crash cymbal, clearer vocal tracks as "bleed" is removed, maybe even some background dialogue). And then comes the 20th, 25th, 30th, 40th, or 50th Anniversary Editions - these milestones need marking somehow, so what is a record company to do with each subsequent release. The album has been re-mastered, singles added, live shows compiled ... where next? Time to plunder the archives for whatever is hiding in the dark corners, exhume it and press it onto extra discs. Maybe even place it in a special box with added ephemera and tat.
So you "invest" in the new anniversary edition with bonus discs full of unheard tracks - a nice package to own but how often do the extras get an airing? Where the expansion is simple (ie singles and B-Sides tacked on the end of the album) then these will probably get an outing as much as the album itself. Live Discs may get a re-visit, but demos and alternate takes probably only one listen to say "I've heard it" then back in the case. This is the same for DVDs - probably only once, and then I can't be bothered with the faff of extracting from the CD shelf in one room and playing it on the DVD player in another room (plus the fact that it will soon be on Youtube anyway ...).
But ... there may be an exception. Jim Bob (back to Carter USM again ... see I do think these passages through) is about to release a new album in June. If I pre-order now (which I have done) it comes shipped as a 2 CD set with a second disc of cover versions. CArter USMs take on cover versions threw up some interesting choices and arrangements, and I'm expecting Jim Bob's take to be no different, and I'm sure this extra disc will get more than a cursory listen and a return to it's packaging.
In mid-1987, The Smiths announced they were to split after 5 years of relative success with their final album 'Strangeways Here We Come' to follow in September of that year. The mood of 'Strangeways ...' probably sums up where the band members were wit the breakdown of personal relationships, the old chestnut "musical differences", Johnny Marr wanted to change the sound of the band to the point of having no guitar on "A Rush and a Push and the Land Is Ours". It's not a complete shift from the jingle-jangle of old, and does come complete with Morrissey's pseudo-intellectual, 6th Form, literary references peppering the lyrics.
The debate continues whether 'Strangeways ...' is their best album - I believe that it is. Despite the breakdown in relationships, I think the songs are amongst the strongest and most representative (if not pulling from a broader palette) of the bands career, and the production is fuller than before - almost like it has some production work rather than sounding muffled or like bits were recorded in a tin can (a harsh criticism, but I hope you see what I'm getting at ...)
Mid-way through side 2, there is a song where Morrissey imagines the conversation of record company execs following the death of their income stream (sorry, recording artiste). With a cry of "Re-issue! Re-package! Re-package!", it is a scathing and idealistic commentary on the likely exploitation and cash-in that will come when a star is no longer recording but the return on investment must be protected. And here's the irony - The Smiths had already released 2 compilations in their short life (3 if you count the (originally intended) US compilation that got a UK release, plus a live album. And then there have been 7 more compilations since 1992 - 10 compilations vs 5 studio albums, a ratio of 2:1 in the re-packaging stakes. Morrissey solo has a ratio of 1:1 with 14 compilations vs 14 studio albums.
"But you could have said no If you'd wanted to You could have said no If you'd wanted to"
Did Morrissey, Marr, Rourke and Joyce (and Gannon) say "no"? There is one compilation - 'The Very Best Of The Smiths' - that the band have distanced themselves from. Though there is at least one - 'The Sound Of The Smiths' - that both Morrissey and Marr were involved in the assembly. In Morrissey's defence, many of his compilations have come as a result of constantly changing record company and the need to meet contractual obligations. But is his next album to be a Best Of The Best Ofs?
The Morris company (originally named WRM Motors) was formed by William Morris in 1912 who expanded his bicycle manufacturing to cars and set up home in Cowley, Oxford. It's first production model was the Morris Oxford Bullnose (so called due to the rounded front grille). A larger model, sporting more luxuries (such as proper doors) was introduced and titled the Morris Cowley after the factory it was made in. After World War I, Morris expanded it's interests buying up subsidiaries in engine manufacturer, body parts, military vehicles, and other marque names. After World War II, Morris looked to replaced it's Eight and Ten vehicles with a new, relatively low cost vehicle. Morris designer Alec Issigonis set about the task, and in 1952 the Morris Minor was launched. The Cowley production line busied itself to meet demand for the new vehicle, and also rolled out the larger (similarly shaped) Morris Oxford and Morris Cowley (again, and up-rated variant of the base Oxford)
In 1952, Morris merged with close rival Austin - based in Longbridge, Birmingham - to form the British Motor Corporation (BMC). There may also have been some political intervention in this merger as Leonard Lord (Head of Austin) and Lord Nuffield (Head of Morris) weren't exactly close friends. Austin may have been seen as the dominant partner, but it was Morris who had the best selling car (the Minor) and the most productive factory (Cowley). Two major shifts occurred in 1959. Italian styling house Pininfarina overhauled the Austin/Morris range and the identical (but subtly different in interior) Austin Cambridge and Morris Oxford (but no Morris Cowley upgrade) came of the production line. Why Austin Cambridge? Morris Oxford you can understand - it's the hometown. But Austin had no links with Cambridge. Maybe the Austin Birmingham just didn't have the right ring to it. Also in 1959, the Cowley plant was tooled up for the production of the Morris Mini Minor (at the same time, Longbridge manufactured the Austin Se7en. The Mini name won out, and production continued in parralel with Longbridge until 1969 when Cowley was re-tooled again for the Austin/Morris 1100, followed by the Morris Marina (and later Ital) and the Austin Princess. After British Leylands industrial failings of the late 70s, and it's reputation for low build quality was harming sales, a deal was done with Honda to co-design and co-build cars. Cowley was chosen as the venue for the first fruits of this partnership - the Triumph Acclaim - and continued with production of the Rover 200, 400 and 800 series. Also on the production line were the Austin Maestro and Montego - envisaged as the saviour of the Austin-Rover Group, but again harmed by build quality and reputation. By 1988, the Rover Group was sold to British Aerospace, who in turn (in 1994) sold out to BMW. By 2000, BMW retained the Mini name (and the Cowely Plant) and sold off the remainder of the Rover Group. The Cowley Plant was redeveloped and re-named Plant Oxford, and now produces solely the Mini (in it's many variants).
In 1977, ITV launched a new Police-based drama - The Professionals. Set in the Police Department CI5 - a unit that sat somewhere between the Metropolitan Police and MI5, and invariably busied itself with terrorists threats, kidnapping, and driving Ford Capris very fast around the Docklands area. It was led by Commander Crowley, and it's 2 chief protagonists were Bodie and Doyle. The forenames of the characters were rarely - if ever - spoken (even though they are listed on wikipedia), I like to believe that the first name of Cowley was Morris.
Also in 1977, the Sex Pistols effectively peaked having a Number 2 single (some argue it was Number 1) with "God Save The Queen", and a Number 1 album in the shape of 'Never Mind The Bollocks' - which despite all the hype, hoo-hah, and general blowing of smoke, still ranks as one of te greatest rock albums ever released. By January 1978, the band effectively fell apart on stage in San Fransico. John Lydon returned to England (with the assistance of Warner Bros records, as Malcolm McLaren basically cut him off) and began assembling Public Image Limited, Sid Vicious continued his descent into heroin addiction and cartoon punk buffonery, and Steve Jones and Paul Cook flew to Rio de Janeiro to record with Ronnie Biggs. Returning to England, Cook and Jones busied themselves with recording and re-recording tracks for the film The Great Rock n Roll Swindle - session bassist Andy Allan was brought in to assist. By 1979, John Lydon's court case against McLaren and The Sex Pistols begun in the High Court - upon hearing how McLaren had funneled the bands money into the film project without approval, Cook and Jones switched to Lydon's side of the fence, winning back control over their legacy. Cook and Jones, no longer able to operate under the Sex Pistols name they once again turned to Andy Allan to form The Professionals, and Virgin Records retained the contracts. Granted it wasn't a big jump from the Sex Pistols latter template (could it be anything else, it was the same people continuing to do what they knew best), 2 singles were released and although only scraped the charts, there seemed to be enough interest to continue (plus Virgin wanted a return on it's investment). However plans for a full album were nixed when it transpired that Andy Allan was not under contract to Virgin and filed a lawsuit claiming unpaid royalties. Allan was replaced in the band by Paul Myers (bass) and Ray McVeigh (guitar), and the foursome set about re-recording all the tracks to prevent any further royalty payments due. With the legal disputes ongoing, it was 6 months before another single was released from the re-recording sessions for the album. Again, low sales saw a downturn in The Professionals mood, and with Jones and Myers deepening heroin addiction and new producer Nigel Gray losing interest in the album project, the resultant album 'I Didn't See It Coming' was maybe not in-line with early expectations and promise. In retrospect it is a very good album - a bit formulaic perhaps, and some of the songs maybe needing a bit of extra work. The Professionals de-camped to America for a 6 week tour in support of an album that neither they nor thew audience were particularly impressed with. Part way through the Tour, the band (minus Steve Jones) were involved in a car crash which placed them in hospital before returning to Britain and disbanded. The Professionals reformed in 2015 for a one-off show (without Steve Jones, now permanently resident in America), and again in 2016 for a benefit show for Steve New of The Rich Kids. The following year, Paul Cook and Tom Spencer reformed The Professionals and 2 further albums have seen the light of day since then.
