Public Service Broadcasting - The Race For Space

On 21 July 1969, Neil Armstrong first set foot on the moon (or not if you go along with the conspiracy theories).
12 months to the day later, I popped into this world.

As a result of this chronological quirk, there may be a chance that I have an in-depth knowledge and appreciation of all things space-y, astronaut-y and SciFi like.
Not a bit of it - I can appreciate the scientific and engineering advances, but I prefer SciFi when it is debunked via Airplane II, Spaceballs or Red Dwarf, or similar.

But this in no way reduced my anticipation for the new Public Service Broadcasting.
Previous release 'Inform - Educate - Entertain' took old Public Service Broadcasting Films and provided them with a soundtrack.  The juxtaposition of the BBC English, plummy-voiced Announcer fighting for air-space with guitar, drums and electronic beats worked so well, the apparent strangeness of the concept was gone.

The "difficult" second album continues this conceit, and uses voice tracks recorded in the 50s/60s documenting the competition between the super-powers to get a man on the moon.

On first listen, it didn't immediately "grab" me the way 'Inform - Educate - Entertain' did, but further listening reveals more depth and cohesion than the previous release (I just needed to re-calibrate my expectations).


Opening with a John F Kennedy speech of intent to go to the moon over a haunting choir, second track "Sputnick" starts up as the applause fades.  From a relatively desolate beat, the track starts slow and moody, gradually building with more sounds and atmospheres, before tailing away and launching into "Gagarin" - a throbbing funk track built around an insistent guitar riff and horn work-out.
The whole mood is brought down a notch with "Fire In The Cockpit", where you can almost feel the claustophobia and helplessness of the situation it describes.

The next track for me was the pivotal moment of the album - "EVA" opens like a collision between a Pink Floyd riff and Television for Schools and Colleges, and continues in that vein at moments sounding like TV and Film "production" music.
This is the track documents the first Space Walk, and for me encapsulates the point of the story - a statement of achievement  Built around a Tubular Bells-like base, the track bounds along, and then slowly fades, before the monotonous, almost Krautrock, opening to "The Other Side".
"Valentina" retains the musical template, and adds actual vocals, courtesy of The Smoke Fairies (albiet in the form of a choir-infused atmospheric chant).

"Go" is probably the most immediate track on the album - this track marks the actual moment of the moon landing, and includes possibly one of the most famous human utterances "The Eagle Has Landed".  This therefore should represent the conclusion of the story.

Or it would do, but ... the final track "Tomorrow" is a slow, almost melancholic account (complete with glockenspiel) which recounts the final Apollo mission of 1972.  It may mark the end of an era, but retains the suggestion that if mankind has done it once, why not do it again.
All goes quiet for about a minute and a half, and then a rousing tone begins to rise offering a rousing, almost triumphant, conclusion to the album (although many may nor get to hear this and switch the album off at the 4:00 minute mark when "Tomorrow" seemingly ends.)


The conceit of the band remains the same - to apply a contemporary soundtrack to archive voice tracks.
Both the predecessor and this album follow this pattern.  However, the tracks on 'Inform - Educate - Entertain' could be considered as stand-alone entities strung together by the idea, this album is a true concept album built around the narrative of the title.
As a result, it makes for a stronger, more complete work.

Although, I do fear for the future - there are only so many archive recordings that could lend themselves to the PSB treatment.  There may be a danger of either repeating themselves, or not finding a truly emotive, or resonant, subject to base future releases upon.

Where next?

• A celebration of 1970s TV Adverts (including a trip-hop remix of the Shake n Vac advert)?
• Match Of The Day Commentary tracks from John Motson over a three-chord punk rock thrash?
• The speeches of Margaret Thatcher set to a Brian Eno inspired ambient soundscape?

Whatever they do next, I'm sure it will be as eagerly awaited, and as well received as both full albums released to date.




Public Service Broadcasting - E.V.A.

The Year So Far - AAARRRGH!

2015 got off to a fairly bad start when I decided to try abstinence for a month, and then fell into a state of anger, upset, annoyance, sickness and general listlessness from which I'm only just recovering.
Also in January, the new lighter I received for Christmas decided to pack up ("Hey ho", I thought,"it's only a lighter").
But little did I know this was just a pre-cursor for the headaches to come.

In mid-January, I took my car for a Service and MOT at the Jaguar Main Dealer - it passed, not necessarily with flying colours, but it passed.  As part of the Service, the garage carried out a Vehicle Health Check, and the car was given a clean bill of health - "nothing of concern there sir" (I like this garage, because they call me "Sir" - they obviously recognise my importance in the world).
So, I was a bit miffed when 10 days later I go to accelerate, and the dashboard starts flashing at me.  I pulled over, stopped, switched the engine off, re-started and all seemed fine (maybe it was just freaking out due to the cold weather).
2 days later it happens again.  This time the whole engine cuts out.  It still re-started but just didn't feel right.
Took it down to the local garage (I know the owner, and they don't charge Main Dealer prices).  Diagnosis: "Injectors have had it, and you need a new Fuel Pump - that'll be £3grand please".
Oh, and the Main Dealer deny all culpability as the parts affected weren't part of the Service or Health Check (fair enough, but still bloody annoying)

No, no, this can't be happening!!

Thing is, you know how there is unconditional love for your children?  Well, now my kids have grown up and left home *, I have passed these feelings to my dogs and my car (yes, call me shallow, but thats just the way it is).

* well, one is living with my parents because its nearer her work,  and the other is with her mother because its nearer her college

In short, if there is something wrong, then I'd pretty much do anything to solve it.
So, speaking to mechanics/technicians at work they advised me to try a Specialist Garage they have used.
Phoned them up, go it booked in, got it checked, same diagnosis (without the Fuel Pump) - still expensive, but not so much wallet-aching as before.  5 days they've had it now, and I should be getting it back tomorrow.

And as if that wasn't bad enough, earlier this week I awoke to see Penguins, Eskimos and Polar Bears waddling around my house - the Central Heating has decided to pack in.

I REALLY don't need this!!

Fortunately, the addition of Homecare to the Home Insurance has proved to be a good idea.  The Homecare people rode up to my house this morning, replaced a fuse in the boiler and now the house is warm.

So who says Friday 13th is unlucky?
Got my car fixed, got my heating fixed - and Mrs D has forgiven me for shouting and bawling at her about the Heating on Thursday morning (I think?).
Result all round seemingly - except I still haven't sorted out a new lighter.

As far as it is possible for a proper grumpy old sod to be content, I am actually (fairly) happy.

The Aliens - "The Happy Song"

Thank **** That's (nearly) Over

Dry January, or my own peculiar spin on it, is nearing completion.

My version of Dry January has been to deny myself the pleasure of buying new music for the course of the month. It has been an exercise in self-awareness, self-denial and extreme stupidity, which to be honest I wish I'd never embarked on.

Thing is, this is a self defeating exercise - as the calendar lurches slowly towards February 1st, I am sat, eagerly brandishing a Credit Card ready to binge on the aural pleasures I have been denying myself for the last 30 days.
(I wonder if the "No Alcohol Dry January-ers will be doing the same thing?  Downing 15 pints and half a bottle of Vodka as the clock ticks past midnight?  Probably not.)

The expansion of the Amazon Wish List is testament to my achievement.  As is the self-control displayed when following recommendations I have landed on Spotify or YouTube, thoroughly enjoyed what I'm hearing, and not followed up with a physical purchase.
But the constant headaches, shakes and bouts of nausea have become unbearable.
Little did I realise that after that first 7" single purchase in 1981, I was on the slippery slope: Work - Get Money - Buy Music.
At the start, I would be limiting myself to 2, maybe 3 purchases, in a month.  As time went on, I found myself hoarding more and more, and indulging in an increasing wide range of musical delights.  I thought, like most others I'm sure, "this is not a problem, I can stop at any time".  But the cravings continued, and more purchases were needed to be made to satisfy my hunger.

Through fear of temptation, I have changed walking routes to avoid Record Shops and Charity Shops.  I have purposefully avoided the (often laughable) Music section in Supermarkets.  And I no longer drive past the Leisure Centre for fear of seeing the bright yellow "Massive Record Fair This Weekend" sign.

But I have not waivered - it is now nearly 6 weeks since my last purchase, and I will not let these last few hours beat me.  Positive Mental Attitude - I will tell myself "I Can Do It!"
(The Rubettes, 1975 - I wonder if that is available anywhere on Amazon?  ... No! You must resist)


Do I feel any better for this period of abstinence?  Not really, no.
Would I do it again?  Absolutely Not!

Celebrating the conventional

Cars are one of the mainstay of Rock n Roll lyrics.

From The Beach Boys "Little Deuce Coupe", "And she'll have fun fun fun, 'Til her daddy takes the T-Bird away" to Bruce Springsteen ("Thunder Road", "Racing In The Streets(just about every song that isn't about blue collar workers and /or their relationships).

The Beatles weighed in with "Drive My Car" whilst Status Quo responded with "Don't Drive My Car".

The Clash watched as their baby drove off in a Brand New Cadillac, and Gary Numan felt safest of all in his Car.

Prince had a small red Corvette (this is not a euphemism), whilst Bruce Springsteen was resplendent in his Pink Cadillac.

Queen drummer Roger Taylor expressed his love for his vehicle, and Janis Joplin merely dreampt of owning a Mercedes Benz.

Even Marc Bolan (who couldn't drive) offered "Mustang Ford" and stated that he "drove a Rolls Royce. 'cos its good for my voice".

In terms of aftercare, all the above could've paid a visit to Rose Royce who would've given them a thorough clean at the Car Wash (they may never get rich, but its better than digging a ditch).

But what of more common, possibly less romantic car marques?

Is there a song somewhere immortalising the life changing impact of owning a Vauxhall Viva?  or maybe a crooning love-letter to a Datsun Cherry?

There is however one of these lesser cherished vehicles which has made its way into popular song - step forward John Shuttleworth and his Y Registration Austin Ambassador. 

Now you may laugh and think he is just a one-dimensional creation singing about the mundane, mediocre and insular moments that affect his world.  But you would be wrong when you consider the heartbreak and frustration conveyed in a song such as "Two Margarines On The Go" or the quandary faced at meal times when you've eaten your main course, tucked into dessert, and then a second helping of the truly delectable main course becomes available (as outlined in "I Can't Go Back To Savoury Now")

Marillion - Misplaced Childhood

"New" - a new or current album
"Old" - a previous release (possibly lost in the mists of time)
"New-New" - a new or current album from an artist that is unfamiliar to you (either partially (ie you know the name and what they sound like) or completely (ie never heard of them)
"New-Old" - a new or current album from an artist you know well
"Old-New" - a previous release from an artist that is unfamiliar to you
"Old-Old" - a previous release from an artist know well

This is, perhaps, a simplistic classification method.  Indeed, you could further the classification with an additional "New"/"Old" referring to ownership/purchase status - but to be honest it all starts to get confusing than (as if it wasn't already?)

OK, the last 12 months has thrown up a variety of "New-New" and "Old-New", and I've now run out of "New-Old".  So now it time for "Old-Old".
The next step is to stand in front of the shelves for a minute and wait for inspiration.

First off the racks:
Marillion - Misplaced Childhood

Aylesbury may sound like a non-descript, mudane, home-counties town, but was home to one of the most popular live venues (Friars, which has hosted performances by Free, Mott The Hoople, David Bowie, Genesis, The Police, Stiff Little Fingers and many many others).  It is also the hometown of John Otway, and in 1979 spawned the first incarnation of Marillion.
Formed in 1979 and taking their name from a J R R Tolkien book (how much more Prog can you get?) bu guitarist Steve Rothery and drummer Mick Pointer.  Derek Dick (better known as Fish to save sniggering at his surname) joined on vocals in 1981.  Mark Kelly (keyboards) and Pete Trewavas (bass) completed the line-up.

The band played Genesis/Pink Floyd/Van Der Graff Generator/Peter Hammill infused Prog Rock - probably not the wisest move against a backdrop of NWOBHM, Post-Punk New Wave, New Romantics and developing Synthesiser music and increased studio production techniques.
Probably not an immediately obvious recipe for success, but exposure, and positive reaction, on Tommy Vance's Friday Rock Show led to EMI taking a punt.

First single "Market Square Heroes" was released in late 1982.  Whilst the A-Side was more of an anthemic (almost air-punching) rock track, the B Side showed Proggy-pretensions with the 17 minute "Grendel".
Their debut album 'Script For A Jesters Tear' came out in early 1983 and continued the musical backdrop - 6 tracks around the 7 or 8 minute mark was not necessarily the order of the day for most albums in 1983.  For the two singles culled from the album ("He Knows You Know" (the shortest track at 5:30) and "Chelsea Monday" it was necessary to edit the songs down to 4 minutes to make them palatable for radio play.)

The second album was titled 'Fugazi' (1984) - the name can be translated as being derived from fugacious meaning fading or transient, or a military slang term for f**ked up.
This is perhaps a reflection of the lead up to the recording of the album with original drummer Mick Pointer leaving, and a succession of drummers auditioned before Ian Mosely got the job, and the number of studios utlised in order to get the job finished.
This album squeezes in 7 tracks, but is ultimately not as good as the debut.  It just doesn't feel as focussed as the debut.  Later in the year though, the Live album 'Real to Reel' was released which showed just how strong the band were on stage.
Also on this tour, Fish announced that the bands next album was to have only two tracks, entitled "Side One" and "Side Two".

The outline story/concept was the result of a 12 hour acid trip, where Fish faced up to lost childhood memories, failed relationships, the impact of becoming successful, loss of inspiration and, as is the way with all good stories, ultimate redemption.  Effortlessly strung together, and featuring recurring musical motifs.  Drop the needle and Side One, Track One and you'll be happy to stay until the end of Side 2, Track 5 - it is a great way to spend 40 minutes, and on CD it feels even more seamless.

At the outset, EMI expressed concern about the bad going all "70s Prog" and recording a concept album.  These fears were alleviated when initial single "Kayleigh" hit number 2 in the UK Singles Chart.

The album starts with a spoken passage which (sort of) outlines the story, before the now familiar guitar opening for lead single "Kayleigh".  This segues into the second single "Lavender" (which also hit the Top 10).  In a departure for Marillion, this song had to be extended to make it into a single.
"Bitter Suite" is a 5 part movement combining atmospheric music (there is a touch of the Pink Floyd about it) under spoken poetry ("Brief Encounter"), developing into sung lyric ("Lost Weekend") before reprising the guitar motif from "Lavender", the melody (or a close approximation) is also revisited for "Blue Angel".  "Misplaced Rendezvous" tells a downbeat tale of a lost relationship, before rolling into another spoken passage which serves as an intro to the third single lifted from the album, "Heart Of Lothian".  This is a nationalistic track, and perhaps the strongest of the straight-ahead rock songs on the album.  Personally, I think it is the strongest of he three lifted singles, but performed the worst (shows you what I know then?).
(if you haven't got a CD player, now is the time to get up and turn the record over (unless you've got one of those super-duper, fangly-dangly 1980s record players which could play both sides with no human intervention)

An atmospheric keyboard introduction followed by pummeling drums opens up into a full on rock song with impassioned, almost snarling vocals, crashing cymbals and guitar histrionics.  "Lords Of The Backstage" kicks in maintaining the rock sound, although the vocal is more toned down.  Cynically, the instrumental nature of the song feels like it was written as purely a linking passage with lyrics added to keep the momentum of the story.  This may not be the case, but it does segue into "Blind Curve", possibly the most complex and ambitious and potentially epic track on the album.
Again built on 5 parts.  "Vocal Under A Bloodlight" is another tale of lost (or possibly unrequited love).  "Passing Strangers" is another brief tale in a similar vein.  This is followed by a truly magnificent Steve Rothery guitar solo lasting near a whole minute - at no point does a note sound out of place or forced.  The next part "Mylo" is a song of loss, based on a the death of a close friend.  Towards the end you can feel the confusion growing in the mind (and the voice) of the narrator.
"Perimeter Walk" is slower-paced with some shrill picked guitar, and moody atmospherics.  The lyrics sit below the music and are dark and moody, yearning for a lost childhood, before erupting into "Threshold", which questions whether the return of childhood in such a hostile world is a good thing?.
There is a familiar guitar refrain, and more picking guitars lead into "Childhoods End" - the point here being redemption, and the realisation that childhood is not lost, it continues to reside inside ("There is no childhoods end").
"White Feather" rounds of the album on a high - a call to arms following the tried an trusted "together we stand" principle.  The album fades on the refrain "I can't walk away no more".

EMI's reservations were perhaps true when they feared an overblown, prog concept album, with a potentially confusing story would die a death when placed before the public.  Well, in this case those reservations were entirely misplaced (geddit?), when the album was lapped up by the public and hit Number 1, topping 300,000 sales by the end of the year and continuing to be the bands most bankable album (not that they earn that much from it) - worldwide sales are estimated to be in excess of 2,000,000.  Not bad for a niche band, playing the sort of music that was supposed to be killed off by Punk in 1977.

Childhoods End? / White Feather

Whats Another Year

In my true curmudgeonly state, I can clearly say that 2015 will be much the same as 2014 (and pretty much every preceding year).
I am not expected any seismic changes in my life in the coming 12 months - so in the words of Curtis Mayfield I will just Keep On Keeping On.

Traditionally, a new year marks a time of taking stock, considering lessons learned from the past, and considerations/intentions for the future.  This may result in the formulation of New Years Resolutions, which will probably never happen, and by 17th February be all but forgotten.
I did consider the making of New Years resolutions based around personal health and intake, but hit a couple of walls with those:

• Smoking - Yes, I probably should give up Smoking, but (a) I actually enjoy it, and don't actually want to stop, and (b) I was given a new lighter for Christmas and it would be rude not to use it.
• Eating - Due to a set of incredibly bad teeth, and daft decisions like skipping lunch because I'm too busy to remember, I'm actually about a stone and a half lighter than this time last year.  So, if anything, I actually need to eat more over the next 12 months.  It's a tough job, but someone has to do it.  I suppose I could supplement my diet with healthier options.
  Salad?  Who eats this stuff and actually enjoys it.  Its just garnish and gets in the way of the Steak on the plate.
  Decaffinated coffee?  It promises so much and delivers nothing.  It's like Danny Dyer or Peter Andre - I know they exist, but fail to see why?
  Diet Coke?  All fizz and no substance.
• Drinking - How can I possibly consider this when there are all these half finished bottles left from Christmas?  OK, so the concept of 'Have A Dry January' has been suggested.  And to comply with this I will restrict my intake to Dry Cider, Dry White Wine and Dry Gin.

2014 saw the fulfillment of a long held ambition when I got to see The Jam live (OK, it was From The Jam, but it does contain one original member).
2015 sees a new album due from Paul Weller, so I will hopefully get to see him perform live as too (if I can get my arse in gear and stop finding excuses not to visit that London or other metrpolises (metrpoloi?)).
And I also intend to set foot inside a cinema for the first time in about 6 years.  Not because there are any films I specifically want to see, just because I think it's about time I did.

Despite quizzical looks and protestations that "you can't possibly want anymore CDs, surely you have enough already" I will keep buying new stuff, and re-discovering old stuff.  Yes I know that I can't possibly listen to everything I own, but at least I know I've got it should the whim ever take me.

So there you go - the next 12 months will be a haze of Eating copious amounts (whilst continuing to argue that Doner Kebab is a health food because it contains all the major food groups in one easy to eat package), Drinking (probably to excess), Smoking, buying more Music & DVDs (that I definitely do need) and talking rubbish on the interweb - much like the last few years then.
Time to shave off the beard that has grown since Christmas Eve (I'm on holiday, why would I want to waste time shaving), get back to a more responsible frame of mind (rather than continuing to paddle in a sea of perpetual adolescence, and get back to doing something productive with my time (well, going to work anyway).

Curtis Mayfield - I'll Keep On Keeping On

The Album of 2014 is ...

Yes, its that time of year again when everyone in the world tries to convince us of what the best slab of vinyl (or CD) released this year was.
Never one to buck a trend, or rock the boat, or even use well worn clichés, I'm going to do exactly that.

2014 has seem some superb releases, it started well, rose in Spring, tailed off a bit in the summer, and finished relatively quietly (or it did for me anyway - much like previous years I probably spent more time re-discovering old stuff, than buying new).  But here are the Top 10 choices that found their way onto the Rigid Digit Shelving Catalogue (organised in strict alphabetical order) this year:

1) Stiff Little Fingers - No Going Back
Be honest, did you really expect anything else?  SLF release a new album and Rigid Digit places it at Number 1.  Quelle surprise?
But wait, I am being objective about this (and even ignoring the fact that I helped part fund it (via PledgeMusic)), this album is right up there with anything they've released previously.  Yes, I have no doubts about placing it with 'Inflammable Material', 'Hanx' and 'Guitar and Drum'.
11 years after their last release, a sizeable chunk of water has passed under the bridge, but the subjects that fire Jake Burns pen are still about.  Political hypocrisy, Fat Cat Bankers and injustice all make an appearance.  As does the nagging doubt that despite the passage of time, nothing much has changed.
And it's not just me - Vive Le Rock agree

2) Len Price 3 - Nobody Knows
3 albums down, and on this fourth offering the boys from the Medway Delta are still pumped full of adrenaline, top quality riffage and tunes.  Continuing to evoke the spirit of 60s Mod and Garage Rock, but there is more to the band than The Who and The Kinks with a dollop of The Jam and The Clash thrown in.
This album starts on a high, and over 13 tracks of definite ear-worms, does not let up (OK, the mood/pace dips on a couple of tracks, but hey it can't all be 100% full on all the time).  These songs are potent enough on record - in a live setting they're even stronger.  If you insist on seeking out at least one track, do yourself a favour and hop over to YouTube and find "London Institute".

3) Henry Priestman - Last Mad Surge Of Youth
Having spent 30 years in the music business as a member of The Yachts, Its Immaterial, The Christians, and hired keyboard player and producer, Henry Priestman finally released his debut solo album at 53.  'Chronicles Of Modern Life'  has been described as "Music for grumpy old men".  6 years later, he has released the follow-up.  The prime difference here is the album is lighter on frustration, with an almost withering acceptance of the world and it's reality.  There are moments of real tenderness, moments of proper "jump up and down and punch the air", relection and continued frustration, all served up with a dollop of healthy self-deprecation.

4) Ben Watt - Hendra
Never really liked Everything But The Girl - all that sombre, downbeat, miserabalism just made me shout "Cheer up.  Smile, it may never happen" at the TV screen whenever they appeared.  But then, one day you hear something (in this case the track "Forget") which has a reminisence of EBTG, you find it who it is singing it, and your long held prejudices just melt away before your eyes.  Or maybe  thats just me ...
A melange of jazzy grooves, folk-tinges, electronica, indie guitar and an air of thoughfulness and depth in the songs.  Add it all together, and there ain't a bad track here.  One cannot escape the air of melancholy pervading the album, but it is not delivered in a dour tone.  Much like Henry Priestman (above) the songs deliver a "this is me, this is where I am, this is what is annoying me, now get on with it" tone.  A definite spring/summer album (and in this world of strange coincidence, one of the brightest, uplifting tracks on the album is called "Spring")

5) Wilko Johnson / Roger Daltrey - Going Back Home
Doctor Feelgood? Yes.  The Who? Yes.  But together, how does that work then?
The answer is damn near perfectly.  A mix of Wilko originals, old Dr Feelgood numbers and a Bob Dylan cover, Dalterys voice hasn't sounded this good on record for years, and Wilko is playing in his trademark rough edge style, and in sounding rude health (which he is now, having got the all clear in October).  This is hard, raw, rough & ready R&B, and you can almost feel the sweat coming out of the speakers.  The album finishes (in around 30 minutes), and you want to play it again ... and again.

6) Paul Heaton & Jacqui Abbott - What Have We Become

Cynical, surly, acerbic, full of wit - all terms that could be used to describe great wodges of The Beautiful Souths output, particularly the later Jacqui Abbott years.  There was something about the singing banter, and the blend of the voices of Paul Heaton and Jacqui Abbott which was almost perfect - prime pop nuggets with an edge, and an ever-present undercurrent of subversion.
This re-union picks up where the past left off, and it is fair to say the album possibly even surpasses their original incarnation.
Reading in places like a State Of The Nation address, there is joyous country/folk inflected pop, with an air of melancholy, frustration and acceptance.

7) Temples - Sun Structures
It is probably a 50/50 chance of a band debut release (or releases) resulting in a corking debut album (OK, the chances are probably greater (maybe 70/30), but I've got to make my point somehow).
Late 2012 saw the release of "Shelter Song" - a song mixing circa 1967/68 Beatles, particularly Ringo's drum sound, The Byrds, Syd Barrett and a whole load of reverb.  In short, a great slab of psychadelia for the 21st Century.  A second single appeared ("Colours To Life") in June that year, which (for me) just increased the anticipation for an album to be released.  And when it did hit the shelves, there was not an ounce of disappointment in my lug-holes.
From the opening track ("Shelter Song") to the clos, this album is a magnificent piece of work.  Dense, deep, almost claustrophobic in places - almost like the late 60s have been transplanted to 2014.  My only criticism would be that the epic penultimate track "Sand Dance" would be a better closing to the album than the more acoustic, wistful "Fragments Light" (but thats just my opinion)

8) Manic Street Preachers - Futurology
If Simple Minds had recorded at Hansa, this may well have been the result.
(Lazy and simplistic, I know - but it is the easiest way to describe this release)
A definite European feel, leaving behind the more home-spun Welshness of Rewind The Film.
Each album since 'Send Away The Tigers' has been getting better and stronger.  This album continues that run, and develops/enhances (?) the musical template of previous releases, but does not sound out of place in the Manics catalogue.

9) Real Estate - Atlas
2014 Correction of Prejudices Part 2 - I never really like all those American indie bands.  Sometimes trying to be too "muso", or being too Americana-centric (is that a term? it is now.  I know what I mean by it anyway).
This album showed you can still have all the above, and these cloth ears will respond - I don't know what Real Estate have done that is any different to any of their contemporaries, but they've done something.

10) Royal Blood - Royal Blood
ROCK!
That just about sums it up - play very F***ING loud.


Special 2014 Bonus selection (because I can't yet make a case to squeeze it into the Top 10 (what would I leave out if I did?))

11) U2 - Songs Of Innocence
If we ignore the hoo-har about the release through iTunes, and the album becoming simataneously the most downloaded, and the most deleted album ever, this is a great album.  U2 are not trying to preach, or to push the boundaries of their sound, or indeed to anything "big and clever".  It's like 'Rattle & Hum' without the trying to hard to be "rootsy, americana-esque, ans self-important.  The opening track "The Miracle Of Joey Ramone" is surely deserving of a nomination for 'Best Opening Track' accolade.


On the whole, 2014 has not been a bad musical year.  In addition to the 11 above, my earholes have been digesting new discoveries, and/or catching up with those that I missed out earlier, in the shape of:

• The Flamin Groovies - there is so much more than "Shake Some Action", and I'm glad I found that out
• Roy Harper - a name I have heard often (Led Zeps "Hats Off To Harper", vocal on Pink Floyds "Have A Cigar"), but never actually heard any of the man himself.  The compilation 'Counter Culture' opened up this new aural pleasure, and has now been supplemented with 'Stormcock', 'Lifemask' and 'HQ'
• Public Service Broadcasting - Inform Educate Entertain came out at the back end of 2013.  On the face of it, a strange concept to take old Public Service Broadcasting Films (hence the title) and soundtrack them in a mixture of indie guitar and electronic beats.  A peculiar idea, but it works fantastically.  A new album is due in February 2015, and it is already on the Wish List
• David Bowie - Low.  Following the release of 'The Next Day' in early 2013, I went back through past Bowie, and discovered I didn't actually own this and (and never have - I think I had it on long term loan from a mate).  Delivered in the same package that brought The Temples (see above), this spent most of February fighting with 'Sun Stuctures' for CD playing time