Jim Bob - Thanks For Reaching Out

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

Thanks For Reaching Out

100 MPH

 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)

Vardis - Silver Machine

And Pray That There's Intelligent Life Somewhere Up In Space, Cos There's B*gger All Down Here On Earth

 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)

Sparks - The Girl Is Crying In Her Latte

 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.

"Nothing Is As Good As They Say It Is"

"When You Leave"

"The Mona Lisa's Packing Leaving Late Tonight"  

Dunlop, Firestone, Pirelli Too ...

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

Many Moe and Jack
They know what I’m after

The Search For New Music

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 - Consequences Coming

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).

Head On A Stick

Face In A Crowd

The Ship