Compiled

When you first start buying your own music, developing your tastes, and trying to gain as much knowledge in a short space of time, a compilation album is the best way to achieve the most information for the lowest outlay.

For the cost of a single (or more often double album) you receive a couple of tracks (or more) that you are familiar/comfortable with, and then a glut of new stuff.

As time marches on, that original compilation will be rendered obsolete by the accumulation of the actual albums (and/or singles) of the artists contained therein.  But the initial joy of discovery is not dampened, and those compilations remain important tenets of the collection.

The most memorable, record buying habit changing compilations that have echoed in my ears in the past are:

Classic Rock: Rock Legends
Opens with "Layla" (what else could it open with?), and closes with "Smoke On The Water".  Also includes Lynyrd Skynyrd (go on, guess which track?), Cream, The Who and Black Sabbath.
The cover had a picture of a Gibson SG, which inspires the question "how much more Rock can you get?), and apart from the inclusion of a couple of tracks which don't feel right (Peter Frampton: "Show Me The Way", Steve Harley And Cockney Rebel: "Make Me Smile", Dire Straits: "Lady Writer" and Meatloaf: "Dead Ringer For Love"), this a thoroughly competent collection and gives a real insight/understanding of what Classic Rock is all about.
The only down-side to the album is that includes the Far Corporation version of "Stairway To Heaven".

Punk (1): Burning Ambitions
Covering the lesser known bands of punk from its early incarnations (eg The 101ers) through a selection of the Oi and Hardcore bands of the later punk years (eg Cockney Rejects and The Exploited).
Buzzcocks, The Damned and The Stranglers make an appearance, but the obvious omissions are Sex Pistols, The Clash and The Ramones (although The Heartbreakers version of "Chinese Rock" is included).
These ommissions are probably due to licensing issues and/or costs - this compilation is produced by small(ish) independent label Cherry Red.
Tracks from The Fall, Wire, The Vibrators, The Saints, The Ruts, UK Subs show the breadth of bands under the punk umbrella, and the diversity of sounds/influences created.

Punk (2): Vinyl Solution
Similar to the above, but only a single disc.  The quality control is slightly higher, containing a clutch of more widely known tracks.  Buzzcocks and The Stranglers have two tracks each, and The Damned have a single track in the form of their cover of"Jet Boy, Jet Girl".
This album has a place in personal folklore as the first time I heard a Stiff Little Fingers track ("Straw Dogs") - my world was never the same again.
see 'Thats When Your Blood Bumps' for the full story ...

New Wave: That Summer - including tracks from Elvis Costello, Ian Dury & The Blockheads, Nick Lowe, The Boomtown Rats, Wreckless Eric and The Only Ones peerless "Another Girl Another Planet", this album really is a masterclass in New Wave.
The Soundtrack album is findable, often at Record Fairs and on ebay, but the film is rarely seen.  I don't think it ever got an official DVD release, and any DVD versions that are knocking about are likely to be transfers from the video version.  Although, it wasn't a great film (as I remember, I've only seen it once), but it did have a superb soundtrack.

Mod Revival: On Target - 20 Direct Hits From The Mod Revival
The Mod Revival is often attributed the rise of The Jam, coupled with the release of the film Quadrophenia.  For whatever reason, 1979 saw a group of bands kited out in Levis, Fred Perry shirts and Parkas playing high octane, adrenaline fueled (and possibly other substances?) R&B.  From the recognised "big bands" of the movement (The Jam, The Chords, Secret Affair, Purple Hearts) to the less well known, but no less exciting tracks from bands such as The Killermeters, Teenage Filmstars and The Jolt

NWOBHM: New Wave Of British Heavy Metal '79 Revisited
Also from 1979, and taking elements of the past and updating them with the energy and exhilaration provided by Punk, the New Wave Of British Heavy Metal sprang forth.  The term was first used in Sounds in Spring 1979, and was used to describe a plethora of bands who were updating their beloved blues rock, Deep Purple, Black Sabbath and/or Prog Rock into a tougher more direct sound.
This set ranges from the "soon to be massive" (Iron Maiden and Def Leppard) to the smaller, but no less important, bands who released a couple of singles and maybe an album (usually on an independent label (many being on Neat Records) and then no more"one or two singles and then not much else" (Trespass, Sledgehammer, White Spirtit).  Also includes offerings from the "big, but never massive" (Saxon and Girlschool) and the "influence on a future generation of Heavy Metal" (Diamond Head and Venom).

The one compilation from the past that is probably responsible for the most investment in albums (apart from the punk/new wave ones) is this one:

Back On The Road

Effectively purchased as an introduction to Prog.  In truth, the compilation is not really Prog in its truest, commonly understood form.  It is, as the sub-title states "Progressive Underground" - which is sort of the same thing, but not quite.

And how's this for a track list:

1. All Right Now / Free
2. All Along The Watchtower / Jimi Hendrix
3. Living In The Past / Jethro Tull
4. Hocus Pocus / Focus
5. Eight Miles High / The Byrds
6. Rainbow Chaser / Nirvana
7. America & 2nd Amendment / Nice
8. Northern Sky / Nick Drake
9. On The Road Again / Canned Heat
10. Paranoid / Black Sabbath
11. White Rabbit / Jefferson Airplane
12. Mona / Quicksilver Messenger Service
13. My White Bicycle / Tomorrow
14. Love Really Changed Me / Spooky Tooth
15. Race With The Devil / Gun
16. 10.30 Returns To The Bedroom / Soft Machine

Disc 2
1. Strange Brew / Cream
2. Silver Machine / Hawkwind
3. Meet On The Ledge / Fairport Convention
4. Fire / The Crazy World Of Arthur Brown
5. Woodstock / Matthews Southern Comfort
6. Paper Sun / Traffic
7. Do It / Pink Fairies
8. Tom Tiddler's Ground / Roy Harper
9. Black Night / Deep Purple
10. Out Demons Out / Edgar Broughton Band
11. Loves Like A Man / Ten Years After
12. Venus In Furs / Velvet Underground
13. Fresh Garbage / Spirit
14. One And One Is One / Medicine Head
15. Change Song / Blodwyn Pig
16. Something In The Air / Thunderclap Newman

Admittedly, upon first purchase I was probably familiar with no more than about 25% of the artists.  However, by the end of the next year my record shelves were heaving with slabs of vinyl from virtually all of them (Matthes Southern Comfort, Edgar Broughton Band and Spirit remain unrepresented in my collection)

There was later a single CD version available.  Like a lot of early release CDs, traks were ommitted to allow transfer to a single CD format (other prime examples: Jam - Snap (later re-released in full form, and the Dr Feelgood compilation 'The UA Years').  The CD version also changed the running order (for some reason?).

Having spent many hours listening to this compilation, I have become so used to the running order that my brain still can't accept it if anything other than the introduction to "Hocus Pocus" follows the final notes of "Living In The Past".  Or like night follows day, "Change Song" will ALWAYS be followed by "Something In The Air".

The CD version would break this rule, and probably cause my head to explode!

To avoid this unwelcome departure, I have "acquired" all the tracks from various sources and burned to CD, just so I can listen to those tracks in that order.

And this album also gave rise to a fantastic piece of musical snobbery/being obtuse.
In late 1991/early 1992, Grunge broke in the UK, and Nirvana were doing big business with 'Nevermind'.
At parties, or other social gatherings, there was always the argument about what music should be played.  At this time someone would always ask: "Can you play some Nirvana?", and so what did I do?
I played this track:

Nirvana - Rainbow Chaser

Overload (or the "only listened to it once scenario")

How do you consume music?
It should be a simple process: Buy, Listen, File, Listen Again

There was once a time when buying a new album was an event.  They weren't cheap, and with only paper boys wages I was limited to one (maybe two, at a push) albums a month.
But that one album was a cherished event - I would listen to the album intently, read and remember the sleeve notes, running order, producer, rogue names in the "Thanks to .." section (Iron Maiden often gave thanks to Ruddles Bitter).
Extra paper rounds, and the discovery of a local second hand record shop meant more albums could be added to the collection.  But the ritual remained - listening intently and poring over every detail of the cover and band history.
These albums would be committed to tape, and the headphones clamped to my ears whilst paper-rounding.  The few (increasing in number) albums I owned would eventually become hard wired.
Starting work meant increased income, and therefore more music flowing into my lug-holes.  The Walkman was eventually superseded by the car stereo, but the committing vinyl to tape regime remained the same.  The time spent driving to work meant that a whole album could be consumed in each trip.

Life continues, income rises and more music is purchased.
And then comes the tipping point - the quantity and regularity of purchase means that I now have a collection where some of the albums have only been listened to once.
Sometimes, I can justify this to myself in the case of the following criteria:

• Albums bought on the strength of one track
• Albums bought because they were being flogged off cheap on the counter at FOPP or HMV (or wherever)
• Albums bought because I think I "might" like it

Most of the time, I just feel a slightly uneasy pang of guilt when I stumble across a single played CD.  The internal monologue goes something like: "Well, you bought it so you must've wanted it.  Therefore you should listen to it"

Problem is on-line buying offers such choice.  Its just a case of sit in my chair, stare at the screen and click.  More stuff will be arriving through my letterbox.  More stuff competing for listening time with the pile of stuff I've yet to put away, or indeed even listen to yet.

And Box Sets?  Well, theres another difficulty.  The sheer investment of time required to get through all the box set, means nothing else will be listened to for a time.  And what are the chances of listening to the content of that Box Set again?  Slim, would be my general assumption (although, this is not always the case).

So, maybe this is the future - I will continue to buy stuff, but find less and less time to listen more than once.
Problem is that being slightly fickle, if an album doesn't grab me, or pique some sort of interest on first listen, it could be many weeks, months or even years before I go back to it.
And then when I do return to it, I will spend an inordinate amount of time cursing myself for missing out on it first time round.
Here's a case in point - I recently listened to this for the first time in many years, and was shocked that I've let it gather dust for 20 (!) years, and only giving it a single play.

Rocket From The Crypt - Born In 69 (from the album 'Scream, Dracula, Scream!'):

Noises From 2013

It will surprise no-one that at this time of year I'm going to publish a list of those noises which have given the greatest listening pleasure of the last 12 months.

You may agree with the selections, you may disagree.  You may think I'm a cloth-eared noodle for not including Daft Punk or Public Service Broadcasting.

In my defence, I was possibly the only person in the world who remained wholly underwhelmed by the Daft Punk single ("Get Lucky").  And whilst I own the Public Service Broadcasting album, it don't make the Top 10.

So the choice is yours - you can either stop reading now, or take a goosey-gander at the following 10 "platters that mattered!" in 2013.

Now then, do I present the list in a logical sequence, and entirely random sequence (involving links to other pages and bits missing from the narrative), or in reverse order to build up the tension?

1. Steve Mason - Monkey Minds In The Devils Time The Stuff & Nonsense Review...
Heard one track on ThisIsMyJam ("Oh My Lord") which was enough to convince me to invest hard earned cash in the album.  It was one of those albums that was just about perfect on first listen.  And then just got better with each subsequent listen.
S&N Top Track: Oh My Lord

2. Manic Street Preachers - Rewind The Film The Stuff & Nonsense Review...
I always felt slightly let down by The Manics when it came to their albums.  However, their last 3 releases ('Send Away The Tigers', 'Postcards From A Young Man' and this 'un) have, for me, been the most cohesive they've released.
S&N Top Track: This Sullen Welsh Heart

3. Frank Turner - Tape Deck Heart
This is the album which should have exploded Frank Turner across the cosmos.  5 albums in he has now appeared at the Olympic Opening Ceremony, picked up some favourable press in Q and Mojo and received fairly wide airplay on Radio.  This album is raw, honest, toughtful, and in many places good loud fun jumping up and down music - try it, you just might like it.
S&N Top Track: Recovery

4. Steven Wilson - The Raven That Refused To Sing (And Other Stories)
5 Tracks, all approaching (or exceeding) the 10 minutes, the bass player from Kajagoogoo and a Chapman Stick.
On the face of it, there is a lot to put people off this album.  Well, they're the fools.  This is an epic work touching all bases of Prog greats (Yes, Rush, Genesis, King Crimson et al), but is in no way simply derivative or repetitive of its fore-bearers.
Sit back in your favourite chair, maybe with a drink or two to hand, and marvel in the sounds created
S&N Top Track: The Raven That Refused To Sing

5. David Bowie - The Next Day
The preceding single "Where Are We Now" was released, in secret, on Bowie's 66th birthday.  Building on that initial shock/intrigue/surprise, the album came out a couple of months later.
No-one knew what to expect really, but I don't think it was a disappointment.  Corking tunes, top lyrics - more than could be hoped from someone who had effectively retired, at least in public consiosness, and released nothing for 10 years.  I remain shocked/intrigued and surprised by the album even now
S&N Top Track: Valentines Day

6. Duckworth Lewis Method - Sticky Wickets
More cricketing shenningans and top tunes from the Divine Comedy/Pugwash collective.
This album is almost as good as the first, covering many more musical styles.  Who knew the sport of cricket could be so interesting.  The album with have you smiling from ear-to-ear, and/or marvelling at some the harmonies and melodies created.  Keep an ear out for the host of "Special Guest Voices", including Matt Berry, Steven Fry, Daniel Radcliffe, David 'Bumble' Lloyd and Henry Blofield (to mention just a few - a whole host of others appear on the album closer "Nudging and Nurdling")
S&N Top Track: Third Man

7. John Grant - Pale Green Ghosts
Thematically similar to previous release "Queen Of Denmark", this album has a more confident feel running through it.  And, be under no illusion, it is not Queen Of Denmark Part 2.  The atmosphere, the balladry, the heartfelt honesty remains, but the music stylings are electronica in intent.  Repeated listening definitley pays dividends.
S&N Top Track: GMF

8. Primal Scream - More Light
Opening with a song called "2013", is a pretty sure way to make sure your bands name is mentioned in the Year End Lists.  This album is a melange of Rock, Soul, Garage Rock, Space Rock, a bit of Funk and a wallop of psychadelia.  It shows the Primal Scream don't need to rely on Stones/Faces revisits to deliver the goods.
S&N Top Track: Its Alright, Its OK

9. Arctic Monkeys - AM
Alex Turner's voice has always annoyed me.  The previous Monkeys albums ........
Theres a nod to Led Zeppelin, Slade, Hip Hop stylings and a more experimental bent than perhaps was expected.
Arctic Monkeys have got the riffs, the lyrics and have chucked out their best album since the debut 'I Don't Want What I Haven't Got'.
S&N Top Track: I Want It All

10. Paul McCartney - New
OK, its Paul McCartney.  He has been there, done it, gone back again, done it some more. And with this album goes back again for some more.  Yes, you can hear his voice cracking in places, but what did you expect from a 71 year old bloke.  To me, it just sounds like he's really trying.  This set is the equal of anything he did in the 80s (and close to his 70s high points too).
S&N Top Track: Early Days

The Day My World Turned Prog

Prog Rock can be bluntly summed up as:
Rock Music with Orchestral and Classical pretensions.  It will probably be overlong, possibly pompous, and more than likley deal with wizards, elves or the writings of J R R Tolkien.  Other favoured subjects are medieval history or science fiction.  The band will probably entail one (if not all) of the following: a Rickenbaker Bass, Hammond Organ, oversized drum kit that TWO drummers would have difficulty navigating.
The sound will probably be a bit jazz-fusion-y, almost spacey and will incoporate an extreme number of widdly-widdly solos, or elongated musical diversions.
Oh, and lets not forget the inclusion in the bands catalogue of at least one Concept Album.  A related song-cycle/narrative, spread over 4 sides of vinyl.

It's undoubted peak in the UK was the early to mid-70s, with the most famous exponents being  Pink Floyd, Yes, King Crimson, Genesis, and Emerson, Lake & Palmer.
(there are MANY others, but brevity prevents my producing a definitive list)

I have dabbled in the waters of Prog, but to be honest my knowledge of all things Prog is probably best described as "adequate".
Is there such a thing a populist Prog? If there is, then the Prog albums I do own (variable numbers of releases by Pink Floyd, King Crimson, Yes, ELP, Jethro Tull, Genesis & Rush), may well act as a definition.

And then a couple of weeks ago I received an e-mail from Universal Music (not just me, I think loads of people did) informing me of the 10 Prog Albums You MUST Own.

Now I fully accept that this list is basically a list of "someones" favourites, and therefore not definitive.

In actuality, it is probably a list of 10 albums that Universal hold the rights to and are trying to make some cash out of.

Anyway, it piqued my interest, containing artists I'd heard of, but never actually heard.

And it caught me at a time when the CD on permaplay chez-Digit was/is: Steven Wilson's "The Raven That Refused To Sing (And Other Stories)"

In a foretaster of a soon to be published bog entry (probably), this album sits comfortably in my Top 5 Albums of 2013.

But the one thing it did do was make me want to go and listen to the Prog albums I do own, particularly Genesis and Rush.

And so with fortuitous timing I received an invitation to discover more Prog stuff.

But I still wasn't sure - Prog is (as stated before) overlong, pompous and at time a tad pretentious.

So I posed the question to similar minded individuals who inhabit The Afterword blog.

The response was varied and a number of stand out recommendations were apparent.  In exchange for money, Amazon have sent me in the past fortnight Peter Hammill's "The Silent Corner and The Empty Stage" and Caravan's "In the Land of Grey and Pink".  Also pending delivery is an album called "Garden Shed" by England.

Released in 1977 to very little response, the music therein touches all 70s Prog Rock bases from Yes, King Crimson and Genesis, with future echoes to later Prog like Marillion (or did Fish and the boys simply look backwards?).  To alleviate the anticipation of the wait, there is a whole album video on YouTube which is taking a bit of a caning at the moment.  Maybe its my in-built musical snobbery taking over, but I really do believe that this is a great album, and deserves a wider audience.

This is not the full album, but the first track on the album ('Midnight Madness'):

And so after my initial question, and the responses/recommendations received, I was contacted by e-mail by one of the residents of the blog offering a "Prog Starter Kit", and a week or so later a jiffy bag landed with a thwack on my doormat.

The bag contained undiscovered/unheard wonders including Matching Mole, Gentle Giant Steve Hillage, Egg and Gong.  That was my weekend sorted.

At the moment, the undoubted pick of the bunch is "The Rotters Club" by Hatfield & The North (a band that is forever confused in my head with Kilburn & The High Roads).  Aside from the 20 minute long 'Mumps', the songs on this album rarely exceed 5 minutes.

'Share It' (Track 1):

So what have I learnt?

1. Prog is not as exacting as the throwaway definition at the introduction

2. Not all Prog is overlong and eternally widdly-widdly

3. Sometimes the helpfulness and generosity of people really does surprise you

4. Don't be fooled by initial impressions of a genre, Try It, You Might Like It

5. When you want to investigate different forms of music, Amazon gets richer and I get poorer (I think I know why)

Final question:

Progs heyday was undoubtedly the 1970s, but by 1975/76 it's popularity was on the wane.

Did Punk kill Prog?

Well, consider the fact that albums by Yes, Jethro Tull, Pink Floyd et al continued to sell by the lorry-load, and ELP had that most un-Prog things (ie a hit single) in 1977 and that might give you a clue.

Also, John Lydon has never hidden the fact that he is a massive fan of bands like Magma, Can and Van der Graaf Generator and the Prog like influence apparent in some Public Image Ltd and the case for the defence is looking stronger.

Thats Mucked Up The Alphabetical-ness

You've got to have a system.
Marlon Brando, Suzanne Dando - thats how I remember it.
(c) Harry Hill

As has been mentioned in these venerable pages (?) before, the music collection is organised strictly by alphabet, with a sub-filing order of chronology.
And it works wonderfully.  If my eyes alight on the garish pink spine of the Sex Pistols "Never Mind The Bollocks", I know I'm only a few steps away from a Siouxsie and The Banshees album.  Similarly, if I am drawn to the chunky spine of Jeff Buckley's Grace (2 CDs and a DVD, yet its thicker than a double CD case), I know I'm in the correct area to find the Buzzcocks.
Anyway, you get the idea ... everything is in its place, easy to find, and all is well in the world.

But what does one do when an artist or band changes their name mid-career?
When Generation X became abbreviated to Gen X, with a slight bending of the rules, chronology and alphabetic principles can be applied.
When Madness became The Madness, this too was no issue as the rules are that 'The' is dropped to maintain order (except in the case of The The), otherwise the 'T' section would be massive.
The Tyrannosaurus Rex to T.Rex conundrum?  Simple.  The two bands are in effect the same band, so the chronology rule applies.
Joy Division and New Order? Although very similar in both (initial) sound and personnel are two different bands, so are filed under 'J' and 'N' respectively.

And then you got those who just go all out to confuse.  "Original Soundtracks" by Passengers, is effectively a U2 album appearing between "Zooropa" and "Pop".  But, it isn't 'really' a U2 album.  There is a whole different concept going on here, so that one is filed away from the others in the discography
And you can't have this discussion without mentioning the most notorious name changer in pop.  Prince/Squiggle/TAFKAP - fortunately I don't own any CDs bearing any of those names, so that particular headache is non-existent.

For the last year or so, I have been gradually building up the collection of John Wesley Harding releases, and discovered that he would be releasing/has released a new album in September 2013.
And now it's arrived, and he has returned to his given name of Wesley Stace.  So, my question now is do I file the CD under 'S' (as would be correct), or under 'H' with his other releases (or would seem chronologically logical)?
To quote the esteemed philosopher D P Gumby: "My Brain Hurts".
(I might file it under 'W' just to be awkward, but then the equilibrium in the universe may be disturbed, a time hole opened up and the last 25 years of history eradicated.  This means no-one may ever read this diatribe of kack flowing from my fingertips.)

The album itself is somewhat different  to his previous releases.  It is more personal and more mellow than previous releases, sparser in sound and giving a more intimate, close up feel.  And maybe it is "the shock of the new", but I think it's one of his best collections.

From the new album: "When I Knew"

Still don't know where to file it though.
"Is it important?", I hear you ask.
I think you can probably guess what my answer to that question may be.

Come On Brain, Don't Fail Me Now

Most of my music or DVD purchases are through Amazon (other on-line retailers are available), Record Fairs, Car Boot Sales and Charity Shops.  But, there is a certain indefinable "something" about spending a good couple of hours mooching around a shop unit stacked high with vinyl, CDs, books and sundry memorabilia.
And so today I vistied just such an emporium and began, idly flicking through a couple of the racks to see if there was anything new or interesting to be snaffled up.
And then ... complete brain failure.  I had no true idea what I was actually looking for.  My carefully thought out and planned list of "stuff" was no longer in my head.  It appears to have escaped somewhere between leaving the house and standing in the shop.  It's probably been left on the bus, although that is one item of lost luggage it may be difficult to reclaim.

And what's worse is that this is not the first occasion in recent memory that this has happened.
The solution?  Much like a boy scout, a policeman or a train-spotter, I have taken to writing everything down in a notebook, and rarely leave the house without said book or a pen (apart from tying a reef knot or polishing your woggle, this is one of the few "life lessons" that I gained from the Scouts).

Ladies and Gentlemen, I present, as a solution to my ageing and fading brain cells:

The Rigid Digit Book Of Knowledge

A grandiose name for a well thumbed, raggedy edged A7 size Notebook, bought i a supermarket for the princely sum of 59p.
The book now extends into it's third volume, and contains notes, scribblings and thoughts - stuff to do, phone numbers, the measurements of the space where a washing machine goes in the kitchen, a recipe for Steak and Kidney Pudding, and various car insurance or home insurance quotes.  (Note: I'm not that daft and the book does not contain any PINs or Bank Account numbers).
I suppose the next stage is to organise the pages better, so I can at least find what I jotted down in a moment of enlightenment, or desperation to remember.  Some of the stuff has even made it's way onto here.

Maybe it is just a factor of being 30-13 that short term memory is fading, and yet I can still recall the FA Cup Final Scores, and the team line-ups for each match since 1970, the names and order of all 31 Carry On Films, the catalogue numbers for all Iron Maiden singles and albums up to (and including) "Seventh Son Of A Seventh Son", and the words to Carter USM's 'Sherrif Fatman'.  Not useful information, I'll grant you, but there may come a day when this sort of knowledge may prove useful.
But for now, I need the support of my book to help me avoid the "Standing In The Shop Looking Like A Loony" scenario.
Hmm ... My Book - that would make a great title for a song.
Oh, it already has. And here it is:


The Beautiful South - My Book

The Beautiful South were formed by Paul Heaton and Dave Hemingway following the demise of The Housemartins.  The band was always intended to have dual vocalists, but following recording of the debut album Brian Corrigan was added as a full-time third vocalist.  The songs were strightforward, sometimes humour filled (albeit at times in a dark, black comedy style), often barbed and/or cynical commentaries.

If you haven't heard much of the band, seek out a copy of the two compilations "Carry On Up The Charts" and "Solid Bronze".
And if you still have some spare cash, invest in a copy of "Golddiggas, Headnodders and Pholk Songs".  OK, its a Covers album, but don't let that put you off.  The ecelcticness of the choices puuls you in ('Youre The One That I Want', 'Dont Fear The Reaper' and 'Blitzkrieg Bop', all done Beautiful South-stylee).

I Want To Live In Wokingham

The Unitary Authority with the Highest Average Personal Well Being score in England.
(I used to live in Wokingham UA, but was asked to leave because I was a miserable sod)

(Ref: http://www.ons.gov.uk/ons/rel/wellbeing/measuring-national-well-being/pe..., Table 8)

According to the Survey, the inhabitants of Reading and Slough have the highest average anxiety ratings (which is probably something to do with the fact they live in Reading and Slough).

However, if you live around Stoke-On-Trent or Inner London, then you'll probably be singing this song:

Damned - I Just Can't Be Happy Today

If you're feeling bored and want to read the whole thing, here it is:
http://www.ons.gov.uk/ons/rel/wellbeing/measuring-national-well-being/pe...

Does this Survey offer any mind blowing insights, or new information?
Does any Survey do that?
After all, it's widely accepted that 64.7% of all Statistics are made up.

Another Survey that is worth reading, offering a different view, is Britistics (http://theavamovement.com/Britistics_Matthew_Rowett_PDF.pdf) - even if just for the information that "Mums spend 7 minutes pairing socks and folding clothes after each wash"