Juke - Mojo - A future anthem in waiting

Saw this band at Chinnerys on Southend sea front a few weeks ago. It was one of those gigs where I didn't really wanna go but got dragged along anyway. And I'm glad I did, they were great. I came away with thoughts of a name change (JUKE has grown on me now by the way) and a title for their first mini LP/EP. I'm nearly 50 for god's sake, these boys could be my grandchildren! They can come up with their own names and stuff (The Aspergiks/Future Anthems EP featuring the as yet unwritten title track just in case you were wondering). This is still the stand out track for me from their current set.They have gigs coming up at Chinnerys again on May 9th, the Railway in Southend on May 22nd and Peggy Sue's in Leigh On Sea on April 25th. You could go and see them and that and say you were there at the beginning if they get big. And if they don't get big, you can have a good time anyway.

JUKE are Matt Lamb, Miles Hobbs, Keiran Brown, Tom Cuningham and are Essex boys. 

https://www.facebook.com/jukejointsounds

http://www.mediafire.com/listen/pnb8ldnc3vza889/Juke+-+Mojo.mp3

25/04/2014 - Juke at Peggy Sue's, Leigh on Sea - Just back from what I believe was Jukes 4th gig at a small 'piano' bar in Leigh. They went down a storm, it was a joy to watch. Thanks for the dedication on 'Mojo', most appreciated. Here's some grainy iPhone/Hipstamatic pics, plus a random one from some movie ('Future Anthems' EP sleeve in my mind). Go see 'em soon.

 

 

 

 

 

 

Juke - Mojo

Pretty fine rock'n'roll song by a band only 3 gigs old. Future Anthem.

Thames Delta World Service #15 - 07/03/2014

Slightly shorter, still as sweet. Here's my first podcast of new stuff for 2014. Featuring two from Marc Almond, Robert Ellis and Eels. New stuff too from Sohn, Lana Del Rey, Coldplay, Damon Albarn, The Horrors and Villagers. Also tracks from a psychotic Teddy Thompson, James Auger, Buffet Libre and Laura Marling. And when you think it's all over...a Brucie bonus.

                        To play or download the podcast, CLICK HERE!!

Marc Almond - The Tyburn Tree (with John Harle) and The Last Tasmanian Tiger

Marc Almond first ventured into quasi classical territory with John Harle last year, providing vocals on a couple of tracks on Harle's 'Art Music'. Now arrives 'The Tyburn Tree', a fully-fledged collaboration, steeped in theatre, art and poetry. The Tyburn Tree itself was a gallows in what is now Marble Arch, from a village called Tyburn which was recorded as being at the west end of what is now Oxford Street. Executions took place from the late twelfth century; the Tyburn Tree Gallows itself active from 1571 to 1783, and the word Tyburn became synonymous with public (mass) executions. What this has to do with music is that it sets the scene for the stories told by the songs of a dark unforgiving city of the past. Tales of folklore, 'Spring Heeled Jack', tales of true horror, and maybe monsters like a Minotaur, roaming through 'The Labyrinth of Limehouse'. 'My Fair Lady' opens with a rendition of 'London Bridge is Falling Down' and you feel not too sure about what is happening. A minute later you’re singing along to a chorus(?) of 'bye bye baby' like a 60's pop throwback leftover before the song continues with bricked up windows and bridges of flesh. 'Fortress' gives a song writing credit to William Blake (it's adapted from a poem), it's a dark rhythmic beast, like Woodkid but much more scary. Other songs include 'Dark Angel', 'Black Widow' and 'The Vampire of Highgate'. This is not modern London, it's London as it grew and gelled, as it was scared of itself. It's a fine album, without peers. The only record in my collection I feel I can even connect to it is The Skids much neglected fourth, 'Joy', which was also rooted in a past that was dark and also stood apart from the mainstream musical background that it would not have existed without. But it's great and I recommend it whole heartedly!

If you fancy your Marc Almond a touch more as you might expect then check out the (also) new 7"/CD release 'Tasmanian Tiger’ EP. The titular track is a full on bonkers glam/pop romp and tells the story of the last Tasmanian tiger, an animal extinct since the 1930's. It is mental, features great production from Tony Visconti, and is joyously up there with best of Almond's solo output. The rest of the EP is great too, with contributions from Jarvis Cocker and Carl Barât. 

Audacious 2013 - Thames Delta World Service - The Best Of 2013

Well, I compiled it a month ago, burnt it to CD three weeks ago and recorded the podcast one week ago. Now finally having overcome PC migration I’m posting it online. This is for the large part my favourite music of 2013. 

Mr David Bowie clearly owned the year despite dodgy marketing shenanigans; hence there are two tracks here, the passing of time defying titular track and stately comeback single. Laura Marling’s fourth album was a masterpiece, and live performance at the Secret Cinema enhanced event was a live highlight of the year, augmented by Eddie Berman and a Bruce Springsteen cover. Eddies own ‘Ruby’ was a showstopper on the night. Returning with great albums were John grant, Arcade Fire and the Strokes, breaking free with a solo delights was Underworld’s Karl Hyde. Making a proper comeback were Suede who released a great album and some great tracks in support of singles, or whatever passes as singles these days. James Blake won the Mercury Music Prize with an album that was actually very good. Marc Almond had an interesting quasi classical release and great pop single. He starts this year with an interesting quasi classical piece and a great pop EP. Fellow 80’s electro pop survivor Alison Moyet brought out a possible career high in the form of electro pop LP ‘The Minutes’. Peace made a barnstorming debut LP and Villagers released a classy second LP. Local band/singer Phillious Williams had a couple of great albums available within a few months. The Pixies released a classy EP, and have already this year let loose another classy EP. Ed Harcourt released a spontaneous rush recorded LP and this year has already seen a great mini LP and my first musical fixation of the year as I have delved back into his past. I Am Kloot continued their fine run of releases and Bill Ryder-Jones made an understated masterpiece. Song of the year for me came from indie rising stars Wolf Alice, very much looking forward to their debut album. And American songstress Alela Dianne made a mellow/morose classic. 

Releasing fine albums but not making my review were most notably My Bloody Valentine and Depeche Mode. Looking forward this year already to Damon Albarn, Nicole Atkins, Dave Woodcock, Phil Burdett, Kylie and  2014 has already seen another great album from Bruce Springsteen. 

Gig wise, saw a few mega gigs (the o2), Depeche x2, Fleetwood Mac and Mott. Laura Marling was great and Wilko at Village Green ripped it up. The Strypes and the 45’s showed that kids today can do good things. I’m sure I’ve forgotten a few things, but you know, age does that. Here’s to 2014.

To play or download the podcast, CLICK HERE!!



Play or download an 80 minute handy burnable mix of the music only, 
CLICK HERE!!!

28th October - 22nd November - Aquisitions #7

A fairly large timescale here, PC problems have got me beat. In fact I'll divide the music I've listened to /seen across two entries and a third update on my review of 'The Next Day' from earlier this year. So whilst I save up the pennies for a Mac (the way ahead for me) here goes, featuring new albums from Arcade Fire, Eminem and Jake Bugg, albums from earlier on in 2013 in Alela Diane and Jonathon Wilson, live offering from Suede and an oldie from Alison Moyet (whom I also caught live in Southend).

So, Arcade Fire and fourth LP 'Reflektor'. Already number one in six countries and top ten in many others I approached the album with some trepidation having been underwhelmed by lead ‘single’ ‘Reflektor’. However I needn’t have worried, as two or three listens later and I’m well into the album. It does move on from previous albums, much more electronic and produced, however still inventive and unmistakenly Arcade Fire. ‘Flashbulb Eyes’ is the exception, being for me the biggest waste of space the band have ever put their name too. But ‘Porno’ is outstanding, just a Phil Oakey vocal away from a Human League classic that never was. ‘Reflektor’ the track has grown on me too, though to call this a true double album is a bit of a push, drop the no good track three and the pre track one messing around and a single CD is all that’s needed, but still, though not the best Arcade Fire album they still have the distinction of not having put a foot wrong (in album terms anyway). Also check out the bands version of Peter Gabriel’s ‘Games Without Frontiers’ on Gabriel’s (?) ‘And I’ll Scratch Yours’ album, which I must also mention was performed very nicely too by Nancy Wallace at my friend Daryl Easlea’s Gabriel biog ‘Without Frontiers’ book launch on Friday (22/11) night at the Railway in Southend.

And so onto Eminem’s 8^th album proper, ‘The Marshall Mathers LP 2’. A pleasing and surprising return to form, dominated by Em’s sharp and wordy rhyming and plentiful retro sampling (The Zombies, Beastie Boys, Joe Walsh & Wayne Fontana amongst others). Quite what the 41 year old multi millionaire rapper still finds to be so angry about is a bit of a mystery, but angry he is. Do not enter if the usual expected misogyny and homophobia are likely to offend, but you know, it’s an Eminem album, so don’t be surprised. It’s still sharp, sometimes humorous and always well executed. Dr Dre and Rick Rubin are both credited as executive producers, but this has Rubin’s handiwork all over it far more than Dre’s. Of course it’s not up there when compared to the first two albums, but it comes surprisingly close. The big question though is, having had to revisit his second album in order to produce his best since his second album, what next?

Where next for the in demand Rubin won’t be so much of a problem. He’s working with Ed Sheeran on his 2^nd and just a couple of weeks after Eminem’s CD Jake Bugg's 2^nd album appeared proudly bearing a Rubin production credit. ‘Shangri La’ is an earthy trad sounding album, all crisp instrumentation and it could only be Jake vocals. The songs aren’t quite as classy or varied as album number one but it’s no let down either. Whether it was the intention or not to present Bugg as a latter day British Johnny Cash I suppose we’ll never know, but that seems to be his current career trajectory, and why not. Hopefully he’ll have a little more time to write the third album but this is still a step in the right direction.

Last of the ‘new’ albums is Suede ‘European Tour Live 2013’, available from online trader concertlive. Of the two offerings I went for the late October show in Leeds (the other being Brussels on Nov 1^st). It’s a well recorded career capturing set that leans a little on this year’s LP, but nice to have and decent value. You can get it here….

https://www.concertlive.co.uk/product.php?id=183

The best album I’ve purchased during the last few weeks is Alela Diane’s ‘About Farewell’, released earlier this year to the fevered excitement of the serious music press (Mojo, Uncut etc). In places sparse, in places haunted, but always immaculately written and performed, this is a beautiful, sad, ghostly and very melodic album. It got me first listen, I don’t know why because it sounds nothing like it but I feel compelled to recommend it especially to fans of Jeff Buckley’s quintessential ‘Grace’. Another music press praised release is Jonathan Wilson’s ‘Fanfare’ on the wonderful Bella Union label. It’s a record steeped in knowing rock history, mainly worthy of the reviews it gathered but less inventive and melodic that Alela Diane’s album. Could be a grower though, and Wilson is very active as a musician and producer having produced Roy Harper, Chris Robinson and Bonnie ‘Prince’ Billy amongst others. Worth investigating.

Also recently had the pleasure of catching Alison Moyet live at Southend’s Cliff’s Pavilion and picking up her 2004 covers album ‘The Voice’. The gig leaned heavily on this year’s wonderful ‘The Minutes’ album, an return to electro pop in style, classic pop in quality. Older songs revisited were interpreted with similar production values, I’d love to hear some recordings of these tracks, it felt a warm and comfortable show, the audience lacked some spark which I believe is often the case in hometown sort of gigs, but Alison’s performance was spot on, humorous and confident without being cocky. Get ‘The Minutes’ if you’ve not yet done so, and get to see Ms Moyet live soon if you can. 2004’s ‘The Voice’ which I picked up for a pound is a lusher more orchestrated album, made with Anne Dudley. Including songs by Bacharach, Legrand/Bergman, Costello, and Brel amongst others this showcases another side of Alison Moyet, as song interpreter supreme. A shame that ‘Anyone Who Had A Heart’ as performed on ‘The one and only Cilla Black’ this year wasn’t on the radar at the time, but here it is in case you missed it....

Of course, Bowie’s ‘The Next Day Extra’ has also hit the racks; see my reposted review which will follow this post later today. Also coming in the next day or so, two straight nights at the O2 (Mott The Hoople and Depeche Mode), Mott’s Columbia albums revisited, some Lou Reed, The Rolling Stones, Metallica and Caro Emerald.

7th - 27th October - Acquisitions #6

So, after three weeks, here I am back with my weekly thoughts on the music I’ve listened to/purchased. What can I say, I wasn’t in the mood for writing, but I’m (nearly) over it now, so, proverbial pen on virtual paper, here goes. This includes, Prefab Sprout vs. Tindersticks, Van Morrison ‘Moondance – Expanded’, a Tears for Fears deluxe edition, a Matthew E White special edition and another HMV 4 for a tenner deal, involving, Ian McCulloch, Massive Attack, Olympic Closing Ceremony compilation and a Talk Talk tribute thingy. And a diversion in Nicole Atkins.

So, from the top, two bands (well, one band and one “band”) revisiting their past in different ways. Firstly Prefab Sprout with ‘Crimson/Red’, in essence a Paddy McAloon solo record (written/performed/produced…) in the style of his bands heyday, a self serve Stars In Their Eyes. And for the record, it works. Ok,  so it’s not up there with the classic Sprout albums but it is (in places) a mere heartbeat away. I do hope Paddy can keep his shit together and stay healthy and bless us with more songs soon because this is a welcome return to a sound of quality from the past.

Tindersticks on the other hand revisit their past in a more literal sense, revisiting songs from their 20 year history that they feel that they can perform better now with the benefit of age, wisdom and experience. Recorded at Abbey Road it’s a strange one, some album tracks get the treatment, some songs from Stuart Staples tentative solo projects and most definetley not a best of. However, a Tindersticks at Abbey Road album was never gonna be a failure, and though some songs are barely different at all from the originals the band have crafted yet another fine album. Standout for me is the cover of Odysseys disco ballad ‘If You’re Looking For A Way Out’, originally from 1999’s fourth album ‘Simple Pleasures’, here sounding even more soulful, plush and heartfelt than ever.

What can you say about Van Morrison’s ‘Moodance’? By far my most favourite Van the Man album, this is a standard deluxe re-issue, a subtle re-mastering that does improve the long available standard CD edition, and a bonus disc of alternate takes and out-takes. I went for the two disc version with an 11 track 2^nd disc. I found it really interesting to hear the works in progress and unreleased songs, and I have, ahem, ‘acquired’ the two extra discs from the mega expensive version with even more alternate takes. But what you really need to know, if you don’t already, is that ‘Moondance’ is a nearly unparalleled work of exquisite genius. The man himself, Van, may be aghast at this re-issue but as a fan I love it. Sorry Van. The Man.

The Tears for Fears Deluxe reissue of debut album ‘The Hurting’ fell into my hands more by accident than design. It was there in the store, fairly reasonably priced, I was pissed off and needed something and the money was in my pocket. I’m glad I bought it. The album sounds better than ever, a very decent re-mastering job, the music really leaps out at you. Early versions, b-sides and extended versions are all swooped up on the 2^nd disc, including a long time fave of mine, the extended mix of the hit version of ‘Pale Shelter’. I’m well pleased I picked this up, this a great album; I now prefer it to ‘Songs From The Big Chair’.

Matthew E White hasn’t waited long to make critics fave ‘Big Inner’ available as a special edition, following on 9 months after its original UK release in January. No remixes or alternative versions though, simply 5 new tracks on a 2^nd CD (‘Outer Face’). This is a critic’s fave in much the same way Josh T Pearson was a couple of years back. This isn’t gonna spawn any worldwide hits, but it’s smooth, well produced and recorded, an intriguing listen. It’s kind of old school soul but it has an alternative slant, quite low key in fact. It kind of demands you sit down and listen to it, it’s not driving or background stuff, you gotta pay attention. I feel quite pleased I didn’t buy it upon release as now I have the extra stuff without having to buy the main album again. Record companies really should stop fleecing fans, no wonder people do dodgy downloads.

I also managed to find another 4 albums in HMV’s 4 for a tenner bargain bucket. Ian McCulloch’s ‘Slideling’ is his third solo album and first after re-starting Echo & The Bunnymen. The version I picked up was the recent Edsel re-issue. It’s not very good. It’s very bad either, just too safe and uninspiring. To think that the guy who wrote the words to ‘The Cutter’ or ‘The Back Of Love’ etc could end up writing this stuff is just a little sad, but that’s the way it goes, we all get older and mellow out, don’t we? Massive Attack’s ‘Blue Lines’, their debut from 1991 was given a remix/re-master work out in 2012 and this is the version I picked up. It was, still is and will always be a great album. The new version doesn’t depart radically (it’s more of a re-master, less of a remix) from the original though does sound a little less of its time, well worth the £2.50 I effectively paid for it. The ‘A Symphony of British Music – Music for the Olympic Games 2012 Closing Ceremony’ double CD is notable for some new versions of established acts great tracks. Elbow’s ‘Open Arms’ and ‘One Day Like This’ sound great here, I even like Russell Brands take on ‘Pure Imagination/I Am The Walrus’ but the Who’s new version of ‘My Generation’ is excrement. Worth it for the good stuff though. Finally the Talk Talk tribute album is a real mixed bag. Nothing I’ve listened to on it yet was terrible, some of it even pretty good. Not many well known names though, but again, at £2.50 worth a punt.

I’ve also had a relisten to the two Nicole Atkins albums so far released. Bloody great they are too. If you’ve not heard her, check them out. Great vocalist and great songs. This led me to hunt down anything else she may have sung but not put on an official album. This includes ‘Daytrotter’ session versions, EP tracks, songs given to tribute albums, and guest appearances. This resulted in a home produced CD of this stuff. Here’s what I made.

Next week, Arcade Fire’s new album, a live Laura Marling EP and who knows what else?

30th September – 6th October – Acquisitions #5

I only received a couple of low key new releases this week, Agnes Obel’s 2^nd LP ‘Aventine’ and a John Harle CD, ‘Art Music’ that I only purchased because it featured vocals on two tracks by Marc Almond. My week musically got beefed up by a Monday visit to HMV in Basildon where I picked up in their 4 for £10 deal, The Clash ‘Cut The Crap’, The Futureheads ‘Chaos’, The Velvet Underground & Nico “Andy Warhol” 2012 2CD re-issue and a 6 disc Motörhead ‘Classic Album Selection’; that’s 6 Motörhead albums on CD for £2.50! More of that later…. Also as a bonus a quick splash of Kylie Minogue sings Prefab Sprout.

Agnes Obel’s 2010 album ‘Philharmonics’ was a low key discovery that grew on me well over time. I only really investigated it because of the striking portrait of Agnes on the cover, and probably that her name was Agnes too, it sounded like an unlikely name for a recording artist, even a Danish one. So I awaited her second release, ‘Aventine’ with surprising expectation. Unfortunately after a couple of listens I find it a mild disappointment. She is described as a folk/classical artist, and both albums have a delicacy that sets her apart from the rock or indie scene. This album is more instrumental than its predecessor and bearing in mind how the debut LP grew on me I feel confident that I’m gonna end up liking this more over time. Maybe because it’s her second I feel there’s less originality about this set, I can hear some Björk and Tori Amos in particular in there, the first album brought no-one else to mind. If you like a bit of quirky, delicate, quiet and sophisticated stuff at times though I’d urge you to investigate, there’s very little else like this out there.

My only other new release purchase of the week was a John Harle CD called ‘Art Music’, a set of music inspired by the paintings of Lucian Freud, David Hockney, Francis Bacon, John O’Connor and John Craxton. It was Marc Almond’s involvement on two of these recordings that tweaked my interest. Marc’s ‘songs’ are based on Hockney’s ‘3 January’ and ’30 March’ with words taken from or inspired by William Blake. If you’re thinking somewhat sarcastically, ‘sounds like a laugh’ then you’d not be wrong. However it’s decent sober and sombre stuff, a bit loftier in concept than my average purchase, but I is well educated. For an Essex boy, innit.

 

And so onto my bargains of the week from HMV, 10 discs for £10! I’ve mentioned the Clash a bit in recent weeks. Not having ‘Cut The Crap’ on CD the chance to get it for £2.50 could not be passed up. I’ve not listened to this album since its release, so on a nice drive to Southgate & on it went…and, though still awful it was not as bad as I remembered it being. There is some variation musically and the constant terrace style chanting backing vocals at least try to summon up the ghost of Mick Jones recently departed at the time the album was made. To be clear, another nearly 30 years could easily pass before I listen to it again, but if you consider it more of a debut Strummer solo album (as such it probably would’ve been greeted with much less negativity) then at least it can lose its skid mark on a career tag.

The Futureheads ‘Chaos’, their 2010 4^th album is pretty much the same album as the preceding three. I saw them supporting the Pixies at the Alexandra Palace in support of their debut album in the mid noughties. Their career feels like a bit of a wasted opportunity, but if truth be told ‘Chaos’ is sharp, well formed and very listenable, even it does reference Orville the duck (it doesn’t, IT DOES). The Velvet Underground and Nico’s self/untitled (or ‘Warhol/Banana’) LP is well known by any rock music fan of inquisitive nature. This 2012 deluxe issue sounds great but the bonus tracks add little to the legend. However, for £2.50, I’ll have some of that.

 

And so onto Motörhead’s early career. The ‘Classic Album Selection’, 41.6p per disc, is a trawl through Lemmyworld and beyond. Their classic 2^nd – 6^th albums and 1981’s ‘No Sleep Til’ Hammersmith’ (their first 6 of 7 for Bronze) are included here, and I’ve listened to the lot, this week. So, Lemmy’s mantra for life appears to be – sleep with as many chicks as possible. If possible, don’t ask them their names. If you can get two chicks in bed at the same time, even better (no guide as to whether or not you ask for names). If the chicks happen to be in their teens even more betterer (Motörhead seem to be decent upstanding chaps, so I presume they mean over 16, legal, late teens chicks). Also, gamble, drink heavily, and be an individual that is at odds with the normal world. And have a job in a road crew if you can. Having said that though, Motörhead’s classics are classic. ‘Overkill’ is like the Damned on speed and doesn’t know when to stop, surviving two false finishes. ‘Bomber’ is a bomber, ‘Ace Of Spades’ needs no introduction; I’ll think I’ll watch that Lemmy DVD that’s sat idle on my shelf for a couple of years now.

And so finally Kylie sings Prefab Sprout. Not sure how this eluded me all these years. Recorded in a part of her career when no-one really paid that much attention ‘If You Don’t Love Me’ was one the Sprouts most commercial moments, appearing on their first 'Best Of' as a new track. Kylie makes it a ballad in the vein of last year’s ‘Abbey Road’ recordings, eventually resurrecting the song on the Aphrodite tour. It’s a Prefab Sprout classic, not a Kylie classic, but I need no excuse to listen to either.

And talking of Prefab Sprout, next week ‘Crimson/Red’ is out. The 10^th official Sprout album, magazine reviews have been great, and what I’ve heard suggests this to be true. So fingers crossed, a classic should be landing on my doormat on Monday. I’ll let you know next week.