...finally found the time to unpack years of built-up darkness...

In late September, Justin Vernon released the first new Bon Iver song in nearly five years, S P E Y S I D E, followed a month later by a further two songs, making up the SABLE, EP. 

I haven't really followed the Bon Iver story since 2007's debut album, a couple of songs from the follow up, and even fewer in the intervening years.

Listening to the three songs on SABLE, my immediate thought was why haven't I listened to more Bon Iver? 

THINGS BEHIND THINGS BEHIND THINGS, S P E Y S I D E and AWARDS SEASON (yes, all titles in upper case) gave me the same shiver down the spine of listening to For Emma, Forever Ago...not quite forever ago admittedly, but a decade and a half at least.

The promo blurb states that the SABLE, EP "represents an unburdening from one of the most trying eras in Vernon’s life."

If that means that there is more Bon Iver music to come, then I won't be looking the other way this time.

I hope to see you here tomorrow for a Dubhed selection like no other, and a first for this music blog (and blogger).

Don’t Waste Your Time On Tasteless Swag

Not that I need an excuse to post anything by Sparks, but at the end of October they released the original 2013 recordings of Annette, the film musical starring Adam Driver, Marion Cotillard and Simon Helberg that finally saw the light of day in 2021.

To celebrate, a couple of days ago Sparks shared the 2013 version of Girls Love A Man Who Makes Them Laugh on YouTube. As it's an audio only clip, I've preceded it with an outtake of Annette's opening scene/song, So May We Start.

The day before, the extras from the 2019 deluxe reissue of Sparks' 1994 album Gratuitous Sax and Senseless Violins were also posted to YT. I bought - and loved - the album at the time of it's original release and haven't invested (yet) in the expanded edition. 

Which I will now reconsider, not least because I will miss Sparks' Europop cover of Boris The Spider by The Who, featuring Christi Haydon on lead vocals.

The obvious choice of video to pick from this album would be When Do I Get To Sing 'My Way'. So of course I'm picking a different single, at the time arguably a bit of frivolous whimsy, but now something I'd fully get behind if it could become a reality...

And for your extended listening pleasure, I've reactivated the link to my Dubhed selection, A Shower Of Sparks, originally posted in September 2021.

Is that Mael enough for you?!

Fight For The Edge Of A Notion, A Notion To Be Free

Bryony Jarman-Pinto is an artist that I've stumbled across in an online search for another artist. 

In this case, I was tracking remixes by Colleen Murphy aka Cosmodelica, someone else I've discovered belatedly and have been attempting to catch up with since. My search led me to the Cosmodelica remix of Bryony's song Moving Forward, released as a single in July.

It's a wonderfully uplifting song, uniting Bryony's jazzy vocals with Colleen's Studio 54-inspired disco dynamics. Better still, it comes in three versions: an eight and a half minute vocal, a radio edit and a full length instrumental. 

More recently, Bryony marked Hallowe'en with Willow (Birch Community Mix), a reworking of another song from her second album, Below Dawn. This remix sees Bryony reunited with childhood friend Tom Leah aka Werkha, who produced her debut album and currently performs in her live band. 

Swiss Adam may be particularly interested to note that the remix is named after Birch Community Centre in Manchester, which Werkha lived next to growing up, going there for after-school club jam sandwiches. Again, this tribute comes in full vocal, clean edit and instrumental variations.

I've cherry picked a few other top drawer remixes from Bryony's catalogue, including Dego aka Dennis McFarlane (4Hero), Wu-Lu aka Miles Romans Hopcraft and Wonky Logic aka Dwayne Kilvington, plus an older collaboration with Werkha from 2015. 

Sour Face (dego Remix) (2020)

Sweet Sweet (Wu-Lu Remix) (2019)

Dusk (Single Version): Werkha ft. Bryony Jarman-Pinto (2015)

All About Life (Wonky Logic Remix) (2019)

The post is topped and tailed with 2019 single Saffron Yellow, which also provides today's title lyric. As well as a remix by Jesse Fischer, Saffron Yellow follows the singles format trend of additionally offering up a radio edit or a capella and an instrumental. 

Smooth and groovy? Yes, please!

 

 

 

 

 

 

One Of Many, Many Of One

I came to ONE by Noema aka Berlin-based polymath David Benjamin in reverse order, discovering the second (of two) remix EPs in September, which in turn led me to the original album, released this time last year.

 

Except ONE is not merely an album. It's a coming together of music, remixes, storytelling, interactive choreography, costumes, stage design and theatre, two years in the making, ideas all springing from Benjamin's brain. 

 

Noema created the story and texts, costumes, graphics, videos, choreography, wrote and recorded the music with an orchestra, and in 2022 showed an early experimental version of ONE at the Garbicz Festival in Poland. 

 

I've only heard the music and there is plenty to enjoy. I was fishing around for superlatives but the promo blurb sums it up far better - and more succinctly - than I can, describing ONE as 

"Sun Ra meets Steve Reich meets Larry Levan 

- imagine it as a “happening” from the 70s."

ONE is available to purchase as a single digital album, coming in at 42 minutes and 45 seconds.

 

For vinyl lovers, ONE is spread over two sides, still available in black or white, though I haven't dared look at what the shipping costs might be.

If either is bit too rich for your first taste, ONE has also been posted on YouTube in 13 bite size chunks. Extract XI is the shortest at 81 seconds, but gives you a good enough idea of what ONE is all about. 

ONE Remixed arrived in two parts this year, the first in January and the second in September, which is where I came in. Nine remixes in total, all drawing something new and enriching from the source material, hovering between the five and eight minute mark.

 

I've picked one from each EP/mini-album, Kelpe aka Kel McKeown (London) and Shubostar aka Jiyoung Bak (South Korea) being the only two names I recognised going in. However, every single one of the nine is recommended.

 

 

 

A Critical Mass Of Higher Love

A highlight this year has been A Headspace In Time, an EP released in May by Mass Density Human aka Mark Hastings. 

 

Four tracks and twenty minutes of synth washed soundscapes that reveal something new on each listen. I've included the opening and closing tracks, Josie's Buzz and A Walk To Clear The Head, to top and tail today's post but all four are worth your time and money.

 

The EP is available on the Higher Love Recordings label, run by Balearic Ultras, and the place that I first heard Mass Density Human, via the superb Higher Love Vol. 2 in the summer of 2022. 

 

Emulate is twelve minutes and twenty one seconds of pulsing, soothing electronics and a perfect way to wrap up the compilation, an absolute bargain for five quid on Bandcamp.

 

Not one to miss a trick, Emulate was also the closing track on Mass Density Human's debut album in 2023, Are We Nearly There Yet? (surely a tribute to this similarly named and similarly excellent music blog). 

Another bargain for a fiver, the ten other tracks on Are We Nearly There Yet? are up to the challenge of matching the quality of Emulate. The album opens with the wonderfully titled Considerate Ninja, which Dr Rob at Ban Ban Ton Ton described at the time thus: 

 

"Imagine This Mortal Coil moving to a fidgeting electro rhythm. 

A slow warmth growing, glowing in the shape of warped synth chords." 

 

Which says it all and pretty much knocks any review of a song I've posted into a cocked hat. 

In October this year, Mass Density Human offered up a fresh remix of Andres y Xavi's 2023 single Bibbles. I'm a big fan of the original, but Mark's version takes it on a tour of Ibiza and beyond and has a hell of a good time on the way. Well, it's called the 'Intergalacticos Del Mar Mix', what did I expect?

Jumping labels briefly to France and Citizens Of Vice, 2022 saw the release of the As The Crow Flies EP by Coyote. I've come to appreciate the quality of their music in the past couple of years and this EP is a prime example. 

 

Two original cuts, the title track and Steely Dad, a couple of remixes by Chris Coco and Secret Soul Society and then this beauty from Mass Density Human to close. 

 

A steal at 3 Euro for the lot, to be honest, but the latter is available as a standalone name your price purchase.

Another track which first saw the light of day on the Higher Love Vol. 2 compilation is Our Patagonian Friends by Puerto Montt City Orchestra. Last year saw the release of a remix EP, which again closed with a stunning rework from Mass Density Human, the aptly named 'Moody Mate' remix adding a darker, menacing edge to the original's up, up, upbeat vibe. Nearly ten minutes that will have you jabbing for the repeat button at the end.

The Rhodes to the Moon EP was an early release on Alan Dixon's label Love Attack. The title track is available in two (re)mixes, prefaced by two originals, Who Can Tell and Too Cute. The latter is thankfully more of a sonic warm hug than a sickly bowl of syrup. Coming to the EP after having heard Mass Density Human's later music first, it's fascinating to hear how fully formed Mark's vision has been from the outset. There's a clear evolution, but Mass Density Human had found it's character and identity from the start.

 

 

...which is reinforced by the even earlier release, the Out & Back EP from 2020. The music's origins in the COVID lockdown capture that yearning for the freedom to move, to gather, to dance. Three songs, each available in two mixes, I've picked the 'Vague Recollection Mix' of Memories Of A Time. 

 

Evocative of 90s club music, there is an added nuance and resonance as the EP itself now evokes it's own memories of a very different time and place.

 

After all that, A Walk To Clear The Head will do us all some good. Back then to Mass Density Human's A Headspace In Time EP for this wistful wander through the mind. Although the music was released in May, with the promise of summer to come, I can confidently say that it works just as well on a cold, wet wintry November day.

 

The final Bandcamp Friday of 2024 lands on 6th December. Share the (Higher) Love by putting some Mass Density Human in your shopping bag.

Mike Monday

It's Monday and it's Mike, who has kindly provided a guest post, recalling a time when TV theme tunes were as trauma-inducing as the programme's content. This hard-hitting Monday night ITV classic was no exception. Over to you, Mike...

 

 

 

Every once in a while do you hear a bit of music and it takes you back to when you were a child? It may be comforting, it may be disconcerting but it gets a visceral response which really make you think.

One of the more obvious ones for me are TV themes. Many bloggers have covered this with more success but I wanted to share a TV theme which in the 1970’s represented a number of negatives reactions in me. It was quite a harsh piece of music which based on responses on YouTube gave people nightmares or at least made them switch over (and remember it was an effort then when you had to get out of your seat). It could be seen as scary (were there just more scary bits of music in the 70’s?) or just a bit unsettling.

The piece of music I am referring to is the World In Action theme music. For those of you who can’t remember World In Action (or simply weren’t born then) this was a programme than ran on ITV between 1963 and 1998. A quick look at Wiki says it could attract up to 23 million viewers and was seen as hard hitting journalism which saw the downfall of many a top ranked member of institutions in the UK.

Talking to others many have their own favourite WIA programme – it may be looking into the convictions of the Birmingham Six or exposing members of Combat 18 for example. But when I was very young it was the theme music that gave me the heebie-jeebies…

Browsing on Youtube recently I came across the ‘World In Action Theme – Recording Sessions’.

I listened to the music again although in the 7 minute 35 edition rather than the 30 second snippet you would get of an evening. The first thing that struck me is what a brilliant piece of music it is. Within the seven and a half minutes the music stops and starts but throughout you can see the clever interplay between keyboards and acoustic guitars. It really is worth checking out.

However what I found REALLY interesting was the back story about the composing and copyright of the music. It was only in the comments underneath I got a real feel for the animosity which has sprung up over the years for who was given the credit for the music. Certainly Shawn Phillips and Mick Weaver felt they were very harshly treated and I don’t think I have ever seen such a public spat covered in a comments section on you tube. When you think this music was put together in 1967 it really is a contentious issue that will follow all the participants to their grave.

Whatever the truth is – what a brilliant and evocative piece of music that takes me back to a time and place where if nothing else we had more belief in investigative news reporting then we do today.

 

 

 

Many thanks, Mike. I haven't had cause to think about World In Action for years, but a few seconds of the theme tune brought those childhood memories back to me. And the story of it's creation and use, in particular the poor practice around fair credit and payment for work, could itself have been a World In Action topic.

 

As Mike notes, after an edit of the theme tune was posted on YouTube in 2012, presumably at the time credited solely to Shawn Phillips, Mick Weaver was eventually moved to comment.

The Monocled Alchemist helpfully collated the online comments from Weaver, Shawn Phillips and Jonathan Weston into a single post in May this year. 

 

Oh, and for those of you who may have been expecting a post on DJ legend Mike Monday, here's a lovely song from his 2006 album Smorgasbord, topically on the nose following a weekend of Storm Bert in the UK.

Dub Disco

Continuing with yesterday's extended 12" tip, here's seven songs stretched out into discomixes and dub excursions by some of the finest producers ever to step on this planet.

I'd love to say that my shelves are crammed with well-loved and oft-played reggae and dub 12" vinyl. Sadly, not the case. Thankfully, so much has been released on CD and digitally in the last two or three decades that I've been able to regularly satisify my voracious appetite for the music and the artists and producers that created it.

 

Another hour long selection, the shortest version on here clocking in at eight and a half minutes, the longest just shy of nine and three quarters, all solid gold. And a reminder of when UB40 were really good.

 

I usually list the EP or album that the song originally appeared on. This time, I've listed the compilation that I first discovered the version on. Physical copies still out of print in many cases, but possibly slightly easier to track down...and afford.

 

Enjoy!

 

1) Prophecy (Discomix By Lloyd Coxsone): Fabian (1977)

2) Know Love (Discomix By Lee 'Scratch' Perry): The Twin Roots (1977)

3) Pure Ranking (Discomix By King Tubby): Horace Andy (1979)

4) Liberated Woman (Album Version By Mad Professor): Ranking Ann (1982)

5) Rasta Train (Discomix By Lee 'Scratch' Perry): Raphael Green & Dr. Alimantado (1977)

6) All I Can Say (Album Version By Bullwackie): Love Joys (1983)

7) The Earth Dies Screaming (12" Version By Ray 'Pablo' Falconer): UB40 (1980)

 

1982: A Slice Of English Toast: 4 

1983: Lovers Rock Reggae Style: 6

1997: Good Vibes: 3 

2005: Trojan Roots & Culture Box Set: 5

2012: Lee 'Scratch' Perry & Friends: Disco Devil: The Jamaican Discomixes: 2 

2014: 12"/80s New Wave: 7

2015: Island Records Presents Reggae Discomixes: 22 Essential Extended Mixes: 1

Dub Disco (1:02:00) (KF) (Mega)

Idol Threat

An hour of Billy Idol aka William Michael Albert Broad or, as Smash Hits would have it in the 1980s, Sir William of Idol.

 

Bad post title pun (Bone Idol was already taken) and trademark snarl aside, there was nothing threatening about Billy Idol and anyone who's endured The Wedding Singer will at least have been rewarded by a star turn from the man, clearly game for a laugh.

 

Billy's also been partial to the remix, and my very first (of admittedly few) Billy Idol records was the Vital Idol compilation in the summer of 1985, compiling seven 12" mixes from previous singles. Vital Idol eventually got to #7 in the UK album charts, propelled by his two biggest singles, both peaking at #6. 

 

At school, the Venn diagram of people's varied musical tastes bizarrely placed Billy Idol firmly in the central overlap. My friend Dave was into 2-Tone and wore a Harrington; we also connected with Billy. All the girls seemed to love Billy and his lovely spiky but soft bleached locks. The boys were fascinated by Billy's tattoo. Note the singular. Remember the time when it was rare for a musician to have a tattoo, let alone covering 90% of your body?

 

White Wedding was Billy's breakthrough hit here, although Eyes Without A Face had just nudged into the Top 20 the previous year. Rebel Yell had only got to #62 first time around in 1984; the success of White Wedding having a considerable impact on the single's fortunes the second time around.

 

Today's picks draw from Billy's 1980s pomp, cutting off just as 1990 marked a downturn in his chart fortunes, in the UK at least. Only 3 from Vital Idol, several from 12" singles. 

 

Eyes Without A Face was a bit of a cop out, as the 'extended version' was the same as the album version. The 9-minute remix of Don't Need A Gun appeared on a limited edition extra 12" single. Likewise, the Rock N' Roll Mix of To Be A Lover featured on a limited edition 12", albeit in Australia and New Zealand. 

Despite the (re)title, Cradle Of Dub is the standard 12" mix of the Cradle Of Love single. The slightly more dubby dub version was called Rock The Cradle Of Dub. 

The selection includes a couple of 21st century edits. The original 12" of Rebel Yell stuck with the album version; Brazilian bootlegger McDoC has fun with Roxio Sound Editor 9 and Audacity software to stretch and tease the multi-tracks into a nine-and-a-minute monster. A tad too long perhaps, but a good effort.

Conversely, the original Shotgun Mix of White Wedding was in two parts over 8 minutes. To keep the selection around the hour mark, I've plumped for the Retro Shock Remix from 2004 instead, at a smidge under 6 minutes. Apart from moving a bit of Part II to the intro and bolting some alternative beats to the undercarriage, it's not tinkered with too much.

My favourite remixes here are probably Flesh For Fantasy and Love Calling, mainly because they are vastly superior to the original versions, sonically speaking. The lyrics though are another matter. 

 

Billy's songs have been questionable, at best: Rebel Yell's crude orgasm reference; Billy's dancing angel "came pumping on the floor", apparently. Billy was 32 when he released 1987 single Sweet Sixteen. 

 

Flesh For Fantasy is the worst of the lot, though: "Face to face and back to back / You see and feel my sex attack". Really? When was that ever going to sound anything other than wrong?

The selection closes with Billy's take on Tommy James & The Shondells' 1968 hit Mony Mony. History didn't immediately repeat for Idol: it was a flop when tucked away on UK solo debut EP Don't Stop. Mony Mony was released again in 1987 as a live version (and remix on the 12") and surprisingly got to #7, his third and final Top 10 hit on this here island.

 

It was only after I had created today's selection and was some way through writing this post that I discovered that it's Billy's 69th birthday next Saturday (30th). I could have saved this post for a week, but I have other plans for next weekend...if I get my arse in gear, that is. So, here it is, starting the celebration seven days early as indeed I hope Billy is also doing.

 

Have a great one, Sir William! 

Anyway, enough preamble, here's the music...

 

1) Rebel Yell (McDoC Evo-XR Twilight Mix) (2009)

2) White Wedding (Retro Shock Remix By Aaron Scofield & CL McSpadden) (2004)

3) Eyes Without A Face (Album Version By Keith Forsey) (1983)

4) Flesh For Fantasy (Below The Belt Mix By Gary Langan) (1984)

5) Love Calling (Rub A Dub Dub Mix By Keith Forsey) (1983)

6) To Be A Lover (Rock N' Roll Mix By Tom Lord-Alge) (Cover of 'I Forgot To Be Your Lover' by William Bell) (1986)

7) Cradle Of Dub (Extended Mix By Keith Forsey & Tommy Vicari) (1990)

8) Don't Need A Gun (The Beyond Melt Down Mix By Steve Thompson & Michael Barbiero) (1987)

9) Mony Mony (Downtown Mix By Keith Forsey) (Cover of Tommy James & The Shondells) (1981) 

 

1981: Don't Stop EP: 9

1983: Dancing With Myself EP: 5

1983: Rebel Yell: 3

1984: Flesh For Fantasy EP: 4 

1986: To Be A Lover EP: 6

1987: Don't Need A Gun EP: 8

1990: Cradle Of Love EP: 7

2004: Retro Shock Volume 3: 2

2009: Rebel Yell EP (bootleg): 1

Idol Threat (1:00:45) (KF) (Mega)

Free

Another selection ripped from music magazine cover mount CDs, this time featuring Paul Weller.

There seems to be such reverence for Weller in the likes of Mojo, Q or Uncut magazine that it's always a little surprising when, as with this year, one of his songs doesn't appear on the end of year 'best of' CD.

Personally, my relationship with Paul Weller's solo career has been in and out, mostly out, though I have enjoyed the handful of 21st century albums that I've heard.

This 13-song selection leans heavily on that period, with only a trio of songs from the 1990s, one original, one cover and one live version combining both. 

 

Paul Weller does like a cover version and whilst he's thrown in the occasional unexpected choice, no such surprises here with Neil Young, John Lennon, Nick Drake, Bob Dylan and (a bit of) Edwin Starr. But, what Weller does, he does well(er).

Given the disparate sources and time span, I think I've managed to sequence a coherent selection. If I were being a C90 cassette compilation purist, I would have dropped a track to keep it to 45 minutes or so. What the heck, it's Friday, have a free one on me!

1) Brother To Brother: Terry Callier ft. Paul Weller (2002)

2) Birds (Cover of Neil Young) (2004)

3) In Another Room (2020)

4) The Changingman (Live @ Glastonbury Festival) (2007)

5) Instant Karma! (Cover of John Lennon & Plastic Ono Band) (2002)

6) River Man (Cover of Nick Drake) (2010)

7) Has My Fire Really Gone Out? (ft. Max Beesley & Robert Howard) (1993)

8) I Shall Be Released (Cover of Bob Dylan) (1996)

9) Black River (2007)

10) Brushed (The Black Barn Sessions) (2020)

11) Satellite Kid (Album Version) (2017)

12) What Would He Say? (Demo Version) (2018)

13) (Can You Hear Us) Holy Man / War (Cover of Edwin Starr) (Live @ Civic Hall, Wolverhampton) (1994)

 

1993: Wild Wood: 7

1994: Live Wood: 13

1996: Out Of The Sinking EP: 8

2002: Instant Karma 2002: A Tribute To John Lennon (Uncut magazine promo CD): 5

2002: Speak Your Peace: 1 

2004: Studio 150: 2

2007: This Old Town EP: 9

2008: 22 Dreams: 9

2008: Live From Glastonbury (Q magazine promo CD) : 4

2010: No Tears To Cry EP: 6

2017: A Kind Revolution: 11

2018: The Mojo Anthology: 15 Rare & Unreleased Tracks From Our Legendary Friends (Mojo magazine promo CD): 12

2020: In Another Room EP: 3

2020: The Mojo Festival 2020 (Mojo magazine promo CD): 10

Free (48:45) (KF) (Mega)

Choirs Of Drunks On Heat

HANN's latest single Shade To The Sunshine came out a couple of days ago, which to this admittedly biased blogger is another three and a half minutes of perfect pop. 

It's driven by Hannah Fitzpatrick's soft and deep vocals and an urgent acoustic line, propelled by a tapping percussion line and sweeping strings. It's a darker, more melancholy tune in some respects, capturing the sleeplessness of the narrator and replete with the clever wordplay and aural picture painting that has become HANN's stock in trade.

Even better, Shade To The Sunshine heralds the long-awaited debut album, Forever In A Glance. I was thinking of posting a full album review today but to be honest, I need more than a hastily grabbed 30 minutes at the PC to do it justice.

Suffice to say that, if you've enjoyed HANN's music to date, you'll be very happy. A proper album, 12 songs, 40-odd minutes, it's already nestled into my heart. 

More platitudes soon, but in the meantime you can find out for yourself by heading over to Bandcamp.

Despite The Passage Of Time

Mekons have returned with a new single on Tuesday. 

 

You're Not Singing Anymore is three minutes of alt. pop perfection, Jon Langford on lead vocals, band in full flow, and irresistibly singalong even if the lyrics are in reflective and arguably maudlin mode.

 

As if that weren't good news enough, Mekons have signed to Fire Records with the promise of more new music next year. I'm assuming we're talking an album as the band has also announced an extensive tour of the UK and Europe in May, followed by the USA in July and August. The closest gig to me will be The Corn Exchange in Newport on Friday 9th May...

 

The Mekons line-up is Jon Langford, Sally Timms (happy birthday for 29th!), Tom Greenhalgh, Dave Trumfio, Susie Honeyman, Rico Bell aka Eric Bellis, Lu Edmonds and Steve Goulding. All 'lifers', Dave Trumfio the relative newcomer with a mere three decades with Mekons under his belt...!

 

Mekons sound like a band on fire. And I don't just mean their label. I can't wait to hear more.

Citizen Kane

Celebrating Jonathan Saul Kane, on the devastating news yesterday of his death at age 55. 

 

I'll aim to add some comments and notes in the days to come. For now, here's a selection of a dozen remixes from 1988 to 2004, mostly as Depth Charge, which is how I first discovered his music.

Rest easy, J.

Post Script / Sleeve notes, 20th November 2024

The first record I owned with a J. Saul Kane credit was by accident in 1990. I'd bought Nothing To Lose on 12" by S'Express in the reduced crate at a local record shop, with a pile of other records. When I got home, I found that although the sleeve was the standard issue, the vinyl inside was the remix 12". 

 

I loved the original version of Nothing To Lose, but J. Saul Kane and Yashiki Gōta's reworking transformed the song from a rousing club anthem to a melancholy imaginary film soundtrack. With beats. It was great and I held onto it. The version here is an edit featured on the 8th volume of the Deep Heat series, which I guess at the time was the 'dance' equivalent of Now That's What I Call Music. Sonique's vocal remain the anchoring point, but the remix takes it on a wildly different journey.

I became quickly familiar with Depth Charge in the early to mid-1990s, not a great surprise perhaps, given my love of Andrew Weatherall, Jack Dangers and Red Snapper and the many points of reference and crossover between these artists, musically speaking. Perhaps no surprise then to find that J. Saul Kane has remixed songs by all three during the 1990s.

The Depth Charge remix of Tow Truck by The Sabres Of Paradise originally appeared on a 12" double A-side with Chemical Brothers providing the other version. Various other reworkings of music from the album Haunted Dancehall were released on 7" and 10", but I held out for the Versus EP compilation on CD, with gathered them all together and threw in a second Depth Charge remix for good measure. All fantastic.

J also offered up two mixes of Acid Again for Meat Beat Manifesto's 1998 single. I've picked the second one mainly because it's shorter running time meant that the selection as a whole didn't push too far over the hour mark. Mix 1 is equally wonderful, believe me.

J has remixed Red Snapper twice too, though different songs, seven years apart. I was tempted to include 1996's Son Of Mook from the Son Of Mook EP, but ultimately went for Regrettable from 2003's Redone album, one of three early 21st century selections. No regrets here, it means business!

Planet Telex is a beloved Radiohead song in any version, but the Depth Charge remix seems to have appeared as a one-off on the 2CD compilation Altered States as I've never seen any reference to it being released as a promo or official single. A shame, as it deserves better than it's relative scarcity.

Midi Rain completely passed me by at the time in the early 1990s, but I subsequently traced them years later during a hunt for J. Saul Kane/Depth Charge remixes. I discovered that Midi Rain was a project/alias for John Rocca, better known to me in the 1980s as the main man with Freeez, who had a massive hit with I.O.U.

J was clearly a fan, as he provided mixes on all five Midi Rain singles and co-mixed the sole album One in 1994. Lots to choose from then, I've picked the Depth Charge remix of Eyes, Midi Rain's 2nd single in 1991.

I could go on, but it's all in the listening. And these are just a few remixes. There's plenty more to delve into and I've not even touched on J. Saul Kane's own catalogue, not least the phenomenal albums Nine Deadly Venoms (1994) and Lust (1999), the latter so huge that it had to be spread across two separate releases. 

Gone, but J's legacy will remain.

1) Dream On (Octagon Man Mix): Depeche Mode (2001)

2) Acid Again (Depth Charge Mix 2): Meat Beat Manifesto (1998)

3) Nothing To Lose (Remix By J. Saul Kane / Gota) (Edit): S'Express ft. Sonique (1990)

4) Woke Up This Morning (Depth Charge): Alabama 3 (1997)

5) Tow Truck (Depth Charge Mix): The Sabres Of Paradise (1995)

6) Beat Dat (Freestyle Scratch Mix By Tim Simenon & Jonathan Saul Kane): Bomb The Bass (1988)

7) Out-Side (Depth Charge Remix): The Beta Band (2004)

8) Eyes (Depth Charge Mix): Midi Rain (1991)

9) Planet Telex (Depthcharge Remix): Radiohead (1995)

10) Regrettable (Depth Charge Remix): Red Snapper (2003)

11) Knowledge 'n' Numbers (Depth Charge Mix): Screaming Target (1991)

12) Fear (Original Mix With Bats) (Remix By Eon & J. Saul Kane): Eon (1991)

 

1988: Into The Dragon: 6

1990: Deep Heat 8: The Hand Of Fate: 3

1991: Eyes EP: 8 

1991: Fear: The Mindkiller EP: 12

1991: Knowledge 'n' Numbers EP: 11

1995: Versus EP: 5 

1996: Altered States: Distorted Dance & Remix Rock: 9

1997: Woke Up This Morning EP: 4

1998: Acid Again EP: 2

2001: Dream On EP: 1 

2003: Red Snapper Redone: 10

2004: Out-Side EP: 7

 

Citizen Kane (1:02:45) (KF) (Mega)

Blue Sky Thinking

A few random videos for you today, featuring Erlend Øye & La Comitiva.

It's Monday morning and I've used my small window of early morning free time, pre-Clan K chaos, to set up an account on BlueSky Social as a belated attempt to ditch the toxic sludge dump that is Twitter (hopefully soon-to-be ex-X). If you're so inclined, you can find me here.

I have a guest post or two lined up for this week, but neither ready in time. So, here's a gentle shuffle into the week with a handful of songs from one of my favourite Norwegian singer songwriters, who will be celebrating his 49th birthday on Thursday (21st).

Have a good one, Erlend!

 

 

Electrical Urges, Rhythmic Surges

I was at SWX in Bristol again last Friday (8th), my second visit to the venue this year and the first time I've seen Ibibio Sound Machine live on stage. 

 

It's no spoiler to say that, over a week later, I'm still aching from dancing so much. It was one of the most intense, euphoric, overwhelming, energetic, uplifting and downright funky gigs I have ever been to. The band was on fire and the audience were fired up, which all made for a terrific night out.  

 

It's always a logistical challenge to get from work to Bristol in good time for a weekday gig and this was no exception. After a quick change at home, drive to the city and parking, I made my way with some bemusement through the vibrant Christmas market (on 8th November?!) to the venue.

 

The support had been listed as 'TBC', but I fully expected to miss them anyway as I went through the doors just before 8.00pm. As it happened, I don't think there was anyone preceding the tour DJ, who was still playing as I queued at the bar for my £3 soft drink. 

 

The show was advertised with a strict curfew of 10.00pm, common practice these days to turf out the gig goers and get the clubbers in until the wee hours of the next day. After what seemed like an interminable wait, although in truth barely half an hour, Ibibio Sound Machine took to the stage.

Even that takes a little bit of time, given that there are eight of them. From left to right from the audience, Afla Sackey (percussion), Derrick McIntyre (bass), Jose Joyette (drums), Max Grunhard (sax), Tony Hayden (trombone, keys), Scott Baylis (trumpet, keys) and Alfred Kari Bannerman (guitar) all take their places.

And then Eno Williams makes her entrance, sending the already ecstatic crowd into a paroxysm of pleasure. I get the impression that I'm in the minority as a first timer here.

 

Resplendent in striking yellow and black costume and headdress, with an accessorised cape with rigid edge enabling her to sweep and twirl it like a flag, Eno launches into Electricity, the title track of Ibibio Sound Machine's fourth studio album and my proper entry point, thanks to an irresistible review by Jez at A History Of Dubious Taste in 2022.

In fact, the bulk of the set is split fairly evenly between this album and their current offering, Pull The Rope. I haven't yet caught up with their first three studio albums, so it means that the majority of the songs played tonight are familiar to me. 

 

Not that it really matters. By the time Eno introduces Fire, the first song to be performed from the current album, I've already surrendered to the groove and am giving it everything, although in a way that means that I'm respecting everyone else's personal space and not flailing carelessly everywhere. In my mind, I'm dancing like a pro; in reality, to the people next to me, it probably looks like someone's emptied a packet of itching powder down the back of my T-shirt. 

Every time a song ends, the cheering and applause washes back and forth like waves hitting a cliff face; Eno and the band are clearly moved by the outpouring of love and enthusiasm for their performance. It's justified. Even when Ibibio Sound Machine deliver an extended work out, such as I Need You To Be Sweet Like Sugar (Nnge Nte Suka), it's tight.

 

Eno's performance is the attention grabber, but every member of the band is really into it, with Afla and Kari holding their own on either side of the stage. Eno frequently engages with all of the band members, with Max Grunhard stepping to the fore on several occasions. I'm often left cold by sax showcases in a live show, but the brass kicking in on Protection From Evil sounds huge in this setting.

In fact, all of the songs are transformed in their live incarnation. Whereas the studio versions sound fantastic, they are rooted in electronica; a much different proposition on stage, which gives the music an energy and heft that grabs the audience and refuses to let go.

 
After a rousing rendition of Let's Dance, it's suddenly all over, Eno giving her thanks and goodbyes as she and the band head back stage.

There are a few minutes of sustained cheers, calls and applause before Afla comes back to ask us if we really want more. We're clearly not making ourselves heard! Afla takes position again behind the bongos and treats us to a powerful display of his prowess on percussion. It could be minutes or hours, it keeps the energy going until finally his band mates rejoin him.

There's just one more song to go, Pull The Rope of course. Again, it's a song that gains stature and weight from this live performance. It's over far too soon, of course, and once more we're clapping and cheering as Eno tries to express her appreciation for the reception from the Bristol crowd tonight. I couldn't hear a word of it, some way back, as yells and screams from a delighted audience filled my ears.

And then, it really was over. I didn't hang around at the merch stall afterwards, though Eno was apparently there, signing records and chatting with fans. For me, it was back outside into the city centre, through the Christmas market and the smell of gluhwein and bratwurst and back to the car park, at which point I realised that it still wasn't yet 10.00pm!

Ibibio Sound Machine played for about 70 minutes and I reckon they played roughly 11 songs. Unfortunately I was too busy having a great time to take photos or make a note of each song played. Judging by the minimal activity on social media and Setlist, I'm guessing the same for my fellow audience members!

For today's selection, I looked to the US dates Ibibio Sound Machine played in September and October and whilst the number of songs played/listed varies, there is consistency in the running order of songs. I've opted for the lengthiest set listed, performed at The Music Hall at World Cafe Live in Philadelphia on 24th September. 

You therefore get 15 songs, coming in at roughly 70 minutes, not all played at Bristol, but what the heck. Album versions for the most part, plus remixes and a couple of radio edits. I've also included a trio of their earlier songs, taken from their 2020 album Live At Earth. It's as close an approximation of what I experienced last Friday as you can get and is an essential purchase if you're a fan of their music...or have become one, after listening to this selection.

Only a few dates left on the current UK tour: Edinburgh (Mon), Nottingham (Tue), Newcastle (Fri) and Bethesda near Bangor (Sat) with a handful more dates early next year. If you haven't seen Ibibio Sound Machine before, get there if you can.

1) Electricity (Album Version) (2022)

2) Talking Fish (Titeknots Remix) (2015)

3) The Chant (Iquo Isang) (Live @ EartH (Evolutionary Arts Hackney), London) (2019)

4) Fire (Album Version) (2024)

5) Political Incorrect (Album Version) (2024)

6) Protection From Evil (Album Version) (2022)

7) Wanna See Your Face Again (Album Version) (2022)

8) Them Say (Album Version) (2024)

9) I Need You To Be Sweet Like Sugar (Nnge Nte Suka) (Live @ EartH (Evolutionary Arts Hackney), London) (2019)

10) All That You Want (Joe Goddard Remix) (2022)

11) Give Me A Reason (Radio Edit) (2017)

12) Power Of 3 (Live @ EartH (Evolutionary Arts Hackney), London) (2019)

13) Got To Be Who U Are (Vanguard Remix) (2024)

14) Let's Dance (Faze Action Radio Edit) (2015)

15) Pull The Rope (Captain Planet Remix) (2024)

 

2015: Remixes EP: 2, 14

2017: Give Me A Reason EP: 11

2020: Live At Earth: 3, 9, 12 

2022: All That You Want EP: 10 

2022: Electricity: 1, 6, 7

2024: Pull The Rope: 4, 5, 8

2024: The Black Notes EP: 13, 15

Electrical Urges, Rhythmic Surges (1:09:31) (KF) (Mega)