There's No Q In Karaoke

It's twenty years since Q magazine celebrated it's twentieth anniversary with a cover mounted CD of cover versions. Q folded in 2020, apart from a brief resurrection as an online publication in 2023-24, so there won't be a fortieth anniversary follow up.

i've dusted off my review from 2006, including one of the worst opening lines I think I've ever committed to page or screen...

Crudely speaking, the cover version is a bit like playing Russian Roulette: you never know if you’re going to get a misfire or be blown away. 

For every radical reworking, or serendipitous introduction to a great artist by way of the tribute, there has been a major crime committed against music. Q Covered, a cover-mounted freebie compilation to celebrate Q Magazine’s 20th anniversary in May, provides ample example of all of the above across it’s fourteen tracks. 

Franz Ferdinand kick off proceedings with a spirited version of Gwen Stefani’s What You Waiting For? that effortlessly slips in a blast of Billy Idol’s White Wedding at the song’s close. Proving that rock is again the new pop, 

Sugababes’ take on Arctic Monkeys’ I Bet You Look Good On The Dancefloor is more club-friendly but less convincing than the original. 

By and large, the subsequent tracks continue to be largely faithful to their source, with only The Flaming Lips and Nick Cave attempting to take the songs in a different direction. The former’s orchestral reprise of Kylie’s Can’t Get You Out Of My Head is ironically forgettable, but Cave’s reimagining of Pulp’s Disco 2000 becomes entirely his own. 

Elsewhere, Jack Johnson’s updated lyrical respin of Three Is The Magic Number is undermined by bland delivery, whilst Corinne Bailey Rae and Jamie Cullum provide technically accomplished but inevitably inferior versions of Björk and Jeff Buckley respectively. 

Paul Anka’s ill-advised swing version of Oasis’ Wonderwall enables the listener to consider Mike Flowers’ Pops’ previous lounge (piss)take in a more positive light, if nothing else. 

Unsurprisingly, the biggest musical aberration is committed by the terminally dull Travis. Thankfully, as the album’s closing song, it’s easy to skip on the CD player. Incredibly, the worthy Scots manage to out-bland Britney Spears with their ‘hilarious’ take on her breakthrough hit …Baby One More Time. 

Q Covered does have some other high points, however, in the trio of covers by Elbow, Richard Hawley and Editors. Elbow’s unusual choice - August And September, a track from The The’s 1989 album Mind Bomb – was in fact recorded for an abortive 2002 EP release from the latter’s 45 RPM singles collection. Whilst Guy Garvey and co. don’t quite match the emotional intensity of Matt Johnson’s original version, it’s inclusion here deservedly rescues a fine song from obscurity. 

Q Covered is probably not worth shelling out good money for on eBay, but at least half of the tracks warrant a listen, if you can find them on the internet.

1) What You Waiting For? / White Wedding (reprise) (cover of Gwen Stefani / Billy Idol): Franz Ferdinand

2) I Bet You Look Good On The Dancefloor (cover of Arctic Monkeys): Sugababes

3) Can’t Get You Out Of My Head (cover of Kylie Minogue): The Flaming Lips

4) Venus As A Boy (cover of Björk): Corinne Bailey Rae

5) August And September (cover of The The): Elbow

6) Some Candy Talking (cover of The Jesus & Mary Chain): Richard Hawley

7) Orange Crush (cover of R.E.M.): Editors

8) The Sun Always Shines On TV (cover of a-ha): Delays

9) The 3 R’s (Three Is The Magic Number) (cover of Robert Dorough): Jack Johnson

10) Wonderwall (cover of Oasis): Paul Anka

11) Lover, You Should’ve Come Over (cover of Jeff Buckley): Jamie Cullum

12) Disco 2000 (cover of Pulp): Nick Cave

13) There Is A Light That Never Goes Out (cover of The Smiths): The Magic Numbers

14) …Baby One More Time (cover of Britney Spears): Travis

Whilst you’re surfing, here are some other recommendations:

1) This Town Ain’t Big Enough For The Both Of Us (cover of Sparks): Billie Ray Martin

I was hoping to find Billie’s wonderfully creepy cover of Throbbing Gristle’s Persuasion from the 1990’s, but no joy. This is a demo intended for a Sparks tribute album and Ms Martin matches the Mael brothers inch for eccentric inch, not least for her rather fetching lisp!

[2026 note: sadly, Billie's demo techno take on Sparks has subsequently been lost in cyberspace, so I've included links to her live 'cabaret style' versions of both songs, performed in 2009]

2) Get Ur Freak On (cover of Missy ‘Misdemeanour’ Elliott): Ergo Phizmiz ft. Martha Moopette 

He’s been described as ‘a musical equivalent to Chris Morris’ and this is not a bad summation, with a track even more unsettling than the Missy ‘Misdemeanour’ Elliott version. You can also listen to radically different takes on Gwen Stefani, Lauryn Hill, Destiny’s Child, Kelis, as well as The Velvet Underground’s White Light / White Heat album in full.

3) Wish You Were Here (cover of Pink Floyd): Idha with Andy Bell 

Before you ask, it’s the Andy Bell of Oasis/Ride fame, not the Erasure front man, in case you were expecting a Scissor Sisters-style glam-disco cover of the Pink Floyd classic. Instead, Bell’s adds guitar to wife Idha’s gentle delivery, similar to her downbeat cover of Primal Scream’s I’m Losing More Than I’ll Ever Have (aka Loaded).

[2026 note: no longer available online and regretfully, one that I didn't download at the time]

4) Life On Mars (cover of David Bowie): The King’s Singers

Anyone who watched family ‘variety’ TV shows in the 1970s will shudder at the mention of this singing group. However, this is firm proof that G4 weren’t the first besuited blokes with cheesy grins and tight harmonies to tackle the Bowie classic.

[2026 note: The YT post description opens with "The King Singers elevate a Bowie classic to a new low!" I couldn't have put it better myself!]

5) Geburt Einer Nation (aka One Vision) (cover of Queen): Laibach

Laibach have covered Opus, The Rolling Stones, Europe, Edwin Starr, Jesus Christ Superstar, even The Beatles’ Let It Be album in it’s entirety. This version of the Queen song takes the song to another level. Jahwohl!

6) Gimme! Gimme! Gimme! (A Man After Midnight) (cover of ABBA): The Leather Nun

The Leather Nun seemingly regretted recording it and never played the song live. Unsurprisingly, ABBA didn’t like it, either. Despite this, in my opinion their guitar laden version of this disco classic is one of the Leather Nun’s finest moments.

7) Do You Got Time (aka Let The Music Play) (mash-up of Shannon & Plaid): Leila

Shannon’s 1980’s electropop classic becomes slightly unhinged thanks to Leila Arab’s unsettling electronica underscore, courtesy of a mash-up with Plaid's 2001 single Squance. Check out Leila’s similarly edgy mash-ups featuring Aaliyah and Michael Jackson on her website.

[2006 note: Leila's website - and free downloads - no longer available, but you can find many of these and more over at Soundcloud]

8) Fade To Grey (cover of Visage): Nouvelle Vague 

Their previous album introduced us to their low-key, acoustic takes on the likes of The Undertones, The Sisters Of Mercy, Joy Division, The Dead Kennedys and The Clash. New album Bande A Part continues in the same vein – this track is accompanied by reimaginings of Echo and the Bunnymen, Blancmange, Lords Of The New Church and even Bauhaus’ seminal goth classic Bela Lugosi’s Dead.

[2006 note: with apologies to Ernie for yet more Nouvelle Vague]

9) Driving Home For Christmas (cover of Chris Rea): Pony Club

Whilst musically faithful to it’s source, Mark Cullen’s vocal delivery imbues Chris Rea’s seasonal classic with a growing sense of dread. Somehow, I sense it’s not because the turkey will have been overcooked again.

[2006 note: no longer available online]

10) Rock-A-Hula Baby (cover of Elvis Presley): Pop Will Eat Itself

This originally appeared on a largely crap 1990 NME compilation called The Last Temptation Of Elvis. The King would probably have spun in his grave a few times on hearing this, though mainly due to the infectious (but now overly familiar) breakbeat.

11) 1969 (cover of The Stooges): Solex

Elisabeth Esselink has been producing lo-fi gems since the late 1990s. Her take on The Stooges’ classic makes the narrator seem like they’re trying to stir up a revolution in a locked, empty room!

12) Lundi Bleu (aka Blue Monday) (cover of New Order): The Times

Ed Ball drops the beats per minute and produces a rumbling, bass-heavy monster of a track, sung in French. The CD single featured alternate versions of this New Order classic in German, Spanish and Japanese. Seek out the definitive 10-minute original album version on Pure, which throws in samples from A Clockwork Orange for good measure. 

[2006 note: this time, I've plumped for one of two remixes that The Grid produced for the single release. Even further removed from the original, and utterly brilliant]

First Night Nerves Every One Night Stand

Two from Ian Dury & The Blockheads, from 1978. 

What A Waste! followed by Wake Up And Make Love With Me. 

'Nuff said.

À La Mode

I still haven't made up my mind whether I like Nouvelle Vague's cover of Enjoy The Silence by Depeche Mode. 

On paper, the pairing of Skye Edwards from Morcheeba and Larry Love from Alabama 3 is inspired and yet, after a few listens, it's just not doing it for me. The prospect of an entire album of covers - A Date With Depeche Mode - therefore doesn't immediately appeal.

However, it inevitably sent me down a rabbit hole of other Depeche Mode reinterpretations from the well-known and relatively obscure. 

If you can make it to the end without skipping, you're in for a treat: my online search uncovered the fabulously named Skapeche Mode, who cover the Basildon boys in a - you guessed it - ska style. 

From the live clip, it's definitely more about the entertainment value than the note perfect performance, but when the brass section are sporting angels wings and the lead singer is dressed as Mork from Ork, how can you not have a good time? 

Messrs. Gahan and Gore, take note.

1) Enjoy The Silence: Nouvelle Vague ft. Skye Edwards & Larry Love (2026)

2) I Feel You: Palm Skin Productions (2025)

3) Never Let Me Down Again: The Smashing Pumpkins (1994)

4) It's No Good: Dee Madden (2016)

5) Somebody: Veruca Salt (1998)

6) Stripped: Duncan Sheik (2020)

7) Just Can't Get Enough: The Wannadies (1995)

8) See You: Marsheaux (2015)

9) World In My Eyes: The Cure (1998)

10) People Are People: Skapeche Mode (2014)

 

 

 

 

 

 

 

 

 

Middleage Fanclub

Less a comment on the current age status of Teenage Fanclub, and more a nod to my belated comprehensive education in the TFC ouevre, past and present, in the past few years. 

In fairness, I was in the last few months of my teenage years when the lads first burst onto the scene but, apart from all of the missed gigs not least when Gerard Love was present, I think coming to them later in life has also brought it's own rewards.

Current case in point is their latest single, Day In The Sun, with an album Do Not Dare to Dream following in October.

Superficially, a blend of pleasing chords, gentle harmonies and life affirming lyrics. I love the undercurrent of squally guitar and swirly keyboards, and it's all wrapped up in under 200 seconds.

With another heatwave about to frazzle this already scorched island this week, I wouldn't necessarily recommend a day in the sun in literal terms, but I can get behind this Day In The Sun any time.

Let Everything Flow

Just let it all wash over you, with this 50-minute mix of mellow sounds.

Pye Corner Audio get things flowing with the opening and title track of Lake Deep Memory, an album inspired by Martin Jenkins' trip to Lake Atitlan in Guatemala in 2024. Ostensibly there to play a festival, it clearly left a lasting impression, as evidenced in this immersive piece of music..

Still Water 2 was released in July 2025, the seventh in Richard Norris' Music For Healing: Oceans series, which he accurately describes as "a balm for the soul". The slow, gentle piano plinks are gorgeous.

If you think you know The Woodentops, think again. Rolo McGinty can pretty much turn his hand to anything, musically speaking, including this tribute to the river Thames, released last month. The full-length version clocks in at nearly 16 minutes; I've included just over half here, to encourage you to get yourself over to Bandcamp and buy it.

Zi Lan Liao is married to Jah Wobble and when her harp met his bass, magic happened. I discovered an extract of 34-minute suite The River from 1998 on the superlative Jah Wobble compilation I Could Have Been A Contender in 2004. Even in truncated form, the epic scale of the music is not diminished.

Who else to follow this than Kate Bush? Lake Tahoe is from her (to date) last album of original material, and one of her longest songs, nudging over the 11-minute mark. Piano, an angelic duet and a lead voice steeped in a lifetime of stories, both lived and discovered, all in perfect harmony as Kate recounts the tale of a Victorian woman who fell into Lake Tahoe, only to rise as a spirit.

Have a beautiful Sunday.

1) Lake Deep Memory: Pye Corner Audio (2025)

2) Still Water 2: Richard Norris (2025)

3) T H A M E S: The Woodentops (2026)

4) The River: Jah Wobble presents Zi Lan Liao (1998)

5) Lake Tahoe: Kate Bush ft. Stefan Roberts & Michael Wood (2011)

2004: I Could Have Been A Contender: Anthology: 4

2011: 50 Words For Snow: 5

2025: Lake Deep Memory: 1

2025: Music For Healing: Oceans 7: 2

2026: T H A M E S EP: 3

Let Everything Flow (50:49) (GD) (M)

Who Can Calculate The Orbit Of His Own Soul?

Celebrating William Orbit aka William Mark Wainwright, 15th December 1956 to 23rd July 2026.

The news of William's passing broke on Friday, unexpected and deeply, deeply sad.

I first encountered William Orbit's work in the late 1980s when he remixed Dreaming by O.M.D., Camouflage by Stan Ridgway and More by Doctor & The Medics. 

The latter two were on the I.R.S. Records label, where William had not only found work as an in-house producer, but a home for his band Torch Song, with Laurie Mayer and Grant Gilbert and his first Strange Cargo album. There was a previous solo album - Orbit - in 1987 but, to be honest, it's not that good.

The 1990s not only saw an exponential growth in his work as an in-demand producer and remixer, but the launch of Guerilla Records, who were a go-to for quality electronic and dance music, including William's own Water From A Vine Leaf, featuring Beth Orton and era-defining remixes from Underworld and Spooky. 

The decade drew to an end with one of his greatest collaborations, Madonna's incredible Ray Of Light album. William's CV expanded to such an extent that I think it might be a greater challenge for anyone to find that they don't have music in their collection that has William Orbit's involvement in some shape or form.

In recent years, I greatly enjoyed William's musings and memories on social media, sometimes completely leftfield or stream of consciousness, but always entertaining. The insight into such an incredibly questing and creative mind, responsible for so much music that I've listened to , bought and treasured through my life.

I've created a 46 minute selection on the fly, very little deliberation over the song choices, other than wanting to include some overlooked gems and deeper cuts, and spanning the 1980s through to the start of the 21st century.

The nine songs create some strange bedfellows: Creation hopefuls 18 Wheeler next to Seal and Kate Garner (post-Haysi Fantayzee) followed by Limp Bizkit. All Saints fans may be out for my blood for choosing the instrumental version Pure Shores, but I wanted the music to have space to breathe. 

Likewise, I've skipped the singles from Ray Of Light for an album cut which is a perfect example of why the team up with William was so inspiring.

Bassomatic's finest moment is represented here with an alternative mix from the 12" single, 

Malcolm McLaren turns up with The Bootzilla Orchestra (remixed with S'Express guru Mark Moore, whilst I've closed the selection with William's remix of The Shamen, a memory of happy times in clubland.

Today's post title is lifted from De Profundis, a letter written by Oscar Wilde in 1897 whilst imprisoned in Reading Gaol, to his beloved Lord Alfred "Bosie" Douglas. If you have time to spare, you can find De Profundis in it's entirety here. The quote in question is on page 22 (of 28) and seemed fitting for this tribute.

Rest easy, William.

1) Stay (Strange L’Escargot Mix By William Orbit & Mat Ducasse): 18 Wheeler (1997)

2) Crazy (William Orbit Mix): Seal (1990)

3) Pure Shores (Instrumental) (Remix By William Orbit & Mark 'Spike' Stent): All Saints (2000)

4) Fascinating Rhythm (Soul Odyssey Mix By William Orbit): Bassomatic (1990)

5) Call A Wave (Orbital Mix By Mark Moore & William Orbit): Malcolm McLaren & The Bootzilla Orchestra ft. Gina Cie & Jeff Beck (1989)

6) Love Me Like A Rocket (Psychomix By Paul Caplin & Torch Song aka William Orbit): Kate Garner (1983)

7) My Way (William Orbit Remix): Limp Bizkit (2001)

8) Shanti / Ashtangi (Album Version By Madonna & William Orbit): Madonna (1998)

9) Hyperreal (Orbit) (Remix By William Orbit): The Shamen ft. Plavka (1990)

1983: Love Me Like A Rocket EP: 6

1989: Call A Wave EP: 5

1990: Crazy EP: 2

1990: Fascinating Rhythm EP: 4

1990: Hyperreal EP: 9

1997: Stay EP: 1

1998: Ray Of Light: 8

2000: Pure Shores EP: 3

2001: My Way EP: 7

Who Can Calculate The Orbit Of His Own Soul (46:45) (GD) (M)

It was only in May this year that I wrote about William and Guerilla Records. I've reactivated the link the to the bespoke Dubhed selection that accompanied the post.

Re:Make Re:Model Re:Markable

Re:Make Re:Model is the latest collection of remixes by Richard Norris, a person that I've pretty much run out of superlatives for when it comes to describing the quality and impact of his music.

I've been a subscriber since 2023, receiving new digital releases at least every month, sometimes several in one go. I also buy other new or old music outside of this, remixed by or crediting Richard.  All this and still at best, I would describe myself as an 'enthusiast'; given Richard's prodigious work rate, 'completist' remains an aspiration.

Re:Make Re:Model is a classic example. Available as a 12-track double vinyl or 19-track deluxe double CD or digital compilation, spanning 2010 to 2026, 11 of the 19 selections were completely new to me.

Richard himself modestly describes Re:Make Re:Model as "a variety of Balearic and dancefloor workouts", whilst I'd go a tad further by saying that it's a breathtaking study of the art of the remix, and a stunning snapshot of a master craftsperson. 

Where else might you find such an enriching collection of music, encompassing dub, folk, acid, ambient, vocals, instrumentals, genre-splicing dancefloor workouts and polished radio friendly hits?

It's Bandcamp Friday today. If you only buy one record, make it this one. Better still, buy the album and then subscribe. It'll be the two best decisions you'll have made this week, if not this year.

Here's a sample track from each of the four vinyl sides, plus one of the CD/digital 'bonus' tracks.

1) Alphaville (The Time And Space Machine Remix): Bryan Ferry (2011)

2) Before Tomorrow (Richard Norris' Avalon Remix): Hollow Hand ft. Tim Smith (2023)

3) Mesmerize (The Time & Space Machine Remix): Temples (2013)

4) Children (Richard Norris Remix): Joe Goddard (2017)

5) Find Yourself (Richard Norris Remix): Jacco Gardner (2015)

 

 

 

 

Well, Get Up And Get With It!

Don't Get Mad ... Get Even! by Age Of Chance got to the dizzy heights of #90 in the UK Top 100 in October 1987, having debuted at #99 the week before.

Described as "a sonic collision of punk, hip hop, industrial rock and Northern soul', they were/are perhaps best known for their cover of Kiss by Prince, which peaked at #50 in January 1987, a mere ten months after the original (doing considerably better at #6).

Age Of Chance were also notable for their wardrobe, rocking the cyclist look decades before the proliferation of MAMILs (Middle Aged Men In Lycra) on our roads today.

In it's single form, Don't Get Mad ... Get Even! is a bit of a mess, the "sonic collision" perhaps being less favourably described as an aural car crash.

Yet, I had a bit of a soft spot for them and thought that they were fun and offering something different from some of the pop pap on Top Of The Pops. So, when a family holiday in Florida in February 1988 afforded an opportunity to spend a couple of hours browsing in a nearby record shop, one of the records I came away with was the 12" single of Don't Get Mad ... Get Even!

What particularly appealed was that this was the USA version, with six remixes by Bruce Forest and Frank Heller. Only three of these made it across the Atlantic the limited UK 12" featuring "The New York Remixes", including this one.

All six versions pare back the cacophony and present a more stripped back, club-friendly track, some dropping the vocals altogether. It's still in my collection, having survived numerous cash-strapped vinyl culls over the years.

There's an itch that you can't scratch

Like a monkey on your back

There's a world on your shoulder

And the world just keeps getting older

Well, you have got big plans

But no one understands

And you got a lot to say

But no one even looks your way

Now rise up and don't fight it

Well, get up and get excited

Now rise up and just live this

Well, get up and get with it

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

And you're longing to be free

But it just isn't helping

Well, you're wanting to die young

You end up like a Frankie Lymon

Rise up and don't fight it

Well, get up and get excited

Now rise up and just live this

Well, get up and get with it

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

What Does It Mean If I Don't Change?

Although it's an Arlo Parks single, it was John Glacier's name that caught my attention and got me to click to view the video for Floette.

I'm glad I did: this is a subtle remix of the closing song of Arlo's third album, Ambiguous Desire, the key difference being the addition of Glacier with a mid-song rap. 

Floette is a decent song with beautiful lead vocals and a pleasingly skittery jazz breakbeat denouement, but John Glacier's short but sweet guest spot elevates it significantly.

I've been aware of Arlo Parks for a while, they get a good run of TV appearances when on the promo trail, but even so it was bit of a surprise to find that Ambiguous Desire is album #4.

Watching Floette took me back to the album on Bandcamp (other retailers are available, including Arlo's official website) and I was immediately drawn to sample another song from the album.

My mild disappointment that Nightswimming is not a cover of the R.E.M. was offset by the fact that this is also a decent song. Enough to persuade me to buy the album? 

Possibly not, but I will pick up the Floette remix (annoyingly, given that Bandcamp Friday is looming, not available on this platform as I post this).

Happily, you can buy the new single by John Glacier there. Bond Girl was released on 20th July and is far too cool for this ageing music lover, but what the hell, I'm in.

I've Got Some Plans For You

You're In A Bad Way by Saint Etienne, a #12 smash in the UK singles chart in February 1993.

King Ernie of 27 Leggies Land's comment on yesterday's post raised the question of whether the Dubhed blog has in fact been one long cry for help since December 2020, post titles as coded messages from a fractured psyche.

Hmmm...possibly. 

But this one is just a darn good tune by a wonderful band with a glorious technicolour video to boot.

Don't Try To Fix Me

Warrior is the new single from Florrie, who hails from my birthplace Bristol and has been responsible for some of the best pop of the 21st century.

If you've heard of Robyn or Raye but not Florrie, there's a parallel in that all have had relationships with major labels that have threatened to stymie their career, but vision, determination, talent and sheer hard work have won through.

Fourteen years after her first single, Florrie's debut album The Lost Ones arrived in 2024. Thankfully, the wait for the follow up has been considerably shorter and Magic For A While will be out in October, available to pre-order now.

Warrior is a burst of joy and affirmation and, in a just world, should be a global hit. Welcome back, Florrie.

I don’t care, ooh I just don’t care

I don’t care, ooh I just don’t care

I am a warrior but I don’t mind

Even I get lost sometimes

When all the colours in my head collide

I’ve gotta find a little place to hide

I am a warrior but I get tired

Of keeping all my fears inside

Too many feelings that I can't unwind

So I gotta find a little space

'Cause I’m a mess

I skipped out the rehearsal

Running round in circles in my head

I say I don't care but I’m just hiding

I'm analysing every word you said

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

I am a warrior but I don't mind

Even I get lost sometimes

When all the colours in my head collide

I’ve gotta find a little place to hide

I am a warrior but I mess up

I don't know why I care so much

Though I’m still trying to understand my mind

So I gotta find a little space

Cause I’m a mess

I skipped out the rehearsal

Running round in circles in my head

I say I don't care but I’m just hiding

I'm analysing every word you said

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

I don't care, ooh I just don't care

I don't care, ooh I just don't care

I don't care, ooh I just don't care

I don't care, ooh I just don't care

Oh no, don’t don’t don’t don’t try to fix me

Oh no, don’t don’t don’t don’t try to fix me

Norton At The Controls

A twelve song selection of music produced (or co-produced) by Gil Norton, spanning 1982 to 2007.

The inspiration for the mixtape came via the sad news of Glen Hansard's death, and a fine tribute to Glen posted by Martin over at New Amusements.

In the comments, I recalled something I read circa 1991-92 in the NME or Melody Maker or Sounds, that Glen was a huge fan of Gil's work with Pixies and wanted him to produce Glen's band The Frames' debut album. 

As I recall, Glen put a big Pixies sticker on his motorbike, found out where Gil was working, drove there and left his bike prominently displayed to get Gil's attention. 

I finished with "Apparently it worked!"...except that it didn't, as I've subsequently read that Glen and Gil clashed over the direction and shape of the album. It isn't recalled as a positive experience in the accounts I've found online.

My awkwardness and ignorance notwithstanding, there are some mighty tunes here. The Frames come in a quarter of the way through, following The Blue Aeroplanes, The Fatima Mansions and a hidden gem of a China Crisis B-side.

There's one 21st century entry from Maximo Park. Gil also worked with them in the 1990s, along with Echobelly and Foo Fighters. Other 1980s production credits include The Triffids, The Bodines, Echo & The Bunnymen (with Ian Broudie), Del Amitri (with Julian Mendelsohn) and, closing out this collection, one of my favourite songs by Pixies.

Quite the career. I'm just scanning through the list of artists and records that I've missed this time around and there's plenty more for another selection.

For now, forget it's Sunday and turn the volume up!

1) ...And Stones (Album Version): The Blue Aeroplanes (1990)

2) Brain Blister (Album Version): The Fatima Mansions (1994)

3) No Ordinary Lover (Single Version): China Crisis (1982)

4) Masquerade (Album Version): The Frames (1992)

5) The Seabirds (Album Version): The Triffids (1986)

6) Nosebleed (Album Version): Maximo Park (2007)

7) Here Comes The Big Rush (Album Version): Echobelly (1997)

8) Therese (Single Version): The Bodines (1986)

9) The Killing Moon (Album Version): Echo & The Bunnymen (1984)

10) Move Away Jimmy Blue (Album Version): Del Amitri (1989)

11) Monkey Wrench (Album Version): Foo Fighters (1997)

12) No. 13 Baby (Album Version): Pixies (1989)

1982: No More Blue Horizons (Fool, Fool, Fool) EP: 3

1984: Ocean Rain: 9

1986: Born Sandy Devotional: 5

1986: Therese EP: 8

1989: Doolittle: 12

1989: Waking Hours: 10

1990: Swagger: 1

1992: Another Love Song: 4

1994: Lost In The Former West: 2

1997: Lustra: 7

1997: The Colour And The Shape: 11

2007: Our Earthly Pleasures: 6

Norton At The Controls (47:25) (GD) (M)

Now I'm Singing Quiet, Now I'm Singing Loud

Today's selection featuring Elliott Smith was planned for last week, a victim to a sluggish computer and an equally sluggish operator.

I should probably have held out to Thursday 6th, which would mark Elliott's 57th birthday. Sadly, we're approaching 23 years since Elliott passed. Why wait to celebrate and reflect on a supremely talented songwriter, gone far too soon?

In October 2021, I posted a brief, 10 song, 33 minute selection drawn from the limited number of albums and compilations in my collection, the majority courtesy of my friend John.

In the five years since, I've expanded this considerably, taking in studio albums as well as unreleased outtakes, demos and versions that have subsequently surfaced online. 

There's still more out there, but here's a C90 friendly 12 song, 45 minute selection pulling together a few more of Elliott's songs. 

Sonically, they hold you gently and tenderly; lyrically, they whisper their truths about the fucked up world we live in, or the beauty all around us. Sometimes, it's possible to reconcile the two; sometimes, it can get too much. Hold on.

Side One 

1) True Love (2001)

2) Needle In The Hay (1995)

3) Coast To Coast (Early Version) (1996)

4) Abused (Fritz Michaud Mix) (1997)

5) All Cleaned Out (1997)

6) Angeles (Alternate Version) (1996)

Side Two

1) Condor Ave (Album Version) (1994)

2) Fear City (Larry Crane Mix) (1996)

3) Some Song (Single Version) (1995)

4) Dancing On The Highway (2000)

5) Speed Trials (Single Version) (1996)

6) Punch And Judy (1997)

7) The Last Hour (Fritz Michaud Mix) (1996)

1994: Roman Candle: B1

1995: Elliott Smith: A2

1995: Needle In The Hay EP: B3

1996: Speed Trials EP: B5

1997: Either/Or: B6

2016: Heaven Adores You Soundtrack: A1, A3

2007: New Moon: A5, B2

2012: Alternate Versions From Either/Or EP: A6

2019: Dancing On The Highway (bootleg): B4

2021: Fritz Michaud's New Moon: A4, B7

Side One (22:52) (GD) (M)

Side Two (22:20) (GD) (M)

You might also like to listen to my previous Elliott Smith selection, What I Used To Be Will Pass Away

Okay, Who Forgot The Factor 50?

Friday's fitness workout courtesy of Janet Planet and Reggie Goodchild of Confidence Man.

Sugar Bones remains sat on his arse and Clarence McGuffie is presumably in the driver's seat, keeping the sound system going.

As for the song? Young London is could have been released on Deconstruction in 1993, with an epic remix by Fabio Paras on the flip side. 

In other words, a bangin' tune. Turn it up!

Three At Three For Free

SWC, who produces the essential and inspirational No Badger Required music blog, has just wrapped up the Rocks Greatest Number countdown. I was once again privileged to be a voting member of the Musical Jury.

These events are huge fun to participate in and a compelling read, and it's always a thrill to see where your votes land in the final ranking. This one in particular also provided moments of perfect symmetry. For example, placed at #3 were Fun Boy Three.

Not bad for a band that 'only' released two albums and a clutch of singles between 1981 and 1983. But timing is everything and Fun Boy Three arrived at just the right time for this particular music lover.

Fun Boy Three was my band, inasmuch as the other kids at primary school had turned up in their Harrington jackets and buzz cuts, into all things 2-Tone, not least The Specials. But I don't remember anyone else being the first to talk about Fun Boy Three. 

Terry Hall, Lynval Golding and Neville Staple. One moody as hell, barely moving yet effortlessly cool. The other two looking for the rhythm and the good time in everything around them.

Not easy, when Fun Boy Three lyrics spanned The Troubles and childhood sexual abuse. A lot of that was completely over my head as a 10 going on 11 year old. Yet, their music, their friendship, their appearance all affected me deeply. 

Waiting was their second and final album, but the first FB3 album that I owned (on cassette) and it's hard to know how they could have followed (or bettered) it, to be honest. 

Fun Boy Three were a brief but perfectly formed moment in music.

I've picked three videos for today's post: their astonishing debut from 1981 (and worryingly relevant today), followed by the first 12" single of theirs that I bought, and finally a seasonal cover of a George Gershwin, Ira Gershwin and DuBose Heyward classic, originally recorded in 1935 which Fun Boy Three absolutely made their own in 1982.