Madonna, Maradona, Maverick And Movies

"Gangway, Heroes!" Today brings a bespoke collection of covers of songs from 1986. 

Last night I stumbled across Scanner aka Robin Rimbaud's unexpected and delightful cover of Word Up! by Cameo. Originally recorded for WFMU Radio in New Jersey back in February, it was officially released a couple of days ago. If you're more familiar with Scanner’s 1990s music, it's quite the departure.

Similarly inspired, I trawled through my music collection and pulled a shortlist of 1986 songs, reworked and reimagined by other artists. I had over 40 to choose from and settled for a dozen, which meant some tough decisions, but I hope you'll enjoy my selection.

As the post title suggests, there is a Madonna cover - Live To Tell - albeit right at the end, courtesy of Catherine Anne Davies (The Anchoress) and Bernard Butler (Suede and a gazillion other things). Don't tell Ms. Ciccone, but it's better than the original.

1986 was chock full of singles that appeared in movie soundtracks. Live To Tell appeared in At Close Range, starring her then-husband Sean Penn and Christopher Walken. I must have seen it at the time, but I have little recollection of the film now.

But Not Tonight started as a Depeche Mode B-side, but an appearance in the film Modern Girls (starring Daphne Zuniga and Virginia Madsen) prompted their US label Sire to flip the single, relegated Stripped to side 2 and promoting But Not Tonight instead. Nearly two decades later, Jimmy Somerville gave it the high-pitched, Hi-NRG treatment.

And of course there was the memorable soundtrack to Pretty In Pink, not just the The Psychedelic Furs song that inspired the movie, but If You Leave, which proved to be a smash hit for OMD and still features in their live set today. Here, Angel Olsen ups the heartache in her own inimitable style.

The mention of Maverick, Tom Cruise's character in Top Gun, is a red herring and I apologise. Take My Breath Away by Berlin seemed to be #1 in the UK for an eternity (actually, only 4 weeks throughout November 1986). I have a couple of covers of the song, by Sharleen Spiteri and The Flying Pickets, but neither of them made the final cut.

There are a couple of side projects and aliases going on, which I need to shed some light on. The man behind The 6ths is Stephen Merritt, better known to the world as the genius behind The Magnetic Fields. Stephen got his old mucker Lloyd Cole on board to sing for his contribution to a tribute to The Human League. 

The Hot Rats are Gaz and Danny from Supergrass in disguise, whose 2010 covers album Turn Ons featured their takes on artists including Roxy Music, Elvis Costello & The Attractions, Pet Shop Boys, The Cure and my pick today, Beastie Boys. Well worth tracking down.

If you have an urge to scan the track listing before subjecting yourself to my rambling "sleeve notes", you will have spotted the inclusion of First We Take Manhattan, recorded by R.E.M. and credited as a cover of a Jennifer Warnes song. Yes, R.E.M.'s version appeared on I'm Your Fan: The Songs Of Leonard Cohen in 1991, but Laughing Len gifted it to Jennifer first, her recording released in October 1986, Cohen's version following in January 1988. Personally, I think Stipe, Berry, Buck and Mills smash it.

And another red herring (or was it the hand of God?) with the reference to Maradona and, by association, that fateful 1986 World Cup. New Order didn't realise their own World Cup song until 4 years later, but 1986 saw one of their finest singles in Bizarre Love Triangle. Often covered since, I've gone for a relatively obscure version by Charlotte Martin, which I like very much.

As for the rest of this selection, you can enjoy The Smiths as covered by Carter The Unstoppable Sex Machine, sounding as potent in 1992 and it did six years previously. Goodbye Mr. Mackenzie show some solidarity with fellow Scots, with a wonderful cover of Somewhere In China by Shop Assistants. 

Last but certainly not least, one from my hometown heroes, The Blue Aeroplanes covering Paul Simon's Top 30 hit The Boy In The Bubble. Sadly, history didn't repeat in 1991, though it should have done.

1) Word Up! (Cover of Cameo): Scanner (2026)

2) Human (Cover of The Human League): The 6ths ft. Lloyd Cole (2000)

3) But Not Tonight (Cover of Depeche Mode): Jimmy Somerville (2004)

4) Bizarre Love Triangle (Cover of New Order): Charlotte Martin (2007)

5) Panic (Cover of The Smiths): Carter The Unstoppable Sex Machine (1992)

6) Somewhere In China (Cover of Shop Assistants): Goodbye Mr. Mackenzie (1989)

7) The Boy In The Bubble (Cover of Paul Simon): The Blue Aeroplanes (1991)

8) First We Take Manhattan (Cover of Jennifer Warnes): R.E.M. (1991)

9) If You Leave (Cover of O.M.D.): Angel Olsen (2021)

10) Absolute Beginners (Cover of David Bowie): Saint Etienne (1993)

11) (You Gotta) Fight For Your Right (To Party!) (Cover of Beastie Boys): The Hot Rats (2010)

12) Live To Tell (Cover of Madonna): Catherine Anne Davies & Bernard Butler (2020)

1989: Fish Heads And Tails: 6

1991: I'm Your Fan: The Songs Of Leonard Cohen: 8

1991: The Boy In The Bubble EP: 7

1992: The Only Living Boy In New Cross EP: 5

2000: Reproductions: Songs Of The Human League: 2

2004: Home Again: 3

2007: Reproductions: 4

2008: Boxette (#4: Eric Random): 10

2010: Turn Ons: 11

2020: In Memory Of My Feelings: 12

2021: Aisles EP: 9

2026: Word Up! EP: 1

Madonna, Maradona, Maverick And Movies (47:25) (GD) (M)

The Hurt In My Heart

This one happened very quickly. PJ Harvey's song came up on a shuffle and suddenly I was following a thread from one song to the other. A dozen songs later, a Dubhed selection was born.

The less obvious connection between all of these choices is that I haven't listened to the source albums in quite a while, the various EPs even more so, a timely reminder that I need to dig them out for the full experience.

 

Swansway is a gentler version of Siouxsie's debut solo single Into A Swan from 2007 and it's stunning. Likewise, the Tanya Donelly and Kristin Hersh songs, which subsequently appeared on the Lovesongs For Underdogs and Sky Motel albums respectively but which I only own due to the versions appearing on EP releases.

 

The Deep Field by Joan As Police Woman was lent to me by a friend and every listen reminds me what a great album it. As is i don’t know who needs to hear this..., the debut album from Sarah Tomberlin, a chance discovery when she supported Angel Olsen on tour a couple of years ago.

 

Rita Lynch has been a staple of the Bristol live music scene for decades and her albums have continued to capture her on-stage fire and lyrical bite, as evidenced by her eighth (I think) in 2022, Mrs. Lynch. Smile is taken from her 2010 album, What Am I?

 

Sharon Van Etten and Angel Olsen collaborated on a one-off single, the 80s power ballad-infused Like I Used To, so their pairing here seemed an obvious choice. I have pretty much everything that Angel has recorded; conversely relatively little by Sharon, which I need to address.

 

On a similar note, there were slim pickings in my collection for Julia Holter and Phoebe Bridgers. Both of these choices came from music magazine cover-mounted CDs and I've yet to buy the source albums in either case. Another reminder that I just don't have the time or money to keep up with all of the music that I'd like to explore more....

 

Lisa Germano first came to my attention via the Inconsiderate Bitch EP on 4AD, label boss Ivo Watts-Russell taking her debut album Happiness (at the time only released in the USA) and remixing several tracks to stunning effect before releasing it to a wider audience. Puppet is a prime example of this, the versions on the 4AD EP and album proving to be standout tracks on both releases. I got the original album many years later, which if nothing else proves that Puppet was a great song to begin with. So, what better way to wrap up this selection? 

 

1) Big Exit (Album Version): PJ Harvey (2000)

2) Les Jeux To You: Julia Holter (2018)

3) Swansway: Siouxsie (2007)

4) Smile: Rita Lynch (2010)

5) Chinese Satellite: Phoebe Bridgers (2020)

6) Nervous: Joan As Police Woman (2011)

7) Swoon: Tanya Donelly (1996)

8) collect caller: Tomberlin (2022)

9) Echo (Single Version): Kristin Hersh (1999)

10) You Shadow: Sharon Van Etten (2019)

11) Intern: Angel Olsen (2016)

12) Puppet (US Album Version): Lisa Germano (1993)

 

1993: Happiness (USA): 12

1996: Sliding And Diving EP: 7 

1999: Echo EP: 9

2000: Stories From The City, Stories From The Sea: 1

2007: Into A Swan EP: 3

2010: What Am I?: 4 

2011: The Deep Field: 6

2016: My Woman: 11

2018: Aviary: 2

2019: Remind Me Tomorrow: 10

2020: Punisher: 5

2022: i don’t know who needs to hear this...: 8

The Hurt In My Heart (46:06) (KF) (Mega)

When You're Down, Keep Looking Up

Today's selection highlights 20 of my favourite albums from 2022. I know I probably should have tried to stretch it to 22 from '22, but time constraints meant that I only managed 10 last year so this is a big improvement and fits neatly into a mock-CD running time.

 

As with last year, I've not ranked or scored the albums, just sequenced the selected tracks in a way that I hope makes for a satisfying playlist. Again, I'm a bit tight for time, so the commentary is minimal.

I had a very long shortlist so a mention to several albums that didn't make today's selection but are excellent nevertheless: Midnight Rocker by Horace Andy; Ibibio Sound Machine's Electricity, produced by Hot Chip; Alright by Luxxury; any of the other 5 albums released by SAULT this year; The Album Club's self-titled album; Memoria by Trentemøller, the list goes on. And so many that are still on my 'must buy' list.

 

Several albums, by Andy Bell, Katy J Pearson and Confidence Man, were contenders from the moment I first heard them and have remained playlist staples ever since. A couple - Orbury Common and Tomberlin - came on the back of support slots for other artists featured in this selection that I got to see live in concert. 

 

Julian Cope and Blancmange were back with new albums, whilst Altered Images surprised me with a comeback album full of pop hooks that firmly proclaimed that they were no heritage act. A very welcome return for all.

 

Cathal Coughlan teamed up with Jacknife Lee as Telefís for not one but two albums in 2022. The news of Coughlan's death in May was - and still is - a shock, one of far too many tragic losses this year. Telefís was proof, if any needed, that Cathal was on a creative roll and had so much more to share.

 

Quite a few were late entries, the common thread being that they're all on the Late Night From Glasgow label. I invested in an annual subscription in December and, as a result, received digital copies of the year's releases including In The Forest, Monica Queen, The Bathers, André Salvador & The Von Kings. My first vinyl order/delivery from LNFG has just been dispatched. If it arrives before year end and ignoring my earlier comments about not ranking or scoring, the package will contain what will undoubtedly be my album of the year. 

 

After a gig-less 2021, I finally got back out this year. Just the four, but what a four: Madness (Westonbirt, June), Katy J Pearson (Bristol, September), Blancmange (Stroud, October) and Angel Olsen (Bath, October). All very special in their own way and with great support acts. 

 

Time prevents me from waxing lyrical about every selection but a special mention for Andy Bell, whose album Flicker came out in February and has been followed by a steady stream of singles, cover versions and remixes. These have been collected on a trio of themed EPs - I Am A Strange Loop, The Grounding Process and Untitled Film Stills - plus a compilation/companion, Strange Loops & Outer Psych. And this isn't counting Andy's remixes as GLOK! 

 

Given that Flicker itself is a double album and deservedly so, the sheer amount of quality music that Andy Bell has offered up in the last 12 months is nothing short of phenomenal. I think Flicker would otherwise be my album of the year on a list of excellent albums by Weyes Blood, Pye Corner Audio and Unloved.

 

More tomorrow.

 

1) idkwntht: Tomberlin (i don’t know who needs to hear this...)

2) Fight For Love: SAULT (11)

3) Break It Bought It (Album Version): Confidence Man (Tilt)

4) Hot In Her (Album Version) (Cover of Nelly): Mr. Oizo & Phra (Voilá)

5) Sex Bunting: Telefís (a hAon)

6) Reduced Voltage (Album Version): Blancmange (Private View)

7) Haberdashery: Orbury Common (The Traditional Dance Of Orbury Common EP)

8) Saturation Point (Album Version): Pye Corner Audio (Let’s Emerge!)

9) Waiting For The Call: In The Forest (These Four Walls)

10) Big Time (Album Version): Angel Olsen (Big Time)

11) I Want You To Stop, You're Killing Me: Monica Queen (Stop That Girl)

12) Turn Of The Screw (Album Version): Unloved ft. Raven Violet (The Pink Album)

13) Changing My Luck: Altered Images (Mascara Streakz)

14) Cape St. Vincent: The Bathers (Summer Lightning)

15) Howl: Katy J Pearson ft. Orlando Weeks (Sound Of The Morning) 

16) January: Momus (Smudger)

17) All The Yin-Yangs That Give it Away: Julian Cope (England Expectorates)

18) Dieu Du Ciel: André Salvador & The Von Kings (Draped Apes)

19) Jenny Holzer B. Goode: Andy Bell (Flicker)

20) Twin Flame: Weyes Blood (And In The Darkness, Hearts Aglow)

When You're Down, Keep Looking Up (1:17:22) (Box) (Mega)

A Dream Last Night

On Wednesday night, I saw Angel Olsen live in concert at The Forum in Bath. Aside from the fact that the last couple of years effectively put paid to any gig-going, mid-week nights out have long been a logistical challenge and this was no exception. But you don't need a spoiler alert to know that it was absolutely worth it.

This was my first visit to The Forum, despite living a few miles from Bath for much of my adult life and even working in the city centre for several years. I nearly saw John Grant there on Hallowe'en night in 2018 - I had the ticket and everything - but a work crisis meant that I spent the night doing a sleep-in shift less than a mile up the road. I managed to miss John Grant twice more at The Forum in 2020 and 2021 and I wrote about the sorry tale last year. I've also written about my failed attempt to see Manic Street Preachers at The Forum last October but at least that story had a much happier ending, with the ticket going to good use.

So, fifth time lucky, right? Well, first I had to get there. I was unable to book time off work before the gig and I had a packed day of what turned out to be ennervating meetings in Gloucester but I managed to get away around 5.30pm. The city and in fact most of the routes out of Gloucestershire are currently infested with roadworks and temporary traffic lights and I also had to make a pit stop at home, so things would be a little tight. However, I was confident that I could get to Bath and into The Forum in time for the show's (seemingly ridiculously early) start time at 7.30pm. 

As a driver, I've got bad blood with Bath. When I was a 17 year old having driving lessons, I lived halfway between Bristol and Bath so it was always a toss up which way we would go (or how sadistic my ex-Army instructor was feeling) for a city centre drive. I found navigating Bath's one-way system a nightmare, trying to get in the right lane with 'Sarge' barking in my ear and tailgating frustrated drivers honking their horns behind me. It's a minor miracle I passed my driving test first time.

Having to travel through the city for work, I also came a cropper with the complex network of lanes and routes that had time-restricted access for buses and taxis, once getting a CCTV capture and a fine for driving through a road 10 minutes before it had opened up for general traffic.

So, on Wednesday night, I intentionally made my way to a car park that was a little further away from the venue but easy to access on my route into the city. It was pissing down with rain on the drive in but I figured it was worth it to avoid the headache of trying to drive into the heart of Bath.

I made good time and I got to the car park around 7.15pm, only to find that it was full with no sign of anyone returning to their car to free up a parking space. Thirty minutes and four car parks later - all full - I was losing the will to live and convinced that I was going to spend the rest of my night driving around the city in an endless, hellish loop whilst Angel and her band played a blinding set, said their goodbyes and headed off, deaf to the primal screams coming from a circling car a short distance away.

I should have noted my comment above as it literally was fifth time lucky when I finally found a car park with spaces. It was just after 8.00pm, I was about 10 minutes' walk from The Forum, the rain was still coming down, but I didn't care. I was going to get to the gig at last!

I try to see the support act(s) whenever I can so I was disappointed that I'd arrived part way through Tomberlin's set, especially as I'd never heard of her or her music before. Performing solo with an acoustic guitar, a clutch of songs that sound simple structurally speaking but sincere and heartfelt and between song banter that hovers between on-stage nervousness and slacker laidback, may not sound like much. However, Tomberlin was an engaging performer, drawing the audience in with at-times hushed vocals that would then unexpectedly soar skywards. I liked her a lot.

 

She closed the set with idkwntht, the acronymic title track of current album i don’t know who needs to hear this..., encouraging the initially reticent audience to participate in the song's circular call-and-response. A great finish to an impressive performance from Tomberlin and I was glad not to have missed it entirely.

 

A brief interval whilst the crew set up for the main show gave me a chance to properly look around at my surroundings. The Forum is a old-school theatre set up, with a stalls/standing area in front of the stage, which is where I was for the night. The venue wasn't full and I don't think that had changed by the time Angel Olsen took to the  stage, but there was a healthy, lively buzz in the standing crowd at least.

The house lights went down and the band entered from stage right just after 9.00pm, a six-piece resplendent in coordinated colours: violin (red), cello (pink), bass (yellow), guitar (blue), keyboards (green), drums (purple); last but not least Angel herself (orange blouse, black jeans). Guitar strapped on, not a word spoken and straight into Dream Thing (from current album Big Time), itself eschewing a musical intro and opening with

 

I had a dream last night

We were having a fight

It lasted 25 years

It was a waste of fears

The album's title track is dispensed with immediately afterwards and two further songs from Big Time follow. In fact, the current album dominates the 14-song set, with 8 of the 10 songs bookending the 90 minute show. I've played Big Time lots this summer so I was very familiar with the songs and loved what I was hearing.

I'm a late comer to Angel Olsen's music, only starting with the digital box set Song Of The Lark And Other Far Memories last year, so the mid-section was interesting for me in featuring a clutch of songs from previous albums. Shut Up Kiss Me, a song from 2016's My Woman, was new to me, a rousing, urgent follow on from the two more downtempo songs that had preceded it. Next up was All Mirrors and Lark, the live performances echoing the richer, fuller sound of 2019's All Mirrors album rather than the stripped-back versions on 2020's companion album Whole New Mess. Then it was back to Big Time for another quartet of songs, ending with All The Good Times.

Like me, the audience didn't appear to be moving a great deal - a bit of swaying, maybe - captivated by Angel's performance. There wasn't a much in the way of between song chat with the audience and at one point, in a smiling nod to the hushed, pin-drop throng, Angel told us to "shut the fuck up". But the songs spoke for themselves, wrenching loss and heartbreak paired with a musical heft that added to the emotional weight of the songs. Angel alternated between guitar and keyboards and the band were really tight throughout.

I think the set was supposed to have closed with Chance, another selection from All Mirrors. However, hearing a shouted request from the audience and checking with her band, Angel finished off with Sister, from My Woman. I'd never heard the song before though it was clearly a fan favourite judging by the crowd's reaction, and it was a perfect end to the main set.

After a stage exit, raucous clapping, cheering and stamping of feet, the band came back on for a final encore. Angel is no stranger to a cover version: her take on More Than This by Roxy Music featured in the Angel Olsen selection I posted in July; last year's Aisles EP featured reworks of five 1980s pop classics. The song choice this time was Without You, originally written and recorded by Badfinger in 1970, though better known for Harry Nilsson's version a year later. Mariah Carey also bludgeoned the song into submission with her vocal gymnastics in the mid-1990s. Thankfully, Angel's more restrained/constrained performance of Without You sailed closer to the 1970s than the 1990s and was boosted by a choral duet with a returning Tomberlin. I'm not a huge fan of the song, but even I felt moved by it all.

 

Everyone left the stage for the final time, the house lights went up and the audience rapidly made their way to the exits. It was still raining on the drive home but I had Angel Olsen's music blasting from the speakers and all was well with the world.

 

You can find the setlist from the Bath gig here. As it's very heavy on songs from the current album, I decided to mix things up slightly for today's selection. I've cut the number of songs from Big Time from eight to four and I've inserted a few older songs that Angel performed on previous dates on the Big Time European tour. I've kept them more or less in the same 'mid-section' running order, so you get 12 songs in just under an hour. I've also included the recently released single version of Big Time, now a duet with Sturgill Simpson and providing that little push over the cliff into country, to great effect.

This was one of only three shows in England; Angel was in Scotland last night and Ireland tomorrow night before the Big Time tour resumes in the USA in January. Admittedly, I felt absolutely knackered the following day (and Friday too, if I'm honest) yet I wouldn't have missed this night for the world. 

 

I might need to stick to weekend gigs in Bath in future, though. Getting there was a nightmare...!

 

1) Dream Thing (2022)

2) Big Time (Single Version ft. Sturgill Simpson) (2022)

3) Shut Up Kiss Me (2016)

4) Forgiven/Forgotten (2014)

5) Give It Up (2016)

6) All Mirrors (Album Version) (2019)

7) Not Gonna Kill You (2016)

8) Lark (Album Version) (2019)

9) Go Home (2022)

10) All The Good Times (2022)

11) Chance (Album Version) (2019)

12) Sister (2016)

2014: Burn Your Fire For No Witness: 4

2016: My Woman: 3, 5, 7, 12

2019: All Mirrors: 6, 8, 11

2022: Big Time: 1, 9, 10

2022: Big Time EP: 2

A Dream Last Night (54:45)

There In Your Smile

A recent post about Angel Olsen's new album Big Time on A History Of Dubious Taste reminded me that I haven't posted any of her music here since December last year. The song that hooked Jez was a collaboration with Sharon Van Etten, the wonderfully epic Like I Used To.

I'd read a lot about Angel Olsen but the first music of hers that I bought was the Song Of The Lark And Other Far Memories digital box set in 2021, collecting the album All Mirrors (2019), it's companion album of stripped back, earlier/alternate versions, Whole New Mess (2020), plus a further EP of reworkings, remixes and covers, Far Memory (2021). The vinyl is long gone but the digital version will cost you $10.00, the same price for each of the two albums; the EP isn't available separately. I think it was money well spent. 

I haven't yet purchased Big Time but will. Whilst All Mirrors explored electronic soundscapes and Whole New Mess pulled it all back to an even more minimal sound, Big Time runs free into a lush, expansive environment of big sounds and bold colours, even though a darkness remains on the periphery. The film accompanying Big Time is also worth half an hour of your time.

The great thing is that All Mirrors, my jumping on point, is Angel's fourth album so there's plenty more for me to discover. Angel is in the UK for four live dates in October, visiting London, Bath, Edinburgh and Manchester which promises to be something quite special.

In the meantime, here's a selection of songs from the Song Of The Lark And Other Far Memories box set, split into two mock-vinyl sides, for your enjoyment.

 

Side One

1) Spring (2019)

2) Chance (Forever Love) (2020)

3) More Than This (Cover of Roxy Music) (2021)

4) New Love Cassette (Album Version) (2019)

5) All Mirrors (Johnny Jewel Remix) (2020)

6) Tonight (Without You) (2020)

Side Two

1) Too Easy (Bigger Than Us) (2020)

2) Impasse (2019)

3) It's Every Season (Whole New Mess) (2021)

4) What It Is (What It Is) (2020)

5) Alive And Dying (Waving, Smiling) (2021)

6) Summer (2019)

2019: All Mirrors: A1, A4, B2, B6

2020: Whole New Mess: A2, A6, B1, B4

2021: Far Memory: A3, A5, B3, B5

 

Side One (23:11)

Side Two (22:24)

Like I Used To: Sharon Van Etten & Angel Olsen (2021)

Big Time Film: Angel Olsen (2022)

Don't Get Stuck In The Past

Today's 2021 retrospective highlights some great remixes from various singles and albums. The post title is the opening line of track 1, but also slightly tongue-in-cheek: a quick glance at the track listing and it's like an old school reunion, with Soulwax, Darren Emerson, Mark Ronson, UNKLE, Groove Armada and - bloody hell! - Kris Needs. My other challenge was avoiding making this a Hardway Bros. 'best of 2021'. Sean Johnston has delivered so many fantastic remixes, several of which have featured in previous posts; for this selection, I managed to whittle it down to two. Also making two appearances is Jesse Fahnestock: remixing Spacemen 3 as 10:40 in April, which led me to many more subsequent Bandcamp purchases, and November's single Thrill Me, as Jezebell (Fahnestock & Darren Bell), which includes a suitably whacko retro sample. This is barely scratching the surface, and I've a long list of this year's music that I still want to get, as 2022 and even more new sounds approach.

 

1) A Hero's Death (Soulwax Remix): Fontaines D.C.

2) That Time Of Night (Darren Emerson Remix): GLOK ft. Shiarra

3) Sail We Must (Hardway Bros Remix): Wet Signals

4) Thrill Me (Darren Darko Mix): Jezebell

5) Flying Tiger (The Mole's Slower Remix By Colin De La Plante): Dreems

6) New Love Cassette (Mark Ronson Remix): Angel Olsen

7) Hegel Dialect (UNKLE Reconstruction): Krust

8) They're In Our Head (Kampong Glam Mix): Rude Audio

9) First Class Bitch (Groove Armada's Confidence Trick Remix): Confidence Man

10) Point And Kill / Fear No Man (mindtrix music Remix): Little Simz ft. Obongjayar

11) Walking In The Sun (James Bright Remix): Andres Y Xavi ft. Rolo McGinty

12) Obey (Hardway Bros Stereo Odyssey Mix): Rheinzand

13) Love Comes In Waves (Pye Corner Audio Remix): Andy Bell

14) Weekend (The Judas Triangle) (Dom Beken & Kris Needs Remix): The Orb

15) How Does it Feel? (10:40's Terrace Moonshine Dub) (Remix By Jesse Fahnestock): Spacemen 3

Don't Get Stuck In The Past (1:39:08)

 

A note on yesterday's post: track-by-track comments still to come. Early visitors may have noticed that I dropped Show Your Face by The Anchoress into the mix for a second consecutive day. Oops! That was a mistake: much as I love the song, it was supposed to be Let It Hurt instead, but in my half-awake state I pulled the wrong track. After a shower and a strong coffee, I've corrected and replaced the selection and link. Slipshod DJ licence currently under review and may be revoked.