A Taste Of Philadelphia

After yesterday's Philadelphia-based post, Pennsylvania’s largest city cropped up three more times in my playlist.

Too much of a coincidence to ignore and the inspiration for today's trio of songs.

First up, although second in the order that I experienced it, is the snappily titled The World Is A Beautiful Place & I Am No Longer Afraid To Die. Bandcamp lists the band as being currenlty based in Philadelphia, although according to Discogs they originally formed in Willimantic, Connecticut in 2009.

2015 album Harmlessness was one of the #last4albums picks by j-e-l on BlueSky and a quick listen to a couple of songs is enough for me to set aside the album for a proper listen this weekend. Here's track 10 (of 13), Haircuts For Everyone:

Second (but third, if you get my meaning) is Victoryland aka Julian McCammon. 

"Aha!" I hear you cry. 

"Victoryland is based in Brooklyn, New York! 

Nyah nyah nyah nyah nyah!"

"Aha!" I counter, confidently. 

"Julian may be based in Brooklyn, New York now, 

but Victoryland started in Philly in 2023!"

(but those "Nyah nyah nyah nyah nyah!"s still burn in my gut...)

Victoryland was another #last4albums pick on BlueSky, this time courtesy of Mykhailo, whose choices have introduced me to a lot of new music, for which I'm grateful. My bank manager less so.

My Heart Is A Room With No Cameras In It is Victoryland's debut album, released in January this year. Again, based on a couple of song samples, I'll be going back to investigate further. Here's track 8 (of 10), Beach Death: 

And this song that started this off?

Of all the Magazine albums, I just happened to have The Correct Use Of Soap on my current playlist and the closing song of Side 1 is of course this absolute beauty:

A classic among classics, although the recurring line, "Maybe it's right to be nervous now" resonates even more strongly in 2026...

(Note: personally, I'm not a huge fan of the "fresh and creamy taste" of Philadelphia)

Your clean-living, clear-eyed

Clever, level-headed brother says

He'll put all the screws

Upon your newest lover

Buddha's in the fireplace

The truth's in drugs from outer space

Maybe it's right to be nervous now

Who are these madmen?

What do they want from me?

With all of their straight-talk from their misery

Everything'd be just fine

If I had the right pastime

I'd've been Raskolnikov

But Mother Nature ripped me off

In Philadelphia

I'm sure that I felt healthier

Maybe it's right to be nervous now

I had liberty of movement

But I'm so lazy

I'm so lazy

I'm just so lazy

You're just a big kid

You're not so big at that

You never got the hang of it

Now you're being looked at

You might also like

I Want to Burn Again

Magazine

You Never Knew Me

Magazine

Shot by Both Sides

Magazine

Where have I seen you before?

'Same place you saw me, I expect

I've got a good face for memories'

In Philadelphia

I'm sure that I felt healthier

Maybe it's right to be nervous now

War! What Is It Good For? Two Sides Of A C60 Cassette!

Sides 1 and 2 of a C60 cassette, collating classic live compilation Urgh! A Music War, created 14th July 1992.

When I used to visit my brother's bedsit on the edge of St. Paul's in Bristol city centre, I would always try to get this album on the turntable. I was a little obsessed with it, to be honest. 

The sleeve itself was fascinating: text-heavy with a camouflage background and the illustration of a dodgy loooking character pulling a vinyl record from within his long overcoat.

My brother's copy also had, stamped firmly in embossed gold lettering, the notice that this was a promo, not for resale. For years, I mistakenly thought this meant that the album had never been officially released, let alone that it was the soundtrack to the 1981 film of the same name by Derek Burbidge.

Two slabs of vinyl squeezed into a slightly oversized sleeve (no gatefold), twenty-seven songs packed into the grooves, six on Side 1, seven on Sides 2, 3 and 4. As advertised, all previously unreleased live performances by bands that I knew and many that I didn't.

As my music obsession grew during my teens, so did my DIY cassette compilation, which continued through my twenties. I'd seize opportunities to rip my brother's vinyl to cassette and I nabbed Urgh! A Music War when circumstances meant that we were both back living with our parents, our music collections in adjoining rooms.

I'm pretty sure I could have fit most if not all of the album onto a C90 cassette, so I don't recall why I instead ended up with a cut down 17-track version on a C60 instead. Maybe there was only a limited window to get the album recorded and I didn't have a 90-min tape available. 

As such, today's selection is missing Au Pairs, The Cramps, Pere Ubu and Gang Of Four, although back in 1992 I would have been less bothered at leaving off Joan Jett & The Blackhearts, John Otway or Jools Holland.

Side 1 of the mixtape literally copies and pastes the entirety of the vinyl's first side, in order, finishing off with Side 4's opener and the closing song of Side 2.

The flip side of the C60 bounces from Side 3 to four straight songs from Side 2 to two from Side 4, before returning to Side 3 for the epic closer.

By the 2000s, and access to the internet, I had acquired not only a vinyl rip of the album - the source of today's selection - but also the ten 'bonus' performances from the film, lifted from its DVD release in the 1990s.

There are a few gems, with John Cooper Clarke, Dead Kennedys, Pere Ubu and UB40 with a great performance of Madam Medusa and, but I think the 1981 vinyl track list pretty much got it right first time.

Side One

1) Driven To Tears (Live @ The Frejus Amphitheater, Paris, 28 August 1980): The Police

2) Back In Flesh (Live @ The Santa Monica Civic, Santa Monica, 16 August 1980): Wall Of Voodoo

3) Dance (Live @ The ICA, London, 05 September 1980): Toyah

4) Enola Gay (Live @ Guild Hall, Portsmouth, 19 September 1980): O.M.D.

5) Ain't This The Life (Live @ The Whisky, Hollywood, California, 17 August 1980): Oingo Boingo

6) Respectable Street (Live @ The Frejus Amphitheater, Paris, 28 August 1980): XTC

7) Shadow-Line (Live @ CBGB's, New York, 21 August 1980): The Fleshtones

8) Ku Klux Klan (Live @ The Rainbow Theatre, London, 18 September 1980): Steel Pulse

Side Two

1) Uncontrollable Urge (Live @ The California Theater, San Diego, 20 August 1980): Devo

2) The Puppet (Live @ The Lyceum Ballroom, London, 07 September 1980): Echo & The Bunnymen

3) We Got The Beat (Live @ The Whisky, Hollywood, California, 17 August 1980): Go-Go's

4) Total Eclipse (Live @ The Ritz, New York, 22 August 1980): Klaus Nomi

5) Where's Captain Kirk (Live @ The Lyceum Ballroom, London, 17 September 1980): Athletico Spizz 80

6) Nothing Means Nothing Anymore (Live @ The Whisky, Hollywood, California, 17 August 1980): Alley Cats

7) Beyond And Back (Live @ The Santa Monica Civic, Santa Monica, 15 August 1980): X

8) Model Worker (Live @ The Santa Monica Civic, Santa Monica, 16 August 1980): Magazine

9) Down In The Park (Live @ The Hammersmith Odeon, London, 16 September 1980): Gary Numan

Side One (29:42) (GD) (M)

Side Two (30:06) (GD) (M)

If you have a couple of hours to spare, then treat yourself to the movie, available in full online. 

It's a thrill to see O.M.D., Echo & The Bunnymen, XTC, Steel Pulse and Magazine. The sight of Gary Numan tootling about on stage in his precursor to the Sinclair C5 is perhaps unintentionally amusing in 2026, whilst Klaus Nomi is a fantastical being that perhaps would only be imagined via CGI these days. Tragically, Klaus died barely two years after the release of Urgh! A Music War, one of the first celebrities to die of AIDS.

If you've never seen Urgh! A Music War, or haven't for a long while, give it a go. I suspect that there's nothing better on TV this Sunday (especially if you're in the UK)>

No Room To Move, No Room For Doubt

Feed The Enemy is the opening song of Magazine's second album, Secondhand Daylight. 

The song plays to the band's innate sense of theatre, introducing elements of the band one at a time; it's 1:27 before Barry Adamson's bass kicks in with John Doyle's percussion and two minutes in until Howard Devoto utters his first word.

The sense of anticipation is paid off with the opening couplet,

It's always raining over the border

There's been a plane crash out there

Following the second verse break and a blistering turn from Dave Formula and John McGeoch, the song builds in intensity as Howard comes back in to deliver the final lines, the band moving as one yet ramping up the tension, until it comes to it's inevitable end. 

Feed The Enemy wasn't released as a single, that was track two, the punchier Rhythm Of Cruelty, but a video was made for the song, at 5:29 only twenty seconds or so shorter than the album version.

For Magazine's live shows, a shorter, sped up version in the spirit of their more uptempo numbers was introduced. It may lose the brooding menace of the studio original, but it travels well at this revved up speed.

When Magazine reformed, they also got to perform at the penultimate BBC Electric Proms. Their set on Thursday 22nd October 2009 included the faster version of Feed The Enemy.

I saw Magazine a couple of years later in Birmingham, for what proved to be their final tour in this (re)incarnation. Whilst Feed The Enemy had been dropped by then, the combination of classics and new songs from then-current album No Thyself did not disappoint.

It's always raining over the border

There's been a plane crash out there

In the wheatfields they're picking up the pieces

We could go and look and stare

How many friends have we over there?

The border guards fight unconvincingly

Whatever we do it seems things are arranged

We always have to feed the enemy

You could dance for me

And punch me through

You could dance for me

And punch me through

You could dance for me

And punch me through

You could dance for me

And punch me through

We watched them trash the last camera

Glued to all our TV's

The actors on the replay

Trying again to touch you and me

But they always seem to know

Exactly what they're talking about

They must've got you in a corner

You've got no room to move

You've got no room for doubt

That's exactly what they're talking about

They must've got you in a corner

No room to move

No room for doubt

In Amongst The Moshers

January will be a gig-free month for me, so to fill the void I've compiled a imaginary live set featuring some top-notch performances from 1977 to 1979. And imagine the mosh pit!

 

The formidable line-up includes The Fall, Joy Division, Blondie, The Clash, The Specials, Scritti Politti and Magazine with heavyweight appearances from The Police, John Cale and David Bowie.

I even managed to sneak in some John Cooper Clarke.

Enjoy! But no spitting. I don't like spitting.

 

1) Stepping Out (Live @ Electric Circus, Manchester): The Fall (1977) 

2) Detroit 442 (Live @ The Walnut Theatre, Philadelphia): Blondie (1978)

3) Sabotage (Live @ CBGB, New York): John Cale (1979)

4) Armagideon Time (Live @ Hammersmith Odeon, London): The Clash (1979)

5) Guns Of Navarone (Live @ The Lyceum, London): The Specials (1979)

6) Be My Wife (Live @ Earls Court, London): David Bowie (1978)

7) Persecution Complex (Live @ Electric Circus, Manchester): The Drones (1977)

8) Tomorrow (Live @ University Of California, Riverside, California): Wall Of Voodoo (1979)

9) Bronze Adonis (Live @ Rafters, Manchester): John Cooper Clarke (1978)

10) Miracle Man (Live @ The Nashville Room, London): Elvis Costello & The Attractions (1977)

11) She Can Only Say No (Live): The Undertones (1979)

12) Art Forever (Live @ Acklam Hall, London): Scritti Politti (1979)

13) Time's Up (Live @ Electric Circus, Manchester): Buzzcocks (1977)

14) Message In A Bottle (Live @ Park West, Chicago): The Police (1979)

15) At A Later Date (Live @ Electric Circus, Manchester): Joy Division (1977)

16) Definitive Gaze (Live @ Lesser Free Trade Hall, Manchester): Magazine (1978)

In Amongst The Moshers (49:49) (KF) (Mega)

#SpookyTunesSeason, Volume Two

Clinging onto the Hallowe'en bandwagon, here's the second half of a month-long Twitter challenge, covering the past fortnight and up to today's final tweet.

 

As with Volume One, this has been done on the fly, so you will find zig zags from lo-fi indie to lush alt. country to German disco to reggae to revisionist pop history.

Once more, the 'sleevenotes' are a direct lift from my tweets, which provide little insight other than I clearly need more caffeine in the morning!

 

Spider To The Fly: Isobel Campbell

From Isobel's current album Bow To Love, which is so good that she also recorded and released the entire album in French as Place à l'Amour. Fantasmagorique!

 

Frankenstein Conquers The World: Jad Fair & Daniel Johnston

...or Frankenstein vs. The World, if you got the expanded UK/Europe reissue in 1993, renaming the original self-titled album as - what else? - It's Spooky.

 

Pretty Little Graves: Baby Bird

Tucked away on the B-side of the Cornershop single, uptempo rhythms belying Stephen Jones' downbeat lyrics.

 

Where The Creepyboyz Sing: John Cale

This turned up as a Japan-only bonus track on the Hobo Sapiens album, less than 1k views on You Tube. Deserves to be heard!

 

The New Cobweb Summer (Album Version): Lambchop

Hard to believe that this song is over 20 years old. Here's a more recent, but equally lovely, live version from Pickathon 2019.

 

(Do Not) Stand In The Shadows (Moby Remix): Billy Idol

Moby takes Billy's 1983 album track, chews it up, spits it out 35 years later for a remix album project. Vital Idol Revitalised? Regurgitated, more like! I love it.

 

Spooky Rhodes: Laika

From the Sounds Of The Satellites album, which I was lucky enough to catch them touring in the UK. Here's a fan-made video, which seems to have no relation to the song...Not spooky, but odd.

 

Soul Dracula: Hot Blood

Ready for some German disco on Dutch TV? There was a follow up LP in 1977 called Dracula And Co, including Baby Frankie Stein, Dracula Goes Dreamy and, er, Sex Me.

 

Because You're Frightened (Album Version): Magazine

Magazine's reformation in 2009 for an album and tour was something I'd previously thought impossible. I was lucky enough to see them in Birmingham. An astonishing show.

 

My Boy Builds Coffins (Album Version): Florence + The Machine

A lovely interview & performance from 2008, when Flo' was 'one to watch'. She's done alright since, hasn't she?

 

As I Washed The Blood Off: The Fatima Mansions

From the much missed Cathal Coughlan. I'm endlessly fascinated by the songs that people choose to make DIY videos for and post on You Tube...

 

Nightmare: Bim Sherman

Nightmares? Here's the remedy.

 

Killer Inside Me (Killer Long Version): MC 900 Ft. Jesus

Mark Griffin deftly mixed rap, jazz and unsettling narratives in the early 90s before retiring from the biz. And his full name is supposed to be '900 foot' not 'featuring'...!

 

Trick Or Treat: Otis Redding

A co-write with Isaac Hayes, it's hard to believe that this remained unreleased until 1992. A monster tune!

 

Thriller (The Reflex 'Halloween Disco' Edit): Michael Jackson

An obvious pick, but possibly a version that some may not have heard before. Nicolas Laugier works his magic yet again.  

 

Whether you're celebrating or battening down the hatches this evening, you could do worse than give this a spin. Though possibly not much worse ;-)

1) Spider To The Fly: Isobel Campbell (2024)

2) Frankenstein vs. The World (Video Version): Jad Fair & Daniel Johnston (1989)

3) Pretty Little Graves: Baby Bird (1997)

4) Where The Creepyboyz Sing: John Cale (2003)

5) The New Cobweb Summer (Album Version): Lambchop (2002)

6) (Do Not) Stand In The Shadows (Moby Remix): Billy Idol (2018)

7) Spooky Rhodes: Laika (1997)

8) Soul Dracula: Hot Blood (1975)

9) Because You're Frightened (Album Version): Magazine (1980)

10) My Boy Builds Coffins (Album Version): Florence + The Machine (2009)

11) As I Washed The Blood Off: The Fatima Mansions (1994)

12) Nightmare: Bim Sherman (1990)

13) Killer Inside Me (Killer Long Version): MC 900 Ft. Jesus (1991)

14) Trick Or Treat: Otis Redding (1966)

15) Thriller (The Reflex 'Halloween Disco' Edit): Michael Jackson (2013)

Volume Two (1:06:16) (GD) (M)

Like An Insect Up And Down The Walls

As an appetiser for my review of Barry Adamson's gig at Strange Brew this week (coming Saturday, I promise), here's a classic from Magazine, circa 1978.

 

I've never seen the video for The Light Pours Out Of Me before and it's a nicely staged studio performance, with the individual members coming into shot with their respective musical introductions. 

 

So, you get a first sight of Barry (well, his torso at least) and guitar as that incredible bass line kicks in at 0:14, having followed John Doyle on drums and before John McGeogh, resplendent in a pink knitted jumper steps in front and, finally, Howard Devoto saunters into view, one hand in pocket, causally observing that "Time flies, time crawls..." 

 

Poor Dave Formula has to wait until 1:07 to get a look in but he makes up for it by playing two sets of keys, each placed either side of him.

 

One of the greatest openings to a song? It's hard to beat.

 

Before this raises any false hope, Barry didn't perform this or any other Magazine songs at Wednesday's show. However, here's one he did earlier, at the Moth Club in London on 27th April 2017. Different voice, different guitar, same great tune.

Our Children Shall Rise Up Against Us Because We Are The Ones To Blame

Don't worry, there hasn't been a revolt at Casa K. Instead, here's some agit from the late 1970s, embracing punk, post-punk, post-modern, post-Mott and stick-it-in-your-pipe-and-smoke-it sounds from 15 of the best.

British Lions formed from the ashes of Mott The Hoople (via Mott) with John Fiddler (Medicine Head) taking front of stage. One More Chance To Run was their debut single and the opening track of their eponymous first album.

Quite a few self-titled debut albums featured here, now that I think about it, taking in The Clash, Tubeway Army, Squeeze, The B-52's, The Pretenders and (almost) Public Image Ltd. and Talking Heads.

 

A first appearance here for Sham 69 with - what else? - Hersham Boys and inevitable returns from Siouxsie & The Banshees, Magazine, Associates and The Jam. 

The closing song - and inspiration for today's post title - is We Are All Prostitutes, the blistering debut single by Bristol's own The Pop Group. 

 

It's been nearly a year since Mark Stewart tragically left us, so much to say in 1979 and so much still to say when he passed on in 2023. This one's for Mark and anyone who has spoken up and called out wrong doing.

Even so, our children shall rise up against us because we are the ones to blame.

 

1) One More Chance To Run: British Lions (1977)

2) What's My Name: The Clash (1977)

3) Hersham Boys (Long Version By Jimmy Pursey & Peter Wilson): Sham 69 (1979)

4) Poppy Day (John Peel Session): Siouxsie & The Banshees (1979) 

5) My Shadow In Vain: Tubeway Army (1978)

6) Attack: Public Image Ltd. (1978)

7) The Light Pours Out Of Me (Album Version By John Leckie): Magazine (1978)

8) Boys Keep Swinging (Cover of David Bowie): Associates (1979)

9) Sex Master: Squeeze (1978)

10) Marooned: Wire (1978)

11) Don't Worry About The Government: Talking Heads (1977)

12) 6060-842: The B-52's (1979)

13) News Of The World: The Jam (1978)

14) Brass In Pocket: The Pretenders (1979)

15) We Are All Prostitutes (Single Version By Dennis Bovell): The Pop Group (1979) 

 

We Are The Ones To Blame (46:05) (KF) (Mega)

 

We Are All Prostitutes

We are all prostitutes
Everyone has their price
We are all prostitutes
Everyone has their price
Everyone
 
And you too will learn to live the lie
And you too will learn to live the lie
And you too will learn to live the lie
Everyone has their price
 
Aggression
Competition
Ambition
Consumer fascism
Consumer fascism
 
We are all prostitutes
Everyone has their price
We are all prostitutes
Everyone has their price
Everyone
 
Capitalism is the most barbaric of all religions
 
Department stores are our new cathedrals
Department stores are our new cathedrals
Our cars are martyrs to the cause
Our cars are martyrs to the cause
 
Our children shall rise up against us
Our children shall rise up against us
Because
Because we are the ones to blame
Because we are the ones to blame
Because
Because
They will give us a new name, we shall be
Hypocrites

Hypocrites

Hypocrites

Hypocrites

Hypocrites

Hypocrites

Phantoms I Could Belatedly Chase

Side 1 of a Magazine compilation cassette, originally recorded for me by my brother in September 1991.

 

I was 11 years old when I first heard Magazine, courtesy of my older brother having posthumous compilation After The Fact and live album Play on tape. 

 

I was fascinated by the handprint on the cover of the former and the grainy black and white photo of the band in the studio on the latter, both squashed and cropped to fit the two-and-a-half inch width of the cassette sleeve. 

 

I was fascinated by the song titles: Definitive Gaze, A Song From Under The Floorboards and especially Thank You (Falettinme Be Mice Elf Agin) which to be honest also slightly irked this grammatically rigid adolescent.

I was fascinated by the sounds that emanated from the tape deck: Howard Devoto's voice, phrasing and a way of storytelling that was different from anything I'd heard before. And the music: spiky yet cinematic, poppy yet punky, alien yet painfully human (and hummable).

I was also fascinated by the perfunctory timing listed with the band name and album title on each side of the cassette. After The Fact's running time is 24:15 and 23:32 respectively; Play is 21:31 and 21:55. Unconsciously, the beginnings of an obsession with trying to cram the maximum amount of music on each side of a C60, C90 or C120 when it came to recording my own cassette compilations a couple of years later.

I think my brother was healthily less troubled by these things so there is difference of over a minute between the duration of each side of this mixtape: Side 1 is 45:19 whilst Side 2 is 46:22; I suspect I would have cursed every time I had to use precious Walkman battery power to fast forward to the end of the former to play the latter.

What is beyond argument is the quality of the ten songs on both sides. I'd wanted my brother to record his own equivalent of After The Fact for a long time. By the time I got it in 1991, I'd bought Secondhand Daylight (ah, the days of being able to buy back catalogue vinyl from WH Smith!) but memories of Magazine's wider work had faded. 

 

I loved this compilation, even if Magic, Murder And The Weather does get short shrift. A little unfairly in my opinion, but then what would I leave out to make room? I mentioned in my post about Side 2 that I swapped out a couple of versions for my recreation, but no such interference here. Parade is represented here with the live version from Play and it was the right call. On the surface, it might seem lazy to run tracks 4, 5 and 6 from The Correct Use Of Soap together (albeit in a slightly different order) but they work so well together, so why not?

And closing the side with Thank You - which many years later I discovered was a cover of Sly & The Family Stone is a perfect set up for the side to follow. Just listening to this again has brought a big smile to my face. Undiminished after more than three decades and the subsequent, inevitable deterioration of the original cassette.

Today's cover photo is another photo from Clan K's recent visit to Valencia. This time, it's a detail from one of the grand doorways to the Museu Nacional de Ceràmica i de les Arts Sumptuàries Gonzàlez Martí, succinctly described on Google Maps as a "Palace museum with an ornate 18th-century exterior, housing vast collections of ceramics & artworks." 

 

I'd like to tell you how much we enjoyed visiting it and viewing the exhibitions. To tell the truth, after taking a few photos outside, we carried on walking to the nearby Mercat de Colón, where we sat in a cafe enjoying coffee and pastries. The table next to us was hosting a "Day Of The Dead" (All Saints Day not George Romero) themed birthday party, crammed full of beautifully dressed and decorated - and excitably - pre-teen girls, with the associated parents sinking espressos at the table behind us. "So this is real life," as Howard Devoto once opined. You're telling me!

 

1) The Thin Air (Album Version) (1979)

2) Definitive Gaze (Album Version) (1978)

3) Talk To The Body (Album Version) (1979)

4) My Tulpa (Album Version) (1978)

5) Philadelphia (Album Version) (1980)

6) I Want To Burn Again (Album Version) (1980)

7) You Never Knew Me (Album Version) (1980)

8) So Lucky (Album Version) (1981)

9) Parade (Live @ Melbourne Festival Hall, Australia) (1980)

10) Thank You (Falettinme Be Mice Elf Agin) (Album Version) (Cover of Sly & The Family Stone) (1980)

1978: Real Life: 2, 4

1979: Secondhand Daylight: 1, 3

1980: The Correct Use Of Soap: 5, 6, 7, 10

1980: Play: 9

1981: Magic, Murder And The Weather: 8

 

Side One (45:19) (KF) (Mega)

Side Two here

Eclectic Guitar Restrung

Side 1 of a mixtape, compiled 3rd October 1999. 

Another C90-friendly delve into music with guitars. And other stuff. 

 

This might be the only place today where you'll hear The Clash next to Bis, The Doors trading organs with GusGus and Sly & The Family Stone tipping a hat to Magazine.

Play LOUD.

 

1) What Do You Want From Me? (Edit): Monaco (1997)

2) Deep Sleep (US Album Remix By Tom Durack): The B-52's (1990)

3) U-Mass (Album Version): Pixies (1991)

4) Spanish Bombs: The Clash (1979)

5) Action And Drama (Album Version): Bis (1999)

6) Cut Your Hair: Pavement (1994) 

7) Dry The Rain (Single Version): The Beta Band (1997)

8) Twentieth Century Fox: The Doors (1967)

9) Ladyshave (Album Version): GusGus (1999)

10) Thank You (Falettinme Be Mice Elf Again): Sly & The Family Stone (1970)

11) Rhythm Of Cruelty (Album Version): Magazine (1979)

12) Christianity (Album Version): The Wolfgang Press (1995)

13) A Loon (Strings Version) (Part 2): Kristin Hersh ft. Martin McCarrick (1994)

 

1967: The Doors: 8 

1970: Thank You (Falettinme Be Mice Elf Again) EP: 10

1979: London Calling: 4 

1979: Secondhand Daylight: 11

1991: Party Mix! / Mesopotamia (USA remixed re-release): 2

1991: Trompe Le Monde: 3

1994: Crooked Rain Crooked Rain: 6

1994: Strings EP: 13

1995: Funky Little Demons: 12

1997: Champion Versions EP: 7

1997: What Do You Want From Me? EP: 1 

1999: Social Dancing: 5

1999: This Is Normal: 9

 

Side One (45:52) (KF) (Mega)
Side Two here

Loitering With Intent

The joy of the three-minute pop song in 1978*, however else you want to label it. I missed most of these first time around, as they were B-sides or album tracks, but this music refuses to be denied and at various points in my life have gatecrashed my consciousness and my record collection.

A collection of the usual suspects perhaps though when the songs are this great, is it any surprise? A rollercoaster ride that's over in under 36 minutes but packs a lot in to it's wild ride. Strap in!

* Or, in the case of The Stranglers, the six-minute-plus cover version of a stone cold classic pop song.

The selection includes several songs that appeared in JC's excellent 60 Albums @ 60 series, which revealed All Mod Cons by The Jam at #1. So today's post is dedicated to JC with thanks and love.

1) Friends (John Peel Session): Adam & The Ants

2) Radios In Motion: XTC 

3) Reasons: Skids

4) Action Time Vision: Alternative TV

5) Touch And Go (Single Version): Magazine

6) Just Lust: Buzzcocks

7) Billy Hunt: The Jam

8) Suicide A Go Go: Big In Japan

9) I'm Gonna Love You Too: Blondie

10) Drug-Stabbing Time: The Clash

11) Sand In My Joints (Album Version): Wire

12) Walk On By (Cover of Dionne Warwick): The Stranglers

 

1978: Action Time Vision EP / The Image Has Cracked: 4

1978: All Mod Cons: 7 

1978: Chairs Missing: 11

1978: Charles EP: 3

1978: Ever Fallen In Love... (With Someone You Shouldn't've) EP: 6 

1978: From Y To Z And Never Again EP: 8

1978: Give 'Em Enough Rope: 10

1978: Parallel Lines: 9

1978: Touch And Go: 5

1978: Walk On By EP / Black And White (ltd LP+7"): 12

1978: White Music: 2

1990: The Peel Sessions: 1

 

Loitering With Intent (35:51) (Box) (Mega)