Decayed IV: 2006

Side 1 of a completely made up cassette compilation, stepping through the 2000s.

When approaching this post, 2006 didn't particularly stand out. I was half way though my first 3-year stint as a blogger, still with less than 100 posts by year end. 

However, it proved to be a helpful reminder of what I got up to in 2006, mostly going to comedy clubs and the theatre with Mrs. K, by the look of it. Little surprise, as the excellent Comedy Box at the Hen & Chicken pub was at the end of our street, and Bristol city centre was a short walk away.

Comedy shows in 2006 included Adam Hills, Mark Thomas, Matt Welcome, Omid Djalili, Richard Herring and, er, Russell Brand.

Theatre-wise, we experienced 

Air Guitar by Peter Kesterston

Nights At The Circus by Angela Carter, adapted by Tom Morris and Emma Rice

Present Laughter by Noël Coward, starring Simon Callow

Restoration by Edward Bond

The Birthday Party by Harold Pinter

The Taming Of The Shrew by William Shakespeare

Jesus Christ, It’s Christmas by Bristol-based theatre company Paper Aeroplane

and, er. Scrooge, based on the 1970 film musical by Leslie Bricusse and starring Shane Richie ...and yes, he did shout "Taxi for Walford!" at the end.

I also enjoyed reading a fair few books, such as 

American Ghosts & Old World Wonders by Angela Carter

Black Hole by Charles Burns

N.P. by Banana Yoshimoto

Feeding Frenzy by Will Self

Jimmy Corrigan, The Smartest Kid On Earth by Chris Ware
Planet Karen by Karen Ellis

Whoa Nellie! by Jaime Hernandez

and The Fountain At The Centre Of The World by Robert Newman... actually, that one was shit, and the former star of The Mary Whitehouse Experience was a creepy sleazeball when we saw him perform stand-up around the same time.

As for TV, we were both obsessed with Lost and Dog The Bounty Hunter, Saxondale and Nathan Barley. To be honest, the latter two were me, Mrs. K wasn't at all bothered by them.

2006 was Clan K's first experience of Go Ape in the Forest of Dean; tree tops, rope walks and zip slides, it was a blast. 

Mrs. K and I also visited the Relaxation Centre in Bristol, sampling the outdoor and indoor hot tubs, steam room, sauna and floatation room and we both felt unbelievably great afterwards. I then blew it all the same evening as my oldest friend Stuart was in town and mandatory ale quaffing in The Three Sugar Loaves and The White Lion ensued, including pints of the prophetically named Doom. 

Gig-wise, 2006 was pitifully limited to Julian Cope in February and the Ashton Court Festival in July.

I've written about this previously, but 2006 was the year that Mrs. K and I experienced unexpected headliners Simple Minds. The once-free festival now charged entry, but £9.00 per day was pretty good, considering the range of music on offer.

What wasn't pretty good was Jim Kerr and co. In my blog review, I wrote that "Don’t You Forget About Me, a dire cover of Van Morrison’s Gloria and the closing third encore (!) of Alive And Kicking were little more than extended karaoke tracks, with Kerr preferring the audience to do the work on the choruses."

It wasn't all bad: I cited the "sole redeeming moment [as the] rendition of New Gold Dream (81-82-83-84) seemingly inspired by Utah Saints’ rousing mid-1990s cover version." 

In closing, I ruefully reflected that "Perhaps the festival is still a rites of passage for some, but my feelings towards Ashton Court were aptly personified by Jim Kerr: over priced, over the hill, out of touch and with an inflated sense of self-importance." Oh dear!

On a happier note, we had a fun holiday in Bulgaria in October.

But what else was going on in 2006. Here's a non-exhaustive and entirely subjective run through of some events (and non-events, I might argue).

1st January

The first UK #1 single of the year was That's My Goal by Shayne Ward. 

21st March

Twitter launched. Five days later, Elon Musk's company SpaceX's first launch of the Falcon 1 rocket crashed to Earth shortly after liftoff. Sixteen years, Musk acquired Twitter, with similar results, culturally speaking.

6th May

Grant McLennan of The Go-Betweens died of a heart attack at his home in Brisbane, Australia, aged just 48.

20th May

Finnish band Lordi won The Eurovision Song Contest with Hard Rock Hallelujah.

9th July

Italy beat France to win the FIFA World Cup.

24th August

The International Astronomical Union defines 'planet' at it's 26th General Assembly, consequently relegating Pluto to 'dwarf planet' status. Poor Pluto.

4th September

Steve Irwin, Australian TV legend and conservationist, is fatally stung in the heart by a stingray while filming underwater.

23rd November

Alexander Litvinenko, former Russian Federal Security Service officer and subsequent critic of the Putin administration, dies after being poisoned with Polonium-210. 

30th December

Saddam Hussein is executed by hanging for crimes against humanity.

31st December

The last UK #1 single of 2006 is A Moment Like This by Leona Lewis.

Yep, if we weren't facing the existential threat of talent shows like The X-Factor, music buying on physical formats was also under threat. Crazy by Gnarls Barkley became the first single to top the UK Singles Chart on download sales alone. Crazy remained at the top of the UK singles chart for nine weeks, the longest #1 spell for more than a decade. 

It's one of two #1's to appear in today's selection, albeit in a DIY extended version by DreamTime, whose music blog I was obsessed with at the time, even if the edits themselves were a bit hit and miss. Crazy definitely sits in the 'hit' camp for me.

The other #1 is by Arctic Monkeys, who also used the internet to their advantage, building up a groundswell of interest and support, which helped their debut album, Whatever People Say I Am, That's What I'm Not become the fastest selling debut album in UK chart history at the time.

Aside from that, it's the usual eclectic mix of the well known and the wilfully obscure. And yes, although I committed the crime of not including The White Stripes, I have opted for Jack White's other band, The Raconteurs. Contrary sod, aren't I? Great song, though.

I missed The Go! Team at the Ashton Court Festival - they headlined the previous day - and I've still yet to see them live, but I love their gloriously joyful racket as much now as I did 20 years ago when I first heard them.

Muse and The Killers I'm less fussed by, but I do like the remixes featured here. Tahiti 80, Phoenix and Peter, Björn & John (with Victoria Bergsman) brings some European sunshine to proceedings. I finally got to see Peter at least live on stage, as the cornerstone of Robert Forster's Swedish Band in Cardiff last month.

I can’t promise the same level of diary diving tomorrow as I have done today, but 2007 will offer up another dozen examples of why the 2000s weren't so bad for music after all.

1) Big Day (Album Version): Tahiti 80

2) Young Folks (Album Version): Peter, Björn & John ft. Victoria Bergsman

3) Long Distance Call (25 Hours A Day Mix By Pierrick Devin): Phoenix

4) Cash Machine (Video Version 2): Hard-Fi

5) Why Won't You Give Me Your Love? (Album Version): The Zutons

6) Steady, As She Goes (Album Version): The Raconteurs

7) Crazy (DreamTime Mix): Gnarls Barkley

8) Ladyflash (Album Version): The Go! Team

9) Supermassive Black Hole (Team9 Remix By Neil Mason): Muse

10) Standing In The Way Of Control (Radio Edit): Gossip

11) When You Were Young (Jacques Lu Cont's Thin White Duke Radio Edit By Stuart Price): The Killers

12) When The Sun Goes Down (Album Version): Arctic Monkeys

1st January 2006: Stars Of CCTV (#14): 4

22nd January 2006: Whatever People Say I Am, That's What I'm Not (#1): 12

5th February 2006: Thunder, Lightning, Strike (#26): 8

5th March 2006: Fosbury (# n/a): 1

26th March 2006: It's Never Been Like That (# n/a): 3

2nd April 2006: St. Elsewhere (#1): 7

9th April 2006: Tired Of Hanging Around (#9): 5

30th April 2006: Broken Boy Soldiers (#4): 6

25th June 2006: Black Holes & Revelations (#4): 9

13th August 2006: Writer's Block (#35): 2 *

24th September 2006: Sam's Town (#2): 11

5th November 2006: Standing In The Way Of Control (#64): 10 **

Side One (46:14) (GD) (M)

* Young Folks was subsequently re-released the following year and got to #13 in the week of 23rd September 2007

** Likewise, Standing In The Way Of Control got a second bite of the cherry when it returned to the charts the week of 4th March 2007 with a peak of #7

If you're hungry for more, why not sample my selections from 1986 and 1996?

Culture Clash

Listening again to Monkey Mafia's dub-infused cover of Creedence Clearwater Revival at the weekend, go me thinking about another of Jon Carter's excursions into Jamaican culture.

This in turn prompted a delve into the archives of my old blog, and an album review from 11th February 2007, namely Two Culture Clash, an intriguing compilation first issued 23rd August 2004. 

What did my younger self think of it? Over to, er, me.

This Wall Of Sound release purports to be an innovative creative pairing of electronic music producers with (predominantly Jamaican) reggae/dancehall greats. The sleeve notes even go so far as to sniffily dismiss other efforts as a “half-baked, ham-fisted assemblage of dancehall vocals grafted onto electronic beats in a studio on the other side of the Atlantic”. 

So, has bringing the producers to Jamaica and locking them in a studio with the island’s “lyrical wordsmiths” produced the “unprecedented” success that writer David Katz clearly believes it is? Well, of course not. 

There are some undeniably great moments on this album, but be under no illusion that Two Culture Clash has resulted in something completely new. Instead, the producers seem to have moulded their sound to complement the performers, most of whom dish out the lyrical clichés that both characterise and damn the musical genre. 

If you can accept that this won’t be the earth-shattering, life-changing album that the hype suggests, then you can settle back and enjoy nearly an hour’s worth of good music. 

How Do You Love? is a deliberate shot at the charts, with Jon Carter bringing out the best in vocalists Patra (who guested on his Monkey Mafia single Work Mi Body) and Danny English*.

The two Jacques Lu Cont tracks - …And Dance and Na Na Na Na – are perhaps the album’s dancefloor highlights, with a minimal, pulsing beats that prove impossible to resist. General Degree provides vocals on both, but the addition of Ce’Cile on the latter is like a pumped up version of Cookies by Ciara. 

It should be no suprise that Roni Size doesn’t disappoint on Knock Knock, a muscular rhythm suiting Spragga Benz’s rough monotone delivery, whilst West London Deep’s Rudie No! featuring Big Youth comes on like The Specials in space. 

There are inevitably a couple of disappointments. Kid606 seems uncharacteristically restrained on This Anuh Rampin’ and it’s left to Switch on the subsequent Love Guide (featuring Ms. Thing) to take the sound in an abstract direction that the Kid is usually more than capable of. 

Phillipe Zdar (Cassius/Motorbass) injects Get Crazy with an infectious, pulsating rhythm, let down only by Innocent Kru’s tired (and tiresome) lyrics. But these are small gripes. 

Elsewhere, Howie B. and Horace Andy team up for Fly High, a dub extravaganza that is arguably the best song that Massive Attack never recorded, whilst Justin Robertson’s retro dancehall ballad Save Me closes the album. 

Showcasing a vocal from Nadine Sutherland and Ernie Ranglin, Save Me is guaranteed to send a shiver down your spine… and get you skanking uncontrollably. 

As long as you skip the sleeve notes' hyperbole , then Two Culture Clash is a great album. It's not as ground breaking as it's instigators think it is, but it is worth more than a casual listen.

As a 2025 footnote, I recall buying this CD via eBay for a few quid, as part of my quest to plug gaps in my collection of Justin Robertson's music (which I'm still trying - and failing - to do today). A look on Discogs reveals that you can still easily pick up a copy for less than a fiver, postage included.

* I was sad to discover when creating the artist links that Danny English aka Donald Cox died on 23rd January this year, aged just 54. 

Fan The Flame!

Jessie Ware has just released a new single, Freak Me Now, featuring "Queen Of Disco" Róisín Murphy, which was enough to make me sit up and pay attention.

 

I'll be honest, I see Jessie on TV a lot - she seems to be a semi-permanent guest on Sunday Brunch, for one - but I'd be hard pressed to name any of her songs. A quick check of my collection reveals the sum total of three songs featuring Jessie: one solo, one with Disclosure, one solo and remixed by Disclosure. 

Róisín on the other hand is someone whose music I've followed with great interest since Moloko arrived on the scene in the mid-1990s and, to these ears, has just got better and better and better since going solo in the early 2000s. She has an album of all-new material, cheekily-titled Hit Parade, out on Ninja Tune in September and I for one will be straight on it.

Freak Me Now is a reworked version of a track from Jessie's album That! Feels Good! which came out at the end of April. Both the song and the video are an explosion of colour and it looks like Jessie and Róisín had great fun raiding the dressing up box. The exuberance and joi de vivre burst from the speakers and will have you shaking your booty before you know it, for which I will apologise in advance to those who may be witness to this on my commute to and from work.

Very few mentions of this in the video credits or other parts of t'internet so I'll do my bit and give a shout out to the song's other guest vocalist Clarence Coffee Jr. (nice titfer, Clarence). He co-wrote Freak Me Now with Jessie and super-producer Stuart Price (who I recall with much affection from his early work as Jacques Lu Cont / Les Rhythmes Digitales).

 

All in all, Freak Me Now is three minutes and thirty three seconds of irresistible sunshine pop. If that's not enough for you, Jo Disco has supplied a promo extended mix, stretching it out to a cool five minutes. The single remix is available digitally in all the usual places.