On a cold, dark, dank, wet, windy, woeful, worthless, soulless October day, a crowd of about 80 eager fans cram themselves into Southampton's premium venue, the Joiners. Some there just to out the rain, and there some to see their mates' bands, but mainly the crowd are here to see Southampton's finest indie-poppers, Mr Tom. The band have just finished their first major headline tour of the UK, and this is to be their homecoming show. Mr Tom are to be supported by How's Harry- another upcoming indie band, and Eagle and Weeks- a local hiphop band.
The crowd eagerly settle down, as the first band set themselves up. Eagle and Weeks take hardly any time to get ready, as they consist solely of a vocalist wielding an acoustic guitar, and a percussionist who drums a magic box. Eagle and Weeks are no newcomers to the Joiners, as they supported Jaws here in February. In between songs, Dan Eagle, the frontman, exchanges amusing 'banter' between one of his drunken friends in the crowd. The crowd are eager to point out that since the band last played the Joiners, Eagle's eyebrows have been taken, or lost, or gotten rid of in some odd manner. The blue lights dim, and the band begin their set, with a song about an ex-girlfriend, a theme prominent in their work. "This next one's about someone else who pissed us off, who might as well of just Pissed in our Tea", as they break into Pissed in our Tea. Eagle's soulful, yet fast paced vocals are a thing of beauty, and you can't help but think the band are going to make it some day. Eagle and Weeks' next song, they announce, is to be a Black Sabbath cover. "Is it Paranoid?" their drunken comrade exclaims, shortly before the band break into a brilliant rendition of early-Sabbath classic; Paranoid. The set goes on, and the band look confident yet have an element of control over the crowd. As the set nears a close, Sam Weeks gives the crowd a Push Pulk-style drum solo, before the final track commences; it's an Ed Sheeran cover, which fits Eagle's vocal style perfectly. The set closer draws to an ecstatic conclusion, and Weeks even falls sideways of his drumbox mid-frenzy. Eagle and Weeks pack up and join the crowd to watch the next band on; How's Harry.
How's Harry were a much more colourful affair, their music veering towards the indie end of the musical spectrum. How's Harry were another making a return to the Joiners, in the aftermath of the release of their debut EP; The Letter. How's Harry's set was ablaze with songs from the EP, as they almost outperformed Mr Tom with their Mumm-Ra meets early Maccabees style. Almost half the crowd appeared to be there just for How's Harry's set, and their vibrant riffs sent to the rain clouds packing their bags. As the young band made their way through their set, the lifeless crowd almost got moving, with the female population of the room appeared to congregate around lead singer, Ike Foulkes' ankles. When How's Harry reached the end of a well polished set they received a round of applause double the volume of Eagle and Weeks'. How's Harry are definitely one for the future.
Finally, it was time for Southampton's finest to take to the stage, for a triumphant end to their UK tour. Although looking weary, the triumph of the band outweighed the exhaustion, as they set up a vast number of effects pedals. They opened with a track from the newly released King and Queen EP, which sounded much greater in a live environment than on record. Between songs the band jokingly exchanged light-hearted conversation with the audience. The bassist, "Donny B", was wearing a hat which was subject to lots of feedback, not all positive, from the audience. The next song they played that stood out was Hook, Line and Sinker, the standout song on King and Queen. It sounded vibrant yet visceral, and the crowd loved every second. The next song was one that the band had added to the set just for this show, because it hadn't been practiced since Mr Tom's early days. Despite this, it was another faultless indie 'banger' pop anthem. The closer was King and Queen, which the crowd knew all the words to, and it made for quite the spectacle. Mr Tom, playing their first Joiners show since their support slot for San Cisco this summer, pushed all the right buttons as the crowd finally was teeming with the life it should have had from the beginning.
As the four local lads packed their gear up, in the knowledge they'd won the Joiners over, they announced they'd be supporting Natives there in three weeks, and I for one could tell that it was a must see, as Mr Tom are a fantastic young band, whose only way is up. Watch that space.
Rating: 9/10
Monday, October 28
The fifty greatest albums of all time? (50-41)
In light of NME's recent, well-recieved countdown of their "500 greatest albums of all time" I decided (because of a lack of A.) creativity B.) past-times) to engage in a similar activity. Here is the first part of a countdown of what I believe to be the fifty greatest albums of all time.
50. Copper Blue - Sugar (1992)
Bob Mould's move away from alternative rock, and move away from Husker Du, saw him form Sugar with David Barbe and Malcolm Travis. Sugar saw a move from the heavier sound of Husker Du, as Sugar's music was much more melodic and so much more visceral than Mould's previous band. Copper Blue was Sugar's debut album, and is loaded with some of alternative rock's finest anthems. In my humble opinion, the last song on side one- Hoover Dam is one of the most powerful songs ever to written, and The Act We Act is every bit as amazing as any of Husker Du's work.
49. Taking Drugs To Make Music To Take Drugs To - Spacemen 3 (1986)
Although it is not an official album, as such, TDTMMTTDT is Spacemen 3's Hatful Of Hollow. The Spacemen 3 are one of the greatest shoegaze bands of the nineties and TDTMMTTDT is nothing but a roughly cut compilation with more character than any of the band's studio albums. Released prior to The Sound Of Confusion, TDTMMTTDT has many of the same songs as the bands official debut- including the title track. But the three different versions of 2.35, the organ mix of Transparent Radiation and 7-minute epic, Everything's Allright, TDTMMTTDT is rich in rarities and is a must listen for anyone into their shoegaze.
48. Up The Bracket - The Libertines (2002)
Barat and Doherty's debut was, and still is, one of this century's standout records. Eleven years on, and Up The Bracket still sounds as fresh as anything released last week. The Libs' stunning debut is 40 minutes of gritty all the more energetic bliss. Side one especially is jam packed with songs which have had a lasting impact on the British indie scene, with the three song streak of Death on the Stairs, Horrorshow, and Time For Heroes, as well as the brilliant album closer; I Get Along.
47. Aladdin Sane - David Bowie (1973)
Aladdin Sane is Bowie's second album as Ziggy, and although it doesn't quite have the same OOMPH as The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, it has it's own character. Aladdin Sane is much more centred around Mike Garson's avant-garde piano playing than it's precursor, and had a sound that draws comparisons to The Stooges and The New York Dolls. Time and Aladdin Sane both exhibit Garson's brilliance with a piano, whilst Cracked Actor is one of Bowie's finest rock 'n' roll songs. Aladdin Sane is one of Bowie's greatest records, and definitely the most characteristic of Ziggy's releases.
46. Going Blank Again - Ride (1992)
Ride's second crack of the whip produced Going Blank Again, and you can tell just by looking at the cover art that it's a much more colourful affair than 1990's Nowhere. The album was much more prolific than it's predecessor, yielding a top five placing in the UK charts. In addition, the lead single, Leave Them All Behind, reached the UK top ten despite clocking in at over eight and a half minutes. The albums other highlights include the very colourful Twisterella, and the epic OX4.
45. Good News For People Who Love Bad News - Modest Mouse (2004)
MM's last record before the addition of Johnny Marr was by far their greatest. The LP begins with semi-orchestral opener, World At Large. The song's one of Modest Mouse's more mournful, but is made greater, as it's linked to lead single, Float On. Float On's everything that World At Large isn't; a carefree indie classic. Elsewhere, Ocean Breathes Salty and Bukowski prove that Modest Mouse's fourth record is definitely their greatest.
44. Bleach - Nirvana (1989)
When talking of "grunge", there is only one band that springs immediately to mind, and that is Nirvana. Nirvana's debut is Subpop's greatest selling album to date, and sounds much rougher, and much less commercial than Nevermind. For Bleach, Cobain opted to make lyrics less of a priority, and focused on hard-hitting guitar riffs. He even "didn't write some lyrics til the day before recording, resulting in some tracks that are lacklustre lyrically, but fantastic musically- like School which features only four different lines repeated. Elsewhere on the LP, Cobain deals with subjects like rape (Floyd The Barber), self-loathing (Negative Creep) and other people (Mr Moustache), all flawlessly written about by Cobain. Bleach is Nirvana's cult classic; a must buy for anyone
43. Men's Needs, Women's Needs, Whatever (2007)
From one three piece to another, album number 43 is the Jarman brothers' finest album. In Men's Needs... The Cribs finally found a sound which suited them like no other, as the album is almost entirely made up of The Cribs' trademark indie-rock tracks, with the exception of Be Safe- an altogether different beast. The albums four singles, to this date, are arguably four of the best loved Cribs songs, all fast paced thrillers. Men's Needs, Women's Needs, Whatever is definitely the high point in The Cribs' rich discography.
42. Screamadelica - Primal Scream (1991)
Bobby Gillespie's indie cult classic is one of Creation records finest moments. Screamadelica is the Scream's best and probably druggiest record, as it even achieved the legendary status of being put on a stamp. The album yielded party classic, Loaded as well as Come Together- which is a blissful ten minutes long. Although it has a large number of fillers, it has some real killer killers, like semi acoustic opener Movin' On Up.
41. Reflektor - Arcade Fire (2013)
Toronto's finest's latest record is a real game changer. It's a dance record of biblical proportions, and the best way to summarise it is with the title track- a lead single that clocks in at over 8 minutes, with backing vocals from Bowie, Reflektor is one of the bravest songs/albums of the twenty-first century. And oh how it paid off. From the stunning title track there's not a single weak link, right down to 11 minute long closer- Supersymmetry, which rounds of The Arcade Fire's ballsiest, and most surprising record yet.
See The Ever Growing Spotify Playlist Of This HERE
50. Copper Blue - Sugar (1992)
Bob Mould's move away from alternative rock, and move away from Husker Du, saw him form Sugar with David Barbe and Malcolm Travis. Sugar saw a move from the heavier sound of Husker Du, as Sugar's music was much more melodic and so much more visceral than Mould's previous band. Copper Blue was Sugar's debut album, and is loaded with some of alternative rock's finest anthems. In my humble opinion, the last song on side one- Hoover Dam is one of the most powerful songs ever to written, and The Act We Act is every bit as amazing as any of Husker Du's work.
49. Taking Drugs To Make Music To Take Drugs To - Spacemen 3 (1986)
Although it is not an official album, as such, TDTMMTTDT is Spacemen 3's Hatful Of Hollow. The Spacemen 3 are one of the greatest shoegaze bands of the nineties and TDTMMTTDT is nothing but a roughly cut compilation with more character than any of the band's studio albums. Released prior to The Sound Of Confusion, TDTMMTTDT has many of the same songs as the bands official debut- including the title track. But the three different versions of 2.35, the organ mix of Transparent Radiation and 7-minute epic, Everything's Allright, TDTMMTTDT is rich in rarities and is a must listen for anyone into their shoegaze.
48. Up The Bracket - The Libertines (2002)
Barat and Doherty's debut was, and still is, one of this century's standout records. Eleven years on, and Up The Bracket still sounds as fresh as anything released last week. The Libs' stunning debut is 40 minutes of gritty all the more energetic bliss. Side one especially is jam packed with songs which have had a lasting impact on the British indie scene, with the three song streak of Death on the Stairs, Horrorshow, and Time For Heroes, as well as the brilliant album closer; I Get Along.
47. Aladdin Sane - David Bowie (1973)
Aladdin Sane is Bowie's second album as Ziggy, and although it doesn't quite have the same OOMPH as The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, it has it's own character. Aladdin Sane is much more centred around Mike Garson's avant-garde piano playing than it's precursor, and had a sound that draws comparisons to The Stooges and The New York Dolls. Time and Aladdin Sane both exhibit Garson's brilliance with a piano, whilst Cracked Actor is one of Bowie's finest rock 'n' roll songs. Aladdin Sane is one of Bowie's greatest records, and definitely the most characteristic of Ziggy's releases.
46. Going Blank Again - Ride (1992)
Ride's second crack of the whip produced Going Blank Again, and you can tell just by looking at the cover art that it's a much more colourful affair than 1990's Nowhere. The album was much more prolific than it's predecessor, yielding a top five placing in the UK charts. In addition, the lead single, Leave Them All Behind, reached the UK top ten despite clocking in at over eight and a half minutes. The albums other highlights include the very colourful Twisterella, and the epic OX4.
45. Good News For People Who Love Bad News - Modest Mouse (2004)
MM's last record before the addition of Johnny Marr was by far their greatest. The LP begins with semi-orchestral opener, World At Large. The song's one of Modest Mouse's more mournful, but is made greater, as it's linked to lead single, Float On. Float On's everything that World At Large isn't; a carefree indie classic. Elsewhere, Ocean Breathes Salty and Bukowski prove that Modest Mouse's fourth record is definitely their greatest.
44. Bleach - Nirvana (1989)
When talking of "grunge", there is only one band that springs immediately to mind, and that is Nirvana. Nirvana's debut is Subpop's greatest selling album to date, and sounds much rougher, and much less commercial than Nevermind. For Bleach, Cobain opted to make lyrics less of a priority, and focused on hard-hitting guitar riffs. He even "didn't write some lyrics til the day before recording, resulting in some tracks that are lacklustre lyrically, but fantastic musically- like School which features only four different lines repeated. Elsewhere on the LP, Cobain deals with subjects like rape (Floyd The Barber), self-loathing (Negative Creep) and other people (Mr Moustache), all flawlessly written about by Cobain. Bleach is Nirvana's cult classic; a must buy for anyone
43. Men's Needs, Women's Needs, Whatever (2007)
From one three piece to another, album number 43 is the Jarman brothers' finest album. In Men's Needs... The Cribs finally found a sound which suited them like no other, as the album is almost entirely made up of The Cribs' trademark indie-rock tracks, with the exception of Be Safe- an altogether different beast. The albums four singles, to this date, are arguably four of the best loved Cribs songs, all fast paced thrillers. Men's Needs, Women's Needs, Whatever is definitely the high point in The Cribs' rich discography.
42. Screamadelica - Primal Scream (1991)
Bobby Gillespie's indie cult classic is one of Creation records finest moments. Screamadelica is the Scream's best and probably druggiest record, as it even achieved the legendary status of being put on a stamp. The album yielded party classic, Loaded as well as Come Together- which is a blissful ten minutes long. Although it has a large number of fillers, it has some real killer killers, like semi acoustic opener Movin' On Up.
41. Reflektor - Arcade Fire (2013)
Toronto's finest's latest record is a real game changer. It's a dance record of biblical proportions, and the best way to summarise it is with the title track- a lead single that clocks in at over 8 minutes, with backing vocals from Bowie, Reflektor is one of the bravest songs/albums of the twenty-first century. And oh how it paid off. From the stunning title track there's not a single weak link, right down to 11 minute long closer- Supersymmetry, which rounds of The Arcade Fire's ballsiest, and most surprising record yet.
See The Ever Growing Spotify Playlist Of This HERE
Friday, October 25
The NME's 500 greatest albums of all time?
When buying the NME one can almost assume that there will be some sort of list, describing what are the ten best drum solos of all time, the 25 greatest sound engineers, or the 100 greatest gigs of all time. This week's edition was no different, with the magazine boldly claiming to have selected a 'definitive' list of 500 greatest albums of all time. Although the magazine, to it's credit, didn't show any major bias to the NME's favoured artists, it lacked any real surprises and was quite easy to predict.
I mean, it's not without reason that The Stone Roses, Revolver, or Nevermind make the top ten of almost every list of this sort, because they are excellent albums. But many albums, arguably greater than those above, were omitted or left well out of the top two or three hundred. But in the NME's defence, the method of devising the list was near genius, as it yielded a diverse list of 500 good album. However, it left the top 50 almost forgone. I mean, who wouldn't put The Velvet Underground and Nico in their top ten when asked to give what they believe to be the fifty greatest albums of all time?
There were some Biblically great albums that missed out on a spot as high as they deserve (in my humble opinion), and some bands' albums were in a wrong sort of order (Closer is above Unknown Pleasures). I think the following really deserved higher than they were given;
Goo - Sonic Youth (426th)
Sonic Youth's masterful sixth album was their first released on a major record label, and the record after (41st placed) Daydream Nation. Goo is far greater than all the preceding Sonics albums, as its their only record that can be described as all killer, no filler. It is not only more poignant than Daydream Nation, but more lyrically and musically intricate. The album's highlights include Kim and Thurston's tribute to Karen Carpenter, Tunic, and Kool Thing, which features Public Enemy's Chuck D on backing vocals.
Diamond Dogs - David Bowie (447th)
David Bowie was the most successful artist in the list, scoring albums at numbers 3 and 10, as well as having eight other LPs appear throughout the list. Of these ten albu ms listed, Diamond Dogs was lowest ranked, and quite unjustly so. Bowie's stunning 8th album was one of, if not, his greatest albums. With the exclusion of shaky title track, Diamond Dogs is flawless from almost the start. Sweet Thing is not only features the lowest recorded vocals on a Bowie song, but possibly the greatest, and lyrics to match. Lead single Rebel Rebel is Bowie's finest pop moment, and Big Brother is one of Bowie's greatest songs of the seventies. Diamond Dogs is ever so overlooked as one of Bowie's masterpieces, and it's almost a travesty that it's 400 places lower than Young Americans in the list.
In Utero - Nirvana (35th)
Thirty fifth is brilliant, don't get me wrong, but below Nevermind? Are you off your heads, NME? In Utero is 49 minutes of unadulterated bliss, as Kurt Cobain gives the music industry one last FUCK YOU. Songs like Tourette's and Rape Me are a two fingered salute to the authorities, whereas Scentless Aprentice and Radio Friendly Unit Shifter are career highlights of grunge's greatest protagonists. Although Nevermind has The Hits, it lacks the fury of In Utero, and it lacks the honest heartfelt emotions Cobain coveys in the band's third album. In Utero deserves to be way, way above Nevermind in any list.
Nowhere - Ride (Unlisted)
Bell and Gardener- The Lennon and McCartney of shoegaze's sophomore album made NME's list, but their debut missed out. But why? Nowhere is an almost faultless record, with a mix of eerie haunting songs (Paralysed), visceral shoegazing classics (Kaleidoscope, Polar Bear), and of course the stunning closer, Vapour Trail. Ride's debut may have lacked the bright, almost summery, sound of Going Blank Again, but their first effort is greater, more haunting, and more unforgettable. Nowhere was the album that made people take note of the shoegaze movement. It, alongside Loveless and Slowdive's Souvlaki, was shoegaze's greatest triumph. Nowhere, on the other hand, is far less dated than the other two stated albums, and the britpop it preceded.
OK Computer - Radiohead (20th)
In all honesty, a top 5 finish was to be expected for OK Computer, as it's unarguably Radiohead's finest record. OK Computer redefined what a guitar band could do, with notable highlights including "modern day Bohemian Rhapsody", Paranoid Android and minimalist inspired Let Down. OK Computer is arguably the greatest album of the 90's, and deserves much better than to be placed ten places behind a shaky Oasis album.
Any more I/NME have missed? Feel free to comment.
I mean, it's not without reason that The Stone Roses, Revolver, or Nevermind make the top ten of almost every list of this sort, because they are excellent albums. But many albums, arguably greater than those above, were omitted or left well out of the top two or three hundred. But in the NME's defence, the method of devising the list was near genius, as it yielded a diverse list of 500 good album. However, it left the top 50 almost forgone. I mean, who wouldn't put The Velvet Underground and Nico in their top ten when asked to give what they believe to be the fifty greatest albums of all time?
There were some Biblically great albums that missed out on a spot as high as they deserve (in my humble opinion), and some bands' albums were in a wrong sort of order (Closer is above Unknown Pleasures). I think the following really deserved higher than they were given;
Goo - Sonic Youth (426th)
Sonic Youth's masterful sixth album was their first released on a major record label, and the record after (41st placed) Daydream Nation. Goo is far greater than all the preceding Sonics albums, as its their only record that can be described as all killer, no filler. It is not only more poignant than Daydream Nation, but more lyrically and musically intricate. The album's highlights include Kim and Thurston's tribute to Karen Carpenter, Tunic, and Kool Thing, which features Public Enemy's Chuck D on backing vocals.
Diamond Dogs - David Bowie (447th)
David Bowie was the most successful artist in the list, scoring albums at numbers 3 and 10, as well as having eight other LPs appear throughout the list. Of these ten albu ms listed, Diamond Dogs was lowest ranked, and quite unjustly so. Bowie's stunning 8th album was one of, if not, his greatest albums. With the exclusion of shaky title track, Diamond Dogs is flawless from almost the start. Sweet Thing is not only features the lowest recorded vocals on a Bowie song, but possibly the greatest, and lyrics to match. Lead single Rebel Rebel is Bowie's finest pop moment, and Big Brother is one of Bowie's greatest songs of the seventies. Diamond Dogs is ever so overlooked as one of Bowie's masterpieces, and it's almost a travesty that it's 400 places lower than Young Americans in the list.
In Utero - Nirvana (35th)
Thirty fifth is brilliant, don't get me wrong, but below Nevermind? Are you off your heads, NME? In Utero is 49 minutes of unadulterated bliss, as Kurt Cobain gives the music industry one last FUCK YOU. Songs like Tourette's and Rape Me are a two fingered salute to the authorities, whereas Scentless Aprentice and Radio Friendly Unit Shifter are career highlights of grunge's greatest protagonists. Although Nevermind has The Hits, it lacks the fury of In Utero, and it lacks the honest heartfelt emotions Cobain coveys in the band's third album. In Utero deserves to be way, way above Nevermind in any list.
Nowhere - Ride (Unlisted)
Bell and Gardener- The Lennon and McCartney of shoegaze's sophomore album made NME's list, but their debut missed out. But why? Nowhere is an almost faultless record, with a mix of eerie haunting songs (Paralysed), visceral shoegazing classics (Kaleidoscope, Polar Bear), and of course the stunning closer, Vapour Trail. Ride's debut may have lacked the bright, almost summery, sound of Going Blank Again, but their first effort is greater, more haunting, and more unforgettable. Nowhere was the album that made people take note of the shoegaze movement. It, alongside Loveless and Slowdive's Souvlaki, was shoegaze's greatest triumph. Nowhere, on the other hand, is far less dated than the other two stated albums, and the britpop it preceded.
OK Computer - Radiohead (20th)
In all honesty, a top 5 finish was to be expected for OK Computer, as it's unarguably Radiohead's finest record. OK Computer redefined what a guitar band could do, with notable highlights including "modern day Bohemian Rhapsody", Paranoid Android and minimalist inspired Let Down. OK Computer is arguably the greatest album of the 90's, and deserves much better than to be placed ten places behind a shaky Oasis album.
Any more I/NME have missed? Feel free to comment.
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