Posts Tagged ‘The Stone Roses’

The Charlatans

Sunday, November 27th, 2011

Listen: Love Is The Key / The Charlatans

7″ singles became less desirable as a format for radio through the 90′s, and by the new millennium, few were available as promo only pressings. Well, not so much in the UK luckily. Possibly driven by guilt, the vinyl conscience music industry still pressed limited copies for radio and jukebox, often with zero packaging. Seemingly an insult at the time, and very disposable, fast forward ten years and I’m well happy to have saved every last one.

Such is the case with The Charlatans’ ‘Love Is The Key’. Being an early possessed band follower, my attraction to their 45′s waned as time progressed, but given those first few gems, I always would give a listen to each new release, and usually winced with disappointment. The more than basic, information only sleeve above, which looks rather nice a decade later, didn’t help.

Unexpectedly, a revelation greeted me: ‘Love Is Te Key’ wiped clean the band’s by then dodgy slate of single releases, each one more dull than it’s predecessor. This record sounded hot on first listen. A return to form, as others have said way too many times. Despite the buried vocals, and Tim Burgess’s much publicized move to LA, this still sounded very British, especially it’s amusing faux funk, which only The Stone Roses had managed to master previously.

The Thompson Twins

Thursday, December 2nd, 2010

Listen: The Gap / The Thompson Twins ThompsonTwinsGap.mp3

You know how it is when a band or artist suddenly gets critical mass? That brief moment when you feel part of mainstream society, because like the mass public, you too can’t get enough. Seems every song is a hit, and the hits just keep coming. To name a few: The Pretenders, Hole, Eurythmics, The Stone Roses, Culture Club or most recently Lady Gaga and The Black Eyed Peas.

When the stars lined up in that way for The Thompson Twins, I felt liberated. ‘The Gap’ was always the standout track from INTO THE GAP, but didn’t quite enjoy the chart showing of the three prior singles, all big successes, pulled from it. By then, the record had sold tons and pretty much anyone who wanted ‘The Gap’ had it on the full length.

As a show opener, nothing could top this song. It’s eerie, medieval drone kept the pop side just dark enough to pretty much outlive it’s counterparts as a long laster. Every so often, when browsing through my shelf for some other title, I’ll just stop and know ‘The Gap’ will hit the spot – like tonight.


Monday, December 21st, 2009

BassomaticPS, Bassomatic, William Orbit, Mark Ronson

Listen: Fascinating Rhythym / Bassomatic BassomaticFascinatingRhythm.mp3

William Orbit, the guy behind, or should I say, the guy who basically was Bassomatic, became the most in demand remixer/producer after ‘Fascinating Rhythm’ hit. For good reason. Despite it’s inability to live beyond the acid house goes mainstream period of 1990, when it peaked at #9 in the UK, it’s a pretty fantastic song. The accompanying SET THE CONTROLS FOR THE HEART OF THE BASS takes the prize as best-ever tongue in cheek album title, and quite frankly one that made me want to hear it. I did. I own the disc, but can’t remember if it was as great as the title implies. It may well be, but I didn’t give it much of a chance. Someday.

I was in London when ‘Fascinating Rhythm’ came on Radio 1. Gary Crowley was driving us along Holland Park Avenue from St. Peter’s Square during a bumper to bumper Friday rush hour in late September. We’d been to the pub and were desperate to get to Brown’s and see Jake. It was pouring but Oxford Street was hopping. And the radio was jamming with KLF, Andy Weatherall’s version of Primal Scream, Orbital, The Stone Roses and Deee-lite. Seems like all England wanted to do was dance. We got caught up. Almost didn’t want to arrive, it was like one great track after the other.

You’d return home and I learned as soon as that plane touched down at JFK, it was time to leave the great party on the radio behind. Back to the US airwaves it was.

William Orbit was then much like Mark Ronson is now. Had a few monsters so along comes all the politically correct and connected acts paying big bucks for the same magic wand to elevate them up the credibilty and financial ladder. These things always end in tears of course but some great remixes came out along that path.

Back to square one. Nothing by Bassomatic topped ‘Fascinating Ryhthm’ that I know of. And that is perfectly okay.