It’s simple. One theme + ten songs = playlisting, Another Kind Of Mind style.
First up, here’s a selection of songs (in no particular order) about my favourite city in the world. London has been immortalised in song countless times over the centuries (if you don’t believe me, have a look at this), from traditional folk songs, jazz standards, musical revue numbers and music hall songs, to calypsos, reggae tracks, psychedelic rock epics, punk classics and rave remixes – and everything in between. Here are ten tracks I particularly love. If you’ve got any suggestions or reckon I’ve missed anything glaringly obvious, let me know here or on Twitter.
Lord Kitchener – London Is The Place For Me:
These are not the ‘best’ albums of 2014, because that is nigh on impossible to judge objectively – and everyone’s taste is different. Instead, this is a list (arranged alphabetically rather than in any specific order or rank) of the albums that I particularly enjoyed or was particularly struck by over the last year. I’ve ignored all the magazine/blog/website ‘best of’ lists and gone for the albums I actually like, not the ones that are considered especially hip or cool (because, let’s face it, I’m neither of those things!). Feel free to let me know what you think….
Antemasque – Antemasque
Aphex Twin – Syro
Behemoth – The Satanist
Earth – Primitive & Deadly
Electric Wizard – Time To Die
First Aid Kit – Stay Gold
Goat – Commune
Hookworms – The Hum
Inspiral Carpets – Inspiral Carpets
Wilko Johnson & Roger Daltrey – Going Back Home
Killer Be Killed – Killer Be Killed
King Creosote – From Scotland With Love
Johnny Marr – Playland
Mogwai – Rave Tapes
Thurston Moore – The Best Day
Bob Mould – Beauty & Ruin
Grant Nicholas – Yorktown Heights
Pharmakon – Bestial Burden
Royal Blood – Royal Blood
St. Vincent – St. Vincent
The Juan McLean – In A Dream
The Wytches – Annabel Dream Reader
Sharon Van Etten – Are We There
Wo Fat – The Conjuring
Thom Yorke – Tomorrow’s Modern Boxes
Other interesting things released in 2014 that are also worth a mention:
Pantera – Far Beyond Bootleg: Live From Donington 1994
Pixies – Doolittle 25
Soundgarden – Echo of Miles: Scattered Tracks Across the Path
Teeth of the Sea – A Field in England: Re-Imagined [EP]
It’s hard to believe that it’s now ten years since John Peel died. It’s still hard to believe there will be no more listening to his show on headphones, half-asleep under the duvet: no more sessions from obscure and noisy bands from the middle of nowhere making you go ‘wow!’, no more grinning as Peel played yet another record at the wrong speed, no more cheeky on-air references to his beloved family and equally beloved Liverpool FC.
For the generations of music fans who grew up on John Peel’s legendarily eclectic and very human late night Radio 1 show, he opened the door to a whole new world of music – the kind of stuff you’d never hear on daytime radio, let alone find in mainstream High Street record shops. For all sorts of young and up-and-coming bands, it became a badge of honour to be invited in to do a Peel Session, and, although quite a few of these acts never went much further than the famous Maida Vale studios, many of the bands he championed did go on to much greater things.
Personally, off the top of my head I can think of at least a dozen very different successful bands and artists I love who I first heard on Peel’s show. So, to celebrate this year’s #KeepingItPeel, I put together this playlist of great Peel Sessions (below) from every decade of his broadcasting career, along with a few moments from the man himself (including his fascinating 1990 Desert Island Discs and the famous moment on air when he played The Undertones’ ‘Teenage Kicks’ twice in a row).
Compiling this playlist was a real labour of love – there were sessions I vividly remember, sessions I’d forgotten, and some superb ones I’d never even known about in the first place. And on many of these recordings you can hear the voice of Peel himself, crackling out of the ether ten years on. I hope you enjoy my choices, and be sure to let me know if there’s something I might have missed. Send me any interesting links in the comments here or on Twitter and I’ll check them out.
Now crank up the volume….
Well. I wasn’t expecting this when I asked you to suggest any books on music I might have missed! When I compiled my original list, I thought I might get maybe half a dozen folk recommending their favourite music texts, if I were lucky – instead, I was sent suggestions by nearly forty different people. Indeed, at one stage last night, the tweets were coming in so fast that I couldn’t keep up with them all and make a note of all the book titles you were sending my way at the same time! My apologies if I didn’t reply then – but I did see and note down all of them, and all of them are here (apart from one or two that I couldn’t find any info for).
And there are some great books here. Some I had actually read and shamefully forgotten about (Joe Boyd’s White Bicycles and Legs McNeil’s Please Kill Me for a start), some classics which I really should have read but haven’t (such as Ian Hunter’s Diary of A Rock ‘n’ Roll Star), and some I’ve never heard of but will definitely be tracking down as soon as I can (like Mark E. Smith’s autobiography, which sounds terrifying!). But they’ve all been recommended by people whose taste and opinions I respect – and therefore I happily recommend them to everyone else…
Finally, I’d like to thank everyone whose contributions made this list possible. I’d thank all 37 of you individually, but we’d be here all night and this post would be even longer than it already is. You know who you are.
This list has, like the original, been divided into three sections for ease of perusal. Biography, Autobiography and Memoirs contains exactly that – books written by or about a band, artist or music industry insider. Scenes, Eras and Places lists volumes covering specific times, locations and musical movements that have had an important impact in some way. Finally, Collected Writings covers more general texts, and compilations of music journalism and other writings. Each section is listed in alphabetical order by the author’s surname and the date given is that of first publication where known, unless otherwise stated.
I’m often asked what books I would recommend to someone wanting to delve deeper into the history of the various popular music scenes of the past fifty years or so. That’s an interesting question, as there are so many fascinating volumes out there (and a fair few blatant cash-ins too, which really aren’t worth the paper they’re printed on). Rummaging through my own now-sizeable collection of music books inspired me to put together this list – that and being a total listoholic, as regular readers will know!
When it comes down to it, I’m not necessarily saying these are the ‘best’ books on music ever because that’s such a subjective definition – I’ve chosen these books because I have read and enjoyed them all, and because I think they would be of interest to those music fans wanting to learn more about the music they know and the music they don’t. Most of them will be easy enough to find – your local library or bookshop should stock many of these titles – but you may have to track down one or two online. They’re worth the effort though…
The list has been divided into three sections for ease of perusal. Biography, Autobiography and Memoirs contains exactly that – books written by or about a band, artist or music industry insider. Scenes, Eras and Places lists volumes covering specific times, locations and musical movements that have had an important impact in some way. Finally, Collected Writings covers more general texts, and compilations of music journalism and other writings. Each section is listed in alphabetical order by the author’s surname and the date given is that of first publication, where known.
After last month’s excellent series of guest posts on Another Kind Of Mind, it was suddenly my turn to be writing something for someone else – indeed, the nice chaps over at the very excellent Toppermost interactive music website kindly asked me to put together a playlist and an article on the solo albums of Bob Mould (ex-Hüsker Dü and Sugar), one of my favourite musicians.
So, naturally, I jumped at the chance – and you can read the finished article at Toppermost here.
And as a taster, here’s one of my favourite tracks from the Bob Mould Toppermost playlist. Turn it up loud and enjoy!
For today’s birthday guest post, musician and blogger Ian Lipthorpe has decided to examine a subject I am sure many of us will have an opinion on – when you listen to a song, what is more important, the music or the lyrics? And why? I have to admit I go with both, depending on the song, but you may disagree with me – or with Ian. Have your say in the comments below!
If you’d like to read more, Ian blogs about music over at Harmony Corruption. He also curated the unofficial Manic Street Preachers Top 50 site New Chart Riot and you can hear some of his music (under the name Beneath Utopia) on Soundcloud.
In the world of modern music the majority of songs we listen to contain lyrics in one form or another. So it got me thinking, how much importance do we put on lyrics in songs compared to the music? Do we listen to the music first and the lyrics second, if at all? Do the lyrics make a difference as to how much we like a song? Does anyone like a song because of the lyrics but aren’t especially keen on the music?
There are obviously varying degrees of all of the above, but the subject does intrigue me. You see, I’m a music man through and through. I know the lyrics, I sing the lyrics, but to paraphrase Nirvana on ‘In Bloom’, I don’t necessarily think about what it means. Even stranger, you might think, given my well-known Manics tendencies. That doesn’t mean I don’t have the capacity to read them and understand what they mean, I just generally don’t bother (shame on you, you cry!).
Thank you very much to Fi for this thought-provoking birthday guest post on a subject that many of us probably haven’t ever contemplated much – but perhaps we should. Can you trace where your love of or taste in music comes from? Why is music important to you? How has your taste in music changed over time? Plenty of food for thought here, please feel free to share your opinions and views in the comments!
If you’d like to read more, Fi also blogs over at Music vs. The World, where she reviews new and unsigned music, and compiles excellent and eclectic Twitter-sourced themed playlists.
Why are we drawn to music? We hear a song, we either like or dislike it, and we make a choice to make it a part of our collection or never listen to it again. That’s it, right? Well, I don’t think it’s quite as simple as that. We just don’t tend to stop and think about it all that often.
There is, of course, a well-studied science behind people and reactions to sounds – we know that many parts of the brain are activated when listening to music. The temporal lobe recognises and processes sound frequencies, and analyses information from music – pitch, speed and volume. The cerebrum recalls lyrics and stimulates memories associated with certain songs. The cerebellum affects movement, which can be rhythmic in response to music. The limbic system is the part of the brain that produces the emotional reaction to music.
I have a question. If it’s all down to science, why doesn’t everyone like the same kind of music? Why are some people completely averse to the same sounds that another group of people can’t get enough of?
Regular readers will know of my involvement in compiling Top 50 music lists – indeed, I’ve posted my complete 1970s and 1990s albums lists here in the past. For more information on the Top 50 Albums Lists project and more details of my Debut Albums choices, visit the Top 50s blog. You can also find a wide selection of other Top 50s from various different music fans over on the List of Lists.
50) The Charlatans – Some Friendly (1990)
49) The Verve – A Storm In Heaven (1993)
48) Chemical Brothers – Exit Planet Dust (1995)
47) Super Furry Animals – Fuzzy Logic (1996)
46) Elliott Smith – Roman Candle (1994)
45) Gram Parsons – GP (1973)
44) Daft Punk – Homework (1997)
43) The Postal Service – Give Up (2003)
42) Sex Pistols – Never Mind The Bollocks, Here’s The Sex Pistols (1977)
41) Carter The Unstoppable Sex Machine – 101 Damnations (1990)
40) The Prodigy – Experience (1992)
Aw, damn. That’s the end of an era then – no more Ramones. Tommy Ramone, the last remaining original member and founder of the first generation punk legends has left the building, aged only 62 (some reports say 65). Admittedly, that’s a fairly good innings for a Ramone – of the classic, original line-up, vocalist Joey died in 2001 aged only 49, with bassist Dee Dee dying the following year at the age of 50 and guitarist Johnny following in 2004 at 55.
Born Erdélyi Tamás in Budapest, Tommy Ramone moved with his family to New York in the mid-1950s, where he met the three young men who were to become Johnny, Joey and Dee Dee Ramone. Originally the band’s manager, he ended up as their drummer because, as Dee Dee later put it, “nobody else wanted to”. Never the world’s most technical or complex drummer (which, quite frankly, didn’t matter one bit), Tommy provided a solid backbeat to the band’s first three classic albums, Ramones (1976), Leave Home (1977) and Rocket To Russia (1977), as well as handling co-production duties.
He left the band in 1978, ostensibly worn out after constant touring but really because the tensions within the band had become too much for him, although he continued in a management and production role with the band for some time after. He continued to play music and produce various bands until he was diagnosed with bile duct cancer. He died yesterday, at home in Queens, New York – and the classic line-up of the Ramones was finally reunited in rock ‘n’roll heaven….
The Ramones were one of those bands who had an enduring and powerful influence above and beyond their (lack of) commercial success. Never big sellers in their native America (their self-titled debut only went gold earlier this year!), but that debut album had a huge and lasting pivotal impact on the early British punk scene before being picked up by cult American bands such as Social Distortion, Bad Brains, Black Flag, the Dead Kennedys, Ministry and Bad Religion. They’ve been cited as an influence by everyone from Evan Dando, Dave Grohl and Eddie Vedder to Green Day, Lemmy and Kirk Hammett – and the list goes on and on and on.
It’s easy to hear why they were (and still are) just so damn influential – particularly on those legendary first three albums. Their deceptively simple yet distintive and immediate sound is impossible to resist – or to replicate, although many have tried. It’s that unlikely and irresitable melding of 70s rock, 50s rock ‘n’ roll, girl groups, surf music, bubblegum pop, and classic protopunk bands like The Stooges and The New York Dolls that made them so utterly wonderful. For me, they were unique, one of the definitive punk bands with a sound and an attitude that still makes me smile every time I hear them. It is genuinely sad that they are all gone now – this really is the end of a great musical era.
RIP Tommy, Joey, Dee Dee and Johnny.
Gabba gabba hey!