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Wednesday 6 November 2024

La Cassette

I missed The Emperor Machine's album that came out earlier this year, the nine song Island Boogie that is turning into an autumnal treat (it came out in July), vintage synths sounds, dub space, electro- disco, some early 80s punk- funk, generally good vibes all round.  As a result of missing the album I also missed a remix EP that came out in September where frequent Bagging Area visitors Hardway Bros provide two remakes of Wanna Pop With You, one a remix and one a dub. The cherry on the top of this particular pie though is the Tigerbalm remix of  La Cassette, the French language vocals courtesy of Severine Mouletin cut up and re- arranged, the bass throbbing like it's come directly from early 80s Manhattan and whooshing sounds adding a dub sci fi edge. It's brilliant, life affirming stuff. You can get it all here

Tigerbalm's International Love Affair was one of 2022's treats, a stew of global, dub and disco sounds aimed at the feet. The album was followed by a hefty remix package in 2023 which included a remix and a dub mix of Riad De Lister by The Emperor Machine where Rose Robinson (Tigerbalm) is sent spinning back to the proto house grooves of the mid 80s. The Special Extended Vocal Mix is a squelchy pleasure. 



Tuesday 5 November 2024

All You Fascists Bound To Lose

Today the voting population of the United States of America have a big decision to make and frankly it's pretty terrifying that there seems to be a even chance that Donald Trump will be re- elected as president. The polls seem to suggest that something like 47% of Americans will be casting their vote for him with Kamala Harris on 48%. That's too close to call. 

That Trump is even allowed anywhere near the ballot paper is bewildering: he is a man who encouraged a coup by a violent mob of supporters when he lost the previous election; a convicted felon facing a possible prison sentence for paying hush money to an actor he had sex with; accused of sexual assault by over twenty women; has a string of charges against him for electoral offences from 2020; hid classified documents in the bathroom at his golf club; has made various threats during the election campaign that show he's unfit to run (to close down media outlets, to be a dictator 'on day one', to use the arms of the state to attack opponents and those who have wronged him, to use the military against citizens he describes as 'the enemy within', to hold 12, 000 'illegals' in camps while they await deportation, made racist remarks about Kamala Harris and falsely accused refugees of eating people's pet animals); threatened to execute Liz Cheney; the removal of abortion rights; the list goes on and on and on. In any sane world, Trump would have been cast out by the people, his party and the media, and his name would be nowhere near a ballot paper. 

Like all demagogues he uses people's grievances to further his own ends. He takes people's struggles in an economically difficult time and turns them into Us v Them. He paints his supporters and himself as victims. He thinks presidents should have unlimited power. The only other leaders he openly admires are dictators/ authoritarians. He publicly supports racists and racist groups. His own former staff describe him as fascist. 

People sometimes shrink from using the word fascist. It's too extreme, it's student politics, it's an exaggeration. Perhaps the culture around the fascist dictators of the 20th century is partly the reason-  Hitler was a fascist and this blinds us to modern equivalents. No one can be as bad as Hitler can they? Therefore, no one else can be a fascist. But Trump's actions and words are fascist- the demonisation of minorities, the talk of genetics and purity, the desire to have unlimited and unchallengeable power, the cult of the leader, the assaults on democracy, the rampant nationalism, the cosy relationship between big business and power- all these things are fascist. I think we should call it what it is. 

Only time will tell what happens and what the US and the world will look like in four years time if he wins. You could say that it doesn't matter but what happens in the US affects us all. I hope enough Americans take the opportunity and make the choice to reject him today but even if they do the sheer number who will have voted for him is concerning enough. What's more he will inevitably poison politics and democracy further by claiming the election was rigged and stolen- the undermining of democratic mores and institutions, more fascism. His ego is so fragile he cannot take being seen as a loser. He cannot lose an election, he must have been cheated. 

In 1944 Woody Guthrie wrote All You Fascists Bound To Lose, a song about Hitler and Mussolini and their impending defeat in the Second World War. In 2017 The Missin' Cousins, an American bluegrass/ country and western trio covered it, updating it for their own homegrown version and opening with the line, 'There's a fascist in The White House'. I hope America gets it right today and this song becomes consigned to the years 2017- 2021 and not the next four.

All You Fascists Bound To Lose 


Monday 4 November 2024

Monday's Long Songs

The Cure's comeback with their latest/ last album Songs Of A Lost World was been one of last week's major musical news. On Friday night they played a live streamed gig at The Troxy and then on Saturday a similar one for Radio 2, a mix of songs from the new album and Cure classics. Both were stunning. 

In the 80s I wasn't a massive Cure fan. Things then were very tribal and The Cure fell on the other side of a line that sometimes seemed to be drawn between them and other bands. I liked many of their singles and bought Kiss Me Kiss Me Kiss Me in 1987, a seventy five minute double album led by what may be their best single- Just Like Heaven- and crammed full of singular album tracks, but never went the full hog. Since then though their songs and music have become more and more important and I've found myself loving their songs more as time has gone than I ever did back in the day. Robert Smith's songs and voice, his sweet melancholy and  those post- punk guitars coupled with Simon Gallup's Hooky inspired basslines, have sounded more and more relevant. In early 2022, in the aftermath of Isaac's death, Pictures Of You became one of those songs that broke me into tiny grief stricken pieces. Watching the band on TV on Saturday night that song did it all over again. It's a song that I'm sure could reduce perfectly balanced and obscenely happy people to tears so it's impact on me isn't too surprising; it's got a sadness to it that is Smith's crowning moment- the song was written on finding some photos of his wife Mary in the ashes that were left after a house fire in the late 80s. For me, it's become about all the photos I have of Isaac, and that are now all we have of him, the photos and the memories. It's one of those songs.

Pictures Of You (Extended Dub Mix)

The new Cure album is the first for sixteen years, a majestic eight song swansong that places grief, loss, mortality and reflection at the centre of Robert Smith's late middle aged world. Both his parents and his brother died during the recording of the album and his thoughts on mortality are the centre piece of the record. The playing and the songs are all as good as anything anyone of that generation of bands has made in recent years, better than anyone else maybe. It's a beautiful, emotive album- black and white and shot through with all the shades of grey, desolate and windswept but magnificent and enveloping. It feels like a eulogy- in the best way, a celebration cut with loss. At the end is Endsong, a ten minute masterpiece, an exercise in closure and wonderful, bleak beauty. 


Sunday 3 November 2024

The Greatest Motherfucker You're Ever Gonna Meet

I spent Thursday night at New Century Hall in Manchester with John Grant, courtesy of my friend Darren. John Grant's solo career goes back to 2010 and his Queen Of Denmark album which was followed in 2013 by Pale Green Ghosts. This year he has released another, The Art Of The Lie, his sixth. There's a lot going on with John Grant, on stage, in his background and personal life, and in his songs. Growing up in some fairly conservative parts of the USA, his growing realisation he was gay brought conflict with his parents (his mother told him as she was dying he was a disappointment and in his song Daddy he sings 'You don't like what I am/I have come to understand What I am is a sin') and he spent much of his adult life struggling with anxiety, alcohol and drug issues. In 2012 he announced he was HIV positive, something he wrote about in the song Ernest Borgnine. 

The seriousness of some of his songs and the heavy duty nature of his life isn't necessarily reflected in his gigs. He takes the stage to Ennio Morricone in baseball cap, big sunglasses and carrying a keetar and launches into the mid- 80s MTV electro- funk of All That School For Nothing, a stream of consciousness single from earlier this year and after handing the keetar to a roadie sings the next two songs at the front of the stage with occasional slut drops. It's big and brash, a little camp, the three musicians around him on bass/ drums, synths and guitar creating a wall of  sound. There's an 808 suspended from a rack, various vintage synths including a Korg that John points out to us as if its a band member. 

He goes to the baby grand piano for a slower, more reflective set of songs including Daddy and the wonderful, with its lines ' I felt just like Sigourney Weaver/ When she had to kill all those aliens' and 'I felt just like Winona Ryder/ In that movie about vampires/ And she couldn't get that accent right/ And neither could that other guy'. He's a master at writing about big topics but coming in sideways, undercutting things with one liners and droll humour. After the piano section he starts wandering round the stage, switching on various bits of kit for the Vangelis- like majesty of Pale Green Ghosts and then the band re- appear and a very respectful audience get song after song from the current album and his back catalogue. It finishes, as all John Grant gigs probably should, with GMF...

GMF

Recorded in Iceland in 2013 after he moved there, with Sinead O'Connor on backing vocals, GMF is a loner/ outsider anthem, a dissection of his own anxieties and a song directed to a lover, 'I over analyse and over think things/ It's a nasty crutch', he sings- but the punch comes with the killer line, totally unexpected on first hearing it, 'But I am the greatest motherfucker you're ever gonna meet/ From the top of my head to the toes on my feet'. 



Saturday 2 November 2024

V.A. Saturday

Various artists Saturday reaches Northern Soul today. I'm sure that in the ultra obsessive world of Northern Soul that various artist compilations are if not absolutely verboten then at least frowned upon. A Northern DJ turning up with a bunch of various artists CDs would be laughed out of the building surely- these songs are to be listened and danced to on as God intended, on 7" vinyl, original pressings (re- presses permissible under certain circumstances). But in a world where the casual Northern Soul fan has limited resources and other genres of music to spend money on, original 7" singles from obscure 1960s and 70s labels are a luxury that must sometimes be foregone. 

In 1998 a Northern compilation called It'll Never Be Over For Me came out on EMI's Stateside label, on both CD and double vinyl. The twenty song compilation seems to me to be a cut above the rash of cheap, supermarket Northern Soul CD compilations that came out a decade or so ago, built on TV adverts suddenly deciding northern Soul was the best way to sell fried chicken and mortgages. It'll Never Be Over For Me has some familiar names including Timi Yuro, Irma Thomas and Dean Parrish, and this song by Dean, the last song played at Wigan Casino before it closed its doors for good in 1981...

I'm On My Way

How good is that? Gnarly lead guitar intro from 1967 (re- released in the UK in 1975) and then one of those thumping Northern rhythms, horns, Dean's vocal stop- start dynamics, buckets of echo and a rousing chorus.

It'll Never Be Over For me also has this solid gold banger from Chuck Wood also from 1967, opening with a blast and Chuck declaring 'huh!' and then immediately following with 'First time I called you girl/ They say you wasn't at home...'

Seven Days Too Long

Seven Days Too Long was famously covered by Dexys Midnight Runners in 1980, a 7" that has become as sought after as many Northern Soul 7" singles. 

I may sound like I'm being a bit snobbish about supermarket compilation CDs and I'm not (really). I have bought many, back in the days when supermarkets still sold CDs. One of them, Northern Soul: 20 Original Classics, is as good a way to spend 80 minutes as you're going to find during daylight hours, an album that may not be imaginative in its title but is accurate. R Dean Taylor. Dusty Springfield. Marlena Shaw. Gladys Knight and The Pips. The Impressions. Chris Clark. Frank Wilson...

Do I Love You? (Indeed I Do)

The Flirtations...

Nothing But A Heartache

Viva the cheap CD compilation album. Also, in this age of streaming and playlists, RIP the cheap compilation CD. 


Friday 1 November 2024

Voyager

Marshall Watson featured earlier this week as one half of Causeway and their dance- goth/ synth pop song Dancing With Shadows. Marshall's a busy man though and as well as a solo tracks he's got an EP out today in collaboration with Cole Odin, Voyager, on Leng. Last year Marshall and Cole released Just A Daydream Away, one of my favourite releases from last year, a song adorned with an indie dance shimmer and some superb remixes by Hardway Bros and Joe Morris. 

Voyager marries Marshall's Balearic synths and hands in the air pianos with Cole's dub basslines and chilled dance/ psychedelia and  comes up with a song that makes the gloom and darkness of November wither away, an open minded, sky scraping, cosmic adventure with a piano riff that'll crack the sternest of faces. There are three mixes, the Original Mix, the Extended Guitar Mix and the Cosmic Rave Mix, and while all are exactly what you need today, the Cosmic Rave Mix is the one you need the most, the low slung bassline of the other two mixes replaced by a Patrick Cowley inspired sequencer that has setting the controls for the heart of the cosmos- and when that piano hits at two minutes twenty you'll be at the exact centre. You can find Voyager at Bandcamp

If you need a reminder of Just A Daydream Away's beautiful sun dappled, indie- dance splendour, here's the Space Flight Mix. The whole EP is here


Thursday 31 October 2024

When You're Gone

In 1989 a Byrds tribute album called Time Between was released. There were a flurry of these tribute albums, indie and leftfield rock 'n' roll bands recording covers of Neil Young, The Byrds, the Velvet Underground and Jimi Hendrix songs, with mixed results. The Neil Young tribute album, The Bridge, is uniformly superb- the others less so, but still, each one has its moments. On Time Between Dinosaur Jr stepped up and covered The Byrds I'll Feel A Whole Lot Better.

I'll Feel A Whole Lot Better

J Mascis' drawl and guitar playing were tailor made for some Byrds action, taking the song at double speed and the backing vox/ lead vox interplay sounds wonderfully half arsed, like the trio just stumbled out of bed, switched on their amps and played. 

The 1965 original, a Gene Clark song, is out of this world, the Rickenbacker jangle, harmonies and element of doubt in the chorus line, 'probably', putting it right near the pinnacle of Byrds songs and any songs from 1965. Incredibly, I'll Feel A Whole Lot Better was a B-side (to All I Really Want To Do). And equally incredibly, it is sixty years old next June. 

I'll Feel A Whole Lot Better