A Walk Across Town

Walking through town recently- we always call the city centre of Manchester town- I came across three music- related artworks that caught my eye. This flyposter for the Massive Attack and Tom Waits single Boots On The Ground on Whitworth Street, posted onto the building which used to have the nightclub The Venue in its basement. The song caused a sensation when it was released back in April, Waits singing from the point of view of a US soldier, a grunt, cannon fodder for foreign wars. 'How much does every soldier weigh?', he/ the narrator asks at one point. I posted it back then but make no apology for its re- appearance so soon after. 

The soldier/ Waits rants about the politicians who send him to war, 'Federal pricks/ Hiding in the senate like a bloated ass tick/ Air conditioned fuckstick loafers/ Sitting in a room of army posters'. In the end the soldier kills 'a brown man' and all they found was his boots on the ground. It's powerful, visceral stuff. 

It's coming out on vinyl, £25 for a 12" single, which is somewhat expensive. On the other hand, it's one of the songs of the year so far. 

Up on the elevated tram station Deansgate Castlefield I saw this piece of graffiti, a local artist's tribute to Gary Mani Mounfield, the much loved and much missed bass player of The Stone Roses- 'I wanna be adored... RIP Mani'. 

I Wanna Be Adored opened the band's debut album, first heard by fans back in early May 1989- a long slow FX and feedback intro and then Mani digging out that bassline. Squire's guitars trickle in and when Reni kicks in on drums we're off, the late 60s re- figured for the late 80s with a huge dash of Roses arrogance. 'I don't have to sell my soul/ He's already in me', Ian sings softly, 'I wanna be adored'. By the time the song winds down four minutes later many of those new listeners were already in deep, a new favourite band.

I Wanna Be Adored

I walked a different way to the pub I was heading to, dropping behind G-Mex and heading up a back road behind the Great Northern Goods Warehouse and to my left was this huge mural, Gorillaz v MCR. Damon Albarn's crew played the Co- op Arena back in April and this piece of paintwork was done to coincide, a history of Manchester from the Roman settlement of the 1st century AD to the arrival of Gorillaz in 2026, sanctioned and approved by Albarn and Jamie Hewlett and done by artist SketchMcr. 

Three Gorillaz songs selected from my hard drive. The Speak It Mountains is from 2010's The Fall, first released as a download only release. The track is various speaking voices and FX, Damon indulging his experimental side. 

The Speak It Mountains

Mick Jones appeared playing guitar on two songs on The Fall, one of which was Amarillo (recorded in Amarillo, Texas, in October 2010). 

Amarillo

Damon Albarn's talent isn't in doubt. He can write and he can sing- he can irritate too sometimes but this is one of those songs where he really hits the spot and finds an emotional connection out on the road in the vast open spaces of the USA. 

The Gorillaz mural has an excerpt from the song Dare (from Demon Days, released over two decades ago now, in 2005), the memorable line provided by Happy Mondays/ Black Grape vocalist Shaun Ryder, 'It's coming up/ It's coming up/ It's dare'. 

Dare

Monday's Long Song

Mid- June brings more treats from Sprechen, this week in the shape of Richard Norris remixes of Birds Of Pandæmonium, a track called Days Go By. Indeed they do- it seems like only a few weeks ago it was the New Year and now we're almost half way through the year. Last July I was standing photographing this church in Ypres, my last school trip at my old workplace, as the evening sun hit it and that doesn't feel like it was eleven months ago either. 

But, back to the music, Days Go By comes with four versions, two remixes- a vocal and a dub of each. The Rooms Of Percussion Mix is long and low slung, a chuggy monster with a bassline that writhes and buckles, some tripped out FX and a reverb drenched vocal. Slo and lo psychedelic cosmische that sounds like it would have fitted perfectly in an Andrew Weatherall DJ set a decade ago. 

The Stripped Mix is every bit the equal, trippier too with backwards parts, FX spiraling round, a nagging thudding rhythm and guitars. Dark dub disco, ideal for mirrorball situations. All four versions can be bought/ listened to at Sprechen's Bandcamp. 

A Mix For Eliza

It's Eliza's birthday today. She arrived in the early hours of 14th June 2003 and turns twenty three today. This has been causing some distress- Isaac was twenty three when he died in November 2021 and in a week's time she'll be older than he ever was. It's a strange thing to get one's head around and has brought some emotions to the surface. In the years since he died we've made a thing out of the number twenty three. We've all got a 23 tattoo and it's has become a way we jointly remember him. I still spot 23s out in the wild all the time. This was the table we sat at recently, in a busy pub, the only one with seats left...

Birthdays have been tough since he died. I know I always find them tough, another anniversary to get through, another date he's missing for. Eliza's twenty third birthday has stirred a lot of grief related stuff up and these are things which I've learned you just have to go through, you have to feel the feelings and accept it for what it is. 

We're immensely proud of her and everything she's done and we will be celebrating today, just in a slightly different way from usual. 

This is a thirty minute mix of songs for her twenty third birthday. There's plenty of other music she likes but these are some of the ones that have become jointly ours.

Eliza's 23rd Birthday Mix

• The Stone Roses: Mersey Paradise
• The Charlatans: Can't Get Out Of Bed
• Ride: Cali
• New Order: Sub- culture (7" Version)
• Oasis: Supersonic
• The Kinks: Misty Water
• Half Man Half Biscuit: The Light At The End Of The Tunnel (Is The Light Of An Oncoming Train)
• Cheryl Cole: Fight For This Love

Mersey Paradise was the B-side to She Bangs The Drums back in 1989, when The Stone Roses were on their ascent and I was nineteen/. It's her favourite Roses song, one that we've sung along to in unison umpteen times in the car. The Mersey isn't far from where we live, we walk on its banks often. Upriver in Chorlton is where Ian Brown and John Squire lived when they wrote the song, maybe inspired by walks through Chorlton Ees and the water park and beyond that Didsbury where I grew up. Downstream it ends up in Liverpool where both she and I went to university, several decades apart. It's a been a constant presence in our lives in a way I only really realised while writing this. She missed The Stone Roses reunion, she was a bit too young and only really became interested a little later, something I regret a bit. 

We played North Country Boy at Isaac's funeral and it still retains a lot of power of as a song. I took Eliza to see The Charlatans a year ago at Castlefield Bowl and when they played it we both started sobbing. It's acted as a gateway into The Charlatans for her though and she has several of their songs on one of her playlists, often coming on straight after Mersey Paradise. Just When You're Thinkin' Things Over is one and their 1994 single Can't Get Out Of Bed is another. The album it's from, Up To Our Hips, got a bit of a mixed reception at the time- their star had waned a little in the press- but it sounds like a fine album today. 

Cali is from Ride's 2017 comeback album Weather Diaries, a gorgeous guitar song with end of summer lyrics and feel.It was one of the songs that got a lot of time in the car when we went to France in summer 2017, a long drive down to Messanges on the Atlantic coast near Biaritz. 

Sub- culture is one of those songs that cut through for her. I'm not sure where it came from- I've played it and many other New Order songs since before she was born so maybe it just seeped in by osmosis. There are various versions. My favorite is the Lowlife one but the one here is the 7" version from 1985, remixed by John Robie. 

Supersonic was Oasis' debut single back in 1994 back when they were just five likely lads from Burnage. Oasis are part of Eliza's generation's firmament, and last summer's re- union gave a lot of young people a chance to see them they wouldn't have had otherwise. We were going to go to Gallagher Hill last summer when they played Heaton Park but the Sunday evening when we were thinking about it it began raining heavily and we thought better of it. Probably should have gone- if you avoid doing things outside in Manchester due to rain you'd do very little. Supersonic is a blast, phased guitars and splintering notes over that early Oasis rhythm and a load of half- nonsense rhymes and typically Gallagher arrogance- 'I need to be myself/ I can't be no-- one else'.

Back when Eliza was much younger and going to dance classes every Tuesday night I'd take her and her friend Emma in the car, drop them and then an hour later pick them up. One of the routines of young children. For some reason, Misty Waters became a song they started singing along to, and it became an essential part of the Tuesday dance drop routine that we played Misty Water, the pair of them singing/ shouting along to the chorus. A 1968 hidden Ray Davies gem later covered by Billy Childish. 

Another car song from pre- teen years, The Light At The End Of The Tunnel (Is The Light Of An Oncoming Train), is a Half Man Half Biscuit classic, one of their greatest moments. We'd all sing the breakdown, anticipating it from the start of the song- 'No frills, handy for the hills/ That's the way you spell New Mills'. Imagine our joy when we did this actually driving through New Mills. 

The line about Eyam is evidence of Nigel Blackwell's genius- 'We both grew up in Eyam/ And strange as it may seem/ Neither of us thought we'd ever leave'. For the benefit of non- UK readers, the village of Eyam is in Derbyshire and had an outbreak of Bubonic Plague in the 17th century. Rather than risk spreading the plague the villagers sealed themselves in, an act of self- isolation that confined the disease but led to the deaths of 260 residents. 

Cheryl Cole's Fight For This Love sticks out like a sore thumb in this mix but back in 2009 when she was six it was the first pop song she really connected with and I clearly remember downloading it for her and burning it to CD. 

Happy birthday Eliza. X

Oblique Saturdays

A series for Saturdays in 2026 inspired by Brian Eno and Peter Schmidt's set of cards, Oblique Strategies (Over One Hundred Worthwhile Dilemmas). Eno and Schmidt created them to be used to unblock creative impasses and approach problems from unexpected angles. Each week I'll turn over an Oblique Strategy card and post a song or songs inspired by the suggestion. 

Last week's Oblique Strategy suggestion was Emphasise difference.

I responded to this with Iggy Pop's journey from 1973 to 1977, from Death Trip to Lust For Life and with The Clash who went from White Riot in 1976 to Death Is A Star in 1983. 

Someone pointed out this week when commenting on the race riots in Southampton and Belfast that they didn't think this was the kind of White Riot Joe Strummer was talking about which is indeed true. Joe would have been appalled by the rise of far right politics in the UK. But I digress...

The Bagging Area OS squad came up with some great replies emphasising difference- Martin Carthy covering Slade, Nancy Sinatra and Lee Hazlewood's very different voices, Thomas Dolby and Prefab Sprout, Talk Talk, Cindytalk, Rodney Allen's Happy Sad, Paula Abdul and a cartoon cat...

... Elvis, Propaganda, Donny and Marie Osmond, Tonio K, and Boogie Down Productions. Thanks everyone- Chris, Walter, C, Khayem, Ernie, The Swede, Jase, Al G, Rol and Beerfueled as ever for your considered contributions.

This week's card says this- Ghost Echoes.

Just a few days before I turned the card over I finished Patti Smith's memoir Just Kids. It was published in 2010 and I've no idea why I only got a copy recently but I'm glad I did. It's a beautiful, powerful and poetic account of her relationship with Robert Mapplethorpe. Patti promised Robert she'd tell his story as he lay dying from complications due to AIDS. She attempted to do this with The Coral Sea but was often unable to get through a reading of the poem. Twenty years after his death, she felt able to write their story down. Her use of the written word is beautiful, as you might expect- she's a wordsmith if nothing else. The book is gripping, open and honest, with versions of their two childhoods and then their chance encounter in New York. She writes about her move to New York as a nineteen year old, an intense and slightly damaged young woman in love with Arthur Rimbaud, inspired by The Doors and Bob Dylan. Her early life in the city is a life of penury, of living hand to mouth and sometimes sleeping in doorways. Eventually she meets Robert (he rescues her from a predatory middle aged man who has taken her out for a meal and now expects something in return) and they live together as lovers and as artists, a completely bohemian life, inspiring each other. Robert is clearly struggling with his sexuality during this period and eventually they split but remain together. Their move to the Hotel Chelsea and the people they meet there changes both their lives and their relationship and their art. Just Kids tells their story up to the release of Horses, Patti finding her calling as a poet and then merging poetry with rock 'n' roll- and then to Robert's death in 1992. 

The copy I have has extra material at the book, and Robert Mapplethorpe's ghost is present there in photos and drawings, in poems and art. He haunts the pages as he undoubtedly still haunts Patti. In a sense though, in the pages that make up the bulk of the book, the story of Robert and Patti, he is very much alive; she brings him (and a lost world, New York in the late 60s and early 70s) to life. In the book, after speaking to a very ill Robert on the phone in 1992, a conversation she knows will be their last, she wakes up a few hours later and intuits his death.

Land (Part One: Horses Part Two: Land Of A Thousand Dances)

There is no shortage of songs with the word ghost in the title- step up The Gun Club, Andrew Weatherall, The White Stripes and Tegan and Sarah, Fine Yong Cannibals, The Fall and R. Dean Taylor, Daniel Avery, Broken Chanter, The Jam, Reverb Delay, Kristen Hersh, The Orb, Burning Spear, The Replacements, The Vendetta Suite,  Denise Sherwood, Hollie Cook, Trentemoller and The Style Council among others.... on and on we could go. 

This 2019 song from Circle Square though seems the one that has both ghosts and echoes contained within, Richard Norris and Martin Dubka's Ghost In The Machine,  a voice trapped inside a machine, echoing on and out for as long as the machine is plugged in.

Feel free to drop your own Ghost echoes into the comment box. 

Multiforms

Marconi Union's new album Multiforms: Ambient Transmissions Vol. 3 comes out today, six pieces of deep ambient music, each around eight minutes long, that form a single whole, each track merging itself into the next. The long slow opening into Multiforms I, drones and sound gently building, breaks at five minutes with a wordless voice and synths sounds that bend towards the light, a gentle ascent. Multiforms II drifts in with the sound of wind and then synth tones. The beatlessness and weightlessness continues as II segues into III, a movement with a piano line taking the lead, rising and falling over the drone. 

IV picks up and a rhythm kicks in, not a drum but something approaching a pulsebeat that propels us forwards, arpeggios gradually pulling clear of a distorted fuzz. Insistent and hypnotic. Multiforms V has layers of sound, more drones, an electric bass possibly, an oscillating topline and then a clear and rich ringing melody line, coming from I think a clarinet. The final part is VI, a return to blur and haze, ringing drones and long keening notes, Marconi Union bringing us through to the end slowly and a gentle, slightly melancholy conclusion. Trip over. 

The album is available at Just Music along with much of the rest of their back catalogue. There's a full length visualiser of Multiforms Vol. 3 to add to the immersive experience, the visuals to accompany the audio.

This is last year's Marconi Union album, their twelfth, Fear Of Never Landing- another full length immersive deep listening experience, very much an album to unplug from the world and surrender to for the time it plays.  

World Cup Theme

I wrote this post out and then nearly deleted it last night- well, most of it, I'd have left the music in, two tracks at the bottom of the post both named World Cup Theme. It seemed unnecessarily gloomy and a bit of a rant. What's the point in moaning about an international sporting tournament? If you don't like it, don't watch it, I told myself. I barely watched any of the last one, a one- man boycott that had no impact on anyone but me. 

The World Cup starts today, Mexico playing South Africa in Mexico City at 8pm our time. I'm struggling to find much enthusiasm for it. Once upon a time the World Cup seemed to have a magic of its own, players you'd never see on the TV, exotic sounding Brazilian players with one word names (Zico, Eder, Socrates), world class players appearing on our televisions in kits you only saw in photos in magazines- the specific blue of the Italy shirt, Brazil's dusty yellow, Argentina's blue and white stripes with black short and socks, Peru with a sash across the front of the shirt, Belgium, Denmark and the Netherlands. Foreign players and national sides were a rarity, a once every few years treat. By the time of the USA '94 tournament we might have seen the top Italian sides play on Channel 4 on a Sunday afternoon but there was a scarcity to the World Cup that gave it a lustre, an experience no other sporting tournament offered. 

That special nature and a sort of vague purity that the World Cup had- no transfers, no money splashed buying the best players, sides made up of just those players who happen to have been born in the same nation state at around the same time- has been completely sullied by modern day FIFA. The 2018 World Cup was in Putin's Russia (he'd already annexed Crimea by this point). The last one was in Qatar, stadia constructed using modern day slave labour. This one is in Trump's USA as well as Canada and Mexico. The 2034 one is in Saudi Arabia. It's seems like FIFA are deliberately awarding the World Cup to authoritarian states. I look forward to China and North Korea co- hosting in 2038. 

FIFA's man in charge is Gianni Infantino, the man who gave Trump a specially created, just- for- him, FIFA peace prize to make up for those nasty people at Nobel not giving him theirs. Not long after he started bombing Iran. He's still at it, no closer to peace than he was in February. Sepp Blatter was a truly awful FIFA president but at least his only fault was he was on the make, taking backhanders for votes. Infantino makes Blatter look like a model leader. 

The ticket prices in the US are sky high, reflecting apparently the dynamic pricing model of the US sports market. They're having a half time show in the final. They've prevented some members of the Iranian squad and a Somali referee from entering the country. ICE will be present at the matches. They've expanded the tournament to forty eight teams which looks likely to increase the number of meaningless group stage matches, Infantino labouring under the illusion that more is better, that bigger is better. Cristiano Ronaldo had a red card rescinded so he can appear in the group stage games for Portugal- a decision made for commercial and television reasons, not sporting ones. 

I could go on. It all seems depressingly gaudy and corrupt, a TV show about a sport, an empty vessel celebrating the worst of the 21st century, late stage capitalism and authoritarian regimes. 

Maybe I'll get drawn in once it starts. 

In the meantime, good luck Mexico! I hope you go all the way, meeting Iran in the final. The thought of thousands of Mexican and Iranian fans celebrating on US soil makes me smile. Highly unlikely of course- underdogs never win the World Cup, it's always won by one of the top two or three sides. That counts both England and Scotland out too I think. 

A few weeks ago my friend Pandit Pam Pam, an ambient/ electronic artist from Sao Paulo, Brazil, put out a track titled World Cup Theme (Goalkeeper)- a lovely, spritely slice of instrumental synth music. You can listen to it here. 

It reminds me of this from 1986, Colourbox's Official World Cup Theme, one that like Pandit Pam Pam's was released to coincide with a World Cup held in Mexico. 

The Official Colourbox World Cup Theme

Let The Music Play

The Coral, the Wirral psychedelicists who have releasing records since their late teenage years in the early 00s are back with their thirteenth album, a nine song album called 388 (named after the Tascam 388 tape recorder they made the album on and also the type used by Lee Scratch Perry at Black Ark). The Lee Perry reference is apt because the first single- Let The Music Play- is a smokey, fuzzy skank, a nod of the pork pie hat to the rocksteady singles coming out of Jamaica in the 60s and to the tunes the band heard at a Wirral Youth club in the 90s. 

Let The Music Play is a joy, an echo drenched rocksteady rhythm and some high pitched harmonies, James Skelley opening the song with the lines,'Play that song again/ The one we used to smoke to/ When we were young'. There are wobbly horns, brushed drums all very natural and easy going. Music made by music lovers.  

The album follows in that feel by all accounts- I haven't heard it yet and it's currently a physical only release but on the basis of Let The Music Play it's gone straight onto my post- payday list of records to buy. 

The last couple of Coral albums have been concept albums- 2021's Coral Island and 2023's Sea Of Mirrors- and both blended cosmic scouse psychedelia with country and folk. Faceless Angel was the first single from Coral Island, Bo Diddley in West Kirby. 

Faceless Angel