In 2011 a bootleg album called Stolen Voices appeared by a Scottish trio who called themselves White Label. The album featured vocals from unreleased, lost or demo recordings with entirely new tracks recorded around them. The voices belonged to Jean Terrell of The Supremes, John Lennon, Todd Rundgren, Billy MacKenzie, Jimmy Scott, Billie Holiday, Jean King, David Bowie, John Martyn and Dennis Wilson. Stolen Voices was cheeky, unofficial, illegal and audacious and highly acclaimed. Eventually White Label were advised to stop selling the album via their website although by that point the horse had bolted. I first heard about it via Drew's Across The Kitchen Table blog. The stolen voices were given full new backing tracks, a sumptuous blend of soul, psychedelia, synth pop and house.
By 2017 various musicians and artists had shown enough interest that the band could make a second album- Borrowed Voices- using officially sanctioned vocals or producing remixes. Borrowed Voices featured the voices of Paul Weller, Mark Eitzel, Aphty Khea, Billy MacKenzie (again), Hannah Peel and Emma Pollock among others and then in 2023 White Label put out Other Voices, an album with Weller (again), one of the last recordings Bim Sherman made, Linda Lewis, Jill O'Sullivan and Syann among the line up. Other Voices is a remix album that sounds like an early 70s psychedelic experiment where a crack orchestra, Laurel Canyon Americana, 60s soul and 90s ambient house had a baby. Lauren Laverne, Don Letts, Jarvis Cocker
This is a just under forty five minute selection of eleven tracks from the three albums, the kaleidoscopic and psychedelic sounds of White Label and a load of singers in one mix. It's very much a Sunday morning, staring into your coffee and ruminating selection of songs.
Turn Down The Noise (feat. Syann and Billy MacKenzie)
Emma
Paul is from Borrowed Voices, the Paul being Paul Weller who showed an interest in White Label back when the bootleg Stolen Voices came out. The post- 22 Dreams Weller is a maverick, open to experimentation and recording in a bewildering array of styles. Paul (the track) is sophisticated 70s soul, Weller sounding very at home.
Jean 1 is from Stolen Voices, a Northern Soul reworking of a vocal from a 1972 Supremes song produced by Jimmy Webb. Jean Terrell's voice was taken from a scratchy 7" single, recorded onto a c60 cassette and then dropped into the new track.
Still Moving is from Other Voices, Linda a veteran singer who has sung with Bowie and Basement Jaxx. Slow motion, widescreen Balearic pop.
Billy 2 is Billy MacKenzie, the much missed Associates singer who died in 1997. Billy's voice is from an unreleased song, Tallahatchie Pass (posthumously released in 2022), a homage to the cinematic 60s country of Jimmy Webb and Glen Campbell. Billy 2 was on Borrowed Voices.
Mark is Mark Eitzel, American singer songwriter from American Music Club. The song is We All Have To Find Our Own Way Out from Mark's 2012 album Don't Be A Stranger redone as orchestral soul/ folk.
Bim Sherman's voice is on Do You Believe from the Other Voices album, a vocal from 2000, the year Bim died. On Do You Believe he is surrounded by subtle backing vocals and tripped out soulfulness.
Syann and Aphty Khan are both from the Borrowed Voices album, Aphty's psychedelic- Greek funk and Syann's orchestral soul reworked/ remixed complementing each other very nicely.
The Sea's Out At Night is the opening song on Other Voices, a Paul Weller song that is as far from The Jam as anything he's done- atmospheric and orchestral. The White Label pair Anth Brown and Tom Doyle wrote and produced a song on Weller's Fat Pop Volume 1 album (Glad Times).
Turn Down The Noise is Dundee singer Syann, combined with the sampled vocals of Billy MacKenzie in dramatic 60s soul style. White Label's Steve Aungle first met Billy in 1979, when he was a drummer looking for a band. Steve's story is here in his own words.
Emma is from Borrowed Voices, the Emma being Emma Pollock (solo artist and former Delgado). Her vocal is from her haunted torch song A Certain Compulsion, re- imagined here like the song from a Cold War spy thriller finale where a doomed pair of lovers have been trapped either side of the Berlin Wall.
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 Spectrum Analysis.
My spectrum analysis took me to Sonic Boom and Spectrum, Aphex Twin and Sewell and The Gong. Further analysis came from Dumdedumdumdum (Oh! Gunquit), Ernie (The Dells), Khayem (Captain Scarlet and The Mysterons, Solid Space, Creation Rebel, Florence and her Machine and Seahawks with Prins Thomas), Al G (World Of Twist, Matt Berry), Mrs G (the ZX- Spectrum and Space Raiders), Weird Al (Pac- Man v The Beatles), Jase (Rain Tree Crow), Walter (Billy Cobham and Massive Attack) and Rol (more ZX- Spectrum, Jet Set Willy and Joni Mitchell).
From the above suggestions, here's World Of Twist covering The Rolling Stones...
This week's Oblique Strategy card reads like this- Not building a wall but making a brick.
How are bricks made? I asked the internet.
The main ingredient is clay. Another key component is sand. Sometimes other additives such as lime, iron oxide or magnesia might be used. The final crucial ingredient is water. The dry material is crushed. The soft wet clay is shaped by a mould. Once the brick has been shaped it is left to dry- the removal of excess water is important. The brick is then fired in a kiln.
Clay is from Goldfrapp's 2013 album Tales Of Us, a lovely collection of folky album/ electronic songs. Clay tells the story of a doomed soldier during World War II writing a letter to his lover, Dave.
I don't think Jimi Hendrix ever sounded better than on Axis: Bold As Love- loose, electric blues, psychedelia. Castles Made Of Sand has some wonderful free flowing forwards guitar and bursts of backwards guitar, a tripped out solo and some autobiographical lyrics from Jimi about impermanence.
Two new releases today, both very much in the Bagging Area scheme of things.
First up and out on Golden Lion Sounds today is the debut release by Spraycan, a six track download or four track limited vinyl release called EP1. Spraycan is the work of Rich Thair and Nick Abnett, the men who hold down the drums/ percussion and bass in Sabres Of Paradise and formerly The Aloof. The Sabres re- union as a touring band over the last two years led Rich and Nick to begin playing together and recording, with a 'No plan, first take, move on' approach. The two songs on EP1 are (unsurprisingly) shot through with dub but also post- punk and punk- funk.
Italiano thuds in with bass, drums and percussion and Nick's compressed vocals, 'Your persistence/ My inconsistence...' it goes, sounding like it could be from an early 80s Factory record. 'It makes you want to/ Stop that'. The rhythms kick on with guitars and organ piling in. 'Don't come to me/ Any more'. Scratchy guitar, mutant punk- funk and cries of 'Italiano'.
Rah Rah Rah has Nick's dubby bassline leading the way, Roland Space Echo splashes among the FX, ricochets and small explosions going off and a wiry guitar line to the fore. Nick's vocals are from the post- punk school of expressionism and all the better for it.
Richard Sen is on hand for remix duties, two versions of Italiano, one with the vocal and one without- drum machines deployed, basslines turned into buzzing acid monsters and lysergic synth patterns dropped in, at that acid house/ industrial sweet spot.
You can find Spraycan's EP1 at Golden Lion Sounds here. Highly recommended.
Over in Wigan, just next door to Andy Burnham's new constituency, is Mark Peters, a solo artist whose records have been featured here several times before- 2017's Innerland, 2022's Red Sunset Dreams and 2023's The Magic Hour all showcase Mark's ambient guitar/ cosmische/ shoegaze sound. A new single comes out today, Amulet. Mark has hooked up with bassist Dean Roby before on Alpenglow and Magic Hour and they carried on in a disused Wigan millspace earlier this year. The warmth of Mark's guitars and Andy's melodic bass combine beautifully as the drum machine patters away underneath.
Mark had recently begun exploring William Orbit's back catalogue in depth just before the moment when Orbit's death was announced last month. Mark went back to Amulet, then called Jam 7, and inspired by William Orbit finished the track off. It's out today, a longer and shorter version, and can be found at Mark's Bandcamp. Lovely stuff indeed.
This is Alpenglow from The Magic Hour in 2023, Neu! rewired in Wigan.
I've been revisiting Stay Down, the 1998 Two Lone Swordsmen album from 1998 that stands out even in their wide and varied thirteen year back catalogue, one that takes in almost every electronic style of music you can think of plus trip hop, stoned hip hop, post- punk, rockabilly and garage punk.
Stay Down is minimalist ambient techno, twelve tracks with a common and coherant sound. In 1998 I was a bit confused by it. It seemed to lack the hooks or the musicality that a lot of Andrew Weatherall's previous work at that point had. But time and tide have revealed Stay Down's magic- a submerged, ambient murk, dark and clunky drums and bass overlaid by melodies that flit in and out, everything FXed by the Swordsmen studio machines, especially according to Keith Tenniswood the Mutator which applied a blur of resonance, tremelo, reverb and delay.
The cover image- two deep sea divers, an illustration from a 1950s children's book, washed out in a sea green/ turquoise blue- is the perfect image for what the record contains. The first track is Hope We Never Surface, which in title and sonics, give the listener an idea about what they're in for...
Static. Distorted voices. Ambient FX. Flickers of sonar and radar. Metallic rattles, the sounds are bouncing off the interior of a submarine. And a pretty synth chord melody, rising and falling, the light that illuminates the deep sea murk of the rhythm. Two and a half minutes of ambient music that fades out quickly with a dial being turned, and more static.
In 1998 the rest of the Warp roster were getting the plaudits- Autechre, Aphex Twin, Boards Of Canada- but this album is as innovative and interesting as any of the ones by those people. Sometimes things just take a while to open up to you.
In 1999 Two Lone Swordsmen released a 12" called receive Tactical Support, three remixes from the period- A Silicon Scally remix of Black Commandments (originally from A Bag Of Blue Sparks), a C- Pij remix of The Big Clapper (from Stay Down, with C- Pij being a Nina Walsh pseudonym) and a Kenny Hawkes remix of Hope We Never Surface.
Kenny triples the running time, adds a thumpy but minimal kick drum and snare, some bass wobble and heads from the bottom of the sea into a spacey house/ techno galaxy- sci fi electronics for basement clubs. The late 90s were a fertile time, various reactions to the superclub era coupled with some pre- millennial tension creating all sorts of weird and wonderful scenes and subplots. By 1998 Andrew had turned away from the bright lights at least twice, deliberately heading underground or in Stay Down's case, underwater.
Back in 1990 Ultramarine found themselves, newly a duo, in Brussels with some new equipment- a sampler mainly- and made a track called Stella which came out on an offshoot of Belgian label Le Discques Du Crepescule (the Benelux home of many Factory acts). The Ultramarine pair, Paul Hammond and Ian Cooper, had some assistance in the studio from Dutch DJ Eddy de Clerc and Colin James (from Meat Beat Manifesto) and it paid off in a sparkling, bright eyed song, one that is completely part of the spirit of the times. Funky Soul II Soul drums, lovely synth melodies, an acoustic guitar chord and a pumping bassline, all topped off with a sampled vocal by dancer/ therapist Gabrielle Roth, talking about dancing as sacred, as a way to 'connect to the deepest part of the self'.
Stella came out on 12" in various versions on Brainiak. A year later Ultramarine released an album- Every Man And Woman Is A Star- again with mixing and studio assistance from Colin James, the recording split between London and Brussels. They took inspiration from folk music (although those influences were more obviously to fore on United Kingdoms a couple of years later) but also from bleep techno and hip hop and the anything goes spirit of 1990/1991. The pastoral/ ambient house/ Balearica of the album fits right in with the rest and the best of that year. The 1991 version of Stella, Stella Connects, is longer, running at nine minutes.
At record label LTM's Bandcamp page there's an expanded and companion version of Every Man And Woman Is A Star, different versions and remixes (by Sweet Exorcist, Spooky, Coco Steel and Lovebomb), a live track from Glastonbury in 1993, a US version of Bunnmyen sampling Weird Gear and an edit of Stella Connects plus various other companion pieces. You can listen and buy here. Many thanks to reader Blureu for the tip off. Highly recommended.
A month ago I was in southern Spain with views like this one above. Now it's September and the school year and meteorological autumn are upon us. Is it too late to post Nightswimming with its late summer lament, 'September's coming soon/ I'm pining for the moon'?
This is The Field Mice back in 1991 with a song that also feels like it should have been posted a couple of days ago but it's never too late and this is a classic of its kind.
Big Star have got the September song scene covered, Alex Chilton's 1973 masterpiece may really be all you need, Chilton looking back at his past relationships and marrying those plaintive words to some achingly gorgeous chords. The guitars and Alex's ragged voice actually sound like summer turning into autumn.
The Duchess Of York was a small grass roots venue in Leeds that opened in 1985, held 250 people and hosted pre- fame gigs by Nirvana (October 1989) and Oasis (September 1993) as well as early gigs by Manic Street Preachers, PJ Harvey, Radiohead, Verve, Green Day, Pulp and Blur. One of those venues where there could be two people watching on a wet Wednesday night or a packed and sold out sweatbox. A stepping stone to bigger things. Back in the 80s and 90s these venues were in almost every town and bands would frequently play twenty or thirty gig tours, trouping round the country playing in the big cities but also in Northampton (Roadmenders), Buckley (Tivoli), Greenock (Town Hall), Widnes (Queen's Hall), Bath (Moles) and Burnley (Mechanics), not to mention the numerous polytechnic and university rooms and halls.
The Duchess is long gone but the Leeds Civic Trust put a blue plaque up in 2024 to mark the site (now a branch of Hugo Boss) and the work of the man who opened and ran it, John Keenan. Carl Airsine has recently released an EP on Leeds label Paisley Dark named The Duchess, a tribute to the venue and its underground spirit. Carl's track, The Duchess, is a celebration, noisy, chuggy, disco- punk with distorted guitars and bass, thumpy drums and voices appearing out of the mix. It pulses and throbs with that energy that live guitar bands in small spaces do.
There are three remixes. Ian Vale strips the track back, toughens the drums and darkens the mood. Belfast's Viper Patrol go acid- full on bassline squiggle and 303s with disembodied vocals and a post- midnight feel. The pick for me is by South London dub specialists Rude Audio, who take an alternative route to/ from The Duchess, finding a cosmic/ dub/ Balearic vibe with twinkling synths, dub space and drums and a letting in of the light. The Duchess is at Paisley Dark and can be found here.
Nirvana's gig at The Duchess on 25th October 1989 was bootlegged and widely distributed on the bootleg cassette market. My friend Ian Lawton (Meanie) photographed the band for Kerrang and interviewed them in a nearby McDonalds. The tour was to promote Bleach, pre- Dave Grohl with Chad Channing on drums. This is the gig with one of Meanie's photos to illustrate it. Highlights include Love Buzz, Polly, About A Girl and Blew but they do not particularly sound like a band who within two years would become the biggest band in the world.
We had a day out at Jodrell Bank yesterday, home of the Lovell telescope which has been sending radiowaves into space since 1957 playing a huge part in our understanding of space. The dish is enormous, once the largest in the world, still the third largest. It moves too so it can be pointed in any direction. We saw it move while we were there, rotating round the track it sits on, which was actually really exciting.
A new visitor centre has been built since we were last there and is full of brain frying information about the universe, galaxies, pulsars, black holes, quasars and dark matter. It's a humbling place to visit and spend a few hours at, the vastness of space and what's out there compared to the smallness of us and what's down here. There are several artistic responses too which neatly connect science and art, space and poetry. Frighteningly the UK Research and Innovation agency have decided to cut Jodrell Bank's funding from April 2028 and without this the facility- pioneering scientifically, grade 1 listed and a UNESCO world heritage site- may close down.
I had two major takeaways from the masses of information we read. The first was that when we see light coming from space, the stars for example, we're actually looking back in time- the light is coming from hundreds/ thousands/ millions of years ago and is only reaching us now so what we are seeing has already happened. Jodrell Bank identified the Crab Pulsar, a supernova explosion seen and recorded in China in the year 1054, recorded at the time as a 'guest star' that was bright enough to be seen for several days during daylight. The second was that when we tune between TV or radio channels about 1% of the noise we hear that the antennae pick up is actually 'the fading glow of the Big Bang'.
The phrase 'the fading glow of the Big Bang' stuck with me for some time. On the way back some of what I'd been reading about and seeing at Jodrell Bank made connections with music and songs and this hastily thrown together mix is a response to that. Musically it's all over the place in the first half but then settles into a dance music groove.
Jodrell Bank and the Lovell telescope have conducted research into galaxies and clusters, including gravitational lensing studies of galaxies (the bending of light from a distant source as it travels past a massive object such as a galaxy or galaxy cluster, apparently).
Beth Orton's Galaxy Of Emptiness is from her album Trailer Park in 1996, a track mixed and produced by Andrew Weatherall and Keith Tenniswood in their studio under the flight path at Hounslow. Sonically it's incredible, all space, detail, Weatherallian FX and Ali Friend's double bass ricocheting down the line. Lyrically, it's vast and tiny, cosmic existentialism. Loss.
A pulsar is a pulsating star, a highly magnetised rotating star that is emitting beams of radiation out of its magnetic poles. Galactic lighthouses.
Ride's Pulsar was the lead song on their Tomorrow's Shore EP, released in 2018. I'm not sure the post re- union Ride have recorded a more exciting song than Pulsar. It is in their own words, 'a space anthem' about light, existence and trying to get home.
The Andromeda Galaxy is the nearest major spiral galaxy to our own, the Milky Way, located about 2.5 million light years away and sometimes visible to the naked eye.
Timothy J. Fairplay's Free Andromeda album came out on Hoga Nord in 2022, a very fine nine track selection of synth electronics and drum machines. Worth revisiting if you haven't spun it for a while.
A quasar is an extremely bright and distant, active galactic nucleus, powered by a super massive black hole. I'm typing this but I'm not sure I fully understand it. But I like the idea that there are things that are much bigger than us that we can only stare at in wonder.
Mr Fingers came back with Cerebral Hemispheres in 2018, cosmic acid/ dance music. Qwazars was a stand out, a rotating synth pattern and chord change that is utterly hypnotic.
Cassiopeia is a constellation in the northern sky. It's five brightest stars form a W in the sky, visible to the naked eye. A section of the Milky way runs through it containing a number of young luminous galactic disc stars and nebulae.
Kolsch's Cassiopeia came out in 2014 with piano and strings by Gregor Schwellenbach. Minimal, emotive 2010s house music.
The Lovell Telescope appeared on the sleeve of Sub Sub's Space Face, a 1991 record that blew up in clubs at the time not least The Hacienda, thundering breakbeats and Balearic pianos with an aptly chosen sample, 'My god, it's full of stars' (taken from a 1984 film called 2010- The year We Make Contact). Sub Sub were local boys, from Wilmslow, just down the road from Jodrell Bank. As I'm sure you know, a few years later after a fire that destroyed their studio/ rehearsal space on Blossom Street in Ancoats they became Doves. In 2011 they played an acoustic gig at Jodrell Bank in front of the Lovell telescope. Here they are playing a Bagging Area favourite, Kingdom Of Rust.
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 The most important thing is the thing most easily forgotten.
I went down a memory based rabbit hole with Pye Corner Audio, Boards Of Canada, Vangelis and Blade Runner, Jan van den Broeke and Aphex Twin (and those tracks all fit together really well, a nice twenty five minute ambient/ synth set). Out in the Oblique Saturday community we found Ernie with a trio of forgetful tracks from Morgan Morse, Farmergeddon and Kenmore Classic, Beerfueled with Pixies covering Leonard Cohen, Al G with the Sultans Of Ping F.C. and their lost jumper, Mrs G with Doves, Khayem and The Mekons, Jake Sniper and The Caretaker and Rol with The Panic Brothers.
This one's for Jake and his Mum.
This week's Oblique Strategy card reads thus- Spectrum Analysis.
After leaving Spacemen 3 Sonic Boom released his first solo album Spectrum and then several albums and singles as Spectrum (including the sublime Highs, Lows And Heavenly Blows).
In 1992 Spectrum/ Sonic released an EP with a cover of Daniel Johnson's True Love Will Find You In The End. It's a blissed out cover, Sonic singing dreamily with a choir of angels backing him, over twinkles, drones and pedal steel. 'Don't give up now/ True love will find you in the end', Sonic croons, sounding like he might just mean it and might just make it through the night.
Anyone who's read Spacemen 3 bassist Will Carruthers' memoir Playing The Bass With Three Left Hands will recall the chapter describing a memorable evening the band played at a health club in Chester, the occasion when they were introduced to ecstasy (to add to the cocktail of somewhat stronger and more addictive drugs Sonic and Jason were well into by that point). The 1997 compilation CD What Came Before After finishes with this track, a nine minute exploration/ distillation of the Spectrum sound- synth drones, repeating and oscillating into eternity.
This is from Spectrum's Indian Giver album with Captain Memphis from 2008. It's the same song that Sonic recorded for Recurring, 1991's final Spacemen 3 album, written by Mudhoney. Sludgy, stoned space rock.
Aphex Twin returns making consecutive Oblique Saturday appearances. In 2016 he put out a 12" single called Cheetah, which paid tribute to an obsolete British electronics company of the same name who made unfathomably difficult to work out synths. The first track on the EP was this one...
Aphex Twin in coasting mode is still some considerable distance ahead of his peers. Slow motion, slippery and phased to jiggery.
Finally, one of my favourite albums of last year was by Sewell And The Gong, pastoral sounding Balearica, instrumental folk gone cosmische. As Rob at Ban Ban Ton Ton put it, 'jubilant, trance- inducing, celebratory.... like a drug free, jolly Spacemen 3'. Which ties things together nicely.
Cal Gibson's Secret Soul Society has been drip feeding us with new tracks all summer, a series of dubby weird disco tunes blurring the boundaries of new music, edits and versions. The tracks below are all highly recommended, hazy and dubbed out soul/ dance music, old and new fused. I'll leave it for you to work out where the source material comes from.
First, in mid- July- Situation Station, a low slung, machine funk song with a soulful vocal.
A couple of weeks after that, bubbling, summer sounding funk soul/ cosmic disco About2Believe, the singer telling us, 'You're about to believe/ In love again'.
Then, in late July there was Emotional Dub, dub and disco spliced together, a slinky floor filler with choppy guitar, bubbling bass and killer vocal.
A couple of days later in early August there was Lemonade All Day, trippy cosmic/ Balearic with chanting and FX
A week on from that came Mountain Of Tears, a bass driven soul number, urgent and impassioned night time music, drums pushing and synth FX splashing around.
In mid- August, Dub Sultanas, headband wearing guitar wranglers filtered into something darker and groovier.
Last week, Dubbing In The City, slowed down groove, taut bass and fractured vocals with an oddness that gives it an edge- very tasty.
All of these (and more) can be found at The Secret Soul Society Bandcamp page here. They work very well individually but probably best sequenced one after the other, a forty minute late summer dub/ disco/ soul compilation or mixtape.
Back on 20th March 2010 when this blog was less than three months old I wrote this post...
My 6 year old daughter has seen me doing this and asked what I'm doing. When I explained about the blog she said she wanted a go, so here it is, a guest post by E.T.....
'I like this song because i like dolly parton .I like the rhythm and i like the music i also like the way she sings.'
Eliza shouted up the stairs to me on Tuesday night that Dolly Parton had died, and followed it with, 'Dolly Parton, my queen...'
Dolly Parton has been everywhere in the two days since she died and rightly so. Not only did she write some songs that are universal, she was a hugely compassionate and right minded person- her work donating trying to get kids to stay in school, her Imagination Library, paying for scholarships, supporting and paying for research into pediatric diseases and Covid vaccines, for AIDS charities and Black neighbourhoods in Nashville are all examples of what you'd hope the rich would be doing with their money- doing some good. As many people have said in the last two days, she's the best of America. The contrast with some of its public figures could not be greater.
I don't listen to her songs that often but this one always, always sounds good...
Jolene was written in May 1973 about a red headed bank clerk who'd sometimes flirt with her husband Carl. The name came from an encounter with a fan who had red hair, pale skin and green eyes who came backstage for an autograph. These are the sort of details I love, that get under the skin of where a song comes from.
In 2013 there was a phase where people discovered the joy of slowing down 45 rpm singles to 33 and posting them on the internet. Jolene sounds magnificent at 33 rpm, a heartbroken cowboy who's lost his love to another woman.
In 1993 One Dove released their own version of Jolene, a trippy comedown dub/ ambient house gone country version, Dot Allison's voice giving Dolly a Glasgow make over. I could listen to this on repeat for ages. It came out as a B-side to their Why Don't You Take Me single, the record company looking for a hit. The 12" came with two more tracks, the ice cold reggae of Skanga and an Underworld remix of the title track. Four stunners on one piece of vinyl.
In 2004 The White Stripes covered Jolene too, a raw and electrifying version of the song, Jack and Meg at the edge of their senses under Blackpool lights.
Mano Negra were a French band founded and fronted by singer Manu Chao. Manu took his roots- Galician- Basque parents, Cuban heritage, upbringing on the outskirts of Paris (the family had fled Spain when Franco issued a death sentence to Manu's grandfather)- and fused them with all the excitement of punk, folk, ska, rockabilly, reggae, salsa, rai, hip hop and everything else he'd heard coming out of the speakers in a multi- cultural Paris suburb. They would switch between singing in Spanish, French, Arabic and English, sometimes within the same song, and found success in Europe and South America, supported Iggy Pop on a US tour, but they were never more than a cult concern in the UK.
In 1989 they made Puta's Fever, eighteen slices of high energy, fully committed, world fusion/ rock 'n' roll. Voodoo is from that album and starts off like some drunken French uncles singing at a wedding. Then a whistle blows, the drums thump in and the song kicks in, bass pumping away and Manu singing, 'Last night I saw you diggin' in my cemetery baby/ Now you better watch out/ Cause you can't get back from Voodoo!'. Tyres screech and layers of varnish are scrubbed from the acoustic guitars.
Mano Negra formed in 1987 and split in 1994. When touring Puta's Fever they'd often abandon the stage and troop outside to play the encore in the streets. After the split Manu Chao went solo making several albums and touring with his Radio Bemba Sound System. His self described patchwork style of music and solid left wing politics and activism place him as one of the true inheritors of punk and The Clash, someone who walks the walk as well as talking the talk. I thought I had one of his albums, 2001's Proxima Estacion: Esperanza but it's not on the shelf under either M or C so your guess is as good as mine.
It doesn't really require any words of explanation from me, the song and the footage speak for themselves and the life affirming nature of the dancers, captured from various pieces of footage from the 20th century and more recently, brings a smile to the face- until the last few seconds which has the capacity to shock you out of your complacency.
Two weeks ago David played a live two hour set for Never Never, a Belfast clothes shop. The set is a blast, a sublime blurring of the boundaries between psyche, jazz, blistering hip hop, soul, funk and repetitive wonky acid house. You can listen at Mixcloud. David has got lots of irons in the fire at the moment- The Five Techniques project and his production on the imminent Dexys album have both been 2026 projects along with his various DJ gigs, and a few weeks ago he spent an afternoon in his home studio with Eric Cantona who turned up unexpectedly...
Birds Of Pandæmonium have been gearing up to an album release, out on Sprechen next month. Their epic uber Balearic cover of New Musik's On Islands came out in July complete with three Hardway Bros remixes and prior to that there was Days Go By, remixed by Richard Norris.
The last single before the release of the album came out last week- Could Heaven Ever Be Like This, ten minutes of dreamy, sun kissed psychedelia, slo mo chug with cosmic house pianos and multi- tracked vocals that come down like soft, warm rain.
The EP comes with remixes including two courtesy of Hifi Sean, the man who was once a Soup Dragon and is now a DJ/ producer/ songwriter (you might remember his albums with singer David McAlmont particularly 2022's Happy Ending). Sean vocoders the vocal and goes four- four with the drums, turning up the whammy and whacking the bass to the fore. There is a Birds Of Pandæmonium remix, a Hifi Sean dub, an instrumental and deeply addictive, goth dance Dub Poem version which has really stuck around in these parts over the weekend.
Get the Could Heaven Ever Be Like This EP at Sprechen's Bandcamp page.
Could Heaven Ever Be Like This was originally a lush jazz- funk/ disco jam by Idris Muhammed and was played at David Mancuso's Loft. A celebration of love and romance and a longing for transcendence- you can see why it struck a chord in mid- 70s New York.
The Birds Of Pandæmonium album comes out in mid- September and is called Eudæmonia, a Greek word which translates as living well by doing what is right and fulfilling one's potential. It is a central concept of Aristotle's philosophy, where a eudæmonic life is one of 'virtuous activity in accordance with reason'. Something to chew over on a Monday in late August.
Joe Strummer and the Mescaleros came together in the late 90s. Joe started working with Richard Norris and Pablo Cook and the Mescaleros formed around that trio. In his memoir Strange Things Are Happening Richard Norris recounts how Joe and a cavalcade of cars turned up at Real World Studio in Wiltshire. Richard was sitting on a grass bank as the convoy arrived and Joe leapt from a vehicle brandishing a drum machine and shouting, 'does anyone know how to make this thing work?'. Richard raised a hand and said he did. Joe, Richard and Pablo wrote Yalla Yalla, with Anthony Genn coming on board to mix. They went on to write Techno D- Day, Tony Adams and the beautiful From Willesden To Cricklewood. Richard Norris Joe wrote Sandpaper Blues, Diggin' The New and the late career rock/ reggae/ acid house classic Yalla Yalla. All those songs became part of the first Mescaleros album, Rock Art And The X Ray Style.
The Mescaleros grew from there with Scott Shields joining (bass and guitar), Martin Slattery (keys and guitar), Richard Flack (various instruments) and Steve 'Smiley' Bernard (drums). Genn hung around for a while but eventually left. In 1999 Joe and the Mescaleros recorded Rock Art And The X Ray Style having played a load of gigs including Glastonbury (where Joe smashed a BBC camera during the broadcast with a mic stand). In Strange Things Are Happening Richard tells the story of his departure from being Joe's creative partner whilst out in LA- the circles around Joe and the former members of The Clash come across like the worst aspects of Succession, in crowds and out crowds and hangers on all jostling for elbow room and access to the top table. At an audience with event I went to Richard was asked how it ended with Joe and he replied, 'badly'. A rueful silence and some regret.
In 2000 Joe hooked up again with Tymon Dogg, a former 101er and Clash guest. Tymon joined the Mescaleros for Global A Go- Go and the band toured the UK, US and Europe, playing festivals and small gigs, combining Clash songs and Mescaleros songs in fine style, gigs awash with beer flying, and reggae, rock, dub and global sounds, joyous celebrations of Joe's music and life. I saw them twice at Manchester Academy in the 1999- 2002 period and on another occasion at Nynex Arena where they supported The Who in a largely empty arena. They were superb, a life affirming blast of energy and punk rock righteousness. Joe never gave less than everything, the band gave their all too to match him and there was no reason to think it shouldn't carry on for some time. Joe died suddenly at home on 22nd December 2002.
There are three Mescaleros albums- 1999's Rock Art And The X Ray Style, 2001's Global A Go- Go and the posthumously completed Streetcore from 2003. Between them they show a reborn and revitalised Joe Strummer, writing and recording and having the time of his life, making music that stands as not just the best of his solo career but alongside his songs in The Clash too. In the last year of Joe's life he'd been writing with Mick Jones again, songs that Mick assumed were for an upcoming Mescaleros album. Joe apparently thought they were for a new Clash album.
Yalla Yalla was released as a single in 1999 ahead of the Rock Art And The X- Ray Style album, Joe and Richard Norris summoning the spirits and the radio. Joe described the song as 'an ancient British folk song written in the year 1999'. Live at Manchester Academy they segued Yalla Yalla into Bankrobber, Joe disappearing offstage and returning with a child on his shoulders, arms in the air and red lights strafing the stage. Yalla Yalla is total Strummer- world with dubbed out references to Kool Moe Dee, The Treacherous Three, Brownie McGee, Ladbroke Grove, Ragga FM, Tae Kwon Do and the kebab shop. The Norro King Dub was on the 12", a Richard Norris dub of the original. According to Richard no one had ever called him Norro before and from that point only Joe did.
Fantastic came out in 2022, a posthumous release tied into a box set re- release of the three Mescaleros albums and fourth disc of outtakes and demos. It was recorded at Rockfield in Monmouth in December 2002, the month Joe died. Fantastic is an early version of Ramshackle Day Parade from Streetcore. Streetcore was completed after Joe died by various Mescaleros. Joe's vocals are guide vocals, not finished ones- this alone shows how much Joe put in to recording. The guide vocals for Fantastic, Arms Aloft and Coma Girl (among other Streetcore songs) are more impassioned than many singers manage ever. While we'll never know what Streetcore could have been and what other songs Joe might have written for it, the seven songs that the band finished for the album all stand up next to the rest of the Mescaleros back catalogue.
There are three other songs on Streetcore- Redemption Song, Silver And Gold and Long Shadow- that date from different sessions. Redemption Song and Long Shadow were done with Rick Rubin, intended for Johnny Cash to record, and were included on Streetcore at Lucinda's request (Joe's widow). The video for Fantastic is a lovely thing, footage of Joe from The Clash, solo and his family life spliced together.
At The Border, Guy is from Global A Go- Go, a seven minute freewheeling dub tune with scratchy guitar, organ and Joe singing about town planners, the Dow Jones and Leek town hall. Wonderful stuff, the genre hopping spirit of Sandinista! continuing long into Joe's solo career.
Burnin' Streets is from Streetcore and has a nice lyrically throwback to 1977 and London's Burning. Arms Aloft is a rocker from the same album. In the song Joe sees his (younger) bandmates on tour complaining about being tired and out of gas partway through a tour. Joe, ever the livewire and motivator, shouts at them, reminding them of their duty to rock 'n' roll, the audience and playing the gig, and how only a few nights before they were 'arms aloft in Aberdeen'. It's one of several songs on Streetcore that have a hint, a foreshadowing, of Joe's mortality. 'They say the stars can't see their rays/ Nor can they count the number of days', he sings near the end. At the start there's some cosmic Joe too with the line, 'Sometimes there's no stars shining/ Scouting the edge of the universe/ Sometimes you can't see a horizon/ Between the ocean and the earth'.
X Ray Style is a beauty, the title track from 1999's Rock Art And The X Ray Style (the cover was painted by Damian Hirst, a version of Neolithic cave art. Joe spent every summer from the mid 80s onward in Granada, Spain and in the nearby Nerja area there is a cave complex discovered by five school boys in 1959 containing the world's oldest known cave art- maybe this was the inspiraiton for the sleeve). The song X Ray Style is an acoustic guitar tune with a bongo groove, Joe singing about the stars and the hopes of a soul, Be Bop guns, rockabilly trains and how 'there's some people living who ain't got no heart and they never had none'. He finishes with the line, 'I want to live and I want to dance a while'. His voice ever sounded better.
Ocean Of Dreams came out on the 2022 box set, an unreleased Joe Strummer and The Mescaleros song dating from the Rock Art And the X Ray Style sessions with ex- Ex Pistol Steve Jones on guitar. It's got a lazy, laid back feel, Joe improvising and following his nose. In 1999 Anthony Genn had told him, 'You're Joe Strummer, you should be making an album!'. Other people had told him this at points in the decade between 1989 and 1999 but in 1999 the time was right.
Johnny Appleseed is the lead song from 2001's Global A Go- Go, a solo peak and a song that demonstrates everything that was great about the man. Acoustic guitars, massed backing vocals, old friend Tymon on violin and Joe singing about Martin Luther King and Buick 49s, and how if you want to get the honey you don't go killing all the bees, a line that could be about the environment or it could be about capitalism. Whenever I need to hear some solo Joe, I often start with Johnny Appleseed. The video is very Joe too, Joe and the Mescaleros wandering the streets of London as the public come and go...
Sandpaper Blues is a Richard Norris co- write. Joe's love of what used to be called World Music is all over the Mescaleros songs. On Sandpaper Blues there's Caribbean vibes married to Country and Western and Mariachi.
Coma Girl is the lead song from Streetcore, rousing Strummer three chord, Clash style, electrifying guitar rock. In the song Joe describes his walk through the outer areas at the Glastonbury festival, wandering round the stages as the rain comes in and the oil drums clang, while singing to his daughter Lola, the coma girl, who didn't want to get out of bed. Coma Girl is as good a final song as Joe could have wished for in many ways, a song that summons the vision of him on stage, his left leg twitching away as he bashed out the chords and sang at the microphone stand.
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 Water.
I ran with Sordid Sound System and Raymond Chandler, Dreems, Kalima, A Certain Ratio, Andrew Weatherall and Michael Smith and William Orbit, Beth Orton and Underworld. There was a big response from the Bagging Area community with Sundappledliz going for Alex Kassian and Jessica Lauren, Al G with Juan Wauters, Ernie Goggins and The Incredible String Band, Jake with The Avalanches, Ricky Otter and Richard Norris, Walter and The Woodentops, SRC with Bruce Lee and Underworld and also Fela Kuti, Rol and The Cascades, and Jase who had several suggestions- Ride, Blackwater and Elvis.
Jase's Ride suggestion was their debut album Nowhere which had that huge wave sweeping across the front cover, a visual representation of the band's shoegaze/ FX pedal wall of sound. The album's title track was missing from the album and eventually turned up on the Fall EP in October 1990.
This week's Oblique Strategy card says this- The most important thing is the thing most easily forgotten.
Which is oblique indeed. And then some.
It made me think of memories, memory and the act of remembering. Which is always a deep rabbit hole. Not long after Isaac died in 2021- and by not long I mean weeks- I was in bed doom scrolling and a link to a newspaper article flashed up. The headline (from I think The Guardian) read something like, 'Scientists discover whether our lives really do flash before our eyes before we die'.
I didn't click through. At that point, I couldn't see any way that that article was going to be a comfort or a help. I've never been back and looked for it either although it has crossed my mind more than once since. I can still clearly recall that exact moment, the instant, I saw the headline, read it, thought about it and rejected it. I didn't really want to consider what would have flashed through Isaac's mind in the moments before he died, with the three of us in the hospital room with him. It's a strange memory that has stuck with me ever since, unforgotten.
Buried Memories is from Pye Corner Audio's 2019 album Hollow Earth, a radiophonic/ dark synth track that suggests all kinds of things. The Hauntology/ Ghost Box scene and much of Pye Corner Audio's output is partly about memory and the way past haunts the future. Boards Of Canada's albums, this year's Inferno included, deal in this too. One of the tracks on Inferno is this one...
As we get older it seems that more and more that what we are as human beings is a bunch of memories and experiences, encased in our bodies. Memory is a tricky thing. It's unreliable and inevitably one sided. It enables us to learn from the past. Sometimes it makes us cringe- things we said or did that we really wish we hadn't. One of the things about dementia that scares us the most is seeing loved ones lose their memory. What is a person without memories?
In Blade Runner the new generation of replicants (Nexus 7s) have been given memories. Rachael, played by Sean Young, has been implanted with the memories of Tyrell's niece and as a result she believed she was human. On discovering this, her entire world is turned upside down. Her relationship with the past, her past, is fake, a construct, someone else's past. In the film,this Vangelis song plays as Rachael visits Deckard's apartment for the first time. Tellingly, it finishes with sirens and the whirring and bleeps of a computer programme.
Jan van den Broeke's 2017 album 11000 Dreams is a deep dive into memory, found sounds, ambient and samples. This track is literally memories turned into sound, a woman's voice caught on tape with an ambient backing, '...things that happened years and years ago... incidents... memories...'
I don't know what Eno and Schmidt intended the most important thing to be or if they even had an intention. The most important thing for us as people could be many things- to be loved, to be remembered, to be live well without doing harm to others, to stand up for the things you believe in, to contribute to society in some way, to leave the world better than you found it. Big stuff.
While we were in Spain two weeks ago we drove to Granada and spent several hours at the Alhambra Palace, the 13th and 14th century fortress and palace that overlooks the city. Towards the late afternoon we sat in the shadow of the palace enjoying a very strong and very good Cafe con leche and I said to Lou, 'Placeta Joe Strummer is just down the hill...'
So we wandered down the hill in the heat and found the triangular piece of public land, bordered by roads on two sides and some steps and a derelict and grafittied building on the other.
Once there was a large painting of Joe but at some point it got painted over.
Why has Joe Strummer got a public square named after him in Granada you might ask?
In the mid- 80s when The Clash split up Joe beat a retreat to lick his wounds and cry into his beer and he went to Granada. In the early days of The Clash Joe was going out with Slits drummer Palmolive and she and her brother Fernando Romero were from the city. Joe and Romero had previously shared a squat, and used to talk politics, Spain, the civil war and everything else and these struck a deep chord with Joe. With Joe in a mess after the break up of The Clash, Fernando took Joe to Granada. He put roots down in Granada and the villages around it, produced an album by local punk band 091, went searching for the (still un- found) grave of poet Federico Garcia Lorca (murdered by a Francoist death squad in 1936 and buried in a mass grave somewhere in the hills above the city) and drank in local bars. Joe included both Lorca and Granada in the 1979 Clash song Spanish Bombs.
It became Joe's routine in the 80s and 90s to spend a long summer in Granada and then return to London for the Notting Hill Carnival. Esperanza Romero, sister of Fernando and Paloma, married Richard Dudanski (101ers drummer, one time Clash drummer and drummer for PiL, The Raincoats and Basement 5). They still live in Granada. Joe bought a house in Almeria and also lost a Dodge car somewhere in the city- he parked it in an underground car park but couldn't remember where. There's a film about it.
After Joe's death Fernando and others petitioned the council to name a square after Joe, who they saw as an adopted son of the city. Dudanski, Joe's friends and the local socialists pestered the council repeatedly and eventually in 2013 Placeta Joe Strummer was named. There was a party to mark it with an open air acoustic gig with members of The Pogues, The 101ers, Mescaleros and 091 all playing and Joe's daughters Jazz and Lola attended.
It's as good a spot as any for a photo opportunity for any Joe Strummer and Clash fans who happen to be in Granada on their summer holidays.
Today is Joe's birthday. He would have been 74. It's fairly easy to imagine a 74 year old Joe, still making music, still open to the endless possibilities of the world and its cultures, still enthusing about Cuban be- bop, African highlife, reggae and three chord rock 'n' roll, raging against the world's injustices and iniquities.
In 1979 The Clash played at one of the series of Concerts For Kampuchea, four concerts organised by Paul McCartney and, um, Kurt Waldheim*. There had been promises that The Beatles were going to reform for the concert- this obviously did not happen. The four concerts were held in late December '79 and The Clash headlined the second, with Ian Dury and The Blockheads and Matumbi also appearing. This clip of the group playing Armagideon Times is as good a live performance as you're going to see today by anyone, The Clash absolutely at the top of their game and Joe magnetic at the centre of the stage...
Ten years later Joe was solo and in the midst of what some people have called his Wilderness Years. Richard Norris, who worked with Joe in '98/ '99 and co- wrote several Mescaleros songs counters this description of the post- Clash, pre- Mescaleros years, arguing that Joe made a solo album, wrote and recorded a handful of film soundtracks, acted in several films and co- wrote and produced Big Audio Dynamite's second album- not really a wilderness period at all.
In 1989 Joe released Earthquake Weather, a fourteen song album with the musicians who became Joe's Latino Rockabilly War. It's a messy album, probably a handful of songs too long, with muddy production and a confused mix and I often feel guitarist Zander Schloss needed reining in at times. The final song, Sleepwalk, is a beauty though, a great Joe Strummer solo song. Rueful and ruminative with a Caribbean feel and Joe coming back to the line, 'What good would it be if you could change every heartache that ran through your life and mine?'
In 1999 Joe returned with The Mescaleros and made two fine albums- Art Rock And The X- Ray Style and Global A Go- Go- and then a posthumously completed one from 2003, Streetcore. More from these Mescaleros years coming up on Sunday.
Happy birthday Joe. Feliz cumpleaños.
* Kurt Waldheim was an Austrian politician who became secretary general of the United Nations between 1972 and 1981. In 1986 it was revealed he had knowledge of Nazi atrocities as a member of the Wehrmacht during World War II, and that this had been covered up. This caused an international controversy but didn't prevent him from becoming president of Austria between 1986 and 1992. During this period he was officially declared persona non grata by the American government (and most western ones) and banned from entering the USA. Today of course, they'd send a limousine anyway...
The recent Disco Pogo Tribute To Andrew Weatherall book has a section on many of Andrew's remix and production work, along with interviews with the artists involved from the earliest days (Hallelujah and Loaded) to Andrew's last released remix (GLOK's Cloud Cover). In between, much else is covered including a part on the production and mixing Andrew and Keith Tenniswood did for Beth Orton, that resulted in three songs that came out on Beth's album Trailer Park. Beth talks glowingly of the time spent in the Two Lone Swordsmen studio and the work the three of them created together. Beth had already recorded the basis of the three songs- Galaxy Of Emptiness, Tangent and Touch Me With Your Love- with some top musicians including the wonderful double bass of Red Snapper's Ali Friend. Andrew and Keith took the three songs and set about remixing them in the studio with Beth recording new vocals on the spot. They way Beth describes it, it all sounds very organic and natural, easy and creative.
My go to from Trailer Park is usually Galaxy Of Emptiness, ten minutes of spaced out, cosmic existential splendour. But I went back to the other two and Touch Me With Your Love particularly sounded superb- it was almost like listening to it anew.
Ali's double bass, woody and vibrating, sits at the centre. Around it Andrew and Keith weave a rich and detailed sonic tapestry, whirrs and clicks, FX, acres of s-p-a-c-e and Beth's distinctive voice, everything sprinkled the Weatherall magic dust. Trailer Park, as much as any other record from 1996, invented folktronica- a clumsy label but a fitting one and one that she seems happy to accept. Beth says that at the time she wished that Andrew and Keith could have done the entire album but it wasn't to be and she's OK with that- those three Weatherall/ Tenniswood produced songs on Trailer Park are more than enough.
Jon Hassell was an American trumpet player and composer who made and contributed to a huge range of twentieth century music, playing with Holger Czukay and Irwin Schmidt, Terry Riley, Talking Heads (on Remain In Light), Brian Eno, Ry Cooder, David Sylvian, Bjork, Juan Atkins and many others. He died in 2021. The Ndeya label has been set up in partnership with Warp Records as a home to Hassell's music and they have released two posthumous albums- Listening To Pictures and Seeing Through Sound- as well as a re- issue of his 1977 debut Vernal Equinox. In October Ndaya are going to release Music Is Invisible, a live recording from May 2015 when Jon played at St John's church in Hackney as a trio, with Rick Cox and John von Seggern. This excerpt of Blue Ba- Ya came out last week.
Blue Ba- Ya (Excerpt) is a gorgeous way to spend four and a half minutes, at an intersection of jazz, global, ambient and experimental, what Hassell called Fourth World music. There are synths, drones, a two chord piano part and Hassell playing trumpet. Three people on stage, two laptops and various synths, FX devices and a load of cables and wires and a trumpet making such human sounding music. AI could never do this. It doesn't know how.
In 2023 a compilation of late 80s recordings was re- released, an album called Psychogeography that originally came out in 1990. This track was the album's opener, a descent into the city with drones, whirrs and found sounds.
I go back to work today, two weeks earlier than I've been used to now I'm working in a 6th form college. Returning to work in mid- August feels a bit odd- the rhythm of my year usually sees me return in early September, but change is good, change is what I moved jobs for so I'm just going to have to get used to it. It'll soon be the bank holiday weekend and then September and then the weeks when the leaves start to turn from green to orange, gold, yellow and then brown. It's already darker earlier, noticeably so this week.
Blue Lines is a fantastic album, one of those which crossed borders, knocked doors down and united different tribes. The flow of the album, from Safe From Harm to Hymn Of The Big Wheel via those chilled rap songs, the glorious majesty of Unfinished Sympathy and lush, organic proto- trip hop is perfect. Every beat, every note, every word, weighed and exactly correct. When side two plays out with Hymn Of The Big Wheel it feels like you've done the full trip, gone all the way round. It creates a stew from Bristol, late 80s/ early 90s club culture, rap and reggae, dub, breakbeats, sampling, graffiti, rare groove, weed, 90 bpm tempos, found sounds, Horace Andy, Nellee Hooper, Neneh Cherry, sound system and DJ culture and American hip hop styles into one hypnotic and seductive package.
Hymn Of The Big Wheel is a Neneh Cherry co- write and she sings the female harmony (uncredited on the sleeve). Daddy G has said that Neneh gave the members of Massive Attack a kick up the arse and a place to record (her baby's bedroom), booting them out of their natural laziness. Good job she did eh?
This compilation came out back in May but I missed it and have been catching up recently- Occupied Minds Vol. 1, an eighteen track multi- artist album from Belfast released in solidarity with the people of Palestine and raising funds for Medical Aid for Palestinians (MAP). Many of the artists are new to me and the range of music is huge, from ambient to folk to techno and covering a range of emotional responses. This one, We Are! We Want!, is by The Light Brigade, who you might know as an alias David Holmes uses.
We Are! We Want! rides in subtly but gathers pace with rattling drums and metallic percussion and the wobble of synth bass. There are pauses and stabs of synth, the ever present rumble of the bass and some early 90s tension.
Over the top of this is the voice of James Baldwin, speaking about humanity and love, about the actions of individuals and what people choose to do and who they choose to be.
'What you’ve got to remember is what you’re looking at is also you. Everyone you’re looking at is also you. You could be that person. You could be that monster, you could be that cop. And you have to decide, in yourself, not to be'
Baldwin was talking about life in the USA in 1970 and the daily racism he and other black Americans faced. He was honest but optimistic- grace and humanity would save the world from despair he believed.
In some ways We Are! We Want! reminds of some of David's earliest work, tracks like Johnny Favourite and Four Boy One Girl Action and their sole release, the 1993 single The Hawaiian Death Stomp. Eleven minutes of early 90s progressive house/ techno spliced and an equally long, slowed down thumping, stompy dub. Moody, tribal and Sabres- esque.
The four boys were Holmes, Jagz Kooner, Gary Burns and Kris Needs. The girl was Patti Smith, sampled, fucking with the future.
Also on Occupied Minds is Timmy Stewart, Belfast producer, DJ and promoter who along with Aaron Black records as Black Bones. Timmy's track on Occupied Minds is The Right To Life, a rattly, spacey slice of 2026 dub techno.
In April Black Bones released a self titled album pulling together tracks they'd released on 7'', 10'' and 12''. It's here and highly recommended. In May they put out an EP/ 12'' single called Black Bones 008, four pieces of dark dance floor Balearica/ electronic edit mayhem that sound great in the mid- August sun. Listen/ buy here.
