JANUARY PLAYLIST

This month the walls of Monkey Mansions have shook to the sound of...

1.  Powder - "Turn Another Page" (1968)

Good to see Californian anglophiles Powder back in focus thanks to a new compilation on Big Beat, Ka-Pow! An Explosive Collection and their story told in detail in the new issue of Shindig! magazine. I'm not messin', these boys were superb. Part The Who, part Simon & Garfunkel, all parts immaculate pop music. If you don't know them, check 'em out pronto.

2.  Ike Turner & The Kings of Rhythm - "Ghetto Funk" (1969)

The part of the ghetto Ike acquired his funk was the smoother section if A Black Man's Soul is anything to go by. It's a mighty fine instrumental album - nominated (i.e. didn't win) a Grammy - and even if not as tough as titles "Getting Nasty", "Up Hard" and "Nuttin' Up" suggest, it moves in all the right places.

3.  Scott Walker - "It's Raining Today" (1969)

From Scott 3. Been reading No Regrets: Writings on Scott Walker in which different writers contribute pieces on the various periods of Walker's career. The chapter "A Dandy In Aspic" by Ian Penman, looking at the largely ignored Middle Scott MOR years (post Scott 4 to The Moviegoer in '72) is music writing at its most brilliant: imaginative, thought provoking, poetic. And means I've now got some gaps to fill.

4.  The Fabulous Counts - "Dirty Red" (1969)

The Fabulous Counts came out of Detroit in 1969 and in Jan Jan made one the most bad ass organ funk LPs these honky ears have ever had the pleasure of encountering. Mose Davis was the organist but the whole band cook and swing and groove and get down and do all the things you'd want on covers and their own compositions. It's a big fat horny sound they create with jazz licks a plenty. Every track a house party winner.

5.  Reverend Charlie Jackson - "God's Got It" (1970)

Rev. Jackson plugs his guitar into a small portable amp and lays down an incessant beat for the congregation. If John Lee Hooker played churches...

6.  Fred Wesley & The JBs - "I'm Paying Taxes, What Am I Buyin'" (1974)

Fred & The JBs cut Damn Right I Am Somebody during the same session that produced James Brown's The Payback album and Mr Brown is never far away, ensuring he gets a cut of the writing credit no doubt. JB introduces the record by saying "To me, happiness is Fred Wesley playing his horn". Mr Wesley left Mr Brown's employment the following year. 

7.  MFSB - "Freddie's Dead" (1973)

A clue to Freddie's death is helpfully provided on the front cover of the Mother Funkin' (cough) Sons of Bitches debut album: a gigantic syringe laying in an open coffin in a graveyard surrounded by red poppies. Subtle. Fantastic symphonic version of Curtis's classic.

8.  Squire - "You're The One" (1983)

Out of the bands spawned by the '79 Mod Revival, Squire were more 60s orientated than the majority. By 1983 and their swansong album Get Smart they had 60's pop nuggets down to a fine art (so much so that for years I thought their "Jesamine" was a cover). Difficult to select a highlight from the LP but "You're The One" meshes The Who's "So Sad About Us" to touches of the Byrds, the Beatles and the Hollies. That'll do. 

9.  Superfood - "Superfood" (2014)

We've now reached such a distance from baggy and Britpop that bands now include members who weren't even born when Blur stumbled around on Top of The Pops with a chicken's head on a stick. Superfood's Don't Say That is an album that falls between the two periods and unashamedly pilfers from both and even throws in an echo of "Sympathy For The Devil" for good measure. I'm all in favour. Tonight I'm gonna party like it's 1991. 

10.  Peter Doherty - "Flags of the Old Regime" (2015)

Wasn't Pete supposed to die ten years ago? He's still here but death still stalks our troubled troubadour. When I read this was a tribute to Amy Winehouse I had visions of Pete mumbling along to the Daptone horns, but no, this is a sensitive, moving and even graceful piece of work. Getting new stuff of out him is a bit like getting blood out of one of his collapsed veins but it's usually worth the wait. 

BABYSHAMBLES at the BLUES KITCHEN

- They turn up then?
- Yep.
- What state was Peter in?
- Not bad. Fully functioning but in no mood for banter. Didn’t speak all night.
- Were they any good?
- Were okay. They’ve played better and been worse; and played worse and been better. Was a middling one.
- What did they do?
- Opened with What Katie Did; You Talk; Baddie’s Boogie; then a couple of newies.
- What were they like?
- Promising on first hearing. One was something about a stranger and had a sparkly Orange Juice feel and the other was a short scratchy punky blast almost like Public Image Limited.
- Blimey.
- Quite. Then was There She Goes.
- Oh, I like that one: “I caught a glimpse of your white plimsolls/ Twisting and turning to Northern Soul”.
- Yeah. Delivery got a few heads bobbing; Back From The Dead; a spiralling newie; Time For Heroes.
- “Did you see the stylish kids in the riot/ Shuffled up like mods/ Set the night on fire”. Cool. Were the kids rioting? Pete lose his hat?
- No, they were pretty subdued. Hat remained in place. I’m not sure that’s how that song goes anyway.
- Sounds like it to me. The rest of the band?
- Drew and Adam did a sterling job as usual, particularly Adam who had the shits all day. Mik looked like shit.
- What next?
- Unbilotitled; Carry On Up The Morning; Side Of The Road; Unstookietitled; Beg, Steal or Borrow; Killamangiro.
- “Ooh-oh-oh-Ohoooowoooh”.
- That’s the baby. Then Albion and another new one – a slowie – to finish.
- Right. How’d you remember all that?
- Was texting myself notes.
- Bit sad innit?
- Yeah, was gonna write a review.
- Why didn’t you?
- Watch it sunshine.

PETER DOHERTY at THE TROXY

“The artist walks where the breath of the spirit blows him. He cannot be told his direction; he does not know it himself”.
Maynard Keynes, Arts Council of Great Britain, 1945.

It’s a lofty quote to associate with Peter Doherty but he'd appreciate it and even with an acclaimed album (Grace/Wastelands) and a series of well received shows nothing should be taken for granted. Of all the things he is, predictable isn’t one of them. So easily blown off course – by accident or design – you never quite know what you’re in for. So, tonight, Sunday 29th March 2009, where’s he at?

Doherty bounds on, three-piece suited and booted, drops hat on head, picks up guitar and we’re into the Libertines “Music When The Lights Go Out”. Almost immediately there’s a noticeable draught in the air as eyebrows are raised in unison; he’s in fine voice, strong and clear. He also manages to play guitar properly; all the way through with no mistakes. This is promising stuff. Of course, this should be the least you’d expect, but from someone who on another night can barely remember his own lyrics and whose fingers work like sausages, this is definite progress.

Graham Coxon and Adam Ficek, the first of countless musicians that come and go through the night, join for “Arcady” which is given a more Johnny Cash and the Tennessee Two feel than the version that opens Grace/Wastelands.

There’s not been a great wealth of QPR-related lyrics throughout the years but Doherty’s on a mission to up the percentage. Current groove laden single “Last of the English Roses” – number 67 with a bullet - has the finest Loftus Road moment yet: “She knows her Rodneys from her Stanleys”, doffing the trilby to legendary number tens Marsh and Bowles. When a beautiful “1939 Returning” – complete with string section - is followed by the swirling, cinematic “A Little Death Around The Eyes”, it appears Doherty is playing the album in order, seemingly confirmed by “Salome” up next. But proving you can rarely second guess Peter, instead of “I Am The Rain” we get the non-LP “Through The Looking Glass”.

By now I’m thinking this is the best I’ve ever heard him. No incoherent slurred mumbling, no songs falling apart, no forgotten words – totally focused and together. Professional rather than Potty. Even an annoying woman behind me, fog horning out every word, can’t spoil it; although I’m close to telling her to button it, before thinking I might just be being unreasonable.

From here on in, there’s the rest of Grace/Wastelands and more, including the towering “Broken Love Song”, with another QPR reference, and an endless procession of guests, most taking Doherty’s lead in being on their best behavior. A full Babyshambles line-up does “Unstookietitled” and even Mik Whitnall, whose guitar “skills” often match Peter’s, comes up to scratch. And Wolfman, who mangles every tune within earshot, keeps it respectfully toned down on “For Lovers”. Dot Alison adds little, Lee Mavers of The La’s means jack to me and he can stick that fuck awful song he’s milked for decades, and Stephen Street dresses as a Native American.

Street did a fantastic job on Grace/Wastelands (such a clumsy title), turning good songs into (largely) great recordings but I appreciate it’s “over produced” for some. Peter’s solo acoustic spot of “The Good Old Days” and “Can’t Stand Me Now” redressed the balance and he absolutely nailed them.

The chilled vibe of music and the salubrious surroundings of the Troxy (refurbished 1930’s Art Deco theatre) quenched the anarchic atmosphere of classic Libertines and Babyshambles gigs but it did tune the brain to the music. People listened. I love the mini-riots in tiny venues but that’s despite the music not because of it. But Peter couldn’t resist provoking some minor mayhem during the encore. “This is the last night of the tour and no-one has got up on stage yet”. A blistering “Time For Heroes” and “Fuck Forever” soon see the invasion commence.

This was the type of performance that supporters will point to as reaffirmation of their belief in someone who tests their patience like no other. This is why they’ve kept faith; this is why they put themselves through the mill. It’s nothing to do with the distracting baggage and circus - it’s the music. I don’t know what Doherty did after the show, but with his work done, I hope he got well trolleyed.

Set list: Music When The Lights Go Out, Arcady, Last Of The English Roses, 1939 Returning, A Little Death Around The Eyes, Salome, Through The Looking Glass, Palace Of Bone, The Good Old Days, For Lovers, Can’t Stand Me Now, Son Of A Gun, Unstookietitled, I Am The Rain, Sheepskin Tearaway, Lady Don’t Fall Backwards, Sweet By And By, New Love Grows On Trees, Broken Love Song, Albion, There She Goes, Time For Heroes, Fuck Forever.