SEPTEMBER PLAYLIST

1.  Barbara & The Browns – ‘I Don’t Want Trouble’ (1965)

Straight down the line Sticks and Stonesy R&B dancer from Barbara and her Brown brothers and sisters for Stax.

2.  Chuck Jackson – ‘What’s With This Loneliness’ (1965)

What a voice, what a track, what a man.

3.  Nico – ‘These Days’ (1967)

I’ve always liked some of Chelsea Girl but struggled with it as an album until this month when, finally, the penny dropped. Might crack The Marble Index soon.

4.  Bobbie Gentry – ‘Recollection’ (1968)

As someone who’s only previously chicken-scratched the surface of Bobbie Gentry, the lavish new 8-disc box set The Girl From Chickasaw County: The Complete Capitol Masters is proving a revelation. Featuring her seven albums from 1967-1971, all remastered with bonus demos and unreleased tracks, and an eighth disc of live BBC performances, it’s packed with delightful diversity: Gentry offering her unique take on - and blurring the boundaries of - country, blues, soul, pop. The gothic poetry of ‘Recollection’ from her third album, Local Gentry, stuns and haunts in equal measure and it’s far from the only track to do so. Fantastic collection.

5.  John Williams – ‘Can’t Find Time For Anything Now’ (1967)

This John Williams was a member of the Authentics whose claim to fame was supporting the Yardbirds at the Marquee before Williams ventured out on his own. The A-side to this Columbia release, ‘Flowers In Your Hair’, is a good ray of sunshine pop with a hint of cynicism in the lyric. On the flip that turns into full-blown depression. The catchy cello parts subsequently borrowed (to my ears) by Thomas Fersen on his brilliant ‘Encore Casse’ in 2017.

6.  Mulatu Astatke – ‘Kulunmanqueleshi’ (1972)

Vibes, woodwind, wah-wah and subtle rhythms conjure sheer magic from Mulatu of Ethiopia.

7.  Caesar Frazier – ‘Hail Caesar!’ (1972)

This month’s funky soul-jazz Hammond groove spot is captured by Caesar Frasier.

8.  Paul Orwell – ‘Speak of the Devil’ (2018)

'Speak of the Devil’, the first taste of long awaited second proper album, Smut. finds Orwell donning a leather jacket to join a motorcycle gang for a glamorama glory stomper, leaving Carnaby Street for dust as he swings into Devilgate Drive. A horny Bolan boogie for howling children of the moon.

9.  The Coral – ‘After The Fair’ (2018)

The Coral save the best track until last on their middling Move Through The Dawn. This fingerpicking acoustic number embellished with strings prompted me to dig out Everything But The Girl’s version of ‘English Rose’ afterwards. 

10.  Paul Weller – ‘Aspects’ (2018)

True Meanings is built for quiet contemplation and nowhere is it more moving than here.

MAY PLAYLIST

1.  Mary Lou Williams – ‘Praise The Lord’ (1964)

Oh, everybody clap your hands with Mary Lou (pictured above). This is an amazing amalgamation of the sacred church and the smoky jazz/R&B juke joint in perfect harmony.

2.  Johnny Alf – ‘Samba Sem Balanco’ (1965)

His name might make you think of a 1950s East End bin man, but Brazilian Johnny Alf is known as the Father of Bossa Nova in certain circles. His eponymous 1965 LP was a purely speculative purchase from Fopp this month for the risk-free sum of £3; the sun immediately came out.

3.  Patrice Holloway – ‘The Thrill of Romance’ (1966)

The classic Kent comp On The Soul Side has now been released on CD with ten bonus cuts. Some are familiar but this, from the same session as ‘Stolen Hours’, is previously unissued. How and why is nothing short of a mystery. Wow.

4.  Jack McDuff – ‘The Boiler’ (1972)

Rather confusingly McDuff made two albums called The Heatin’ System – one in 1994 and the one we’re interested in, for Cadet, in 1972 which is a steamy, bluesy, funky, proto-Acid Jazz affair. Every track a Hammond and horns scorcher.

5.  The Soul Children – ‘It Ain’t Always What You Do (It’s Who You Let See You Do It)’ (1973)

Gritty singalong from members of the Stax family.

6.  Spiritualized – ‘Smiles’ (1992) 

The version on the first Spiritualized album, Lazer Guided Melodies is good but the five and half minute intergalactic flight on the ‘Medication’ single is the one to hear. Will Carruthers recounts his days in the band, and Spacemen 3, in wonderful prose in Playing The Bass With Three Left Hands, not only one of the funniest music books I’ve read for a while but one which refreshingly (and through necessity) places music and musicians as a countercultural force rather than a business. 

7.  The Schizophonics – ‘Make It Last’ (2017)

Got a stubborn lump of wax stuck in yer lughole? Let San Diego’s the Schizophonics dislodge it with their bone shaking brand of MC5/Stooges rawk and roll. The dial doesn’t go up to eleven; that’s where it starts. Blimey.

8.  Spinn – ‘Who You Are’ (2018)

A pleasant, gently jangling, pop tune from new young Liverpool beat combo.

9.  The Coral – ‘Sweet Release’ (2018)

The Coral seem to be defying the odds and are actually getting better. This rubbery new single could be classic Super Furry Animals. Praise indeed.

10.  Kamasi Washington – ‘Fists of Fury’ (2018)

After witnessing the current poster boy of jazz in a small arts centre last year I wondered how he’d make the transition to a larger “rock venue” such as the Camden Roundhouse. I needn’t have worried, Kamasi and his band – with a new set – were even more spectacular. For the Jackie Chan inspired ‘Fists of Fury’, Kamasi welcomed London saxophonist, Shabaka Hutchings, to the stage. A nice touch and an awe inspiring gig.

MARCH PLAYLIST

1.  Big John Patton – ‘Fat Judy’ (1965)

A classic and one of the templates for Acid Jazz. I hadn’t heard the complete album it came from, Oh Baby, until recently and if, like me, you like Hammond grooves you’ll love it.

2.  Bobby Bland – ‘I Ain’t Myself Anymore’ (1966)

Another sensational Bland (pictured above) track to add to the list with one record dealer describing it far better than I could: “A cocktail of understated horns, his controlled gravel-coated throat, purrs the lyrics out, like a sun-basking lion, in wait for the kill.”

3.  The Lovers – ‘Whatcha Gonna Do Baby’ (1966)

Formed by a group of serving officers at the Deal Air Force base in Northern California as the Emotions, a name change to the Lovers saw one 45 in 1965, ‘Do This To Me’. A beautiful, Impressions-like follow-up featuring ‘Whatcha Gonna Do Baby’ failed to happen and languished in the vaults for 50 years until Kent rescued in this month for their Harmony of the Soul comp.

4.  The Gaylads – ‘Sounds of Silence’ (1967)

Tis brave to attempt a Simon and Garfunkel song but Jamaican vocal group The Gaylads do so with some style, giving it a graceful rocksteady overhaul.

5.  Baby Huey – ‘Listen To Me’ (1970)

Within the space of a month in 1970 Jimi Hendrix, Janis Joplin and Baby Huey all checked out, with Huey (James Ramey to his folks) not even making it to 27, falling short by a year. His Curtis Mayfield produced album The Baby Huey Story: The Living Legend was released posthumously and opens with this fat funker.

6.  The 8^th Day – ‘You’ve Got To Crawl (Before You Walk)’ (1971)

The full refrain being “You’ve got to crawl before you walk back into these arms of mine”. Storming early 70s soul from Holland, Dozier & Holland’s Invictus label.

7.  William De Vaughn – ‘Be Thankful For What You Got’ (1974)

It was hearing Arthur Lee and Love’s 1975 cover that got me interested in this song and then by complete coincidence, 25 years after it was released, I finally got around to listening to Massive Attack’s Blue Lines and it was on there too. All versions are good but De Vaughn’s cool and unhurried soulful vibe is sheer class.

8.  Neil Young – ‘Barstool Blues’ (1975)

Suitably woozy, boozy and ragged; a strong contender for my favourite Neil Young song.   

9.  Altered Images – ‘A Day’s Wait’ (1981)

‘Happy Birthday’ was a big bouncy pop hit but not typical of what lay on the rest of that album. Produced by Siouxsie & the Banshees’ Steve Severin it’s not too far removed from the Banshees own JuJu, out at the time; obviously not as terrifyingly dark (what is?) but the guitars and drums are very similar in places. 

10.  The Coral – ‘Million Eyes’ (2016)

I’m usually fairly tepid towards the Coral but they put on a great show at the Kentish Town Forum this month with heavy-hitter ‘Million Eyes’ from new LP Distance Inbetween rocking like a late 60s Fillmore gig with an eyeball shredding lightshow to match. 

JAPAN DISASTER BENEFIT GIG at the BRIXTON ACADEMY

Warm hearted Liam Gallagher was reportedly the brains behind this benefit gig for the victims of the Japanese earthquake and tsunami. He personally organised it. "Paul, wanna do a gig for them people in Japan?" Grunt. "Sound." And we’re off…

First up were The Coral. They chimed their Rickenbackers in unison to tracks from Butterfly House and earlier. The lush Wirral West Coast harmonies of “1000 Years” one minute and the heavier Fillmore wig-out of “North Parade” the next. They played their biggie “Dreaming of You” and even did “Ticket To Ride”. It seemed a shame to waste their stage time with that, which dragged like they were pulling the rotting carcass of Merseybeat around with them, when their own stuff is better. I wondered if Liam had stipulated everyone had to play a Beatles song. I braced myself. As performers, The Coral offer nothing beyond their songs and musicianship - there’s more movement in George Harrison’s slippers - but they put down a solid marker for the evening and this morning I’ve been listening to them again.

Graham Coxon was the most surprising name on Liam’s wish list and what he made of Coxon’s set is anyone’s guess. From the start he promised/warned he was going to play some old songs and some new songs. Old songs would mean old solo songs, not old “Coffee and TV” songs. He kicked off with something akin to a child’s messy bedroom. There was stuff jumbled all over the place. “Confusing, weren’t it?” he acknowledged. He continued in this vein like an angry teenager playing his New York CBGBs punk records in one room and his Buzzcocks, Jam and Clash records in another down the phone to his mate in Seattle at top volume to annoy his parents. His wasn’t a singalong set, even “Standing On My Own Again” and “Freakin’ Out” seemed obscure to most, but he went down well. I mean, it’s the geezer from Blur innit?

I hadn’t expected The Coral to be on first so it made the running order a fun guessing game. Not many guessed Paul Weller. The last time I saw him was twenty years ago, stood on the same spot, with one Japanese issued solo album to his name but I’ve kept tabs on him. I can trace almost every twig and branch on my musical tree back to the acorn planted when I bought The Jam’s “Absolute Beginners” as boy breaking into mod and spots. With his grey Uncle Bulgaria mullet, tonight Lord Welly clears up. He struts his slim line frame and kicks out a flared trouser leg and juts his head like a startled tortoise. Set wise he plays thirteen songs: three Jam songs, including “Art School” which somehow now requires three guitars and a feisty “Eton Rifles”, solo stuff, but unfortunately nothing from the Style Council era. If I never hear the likes of “Whirlpool’s End” or “The Changingman” again it’ll be too soon but it doesn’t detract from the performance and his commanding presence. He is an absolute class act, no doubt, and in the bonkers “Fast Car, Slow Traffic” can still joyfully rub against the grain. “From The Floorboards Up” and “Come On/ Let’s Go” burned brightly but my eyes rolled to the back of my head for the next Beatles karaoke moment, “Come Together”. Argh.

Kelly Jones is from a band called The Stereophonics. He played three songs on a guitar. Wayne Rooney has a Stereophonics tattoo.

Of all the acts, Primal Scream are the one I’ve seen most down the years. Usually they’re good, sometimes great, although the last time, off the back of the glittery disco balls-up Beautiful Future, they were going through the motions and frankly rubbish. From the thundering opening of “Accelerator” they were in the mood, and some. At first I thought Mani had been replaced on bass by David Hasselhoff before realizing it was Glen Matlock. Phew. Anyway, the Scream totally smashed the place, with Bobby Gillespie, still wearing that red silk shirt from 1991, pulling out all the stops - all flailing limbs and hair. “Movin’ On Up” will always be a winner, “Loaded” still sounded fresh, “Country Girl” was blistering, and I’ve never heard them do “Rocks” with such conviction. Beatles cover? Do me a favour. For them it was a grubby Stoogesy version of Billy Boy Arnold’s “I Wish You Would” leading into Bo Diddley’s “Who Do You Love”. Like I say, totally smashed it.

Richard Ashcroft’s three song acoustic spot allowed some breathing space. In the days of indoor smoking “Sonnet” and “Lucky Man” would’ve bought a sea of lighters to the air as everyone swayed along. He did a new one which sounded like an old one and was gone. He was in fine voice but didn’t do “The Drugs Don’t Work”. The bastard.

I’ve tried listening to Beady Eye’s album but haven’t yet made it until the end. It’s predictable, overlong, but not – if I’m being generous - especially terrible (although there are some songs which are precisely that). If released in 1997 it would’ve been the third best Oasis LP. The problem they have is following four hours packed with classic moments and memories from people’s lives with only their tepidly received album. So when Liam sings “I’m gonna stand the test of time like the Beatles and Stones”, you feel like patting him on his head. He of course prowls around like a gibbon in an oversized parka and still hasn’t cottoned on that if he actually touched the mic stand he could raise it a couple of inches so he didn’t need to bend his knees and tilt his head to sing. Bless. “Four Letter Word” and “Bring The Light” are brash and ballsy and work well but any (relative) subtlety in more thoughtful tracks like “Millionaire” are bludgeoned out of them by the thick wall of noise and constant thump-thump-thumping. Liam, just because you turn it up, it doesn’t make it sound any better and flashing lots of bright lights won't distract us for long. After a while it gets so damn monotonous and a test of endurance that beats many as they head to the door with ears ringing. Those who sneaked off missed a cover of the Beatles "Across The Universe".

Over £150,000 was raised for the British Red Cross to help the people of Japan.
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AUGUST PLAYLIST

Been having a dig back through some oldies this month, helped by a mysterious white cat.

1. Ed Bruce – “I’m Gonna Have A Party” (1964)
According to Wikipedia, Ed Bruce is a country music songwriter and singer best known for his 1975 hit “Mama Don’t Let Your Babies Grow Up To Be Cowboys”. I’ll have to listen to that one in bit but around here he’s best known for a couple of big voiced, string laden singles for Wand including this morose mid-tempo mover where he invites only heartache, blues, misery and memories of you to his party.

2. The Graham Bond Organization – “Who’s Afraid Of Virginia Wolf?” (1965)
Bond, Baker, Bruce and Heckstall-Smith all hurtle headlong into Jimmy Smith’s instrumental desperate to steal the limelight. Bond wins of course, managing to play organ and mellotron simultaneously, and then organ and alto simultaneously. Magick.

3. The Distant Cousins – “Let It Ring” (1965)
I always imagined The Distant Cousins as a groovy moptopped beat combo a la Standells. They weren’t. Raymond L Bloodworth and L Russell Brown actually looked disappointingly square, not that you’d ever have guessed from this infectious and irresistible would-be Merseybeat stomper.

4. Etta James – The Same Rope (1967)
The indomitable Ms James has a message for her wayward lover: “The same rope that pulls you up – sure can hang you”. Consider yourself warned, boy.

5. The Us Too – “The Girl With The Golden Hair” (1967)
Like countless others, Cincinnati band The Us Too served up covers to the local kids at the hop. What those kids made of this moody garage rocker with a wonky organ and a runaway flute is anyone’s guess.

6. Powder – “Gladly” (1968)
I’d forgotten how brilliant Powder were until revisiting their Biff! Bang! Powder compilation the other day. The closest thing the US had to The Who in their pop art pomp.

7. Big Joe Turner – “Two Loves Have I” (1969)
“Two loves have I, and both of them are you”. Big Joe’s ode to his schitzo girlfriend was a big hit around Shoreditch and Old Street back in the halcyon days of 2002. “Shoobie-doo, shoobie-doo”.

8. The Stairs – “Fall Down The Rain” (1992)
Seems appropriate.

9. The Coral – “Two Faces” (2010)
Sounds more like an amalgamation of The Byrds, The Hollies and Buffalo Springfield than even Crosby, Stills and Nash.

10. Pocketbooks – “Sweetness and Light” (2010)
Who or what replaced yuppies? Pocketbooks sound like a bunch of them who, when collecting Joshua and Honeypot from playgroup, pinch their kids’ instruments and tunelessly lisp passages from their novels-in-progress over the backing of toy drums and Bontempi organ. I can find no rational explanation for playing their Flight Paths album at least twenty times this month but I have, and bizarrely love it.