If legends are to be believed, a young Spike, expressing zero interest in his father's workplace, taught himself to play on the railway lines. His cork-popping, banjo-wanking, tempo-shiftery opens a section of music which could be the one jazz band going bananas...
Mr Gav’s July Dancefloor roundup Part 2
Onasis I is, quite simply, wonderful. Onasis II, not so much, but it’s very listenable all the same, as long as you’re not seeking the depth and emotion of his previous records. I like to listen to this record whilst ironing.
"There are some very, very clever people at work here; I command you to read the sleeve notes on both releases, especially Ted Sands’ witty missive on the latest LP Free Gold!"
Right now we're gearing up for another
Eurovision Song Contest, the world's biggest celebration of karaoke dollybirds
and mentally unsound comedy entrants like Spain's bequiffed Rodolfo
Chikilicuatre who proudly plays a toy guitar with his nose.
The world of grind core has long been an impenetrable spiders-web of small towns with cheap back rooms for hire, where souls who've been stationed together since year zero can express their discontent via the tightness of jeans.
"Faux-camp, (Yoksheer style), honest endeavour, tremendous rhythm guitar work outs and Dave Gedge’s ever so slightly menacing growl keeping the cockles of your heart warm."
This is some of the most glorious music ever written.
"Krankenhaus? is exactly as this band should sound; weird, loveable and belonging in a place utterly removed from the cynical machinations of the music industry. "
"You might have missed this last year. No excuses now."
This man has, off and on, been responsible for some of the most inventive, playful and downright cussed avant garde music created in the UK for, well, a good 20 years now.
It's not everyday you can review the soundtrack album to a 1970 Czech New Wave film that recounts the dreams and hallucinations of a teenage girl as she experiences her first period and it's not an opportunity I'm going to pass up now.
It's strange hearing the sense of raw energy that informs the music, an energy that could limit as well as inspire, for, as with nearly all records of this period, you do feel that the creation of a sound rather than the song-writing is the driving force…
Somehow the ghost of Billy Mackenzie hangs over this release. Wild And Lonely must have been a template for their sound.
Brian Mathews' passion for talking over session intros right up the vocals either ruins or adds to the charm of the Traffic Jam's quite phenomenal I Don't Want You. Months later they would evolve into The Status Quo, a session version of whose Pictures of Matchstick Men is also featured.
But in 2007 will radio take kindly to a bunch of 30-something rap veterans, unmarketable to a younger generation who been led to believe that R Kelly is the definition of Hip-hop?
What's with the Wu-Tang Clan?
Germano is a chanteuse suited for the Gothic bedroom, or the snowed-in log cabin.
But this isn't a joke album in any way; nor is it an indulgent jam session or wig-out. It's a tight song-based album with the emphasis on great riffs and tunes.
If I remember correctly, “the GD sound” was all about slightly muffled vocals doing battle with raucous organs and guitars, all the while propelled by some unrelenting drumming.
You might think that these two “wacky dudes” (that's how the majority of population sees them) are on some crazy drugs.