This Week’s Spotify Playlist… And Thank You For The #welovethenhs Response
That last post of mine threw me off my posting stride a bit, because of the sheer weight of response, by email, on Twitter, in the comments here and in the comments to Debi’s repost of it (where our one troll went to hang out – I apologise, Debi, for getting a bit too angry there with someone who is, after all, a fellow human being, albeit one who wants to condemn millions of other fellow human beings to death because she doesn’t like them…).
The response has been, frankly, ludicrous – I was even interviewed by the Wall Street Journal today in my lunch break (I are big media pundit! I am the new Iain Dale or something), which is frankly surreal, given the content of that last post – I would have thought “The NHS isn’t designed to deliberately kill old people” was as uncontroversial a statement as one could make. I wonder what other misconceptions about cherished national institutions I’ll have to try to dispel in international media. Maybe next week I’ll be telling Le Monde that Last Of The Summer Wine isn’t a paedophile ring but a whimsical Yorkshire comedy show…
Anyway, thank you to everyone who retweeted, commented or linked that post of mine, and now I’ll get back to the stuff I *meant* to be posting this week. Tomorrow there’ll be a post on comics and the day after the continuation of my guide to my blogroll, but for now here’s a playlist.
My Mom Is Tor Johnson’s Mom by The Native Shrubs Of The Santa Monica Mountains is a fantastic song that my friend Tilt linked me to last week. For those who don’t know, Tor Johnson was the bald wrestler who appeared in many Ed Wood films, most notably Plan 9 From Outer Space. This song reminds me of my friend Blake Jones, but for a reference other people might get, the closest I can imagine is if The Dukes Of Stratosphear had done a Frank Zappa pastiche…
Think Carefully For Victory by The National Pep is one of two songs by my own band I’m including here (yes, Spotify even has *us* on it now) because I think they genuinely fit. It’s a jangly pop song for which I wrote the music and Tilt the words. The lineup on this one (TNP has a *very* fluid membership) is me on guitars and keyboards, Tilt on vocals and drums, Gavin Robinson on mandolin (which we mixed too low, I think), Laura Denison on one line of vocal and Albert Freeman (of Wilful Missing) on
some African instrument I forget the name of Đàn Bầu.
Save The Last Dance For Me by “Ike And” Tina Turner is a Phil Spector-produced, Jack Nitzsche arranged version of the Doc Pomus/Mort Shuman classic. Brian Wilson very obviously ripped off the backing track for this for Heroes & Villains.
Bicarbonate Of Chicken by Ivor Cutler is about ordering bicarbonate of chicken in a restaurant.
Just One Look by Doris Troy is better known, in Britain at least, for a vastly inferior version by the Hollies, but this is the original. This was actually originally a demo, but it was released unchanged and made the US top ten. In the intro, you can definitely hear the influence this record and others like it had on early reggae…
Through The Net by Glenn Tilbrook & The Fluffers is from Pandemonium Ensues, probably Tilbrook’s strongest album since East Side Story. This one’s very Kinksy.
Common People – Live by Pulp is a recording which always brings back memories for me, as I was at the Glastonbury where this was recorded, and saw Pulp quite by chance, having no intention to see them perform (I’d seen them on some late-night Channel 4 thing and dismissed them as crappy electropop based on a couple of minutes, and hadn’t heard this, which was a huge hit single at the time). But it was the most astonishing experience of my life. I’ve seen Pulp and Cocker solo live quite a few times since, and they’ve always been good, but at that gig Cocker was simply the most astonishingly charismatic performer I’ve ever seen, and every moment is etched in my brain fourteen years later. (Christ, fourteen years? That can’t be right, surely? 1995 was only a little while ago…). This recording was originally a b-side to the Mis-Shapes/Sorted For Es & Whizz CD single, but is now a bonus track on the reissued Different Class.
Baby Please Don’t Go by Big Joe Williams is another song that’s usually much better known in a beat-group cover version (the version by Them), but I prefer (just) the original, just vocal, sparse guitar and harmonica.
Beat Head by Candypants is included in this as part of my ongoing campaign to get Lisa Jenio recognised as one of the real greats in rock/pop music. I think this one might be about something naughty…
Hominy Grove by Van Dyke Parks is one of many great songs from Jump!, his album loosely based around the Uncle Remus stories.
Nasty Dan by Johnny Cash is another one from The Johnny Cash Children’s Album. I always liked Cash doing this sort of material at least as much as the dark ‘man in black’ stuff for which he’s better known.
Time Will Carry On by The Wackers is a nice bit of 70s harmony pop that, to me at least, stays just the right side of Bread or America.
I Got You Babe by Tiny Tim is Tiny Tim being both Sonny and Cher, accompanied by his ukulele.
Don’t Smoke In Bed by Peggy Lee is a song that, I’m ashamed to say, I first got to know from k.d. lang’s vastly inferior cover version. I could listen to Peggy Lee sing anything…
And Jaded by The National Pep is another of my collaborations with Tilt (I’d say the writing here is about 55/45 in his favour), and the closest I’ve ever come to realising the sound I hear in my head in a recording studio. It’s a shame that Tilt didn’t find our musical collaboration a particularly happy one, as I think the results were superb, if I do say so myself. On this, Tilt and Laura share the vocals, Tilt does drums, Blake Jones does the theremin and melodica on the tag, my wife Holly adds woodwinds, and I played guitar, all the keyboard parts, and ukulele (and mandolin? I know I had a mandolin in the studio but don’t remember recording a mandolin part, but I *think* I can hear one on one of the choruses). I’m very proud of this one, and I don’t think you’ll hear music like it anywhere else.