Sunday, 15 October 2017

Volume 22 Tracks 11-15 - Dubstar, The Charlatans, Verve, Ruby, Belly





















11. Dubstar - Stars (Food)

While I've been writing this blog, I've occasionally encountered tracks I haven't properly listened to for years, which give me an enormous proustian rush. Memories of places, times, drunken nights, and songs leaking out of Argos purchased clock radios in the morning in cheap rented rooms... these almost overpower the songs themselves. I was slightly surprised to find that "Stars", which was eventually Dubstar's biggest hit, was one of these tracks. It feels like something which was absolutely everywhere for six months, then nowhere at all, forever locking it to a specific time in my life.

The group's first LP "Disgraceful" was a steady and constant seller throughout 1995, peaking at number thirty in the album charts but hanging around forever. It attracted a diverse audience, with pop listeners, Dance music fans and indie kids alike having copies tucked away in their CD collections, and "Stars" did an enormous amount to help its status. Filled with the same dark, late night winter atmosphere as Sneaker Pimps "6 Overground", the track is subtle and slippery, and moody as fuck. Sarah Blackwood's vocals manage to be both sweet and bleakly agitated ("for my life, my God I'm singing") and it's actually a rather brilliant piece of pop music. The Pet Shop Boys at their most despondent are a better reference point for Dubstar here than any of their peers on the indie circuit.

Sarah Blackwood has been a continued presence on the music scene since thanks to her involvement with the cultishly successful Client, but I can't help but wonder if "Disgraceful" deserves a thorough reissue treatment. It was a constant, misty background presence throughout 1995 and deserves better than to sit in the cut-price CD section of Fopp Records.



12. The Charlatans -  Just Lookin' (Beggars Banquet)

The Charlatans resurrection into the mainstream of British rock and pop continued with "Just Lookin", which was a modest hit in 1995. Most of their material at this time consisted of straight ahead groovers which could just have easily been recorded by The Rolling Stones or The Faces in the early seventies. All of these lacked the moody, psychedelic nature of their earliest material, but it was impossible not to be charmed by the force of it all. Tim Burgess's grinning visage in the video for "Just Lookin'" says it all - they were a group in love with the sounds they were making and the swagger of their ideas, and only too happy to jettison their darker side for awhile.

Within a year, they would be back in the top ten again, the only early nineties baggy band to actually gain ground during the Britpop era rather than drift away into cultdom or irrelevance.



13. The Verve - On Your Own (Hut)

By the point of their third album "A Northern Soul", The Verve's transformation from psychedelic warriors into a band producing records of epic, classic moodiness was complete. While huge critical acclaim was on their side, sales surprisingly weren't - this is astonishing, given that all the other components which eventually made them enormous seemed to be in place. In particular, "History" from the LP sounded like it should have been an easy top ten hit. It was due to these failings on Hut and Virgin's part that Liam Gallagher apparently swore at a Virgin executive at a corporate do, sneering at him that he "couldn't even fucking break The Verve".

I have to wonder if it was entirely Hut or their parent company Virgin's fault, or other forces were to blame. "On Your Own" was a minor hit at the time, but its threadbare moodiness sounds distinctly un-1995. At this point, the Britpop knees-up was still ongoing, and hadn't quite given way to the subtle, epic melancholy which would dominate the later part of the nineties. The Verve often sounded wonderful and worthy, and "On Your Own" is a prime example of how touching they could be, but it didn't really cut through to the public's consciousness amidst the noise and pandemonium. Soon, all that would change and "Urban Hymns" would go on to be one of the biggest selling albums of all time in Britain.



14. Ruby - Paraffin (Red Snapper Mix) (Creation)

Lesley Rankine has been on this blog once before, albeit under a different guise and making an incredibly different noise. Silverfish were snappy, squatty Camden punks who briefly bullied the indie scene in 1993. Ruby, on the other hand, were a trip-hop project who slipped out almost unnoticed, despite some airplay and unlikely appearances on programmes such as "Later With Jools Holland" (where Silverfish were almost certainly never going to end up).

The original version of "Paraffin" is an atmospheric and vaguely threatening piece of work. The Red Snapper mix included here is jazzy, complex, and unbelievably good. Jittering and winding its way around the original melody, it showed there was considerably more to Lesley Rankine than thrashed guitars and the Camden underground - this is sophisticated and fascinating work which really should have been appreciated more at the time than it was.

I wish I knew where my copy of the Ruby LP "Salt Peter" had disappeared to. I owned both that and the remix LP this stemmed from, and they seem to have gone walkabout in the countless house moves I've undergone since.



15. Belly - Seal My Fate (4AD)

While Belly's status had slipped somewhat since their LP "Stars" had reached number one on the album charts in 1993, they remained a much-loved group among those who hadn't quite abandoned all American alternative music at the height of Britpop.

The wonderful "Now They'll Sleep" became their biggest UK hit in 1995, reaching number 28, and "Seal My Fate" managed to worm its way into the Top 40 as well. Epic, sweeping and featuring one of Tanya Donnelly's most convincing vocal performances, it comes dangerously close to the kind of commercial rock peddled by Alanis Morissette later in the decade, without quite losing its rougher or more unusual edges. It was the group's last single before breaking up, and it's difficult not to regard this as being an odd decision - if they had chosen to taken a break and reconvened a couple of years later, there's every possibility Belly could have become a much bigger act.

Sunday, 8 October 2017

Volume 22 Tracks 6-10 - Ash, The Wannadies, Powder, Heavy Stereo, Intastella





















6. Ash - Kung Fu (Infectious)

The anarchic, roaring stomp of "Kung Fu" felt like the moment Ash stopped being a fringe cult concern or a teen punk fanzine act, and began to scream through the speakers of evening radio like a serious proposition. It's a full-throttle delight, feeling chaotic enough to sound like a possible accident, but craftily hooky enough to cause listeners like me to suspect that the group were on their way up to bigger and better things.

It feels shorter than its allotted two-and-a-half minutes somehow, seeming like a peculiar minute-long rush of ideas all flashing past each other in an overwhelming fashion. It's not a work of melodic sophistication, as some of their later singles would try to be, but it lives up to its subject matter by feeling like several well-aimed chops to the body.



7. The Wannadies - Blister In The Sun (Indolent)

A somewhat odd inclusion on the compilation, this. It featured as the Swedish indie-pop sensations  flipside to the "You and Me Song", and seems to be another example of Beechwood picking a B-side over the more appreciated main track. A cover of the Violent Femmes song, it manages to jettison a lot of the charming lo-fi scrappiness of the original and replace it with a hard, rocking edge. For many listeners, that will probably cause it to lose an enormous amount of its original appeal - for me personally, it tightens up some of the original ideas and gives it a sheen which can potentially feel more appealing depending on what mood I'm in.

For such a cultish song, "Blister In The Sun" seems to have been covered by every bedroom boy or girl with a spare acoustic guitar and been on every advert and trailer on Earth now. In 1995, though, it was still a reasonably respectable, niche underground track before the floodgates burst open.

As for The Wannadies, they were huge in their native Sweden but never quite managed to have the major success predicted for them in the UK. A scattering of respectable but moderate chart positions later, they finally split up in 2009, but occasionally regroup for one off shows. While a lot of mid-tier Britpop bands around this period released cynical and plastic sounding bouncy songs with advertising jingle melodies, The Wannadies had a more intricate pop craft at their centre which was actually very welcome at the time, and there's no question they deserved at least a couple of bigger hits here.



8. Powder - Afrodisiac (Parkway)

Powder (often the group the entire Internet splutters "WHO?!" about whenever the BBC repeat their "Britpop Now" programme) were a peculiarly ever-present band throughout 1995. Signed by the PR gurus Savidge and Best to their Parkway label and fronted by Pearl Lowe, there were deeply held suspicions among some listeners that the band were mere "scenesters", hyped beyond measure and given opportunities above their rightful station. Lowe hit back by saying that they were signed by Parkway because they were "too uncommercial" to be on a major.

Unfortunately, I must admit to being one of the cynics. Powder are responsible for one of the most awful live music reviews I've ever written - awful in the sense that I absolutely lambasted the group and also awful in that, as with many scathing reviews, it reflected worse on me than the group themselves. I've long since shredded it in shame, but the irritation I felt around Powder had been building for some time, and peaked with a live show which was essentially a competent, pedestrian presentation of basic punk ideas delivered with smug arrogance and self-belief. Pearl Lowe strutted and pranced around, grinning from ear to ear, while delivering songs like "Afrodisiac" which sounded suspiciously similar to a lot of unsigned band demos I'd been hearing around the same time. Staring aghast at the band right at the top of the gig bill, I couldn't understand why them, or why now. 1995 wasn't short of chancers, of course. Menswear were often regarded as the top criminals in this respect, but what's often been overlooked since (even by some of their members) is that Menswear actually had at least three or four good tracks to their name. Powder didn't.

Listening to "Afrodisiac" again now, I still find myself cringing and getting increasingly angry when I hear the "It's a wrap/ take it back/ do ya feel crackerjack" chorus. Glued together in a mend-and-make-do fashion and then presented as the next big noise, it feels hollow - neither adrenalising, nor imaginative, nor witty, it's just another slice of slightly disappointing indie stomp.

Of course, far from brimming over with smugness and confidence, we've all since learned that Pearl Lowe ended up with serious drug addiction issues during this period. Sometimes it's difficult to remember that the stage persona in front of you is not necessarily the person as they really are, and nor does it reflect their self-belief or general state of mind at the time. Pearl Lowe's later musical work was also far more considered and much less scrappy than this, and Powder never really did make a proper album - so getting hot under the collar about their shortcomings really was a waste of my and everyone else's time.



9. Heavy Stereo - Sleep Freak (Creation)

Heavy Stereo were unfortunate enough to get signed to Creation right at the point when the music press were treating Alan McGee - aka The Man Who Signed Oasis - as an A&R guru who knew exactly where the action was. Getting news and gossip column inches purely on the basis of being the label's hottest new property, they were never really given a fair hearing, with opening expectations being far beyond reasonable.

When I first listened to "Sleep Freak" myself, my reaction was one of pure disappointment that the group clearly weren't the next big thing. As time wore on, however, its incessant glam stomp and power-driving chords won me over. In common with a number of other groups at this point, it half-inches ideas from a variety of sources, most notably T Rex and John Lennon's "Instant Karma", but manages to present something which sounds punchy and relatively fresh.

Heavy Stereo would never become proper contenders, and sure as hell weren't the "next Oasis", but frontman Gem Archer would later join the line-up of that band, which seems like a pretty reasonable runner-up prize.



10. Intastella - The Night (Planet 3)

Intastella had been around since the baggy era, and at the height of that movement were as critically acclaimed as many of their better known peers. Fronted by the confident, glitzy and glamorous Stella Grundy, tracks like "Dream Some Paradise" were minor club hits, but not big enough for their parent MCA Records, who were quick to drop them when baggy died.

The group are genuinely worthy of greater investigation if you haven't bothered already, and I'm saying this mainly because this cover of the Frankie Valli Northern Soul classic is a total misfire, and we won't get the chance to discuss them again. The original is filled to the brim with brassy flourishes, a rich atmosphere, creeping basslines and dramatic vocals, which are here replaced with a somewhat minimal electronic backing and slightly laissez-faire sounding vocals. Reduced to the basic kernal of its ideas, the band unfortunately "lose more than they found" and reduce it to a pulsing stomp - it's a good example of how a fantastic song can lose almost all of its appeal once its arrangement is radically altered.

Nonetheless, it acted as the group's fourth Top 75 entry, reaching number 60. They also continued until 1997, outlasting many of their peers.

Sunday, 1 October 2017

Volume 22 Tracks 1-5 - Boo Radleys, Echobelly, Sleeper, Julian Cope, Teenage Fanclub

Format: CD/ cassette
Year of Release: 1995

The sleeve design of "Indie Top 20" changes again, this time to incorporate some subbuteo players on a bright green background. If the earliest volumes emerged with images of paper clips and thick-rimmed NHS glasses, the final volumes spluttered out with lots of retro and lad-mag friendly pictures of reassuring boyhood things. The final "Best Of" volume would (as we'll see) use tankards of ale on its sleeve, and Volume 23 toy racetrack cars. You can read into this whatever you like, but if the first LPs seemed to brag that indie music operated on the outskirts and predicted the future, the final ones seemed to be trying to tell us that indieland was a post-modern world of colourful old ideas belched back up as pop ate itself - music to relive your childhood fantasies to with your best drunken chums.

And that really depended on where you were looking, of course. There were numerous bursts of awkward psychedelia and seering bits of indie lo-fi creeping their way into the top ten indie chart by 1995, besides the stuff Chris Evans was happy to play on his Radio One breakfast show. Instead of trying to compete with the numerous major label funded indie compilations around at this point, Beechwood could have chosen to plough their own furrow by hoovering up a lot more of the critically acclaimed Peel and Evening Session bands who weren't making as much mainstream noise. The kids with hairgrips and duffle bags were back (back! Back!) and growing in number - now might have been a good time to differentiate and go back to basics. Other labels like Fierce Panda were beginning to push forward in this respect.

Sophisticated, intricately arranged alternative music was also alive and well thanks to the growing stature of the likes of Tindersticks, Jack, My Life Story, and shortly Divine Comedy - there was an entire Scott Walker/ Nick Cave/ French orchestral pop inspired division of indie which got plenty of press at the time, but barely seems acknowledged as any kind of nineties development now (if you haven't heard Jack, by the way, do yourself a favour and buy their first two LPs now). None of these bands would ever find their way on to the series.

Volume 22 is the penultimate "proper" Indie Top 20 LP, and is something of a compromise, filled to the brim with mostly mid-table commercial indie rock, only some of which flies. Certainly from an historical point of view, though, a lot of it has become fascinating since, but it creates an unreliable picture of the scene as a whole, and smacks of desperation. My singles box at home felt far more exciting in 1995 than this.

1. Boo Radleys - Wake Up Boo (Creation)

And with a big fat parp, the Radleys open things in a celebratory fashion. "Wake Up Boo" has become many things to the group since - an albatross and a regular royalty cheque chief among them, I suspect - and it's also become one of the most overplayed songs of the era, to the extent that trying to listen to it afresh is near impossible. Shortly after its release its jolly brassiness soundtracked Radio One Roadshows, adverts for Virgin Radio, BBC preview footage, sports footage and plenty of other things besides. Listening again, though, my first thought is that the opening bars of the single always did sound like library music which could be entitled "Celebratory Music For An Evening Quiz Show", so the fact it became a media backing track as well as an effervescent, ever-present piece of genuinely appreciated chart music shouldn't be that surprising.

While critics at the time made inevitable comparisons to the Beach Boys, "Wake Up Boo" doesn't sound a jot like anything Brian Wilson would have made, even in his earliest days. Its foot-kicking, vocal harmony infested jolliness resembles The Four Seasons at their most sprightly if anything, and the band confessed that they actually came up with the idea for the record after listening to Take That's version of "Could It Be Magic". Really, this is the group trying to write a pop hit after years of being a cult concern, and finding they were in a position to pull it off.

There was so much goodwill towards the Boos at the time that nobody resented them for trying to earn a reasonable living, and I think that possibly lead to "Wake Up Boo" getting a free critical pass it doesn't entirely deserve. Lyrically vague and scattershot - explanations vary, some arguing it's supposed to be about two lovers, one in some kind of LSD trip love affair with the world, the other dour and cynical, others that it's about the change from summer to autumn - and filled to the brim with the plastic bounce of a cheap Woolworths football, it's easy to tire of. It's very much an indie group's idea of what a pop song sounds like; all skip and froth and no conflicting emotional pull (the "Death of summer"/ "You have to put the death in everything" aspect makes it sound as if they tried to cover that base, but lacked the experience to pull it off, and as such it glides past almost unnoticed.) In short, "Could It Be Magic" performs the job much more satisfactorily, having a bit of groove and swagger in its hips. If you're in the wrong mood, "Wake Up Boo" can be a charmless caffeinated stomp by comparison, the noise of the office optimist screaming "Mor-NING!" loudly in your face.

It also put the Radleys in a difficult position. Listening to Radio One one day, I overheard a Roadshow host talking to a small nine year old girl. "We've got the Boo Radleys here today, do you like them?" he gushed. "No!" snapped the petulant girl immediately, clearly unwilling to spend the next six months being mocked by her schoolfriends. "Wake Up Boo" served a purpose and raised the group's profile to incredible heights, but the group didn't look or behave like pop stars (or even want to spend the rest of their careers writing pop songs) and were ill suited to the long-term task. Future singles from the number one parent LP "Wake Up" (a more diverse and satisfying work than you'd realise from the choice of singles alone, actually) performed better than their previous 45s, but none reached the top twenty, with the follow-up "Find The Answer Within" struggling to number 37 as it remained overshadowed by their previous release. You could have choked on the dust the group threw up while running back to the drawing board.



2. Echobelly - Great Things (Fuave)

Echobelly, on the other hand, released something that sounded like "an ambitious media studies graduate's CV set to jolly music", as one particularly harsh critic dubbed "Great Things" at the time. Again, this single makes the cardinal error of believing that a combination of effervescence and optimism, plus the magical ingredient of self-belief, equals pop heaven. It usually doesn't, and pop songwriting is often a far more complex business than that. It yearns, doubts and questions and wonders even at its most million-selling, recognising that most listeners are equally complex, and need those twists and ambiguities to hang on to.

"Great Things" sounds like nothing so much as an overlong advertising jingle for Sonya Madan's personal credentials. The spirit of optimism which shone on the 1995-6 period allowed stuff like this to appear acceptable, but the cold, harsh light of 2017 makes it feel faintly absurd. You wrote an indie-pop song bullet-pointing your personal aspirations? WHY? Even Courtney Love would balk in disbelief at that. Like a lot of Echobelly singles, this feels quaint beyond measure now.



3. Sleeper - Vegas (Indolent)

Conversely, I enjoy "Vegas" way more now than I did at the point of its release. It's easy to write this off as being another sketchy character-portrait, but unlike "Inbetweener", it has a real darkness and warmth to its heart. Leaning back on the standard mid-life crisis "now or never" tale of a man who believes he can become a star, it could choose to be gently mocking, but it's oddly tender instead. Doubtless Sleeper had come close enough to defeat themselves to touch this story with the respect it deserved.

This time, the arrangement drops in yearning string patterns which recall the likes of Welsh melodramatists Jack while never quite taking that route full-on - it instead pulls in two directions, with Wener's vocals frothing over her protagonist's career change, while the group keen and pull the song in a less optimistic direction. The message is clear. The poor old sod is doomed, a deluded and over-excited soul set up to fail. He's probably not going to even get laid in Las Vegas, much less become the next Tom Jones there.

When she wanted to, Louise Wener could actually do this sort of thing exquisitely well. "Vegas" is double-edged and detailed in a way that "Wake Up Boo" and "Great Things" utterly struggle to be, despite being less of a hit in the process (it crawled to number 33 at the time, a comparative flop if weighed up against their later, bigger hits). There's both Britpop kitsch and irony as well as a beating heart somewhere in here, and at this stage in the compilation, that comes as some relief.

Regrettably, though, at least some of this song - not least the occasional cry of "bingo" - seems to have inspired the awful "Bingo" by Catch some years later, often deemed to be the point at which Britpop officially died.



4. Julian Cope - Try Try Try (Echo)

And thank all the pagan deities for Copey. By this point in his career, some suspected him of being in a second slump. The first occurred in the eighties after the Teardrop Explodes demise, the second after he was dropped by Island for being "too old" (apparently) and found himself on the somewhat unfortunately named indie label Echo, just shortly before the Bunnymen themselves were getting back on their feet again.

His debut LP for that label "20 Mothers" is uneven, but when it peaks, it reveals the singer at his most immediately powerful. "Try Try Try" is a yearning cry relating to a family dispute which is far from "The Living Years" or "No Son Of Mine", instead taking the idea down to a bluesy accessibility. Driven by the grinding organ chords in the background, "Try Try Try" sees Cope thrash out in frustration and hopelessness, before taking the track to one of his most furiously simple but effective choruses since "World Shut Your Mouth". It was Radio One playlisted and his first minor hit in some years, meaning that his brief stint on Echo wasn't entirely a bad thing. By the time the game was up in 1996, though, he became a much more marginal figure in rock music, issuing music on his own Head Heritage label as well as writing a number of brilliant books.

Cope really should be up there with Mark E Smith or Nick Cave as a constant and major figure in British alternative music, and I sense that only his own lack of willingness to fully engage with the so-called "industry" at large stands in the way.



5. Teenage Fanclub - Sparky's Dream (Creation)

From the almost universally acclaimed return-to-form LP "Grand Prix", "Sparky's Dream" really does sound like The Fannies had lost the indie scrappiness that (usually charmingly) littered their earliest LPs and had honed their sound to something very close to perfect 70s power pop.

"Sparky's Dream" is both fantastically performed and engaging three-minute FM rock, something you find yourself doubting is in any way melodically original, checking the chord patterns for cribbed riffs as it goes. The group were really firing on all cylinders by this point, and still manage to launch great new music to this day. If the "Indie Top 20" series were still a "thing", they'd still be on there, checking in faithfully from Volume 10 to Volume 88.

Sunday, 24 September 2017

Volume 21 Tracks 16-20 - Blaggers ITA, Pop Will Eat Itself, Wolfgang Press, Ween, The Cramps





















16. Blaggers ITA - Thrill Her (With A Gun) (Damaged Goods)

Blaggers ITA were originally an underground punk band with close ties to the anti-fascist movement who steadily rose to prominence as the cold realities of early nineties Britain bit. Harsh and hard-edged, they nonetheless gradually evolved to incorporate a danceable element to their sound, and found themselves on Parlophone from 1993-94. Opinionated and uncompromising, it doesn't feel like much of an exaggeration to say that it felt as if they'd gatecrashed the mainstream of the music industry. This afforded them some truly memorable moments on television (not least their appearance on "The Word") and mainstream exposure bands of their ilk tended not to usually get.

Naturally, this couldn't and didn't last. Frontman Matty Blagg allegedly punched Melody Maker journalist Dave Simpson in the face after Simpson had stated that in his opinion, Matty could never reform his fascist past. This followed a press interview where Matty revealed that he had once been involved in the racist group British Movement prior to being converted to left wing politics while in prison. Following this incident, press and record label support eroded and the group were essentially treated as lepers.

It would be tempting to debate the whys and wherefores of the incident, and whether fascists can ever truly "reform" - in my view, they can - but since the situation was never legally resolved at the time, it seems foolhardy to start examining the wounds again from twenty years distance. We're really not going to get the answers we want.

"Thrill Her (With A Gun)" was released on Damaged Goods shortly after the group were dropped by EMI, and still managed to perform convincingly in the indie charts. Filled with "Blockbuster" styled police sirens, samples, shuffling rhythms and husky vocals, it features the group sounding even more Clash influenced than usual - or should that be Big Audio Dynamite influenced? - and cuts a dramatic chase. The EMI era line-up of the band fell to pieces not long after this, but it's proof that they had a genuine, street savvy edge the vast majority of posturing indie bands lacked.



17. Pop Will Eat Itself - Familus Horriblius (HIA WYG mix) (Infectious)

And God knows why PWEI are back on this volume, since their final single had long since been released, and this particular track originally appeared on the flip side of "RSVP" in 1993. Clearly somebody at Beechwood thought the group were still a big enough pull to be worth including in the tracklisting.

It's an interesting remix of the track, but it's not really any way to say goodbye. It's a squelchy, throbbing, tribal sounding version which probably went down a storm at various crusty squat parties at the time, but sounds strangely dated and quaint now. From it, though, it is just about possible to hear the origins of Bentley Rhythm Ace emerging, who would go on to push their way close to the forefront of British big beat culture.

As for PWEI, the group had been weaving their spell throughout the alternative scene since Volume One, and their resilience is something to wonder at, but by 1995 their time was up.



18. The Wolfgang Press - Going South (4AD)

And this was also Wolfgang Press's last hurrah. "Going South" is a sleazy sounding piece of shuffling, organ-driven funk which is just about groovy enough to persuade limbs towards the dancefloor - but that's possibly the problem. Whereas their previous material had contained angular and challenging post-punk influences, this is really just the work of another indie band who had found some sensual disco albums in the local charity shop and decided to cop all the best riffs. Nothing about it sounds vital or essential, and unsurprisingly, it didn't do much to expand the group's existing audience.

The group's last LP, the appropriately titled "Funky Little Demons", is seldom hailed by anyone as a prime moment, and the group disappeared without trace not long afterwards.



19. Ween - Voodoo Lady (Flying Nun)

Ween are a prime example of a cult indie band who split audiences completely down the middle. In a manner similar to Cardiacs - while sounding absolutely nothing like them - their awkward, whacked-out and occasionally absurd or sarcastic takes on rock and country music have caused many projectiles to come hurtling their way from angry live audiences. Far from putting them off their stride, this hostility seems to have fanned the flames for the group, who have gone on to gain appreciative cult audiences seemingly in every port in every country.

As for me, I'm afraid I'm firmly in the camp who doesn't quite get what they're trying to do or indeed why they're trying to do it - but then again, I never got on with Frank Zappa either. "Voodoo Lady" is probably the moment they enjoyed their biggest success in the UK (though their country records "Piss Up A Rope" and "You Were The Fool" came close) and is a staccato piece of jerky, lo-fi rock which recalls Devo being unexpectedly booked to do a session on "MTV Unplugged". It's a deeply divisive single, and one which may or may not have been an influence on The League of Gentleman's comedy glam number of the same name. Who on earth could say?



20. The Cramps - Ultra Twist (Creation)

The garage rock and roll of The Cramps feels as if it's been around forever, and indeed the group only split in 2009. Alan McGee's love of the group ensured that they had a presence on Creation Records in the mid-nineties, where they did nonetheless feel faintly out of place.

"Ultra Twist" features the group doing what they always did, with no shortage of aplomb. There are no shocks or surprises here, and their slamming, bluesy and slightly camp grooves still manage to feel faintly subversive. Nonetheless, their presence here is strangely anomalous - had they been placed next to Guana Batz on Volume One of "Indie Top 20", nobody would have been surprised. But how many people really bought this compilation in 1995 partly because The Cramps were in the tracklisting?

We didn't have the phrase "heritage acts" to describe groups like The Cramps in the mid-nineties, and if we'd tagged them as such I'm sure it would have been met with some mild violence, but nonetheless they were a twenty-year old group with a loyal audience who really weren't interested in compilations focussing on new indie bands. Their presence here acted a gentle reminder to youthful naifs that they still existed, but probably didn't win many new converts to their twisted cause.

Saturday, 16 September 2017

Volume 21 Tracks 11-15 - Whiteout, Supergrass, Ash, 60ft Dolls, Bandit Queen





















11. Whiteout - Jackie's Racing (Silvertone)

"Da-vid!" cried my mother in disbelief when she heard me listening to this, "have you started listening to seventies teenybop stuff now?!"

I - sort of - get where she was coming from on this, and can also completely understand why Tim Millington chose to place it next to Ride's "I Don't Know Where It Comes From" in the tracklisting. Both have a wistful, breezy seventies styled pop production, although I suspect Whiteout were using The Faces rather than the Bay City Rollers as their sonic template.

It wasn't just my Mum who wanted Whiteout's guts for garters, either. The music press were bafflingly savage towards the group, frequently focussing on their very young age and inexperience as reasons to attack them, while praising Supergrass for precisely the same characteristics on the other hand. Some of Whiteout's material was a whirlwind of energy, the likes of "Detroit" in particular rivalling Oasis's earliest work for attitude and force of personality (indeed, Whiteout co-headlined a tour with them).

"Jackie's Racing" was Whiteout's peak mainstream moment, and is perhaps atypical of the rest of their output, but is nonetheless a solid pop song with many fantastic melodic flourishes and twanging guitar work. With its lyrics focussed on a girl (played by actress Caroline Catz in the video, later of "Doc Martin" fame) enjoying her "kicks" and "teenage fun" who "wears tight clothes that don't quite fit", it's hard to take the song overly seriously or get emotionally involved in it. However, its bouyant innocence does act as a tonic, and it acts as one of those all-too-rare examples of a very young band being able to communicate their enthusiasm and zeal in an infectious way.

Whiteout never did really become properly famous, though, even at the height of Britpop when everything should have been in their favour. Their debut album "Bite It" (which bizarrely left off many of their best known singles) received a muted critical and commercial reception. Singer Andrew Caldwell left the group not long after its release, and their follow-up LP "Big Wow" in 1998 failed to attract much attention. They rank as one of the era's most bafflingly marginal groups.



12. Supergrass - Caught By The Fuzz (Parlophone)

Speak of the devil... Most of Supergrass last appeared on Volume 16 of this series as The Jennifers, a rather naive teenage indie band who could on occasion sound slightly like Whiteout at their most wistful. By the time "Caught By The Fuzz" emerged, however, it was clear that they had morphed into a group of some wit and ferocity.

I don't intend to sound disparaging when I say that I laughed my head off when I first heard "Caught By The Fuzz". It sounded like a group of naughty seventeen year old boys trying to write lyrics like a wittier, more interesting version of Jimmy Pursey while Keith Moon played drums in the corner. A small part of me doubts that "Caught By The Fuzz" was ever supposed to actually be as amusing as it turned out. The frantic, panicked delivery of Gaz's vocals suggest that it was originally written as a cathartic exercise after he had his collar felt (he has confirmed that the lyrics were based on true experience) which only seem amusing if you're sufficiently removed from the situation. His delivery of "Who sold you the blow/ WELL IT WAS......... NO-ONE I KNOW!" and "if only your father could see you now!" create little visual snapshots of an eighties teenage kitchen sink drama shown on Channel 4 in the early afternoon. The music behind them, on the other hand, is so pile-driving and determined it sweeps you along effortlessly.

It would have been easy to dismiss Supergrass as some kind of NWONW one-single wonders were it not for the flipside to this, "Strange Ones", which appeared largely unchanged on the number one "I Should Coco" LP. There was clearly much more to the group than punkish melodrama about being caught with naughty cigarettes, and while the group always did have a penchant for playful silliness (as "Alright" would later prove) that's often caused them to be overlooked by casual listeners who have failed to absorb some of their more mature, developed and occasionally psychedelic work. Without exaggeration, Supergrass were one of the last truly great bands to emerge during the Britpop rush, as their superb debut LP and follow-up "In It For The Money" both go to enormous lengths to prove.



13. Ash - Uncle Pat (Infectious)

More teenagers with attitude. Prior to this moment, Ash were mostly known for their heads-down, no-nonsense punk approach, with debut single "Jack Names The Planets" having both a determined amphetamine charge to its sound combined with fluffy, innocent almost nursery rhyme melodies.

"Uncle Pat" is much more laidback and sombre in its tone, but can't quite shake the innocent edge the band had until this point, with simple, chiming guitar lines and marching rhythms. Focusing on the tale of a recently departed relative, it seems like a slightly personal and melancholy moment for the band which acts as an innocent garage-punk prayer rather than something to excite audiences on the national pub circuit.

Ash would obviously go from strength to strength from this point, gaining benefits from Britpop and continuing into the late nineties as a group who enjoyed a certain degree of popularity among provincial rockers and the kind of skate-punk kids you saw in the local shopping centre every weekend. They remain a going concern to this day, even if their star has waned somewhat in the present decade.



14. 60ft Dolls - Happy Shopper (Townhill)

Unlike most of the bands we've dealt with on this entry, at least one member of 60ft Dolls had something of a significant previous history. Lead singer Richard Parfitt had previously been involved in the eighties mod group The Truth as their bass player, and had even had a prominent stint in the largely unknown Welsh mod group The Colours. The latter had a ripping and largely unknown single out in 1983 called "The Dance", which can be heard over at my "Left and to the Back" blog.

Whereas The Colours and The Truth tended to have a bit of a swing about their work, 60ft Dolls tended to favour a rough, tearing aggression, and that can clearly be heard in "Happy Shopper". It junks anything approaching a groove overboard and instead sounds like a furious, murky hybrid of NWONW and grunge ideas.  Whereas 60ft Dolls would release some great singles - "Alison's Room" and "Stay" among them - "Happy Shopper" is unfortunately a track that, to me at least, is a giant tantrum which comes and goes without leaving any major impression. Doubtless this sounded wonderful live, and as a single it has energy to spare but no real stand-out hooks or defining characteristics.



15. Bandit Queen - Give It To The Dog (Playtime)

Bandit Queen were formed in 1992 by vocalist Tracy Godding, who had previously been a member of the almost entirely forgotten early nineties baggy group Swirl (who, for what it's worth, featured on another Beechwood indie compilation "Forever Changing", but never found a place in this series).

Despite their presence on the roster of the relatively low-key and cash-strapped Playtime label, Bandit Queen clearly had the budget to swamp regional music journalists with promo records and CDs of their work and also tended to feature in numerous fanzines throughout this era. Mainstream music press appreciation was harder to come by, however, and the group seemed to forever be "bubbling under" - the subject of many brief live reviews but no interview spreads.

"Give It To The Dog" is a walloping piece of fat, distorted, heavy riffola which owes slightly more to the American underground than the dominant trends of 1995, though, and it's possibly not surprising they failed to find a way through. For all that, it's an interesting listen and Godding's vocals have a compelling force of personality, giving the track an edge it might otherwise have lacked.