30th June 2024

Titus writes:

This week I had a ‘short list’ of new bands in my head, from which to choose one to blog about. Having watched the BBC’s highlights of PJ Harvey’s Glastonbury set on the Pyramid Stage, there was no other choice other than to rave about and review that set, plus indeed her long career. It’s unusual for me to follow an artist(e) throughout a career – I feel that many fall into the trap of becoming ordinary & predictable, and how can these people call themselves ‘progressive’ when this happens?  I won’t name any names but some bands think it will suffice to go on stage (usually augmented by backing vocalists, loads of extra instrumentalists) and just make ‘noises’, performing their most successful tunes to a dreadful standard.  In my opinion, Neil Young, Half Man Half Biscuit, The Fall (before the tragedy of Mark E. Smith’s death), the late David Bowie, and PJ Harvey have truly progressed.  PJH has evolved in true Bowie-esque styli IMO.

 

Polly Jean Harvey, M.B.E. , born in 1969 in Bridport, is primarily known as a singer, guitarist, saxophonist and plays a variety of other instruments. She has had a long term musical partnership with John Parish, who was the frontman when she joined local band Automatic Dlamini.  She began her PJ Harvey career with Parish, and they performed as a ‘The PJ Harvey Trio’, releasing two well received albums, ‘Dry’ and Rid of me’. After 1994, Harvey tried her hand as a solo artist, but soon reformed the band.  To date, 10 Studio albums plus 2 Collaboration LP’s have been released and each one has proved so different to the previous one.   My personal favourite LP is ‘Stories from the City, Stories from the Sea’ but believe me, they’re all good. There’s also an EP, and 23 singles.

 

Anyhow, I’m reviewing their Glastonbury 2024 appearance now, and, unusual for me, I’m going to praise the BBC. The coverage was good, and the cult followers were in the main, very attentive. A great choice of a haunted crow tree dress adorned Polly by the way, but  I felt a bit sorry for the various people in the front rows though, who had ‘bagged’ their great view for when Dua Lipa came on later – they must have wondered what on earth they were listening to and looking at!  The tracks performed were more of a miscellany of PJH’s work, unlike the 2016 appearance, where in the main, the band showcased their two (then) recent albums ‘Let England Shake’ and ‘The Hope Six Demolition Project’.   The miscellany I refer to, for the 2024 Festival, was ‘Prayer at the Gate’, ‘The Nether-edge’ and the title track from latest album ‘I inside the Old Year Dying’; ‘The Glorious Land’,  ‘The words that Maketh Murder’ and the title track from ‘Let England Shake’; old favourites ‘50 ft Queenie’, ‘Black Hearted Love’ ‘The Garden’, ‘Man size’, ‘Dress’, and to conclude ‘To Bring You My Love’ from the LP of the same name.

 

As always, I could write pages and pages about PJH.  If you’ve not seen Polly Jean and her band before, and are a little apprehensive on the enthusiasm stakes, please stick with it. The music and its origins will win you over I’m sure.  Back to those old  and favourite words “Truly alternative”.  I could choose dozens of tracks, but I chose this one which is called ‘This Is Love’  from the LP ‘Stories from the City, Stories from the Sea’.

28th June 2024

Click HERE to listen again or to download the podcast (downloading & playing is more reliable). No Clumpton this week, so it's a 2 hour show!

Graham Coxon - Freakin Out
Melanie - Some Say (I Got Devil)
Budgie - Napoleon Bona Parts 1 & 2
Night Club - Another Side of You
Y&T - Forever
Halsey - The End
Angelo Badalamenti - Laura Palmer's Theme (Instrumental) - Soundtrack From Twin Peaks
Aimee Mann - Going Through the Motions
Molly Hatchet - Boogie No More
Penny Arcade - Jona
Danzig - When We Were Dead
The McCoys - Sorrow
Yea-Ming and The Rumours - Old Frog
Bloodhound Gang - The Bad Touch
Ron Geesin - Fair By The Sea
Bad Manners - Lip Up Fatty
Split Dogs - And What?
Waxahatchee - Can't Do Much
The Anti-Queens - Overthinking
Babasha - Pai Naa
Koe Wetzel & Jessie Murph - High Road
Delta Empire - 185 Two Steps From Hell - Victory [Drum Cover]
The Members - Working Girl (Live, Peel Session)

I asked ChatGPT to give me 3 politically incorrect tunes. This is what was suggested:
The Beatles - Polythene Pam
Ted Nugent - Jailbait
Johnny Rebel - She Ran Off With A Nigger - Please read notes below

Datsuns - In Love
FLO - Walk Like This
Looper - Columbo's Car
Beth Gibbons - Lost Changes
Pure Bathing Culture - Dream The Dare
Parsnip - The Light
Carl Malcolm - Fattie Bum Bum 

The Controversial Legacy of Johnny Rebel and "She Ran Off With a Nigger":
The intersection of music and social issues often produces potent and polarizing works. Johnny Rebel, the stage name of Clifford Joseph Trahan, is a prime example of an artist whose work has sparked significant controversy due to its explicit racism. One of his most infamous songs, "She Ran Off With a Nigger," epitomizes the overtly racist themes present in much of his music. Understanding the impact and legacy of Johnny Rebel and this particular song requires an exploration of the historical context, the content and themes of the music, and the broader societal reactions to his work.
Johnny Rebel's music emerged during the Civil Rights Movement, a time when the United States was grappling with profound racial tensions and striving towards greater equality for African Americans. The 1960s and 1970s saw significant legislative and social progress, yet also a strong backlash from segments of the white population resistant to change. This backdrop of racial conflict provided fertile ground for Rebel's brand of music, which resonated with those opposed to the Civil Rights Movement.
"She Ran Off With a Nigger" is a blatant example of Johnny Rebel's use of derogatory language and racist stereotypes. The song's title alone is a stark indication of its offensive content, while the lyrics further propagate hateful messages. Rebel's music typically portrays African Americans in a negative light, reinforcing harmful stereotypes and advocating for white supremacy.
The song narrates a story of betrayal, framed through a racist lens, where a white woman leaves her partner for an African American man. The lyrics are steeped in resentment and vitriol, reflecting a broader societal fear of racial integration and miscegenation. This fear was not uncommon in the mid-20th century, as many white Americans struggled with the implications of a more integrated society.
The reception of Johnny Rebel's music has always been deeply divided. On one hand, his work found an audience among white supremacist groups and individuals who felt marginalized by the changing social landscape. These listeners appreciated Rebel's unapologetic stance and the validation of their own prejudices.
On the other hand, Johnny Rebel's music has been widely condemned by mainstream society for its explicit racism. Civil rights organizations, anti-racism activists, and many in the general public have criticized his work for perpetuating hate and division. Platforms and distributors have often taken steps to limit the availability of his music, reflecting a broader societal repudiation of his messages.
The legacy of Johnny Rebel and "She Ran Off With a Nigger" is a testament to the persistent undercurrents of racism in American society. While his music is abhorrent to many, it also serves as a reminder of the work still needed to combat racial hatred and promote inclusivity. The existence and popularity of such music among certain demographics highlight the ongoing struggle against bigotry and the importance of continued efforts towards equality.
In the digital age, the spread of such music has become more challenging to control, but it also provides opportunities for counter-movements. The internet allows for the rapid dissemination of anti-racist messages and educational content, which can help counteract the influence of hate-filled works.
Johnny Rebel's "She Ran Off With a Nigger" is a stark example of how music can reflect and amplify societal issues. While his work is undeniably offensive and rooted in racism, it also serves as a crucial point of reflection on America's ongoing battle with racial prejudice. Understanding and acknowledging the existence of such music is essential in addressing and dismantling the structures of racism that persist in society. The legacy of Johnny Rebel is not one of musical achievement, but rather a cautionary tale about the power of art to influence and reflect societal values.

23rd June 2024

Titus writes:

 

For a complete change this week, I am not going to extol the virtues of a band or artist(e) that you may not have heard of......instead I am writing about the cult TV series of the 1990’s ‘Twin Peaks’.

 

I remember on a Sunday night in 1990, I sat down to watch a new TV series, which I initially thought was an ordinary serialised murder mystery. I should really have known better, in the knowledge that the series was created by David Lynch & Mark Frost, who don’t do ‘ordinary’.  Initially, it concerned home-coming queen Laura Palmer, whose body, wrapped in a plastic bag, washed up on the shore of a river in Twin Peaks, Washington, and also Ronette Pulaski, discovered badly injured just across the State border.

 

FBI Special Agent Dale Cooper is sent to investigate and he believes that Laura’s death is similar to another from the previous year in Washington. He firmly believes that the killer is from Twin Peaks.  Like others, Laura had been living a complex life. Via her diaries, Agent Cooper discovers she was cheating on her boyfriend Bobby Briggs, prostituting herself with the help of truck driver Leo Johnson, and a dreadful drug dealer called Jacques Renault.  In addition she was a cocaine addict.

 

Inexplicably, Cooper has a vivid dream about being in a red room with a one-armed man called Mike, who claims that he knows that Laura’s killer is BOB, a feral denim wearing man.  Cooper finds himself decades older in the dream, in which a dwarf in a red suit plus Laura Palmer appear. The dwarf has the ability to talk backwards and in coded dialect.  After the dream, it is discovered that her father Leland Palmer looks in the mirror and sees himself as Bob, and kills his own daughter.  This is no longer just a murder mystery, and the whole thing morphs into a complex web of surrealism, intrigue, and psychological undertone.  The series meanders into a plethora of eccentric people, supernatural elements and dark secrets.  Many residents talk of “The evil in the woods” and its two entrances The White Lodge & The Black Lodge, and the surrealism that is thrust upon the viewer is a typical trait of creators Lynch and Frost.  The atmosphere, at best is eerie, and the red room scenes illustrate the programme’s ability to blur the lines between reality and the subconscious. The ending to the series is dramatic, when Cooper looks at himself in the mirror and sees BOB.

 

‘Twin Peaks’ was incredibly revolutionary in its approach to television telling a tale. It divorced itself from conventional episode formats, and it was extremely influential when one thinks of ‘The X Factor’ or ‘Lost’. It explored how the inhabitants of a small town had peculiar habits, hidden sins, and how the themes of good & evil were explored.  Perhaps, for those of us who watched Lynch’s 1986 film ‘Blue Velvet’ with intrigue, we knew in our heart of hearts, that a  complete series of intrigue and surrealism would follow just a few years later......the town of Twin Peaks is anything but ordinary!

 

Series 1 & 2 aired 28 episodes, and I must confess to having not seen Series 3, called ‘The Return’. This was shown a quarter of a century later. Interestingly, in 1992 Lynch’s film ‘Fire walk with me’ although filmed after ‘Twin Peaks’, was in fact set as the prequel film.....this is also worth a look in my opinion. I have chosen a track from Angelo Badalamenti’s soundtrack to the series and have requested lex to play this, which can be found here.

22nd June 2024

Click HERE to listen again or to download the podcast (downloading & playing is more reliable). These tunes were played in the first hour of the show:

The Members - Time Bomb
RAF Camora, Ski Aggu - Liebe Grüsse
Pomplamoose - Something About Us
Graham Coxon - Bittersweet Bundle of Misery
The Fans Feat. Kes - The Fan
Michael Head & The Red Elastic Band - Shirl's Ghost
Trembling Blue Stars - My Face For The World To See
Belle and Sebastian - Seeing Other People
KAROL G, Peso Pluma - QLONA
Vera Sola - Bad Idea
Lawn Chair - Men with Shifty Eyes
Maluma & Carin Leon - Según Quién
Sheherazaad - Dhund Lo Mujhe
Blitzen Trapper - Hazy Morning
The Rising Lights - Marlene
Alyona Alyona, Jerry Heil - Teresa & Maria
YG Marley - Praise Jah In The Moonlight.mp3
Blues Delight - Slightly Hung Over

21st June 2024

The Members: Pioneers of British Punk and Beyond

The first choon I'll be playing tonight will be 'Time Bomb' by The Members, a British punk rock band formed in 1976 in Camberley, Surrey. They emerged during the punk explosion in the UK and quickly made a significant impact on the music scene. Known for their sharp social commentary, eclectic sound, and energetic performances, The Members have carved out a unique niche within the punk genre. Their blend of punk rock with reggae, ska, and pop elements set them apart from their contemporaries, allowing them to create a lasting legacy that extends beyond the confines of punk music.

The Members were formed by Nicky Tesco (vocals), Jean-Marie Carroll (also known as JC Carroll, guitar), Gary Baker (bass), and Steve Morley (drums). The lineup would soon evolve, with Adrian Lillywhite (drums) and Chris Payne (bass) joining the band, solidifying the classic lineup. The band made their debut in 1977 at a local pub in Camberley, capturing the attention of the burgeoning punk scene with their energetic performances and politically charged lyrics.

Their early sound was heavily influenced by the raw, fast-paced energy of punk, but they quickly began to incorporate other musical styles, particularly reggae and ska, which would become a defining characteristic of their music. The Members' breakthrough came with the release of their single "Solitary Confinement" in 1978 on Stiff Records. The song showcased their knack for combining punk's aggression with catchy melodies and thoughtful lyrics, addressing themes of isolation and urban alienation. Their follow-up single, "The Sound of the Suburbs," released in 1979, became an anthem for the disenfranchised youth of suburban Britain. It reached the UK Top 10 and solidified their status as key players in the punk movement.

"The Sound of the Suburbs," with its infectious chorus and vivid depiction of suburban life, highlighted the band's ability to capture the zeitgeist of the time. It was both a critique of and an ode to suburban existence, resonating with a wide audience.

The Members released their debut album, "At the Chelsea Nightclub," in 1979. The album was a critical success, featuring a mix of punk rock and reggae-infused tracks like "Offshore Banking Business" and "Stand Up and Spit." Their willingness to experiment with different genres distinguished them from many of their punk contemporaries, who often adhered to a more rigid musical style.

Their second album, "1980 – The Choice Is Yours," released in 1980, continued this trend of musical diversity, though it did not achieve the same commercial success as their debut. Despite this, the band persisted in pushing the boundaries of their sound.

In 1982, The Members released "Going West," which marked a shift towards a more pop-oriented sound. However, internal conflicts and changes in the music industry led to the band's breakup later that year. Despite their relatively short initial run, The Members had left an indelible mark on the punk and post-punk landscape.

The Members reformed in 2007, led by JC Carroll, with a renewed energy and a mix of original and new members. They released new material, including the albums "InGrrLand" (2012) and "One Law" (2016), which showcased their continued relevance and ability to adapt to contemporary musical trends while retaining their distinctive sound. Their live performances have continued to draw fans old and new, as they perform classic hits alongside new material. The band's reformation has allowed them to reintroduce their music to a new generation, while also reconnecting with long-time fans.

The Members' influence on punk and post-punk music is significant. Their integration of reggae and ska into their sound predated and perhaps influenced the more widespread adoption of these genres by bands in the 1980s. Their socially conscious lyrics and ability to address themes relevant to their audience gave their music a lasting resonance.

"The Sound of the Suburbs" remains a quintessential punk anthem, reflecting the frustrations and aspirations of a generation. The Members' willingness to experiment with different musical styles paved the way for future punk and alternative bands to explore beyond the traditional confines of the genre.

The Members stand as a testament to the innovation and diversity within the punk movement. Their unique blend of punk rock, reggae, and ska, combined with incisive social commentary, set them apart from their contemporaries and secured their place in the annals of music history. From their early days in the UK punk scene to their ongoing influence and continued performances, The Members have proven that their music is as relevant and powerful today as it was at the height of their popularity.

15th June 2024

Titus writes:

 

Belle & Sebastian are an alternative indie band from Glasgow, and were formed as long ago as 1996. Up until the present day, they have released 12 studio albums, and 5 of the original members are still with the band. If one can imagine such a sound, they are a kind of cross between The Smiths and Nick Drake.  I’ve followed their career since its conception, and like many of the bands I like, they have only enjoyed limited commercial success.

 

The formation of the band was masterminded by Stuart Murdoch & Stuart David, who recruited local musicians Stevie Jackson, Isobel Campbell, Chris Geddes & Richard Colburn. Over the years, David & Campbell have left, and nowadays, we have Sarah Martin, Bobby Kildea and Dave McGowan completing the line up. After the release and acclaim of their first two LP’s, the band grew in popularity, but Murdoch, who has suffered greatly with chronic fatigue syndrome, insisted that they kept a low profile. Two years after formation, the group released their third album, ‘The Boy with the Arab Strap’ which reached No. 12 in the UK charts. The title caused some tension between Belle & Sebastian and fellow Scottish band Arab Strap.

 

I’m unsure as to how many of you watched the 1999 Brit Awards, but the band upstaged the likes of Steps and 5ive, by being awarded Best Newcomer for their ‘The Boy with the Arab Strap’ LP. Not content with just this, they made a single called ‘Legal Man’, which by reaching No. 15, gave them their maiden appearance on TOTP.  Film makers and TV producers, mindful of the band’s growing popularity, included their music in film scores and as part of some TV dramas. A single from a subsequent LP – ‘I’m a cuckoo’ reached their highest chart position (No. 14) in 2003.  In 2006 Belle & Sebastian played an historic gig with the Los Angeles Philharmonic at the Hollywood Bowl.  The gig sold out all 18,000 seats, prompting Stevie Jackson to proclaim “ This is the biggest thrill of my entire life”.

 

The group made 5 Peel Sessions between 2001 & 2004, including one famous one, when all 7 members crowded into ‘Peel Acres’ for a live session, broadcast simultaneously on Radio One. In 2008 all BBC sessions were released on CD & vinyl. After a lengthy hiatus, mainly due to Murdoch’s illness, Belle & Sebastian performed  their first UK gig in four years, in July 2010. The band became involved in the ‘All Tomorrow’s Parties’ alternative festival, and in 2014 having returned to the studio, received an ‘Outstanding Contribution to Music Award’ from the NME.   Arguably, most budding musical artists regard Glastonbury as the place they would love to perform at, and B & S performed there on 28 June 2015.  The band released their twelfth LP, ‘Late Developers’ in 2023, and are hosting a 2 day event ‘The Glasgow Weekender’ in their home town on 2-3 August this year.

 

Much of their work can be found online, and they really are fine musicians, I can assure you. I’m asking lex to play ‘Seeing Other People’ from (IMO) their second and best album ‘If you’re feeling Sinister’.

15th June 2024

Click HERE to listen again or to download the podcast (downloading & playing is more reliable).

Graham Coxon - Tell It Like It Is
The Marias - Run Your Mouth
Pacific Avenue - Spin Me Like Your Records
Green Lion Crew x Roe Summerz - ZOSO
Cuibul - Așa și așa
Alternosfera - Ploile Nu Vin (Tune of the week)
The Datsuns - Gods Are Bored
Keir Starmer (/PoliticsJOE) - I Wanna Be Like You
Senny Camara - Bim Bam
The Rentals - Friends of P
System Olympia - Instinct
"The Luxettes Featuring Bonnie" - Would You Kiss Me After I Sucked Your Dick?
Nerf Herder - Sorry
The Neverminds - Melt
Collapsed Lung - Eat My Goal
Sabrina Carpenter - Please Please Please

10th June 2024

Titus writes:

 

I was encouraged by some readers of my blog on Yo La Tengo, who despite saying that they hadn’t previously heard of them, nonetheless enjoyed the band’s music.  You’re right – they are a very talented band and I get the impression from talking to lex, that you may not have heard the last of them on his programme. Time alone will tell.
 
By way of stark contrast, this week I am talking about another favourite of mine – New Zealand band, The Datsuns. When I first heard them and then the White Stripes, it underlined to me that loud, raucous rock’n’roll was not dead.  I would never denigrate the White Stripes, and they quite rightly attained the true recognition they deserved.  The Datsuns however, (in broad terms just like Northern Ireland’s Would Be’s that I mentioned months ago) never got QUITE  the same attention, yet played an astonishingly energetic brand of hard rock / garage rock. They did a session for the John Peel Show on 1 May 2002, and it was a live one with an enthusiastic audience, broadcast at Maida Vale Studios in London.  Just before the first encore, the great man, quite audibly emotional, said “Well I tell you what brothers and sisters, this programme doesn’t win awards, in fact it doesn’t get nominated for awards, but I just know, (and I know this must sound a bit big headed) that this is the best radio programme on Earth, 'coz we bring you people like The Datsuns'.  What a tribute from alternative music ‘royalty’, in my opinion.  Months before this session, “Dolf” had compiled a hand written letter to Peely – “Dear Mr Peel.....blah, blah blah” and enclosed the band’s first 2 seven inch singles.  Peel liked what he heard, and as they say “the rest is history”.
 
The group was originally called The Trinkets, and was formed at secondary school in Cambridge, New Zealand by Rudolf “Dolf” de Borst (vocals, bass), Matt Osement (drums), & Phil Somervell (guitar) in 1995. Christian Livingstone joined in 1997 as their second guitarist, and the following year, they changed the band’s name to The Datsuns.  After supporting The Hellacopters, The Smugglers and the White Stripes, the group released their first single ‘Super Gyration’ in 2000 on their own label, Hellsquad Records. This was only available on 7” vinyl – IMO a brilliant & bold decision at a time when vinyl’s popularity was middling at best.

I mentioned their Peel Session in May 2002, live at Maida Vale, and the British music press had nothing but praise for them.  They appeared on the front page of the NME, and released their first LP, which had an amazing title.....’The Datsuns’. This reached No. 17 in the UK Albums chart, and No.1 in their native New Zealand.  The aforementioned NME, bestowed upon them by its readers, the  ‘Best live Band’ award. The Datsuns continued supporting others, such as Ozzy Osbourne, Marilyn Manson & Metallica, and it was Metallica’s drummer Lars Ulrich that lauded them this time.  A second album ‘Outta sight/Outta mind’ replicated the success of the first LP, and this was produced by none other than legendary Led Zeppelin bassist John Paul Jones.
 
In 2006, Matt Osement was replaced by Ben Cole, and the group relocated to Germany, completing a European tour to promote their third album ‘Smoke & Mirrors’, selling out most venues. A couple of years later the band decided that the title of their fourth LP should be an anagram of The Datsuns – ‘Headstunts’, and this was promoted via a tour of the UK, Australasia, & North America. After a further four years of gigging and touring, The Datsuns released ‘Death Rattle Boogie’ in 2012, which was recorded in Stockholm, and was closely followed by ‘Deep Sleep’ in 2014.  After a long period of inactivity (I’m unsure as to what the band was doing for 7 years), a seventh album ‘Eye to Eye’ completed their LP releases in 2021.
 
Peely continued to support The Datsuns until his death in 2004, and fittingly the band paid a massive tribute to him, by joining with other musicians, in covering the Buzzcocks’ ‘Ever Fallen in Love’ which was released as a single in 2005.  I could quite easily completely fill lex’s show with Datsuns’ tunes, but the track I have chosen is ‘Gods are bored’ from their  2012 ‘Death Rattle Boogie’ album.

7th June 2024

Click HERE to listen again or to download the podcast (downloading & playing is more reliable).

Leon Redbone - Relax
The Black Crowes - Wanting and Waiting
3 Doors Down - Kryptonite
Yo La Tengo - Shadows
Sjöblom - The Storm
Tracy Chapman and Eric Clapton - Give Me One Reason
Madi Diaz - Same Risk
Chris Isaak - Wicked Game
McAlmont And Butler - Yes (Full Version) (Recommended by Truro boy Jack Seale)
Alice Phoebe Lou - Dirty Mouth
Brett Newski - Mind at Large
Wildlife Control - Analog or Digital
Kacey Musgraves - Cherry Blossom
Fresh - Merch Girl
Battlesnake - Alpha & Omega
Bikini Body - Chivas Dunhills Coke

Also, if you would like to listen to this week's Wrinkly Rock, it's HERE. 

The Tune of the Week was played in Wrinkly Rock: Kate Nash singing Foundations.

2nd June 2024

Titus writes:

 

I’m bringing to your attention today, the work of a band that was formed in Hoboken, New Jersey, way back in 1984 and are still recording & performing forty years later. They are Yo La Tengo (often abbreviated to YLT) and their name  is Spanish for “I’ve got it”. Since their formation, they have made seventeen albums, with the most recent one – ‘This Stupid World’, being released in February 2023.   1992 seemed to be a defining year for them, as since then the line up has remained unchanged as Ira Kaplan (guitars, keyboards, vocals), Georgia Hubley (drums, piano, vocals) and James McNew (bass, vocals). The band recorded 3 Peel Sessions between 1996 & 1998.
 
Now, despite being a fan, I’m understandably pleased that they have achieved only a tad of mainstream success, but like many other bands that I have brought to your attention to, they have a strong fan base. They have a strong ‘cult’ following and play mainly original songs that can loosely be put into the genre of ‘experimental rock’.   Ira & Georgia formed the band as a twosome, and historically their name came from a 1962 baseball anecdote, whereby two guys who played for New York Mets collided, whilst both going for a catch. The one cried “I have it, I have it”, but his Spanish speaking Venezuelan tem mate didn’t understand, and the ball was not caught!  From then on, a team meeting decreed that “Yo la tengo” should be shouted, in order to avoid such pitch collisions.
 
After recording for a variety of labels between 1984 & 1992, YLT, now with third member James McNew in tow, began their long association with Matador Records, and in 1993 released the album ‘Painful’.  This LP gained critical acclaim, and Ira himself was very pleased in that it sounded better & different to their previous releases. He felt that it was a turning point for the band, stating that the three members had more confidence and more trust in each other. ‘Rolling Stone’ magazine at the time was producing its own album guide, and remarked that  McNew “became an essential part of the sound on ‘Painful’, and the album has kept every promise YLT ever made & blew their previous highlights away”  Comparisons to critically acclaimed Velvet Underground, were also bestowed upon the band.
 
In 1997 ‘I Can Hear the Heart beating as One’ firmly cemented YLT’s combination of folk, punk rock and electronic music into whole hearted praise from the music press – indeed ‘All Music’  stated that  it was “the band’s finest and most coherent album to date”  At this time YLT’s reputation was higher than ever before, and their adoring fans came from far and wide to see them performing both in America and Europe. In 2001 the band became involved in soundtrack work, such as writing an instrumental score for 8 under-sea documentaries entitled ‘’The sounds of the sounds of science’  As the well known saying states “All good things come to an end” and in 2003, YLT’s tenth album ‘Summer Sun’ received such critical words as “Underwhelming” and “Lacking invention”.......however, subsequent recordings impressed the critics, and YLT bounced back.  The publication ‘Pitchfork’ said that the band’s 15th studio LP ‘There’s a riot going on’,  “reflects the group’s greatest and most instantly recognisable strengths”
 
I personally love the album “I Can Hear the Heart beating as One” and I have asked lex to play ‘Shadows’ from it.  Make no mistake, YLT are a truly great band.

31st May 2024

Click HERE to listen again or to download the podcast (downloading & playing is more reliable).

Claude VonStroke - Make A Cake (Tune of the week)
Tems - Love Me JeJe
Milk & Sugar vs Vaya Con Dios - Hey (Nah Nah Nah)
Admiral Drowsy - Mapped Out
Ca Hoi Hoang - Nguoi Tim Vang
J.J. Cale - Sensitive Kind
60 Ft. Dolls - Talk to Me (Version 1)
Dom Dolla - Take It
Beware The Wolves - New Era feat. Teo Disturbance
Richard Koechli - River Runs Deep
Dalmatian Rex and the Eigentones - Ever So Slowly Losing My Mind
Elif Buse Doğan - Senin Kadar Hiç Kimseyi Sevmedim

(Translates to: "I Never Loved Anyone As Much As You")

Lizzy McAlpine - I Guess
Late Night Drive Home - Stress Relief
Liz Phair - Why Can't I?