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Showing posts with label adrian sherwood. Show all posts
Showing posts with label adrian sherwood. Show all posts

Thursday, 9 April 2026

Better Days Are Coming

Nightmares On Wax released In A Space Outta Sound in 2006, the fifth album by George Evelyn. The sound was a trippy blend of soul, reggae and electronics, a late night album for heads, lots of detail in the sounds. Flip Ya Lid has some cheerful whistling and a clanking machine rhythm and then a lovely warm reggae bassline. 

Flip Ya Lid

Soul Purpose is electronic soul, lo fi and scratchy like an old 7" playing with a new vocal sung alongside it. It's entrancing and not a little beautiful. 

Soul Purpose

To celebrate the 20th anniversary of In A Space Outta Sound Warp have released a box set which includes a set of  Adrian Sherwood versions, eight new dubbed out remixes that make a companion version, another side of the album. Sherwood's reconstructions head into dub space, that particular place and channel he operates in. He's been on a roll in recent years with solo releases, compilations and Dub Syndicate reissues. His album The Collapse Of Everything was a 2025 highlight. His work on In A Space Outta Dub is more of the same, the usual brilliance with Doug Wimbish playing new bass. 

On You Bliss Sherwood blurs horns, guitar lines and bass, all surrounded by echo and space. On Purpose starts out spindly and brittle but then the vocal kicks in, 'better days are coming you see', and we're into dub/ Lover's Rock territory. Flippin 'Eck has Flip Ya Lid's whistling and an entirely new rhythm, a Space Invaders sound. Final track, Nyabinghi Dub, is seriously good, a filmic piece of music with a 50s feel. You can listen to the whole album below or go to Bandcamp and get it there.




Sunday, 4 January 2026

An Hour Of 2025 Dub/ Dance

A follow up to my New Year's Eve mix which was an ambient/ downtempo and largely instrumental hour of music. This one starts out dubby and then heads in Balearic and dance directions, getting increasingly thumpy with a three tune Belfast detour before finishing with the voice of Andrew Weatherall. As maybe all mixes should. 

There were a lot of things that I couldn't find room for here, not least Four Tet's Into Dust (Still Falling)- maybe there's time for one more 2025 mix next Sunday to see that year out. 

An Hour Of 2025 Dub/ Dance

  • Adrian Sherwood: Spaghetti Best Western
  • Soft Cotton County: The Future's Not What It Used To Be (Justin Robertson's Five Green Moons Remix)
  • Rude Audio: No Sleep
  • Escape- Ism: Last Of The Sellouts
  • Daniel Avery ft. Cecile Believe: Rhapsody In Blue
  • Jezebell: Movimento Lento
  • Puerto Montt City Orchestra: ...And We'd Be So Happy
  • Pandit Pam Pam: The Senator
  • Le Carousel: We're All Gonna Hurt
  • Factory Floor: Tell Me
  • Black Bones: Voodoo
  • The Light Brigade: Shuffle The Pack

Adrian Sherwood's The Collapse Of Everything was one of my favourite albums of 025, a solo album that becomes a mystical sonic adventure, Sherwood reaching out from dub into soundtrack territories and beyond. Spaghetti Best Western's guitars are worth the price of entry alone. 

Soft Cotton County's Coward Of The County Fair came out in January 2025, a single backed with a pair of Justin Robertson dubs (wearing his Five Green Moons hat- and the Five Green Moons Moon 2 album should have showed up here too). SCC are an indie/ dreampop/ shoegaze duo from Richmond- upon- Thames. This is lovely, laid back folk/ dub. 

Rude Audio are a South London dub/ dub techno specialists under the leadership of Mark Ratcliff. The Strange Phenomenon EP was a 2025 highlight, premium grade Dulwich dub. 

Escape- Ism's The Charge Of The Love Brigade was one of my 2025 peaks, a ten song trip inside Ian Svenonius' world, the last man in the business to sell out. 

Daniel Avery and Cecile Believe's Rhapsody In Blue was the most 80s teen drama, pop moment on Tremor (and came with a Midnight Version too, dirtier and tougher). It still hits the right spots now, six months after its release.

Jezebell's second album, Jezebellearic Beats Volume 2, pulled together some further remixes and productions together with some new material- this track, Movimento Lento, and the closer Turn It Yes, were a perfect pair of bookends. 

Puerto Montt City Orchestra's ...And We'd Be So Happy came out on Brighton's Higher Love label, the home of many fine modern Balearic releases. A spoken word family trip to the seaside in the pouring rain. 

Pandit Pam Pam is from Sao Paulo and makes uneasy ambient music. The Senator is the most dancefloor friendly thing in the Pandit Pam Pam back catalogue, dynamic and lively but still a little unpredictable and the horn that floats above the drums is a thing of beauty. 

Le Carousel is Phil Kieran from Belfast. We're All Gonna Hurt is full on, pulsing, electronic dance music, uplifting but shot through with heartbreak, like all the best dance music is. 

Factory Floor's 2025 return saw them come back with more bone shaking beats and face melting synths, on a pair of singles, Tell Me and Between You. Stephen Morris added some drum programming touches to Tell Me. Experimental, machine music with a random human heart. 

Black Bones are also from Belfast. They released an album across a variety of vinyl formats, dark industrial basement music- acidic, technoid, dubbed up Belfast rave. 

The Light Brigade are David Holmes and Keith Tenniswood. Shuffle The Pack is a righteous acid house record, a call to arms and positivity and very much part of Holmes' 'music as an act of resistance' vision that fades out leaving Andrew Weatherall's voice talking about music, smoke, coloured lights and acid house as gnostic ceremony. 


Thursday, 3 July 2025

The Collapse Of Everything

Adrian Sherwood's The Grand Designer EP that lit up June and continues to get regular plays round here. The lead and title track is a beautifully rich and textured piece of dub, all manner of instruments and FX flying in and out of the mix over a bobbing rhythm and occasional bursts of siren. It's followed by Let's Stay Together, a track in the old style dub tradition of using the same rhythm and some of the sounds but with a vocal drizzled over the top, in this case one b the late Lee 'Scratch' Perry, the Upsetter jutting in and out in typical fashion. I suspect Mr Sherwood has files and tapes filled with Lee Perry vocals just waiting to find a track. 

Let's Stay Together is followed by Russian Oscillator which may (or may not) be based on the same building blocks but distorted and bent out of shape, rough industrial abstract dub. The fourth track, Cold War Skank, is a joy, guitars and rumbling bass, echoes of the desert and Saharan blues. 

The Grand Designer can be heard and bought here. It turns out that the EP is a spearhead, leading the charge for a Sherwood solo album to follow in August, a record called The Collapse Of Everything. The title track and album opener dropped onto the internet earlier this week, old school dub from the On U studio- languorous dub groove, bubbling bass, sounds ricocheting left and right, FX and flow, piano and fuzz guitar. 

The Collapse Of Everything was partly inspired by the losses of Mark Stewart and Keith LeBlanc- the title comes from a Stewart song- and features Doug Wimbish, Gaudi and Brian Eno all making appearances among a cast of sixteen players. You can pre- order the album on vinyl and digitally at Bandcamp

Sunday, 29 June 2025

A Midsummer Mix: Forty Minutes Of 2025 So Far

There's some big news coming tomorrow which some of you will want to act on- if you were one of the people that bought a certain compilation album last year, you might want to be back here bright and breezy on Monday morning. Full details to come in twenty four hours time. 

It's the end of June tomorrow also, halfway through the year- I've no idea how the last six months have gone so quickly- but it seems like a good point to do a 2025 So Far Sunday Mix, not a definitive Best Of 2025, rather some of the tracks and songs I've enjoyed the most so far this year. 

A Midsummer Mix: Forty Minutes Of 2025 So Far

  • Death In Vegas: Chingola
  • Andy Bell: Pinball Wanderer
  • Adrian Sherwood: Cold War Skank
  • Demise Of Love: Carry The Blame
  • 10:40 presents Retro Fit: An Alternative History (Lavender Mist)
  • Escape- Ism: Last Of The Sell Outs
  • Klangkollektor: Isle Of Stonsey
  • Four Tet: Into Dust (Still Falling)

Chigola is a five minute ambient techno intro to the latest Death In Vegas album Death Mask, an album which does not hold its techno punches and which is a machine music tour de force. Richard Fearless poured a lot into the making of Death Mask, some personal losses reflected and worked through. It's an overloaded and emotional trip. Chingola is few minutes of scene setting, calm before the storm. 

Andy Bell's latest solo album Pinball Wanderer came out in February led by a cover of The Passions' I'm In Love With A German Film Star with Dot Allison and Michael Rother on board. The album's title track is an instrumental delight, a circling guitar part beamed from late 60s folk into Andy's 2025 motorik/ cosmsiche/ electric shoegaze. 

Adrian Sherwood's four track dubplate 10" came out recently, led by title track The Grand Designer and has been on steady rotation round here ever since (though I missed out on the vinyl). Cold War Skank is a moody dub/ guitar workout.

Demise Of Love is a three man modern electronic meeting of Daniel Avery, Syd Minsky- Sergeant (Working Men's Club) and James Greenwood (Ghost Culture). They have, like Adrian Sherwood, released a four track 10" EP that merges acid house, some intense techno sounds, industrial noise and the flickers of what New Order could have been had they kept heading away from the light. 

An Alternative History was written as an imaginary Stone Roses song, based on a blogpost by some blogger or other that imagined a world where the band didn't blow it but kept their heads and kept making music, avoiding the pitfalls of The Second Coming. Jesse's new Roses song came in three versions. Lavender Mist is the backwards one. 

Escape- Ism is Ian Svenonius' latest revolutionary outfit, a duo aiming to rewrite modern culture/ indie- rock with stripped down, scuzzy guitar/ drum machine/ keys/ vocals. The album- Charge Of The Love Brigade- is one of my favorites so far this year, a thirty five minute manifesto. Last Of Sell Outs is the best song on it, a meditation on commerce, art and musical integrity and the price of selling out. 

Klangkollektor is Lars Fischer from Numremberg. The EP Dubplates Vol 2, out on Manchester's Jason Boardman's Before I Die label, is a chilled Balearic dub masterclass ending with Isle Of Stonsey with pedal steel/ Hawaiian guitar sailing out into the cosmos. 

Four Tet's latest single samples Mazzy Star to achingly beautiful effect, a Four Tet track that hits all the spots, capable of moving me to tears. 

Sunday, 22 June 2025

Forty Minutes Of Cabaret Voltaire

Cabaret Voltaire, Sheffield's pioneering industrial noise/ post- punk/ electro outfit, have announced a tour this November with gigs in their home town, Manchester, Birmingham, Glasgow and London and are promising a gig that will take in fifty years of CV music. They formed in Sheffield in 1973, Richard H. Kirk, Stephen Mallinder and Chris Watson and were a genuinely trailblazing band, innovative and influential. Some of you may have noted that founder member Richard H. Kirk is no longer with us. He died in 2021. The decision to tour without him (and Mallinder and Kirk had not worked together for some time when Richard was alive) has caused some dissent among the fanbase, some people saying that without him it's not Cabaret Voltaire while others and the two surviving members want to pay tribute with one last run around the block and blast the music out of big amps into small(ish) spaces. I guess you pays your money and you takes your choice. The gigs are sold out anyway. 

Cabaret Voltaire were uncompromising. Initially they wanted their music to be difficult and to piss people off. They were happy with confrontation. They also wanted to make music without musical instruments and at first used reel to reel tapes, sound collages, oscillators and home- made kit. Later they brought traditional instruments in- bass guitar, guitar, clarinet. Their early punk/ post- punk connections with Joy Division and Factory, Rough Trade, Throbbing Gristle, Clock DVA and via their Sheffield recording studio Western Works brought them press, gigs and a record deal. Chris Watson left in 1981 and Mallinder and Kirk carried on as a duo, navigating the 80s and becoming more accessible, more commercial, eventually finding common ground with 80s synth based artists and the electronic/ acid house scene. You can find a potted history of the various twists and turns here. I thought a Cabaret Voltaire Sunday mix was well overdue and there's a lot of music to go at so this doesn't do much more than scratch the surface...

Forty Minutes Of Cabaret Voltaire

  • Yashar (John Robie Mix)
  • Don't Argue (Dance)
  • Just Fascination (12" Mix)
  • Thank You America (Kevorkian Bonus Beats)
  • Sensoria
  • Sex In Secret
  • Colours (Club Mix)

Yashar is from 1982, originally appearing on a CV double disc 12" pack. A year later John Robie's remix came out on Factory, one of Factory's key mid- 80s singles (Fac 82 on Factory, FBN 25 on Factory Benelux). The sample that opens it- 'there 70 billion people of Earth- where are they hiding?'- is from the American TV programme The Outer Limits, a 60s sci fi/ horror/ mystery show. Yashar then judders and skips through the next seven minutes, 80s industrial electro, horns, synths, the chanted title- amazing stuff.  

Don't Argue was a 1987 single, produced by the group and Adrian Sherwood. The vocal sample is from a 1945 American propaganda film directed by Frank Capra at the dawn of the Cold War, a film called Your Job In Germany aimed at US soldiers stationed in post- war Germany. Don't Argue is as accessible as CV got in some ways, a fusion of industrial and synth- pop. 

Don't Argue then appeared on Code, their album from the same year along with Thank You America. The Thank You America (Kevorkian Bonus Beats) were remixed by New York legend Francis Kevorkian, stuttering beats, handclaps, echo. Cold War dread and paranoia, fears about the USA and nuclear weapons- it's almost like we've gone nowhere since 1987...

Just Fascination was a 1983 single, the B-side to Crackdown. Some Cabs menace and unease but not coupled with funk/ dance rhythms, with sequencers and keys. The album The Crackdown came out on Some Bizarre, the duo making their way through the UK's independent record labels one by one. The vocals are getting clearer and clearer, more willing to be heard. 

Sensoria came out in 1984, a single from the Micro- Phonies album. Sensoria is thumpy, crushing mid- 80s synth, pounding dancefloor energy, men and machines in sync. The poster for the single is one of the posters on Ferris Bueller's bedroom wall in the film about his day off. 

Sex In Secret is from the very first Factory Records release in 1978- the first music release that is. Fac 1 was a Peter Saville poster. Fac 2 was a double pack of 7" singles, with music from Joy Division, The Durutti Column, John Dowie and the Cabs. It was re- released on 1990's Listen Up with Cabaret Voltaire, a cassette compilation out on Mute that pulled together tracks from various one off releases- NME cassettes, videos, flexi- discs and a couple of unreleased tracks. 

Colours was from 1991, a seven track mini- album. By the early 90s Mallinder and Kirk were separated by distance, Kirk in Sheffield and Mallinder in London, and both threw themselves into acid house and solo/ collaborations. Kirk made the first Bleep Techno record as Sweet Exorcist along with DJ Richard Parrot, the mighty Testone 12", a definitive 1990 record. Colours is acid house, bleepy and light on its feet, a day glo version of the Cabaret Voltaire sound. 



Thursday, 12 June 2025

The Grand Designer

A new Adrian Sherwood release is always something worth giving one's attention to. A 10" Discoplate release under his own name would seem to be worth one's absolute full attention. The four track EP, titled The Grand Designer, comes out this Friday and has been trailed by a track of the same name. It's a superb piece of dub music, spiritual almost, with a wonderful groove and array of FX laid over the top- sirens going off, hisses of cymbal and percussion, a snatch of guitar, deep bass, explosions and growls, bongos, pianos, whatever... it's beautifully realised and perfectly produced. 

The other tracks include Let's Come Together complete with vocals from the departed Lee Scratch Perry and two that promise a lot just by  their titles- Russian Oscillator and Cold War Skank. The vinyl is unfortunately sold out but the digital is available here

Wednesday, 9 April 2025

AW62

AW62 was last weekend, a proper gathering of the clans at The Golden Lion in Todmorden, an 18th century stone walled pub nestled into a gap between a hill and the canal, to celebrate the life of Andrew Weatherall on what would have been his 62nd birthday. Andrew's brother Ian, one of the event's key movers, said that it was planned as a party that had 'everything except Andrew'. The line up of DJs and acts was testament to the spirit of the man, a diverse and exceptional bunch of DJs, writers, artists, producers, publishers and bands. 

Some highlights from a weekend packed full of them- this is necessarily a highly selective account drawn from my at times unreliable memories. Everyone who attended will have their own version and highlights but these were some of mine. 

Friday night saw Richard Fearless DJing in the downstairs bar, a vinyl techno masterclass- minimal, sleek, machine music, emotive and huge sounding on the pub's recently upgraded sound system, causing quite a stir among the crowd and packing the space in front of the DJ booth out with dancers. 


I took this picture while Fearless was playing. It may not be in focus or even a vaguely coherent picture but it sums the night up quite well from where I was standing. 

Saturday night was split between upstairs and downstairs. Upstairs Duncan Gray played a house set and then Scott Fraser took over at midnight. Downstairs David Holmes headlined, picking up where Matt Hum left off. David has played The Golden Lion often in recent years. He changes his set every time, saying he doesn't plan it too much, just goes with the flow and the feel in the pub. His set on Saturday night was out of this world, a huge range of dance music, from spangly chuggers to amped up noise, breakbeats and the sudden switching to huge piano tracks. Towards the end of his set, a 2 am finish, I was stuck in a corner by the door, just enjoying the music and the volume. Joe Strummer's voice came out of the speakers, his famous 'people can do anything...' speech from a radio show followed by ecstatic synth noise (an unreleased Holmes and Matty Skylab track, David said afterwards). There was a pause at 2am and then two or three more tunes, one a rumbly, garage band guitar song, one an explosion of synth chords, a wall of noise, and then finishing with the huge, extended Leftside Wobble remix of Tomorrow Never Knows, The Beatles most experimental, most progressive song filling the pub and scrambling heads. Thoughts were indeed laid down and voids were very much surrendered to. 

Saturday afternoon was our turn to play again, The Flightpath Estate DJs given the privilege of being part of the proceedings. Me, Baz, Martin, Dan and Mark played throughout the afternoon and into the evening. At one point I looked out into the space in front of the booth and saw author David Keenan and White Rabbit Books publisher Lee Brackstone  dancing and singing along to a song I was playing, the magnificent One Of Those Things by Dexys, from 1985 (a song even Kevin Rowland eventually had to accept he'd ripped off from Warren Zevon's Werewolves Of London). 

One Of Those Things

I spoke to David Keenan at some point, excitedly telling him about the experience I had reading Xstabeth a few years ago, a book which at several points blew my mind a little. This photo has me and David, me somewhat out of focus, mind probably still blown. 

Saturday afternoon also saw the fabled raffle and auction, Claire Doll's hard work and creativity raising  thousands of pounds for charity, Weatherdolls and Sabres cross stitch and a box of records found in Andrew's lock up when it was cleared out, promo copies of the David Holmes remix of Smokebelch and other delights. Golden Lion landlady Gig conducted the auction action in her own inimitable style. Holmes bid for and won this Gnostic Sonics banner.

Sunday saw the crowds, fans, punters and artists drawn back to the pub and its beer garden, bathed in early April sunshine. Andrew's friends Sherman and Curley played dub and ambient sounds the whole afternoon. Meanwhile the Sunday afternoon literary event came in three parts- a Lee Brackstone hosted discussion with Andrew's partner of seventeen years Lizzie Walker, Two Lone Swordsman guitarist Chris Rotter, Ian Weatherall and The Flightpath's own Martin Brannagan, Lee asking the questions which included 'when did you first meet Andrew?' which drew a range of funny responses. 

The second part was Lee and David Keenan, an interview and a reading from his new book Volcanic Tongue. The third was Keenan interviewing  Adrian Sherwood, a fascinating half hour with one of Andrew's heroes, the main man of UK dub whose reminiscences and thoughts could and should fill a book. David Keenan (and David Holmes, sitting on the front row) unpicking all sorts of aspects of On U Sound and Sherwood's music and career and the nature of dub. Genuinely amazing to sit in on and as much a part of the weekend as the DJs and music. 

Adrian Sherwood The Producers Series #1

This hour long Sherwood mix comes from the Test Pressing blog, published back in 2010. The tracklist can be found at Test Pressing- Creation Rebel, African Head Charge, Dub Syndicate and Doctor Pablo all feature. 

Sunday night finished with the twin attack of The Jonny Halifax Invocation playing live upstairs and Sherwood DJing downstairs. Criminally I missed both- having been at The Lion since Friday night, suffering from a distinct lack of sleep and having to drive home at some point that night, I called it a day at around 6 pm. 

Everyone involved in AW62 should give themselves a well earned pat on the back and maybe have a bit of a lie down- Waka and Gig at The Golden Lion, Ian Weatherall, Claire, Lizzie and Curley with the raffle and auction and merch, all the DJs and bands, Lee and David bringing the literature angle (books and writing were as big for Mr Weatherall as music was). It was a brilliant weekend and event- heart warming and inclusive, packed with energising and exciting music, and filled with great people. The Lion always draws a lovely bunch of punters and AW62 was no exception. And when the lie down is over and everyone's recovered, more please next year...

Sunday, 9 March 2025

Forty Five Minutes Of Dub Syndicate

The new Dub Syndicate album- Obscured By Version- has taken up residence on my turntable, nine new versions by Adrian Sherwood of tracks from the 1989- 1996 period, the original tapes redubbed. Style Scott's rhythms remain the centrepiece. Around them Sherwood constructs entirely new versions, the original track sometimes peeking through with classic dub FX bouncing in and out- door bells, lions roaring, bicycle bells, horns, tyres screeching. It's a wonderfully pulled together album, Adrian's tribute to his friend Style who was found dead in his home in Jamaica in 2014. 

Style Scott and Adrian formed Dub Syndicate in 1982, Scott having drummed with Roots Radics, Sons of Arqa and Creation Rebel. Fifteen albums followed, most of them on On U Sound and two recorded with Lee 'Scratch' Perry. 1985's Tunes From The Missing Channel, the third Dub Syndicate album, is a personal favorite, one of my favourite dub/ On U Sound albums. 1990's Strike The Balance is not far behind it. With all this in mind, I thought a Sunday mix was in order.

Forty Five Minutes Of Dub Syndicate

  • Right Back To Your Soul
  • Drilling Equipment
  • Hawaii
  • Pounding System
  • Walking On The Edge
  • Out And About
  • 2001 Love
  • Train To Doomsville
  • Ravi Shankar Pt 1
Right Back To Your Soul is on Obscured By Version, a superb dub of a dub, the bass and riddim riding in, organ and melodica floating around and eventually jazz club piano, Sherwood's mastery of the desk and production at its absolute peak. The original track dates fro the 1993 Echomania sessions according to Dr Rob's excellent sleeve notes. 

Drilling Equipment was on 1991's One Way System and prior to that a cassette only release in 1983 on ROIR, uncompromising sound sculpture, industrial dub.

Hawaii is from 1990's Strike The Balance, an album with vocals courtesy of Bim Sherman and Shara Nelson along with a bizarro world cover of Je T'aime. Hawaii has a lilt and melodiousness to it that is entirely appropriate and naturally a Hawaiian guitar solo. 

Pounding System was the 1982 Dub Syndicate debut, members of Creation Rebel and African Head Charge throwing the heavy rhythms and dub FX around. I think this release actually predated Style Scott joining and then becoming the centre of Dub Syndicate. 

Walking On The Edge is from a live album, Live At The T+C 1991 (not released until 1999) complete with an echo- laden sampled transmission warning of the dangers of nuclear weapons. 

Out And About is from Tunes From The Missing Channel, a seminal dub album with contributions from Jah Wobble, Ashanti Roy, Keith Levene and Bim Sherman. Out And About is the album's closing track, a magnificent dub ending. Ravi Shankar Pt. 1 opens it, the sound of the sitar and dub crossover, a legendary piece of On U music. 

2001 Love is from 19993's Echomania and samples Allen Ginsberg's voice from the 1968 film Tonite Let's All Make Love In London, a documentary about Swinging London.

Train To Doomsville is from Pay It All Back Vol. 2, the series of wallet friendly compilations On U Sound have released periodically since the early 80s. Vol 2 came out in 1988, Train To Doomsville saw Dub Syndicate joined by Lee 'Scratch' Perry. 

Thursday, 21 November 2024

Intercommunications

A new Dub Syndicate/ Adrian Sherwood release was announced yesterday, a brand new set of versions built on the rhythm tracks from tapes recorded by Adrian and Style Scott in the period between 1989 and 1996- a set of new dubs of old tracks, Adrian at the mixing desk pushing and pulling those faders around to reshape Dub Syndicate once more. The first cut from is this, Intercommunications, a low key and low slung four minutes and forty seconds of On U dub splendour. Intercommunications makes time disappear- it could easily be three times as long and not lose any of its charms. 

The album- Obscured By Version- is out next February along with a five CD box set anthology of Dub Syndicate from '89- '96 called Out Here On The Perimeter and single disc re- issues of four albums, Stoned Immaculate, Strike The Balance, Echomania and Ital Breakfast. Obscured By Version is available at all the usual places including Bandcamp

Back in 1985 Dub Syndicate released Tunes From The Missing Channel, a heavy duty collision of On U dub, Jamaican dub, Sherwood's industrial/ sampling, Ashanti Roy from The Congos and contributions from Jah Wobble and Keith Levene. Nine slices of classic mid- 80s On U Sound. I was going to post Ravi Shankar Pt. 1 but I've done that before- instead, try this... 'something nice is going to happen to your ears', as the man says.

The Show Is Coming

Saturday, 31 August 2024

V.A. Saturday

In 1985 the first volume of Pay It All Back was released by On U Sound, a compilation that turned into a series that serve as budget priced primers and round ups of On U sounds as well as outlets for unreleased tracks and alternate mixes. Pay It All Back Volume 8 came out in 2022, another edition of Adrian Sherwood's singular vision of dub, reggae, electro/ industrial with umpteen legendary artists across the series. This is a trio of tracks as a selection, a mere scratching of the surface. 

From 1988's Volume 2, this is Dub Syndicate, a studio sample- fest with pots and pans percussion, electric drills, radio announcements and between station static, guitars and with the mighty Lee 'Scratch' Perry.

Train To Doomsville

From Volume 4 in 1993, Little Annie- horns, bass and Annie's so distinctive New York voice. 

Bless Those

Finally, from 2022's Volume 8, Tackhead and LSK, pummelling electro- dub from Doug Wimbish, Skip McDonald and the late Keith Leblanc with Leigh Steven Kenny on vox. 

Rulers And Foolers

Sunday, 30 June 2024

An Hour Of Midsummer Ambience

Today's mix is inspired by the music Martin and I played last Saturday might at Soup with Contours and Marconi Union, sixty minutes of largely ambient music with a tendency towards the cosmic and the odd detour into dub, on this day, the mid point of 2024- how did we get to 30th June so quickly? It seems like only recently it was New Year. The picture is from December last year and an Anglo- Saxon cross in the churchyard of St. Edward's church in Leek, Staffordshire (my Dad's hometown and home to the local delicacy, the Staffordshire oatcake). Anyway, midsummer, late nights, warm days, ambient bliss, dub bass. What more could you ask for?

An Hour Of Midsummer Ambience

  • Underworld: Dark And Long (Most 'Ospitable Mix)
  • Khartomb: Swahili Lullaby (Synkro's Balearic Dub Mix)
  • M- Paths: Emerge
  • Sabres Of Paradise: Chapel Street Market 9am
  • Zoe: Moonsister (Lunar Dub 1)
  • William Orbit: The Story Of Light
  • Coyote: Every Forest Tells A Story
  • The Woodentops: Dream On (Balearic Ultras Brooking Bass Remix)
  • Andy Bell: Smokebelch II
  • African Head Charge: Dub For The Spirits
  • Sedibus: SETI Part 3

Dark And Long opened Underworld's 1994 album dubnobasswithmyheadman. The single version came with four different mixes, the ambient Most 'Ospitable one being a thing of great beauty. 

Khartomb's 1983 single Swahili Lullaby, post- punk dub,  has recently been re- issued by Jason Boardman's Before I Die label along with this ambient/ Balearic remix courtesy of Stockport producer Synkro. 

M- Paths album Submerge came out on Mighty Force earlier this year, one in a long line of outstanding releases from the reborn Exeter label. Emerge is the final track, piano and synths combining to give the feel of surfacing from underwater to feel the warm hit of sun on your face. 

Chapel Street 9am was on Sabres Of Paradise's 1994 album Haunted Dancehall, Weatherall, Burns and Kooner creating a morning walk through the streets of London after a night at the titular nightclub, electronic seagulls yapping overhead and the gumshoe Maguire heading home. 

Zoe had a huge hit with her song Sunshine On A Rainy Day, a pop- rave classic from summer 1991. The Orb and Youth were involved and The Orb remixed her song Moonsister for the 12".

William Orbit's Strange Cargo 3 is a lost ambient/ global/ dub gem from 1993. The Story Of Light is a blissed out ambient peak.

Coyote released Every Forest tells A Story earlier this year, another spoken word vocal sample layered over laid back ambient/ Balearic music. 

The Woodentops released their album Fruits Of The Deep in April and a single Dream On a few weeks before with this floaty remix by Brighton's Balearic Ultras. 

Andy Bell's cover of Sabres Of Paradise Smokebelch II is from our album Sounds Of The Flightpath Estate Volume 1. In a chain of events that still leaves me scratching my chin, we had almost every track ready for mastering and I emailed Andy (he'd been on tour in the US with Ride) to see if he had anything for us. The following day he sent me Smokebelch, saying I'd inspired him to finish it. He started it the day Andrew died and completed it for our album, inspired by Andrew. Coincidentally, our album made Piccadilly Records mid- year top 25 collections round up a few days ago. 

Dub For The Spirits came out on African Head Charge's Churchical Chant Of The Iyabinghi, an album of previously unreleased tracks and dubs from their 1990 classic Songs Of Praise. Every home should have one.

Sedibus's SETI (The Search For Extra- Terrestrial Intelligence) came out at the start of the year and I'm still going back to it, a lovely mix of synths, samples and 'real' instruments and an endless, questing vision of outer space as a place to find something else/ yourself. 

Thursday, 8 February 2024

End Of Times

David Harrow has been featured at these pages many times before, a slew of tracks and releases taking in modular synth ambience, dub, acid and music from his time in the ON U Sound collective, recordings with Andrew Weatherall and previous to that with his album with Anne Clarke. His back catalogue is rich and varied. David has been a resident of Los Angeles since the early years of the 00s. This year David turns 60 and is celebrating with monthly releases. Last week he put out a nine track with Little Annie, titled End Of Times, and it already sounds like a 2024 highlight.

Little Annie (aka Annie Anxiety) is an American artist- singer, poet, writer, actor- and has a similarly rich musical background, including recordings with Adrian Sherwood's On U Sound, with Crass, three solo albums and appearances with Nurse With Wound, Finitribe, The Wolfgang Press, Swans, Kid Congo Powers and Coil among many. She hasn't made much music since 2011, so End Of Times with David marks a real return.

End Of Times is tense, throbbing electronic dub with Annie's spoken word/ poetry pointing fingers and pointing realities, taking down notes and asking questions. It's a strongly worded, poetic and vehement response to the world of 2024, kicking off with the lines, 'This is the sound of one hand slapping/ This is the edge of the cliff we're nearing' and adding a little later, 'This is a typeface of a mass nervous breakdown'. 

Annie's conclusion, 'We've all lost our fucking minds', followed by the realisation we might not be at the bottom of the barrel yet- 'How low can we go?' 

There is more, much more, memorable lines, expertly delivered in a low drawl, 'This is the death knell of critical thinking/ This is tinnitus from the Tower of Babel/ This is your misery rendered a hashtag/ This is the sun burning your crops'. 'This', Annie concludes, 'is not the happy hour'.

There are six remixes including two from South London dub- techno kings Rude Audio, both rattling with percussion and chugging drums and acres of echo. The Protean Remix romps by over eight and a half minutes, gathering pace and tempo, with mini explosions going off in the background behind Annie. The Immutable Remix is slightly shorter but no less intense, plenty of dub business going on. There are three other remixes, all sending Annie and David off in different dub influenced directions, from Martini Bros, Misled Convoys and Ono- Sendai. To wrap things up there is an instrumental version and an acapella (which could well find itself popping up all over the place). 

Versions for every occasion. Listen to and buy the whole EP at Bandcamp

In 1992 David and Annie worked together at On U, recording I Think Of You, a co- write with Doug Wimbish with Adrian Sherwood at the controls, a superb piece of sultry early 90s sci fi dub.

Sunday, 17 December 2023

An Hour Of 2023 In Dub

While starting to consider the end of year lists of records, singles, albums, EPs and gigs it struck me that much of what I've listened to this year has been very dub oriented, the rhythms and sounds of Jamaica and its 2023 diaspora very much near the forefront of everything. As my list making began and the scribbling lengthened and grew, it seemed that a dub stop off in advance of the main event might be a good way to fill this Sunday's slot, an hour of dubby tunes to ease into the day as the week of the shortest days and longest nights approaches. There's loads missing that could have been included, not least the dubs of songs by JIM and Richard Norris' Oracle Sounds album, so this isn't definitive, it's just a version. 

An Hour Of 2023 In Dub

  • Katy J. Pearson: Willow's Song (Richard Norris Ritual Mix)
  • Rude Audio and Dan Wainwright: El Qasr Dub
  • Justin Robertson's Deadstock 33s: Lone Raver In Dub
  • Sonic Boom and Panda Bear: Edge Of The Edge Dub
  • Stinky Jim: Quiet Spillage (The Long Champs Remix)
  • Unloved: Thrill me (Justin Robertson's Temple Of Wonders Remix)
  • Whitelands: Setting Sun (AR Kane Initiation Dub)
  • Electric Blue Vision: Other Skies (Hardway Bros Meet Monkton Uptown Version)
  • Dot Allison: Unchanged (Glok Remix)
  • African Head Charge: I Chant Too

Katy J. Pearson's cover of Willow's Song came out in several new versions as part of a five disc celebration of the 50th anniversary of The Wicker Man in June. Richard Norris' dub mix is seven minutes of peak 2023 dubiness, the bassline and Katy's voice and that haunting horn all pushed to the fore. Richard's Oracle Sounds Volume 1 has been one of 2023's highlights, an album of  first rate dub sounds and rhythms. Volume 2, due out in February, can be pre- ordered here

Rude Audio and Dan Wainwright's Psychedelic Science is one of 2023's best albums, a dub centred collision of South London and North Wales with Ram Dass, David Bowie, Ken Kesey and Ken Babbs and The Grateful Dead stirred into their dub stew. 

Lone Raver In Dub is one of Justin Robertson's from the vaults releases, out digitally as Part 4 of his Deadstock 33s Unreleased Volumes. Fast rocking dub from September 2023. 

Sonic Boom and Panda Bear's Reset album was remixed by Adrian Sherwood in full, the 60s bubblegum pop fed through the On U Sound dub machine to fine effect. Like Oracle Sounds Volume 1 an album that really reveals itself fully on vinyl. 

Stinky Jim's Social Awareness album came out as a follow up remix album in July, the original album remixed and dubbed out. Stinky Jim's dub comes all the way from Auckland, New Zealand, remixed in dub  style here by Welsh wizard The Long Champs. 

Unloved's Polychrome was a nine song album from early 23, a follow up to 2022's The Pink Album. The remixes followed a month later with Justin Robertson's taking the road to Scratch and Tubby, a rocking dub skank. 

Whitelands are a shoegaze band on Sonic Cathedral. In June a 10" single with remixes by returning shoegaze/ dreampop heroes AR Kane found its way into the wild, Rudy and Alex finding acres of dub space in among the wash of guitars. 

Electric Blue Vision, Jesse Fahnestock and Emilia Harmony, put out their Other Skies EP in November, an end of year hit in certain quarters of the internet, including this one. Hardway Bros and Monkton (Sean Johnston and Duncan Gray) often pull skanking rabbits out of dub hats when remixing together. This is among the year's best. 

Dot Allison's Consciousology, also on Sonic Cathedral, is an indie folk/ psyche/ dreamy meeting of melody and poetic lyrics. For this remix Andy Bell in GLOK guise found the dub heart of the song, somewhere in the similar cosmos as Brendan Lynch's 1993 remix of Paul Weller's Kosmos.

Aftican Head Charge's A Trip To Bolgatanga is a 2023 high spot, ten of the latest stop off points on Bonjo's four decade voyage with Adrian Sherwood.

Sunday, 10 December 2023

Forty Minutes Of Adrian Sherwood

Adrian Sherwood's career in music dates back more than four decades. You can dip into it at point since he started producing, mixing and making records in the early 80s and not be disappointed- there is no weak spot, no off period, no loss of quality; everything he touches is worth hearing and much of it is music of the very highest calibre. Various people have spoken about watching him in the studio, using the mixing desk as an instrument, throwing sound around the channels, pushing faders up and down, his use of echo and space and reverb creating music from somewhere else, inspired by Jamaican dub but identifiably British too. Through his label On U Sound he has released hundreds of records, Sherwood's golden touch for sound, space and rhythm all over many of them, a man with a sound that is always moving forward, always modern. As with The Fall a few Sundays ago, I could sit down a do another two or three Sherwood mixes without any bother at all- what is in this mix is just a selection of Sherwood recordings, productions and remixes. 

Forty Minutes Of Adrian Sherwood

  • Whirlpool Dub
  • Nocturne (Adrian Sherwood Remix)
  • Acid Tabla (Adrian Sherwood Remix)
  • I'm A Winner
  • Dub For The Spirits
  • Haunting Ground Dub
  • Ju- 87
  • Long As I Can See The Light (Adrian Sherwood's Dub Lightning)
  • Bless Those
  • The Way Of The World


Whirlpool Dub is from this year's Reset In Dub, Adrian's reworking in dub style of the entire Reset album, released by Sonic Boom and Panda Bear in 2021. It is one of this year's best albums. The vinyl arrived this week, a December dub treat. 

Mark Lanegan has never sounded darker or more doomy than in Adrian's hands (and that's saying something. Mark made a career out of dark and doomy). This remix came out in 2017 on a Mark Lanegan mini album, Still Life With Roses (Gargoyles Remixes) along with remixes of Beehive by Andrew Weatherall. 

Suns Of Arqa's Acid Tabla EP came out in 2016, produced by Sherwood and Wadada with the late Style Scott on drums (of Dub Syndicate). The bassline, tabla and rocking rhythms are all spot on. The original version of Acid Tabla was on Suns Of Arqa's 1980 album Revenge Of The Mozambites, Adrian credited as Adran Riddims.  

I'm A Winner is one of the standouts on this year's Africa Head Charge album A Trip To Bolgatanga, an album where Adrian and Bonjo shift the African Head Charge sound yet again. When they set out with AHC back in 1980 the idea was create 'a vision of a psychedelic Africa'. They made several definitive albums between 1980 and 1990, dub, sound FX, samples and African drums fused in a mystical sound. In 1990 they released their pinnacle, the mighty Songs Of Praise. In 2020 an album of extras including unreleased tracks from Songs Of Praise came out including Dub For The Spirits.

Bim Sherman became one of the key figures of the On U Sound collective, a man with a golden voice. Haunting Ground was on 1986's album of the same name, an album which featured Dub Syndicate and Roots Radics. The dub mix coming out on one of the pair of CD compilations titled Sherwood At The Controls. Bim died of cancer in 2000. His 1996 album Miracle is one of the lost gems of the 90s, songs from his back catalogue given a Bollywood makeover, re- recorded with Indian strings and Talvin Singh's percussion. 

Adrian dubbed out Primal Scream's entire Vanishing Point album, released as Echo Dek on Creation in 1997. Ju- 87 is a dub version of Stuka, a fairly uncompromising track in its original form. Adrian adds doorbells, and pulls rattling echo, deep bass, ricocheting bleeps and a scuzzy, screwed up dub to the fore. 

Long As I Can See The Light was a 1998 single by Monkey Mafia, released on Heavenly, a cover of a 1970 Creedence Clearwater Revival song. Monkey Mafia's cover is a lovely late night, downtempo cover. Adrian bends it into a new space. 

Bless Those is from Pay It All Back Vol. 4, released in 1993. Pay It All Back is a long running series of compilations/ samplers dating back to 1985. Little Annie has been part of the On U family since the early 90s, with David Harrow, Doug Wimbish and Skip McDonald all contributing music to Annie's vocals. A dense sound, distorted horns and dub FX.  

The Way Of The World is by LSK and Sherwood, a track on Pay It All Back Vol. 7 from 2019. LSK is British singer/MC Leigh Stephen Kenny, born in Kent and now in Leeds. This track is a suitably dubbed out way to close this mix, two and a half minutes of digital dub, noise and samples, unease and LSK's honeyed vocal.  


Sunday, 22 October 2023

Forty Five Minutes Of Leftfield

I was listening to Leftism recently, Leftfield's 1995 debut album, an album that takes in sublime ambient house (Melt, Song Of Life), bass heavy dub techno pounders (Release The Pressure, Afro- Left) and eye catching guest vocalists (John Lydon on Open Up, Toni Halliday on Original). It was this Top of The Pops repeat that had me digging Leftism out, a 1995 appearance with a blonde Toni moonlighting from Curve and looking every inch the goth- dance star...

The back to back pairing of Melt and Song Of Life, tracks three and four, were the two that struck me the most this time around, a gorgeous way to spend ten minutes. The closing 21st Century Poem also had me appreciating it anew. I began a Sunday forty minute Leftfield mix and immediately had the problem of too many songs, many that are eight, nine or ten minutes long plus a load of remixes. In the end I've gone mainly for mid- 90s Leftfield, Neil Barnes and Paul Daley's glory years, tracks from subsequent albums/ versions of the group left for another time. 

Forty Five Minutes Of Leftfield

  • Fanfare Of Life
  • Release The Pressure (Adrian Sherwood Mix)
  • Renegade Soundwave (The Leftfield Remix)
  • Nothing (Extended Version)
  • Melt
  • Release The Pressure (The Rough Dub)
  • Original
  • Open Up (I Hate Pink Floyd Mix)

Fanfare of Life is a version of Song Of Life, Leftfield's fourth single, out in 1992, a masterful piece of optimistic ambient house. The Fanfare version also showed up on Cafe Del Mar Volumen Uno, a definitive mid- 90s compilation. There are a pair of Underworld remixes either of which probably could and should have featured on this mix. 

Release The Pressure appears twice, once in its 2019 re- released Adrian Sherwood remix version. You can never have too much Sherwood. The Rough Dub came out on 12" in 1992, Neil and Paul with Earl Sixteen on vox, a dark and deep, epic thumper.  

Renegade Soundwave were a London three piece, much underrated and unappreciated in some ways. Their singles  Women Respond To Bass, The Phantom, Positive ID, Probably A Robbery, Renegade Soundwave and Brixton are all worth spending time with as are their albums, the 1990 In Dub especially. This Leftfield remix of their title track came out in 1994.

Sandals were a beat poetry/ progressive house group who I thought were great, briefly. Several singles and an album with Paul Daley and Neil Barnes producing, mixing and remixing. Nothing was a 1992 single, with the whispered line 'Old man, what have you done?' just as pertinent now as it was then. There are old men all round the globe making the world a worse place aren't there?

'The film starts/ the film ends', Toni Halliday says as Leftfield's heavy bass and beats stomp on around her on Original. Toni was the vocalist in Curve, a duo with Dean Garcia who made a run of electronic rock/ goth dance singles- they've been featured recently over at The Vinyl Villain. While the dance music guest vocalist thing quickly became standard Leftfield's collaborations with Toni and John Lydon were attention grabbing in the mid- 90s. They put John Lydon back on the cover of the music press, somewhere he hadn't been for some time. Lydon's vocal on Open Up is the stuff of legend, a reborn, angry and exhilarating vocal from the former PiL/ Pistol, stridently taking down Hollywood and the film industry. The I Hate Pink Floyd Mix is by Sabres Of Paradise slowing the song down to an industrial dub grind, a PiL influenced remix by Weatherall, Kooner and Burns. 

Wednesday, 13 September 2023

Double Dub


Accidental/ ambient art- this is the detail of a large piece of plywood boarding up the windows of an empty shop in Chorlton with a small piece of black tape stuck in the centre. If I set out to paint something like this deliberately, it wouldn't be anywhere near as good as this. 

Richard Norris has taken a detour recently. Alongside his always excellent monthly twenty minute ambient/ deep listening excursion Music For Healing (the most recent release in that series is the autumnal Equinox 9) Richard is now making dub and has a new label to put it out under- Oracle Sound. The first volume of Oracle Sound is out in October with three deep dubs available to listen to in advance- Lightning Version, Birthday Dub and Sodium Haze. This is dub created from scratch, allowed to unfold over long periods of time, beds of echo and space, ambient/ drone backdrops, kicking rhythms and lovely warm bass. You can find Oracle Sound Volume 1 here. Subscribers to Richard's Bandcamp can get hold of the twenty minute long Shark Tooth Dub, experimental, ambient dub that glides on and on. 

More dub now, of the dubbing out already existing songs variety. Panda Bear and Sonic Youth's album of last year Reset has been dubbed out in full by Adrian Sherwood. The original album was a brightly coloured, sweeter than sugar blast of 60s psyche- pop. Sherwood has applied forty years of dub experience at On U Sound to the songs, re- imaging the songs, breaking them down, smothering them in dub FX, pulling basslines and drums/ percussion to the fore, adding new horns/ melodica lines and adding those cymbal crashes, whirrs, gurgles and thick bottom end.  I could post every/ any version from Reset In Dub but perhaps its best just to go for Getting To the Point Dub.


 

Wednesday, 19 July 2023

Whirlpool

Panda Bear and Sonic Boom's album Reset came out last year, a brightly coloured, psyche- pop record that took samples/ ideas from songs from the past and recast them. Sonic Boom asked Adrian Sherwood to do a dub and in typical Sherwood fashion he didn't do a dub, he did many dubs, eventually the entire album remixed dubwise style out by Sherwood and a selection of the On U Sound cast of players. Reset In Dub comes out in August digitally and then December on vinyl. To whet your whistle they launched Whirlpool Dub into the wilds last Friday. This dub/ psyche version of Panda Bear and Sonic Boom is very nice, with a tripped out edge, lots of warmth and sounds bouncing around the parameters of the mix- there's a cello in there too which works perfectly, as Panda Bear's voice gets sent reverberating into space. Buy it here


Monday, 24 April 2023

Mark Stewart R.I.P.

 
Mark Stewart's death at the age of 62 was announced on Friday. Mark was a towering presence in post- punk and in music thereafter, a man who saw music as an art form that should be provocative and challenging. The Pop Group, the Bristol group he led, brought together punk's guitars and confrontation, dub's space, free jazz's noise and funk's basslines with Stewart's politicised, expressive and sometimes ranting vocals, with Dennis Bovell at the controls. They were hugely important in influencing the wave of 80s and 90s industrial bands. When the group fractured in 1980 Stewart went on to New Age Steppers and then to work with a like- minded soul in Adrian Sherwood and the On U Sound collective. His Mark Stewart and The Maffia records were made firstly with On U musicians from Creation Rebel and later on the Tackhead trio of Doug Wimbish, Skip McDonald and Keith LeBlanc. 

This song was from 1983, the title track from his debut album although the edited version here is from a flexi- disc given away with a Dutch magazine. The album, all cut up electro beats, dub bass, distorted, sample- like vocals and Mark's politics, isn't an easy listen and it's not supposed to be. 

Learning To Cope With Cowardice ((Flexi Version)

In 2019 Mark's voice and denunciation of Brexit and all those who pushed it were at the centre of a single recorded by Jah Wobble and a post- punk supergroup containing Youth, Richard Dudanski, Keith Levene and drum tracks and loops courtesy of Andrew Weatherall and Nina Walsh. Mark Stewart- one of those people who you feel we shall not see the likes of again. R.I.P.

A Very British Coup


Tuesday, 18 April 2023

Microdosing

A new album from On U Sound legends African Head Charge was hinted at last year by Adrian Sherwood and last week the first fruits of it appeared online in the shape of a single titled Microdosing. Percussionist and drummer Bonjo Nyabinghi Noah formed African Head Charge in the early 80s, a wide cast of players, contributors and musicians joining in across a multitude of albums, most released on On U Sound- many of them have been re- released in recent years along with a box set. From 1981's My Life In A Hole In The Ground to the classic Songs Of Praise in 1990, Sherwood and Bonjo set about fulfilling a vision to realise a psychedelic Africa, 'outernational' rhythms and drumming crossed with dub. In 2020 an album of outtakes from 1990- 1993, the Churchical Chant Of The Iyabinghi, was released and the box set Drumming Is A Language pulled together the recordings from 1990 to 2016 across five CDs. You can't go wrong with anything with the African Head Charge name on it really. 

Healing Father's Dub was on Churchical Chant... a very mashed up, dubbed out version of a track from the mighty Songs Of Praise. 

Healing Father's Dub

New track Microdosing  comes ahead of the album A Trip To Bolgatanga, out in July, inspired by a trip to Bonjo's current home in Ghana. Stringed instruments, chanting, hand drums, organ, Sherwood's dub space and echo- a deceptively complex track too, each listen revealing more. Hearing it in the context of the album with a further nine songs around it promises to be one of summer's highlights. 

Sunday, 5 March 2023

Half An Hour Of The Woodentops

In the mid 80s The Woodentops arrived, formed in South London by Rolo McGinty, Simon Mawby, Alice Thompson, Frank De Freitas (brother of Bunnyman Pete) and Benny Staples. The early sound married acoustic guitars, marimbas, trumpets, strings and accordion with indie- pop songwriting, hooks aplenty. Around 1987 they shifted gear, speeding up and becoming a frenetic, dance- pop group. Drummer Benny Staples played standing up with a kit that included hub caps giving them a definte rhthmic change other groups at that time just didn't have. Their live album, recorded in decidedly un- indie Los Angeles, Live Hypno Beat is a classic, the band not just playing their guitars but scrubbing them. The arrival of ecstasy may have been a contributory factor. Over in the Balearics Why became a much played song. I bought their second album when it came out Wooden Foot Cops On The Highway in 1988 and it's stuck with me ever since in one way or another (although, strangely looking at it now, the mix below has no songs from that album contained within it). They were a step ahead of their contemporaries, never quite making the crossover to the big success. No matter- they remained unaffected and have a back catalogue without any weak spots- the thirty minutes below could easily feature twenty more songs without any dip in quality. Click play for an upbeat and uptempo half hour to kick start Sunday morning with a spring in your step. 

Half An Hour Of The Woodentops

  • Why (Hypnobeat Live)
  • Good Thing (12" Mix)
  • Travelling Man (12" Mix)
  • Give It Time (Adrian Sherwood Remix)
  • Plenty
  • Love Train (Janice Long Session Version)
  • Move It (Hypnobeat Live)

Why and Move It are both from Live Hypno Beat Live, a twelve song live album, recorded in Los Angeles in 1986 for a radio station. Frenetic, hyper- speed, supercharged and upbeat indie- pop. The pile up of guitars, drums and whatever else is being played towards the end of Move It is a manic thrill. In recent years Why has been remixed time and time again, almost always successfully, a song that loses none of its impact.  

Good Thing, a delicious blend of late 80s indie-pop and African highlife guitars, was a 1986 single and was on their debut album, Giant, also out in 1986. Travelling Man was the B-side. Both are essential Woodentops. The 12" mixes are a minute or two longer in both cases, stretched out at breakneck speed.

Give It Time was also on Giant. The Adrian Sherwood mix, one of several he did for the band, is from a three CD compilation of rarities, remixes and remasters that came out in 2013. 

Plenty was the debut single, released on Rough Trade in 1984 which caught the eyes of a certain Mancunian singer who was reviewing the singles in Melody Maker that week. Morrissey's name followed them round for several years. 

Love Train, a rockabilly shuffle played faster than any train could move, was a 1986 single and also on Giant. The Janice Long session was recorded in June 1986. They'd previously recorded a session for Janice in 1985 as well as sessions for Peel and Simon Mayo.