Humanity As An Act Of Resistance

David Holmes returned to NTS for his monthly God's Waiting Room last week, a two hour long show that sequences speeches and excerpts into his musical selections. The speeches include comments on Donald Trump's Middle East fiasco, Ted Cruz, the Epstein Files, bombing a girl's school in Tehran, the state of Israel, the blockade of Cuba, the lunatic Christian Maga fringe, ICE, Ram Dass, Howard Zinn and more. In between and around these there are songs from Shockheaded Peters, Aphex Twin, Little Annie, Country Joe and The Fish, Sandals and DSS, Primal Scream, Grian Chatten, and Habitat Ensemble. The full track list is here. 

Humanity As An Act Of Resistance can be listened to here. 

Some people say pop and politics shouldn't mix, but some people are wrong. Music is made by people who live in the real world, it isn't just entertainment. 

Grian Chatten's band Fontaines DC have contributed a song to the latest War Child album, Help 2 (a sequel to 1995's Help). War Child raises money to help children affected by warfare and conflict. Fontaines have covered Sinead O'Connor's Black Boys On Mopeds, a song that in 1990 highlighted Margaret Thatcher's hypocrisy. One of her hypocrisies. 

'England's not the mythical land of Madame George and roses/ It's the home of police who kill Black boys on mopeds.'

In 1990 Sinead sang it at the BBC on The Late Show. In 1989 police chased Nicholas Bramble. He was on a moped they suspected him of stealing- he hadn't stolen it, it belonged to him. As they chased him he careered off the road and crashed. He later died of his injuries. Colin Roach, a black man from Hackney, was arrested and died in a police station of a gunshot wound- the verdict was suicide but few believed this and a cover up was suspected. Calls for an inquiry were ignored. Both men are remembered in the song. 

Oblique Saturdays

A series for Saturdays in 2026 inspired by Brian Eno and Peter Schmidt's set of cards, Oblique Strategies (Over One Hundred Worthwhile Dilemmas). Eno and Schmidt created them to be used to unblock creative impasses and approach problems from unexpected angles. Each week I'll turn over an Oblique Strategy card and post a song or songs inspired by the suggestion. 

Last week's card said 'Disconnect from desire'.

Disconnection from desire came via Gala, The Beastie Boys and Scritti Politti. From the Bagging Area readership pool, Ernie was in first with Alessandro Moreschi, L. Braynstemmmmm suggested Kraftwerk's Computer Love, Rol offered Claudie Frish- Mentrop and Expendables' Man With No Desire and Jase gave us Sinead and I Do Not Want What I Haven't Got. Chris also offered Sinead's second album and suggested the Apple Brightness Mix of I Am Stretched On Your Grave which has a sample of How Soon Is Now buried within it.  

This week's card said this- Breathe more deeply.

Good advice. Useful for dealing with stress, increasing mood and focus. 

In the studio breathing more deeply could be interpreted as an instruction to let the music breathe, to slow it down, leave more space between the notes, focus on what you're not playing as much as what you are. It makes me think of Basic Channel, the Berlin techno duo who made dub- techno so minimal, so stripped down that it almost became something not music- just pure sound, a breathing exercise. 

This one is fifteen minutes long and from 1994. The dull thud of a muffled kick drum, a ball of barely there static, a repeating synth sound. Inhale exhale.  

Quadrant Dub I

I also thought of this from Deanne Day, a mid- 90s pseudonym used by Andrew Weatherall and David Harrow on three 12" singles. D and A. Andrew had dropped out of view a little post- Sabres, a choice to shun from the bright lights and the greasy pole. Blood Sugar was a deep house/ dub techno night he put on and Deanne Day fits in very well with that sound- kick drum, hiss of hi hat, lots of space, that vocal sample, 'I can hardly breathe', and a bassline to groove to. Another nearly fifteen minute long track.

Hardly Breathe

Inhale exhale. Calm in repetition. 

Later on the vocal becomes, 'When you stand there/ When you stand naked/ Looking at you'. Less calming perhaps. 

The synths swirl, the drums drop out, the bass bumps away, the snare rattles. A few minutes later (and nothing happens in a rush in Hardly Breathe, everything plays out for bars, unfolds in its own time) a long two note chord moves in. 

Andrew had a thing when making records around this time, as Deanne Day or Blood Sugar. There could only be four elements going on at once. If you wanted to add a new sound, you had to remove one. It kept it minimal and focused. Restrictions as a creative tool- which sounds like an Oblique Strategy. 

Feel free to make your own Breathe more deeply responses into the comments box. 

Forty Minutes Of That Drum Break

Back in December I posted I'm Not The Man I Used To Be by Fine Young Cannibals and then more recently Madonna's Justify My Love, both songs driven by a very famous drum break- the Funky Drummer, a drum solo played by the legendary Clyde Stubblefield on James Brown's 1970 single Funky Drummer (actually from the B-side Funky Drummer Part 2). Digging into My Bloody Valentine's back catalogue over the last two weeks brought me back to a B-side from 1988 titled Instrumental No. 2, the flipside to a 7" single given away free with the first 5000 copies of Isn't Anything. 

My Bloody Valentine and Madonna (with co- writers Lenny Kravitz and Ingrid Chavez) both built their songs around a short interlude track by Public Enemy from 1988's It Takes A Nation Of Millions To Hold Us Back. PE's Hank Shocklee denies that the drum break on Security Of The First World is a sample from Funky Drummer but both My Bloody Valentine and Madonna sampled Public Enemy- Kravitz denied it saying it was a drum break that was 'just lying around the studio'. Kevin Shields was getting into acid house in 1988 as well as developing MBV's guitar noise and there's a good argument that Instrumental No. 2 is the first indie- dance track, ahead of The Soup Dragons, ahead of The Stone Roses and ahead of Primal Scream. Admittedly Happy Mondays might want a word.

Anyway, the whats and wheres and who's firsts aren't what I'm here for today. I started piecing these tracks together and thought I'd try to get them and a handful of others to work together in a mix. Forty minutes seemed enough- there are literally thousands of songs that have sampled the Funky Drummer and hundreds of hip hop records including Boogie Down Productions,  LL Cool J, Eric B and Rakim, Run DMC, Beastie Boys and NWA. In fact I might come back and do a hip hop Funky Drummer Sunday mix. But in the meantime, this one is those records above and a couple of others. 

For a while Shadrach by The Beastie Boys were in the mix but it's a different drum break, more likely from Hot & Nasty by Black Oak Arkansas and I dropped Fool's Gold in too but it's not the same break either- it's a funky drummer but not the Funky Drummer. DNA and Suzanne Vega did make the cut but I don't think it's actually the Funky Drummer, it's more likely sampled from Soul II Soul, but it felt like it fitted. 

It's probably worth remembering that Clyde Stubblefield, the man whose drumming is the Funky Drummer, got nothing more than the session fee as the drummer in James Brown's band. 

Forty Minutes Of The Funky Drummer

• Public Enemy: Security Of The First World
• My Bloody Valentine: Instrumental No. 2
• Madonna: Justify My Love
• Sinead O'Connor: I'm Stretched On Your Grave
• Fine Young Cannibals: I'm Not The Man I Used To Be
• DNA and Suzanne Vega: Tom's Diner (DNA Remix)
• Radio Slave: Amnesia (Instrumental)
• James Brown: Funky Drummer (Album Version)

Security Of The First World is from side two of It Takes A Nation Of Millions To Hold Us Back, the greatest hip hop album ever made, Chuck D, Flavor Flav and The Bomb Squad writing the book on how to splice noise, funk and rap, politics, race and music. Security Of The First World is a one minute twenty loop, the Funky Drummer, a pulverising bassline and some bleeps, that changed music. 

Kevin Shields sampled Public Enemy for Instrumental No. 2. The pitch drops a little and it sounds scratchier- maybe they sampled it from vinyl. Over the top Kevin plays ghostly guitar chords and layers of wordless vocals to create something that would inform later MBV tracks- Soon is surely born here. 

Madonna's Justify My Love was a 1990 single, banned by MTV due to the S&M, voyeurism and bisexuality on display in the video. I wrote about it earlier this month here. Madonna and Lenny Kravitz wrote and recorded it in a day according to Lenny, very quick and in his words 'authentic'.

Also from 1990 is Sinead O'Connor's I Am Stretched On Your Grave. Sinead was a huge Public Enemy fan. The lyrics are from a 17th century poem, Taim Sinte Ar Do Thuama, translated into English by Irish poet Frank O'Connor and set to music in 1979 by Irish artist Philip King. Sinead's vocal is stunning, alone over Clyde's drumming. Some bass bubbles in, there are some drum crashes and at the end there's a dramatic fiddle part by Waterboy Steve Wickham. 

In 1989 Fine Young Cannibals released I'm Not The Man I Used To Be as a single (the fourth from their album The Raw And The Cooked). They sped the Funky Drummer up and there's some house music in the chords and production. A song that bears repeat plays. Roland Gift was a star who reused to play the game. 

DNA sampled Suzanne Vega's a capella version of Tom's Diner (from here 1987 album Solitude Standing though it dates from earlier, it's on a 1984 Fast Folk Music Magazine album). DNA played it over the drum break from a Soul II Soul record. DNA pressed it up and released it without permission and it took off. Suzanne's label A&M decided to release it officially rather than sue (Suzanne liked the version) and it became a massive hit. It's not the Funky Drummer but it felt like it fitted with Sinead and Madonna and the whole 1990 drum break sampling vibe. 

Just to show that you can't keep a good drum break down, Amnesia is from 2023, a track by Berlin DJ and producer Radio Slave and a tribute to the Ibiza club Amnesia and partying under the stars in the mid- to- late 80s, something Radio Slave admits is a romanticised notion. 

I was in two minds about including the source material. Funky Drummer was released as a single by James Brown in 1970, split over both sides of the 7" with Part 2 being the source of the drum break. This is a nine minute studio version, released on a 1986 album In the Jungle Groove- surely the source for many of the hundreds of artists who followed Public Enemy's lead after 1988 who sampled it. 

Resistance In The Dark

This is Resistance In the Dark by The Five Techniques....

The Five Techniques is a David Holmes project which sees music and art as an act of resistance. Holmes played at a gig for Gaza, put together by Paul Weller. Holmes and Weller decided to make a song, available as a digital and 7" single, with vocals by Roisin el Charif, singing in Arabic, 'If my voice will falter/Yours should remain'. Douglas Hart's video is a powerful and discomforting watch. The bass drives the song on, there is a chaos among the noise, Weller's voice echoes Roisin's but in English, an acid rock guitar solo cuts through, the voices return, 'In no light/This resistance grows strong', the music swirls and urges before fading out leaving just Roisin and the voices of some Palestinians. It's strong stuff. You can get it at Bandcamp. All profits will go to Medical Aid for Palestine. 

David Holmes grew up in Belfast during The Troubles. The name of the project, The Five Techniques, refers to interrogation practices used by the British in Northern Ireland: prolonged wall standing to induce stress; hooding detainees; subjection to long periods of intense noise; sleep deprivation; and food and drink deprivation. In 1978 the European Court of Human Rights ruled that the UK government was in breach of Article 3 of the European Convention on Human Rights and a 2021 Supreme Court judgement ruled that if they were used today they would be classified as torture. There are some mainstream politicians in UK politics currently who want to take the UK out of the European Convention on Human Rights. Make of that what you will. 

Resistance In The Dark is a song that it is easy to imagine Sinead O'Connor singing on, if she'd lived. Sinead was recording a solo album with David after the pair met at a concert for Shane MacGowan's 60th birthday. They'd never met previously and Sinead knew nothing about David but he introduced himself and proposed making an album together, him producing and her singing, about healing- and she agreed. The album was to some extent contemporaneous with David's solo record Blind On A Galloping Horse so it's fair to assume similarities would exist between the two sonically and musically. The only released fruit of their work together is a one- off single with David's band Unloved, a cover of Mahalia Jackson's Trouble Of The World. Sinead putting the vocal down in one take, at 5 am at his house in Belfast. Given what happened to Sinead subsequently- the death of her son Shane in 2022 aged 17 and the circumstances of it, Sinead's anger and grief, and her own death in July 2023- the song sounds like a premonition, 'Soon I will be done/ With all the trouble of the world'. 

Between 2018 and 2023 Holmes and Sinead recorded eight more songs at David's house and in 2021 Sinead announced that the album would be called No Veteran Dies Alone. The album was a major work for both of them, Sinead moving into David's house for periods. David has said that he wants to see the album released, describing it as 'extraordinary, a very special album... up there with her very best work'. 

David wanted the album to be specifically about healing and it seems Sinead delivered- songs about being reunited with her mother, about God and Mary Magdalene, about her children, about dreams of being in heaven and the value of a soul, about pain, loss and grief, injustice and suffering, addiction and mental health, redemption, survival and about no veteran dying alone. It could be seen as Sinead's final statement, her last will and testament, her reckoning with the world. Unfortunately it has become mired in wranglings and music business murkiness. Its release is outside David Holmes' control and in the hands of Sinead's estate and record company. Maybe it'll come out, maybe it won't. 

In 2023 David's Necessary Genius single listed the misfits and dreamers, outsiders and radicals that have inspired him ending with the line 'I believe in Sinead O'Connor/ I believe in refugees'. Which takes us back to The Five Techniques and Resistance In The Dark. 

An Hour Of Sunshine From Glasgow And Two Hours Of Do!! You!! From Richard Sen

John Fenner of Glasgow did this mix recently and shared it, Cafe Del Muir, an hour and seven minutes of sunshine for a rainy day in Glasgow (or anywhere). It's a blend of old and new and some of the tunes John selected came via recommendations from this blog- it's nice to see the ripples that go out and come back. There's a couple that are new to me as well and so the ripples go back out again. You can find Cafe Dal Muir at Soundcloud. 

• The Chemical Brothers: One Too Many Mornings
• Four Tet: Loved
• Saint Etienne: Alone Together (Hove Lawns Sunset Mix)
• The Cure: Pictures Of You (Extended Dub Mix)
• The Vendetta Suite: Warehouse Rock (Timmy Stewart's Six Minutes To Sunrise Mix)
• Sinead O'Connor: You Made Me The Thief Of Your Heart
• The Main Stem: Since You Left (Prins Thomas Miks)
• 10:40: Kissed Again
• Bal5000: Bleu Infini
• The Blow Monkeys: Save Me (Neville Watson Dub)
• The Light Brigade: Only Love Can Save Us
• Orbital: Belfast (ANNA Ambient Mix)

On Friday Richard Sen hosted his weekly Do!! You!! radio show, two hours of top tunes from a man who knows his musical onions. Richard played three tracks from our forthcoming Sounds From The Flightpath Estate Volume 2 album (and ave us a shout out) so if you're itching to hear three of the tracks from it- the unreleased version of Lik Wid Nit Wit by Sabres Of Paradise, Red Snapper's Qraqeb and Sleaford Mods cover of Two Lone Swordsmen's Sick When We Kiss (retitled as sick wen we x) then this is the place to do it until the vinyl copies start arriving on doormats and in porches. As well as those three Richard plays tons of other great tracks, including some classic trance, breakbeat, and some very deep cosmic disco. Listen here. 

Forty Five More Minutes Of Edits

In recent weeks I've done two Sunday mixes made up of edits. Part One is here and Part Two is here. Today is Part Three, another forty five minutes of edits, this one largely dancefloor oriented and with an 80s feel. 

Forty Five Minutes Of Edits Mix Three

• Can't Cope (Cotton Bud Re- Master)
• No- Thing
• M&M Hardway Bros
• Swamp Shuffle
• Never Let Me Down (Hunterbrau Edit)
• Jackie (Cotton Dub)
• Longed

Can't Cope is from Jezebell's Jezebellaeric Beats Vol. 1, a dubbed out and spaced out way to enter into the mix, our friend the Archdrude Julian H. Cope sent spinning even further out into the cosmos than he was previously. Safesurfer is from 1991's epic Peggy Suicide, the start of Julian's imperial period. Swamp Shuffle is also from Jezebellaeric Beats Vol. 1, the closing track, this time David Byrne, Tina Weymouth, Jerry Harrison and Chris Frantz given the treatment by Jesse and Darren. 

No- Thing is from Resident Rockers, the in- house edit team at Eclectics. Heroes. Twin Peaks. Moby. Acid. No- thing will keep us together. 

The M&M Hardway Bros edit takes Sleaford Mods Mork and Mindy, a song from 2020's Spare Ribs, with Billy Nomates on guest vocals, a tale of a childhood spent in colourless suburban council estates, Action Man and Cindy and mum and dad being out, long afternoons with nothing to do. Sean monkeyed about with it and turned it into an ALFOS at The Golden Lion moment. 

Hunterbrau's edit of Depeche Mode's 1987 classic Never Let Me Down came out on Paisley Dark, dark disco/ slowed down sleek goth.

Rich Lane's Cotton Dubs are second to none. His edit of Sinead O'Connor's Jackie (from her debut, the Lion And Then Cobra) repurposes Sinead with an 808 while losing none of her power. 

Longed is an edit of All Day Long from New Order's 1986 album Brotherhood. The chopped, looped and edited version here, largely instrumental, is from an intriguing project I was tipped off about on Bandcamp, a highly unofficial edit service by Follytechnic Music Library. Longed is from a collection of New Order edits called Ordered 86- 93 but there's waaaay more there than just one album of nine New Order edits. Have a dig around, see what you can unearth. 

The Greatest Motherfucker You're Ever Gonna Meet

I spent Thursday night at New Century Hall in Manchester with John Grant, courtesy of my friend Darren. John Grant's solo career goes back to 2010 and his Queen Of Denmark album which was followed in 2013 by Pale Green Ghosts. This year he has released another, The Art Of The Lie, his sixth. There's a lot going on with John Grant, on stage, in his background and personal life, and in his songs. Growing up in some fairly conservative parts of the USA, his growing realisation he was gay brought conflict with his parents (his mother told him as she was dying he was a disappointment and in his song Daddy he sings 'You don't like what I am/I have come to understand What I am is a sin') and he spent much of his adult life struggling with anxiety, alcohol and drug issues. In 2012 he announced he was HIV positive, something he wrote about in the song Ernest Borgnine. 

The seriousness of some of his songs and the heavy duty nature of his life isn't necessarily reflected in his gigs. He takes the stage to Ennio Morricone in baseball cap, big sunglasses and carrying a keetar and launches into the mid- 80s MTV electro- funk of All That School For Nothing, a stream of consciousness single from earlier this year and after handing the keetar to a roadie sings the next two songs at the front of the stage with occasional slut drops. It's big and brash, a little camp, the three musicians around him on bass/ drums, synths and guitar creating a wall of  sound. There's an 808 suspended from a rack, various vintage synths including a Korg that John points out to us as if its a band member. 

He goes to the baby grand piano for a slower, more reflective set of songs including Daddy and the wonderful, with its lines ' I felt just like Sigourney Weaver/ When she had to kill all those aliens' and 'I felt just like Winona Ryder/ In that movie about vampires/ And she couldn't get that accent right/ And neither could that other guy'. He's a master at writing about big topics but coming in sideways, undercutting things with one liners and droll humour. After the piano section he starts wandering round the stage, switching on various bits of kit for the Vangelis- like majesty of Pale Green Ghosts and then the band re- appear and a very respectful audience get song after song from the current album and his back catalogue. It finishes, as all John Grant gigs probably should, with GMF...

GMF

Recorded in Iceland in 2013 after he moved there, with Sinead O'Connor on backing vocals, GMF is a loner/ outsider anthem, a dissection of his own anxieties and a song directed to a lover, 'I over analyse and over think things/ It's a nasty crutch', he sings- but the punch comes with the killer line, totally unexpected on first hearing it, 'But I am the greatest motherfucker you're ever gonna meet/ From the top of my head to the toes on my feet'. 

Forty Five Minutes Of Jah Wobble

Like much of the rest of the country I was outside on Thursday night taking in the spectacle of the northern lights. To the naked eye not much more than a faint flicker but when seen through a camera on night setting giving us a dazzling display of the aurora borealis. This photo was taken from our loft window by my daughter Eliza and is better than any of the ones I took. 

Today's mix has a similar cosmic vibe, seven songs from the bass playing legend Jah Wobble. His back catalogue is so wide and deep that it would take several mixes to pay justice to Wobble's music so this is just a selection of post- PiL Jah Wobble tunes with an emphasis, as always in Wobble land, on the dubbier end of things. 

Forty Five Minutes Of Jah Wobble

• Angels
• King Of The Faeries (Avengers Outer Space Chug Dub)
• Visions Of You (Pick 'n' Mix 1)
• Higher Than The Sun (A Dub Symphony In Two Parts)
• Post Lockdown Dub
• Inspector Out Of Space
• Everyman's An Island

Angles is from Jah Wobble's Invaders Of The Heart 1994 album Take Me To God, an album with twelve different vocalists, the voice on Angels belonging to the Senegalese singer Baaba Maal, the song underpinned by one of those lovely fat dub basslines that only Wobble can conjure. 

King Of The Faeries is by Dub Trees, a Martin Glover/ Youth project with Wobble and Daniel Romar in 2016 with some loop and beats consultancy by Andrew Weatherall and Nina Walsh. The Dub Trees album is an excellent collision of dub and folk with a pagan angle. 

Andrew Weatherall is also present on the 1992 remix of Visions Of You, a single from 1991's Invaders Of The Heart Rising Above Bedlam album. Visions Of You was the first time Andrew worked with Jagz Kooner and Gary Burns, a partnership which would lead to Sabres Of Paradise. On the 12" there are three AW remixes of Visions Of You, Pick 'n' Mix 1 and 2 and then The Secret Love Child Of Hank And Johnny, twenty five minutes of dubbed out excellence with the beautiful voice of Sinead O'Connor. Everyman's An Island is also from Rising Above Bedlam. 

More Weatherall! This time from Primal Scream's Screamadelica. In an interview for the Classic Albums series Andrew describes sitting in the producer's chair and realising what this version of Higher Than The Sun needed, reaching for the phone with the words, 'Get me Jah Wobble'.

During lockdown Jah released a series of tracks onto Bandcamp, recorded at his home in Stockport (I know! How did Jah Wobble end up in Stockport right?!). Post Lockdown Dub is self explanatory. 

In May 2020 Youth and Jah Wobble released an album called Acid Punk Dub Apocalypse, a selection of dub songs with various singers- Hollie Cook, Rhiannon, Aurora Dawn, Durga McBroom- plus appearances from Richard Dudanski, Roger Eno, Nik Turner and some of the beats and programming courtesy of Mr Weatherall and Nina Walsh. 

Imaginary Albums

Over at The Vinyl Villain you can find a long running series of Imaginary Compilation Albums where JC and various readers have put together compilations for a range of artists and musicians from The Smiths (ICA 001) to Steve Albini (the most recent, ICA 366). This is not a post or series to tread on those toes- this is imaginary albums that should have happened but didn't or that only exist in the mind, music that should have/ could have been made but which remains unwritten, unrecorded and inexistent. 

I've spoken to Mark from Rude Audio/ The Flightpath Estate previously about the imaginary album we wanted to happen. In 1991 Jah Wobble and The Invaders Of The Heart recorded Rising Over Bedlam, an album taking Wobble's huge love for dub and fusing it with what was then called World Music. Sinead O'Connor and Natacha Atlas both appeared on vocals and on Bomba and Visions Of You Wobble produced some of his best solo songs. In 1992 a 12" of Visions Of You appeared. The A Side was the version from the album. The flipside, The AW Side, had three remixes by Andrew Weatherall, remixes that ran into each other, adding up to nearly thirty minutes of music- Andrew took the song and looped it, twisted it, dubbed it, reshaped it, the bass and FX bubbling on forever, Sinead's voice dropping in and out. The AW remixes,  Pick 'n' Mix 1, Pick 'n Mix 2 and The Secret Love Child Of Hank And Johnny Mix, are a brilliant piece of work in their own right, the remix as an artform. 

Weatherall's remixes of Visions Of You were also the first time that what would become The Sabres Of Paradise would work together. Andrew had met Jagz Kooner and Gary Burns in a club and said they should work together. Jagz and Gary nodded and smiled and said, 'of course, of course', not expecting it to happen. Andrew phoned them shortly after and the three of them went to work on Visions Of You. 

Visions of You (The Secret Love Child Of Hank And Johnny Mix)

In the imaginary album of my mind the remixes led to talks about an album, and in the aftermath of the albums Andrew produced for Primal Scream and One Dove, he, Jagz and Gary went into a studio somewhere in London (Orinoco was popular at the time) with Jah Wobble and Sinead O'Connor and they went onto write, record and produce a full length album- Andrew Weatherall's production, Jah Wobble's bass and Sinead O'Connor's voice all fleshed out over four sides of vinyl, a widescreen, post- acid house, 1992/ 1993 dub and electronics masterpiece to go with Morning Dove White. 

I have a second imaginary Andrew Weatherall album that coulda/ shoulda happened. In December 1993, in the bumper end of year Christmas edition of the NME, Mark E Smith was one person given a series of questions, including being asked to nominate their Jerk Of The Year. MES gave the response 'Andy Weatherall' (he also replied to Woman of the Year with 'lead singer from James' and said what he wanted from 1994 was 'death to all French people' so curmudgeonly Mark was definitely having one of those days). But to nominate Andrew Weatherall, out of everyone who could have annoyed MES, as Jerk Of The Year seemed odd. 

It turns out Andrew had been lined up to produce a Fall album. Like all right minded folk, Andrew was a huge fan of Prestwich's finest post- punk group and in 1993 had accepted the challenge. Mark and the then line up had been playing with dance music rhythms and the album that ended up being '93's The Infotainment Scam included The Fall covering Lost In Music among the customary swaggering Fall brilliance and mayhem. If Andrew had stayed on the job, he would have been the producer of The Infotainment Scam. The thought of a 1993 Andrew Weatherall produced Fall album is mind boggling- by '93 Sabres were off the ground and the techno sound of Andrew's Sabres Of Paradise club and label had shifted him away from the Balearic remixes of the previous years and the genre bending sounds of Screamadelica.  

In reality Andrew arrived at the studio, took a look at the amount of boozing that was going on (as Brix Smith has said in an interview) and walked away. Other Weatherall insiders have said similar. We can only imagine what a Weatherall produced Fall album would have sounded like but the thought of some of the Sabresonic- era sounds and rhythms with Mark E. Smith's voice plus those ramshackle, distorted Craig Scanlon guitars cut up and looped is mouthwatering. 

A Past Gone Mad

The experience may have led Mark to call Andrew Jerk Of The Year. It clearly didn't put Andrew off The Fall- they appeared in mixes and sets thereafter, not least on Sci- Fi- Lo- Fi, a 2007 compilation Andrew put together for Soma which had Big New Prinz on it (From 1988's I Am Kurious Oranj). In 1988 The Fall played the song on Tony Wilson's The Other Side Of Midnight- a proper glam racket. 

There may be more imaginary albums to follow, some may even be non- Andrew Weatherall related. Although there is the story of the Sabres Of Paradise album with guest vocalists that never happened that I'll probably come back to. 

Forty Minutes of Belfast

This occurred to me as an idea a few weeks ago. I've been playing Orbital and Mike Garry's Tonight In Belfast a lot, it's become one of those songs for me. The idea of segueing different versions of Belfast together popped into my mind driving home from work. I did wonder if it might be too much, an overload of Belfast but there are some things you can't have too much of. I toyed with some kind of Easter mix for today, and almost went with all the versions of A Man Called Adam's fabulous Easter Song but on Friday (Good Friday) this mix came back to me and I thought I'd resurrect it for today. Roll that stone away and immerse yourself in Belfast. Happy Easter. 

Forty Minutes Of Belfast

• Belfast
• Belfast/Wasted
• Tonight In Belfast
• Nothing Compares 2 Belfast

Orbital released Belfast in January 1991, one of three tracks on their III EP along with Satan and LC1. Belfast was discovered by David Holmes and Ian McCready after they booked the Hartnoll brothers to play their Space Base night in May 1990. Orbital left a tape with the track on, later on named after the city they had a great visit to and night out in. The vocal sample, also widely heard in The Beloved's Sun Rising single that year, is of soprano Emily Van Evera, singing O Euchari. The chiming synths, bubbling bass and operatic vocal combine to produce something genuinely moving, ecstatic and otherworldly- one of British house/ dance music's great moments.  

Belfast/ Wasted features the voice of Gavin Fulton, available on the CD/ booklet series Volume (Volume 3, 1992). It then came out as a single in 1995 and then on the Wasted best of compilation. Gavin's vocal takes the track into a new area. 

Tonight In Belfast has the voice of Mancunian poet Mike Garry, speaking the words to his poem Tonight. It's one of the best and most affecting single tracks I've heard this year, Mike's words perfectly accompanied by David Holmes' magnificent and euphoric remix of Belfast from Orbital's 30 project, their thirtieth anniversary box set. Mike's words and Orbital's music came together on the suggestion of DJ Helen. Mike's words come over like a eulogy, a hymn to a lost love- sometimes I find it difficult to hear it without thinking of Isaac. 

'Tonight

I just wanna paint pictures of you

Write poems and songs just about you

I wanna hold you up so high you're gonna need a spacesuit

I love to speak your name aloud

Simply because I love its sound

And it feels like I'm kinda calling you

It feels like I'm kina talking to you

It feels like I'm trying to break through

You know across this divide

I'll tell you what

Let's slip beyond the confines of this world

Let's forget every single thing we've learned

Let's rewrite the way this world does turn'

Nothing Compares 2 Belfast is from David Holmes' NTS show that he did in tribute and in memory of Sinead O'Connor following her death last year, Belfast with Nothing Compares 2U, with Sinead's voice at the end speaking directly and openly in the way she did. 

An Hour Of Music Inspired By David Holmes At The Golden Lion In November 2023

Last November I wrote a post about the launch party held at The Golden Lion for David Holmes and Raven Violet's album Blind On A Galloping Horse, a memorable night in all sorts of ways. Refresh your memory here if you like. Not long afterwards Jeff Barrett of Heavenly Recordings got in touch out of the blue. Heavenly have just launched  a zine, HVN zine, a beautifully put together and produced magazine with art, photos, lists, articles and ephemera by and from various people at Heavenly. Physical products are nice and the production of an A5 zine in a digital world feels like something worthwhile. HVN zine 1 was published in the autumn with the second lined up for January 2024. Jeff said that some people from Heavenly were at The Golden Lion that night, one of them had read my blogpost and said I captured the vibe of the night and could he publish it in HVN zine 2. Which I didn't need to think about for very long, obviously. 

You can buy it at Heavenly's Bandcamp for the princely sum of 50p or get it free with any purchase from them. It's a beautifully put together magazine, lovely to look, nice paper stock (these things are important) and made by people, who care about pop culture and more besides. 

Today's mix is an approximation, a version of some of what David played at The Golden Lion back in November. It's inspired by rather than an attempt to recreate- some of the tracks may not be the actual ones played but it pulls some of what happened that night together. 

An Hour Of Music Inspired By David Holmes At The Golden Lion November 2023

• Golden Bug ft. The Liminanas: Variations sur 3 Bancs
• Jo Sims: Bass- The Final Frontier (David Holmes Remix)
• Prince: Sign O' The Times
• Khidja: Do You Know This Record Marius?
• Roe Deers ft. Wolfstream: Can't Remember
• Pete Shelley: Homosapien
• Decius: Masculine Encounter
• David Holmes and Raven Violet: Yeah x 3
• Sinead O'Connor: Jackie (Rich Lane Edit)
• Roberto Rodriguez: Mustat Varjot
• Radio Slave Vs Audion: Mouth To Mouth

Variations sur 3 Bancs, a collaboration between Golden Bug and The Liminanas came out in 2021. The EP came with remixes by Pilooski and Superpitcher and this one, the original mix. This wasn't the first record David played that night, he played some spaced out sax jazz but this came on fairly early. 

Jo Sims Bass- The Final Frontier was a 2023 release on Pamela Records. One of my favourite 12"s of last year, for what it's worth. David's remix is supercharged sci fi house.

Prince's Sign O' The Times was a 1987 single and the title track of the studio album of the same name, a Fairlight synth, simple drum machine and clipped, blues guitar riff and Prince's take on the issues troubling the USA in the 80s- gangs, drugs, AIDS, poverty, space shuttle explosions, hurricanes, nuclear war. 

Khidja's Do You Know This Record Marius? came out in 2023 as part of an EP called Transmissions 1. I'm not anywhere near bored of it yet. I'm not 100% sure that this is the Khidja track David played at The Lion but he's played it twice at NTS since then so I think there's a good chance it is. 

Roe Deers and Wolfstream's Can't Remember came out in 2022, on an album I reviewed at Ban Ban Ton Ton. I'm not sure if this is the track David played but it fits in this mix well enough.

Pete Shelley's Homosapien was a 1981 single, a groundbreaking solo single for the former Buzzcock. I don't think this is the Pete Shelley song David played, I'm sure I would remember if this had been pumping out of the Lion's sound system, but I've got it digitally and again, it fits in pretty well here. 

Decius' album Decius Vol 1 was one of 2022's highlights, a basement/ bathhouse/sauna riot of electronic sounds and beats. I don't think Masculine Encounter II was the track David played but I can't remember which one he did play- just as likely it was off one of the three 2023 Decius Trax EPs.

Yeah x 3 is from David's Blind On A Galloping horse album, a hymn to positivity, family, friends and life and love set to a kosmische/ pop electronic/ Spector musical backing. There were a bunch of excellent remixes by X- Press 2, The Vendetta Suite, Panda Bear and Sonic Boom and Jordan Nocturne. 

Jackie was on Sinead's 1987 debut album The Lion And The Cobra, a song narrated by a ghost, written when Sinead was just fifteen. Rich did his edit to play at a gig. David heard it when I posted it here following Sinead's tragic death last year. 

Mustat Varjo is from 2012 and a House Of Disco four track compilation titled On The Latch. Classic 2010s nu house/ disco/ dance music, finding itself somewhere in the space between ecstasy and melancholy.

Radio Slave remixed/ re-worked Audion's 2006  minimal techno floor filler last year and it goes on and on, tension building, bassline buzzing, freakiness freaking, for over ten minutes. 

2023: My Year In Music

2023 has been a year of 23s for me in many ways. I've written before about the number and its occurrence, its relationship to us since Isaac died and the tattoos the three of us got done in October. This is my end of year post, a list pulling together what has been the best of 2023 for me. Inevitably there are 23 entries (but much more than 23 artists, singles and albums) and as I was writing it I realised that today is 23rd December (I planned to post this today before thinking about what date it would be). I have heard so much new music this year and so much of it has been really good- my long list of albums of the year came to thirty albums without much thought, a new album for every ten days of the year. And while much of this year has been a real struggle with grief and the long aftermath of Isaac's death, I've had some great nights out at events that were (almost) entirely about the music- the grief never goes away, it sits inside me or hovers above me but music- recorded music, live music- often has the power to transport me in a way nothing else does. 

This is a list of my favourite musical things of this year. It's not objective. I haven't heard everything I should have done and I'm sure there are records that I'd love if I had more time and more money. Usually I find something early into the new year that instantly screams 'best of last year' to me. Also, ranking art and declaring one album 'better' than another is inherently subjective but end of year lists are fun and looking back and putting it all into one place is a good way to mark the end of the year. The year of 23. 

Twenty Three: Venue Of The Year

No contest here- The Golden Lion in Todmorden and a fitting place to start the list. I've enjoyed several superb nights out at The Lion this year with the honour of DJing on a few occasions. ALFOS in June was very hot and memorable, David Holmes' album launch party in November was a 2023 highlight, Dan Donovan’s Casbah Club in August (sadly Paul Simonon was unable to attend), our Sabresonic celebration and Q&A with Jagz Kooner and Gary Burns and Jagz’s DJ set (videos of the Q&A to follow shortly), the Tici Taci Party in August with Sean Johnston and Duncan Gray DJing downstairs after a blistering set from Sons Of Slough upstairs, Red Snapper rattling the fittings in November and the legendary, untouchable AW60 in April with a beautiful cast of artists and revellers and a huge headlining set from Justin Robertson. 

Twenty Two: Label Of The Year

There are lots of independent labels putting out loads of good music, keeping things in house and small scale- not that there's anything small scale about the music- with digital and physical releases. These three have kept me busy all year with singles, EPs and albums, one offs and compilations- a three way tie for first place. Leeds based label Paisley Dark has put out releases by Warriors of The Dysthoteque, Jay- Son, The Machine Soul, Hogt I Tak and James Rod, all top notch electronic psychedelia. Duncan Gray's Tici Taci has had a year long celebration of ten years in the business with a tenth birthday party at the Golden Lion, a series of compilations, Decades Volumes 1 to 4 with outstanding new releases from The Long Champs' 'Nostalgia For The Future', Jack Butters' ‘Shake It Off’ and singles and EPs from Mystic Thug, Uj Pa Gaz, Viper Patrol and Mr BC. Along with those two is Exeter's Mighty Force, the label that back in the early 90s put out Aphex Twin's first 12" single, reborn for the digital age. Mighty Force have sent all of these into the ether and all are excellent electronic music- Yorkshire Machines ‘Firing Up’, ‘Fluffy Inside’ by Nylon Corners, M- Paths' ‘Hope’ AP Organism's EP ‘Space Docks And Moon Rocks’ David Harrow's ‘Jitter’ and ‘Described Spaces’ by KAMS. Long may all three labels continue.

Twenty One: Gig Of The Year

I had the pleasure to see some great gigs this year, several of which lived long in the memory. Spiritualized at Manchester's New Century Hall were genuinely breathtaking. Red Snapper at the Golden Lion kicked up a storm of cosmic jazz, trip hop and downtempo. Eyes Of Others at The Castle on Oldham Street were great, another great Heavenly Records artist. Chris Rotter and Andy Bell's two man set on Saturday afternoon at AW60 playing songs from Andrew Weatherall's A Pox On The Pioneers was a gem. 

But the win goes to A Certain Ratio who I saw live three times this year. They toured twice, released a superb new album, 1982, and an EP, celebrating 45 years of making music and they're still forging ahead with new music and ideas. Their gig at New Century Hall earlier on this year, the free one outdoors at Factory International in June and the two set 45^th anniversary celebration at Band On The Wall at the start of this month were all brilliant, a dance floor blend of youth and experience, post- punk/ punk funk/ jazz funk, the old and the new. 

Twenty: Compilation Of The Year

I've already mentioned Tici Raci's four volumes of Decade, several hours of chuggy sci fi, nu disco, house, techno sparkle. Aficionado's 25 Of Aficionado is a celebration of a Manchester institution, the anything goes, genre free spirit of Jason Boardman and Moonboots pressed onto four sides of vinyl is right up there with Colleen Murphy's Balearic Breakfast Volume 2 not far behind. But the stand out compilation of the year was Richard Sen's Dream The Dream: UK Techno, House And Breakbeat 1990- 1994, a perfectly pulled together and superbly sequenced set of tracks from the early 90s that show what a fertile period that was and how much was going on in the underground. 

Dream Frequency: Dream The Dream

Nineteen: Edits Of The Year

Some of my favourite tracks of this year have been edits- do edits count as new music? Or old music? New versions of old music, rejigged for the dancefloor. Jezebell's Jezebalearic Beats Vol 1 is a masterclass in this area and will appear further on in this list. Jezebell's Diavol Edits Vol 7 as a four track joy. Beyonder's Present Case Edits Vol 1 was a stunner, not least Hardway Bros edit of Sleaford Mods' Mork And Mindy, the M&M Acid Edit. Peza's Rock The Spectre, a layering of Joe Strummer's vocal from Rock the Casbah over Mystic Thug also hit the spot for me. But just pipping all of these for me were the pair of edits on the A- side of a recent vinyl only 12" by Coyote, their reworking of Monsoon's Ever So Lonely as Lonely and Gil Scott Heron as Western Revolution lighting up December for me.  

Eighteen: Andy Bell

Pretty soon from here there will be some proper lists and less wittering from me but first Andy Bell who at first glance seemed to have had a quiet year after all his solo albums and GLOK activity in 2020- 2022. Even so he put in a tour, released a lovely ambient/ free jazz mini- album with Masal, Tidal Love Numbers, and a ten minute live cover version of Neu!'s Hallogallo (also with Masal), a live in session album for Electronic Sound called Gateway Mechanics wearing his GLOK hat, two sides of soaring kosmische electronics and guitars, a bunch of remixes for other artists and put out a fanzine, Volume, Fuzz And Delay (which contained my review of his gig at Gulliver's in April 2022. Which, as the man on The Fast Show used to say, was nice). The fanzine came with a download code for three hours of live recordings from Andy's Space Station gigs, live versions of songs from his solo albums and as GLOK, all of which are stunning. 

Seventeen: EPs Of The Year

All of these were essential listening for me at various points this year, all of them somewhere between the single and the album, with Sons Of Slough's chug and cosmic wallop recorded live at Convenanza in September,  Jezebell's messy day and night out in the sun with Siouxsie on Trading Places, the three remixes of Unloved's Polychrome album, Justin Robertson's rocking dub especially, and at the top the wondrous Magic Hour EP by Wigan's Mark Peters, resplendent on 10" yellow vinyl.

• 11. Whitelands ‘Remixes’ 
• 10: Steve Queralt and Michael Smith ‘Sun Moon Town Versions’
• 9: Yorkshire Machines ‘Firing Up’
• 8: Woodleigh Research Facility: Apparently Solo 4 Borderlands
• 7: Sons Of Slough ‘Live at The Castle’
• 6: Chug Norris ‘Dark and Sweaty’
• 5: Richard Sen ‘Dream the Dream’ remixes
• 4: Andy Bell and Masal ‘Tidal Love Numbers’
• 3: Jezebell ‘Trading Places’
• 2: Unloved ‘Polychrome’ Remixes
• 1: Mark Peters ‘The Magic Hour’ EP

Sixteen: Albums Of The Year Numbers 30 to 8

• 30: Laurel Halo 'Atlas'
• 29. Red Snapper 'Live At The Moth Club' 
• 28: Young Fathers 'Young Fathers'
• 27: Dicky Continental ‘Uh?’
• 26: House of All 'House Of All'
• 25: Goat 'Medicine'
• 24: Boxheater Jackson ‘Indigenous State Of Mind’
• 23: Konformer ‘Konformer’
• 22: A Certain Ratio: 1982
• 21: Slowdive ‘Everything Is Alive’
• 20: The Coral ‘Sea Of Mirrors’
• 19: David Harrow ‘Rare Earth Technology’
• 18: Steve Cobby ‘The New Law Of Righteousness’
• 17: HiFi Sean and David McAlmont ‘Happy Ending’
• 16: Woodleigh Research Facility ‘Phonox Nights’
• 15: Andy Bell ‘Gateway Mechanics’
• 14: The Thief Of Time ‘Where Do I Belong?’
• 13: Coyote ‘I Hear A New World’
• 12. Grian Chatten ‘Chaos For The Fly’
• 11: Rude Audio and Dan Wainwright ‘Psychedelic Science’
• 10: Jezebell ‘Jezebellearic Beats Volume 1’
• 9: Richard Norris ‘Oracle Sound Volume 1’
• 8: Yo La Tengo ‘This Stupid World’

Fifteen: Singles Of The Year Numbers 23 to 8

• 23: Four Tet ‘Three Drums’
• 22: Woodentops ‘Ride A Cloud’ and Coyote remix
• 21: Hurdy Gurdy and the Local Psycho ‘The Hurdy Gurdy Song’
• 20: X- Press 2 ‘Phasing You Out’ David Holmes remix
• 19: Rude Audio ‘The Grinning’
• 18: Warriors Of The Dysthoteque and Joe Duggan ‘Fitzroy Avenue’
• 17: Dicky Continental ‘Simon Says’ Congagong Rework’
• 16: Dot Allison ‘Unchanged’ GLOK Remix
• 15: JIM ‘Phoenix’ Crooked Man Remixes
• 14: Flamingods ‘Dreams (On The Strip)’
• 13: Islandman ‘Godless Ceremony’ plus the Hardway Bros Remix
• 12: A Man Called Adam ‘The Girl With A Hole In Her Heart’
• 11: Aphex Twin ‘Black Box Recorder 21f’
• 10: Psychederek ‘Test Card Girl’
• 9: Jo Sims ‘Bass- The Final Frontier’ David Holmes remix
• 8: Katy J Pearson ‘Willow’s Song’ Richard Norris remix

Fourteen: Album Of The Year #7 Eyes Of Others ‘Eyes Of Others’

Eyes Of Others debut album is a heady collage of electronics, synthpop, dub, acid house, early New Order and John Bryden's singular world view.   

Thirteen: Album Of The Year #6  African Head Charge ‘A Trip To Bolgatanga’

Bonjo and Sherwood back on the African Head Charge express, ten songs built over Bonjo's drumming, chanting and dub. 

Twelve: Album Of The Year #5 10:40 ‘Transition Theory’

I first heard Jesse Fahnestock's music a couple of years ago, an edit of Spacemen 3. This album, a complete piece of work, each track containing the seeds of the next one, an eleven song trip through the 10:40 world roaming in the spaces between ambient house, chuggy electronics, indie dance, psychedelia, bleepy dub and atmospherics, floating in inner/ outer space.  

Eleven: Album Of The Year #4 JIM ‘Loves Makes Magic’

Surprise of the year for me, a Balearic song based album that lit up summer- the hot, sunny summer we didn't really get this year. 

Ten: Album Of The Year #3 Sonic Boom and Panda Bear ‘Reset In Dub’ by Adrian Sherwood

Sherwood and the On U Sound collective proving they've lost none of their power, sending Sonic Boom and Panda Bear into echo heaven. 

Nine: Album Of The Year #2 James Holden ‘Imagine This Is a High Dimensional Space Of All Possibilities’

This album came out in March, an album that is endlessly innovative and entrancing. Holden recorded it partly as a memory of 90s rave and the free party movement but it works way beyond nostalgia, twelve tracks that never become predictable, never settle, always looking to twist and move somewhere else, melodies and squiggles, birdsong and synths. I played it again recently and it sounded as fresh as it did in March. 

Eight: Single Of The Year #7 Cole Odin and Marshall Watson ‘Just A Daydream Away’ versions plus Hardway Bros remix

Shimmering indie dance from the West Coast of the USA, in two versions, both equally great and a wonderful Hardway Bros remix serving up ten minutes of cosmic indie chug (a trick Sean repeated with remixes of Holy Youth Movement and Islandman's Godless Ceremony. 

Seven: Single Of The Year #6 Electric Blue Vision ‘Other Skies’ plus remixes

Jesse Fahnestock has been on fire in 23, a flood of music and ideas (see above, number 13). Other Skies is a song that has that magic, the magic that transports and transcends, Emilia Harmony's vocal about being lost and going home a key part of it. The remixes, all three of them, sent it into new places with the Hardway Bros and Monkton's dub version bringing the bass and melodica front and centre. 

Six: Single Of The Year #5 Khidja ‘Do You Know This Record Marius?

Two weeks ago this wouldn't have been here but it shoved its way in and won't let go- trippy, spinning electronic psychedelia from Romania that has been on a loop at home and in the car. 

Five: Single Of The Year #4 Dirt Bogarde ‘Heavy Blotter’

Dirt has provided several tracks this year that have pushed me forwards but this one has an oomph, an electric charge and a big acid house sound that rattles my speakers and hits me in the chest. 

Four: Single Of The Year #3 Matt Gunn ‘Learning By Loops’ Bedford Falls Players Remix

I wrote about this last week, a remix that has been in my ears since the early summer, and one I'm not remotely tired of hearing. A crunch of drums, long vocal sample about binary systems, time travel, the voice of Jesus and shit like this with a ringing guitar part looped in and out. 

Three: Sinead O'Connor and Single Of The Year #3 David Holmes 'Necessary Genius'

There have been a lot of high profile deaths this year, the losses of David Crosby, Tom Verlaine, Bobby Charlton, Jane Birkin, Steve Mackey, Spot, Ryuichi Sakamoto, Mark Stewart, Andy Rourke and Shane McGowan all moments of sadness. But Sinead's death in July was shocking and brought a wave of heartfelt tributes and genuine bereavement from many, her death, coming a year after the loss of her youngest son Shane. I read her book Rememberings last year and the knowledge that Shane would die after the book was written made reading it very moving. 

Back in July when I posted my own tribute to her I included a link to an edit Rich Lane did of Sinead's song Jackie. A friend sent my blogpost to David Holmes who in response sent me the track he played at his own tribute to Sinead at NTS radio, his remix of Orbital's Belfast with Sinead's vocal from Nothing Compares 2U over the top. David also then got in touch with Rich and asked for a copy of Jackie to play when DJing (which he did and which David played at The Golden Lion in November, a moment that made me smile when it came over the sound system and I thought about how it got there). David also then asked Rich to do a remix for him which should be coming out soon. Sinead's face was on the art for David's Necessary Genius single and a print included with the Blind On A Galloping Horse album. She's been a presence all over the second half of 2023, a beautiful and fearless soul and it seemed right to include her in this list. Hopefully the album she recorded with David Holmes will see the light of day eventually. 

Necessary Genius was close to the top in my list of singles of 2023, a rollcall of talent and inspiration with glorious synths and drum machines. But it missed out to this...

Two: Single Of The Year- Fontaines DC 'Cello Song'

I thought long and hard about this, about whether I really think a cover version should be my single of the year and whether given almost all the music above is electronic, a rock 'n' roll rumble in the top spot is right- but in the end it is the song I've gone back to time and time again. Nick Drake's original is my favourite song of his, a song of acoustic and poetic beauty, and in some ways the words have become associated with Isaac for me in the two years since he died. Fontaines DC take the song and do something new with it, a squeal of feedback, a rockabilly drumbeat, acres of Dublin street swagger and Grian Chatten's deep hit of voice breathing new meaning into Nick's words. Back in July I put together a forty minute mix of Nick Drake songs which opened with Nick's version and closed with Fontaines. Here it is again. 

Forty Minutes Of Nick Drake

One: Album Of The Year- David Holmes 'Blind On A Galloping Horse'

The album I've been waiting for since the first single from it appeared in 2021, Hope Is The Last Thing To Die. Fourteen songs long, seventy minutes of music, a proper album from start to finish with contributions from Keith Tenniswood and Tim Fairplay, the voice of Raven Violet and the spirits of Andrew Weatherall and Sinead O'Connor. Songs that take in the personal and the political, the emotional and the righteous, the psychedelic and the electronic, over four sides of vinyl housed in a beautifully designed sleeve. Everything we wanted and more and as someone said to me, exactly the album we needed at exactly the right time. 

There were a slew of remixes to support the singles, all of them worth hearing and some of them right up there with the best music released this year, a case of more is sometimes more. Shout outs to Sonic Boom and Panda Bear's remix of Yeah x 3 and both Vendetta Suite's versions of the same song, Colleen Murphy's acid disco remixes of Stop Apologising, and the remixes of Necessary Genius by Decius (a riot in a sweaty basement), Lovefingers (a slowed down piano dub groove) and especially Phil Kieran's eight minute electronic kraut hammer remix. 

Necessary Genius (Phil Kieran Remix Vocal)

Saturday Live/ Shane McGowan RIP

Shane McGowan's death on Thursday at the age of 65 didn't come as a huge surprise. He'd been ill and in intensive care for some time and in some ways its amazing he lived as long as he did, given his lifestyle since being a child, but it's still terribly sad- he was a true one off, a unique voice in modern life, a lyricist who mashed Irish folk songs together with punk and poetry to create some of the most memorable songs of the late 20th century. Through his words Shane covered all bases- he was a poet, a writer who was both a realist and a romantic, a story teller and a protest singer, a truth teller, a mythical singer/ writer who willed himself into action, wouldn't take no for an answer and lived his own way. The riotous Pogues of the mid- 80s, their albums and gigs are the stuff of legend, an antidote to Thatcherite Britain and the generic, safe and overblown music that clogged up radio and TV. 

By 1990 and the Hell's Ditch album, a record produced by Joe Strummer, Shane had largely lost interest in the group which he felt had become too professional and unwilling to take on his burgeoning interest in acid house. His growing love for acid house (and drug consumption to match) led to an album which many felt showed the group were past their best. It does contain several great songs though, including this one, which is one of my favourite Pogues songs (written by Shane on a Casio keyboard apparently). 

Summer In Siam

This hour long film captures The Pogues live at The Town And Country Club in  March 1988, the life affirming power of the band in full flow on St. Patrick's Day. Joe Strummer, Steve Earle, Lynval Golding and Kirsty McColl all show up and join in. The set starts with The Broad Majestic Shannon (a song I once spent ages trying to fathom why Shane's narrator was sitting watching the robots landing on the banks of the famous Irish river. After all the beauty in Shane's words, tales of Ireland and drinking, rusty tin cans and old hurling balls, tears on cheeks and forgetting your fears, the appearance of robots seemed very odd to me. 'Rowboats, Adam, rowboats', a friend pointed out to me- via postcard if I recall correctly). From there on in it's Pogues all the way, London Calling in the middle, a cover of Rudy A Message To You and finishing with The Wild Rover. What more could you want?

There are so many songs that I could be post to demonstrate Shane's gift. Any Best Of... would include A Pair Of Brown Eyes, Sally MacLennane, Dirty Old Town, Streams Of Whisky, Rainy Night In Soho, Fiesta, The Body Of An American, The Broad Majestic Shannon and umpteen others. These two are as good as any of those. Boys From County Hell is from their 1984 debut Red Roses For Me, a raucous tale of drinking boys and how they deal with life and landlords. Haunted, with Cat O'Riordan on co- vocals with Shane, is from the soundtrack to Sid And Nancy in 1986, a gloriously ramshackle mid- 80s love song, a counterpoint to what accounted for love songs in the mainstream in August 1986. 

Boys From County Hell

Haunted

Shane and his post- Pogues band The Popes also did a version of Haunted with Sinead O'Connor singing alongside Shane, released in 1995, their voices sounding rather wonderful together, a more subdued version than the one The Pogues had released.

A lot of people have noted that Shane, Sinead and Kirsty McColl are now united in death, that they'll be 'up there' somewhere, singing together and partying. It's a nice idea. I don't know how Shane McGowan might respond to that suggestion. I can quite believe he'd have had a strong belief in an afterlife and expect to see Sinead and Kirsty once again. I can quite believe too that he might clear his throat, cackle and reply 'pogue mahone'. 

RIP Shane McGowan.

Necessary Genius

Necessary Genius came out yesterday, the new single from David Holmes ahead of his album in November, a fourteen track album titled Blind On A Galloping Horse. Necessary Genius rides in on a rattling drum machine and gliding synths, a kraut/ cosmische spliced with 80s electro- pop celebration of outsiders, artists, misfits, dreamers and believers, with vocals from Raven Violet. David's list includes Tony Wilson, Sinead O'Connor, Serge Gainsbourg and Jane Birkin, Angela Davis, Andrew Weatherall, Nina Simone, Terry Hall and Samuel Beckett in its rollcall of cultural inspirations, of people to believe in, alongside northern soul, rock and roll, agitprop and refugees. It's the latest in Holmes' recent run of songs that once over send me straight back to the beginning, clicking play again and again. This one sounds like a classic 7" single from the glory years of that format, a short sweet blast of sideways pop music and clarion call.

Necessary Genius comes after Holmes' pair of singles It's Over, If We Run Out Of Love and Hope Is The Last Thing To Die (released in 2022 and 2021 respectively) and the long awaited release of that pair of songs on vinyl is finally happening in early November. Those two songs have been played round here as often as any others released since 2020 and I suspect Necessary Genius will follow suit with the rest of Blind On A Galloping Horse following close behind. 

A few weeks ago David made his monthly God's Waiting Room radio show at NTS a two hour tribute to Sinead O'Connor, finishing with a ten minute version of his remix of Orbital's Belfast with the vocal from Nothing Compares 2U mixed into it and then fading into an excerpt from an interview with Sinead. David read my blogpost and very kindly sent it to me. Up now for a limited time. 

Nothing Compares 2 Belfast

I'll Walk The Seas Forever More

Sinead O'Connor's funeral took place earlier this week, an outpouring of sorrow and loss for a woman who clearly had a huge impact on many people. David Holmes dedicated his monthly God's Waiting Room radio show for NTS to Sinead, a two hour tribute with Sinead songs scattered throughout- I Do Not Want What I Haven't Got, Black Boys On Mopeds, Jah Nuh Dead, Trouble Of The World, Troy, Don't Cry For Me Argentina, Silent Night and David's superb splicing of Nothing Compares 2U with his own remix of Orbital's Belfast. Alongside these songs are others courtesy of Grian Chatten, Bob Dylan, The Clash, John Lennon, Sly and Robbie, Keith Hudson and Janis Ian. It's a stunning way to spend a couple of hours and a beautiful tribute to Sinead. You can listen to it at Mixcloud and find the full tracklist at NTS. 

David was part way through recording an album with Sinead, titled No Veteran Dies Alone, eight songs completed including Trouble For The World (which came out on Heavenly in 2020). He'd introduced himself to her at Shane McGowan's 60th birthday event and on his Instagram page described recording her vocals as being in the presence of greatness, 'like recording Nina Simone, Billie Holiday or Karen Dalton'. 

More Sinead- Rich Lane created his own unofficial remix of Sinead's Jackie, a song from her debut The Lion And The Cobra. Rich made it in 2016 to play at a gig in Dublin. It's not available to buy or download (more's the pity) but you can listen to it here, an electronic throbber with 808 blips and cowbell and Sinead's voice on top.

In 1994 Sinead made an album called Universal Mother. Fire On Babylon, produced by Bomb The Bass's Tim Simenon, was released as a single and appeared on Top Of The Pops to promote it. The grooves/ bytes/ TV studio seem almost to small to contain the power and intensity of her vocal, not to mention the huge dub bassline that underpins it. Sinead is singing live and the moment at three minutes where she comes back in singing 'Fire!!!' is both breathtaking and bone chilling. 

Lyrically Fire On Babylon deals with Sinead's mother and how Sinead was treated as a child. The video for the song didn't hold back, a film made by Michel Gondry (who also made videos for Bjork's Human Behaviour and Protection for Massive Attack) and which depicted Sinead's childhood. It's a fierce, intense and mesmerising video and song- like the woman herself. 

Sinead

Sinead O'Connor's death was announced by her family on Wednesday night. We'd been to the cinema and came out into the July rain, the news coming through almost immediately onto our phones. Not long after a neighbour sent a message, a family photo of Sinead and Andy Rourke (with a guitar) smiling in the sunshine in Palma in the 90s (my neighbour's mum is friends with Andy's- both Andy and Sinead gone in a matter of months). Sinead's traumatic childhood, bumpy ride through the music industry in the aftermath of her massive fame in 1990 and struggles with her family, mental health and physical health are well documented. Last year her son Shane killed himself, aged seventeen. To lose a child is an awful, heartbreaking, lifechanging and catastrophic event for any parent, as we know too well. To lose a child to suicide is unimaginable. 

I saw Sinead at Glastonbury in 1990, playing mid- afternoon, singing to 30, 000 people from the Pyramid stage, dressed in black biker jacket, circular shades and a Viz Fat Slags t- shirt. This song, The Emperor's New Clothes with former- Ant Marco Pirroni windmilling on guitar, was a highlight. It's a powerful song, Sinead dropping in lines about youth, fame and pregnancy and a partner who has misjudged her, got her wrong. In the end she decides, 'I will live by my own policies/ I will sleep with a clear conscience/ I will sleep in peace'. 

The Emperor's New Clothes

Those lines are how she lived her life- singular, fearless, battling, courageous, unafraid. In 1987 I watched her on Top Of The Pops performing her single Mandinka. In denim and black boots and with her shaven head she looked amazing, a punk spirit making announcing her entry the world. 

Mandinka

By this point she'd already sacked her producer and re- recorded her debut album, The Lion And The Cobra (an album that includes her debut single, the epic Troy, and the song I Want Your (Hands On Me) which was remixed with rapper MC Lyte and became big in the growing underground club culture).

Sinead took no prisoners in her songs, her brushes with her parents split as a child, trauma, abuse, eighteen months in the Irish care system and her mother's death in a car crash fuelling her fire. When her cover of Nothing Compares 2U went supernova she found herself at a level of fame that would have derailed even the most well adjusted person. She was badly treated by many people. The album Nothing Compares 2U came from, I Do Not Want What I Haven't Got, contains many great Sinead songs, not least this one which takes on new layers of meaning every time I play it, a 17th century poem sung over a Soul II Soul drum beat with a fiddle by a Waterboy arriving at the end as a final lament.

I Am Stretched On Your Grave

I posted the full version of this gig, a performance in Brussels in 1990, earlier this year as part of my Saturday Live series. In this excerpt from it, she sings I Am Stretched On Your Grave on her own on stage, one woman with a reel to reel tape recorder and an audience in the palm of her hands. 

Earlier in the year she appeared on The Late Show singing Black Boys On Mopeds, her evisceration of Margaret Thatcher's government, its hypocrisy, late 80s Britain's racist policing of young black men and how 'England's not a mythical land of Madame George and roses'.

Fridays here recently have been a celebration of Andrew Weatherall remixes. Here are two with Sinead. The first is one of three remixes Andrew did of Jah Wobble and The Invaders Of The Heart's Visions Of You, utterly essential 1992 dub/ pop (Sinead's love of reggae and dub is one of the recurring themes of her albums and her book Rememberings). This 12" was a bit of a dream team assembled, Weatherall's production, Wobble's bass and Sinead's voice- they really should have made an album together. 

Visions Of You (The Secret Love Child Of Hank And Johnny Mix)

Peace Together was a collective formed to promote the peace process in Northern Ireland, formed in 1993. The twelve minute Sabres Of Paradise remix of the song Be Still is very much an overlooked Sabres remix, extended Gaelic- dub. Listening to it yesterday, it felt like a celebration and a eulogy.

Be Still (Sabres Of Paradise Remix)

There are many more songs from Sinead's back catalogue that I could post here but I've probably done enough- You Have Made Me A Thief Of Your Heart, her cover of Song To The Siren, Fire On Babylon and Thank You For Hearing Me ( both from Universal Mother in 1994), 2020's 7" single, a cover of Mahalia Jackson's Trouble Of The World, recorded with David Holmes and Unloved, the first fruits of an album abandoned when Shane died and then restarted later on last year. 

Someone at Youtube left a comment years ago that said, 'So many people owe Sinead an apology'. That's the truth- she was frequently, insultingly, portrayed as 'crazy' in the press but was proved correct about so much. In fact, rather than crazy I think Sinead was someone who had figured out exactly what the world is like. Eventually it took an enormous toll on her. I hope she has found some kind of peace, the peace she referred to in The Emperor's New Clothes. 

'I will live by my own policies

I will sleep with a clear conscience

I will sleep in peace'

RIP Sinead.