Unsung Songs #1: The Bible – “Graceland”

I was going to call this series The Underachievers, but that almost felt like it was being critical of someone, be it artist, record company or even the Great British Record-Buying Public. That isn’t what I’m trying to do. It’s meant to be more a celebration of songs I’ve liked over the years, but which, at their initial time of release at least, didn’t capture the hearts and minds of too many other folks.

To qualify, a song must have:

a) been released as a single in the UK

b) failed to make the UK Top 40 Singles chart – ever (unless I make an exception and allow a very low Top 40 placing)

c) been feted by me to various people over the years – with reactions ranging from “I can see why no-one bought it” to “did you know they’re still together – fancy seeing them?”, and most stations in between.

And so to #1…

Around 15 years ago, there was a flurry of 80s Lyric Quiz things flying around the office. These generally had some of the more interesting excerpts of songs from that decade that we were then invited to guess. Obviously most were taken from the well-known material that is still played on retro stations around three times a day (so I’m told – I rely on people who are subjected to this sort of stuff in their workplaces to keep me abreast of such developments. I’m so glad I work from home apart from a couple of days per month).

One lyrical excerpt I’d love to have seen in one of those quizzes was: “and when I die, will you build the Taj Mahal, wear black every day of your life – I doubt it”. It certainly beats the vast majority of the lyrics that did make the cut. But it wasn’t there, because it comes from a ditty that only ever got to #51 in 1989, and that was via a re-recording after two earlier peaks of #87 (1986) and #86 (1987). All of these were released on Chrysalis, but there was an earlier 1986 release on Backs Records. It seems there were others out there who really believed in this one, not just me. Looking at Discogs, I seem to have the 1986 Chrysalis version, which is reassuring, because that’s what my memory was telling me. Wikipedia seems to recall it slightly differently however, noting only the Backs release in 1986, and not the Chrysalis one that I actually have. I know this because the 1987 release had a different sleeve.

The band were formed in Cambridge in 1985 and the name I always associate with them is that of Boo Hewerdine, who wrote the song along with Tony Shepherd. Hewerdine has gone on to have a lengthy solo career, and my recollection is that there has been significant acclaim for his solo output, although I must confess to not having explored it too deeply.

Would that solo career have happened in quite the same way if Graceland and subsequent singles had fared better sales-wise?

For me, Graceland sounded a little Smiths-y, which is probably what drew me to it in the first place – and may well have turned others off it. I think it’s the pick of The Bible’s output prior to their break-up in 1989 (they have reformed twice since then and appear to be an entity at the time of writing). It lags well behind later single, Honey Be Good, in terms of Spotify plays though, which surprised me. Of course mentioning the word Graceland in 1986/7 would have prompted people to mention the then current Paul Simon album of that name, whose global success far eclipsed this humble track. I like both, but given the choice of only playing the one, this wins hands down.

TGG

March 29, 2023

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The Cassette Albums #2: G. W. McLennan – “Watershed”

I’m fairly sure I was aware of The Go-Betweens before I landed at Uni in 1984. Aware of their existence, that is. I was reading enough of the music press to be aware of many bands from whom I’d heard no output – indeed in some cases, I probably still haven’t. But as I recall it, the press coverage around The Go-Betweens had always been fairly positive.

Therefore, I was rather delighted one day when browsing the Uni radio station record library, looking for something that I’d decided to play, when I stumbled across The Go-Betweens’ debut album, Send Me A Lullaby. Not that I realised at that point that it was their debut. I found some spare studio time to give it a listen at some point and quite enjoyed it, but no more than that. Nevertheless, it was good to see an album from a couple of years earlier released on Rough Trade in the collection, as there were still plenty of prog-rock loving Engineering students around, and the record library reflected this.

My next recollection of hearing The Go-Betweens was when I Just Get Caught Out appeared on an EP that came free with Sounds (research tells me this was on 28th February 1987). According to the sleeve notes, this had been specially recorded for the EP. This was the second track on the B-side of said EP, following offerings from The Cult, The Fall and The Adult Net (who may also feature in this series at some point). For a free EP, it was one of the better ones I’d acquired in this manner, but it was track B2 that I kept going back to for another listen.

That version of I Just Get Caught Out was not the version that ended up on their next album, Tallulah, which is a shame as I prefer it. But that album and follow-up, 16 Lovers Lane, cemented The Go-Betweens as the sort of band I’d enthuse about to other people – usually to complete indifference. I re-listened to Send Me A Lullaby and got a lot more from it this time, and I investigated the albums in between that I’d missed.

And then they only went and split. How dare they? I’d only just got into them. I felt royally cheated.

So that is why, upon learning of a debut solo release from Grant McLennan around 18 months later, I rushed out to purchase the album, without having heard anything from it. I can’t fully recall what the 25 year-old TGG was expecting from the album – I imagine it would have been something that picked up where The Go-Betweens left off. Listening to it now, it doesn’t exactly do that, and I guess that’s what I thought back then as well. The difference is that now I can appreciate the album on its own merits, but in 1991, in the context of the relatively recent demise of The Go-Betweens, I’m not entirely sure I would have been capable of doing that.

It’s certainly one that following the initial flurry of plays after buying it, didn’t trouble the cassette player of the Fiat Uno I had at the time. That, I think is the reason that I was keen to revisit this so early in this series. Basically, I don’t think I was mature enough to appreciate an album like this at that time.

The one song I did remember from the album without any prompting was “Haven’t I Been A Fool”, the first single taken from it, I now learn. I was however a little surprised that my memory had failed me, as I thought it was the lead track, but it isn’t – it’s the second track on side 1. This is one that I had added to a couple of playlists on Spotify as for whatever reason, it has stayed in my head despite not playing it for a number of years. The first track is actually Word Gets Around, which is a decent way to kick things off.

Listening through the album, the track Black Mule had me singing along to it well before the end, dredged from somewhere in the back of my brain – did I actually play this album more than I’d realised? Listening now, the standout track is Easy Come, Easy Go, which bizarrely, I had absolutely no recollection of whatsoever. This was also apparently a single. Once I’d played the album in its entirety, I went back and picked out favourite tracks for a further listen – all of the above plus Sally’s Revolution and Putting The Wheels Back On (which has surprisingly few plays on the aforementioned streaming service).

Overall then I was pleased to have revisited Watershed. It was never going to be a replacement for a new Go-Betweens album back in 1991 and if I did expect that perhaps it was me being the fool, but there is enough of their sound there (not really a shock), whilst to me, it does go somewhere slightly different.

What I didn’t do was purchase any further Grant McLennan solo albums – they have now joined the lengthy Things I Need To Listen To list (which exists only in my head – were I to write it down, I fear it would be a never-ending task). I was however fully on board for the Go-Betweens reunion in 2000, until Grant’s untimely death in 2006.

And what of Robert Forster? Somehow his pre-millennium solo output had avoided my radar until I started fact-checking this article. Guess what’s also now on that very long list.

There wasn’t meant to be such a long gap between the Taking Stock post and this one. Life.

I notice the colour on my photo isn’t the best – that’s down to me taking a shot in poor light rather than having left the cassette exposed to bright sunlight for a number of years!

TGG

March 23, 2023

Taking Stock

After setting up this page as long ago as 2017, it took until the 19th December 2022 before I actually posted anything on it. I’ve had plenty of ideas and created numerous lists over the five year gap. I’m not entirely sure what prompted me to start typing that evening, but I have found that stationing myself at the PC in the titular study and listening to and writing about music and various linked experiences has been quite helpful in coping with a number of stresses, including the ongoing situation with my mother’s health.

After a break during the second half of January, when I was routinely falling asleep at the times when I’d wanted to type something, I was glad to get back to it. What also pleased me was that visitor numbers actually increased upon my return, which was not what I’d been expecting at all. However, I feel that the quality of recent posts hasn’t perhaps been that great, and one or two pieces have felt like a bit of a chore when I was writing them. This seems to be borne out in visitor numbers, which have dropped off a cliff since the beginning of March. Not that I can complain – I’ve not been visiting my usual blog haunts that much in the last month or so either. I’m writing this primarily for myself, as a way of formalising my thoughts and memories about music, but I’d like to think I can do that in a way which others find entertaining. There are a couple of recent posts that I can barely re-read myself, so why should I expect anyone else to look at them?

So where to go after 18 posts and 21 YouTube links?

I have listened to another Cassette Album, so that is most likely the next thing I will write about, and I made a lot of notes whilst listening. I’m not sure if everything will make the cut, but it was one I picked out as something that I really wanted to revisit after a long time of not playing it, so I do want to do it justice.

There will be some more Seen ‘Em Live – including a couple that I’m really looking forward to writing about if the gigs are half as good as I’m hoping they will be.

I also want to start a new series – The Underachievers. This will focus on records that for whatever reason failed to make the impression in terms of UK Chart position that I feel they should have done. It may be that they did well in other countries or have done well years later or whatever. My blog, my rules as to what constitutes underachievement. Obviously this will be time-locked to the period when I took an interest in what was actually making the Charts, so that will feature music from the 20th Century. I’ve got five song titles noted down so far – and many more in my head.

And then there is what seemed like a good idea at the time – picking something from the Discover Weekly playlist based on matching the date and the number on the list. It had its moments, but last week it threw up a Top 10 hit from 1987. A song I hadn’t consciously heard in 36 years. A song so awful I opted not to share a link or write anything about it. A song that I hope I don’t hear for another 36 years (if I make it that long, I will be 92 and will probably be past caring).

But Discover Weekly will stay with different rules, and it may not necessarily appear every week. My focus with this now will be genuinely on something I haven’t heard before that’s made a positive impression on me and that I feel I want to share. I will be taking into account the full playlist and not just the track that matches the date. Bear in mind I don’t listen to the radio all that much these days, so my knowledge of new stuff is not what it was. My definition of “new” is pretty much anything recorded since 2010! Comments mocking my levels of being out of touch will of course be warmly welcomed. There was a song from 2017 on this week’s list that may feature, but I want to play it a couple more times before I decide.

So after Taking Stock, hopefully there are treasures still unlocked.

At which point Echo & The Bunnymen become the first act to feature twice on the blog.

TGG

March 8, 2023

Discover Weekly #10

And so it takes until the 10th of these before a track doesn’t get added to a playlist. I’ll be honest – I like 10cc. I grew up in Manchester and Stockport and so from an early age, saw them as a “local” band. In my twenties, I even drank occasionally in the pub across the road from their Strawberry Studios (where I’m Not In Love was recorded).

I was probably too young to realise that the band had split and that by the time Dreadlock Holiday hit #1 in 1978, two members of the band had already recorded an album of their own. In fact, I’d have been totally stumped if you’d asked me to name any members of the band. But then, I was 12 in 1978 – and I could only name a couple of Sex Pistols because I’d seen their names printed in a suitably frothing-at-the-mouth article in the Daily Mail.

It wasn’t until 1981 and the Top 10 success of Under Your Thumb, that I got to know the names Kevin Godley and Lol Creme. That’s a tune I still like a lot and the cod soul of follow-up Wedding Bells is OK as far as I’m concerned. I purchased their parent album Ismism. If I put it on the turntable today, two tracks would be a lot more crackly than the rest of the album. I’ll leave that there.

I became aware of this track around the tine that Under Your Thumb was being played on the nation’s airwaves. Presumably some enterprising DJ decided our knowledge of the duo needed broadening.

It had been released a couple of years earlier to complete indifference in the UK, but bizarrely made the Top 10 in both Belgium and the Netherlands. For me, it’s an OK song, but I find it slightly irritating – a bit like the occasional 10cc album track. So that’s why it won’t be making its way onto any of my playlists.

This is of course an early example of the video-making that would give Godley & Creme a parallel career.

As a footnote, Lol Creme has recently been playing in the Trevor Horn Band. A group that performs Video Killed The Radio Star, Two Tribes and Owner Of A Lonely Heart without batting an eyelid. Trevor Horn will introduce Creme as “this old specimen” and then the band do a great version of Rubber Bullets. I’ve caught them a couple of times at Rewind North.

This was #20 on the 20th February playlist.

TGG

March 5, 2023

Discover Weekly #9

Those of you who read #4 in this series will be familiar with a former work colleague who was a major fan of Super Furry Animals (and may well still be, but I haven’t seen or heard from him in 22 years). He and some of the music press of the time, were also swept away with the band who featured at #13 on 13th Feb playlist. To be honest, I didn’t really get it at the time.

I’m not entirely sure I get them now. I did purchase the follow-up single, Bring It On, but it’s spent many years in an inaccessible box, which perhaps tells you how I feel about this band. Nothing wrong with them, but there seemed to be a whole load of hype around them – and they were never seriously going to be the new Blur or Oasis.

As someone who gets ever so slightly obsessed with numbers, this has been added to a playlist of songs that peaked between 31 and 40 (#35 in 1998). It’s pleasant enough, but the hype at the time did the band no favours.

TGG

March 5, 2023

Discover Weekly #8

Still playing catch-up with this (and I have things to say about each track so I am going to persevere). This was #6 on the 6th Feb playlist. I don’t intend to say much about the song or the artist, as both will be well-known enough I’d have thought, with the song being a UK #10 hit in 1974.

What I may just need to explain is why it’s ended up on my “Discover” playlist. It’s down to me and the rules I’ve put around the numerous playlists I’ve created. I won’t bore you with all of them, but I’ve limited the number of songs by a particular artist on many, in order to provide variety when I listen. I do chop and change tracks from time to time as well.

My main playlist started out as a simple Top 200 tracks of all time, limited to two per artist. Then it got a bit of mission creep. So much so that the mission blew right off course and it now boasts 1,839 tracks with a maximum limit of five tracks per artist. It’s name is a nod to Douglas Adams: The Increasingly Inaccurately Named Top 1,500. I was going to cap it at 1,500 at one point – then I figured I’d be spending half my life trying to work out what to remove when I realised I’d missed something that I now I really wanted to add.

If you’ve followed my ramblings above, you will have deduced that this does not feature in my top five Stevie Wonder tracks of all time, so it’s not one of the 1,839. I have also never set up a specific ’70s Soul playlist. My wife would probably like that, so maybe it’s one to look into at some point. Luckily, I do have a catch-all for anything that I can’t add to a playlist due to my rules, so it’s joined It Just Don’t Fit – an understandably esoteric collection of tunes.

I did think about listing the top 5 Stevie Wonder tunes, but it might be more fun to have that as another thread and discuss why those are my favourites, along with other artists have made it to five tracks on the master list. I should also reassure you that I Just Called… and Ebony & Ivory are not present.

TGG

February 28, 2023

Seen ’em Live #2

The Peak District town of Buxton is about a 35 minute car journey from chez TGG. It’s a pleasant drive through steep hills, deep valleys, roads with deep drops to the side and lots and lots of sheep – the type of countryside that few people associate with Cheshire, with the Derbyshire border only being reached just before arriving in the town. It’s got some decent restaurants, cafes, pubs, bars, a park that the lads loved to play in when they were little – and even a decent brewery. It also has an Opera House. We’ve been as a family to watch family-oriented productions and in more recent times my wife and I have seen various acts perform there. But we’ve never seen any opera there. I assume it does stage operatic productions, but we’re not overly keen on opera.

Neither of us is all that bothered about traditional folk music either. Last Thursday, we went to see Suzanne Vega at said venue in Buxton – the first time either of us had seen her. The support act was a guy called Sam Lee who came on stage with a keyboard player, whose name I can’t recall, and enquired gently of the audience as to whether we’d like to listen to a few folk songs. There was clearly no escape as we were stuck in the middle of a row of seats and any hasty dart for the bar would be a little obvious – and rude.

As it transpires, Sam sings the first couple of songs very well and we, along with the rest of the audience, are warming to him. He’s very engaging and talks quite bit between his songs. Firstly about nightingales and the book he’s written about said bird and the nightingale song walks that he conducts in the south of England. Then we learn about the extensive research he’s done to record old (particularly Romany) folk songs before they are lost for ever. He’s even got a song on a forthcoming soundtrack to a film that stars Jim Broadbent. These lengthy anecdotes are delivered with charm and there’s even an audience participation song, with The Lady Behind Me singing along in such a way that I feel slightly awkward about my deep monotone drawl of a voice.

Sam has a Wikipedia entry, should you wish to discover more about a very interesting character. https://en.wikipedia.org/wiki/Sam_Lee_(folk_musician)

His own website is: http://samleesong.co.uk/

Suzanne Vega is joined onstage by a guitarist (plugged) while she opts for an acoustic guitar. Starting with Marlene On The Wall (and wearing a top hat for said song), she is quick to inform the audience that she’ll play a lot of old songs early on in the set so that “no-one gets anxious”.

She plays mainly older stuff, but does perform a song she’s recently written, entitled Mariupol, which is very moving. There are plenty of anecdotes, which I won’t put here as I wouldn’t want to spoil anything for anyone going to see her in future. These are delivered with great charm. We do discover a link between two of her songs recorded some years apart, with a couple of linked anecdotes to support it – all very interesting. For the encore, Suzanne includes a cover of what she says she feels is the ultimate New York song, Blondie’s “Dreaming”. Coincidentally my favourite Blondie song.

One of my favourite songs by Suzanne Vega was also played, and I hadn’t previously realised it was written as an homage to Elvis Costello. Suzanne and her guitarist illustrated the fact by synching in and out of Lipstick Vogue halfway through the song.

You’ll just have to imagine how that one worked.

All in all, a great evening’s entertainment – followed by a stressful drive back due to the fog up in them there hills.

TGG

February 22, 2023

Discover Weekly #7

January 30th’s playlist and the final track on it. A band I’m familiar with, but a song that I’ve never previously heard.

I don’t know about anyone else, but the first thing I ever heard from Split Enz was their 1980 UK hit single I Got You. It hung around in the Charts for a few weeks and narrowly missed out on the Top 10. I think the only reason I didn’t buy it was the fact that I was 14 and most of my cash was being spent on stuff by The Jam, Madness and the like. Oh – and Love Will Tear Us Apart joined the record collection around that time as well.

But something struck me about that song – I can’t really say what it was, there was just something about it – and Split Enz joined my mental list of “bands I want to hear more of”. To be honest, in the ensuing 43 years, I can’t say I’ve done all that well on that particular front. I do recall a song from the following year, History Never Repeats (and indeed it didn’t, as it peaked at #63) – this would become an early purchase from the iTunes Store in 2006. I did go so far as to buy their 1982 single Six Months In A Leaky Boat, the release of which unfortunately coincided with a lot of very large boats sailing from the UK to the South Atlantic, and thus lost out on airplay, so as not to upset anyone. Or something.

At no point have I ever purchased a Best Of, listened to anything earlier than 1980, or played any of their albums on Spotify. In fact their later albums aren’t actually available on that streaming service, save for the odd track, which is where the Discover Weekly list kicks in

This one’s from 1983 an I’d not heard it before. I can see why it wasn’t commercially successful, when I think of what was getting radio airplay around that time, but I like it very much and once again it’s another direct hit for the DW algorithm.

Oddly, as you’ll be aware, the next project for the Finn brothers was Crowded House, who I was into from the off, even before I was aware of the connection. I have all their albums and saw them live with Mrs TGG a few times during the 90’s. Not even that prompted me to investigate the Split Enz back catalogue.

Once again, they’re on a mental list of “bands I want to hear more of”. This time I need to deliver on that.

TGG

February 18, 2023

1. 

   JC

   February 21, 2023

   I can only ever recall ‘I Got You’…..a real ear-worm of a tune.

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Seen ’em Live #1

I’ve ummed and aahed about trying to write a series under this heading, but having gone to my first live concert of the year on Saturday, in Nottingham, something happened that made me decide that there might be some mileage in this.

Mrs TGG and I used to go to lots of live gigs both before and after we met in 1992. We even attended the same David Bowie and Prince concerts at Maine Road in Manchester two years prior to meeting. Gig-going came to an abrupt halt in 1998 as our first son arrived – the final show being Paul Weller in Manchester with a 6-month bump accompanying us. Our other son is almost exactly two years younger than his brother, and the two did lots of activities together as they were growing up. Particularly competitive swimming. This is a huge time commitment for swimmers and their parents with several training sessions per week and galas most weekends. Even more so when the parents get involved with coaching (Mrs TGG) and being Treasurer, Gala Manager, Announcer and Chair of two swimming leagues (me). That meant there wasn’t time to go and unwind by watching a band – not until the lads did their A Levels and retired (as many do at that age, other than the elite swimmers – and we had one of those at our Club).

Since 2017, we’ve been making up for lost time a bit. The enforced Covid break saw a massive pile-up of rearranged dates as well as some new ones we booked during that time. Somehow we avoided any clashes, and we did do three gigs in a week at one point. We have mostly been catching up with acts we know from the 80s and 90s. One exception was my lads and I going to see The Coral together – which was great. Most of the acts are well-known and so I couldn’t see what I could write about on here, but as I said something happened in Nottingham on Saturday.

I should also point out that we live in the south-east corner of Cheshire and we mostly go to see bands in Manchester, Salford, Buxton, Leek or Stoke-on-Trent. The concert we saw on Saturday, as I’ve mentioned, was in Nottingham. There had been a Manchester date on this tour, but it was at the Academy, which means standing up. This isn’t a problem when you’re 6′ 1″ like me, but Mrs TGG is at least a foot shorter and so she gets to see nothing. The days of me being able to lift her up for most of a Crowded House gig are long since gone (she’s not got any heavier, I’m just a lot more feeble these days). So Nottingham it was (with a night in a Premier Inn) at the Royal Concert Hall to see Belinda Carlisle supported by The Christians.

This one was for my my wife. She’d seen BC before, in around 1990, and we’d both seen The Christians at Rewind North a couple of years back. Before the gig, I made a comment about loving it if BC played a particular song, but that I wasn’t holding out a great deal of hope of hearing it. Oh, me of little faith.

Belinda (who I have to say was very good and had energy levels that belied her age) mentioned that she’d first played in Nottingham back in 1980 with the Go-Gos, supporting The Specials and Madness. And yes, she mentioned Terry Hall and the song he wrote with her band-mate Jane Wiedlin, a song apparently written by the two of them sending letters to each other. And then of course, she played it, to my, and clearly a lot of other people’s, delight.

The Christians were OK, rattling though their few hits, with Garry taking time between songs for a bit of banter and (so he said) to get his breath back. I correctly guessed that they’d round off with their version of Harvest For The World, which for me doesn’t really add anything to the Isley Brothers original. I did get a little concerned that they’d miss out my favourite of theirs, but when they “asked for requests”, this was the one that got shouted out by the audience.

We’ve got another concert later this week. I may write about that as well – I sort of feel I ought to now I’ve started this.

TGG

February 14, 2023

1. 

   JC

   February 21, 2023

   Fair play to both BC and the Christians for giving the audience what they wanted. It does increasingly seem to be the way with the ‘nostalgia’ acts, but then again given what many of them charge for tickets, it should be a given.

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Discover Weekly #6

Still playing catch-up with #23 from 23rd January, and a band I can’t say I knew anything about until the early 2000’s.

That was when I started being asked to provide a music round for a pub quiz, and on a few occasions, provide a complete music quiz of several rounds’ duration. Fine, I thought, I’ve got lots of CDs and vinyl that I can easily copy bits from onto a cassette. Problem – I’ve got a great selection of stuff that I like, but which to a “normal” person is quite obscure. There was nowhere near enough material that was suitable for a quiz where an average person could sit there recognising a tune, but not being able to name it straight away. There was just a lot of stuff that would have people asking if next week’s quiz could be easier, please.

My solution was to visit various record emporia and buy up as many cheap / cheapish CD compilations of as many music genres as I could think of. That’s why I’m the proud owner of a 16 track compilation entitled The Golden Age Of Swing, featuring Woody Herman and Django Reinhardt, among others. And a 3CD compilation of records that only reached #2 in the UK Charts – bought for a specific series of rounds in the hope that no participant had the same set of CDs. Yes, it does include Vienna (Disc 1, Track 8).

There were also some compilations, proclaiming themselves to be of the Punk / New Wave variety, with the term New Wave being stretched to pretty much breaking point in some cases. It was on one of those that I first heard a cover version of River Deep, Mountain High that a band called The Saints had very much made their own. At some point subsequently, I have learned that the band were Australian. My iTunes library has also acquired their only UK Chart entry, This Perfect Day, and their debut single, (I’m) Stranded. All decent tunes and the latter two have made it onto Spotify playlists.

Therefore it shouldn’t have surprised me to see one of their tunes being offered for me to “discover”. Not that it did surprise me. It was this track, which was released as a single in the UK in 1978, and is from the Eternally Yours album released in the same year.

To me, it does seem a little more accessible than the other songs I’ve mentioned, and maybe the record label felt the same as it is the album’s lead track. Definitely another successful “discovery”.

Sadly, Chris Bailey, who was the main songwriter and vocalist / guitarist passed away in April 2022. The band appears to have been performing live certainly up until 2021 (albeit with nearly as many ex-members over the years as The Fall).

#7 in this series will also feature a band from the Southern Hemisphere.

TGG

February 8, 2023

1. 

   JC

   February 21, 2023

   “Problem – I’ve got a great selection of stuff that I like, but which to a “normal” person is quite obscure.”

   Yup. Got me fired after just the one week of compiling the quiz!

   Chris Bailey was a personal favourite of Nick Cave. There’s an excellent single from an otherwise underwhelming Bad Seeds album on which Chris sang a co-vocal.

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