90’s

Way Back Wednesdays: Beryl Marsden (feat. Gospel Garden) – ‘Hello, Stranger’

May 4, 2022 — Leave a comment
Pictured: Cover Art for ‘Changes: The Story Of Beryl Marsden’ (Released on January 31, 2012) (via RPM Records)

Good Morning to you! This is Jacob Braybrooke, and the time has come for us to go ‘Retro’ with another old-school edition of ‘Way Back Wednesdays’ on One Track At A Time, because it’s always my day-to-day pleasure to write up about a different piece of music every day! The latest favourite of Cherry Red Records to grace the feature, Beryl Marsden’s story began in the Merseyside boom of the 60’s where she found fame on the Liverpool club circuit after singing with local groups like Howie Casey and The Crew, after she won a talent competition at the age of 14. One child in a family of ten, she would start performing at the Star Club in Hamburg, re-locate to London and subsequently sign with Decca Records as a solo artist with Tony Stratton-Smith as a manager. In her career since then, Marsden supported The Beatles on their final UK tour in 1965 and participate in projects like Shotgun Express (Which Rod Stewart, Mick Fleetwood and guitarist Peter Green were also all members of), The She Trinity, Simbad, Gambler and The Beryl Marsden band. Her material was mostly centered around a then-contemporary Pop and soulful R&B style, although her solo records unfortunately gained little commercial success. Nevertheless, she has built up a reputation as an undeservedly neglected talent praised by sites like AllMusic and The Liverpool Echo. She has also been remembered in recent times with a theatrical musical – ‘One Dream: The Beryl Marsden Story’ – that was performed at the Cavern Club for two nights, which Beryl Marsden would close with a live performance. She was also portrayed by actress Gemma Sutton in 2013’s ‘Cilla’, a three-part TV drama series about Cilla Black. Her lack of success commercially was mostly contributed to how her singles were never released in a traditional album format, and this notion did not change until January 2012 when her first compilation – ‘Changes: The Story Of Beryl Marsden’ – was finally made available. Check out ‘Hello Stranger’ from it below.

‘Hello Stranger’ is likely one of Beryl Marsden’s more well-known original recordings because it was used in the 1997 film ‘Another 9 1/2 Weeks’ (Which was also released as ‘Love In Paris’ in certain markets) which starred Mickey Rourke and Angie Everhart, which features the clips that you just saw in the video above. It was also credited to “Gospel Garden (feat. Beryl Marsden)” in some territories too, but it was nonetheless one of her more radio pop chart-friendly works. Gospel Garden’s blueprints are also clear, as the track gets off to a start with some ethereal Synths and ambient washings of Bass that conjure up an atmosphere that, to fit the title, feels strange yet familiar. Marsden’s lyrics are more emotionally driven, as she waxes nostalgic with sustained refrains like “Have you had a good time?/It makes me smile when you look at me that way” that leads melodically into the bridge, where she questions the interest of a former lover with lyrics like “Can I come home with you tonight?/Is that what you’re asking?” and “You say you’re gonna treat me right/A stranger’s touch is what I need tonight” as the bassline builds up to some playful keys that lead nicely into the heightened pace of the chorus, where catchy hooks such as “It’s a strange kind of magic/When we touch” and “Strangers you and I will always be” play out above the soulful combination of keys and drums, which feels different to the slow-burning energy and gradual progression of the main verses that establish a slightly more gritty and subdued quality. The track is still quite lushly produced, and it demonstrates how richly her voice has aged throughout the decades too as her darkened vocals are conveying a decent variety of emotive qualities during the verses before the more formulaic Dance-Pop song structure creeps in around the halfway mark, but these elements still work cohesively together because of her uncertain presence. Her voice was enough to give you a light tingle down the spine, and that’s executed clearly here.

Pictured: Beryl Marsden in a rare promotional photoshoot (Date n/a) (Photo via REX/Associated Newspapers)

That’s all for now! Thank you for checking out my latest post on the blog, and I will be back tomorrow to review a recent, eclectic single by a self-described “Globetrotting Psychedelic Soul Savant” who is one of the co-founders of the Chalo project. I can’t wait to bring his exciting new single ‘Brooklyn Ballers’ to your notice and it follows variable collaborations with artists such as Dam Swindle, Mike Bloom & Kaidi Tatham.

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Way Back Wednesdays: Eric B. & Rakim – ‘Don’t Sweat The Technique’

April 27, 2022 — Leave a comment
Pictured: Cover Artwork for ‘Don’t Sweat The Technique’ (LP) (Released on June 23rd, 1992) (via MCA Records)

Good Morning to you! My name is Jacob Braybrooke, and the time has come for you to send a distress call to DedSec (A short soundtrack-related reference for those who know) right after reading your latest retro-filled edition of ‘Way Back Wednesdays’ on the blog, because it is always my day-to-day pleasure to write up about a different piece of music every day! Although not entirely remembered in the discussions of Hip-Hop’s greatest artists to lace up a pair of rhymes by the general public, Eric B & Rakim have still been named as two of the genre’s greatest talents by publications like AllMusic and NPR, while Rolling Stone have ranked them as #5 on their list of the 20 Greatest Duo’s Of All Time published in 2015. They were also among the many victims who were affected by the 2008 Universal fire, which caused their tapes of lost material to be destroyed in the incident. They could still take a lot of the newer artists to school though, and we are currently in session with them today on One Track At A Time, and so I’m going to pay attention and listen up to the title track from their final album – ‘Don’t Sweat The Technique’ – released in 1992 via MCA Records. Like many of the Long Island-formed duo’s critically acclaimed albums, the LP was handled mostly by Eric B. & Ralim themselves in terms of production duties at The Hit Factory in New York city. The titular track itself was a minor radio hit, while the associated album reached #9 on the Top R&B/Hip-Hop Albums Chart in the US. This is a powerful track, but it is somewhat disfigured in the memory by a music video that is riddled with the typical tropes of 90’s Hip-Hop in which the album, and Rakim’s career as a whole in particular, usually stood in a more creative opposition against. It strikes me as a piece that was designed by label executives in order to sell more records. That said, the album debuted at #22 on the US Billboard 200 chart in its first week of release, a healthy result for an alternative act. Try not to Sweat The Technique below.

Eric B & Rakim’s ‘Don’t Sweat The Technique’ was not intended to be the duo’s final album, but their contract with MCA Records was due to expire, eventually leading to lots of legal wrangling, including a court case, that would cause the duo to disband completely. However, things did not meet a grisly end because a re-union tour took place in 2018. Summing up what they do most thoroughly on releases like this LP with the frantic beats and cuts, ‘Don’t Sweat The Technique’ (the title track) is built off an infectious and funk-driven instrumental that expands into Rakim’s rhymes that feel razor sharp and cutting edge on arrival. The main bass line (Which is a sampled loop from Young-Holt Unlimited’s ‘Queen Of The Nile’) is a perfect partner for the recurring blasts of Horns (A Kool N The Gang sample), developing elements of Jazz and Soul among the Boom Bap style of production and the percussive, clicking Drum loops. Lyrically, we are dealing with a love letter to the art form of rapping itself, with Rakim giving light testimonies about his career and his relationship with Eric B. as he continually performs his methods of mental alchemy. He uses sequences like “They want to know how many rhymes I have ripped and wrecked/But research has never found all of the pieces yet/Scientists try to solve the context, Philosophers are wondering what’s next” to give the boisterous track its energetic and conscious character. His delivery is absolutely swift and nimble too, as his syllables bounce between the elastic bassline like a rubber band and syncopated rim-shots, as to aid the rhythm of the instrumentals with his internal melodies. Together, they boast a DJ/Producer dynamic that has still influenced combinations like Run The Jewels and Nas & Hit-Boy to this day, and that’s simply because the formula feels timeless. To conclude, it is a classic track that Eric B. & Rakim delivered without breaking a sweat.

Pictured: DJ Eric B. & MC Rakim (William Michael Griffin Jr.) (2018) (Photo by JLN Photography/REX/Shutterstock)

That brings us to the end of roughly another 24 hour period on the blog, and I thank you, as always, for reading what I had to say about Eric B. & Rakim today. Tomorrow, I’ll be reviewing a recent single by an all-female Pop, R&B & Funk trio who became mainstays on the DIY L.A. club circuit after they started jamming together in 2017. They are currently signed to Stones Throw Records and they have a new LP – ‘Excess’ – releasing in June. They will also tour with Tame Impala and Parquet Courts in 2022.

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Scuzz Sundays: Alice In Chains – ‘Them Bones’

April 10, 2022 — Leave a comment
Pictured: Alice In Chains’ Layne Stayley before his passing (2002) (Photo Credit: Frank Micelotta/Getty Images)

Good Morning to you! This is Jacob Braybrooke, and the time has arrived for me to pay a visit to one of the ghosts of Pop-Punk’s past for another weekly entry of ‘Scuzz Sundays’ on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! Having sold over 30 million records worldwide, scored 18 top 10 entries on Billboard’s Mainstream Rock Tracks chart in the US and named as the 15th greatest live band by Hit Parader in their time, Alice In Chains were a visceral part of the 1990’s Grunge movement who have released six studio albums together between 1990 and 2018. An aura of sadness exists within the band, however, as original lead vocalist Layne Staley passed away in 2002 due to ongoing issues with substance abuse, with co-lead vocalist and rhythm guitarist William DuVall stepping up to fill the role later. ‘Them Bones’ was a fan favourite single that reached #30 on the Alternative Airplay chart in the US. It was taken as a single from 1992’s ‘Dirt’ – the band’s second studio album – which was featured on the soundtrack of Cameron Crowe’s 1992 film ‘Singles’ and, commercially, the record has been certified four-times Platinum by the RIAA and sold over five million units. The band also released their fourth studio album – ‘Black Gives Way To Blue’ on the 17th anniversary of ‘Dirt’ on September 29, 2009 – which is a great little tribute. Check out ‘Them Bones’ below.

Sharpening it’s blade for tackling emotionally charged themes like depression, anti-social behavior, relationships, drug addiction, anger and conflict throughout it’s near-hour run time, 1992’s ‘Dirt’ has aged rather well and it has been included in the 2005 version of the ‘1001 Albums You Need To Hear Before You Die’ book. Upon release, it was nominated for the Grammy Award for ‘Best Hard Rock Performance’ and, in retrospect, Loudwire has named it as one of the best Metal albums of the 90’s. ‘Them Bones’ was classic Alice In Chains, starting off with some portentous guitar riffs and jaunty sing-a-long vocal hooks before breaking into a chorus which feels like a lighter relief to the distorted chords of the verses. ‘Them Bones’ was built on a central guitar riff that was written in 7/8, and a friction remains between the very grounded lyricism and the chromatic riffing against the sustained long notes, with the open fourth vocal harmonies being a staple of Staley’s vocal work throughout his time and influence in the band. Lyrics like “I believe them bones are me/Some say we’re born into the grave” have a sense of prescience and bleak tragedy to them, while later lyrics like “Dust rise right on over my time/Empty fossil of the new scene” are given a lightly uplifting sense of black humor, where the absurdity of realizing that you’re going to die one day, no matter what, rings true. Staley commands his presence on the track with a nasal tone which seems to shift tones as he keeps holding the voice for longer and longer, but ruminating on your death is never truly considered to feel like an outlandish prediction due to the gritty textures of the guitars. It is mostly about our morality as human beings and how the thought that your knowledge or experiences can simply end when you’re gone for good is important, as opposed to lingering solely on how we’re all going to pass away eventually. It may not be everybody’s cup of tea due to it’s bleak theme, although it is not necessarily executed as such by Staley and the band, and the track ends just a little too abruptly for my personal liking. However, it seems like it has aged pretty well because the lyrics still have a relevance and the Glam Metal influences still seem relatively fresh. Rest in peace – Layne Staley.

Pictured: Cover Artwork for ‘Dirt’ (LP/Album) (Released on September 29th, 1992) (via Columbia Records)

Thank you for checking out my latest post on the blog, as your support always means so much. I will be back tomorrow to review the latest single by a Statford-born singer-songwriter who used to be the keyboardist of Mercury Prize-winning New Rave band Klaxons and he is married to the actress Keira Knightley, of all people. He previously fronted Shock Machine and his new Soulwax-produced album will be released in July.

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Scuzz Sundays: Foo Fighters – ‘Everlong’

April 3, 2022 — Leave a comment
https://youtu.be/4j0wVOcyd3g
Pictured: Dave Grohl (Lead Vocals/Rhythm Guitar), Pat Smear (Lead Guitar), Nate Mendel (Bass Guitar), Chris Shiflett (Backing Guitar/Backing Vocals), Rami Jaffee (Piano, Keyboard) and Taylor Hawkins (Drums/Percussion/Occasional Backing Vocals) (in 2017) (Photo Credit: PR/Brantley Guttierez)

Good Morning to you! This is Jacob Braybrooke, and the time has come for me to get writing up for the 968th time (That means we’ll soon be coming up to my 1000th post on the site) for ‘Scuzz Sundays’ with yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! It is always interesting to write about music from a famous band who have an absolutely gigantic fanbase like Foo Fighters, but it’s also very saddening that it’s happened due to some very unfortunate circumstances this time around. In case you’ve been living under a rock for the last two weeks, their beloved drummer Taylor Hawkins has died at the age of 50, and the band have also cancelled their performance at the Grammy Awards and the rest of their tour dates to allow for a time of somber reflection instead. How they move forward as a band is unclear, but what is clear, is the influence and the gifts that Hawkins bought to the world. Hawkins was born in Fort Worth, Texas in 1972 and he attended school with Yes vocalist Jon Davison, who became a close friend of Hawkins, and the two friends graduated from Lagune Beach High School together in 1990. Hawkins went on to play in experimental bands like Sylvia and Sass Jordan on the Orange County rock scene, before he was scouted by Canadian 90’s star Alanis Morissette, and he appeared in a handful of her music videos. Hawkins joined Foo Fighters in 1996, when Dave Grohl fell out with previous drummer William Goldsmith while they were in Seattle to record their second album with Gil Norton as their producer, and Grohl was suprised to learn that he wanted to voluntarily join Foo Fighters because he wanted to be a drummer in a rock band rather than a touring drummer for a solo artist. Hawkins went on to record eight albums with Foo Fighters, as well as pursue many side projects including The Birds Of Satan, Chevy Metal and The Coattail Riders, and he has performed a number of key vocal and songwriting duties as part of Foo Fighters too. ‘Everlong’ is a very important part of the band’s legacy now, and I’ve chosen to cover the track because it was the last song that he had played live with the rest of Foo Fighters in a live performance at the Lollapalooza Festival in Argentina on March 20th, 2022. You can see the live video above or you can remind yourself of the original music video below.

“Our hearts go out to his wife, children and family and we ask that their privacy be treated with the upmost respect in this unimaginably difficult tine”, Foo Fighters share about Hawkins’ death. It is very fitting and poignant how their performance of ‘Everlong’ at Lollapalooza ended, as Hawkins tossed his drum sticks out to the crowd and took a bow with the rest of his band before a hearty embrace with Grohl, and so it is very tragic for us to know what would unfold just five days later now. Commenting on his relationship with Hawkins in an interview with Rolling Stone published last year, Grohl said, “I think Taylor really under-estimates his importance in this band. Maybe because he’s not the original drummer, but, my god, what would we be without Taylor Hawkins? Could you imagine? It would be a completely different thing”, in celebration of his service to the group. A single originally recorded for their second album – ‘The Colour And The Shape’ – in 1997, ‘Everlong’ peaked within the top three of the US Billboard Alternative Songs chart and it was written about Grohl’s romance with Louise Post from the band Veruca Salt. Rather than developing ‘Everlong’ like a Grunge off-shoot as expected by the press, Grohl wanted it to feel more sentimental and incorporate Pop sensibilities into the sound, and he did so with gripping and upbeat lyrics like “Breathe out, so I can breathe you in, Hold you in” and “Come down, and waste away with me, Down with me, slow how you wanted it to be” that encourage intimacy with a special person that hasn’t been experienced for a long while by our narrator, while lyrics in the chorus like “If everything could ever feel this real forever/If anything could ever be this good again” touch upon the realization that you have fallen in love after doubting the fact that you could ever again for a few years prior. The themes are simple, but the music thoroughly conveys the emotional qualities behind the track as the vocals dive between subdued and atmospheric, while the simple chord structure is catchy and the softer parts are calming, while the guitar riff is distinctive enough for the track to feel fresh in it’s heyday and the tones are honest and cheerful without coming across as overly twee or gushy. Overall, it is a natural radio hit and a stadium crowd-pleaser that reminds us all to grasp wonder despite any practical or intellectual concerns and relishing the feeling of joy or harmony without not sentimentally rejecting it. It brings the same sense of happiness that Hawkins clearly brought to this band over the decades that he played with them.

Pictured: Cover Artwork for ‘The Colour And The Shape’ (LP) (Released on May 20th, 1997) (via Capitol Records)

Given how Foo Fighters are such a beloved band who have left a large blueprint on our culture, it is only natural that we have talked about them in the older posts below.

‘Monkey Wrench’ (1997) – https://onetrackatatime.home.blog/2020/10/18/scuzz-sundays-foo-fighters-monkey-wrench/

‘Waiting On A War’ (2021) – https://onetrackatatime.home.blog/2021/02/05/new-album-release-friday-foo-fighters-waiting-on-a-war/

Pictured: Cover Artwork for ‘Medicine At Midnight’ (LP) (Released on February 5, 2021) (via RCA Records)

That’s all for now, and my thoughts and prayers go out to all of Hawkins’ loved ones who have been deeply affected over the past two weeks. Thank you for checking out what I had to share on the site today, and I’ll be back tomorrow to kick off the new week’s worth of regular blog posts with a summer-friendly new single by a Grammy and MOBO awards-nominated London-based Afrobeat duo who pitch their sound as “Jazztronica”, and the title track of their new album was built from a Fela Kuti sample.

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Way Back Wednesdays: The Future Sound Of London – ‘My Kingdom’

March 30, 2022 — Leave a comment
Pictured: Garry Cobain (Samples/Production) & Brian Dougans (Samples/Production) (Date n/a) (Photo via Clash)

Good Morning to you! This is Jacob Braybrooke, and it’s time for us to go ‘retro’ for ‘Way Back Wednesdays’ with yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! If you are not sold on the strength of the premise of a diverse tapestry of dystopian, dark-leaning IDM and Electronica with a loose theme of urban dilapidation and urban decay, with a hint of paranoia and a Cyberpunk aesthetic alone, the UK Top 15-charting single of ‘My Kingdom’ may just convince you otherwise. This single was released in 1996 by The Future Sound Of London – an English electronic music duo formed in 1988 by Brian Dougans and Gary Cobain who met in Manchester, ironically – in the build-up to their third studio album ‘Dead Cities’ they released in the same year. The record is an expansion of the ideas they explored on 1994’s ‘Lifeforms’ EP, a more nature-oriented and pastoral record, albeit with a darker variation of sounds. ‘Dead Cities’ also included the duo’s highest-charting single ‘We Have Explosive’, which was licensed as the theme track for the ‘Wipeout’ video game on the original Playstation, and it reached #12 in the UK Singles Chart. ‘Dead Cities’ is personally one of my favourite electronic records of the 90’s because it serves as a road trip of post-apocalyptic Ambient textures, but what really makes ‘Dead Cities’ click together so neatly is the stylistic tweaks which the duo make throughout it. The ballad-style tone and floating Piano chords of tracks like ‘Max’ are very different to the ring tone-style synths of tracks like ‘Antique Toy’ or the insistent drilling of the title track that are more harsh and dissonant in mood, or really feel like they are attacking the listener. Throughout it’s 12 tracks (and a hidden segment that starts around one minute after the final track plays like an MCU-style Post-Credits scene) and a hefty duration of 70 minutes, The FSOL create a varied tapestry of electronic sounds spanning through Psychedelia, Trip Hop, Techno, Dark Ambient, IDM and Dub that are tethered to a connected, if non-singular, vision – and I also feel the record has a softer side to it that can be overlooked in favour of the more crowd-pleasing Claustrophobia of EDM cuts like the more well-known single. ‘My Kingdom’ was the preceding single to ‘We Have Explosive’ and it was given a fairly low-budget looking music video that was animated by Buggy C. Riphead – who designed the graphics of the LP’s physical copies. The CGI is dated by modern standards – but their imagination is still there. Check it out below.

‘Dead Cities’ is an underrated classic which was released on the major label Virgin Records in the UK along with Astralwerks in the US, and many music critics have attributed the album’s mastery to being the reclusive duo’s most accessible work commercially, although it still unmistakably sounds like them. In fact, ‘My Kingdom’ got to #13 in the UK Singles Chart, joining an elite club of bizzare top 40 radio hits like The Chemical Brothers’ ‘Setting Sun’ and The Orb’s ‘Toxygene’ from around it’s then-contemporary times too. The opening of ‘My Kingdom’ carries it’s weight with an Urban Trip-Hop feel as ethereal samples that give the drums an African percussion feel guides us through a gradual lift-off, before the sampled voices of an elusive choir and wistful Asian-style Horn samples that evoke a stop-and-start pace slowly join the fray of the scattered soundscape, with breakbeats and light downtempo ambience separating the structure of the elements to blend them into a more cohesive whole together. The choir section is a highlight, as the duo’s modulation makes their voices feel distant and hollow, conveying the mournful themes of a ‘Dead City’ with expert precision. I also love how the mixture of aggression and percussion on ‘My Kingdom’ has a dark edge to it and takes center stage as the drawing, expansive structure of the piece comes into view. The duo dip their toes into Blade Runner and Ennio Morricone samples specifically here, and they combine the downtempo elements of those original recordings with gloomy, foggy Ambient Electronica sounds neatly here, almost creating an abstract characteristic of a dense forest that could remind you of their prior ‘Lifeforms’ work quite noticeably. ‘My Kingdom’ has the power to give you goosebumps because of it’s darkness and vibrant atmosphere, with a certain doom-and-gloom or woe-is-me tone that is turned into something surprisingly beautiful and hypnotic as the samples stretch along it’s duration progressively and conjure up the power to create it’s own experience that feels a little seperate to ‘Dead Cities’, but is enhanced by the context of the sounds, tones, atmosphere and textures of the album it is from. It is a very well-crafted record which each lover of music should experience.

Pictured: Inserted Artwork for ‘Dead Cities’ (CD) (Released in 1996 via Astralwerks/Virgin EMI) (Photo via Eil.com)

That brings us to the bottom of the page for another roughly 24 hours period, and thank you for taking a short moment out of your day to support the site and the independent creatives that I, in turn, support here as well. It is back to new music recommendations tomorrow, as we turn our attention towards a new single by a now-duo of Indie Pop and Disco proportions from Brooklyn, New York who previously included Coco’s Dan Molad amongst their line-up. Their albums have also received acclaim from The New York Times, Rolling Stone, NPR, Paste and The Village Voice too. Their new LP – ‘Second Nature’ – will release on April 8th via Mom + Pop Records.

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Way Back Wednesdays: The Charlatans – ‘You’re Not Very Well’

March 2, 2022 — Leave a comment
Pictured: Tim Burgess (Lead Vocals/Harmonica/Piano), Mark Collins (Pedal Steel Guitar), Martin Blunt (Bass Guitar) and Tony Rogers (Keyboard/Organ/Flute/Mellotron/Percussion) (2017) (Photo Credit: Andy Richardson)

Good Morning to you! This is Jacob Braybrooke, and it’s time for us to revisit one of the seminal sounds of the past for another weekly entry of ‘Way Back Wednesdays’ on the blog, which fits my goal of writing up about a different piece of music every day! If I’m being wholly transparent with you, I wasn’t quite born yet when the ‘Madchester’ or ‘Baggy’ mini-movements began here in the UK, and so it’s thanks to my Dad and the records that he used to play in the car that I really have as much significant knowledge about the time that I still do. Although not quite one of the most chart-bothering bands of the time, like The Stone Roses and Ocean Colour Scene perhaps were, The Charlatans are still an active rock group who boasts the mid-pandemic Twitter hero Tim Burgess as their ringmaster, who have released thirteen albums to date. A set-closer that was the opening track of their debut album, ‘Some Friendly’, released in 1990 – ‘You’re Not Very Well’ is just one of the recordings that helped their debut album to enter the UK Albums Chart at #1. Introduced to the industry by the visual programming wonders of ITV’s ‘The Chart Show’, a still-lamented show, The Charlatans have scored hits like ‘The Only One I Know’ and ‘Then’ that reached the Top 15 in the UK. Let’s see them perform it at Manchester’s The Ritz from 1990 below.

The story behind 1990’s ‘Some Friendly’ is a well-documented one, since the record suffered from all sorts of production issues during the time of development. The recording sessions near Wrexham, Wales were awkward because ‘Burgess and buds’ fell out with the owners of the studio. The label executives were very keen on pushing them, and they wanted the band to record the album’s tracks despite them not having wrote many of them, and Burgess didn’t have the opportunity to stockpile songs beforehand. In spite of this, it still received great reviews from journalists and the record has been certified as ‘Gold’ in UK sales, and so that’s an achievement, whether it’s down to coincidence or raw fate is another dilemma. Opening track ‘You’re Not Very Well’ got the 90’s LP off to a start with prominent Organ stabs and repeating Bass hooks, with willful lyrics like “I don’t like all these sharks in the city/They don’t do much for me anyway” and “There’s that car that I used to swerve/This town traffic is knocking me over” that talk about how you can outgrow your surroundings while reflecting on the nostalgic moments that you’ve enjoyed within a certain area, as Burgess goes back and forth on his feelings regarding the people that he has met and the time that he has spent while growing up, with lyrics like “One step forward into mine/Faking pictures and opening doorways” and “Intervene and you privatise/Health is health and I don’t know about it” that each express anything but warm, sunshine-filled sentiments. There’s splashings of the slide guitar here and there to follow the Brit-Pop trends of the time while following an undercurrent of Funk as an influence. It is not necessarily steady on it’s feet as an overall piece, but ‘You’re Not Very Well’ is very pointed and it has a 1960’s Beat Groove with plenty of ‘Baggy’-ness and ‘Madchester’ elements to it that ensures that Burgess and his band-mates are delivering their instrumentation and vocals with a decent amount of cadence. An eclectic 90’s track that feels decent, if not particularly classic, which laid out a diverse, rhythmic framework for The Charlatans for decades to come.

Pictured: Tim Burgess performing with The Charlatans at Picnic In The Park (2019) (Photo by Rune Hellestad-Corbis)

If you are looking for some more catchy melodies by The Charlatans, then you need to look no further than my blog. Here is my take on The Charlatans’ 90’s classic ‘The Only One I Know’: https://onetrackatatime.home.blog/2021/04/28/way-back-wednesdays-the-charlatans-the-only-one-i-know/. You can also check out some of Tim Burgess’ solo work by giving ‘Empathy For The Devil’ a spin here: https://onetrackatatime.home.blog/2020/05/29/todays-track-tim-burgess-empathy-for-the-devil/.

Pictured: Cover Artwork for ‘Some Friendly’ (LP) (Released on September 8th, 1990) (via Beggars Banquet Records)

That’s all of the time that I have got for now! Thank you for revisiting some ‘Baggy Brilliance’ with me today, and I’ll be back at it again tomorrow with new music from a ‘Post-Punk Poet’ who has often been featured on the blog before and she topped my ‘Best EP’s of 2020’ list that was published two years ago. She has toured with The Brian Jonestown Massacre across the UK and Ireland, and she has recently been working with Speedy Wunderground’s Dan Carey as her producer. She will finally be releasing her highly-anticipated debut LP record in June through Chess Club Records.

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Scuzz Sundays: The Verve – ‘The Drugs Don’t Work’

February 27, 2022 — Leave a comment
Pictured: Richard Ashcroft (Lead Vocals/Rhythm Guitar/Keyboard/Percussion/Kazoo), Nick McKabe (Lead Guitar/Accordion), Simon Jones (Bass Guitar/Backing Vocals) and Peter Salisbury (Drums) (2008) (Photo via PR)

Good Morning to you! This is Jacob Braybrooke, and it’s time to revisit one of the Pop-Punk ghosts of the late-90’s for another installment of ‘Scuzz Sundays’, as we remember what the Brit-Pop scene had to offer at the time for yet another daily track on the blog, since it is always my day-to-day pleasure to write up about a different piece of music every day! Active between 1990 and 1999 – with a reunion in the mid-00’s – The Verve fit squarely into the Brit-Pop movement that introduced bands like Oasis, Supergrass and Coldplay to the world at a nifty convenience. However, in 1997, they proved that rock music could get very emotional. Having appeared on the cover of Rolling Stone magazine, won an impressive number of BRIT Awards and issued one of the best-selling albums in UK chart history with 1997’s ‘Urban Hymns’, the band were able to reduce most of their fans to tears when the familiar sound of ‘The Drugs Don’t Work’ was ringed out across the packed out stages of V Festival and Live At Reading. Ranked as #7 on Channel 4’s list of the ‘100 Greatest Number 1 singles’, the sombre sound of the single unintentionally captured the mood of the nation when the beloved Princess Diana died because it was released the very day after it had occurred. Featured on ‘Urban Hymns’, the single went straight to the top of the UK Singles Chart and it remains popular, having been placed at #78 on the ‘150 Best Tracks Of The Past 15 Years’ list that NME compiled in 2011. The music video carries on from the iconic street set-up of ‘Bitter Sweet Symphony’ as the beginning of the piece shows Ashcroft and his band-mates walking across the same street, with the events directly following the prior video. It’s nice to see a level of inter-connectivity there and we rarely see it now. Have a box of tissues at the ready and stream it below.

“Whenever we played that live, there would be rows of grown men crying”, Ashcroft said of the somber tone of the single, as per FreakyTrigger.co.uk, describing, “It was almost like these guys couldn’t cry when they needed to cry, but that song operated like a pressure valve for them and it was okay for them to cry at a big concert”, in an interview. Although often linked to a battle with recreational drug abuse, fans have also linked ‘The Drugs Don’t Work’, which was reportedly written in 1995, with the passing of Ashcroft’s father, with the sensitive lyrics like “And I hope you’re thinking of me/As you lay down on your side” and “Now the drugs don’t work/They just make you worse/But I know I’ll see your face again” sounding like they could have been drafted together in Ashcroft’s mind as he sat beside his father in the hospital ward, and so these lyrics really pack a hefty punch given the bleak subject matter and Ashcroft’s promise to be re-united with him in the afterlife. The instrumentation isn’t really ‘Scuzz Sundays’ by nature, with a subtle String section and a steady guitar riff leading the downtempo melodies of the track, but it retains enough of the core elements of Rock music to meet that categorization, for the lack of a better term. Ashcroft was mostly known for throwing in some elements of Neo-Psychedelia into his motifs, but ‘The Drugs Don’t Work’ was more intent on dragging him back to the inescapable darkness of life on Earth. The chorus seems arresting and personal, with refrains like “If you want a show/Just let me know/And I’ll sing in your ear again” that references a slightly chemical-defined relationship with his dad while nestling the smaller sequences into a bleaker, larger narrative and Ashcroft illustrates a maze with a loss of direction as he conveys a mixture of confusion and exhaustion, with the most profound note of hope, with his emphasized vocals. Overall, I am one of the most cold-hearted people out there, and even I can feel a light touch coming out of the screen of my laptop when I hear ‘The Drugs Don’t Work’ because Ashcroft pales back his ‘rock god’ style of persona for a new spin on Pop-Punk and Brit-Pop where he feels intimate and learning about the track’s authorized subject use, beyond the obvious associations of drugs or chemicals, can really improve your relatability with it. Chilled yet very somber – ‘The Drugs Don’t Work’ is brutal enough to make a grown man cry.

Pictured: Cover Artwork for ‘Urban Hymns’ (LP) (Released on September 29th, 1997) (via VC/Hut Records)

That’s all for now! Thank you for checking out my latest weekly entry of ‘Scuzz Sundays’ today, and I’ll be back tomorrow to start off the new week as we remember one of the most crucial releases from February as we shortly creep into March. It comes from a Japanese-American songwriter who releases her music on the Dead Oceans label, and The Guardian named her as the “best young songwriter” in the United States when her latest solo album – ‘Laurel Hell’ – was released and quickly entered the top ten chart of the UK, the US, Australia and Ireland earlier in the month.

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Way Back Wednesdays: Jurassic 5 – ‘Concrete Schoolyard’

February 16, 2022 — Leave a comment
Pictured: Charli 2na, Cut Chemist, DJ Nu-Mark, Akil, Zaakir & Marc 7 (Date n/a) (Photo by Paul Natkin/WireImage)

Good Morning to you! This is Jacob Braybrooke, and the time has arrived for me to take you on a ride in my musical DeLorean as we pay a small tribute to one of the seminal sounds of the past for ‘Way Back Wednesdays’ on the blog, which fits my theme of writing up about a different piece of music every day! Comprised of MC’s Charli 2na (Charles Stewart), Akii (Dante Givens), Courtenay Henderson (Soup aka Zaakir), Marc 7 (Marc Stuart) and DJ’s/Producer’s Cut Chemist (Lucas McFadden) and DJ Nu-Mark (Mark Potsic) – Jurassic 5 were actually a six-piece crew who came out the Los Angeles venue of Good Life and they were trailblazers on the global hip-hop scene, both critically and commercially, throughout the late-1990’s and the 2000’s. They were very much known for being old school and proud of it, with their lyrics mixing braggadocio rhymes with simple tributes to the art form of Hip-Hop and street poetry itself. There were no over-produced auto-tune melodies, no blatant money-waving, obvious misogyny, no outrageous grand-standing and just a sprinkling of swearing – but they simply packed out live sets throughout the UK and the US by encouraging a live crowd to get on their feet and interact with them, with most of their success coming directly from good word-of-mouth and a mixture of sought-after EP releases, to start off with, that were initially only available through Import in the UK. They had hits including ‘What’s Golden?, ‘The Influence’ and ‘Quality Control’ that made the likes of Charli 2na and Cut Chemist household names. Their highest-charting single in the UK is ‘Concrete Schoolyard’, which reached #35 and it was taken from their debut self-titled album released in 1998, but it also appeared on the self-titled EP release from a year prior. The Jurassic 5 logo’s that you can find on the front cover of the EP and the album were designed by Charli 2na himself, and NME named the album as their 9th best from 1998. Let’s play on the ‘Concrete Schoolyard’ below.

Although they offered something fresh to many listeners of all backgrounds, Jurassic 5 decided to call it ‘Quits’ in 2007 shortly after releasing their fourth studio album – ‘Feedback’ – citing creative differences as the reason, yet they returned to the stage and recorded some new material for a reunion during 2013 and 2014, and each member of the band has continued to release new music individually. As for ‘Concrete Schoolyard’, the core ethos of their message was “Let’s take it back to the concrete streets/Original beats from real live MC’s” as they aimed to provide their freshest Hip-Hop sound yet. At the time, Hip-Hop was decidedly either Dance Pop-oriented or Grunge-influenced in terms of visceral production, and so Jurassic 5 naturally decided to keep it simply by incorporating thick and floating Piano chords into their backing beats on ‘Concrete Schoolyard’ with a kick drum beat that makes the soundscape feel warm, but making for a slower tempo than a typical Hip-Hop release where elements of Soul and Baroque can peek in. It is melodic enough, however, with a final breakdown that increases the danceability of the recording. Refrains like “Playground tactics/No rabbit-in-the-hand tricks/Just that classic rap S**t from Jurassic” also provide a clear sense of clarity as the Alternative Hip-Hop collective make it their mission statement to disregard sleight of hand tricks or conform to pre-conceptual trends and place a larger emphasis on their influences instead. In conclusion, on ‘Concrete Schoolyard’ – which was reportedly recorded with Dave Matthews of all artists – Jurassic 5 were admittedly good and they were a much-needed breath of fresh air. There was no tropes and no tricks, just good old-fashioned MC’s with a solid sense of slight satire which was a clean cut above the rest.

Pictured: Charli 2na & Krafy Kuts in a PR shot for ‘Adventures Of A Reluctant Superhero’ (2019) (Photo via Last.FM)

That’s all for now! Thank you lots for checking out the blog that I’ve been working on today, and I’ll see you again later as we break down some more brand new music. Tomorrow, we’ll be listening to the album announcement track from a brand new artist who is based in London but originally hails from Calabar, Nigeria. He does a lot of interesting things with Afrobeat and his 2020 EP ‘Which Way Is Forward?’ landed a spot on my Top 5 EP’s list of that year, and he’s recently collaborated with Little Simz.

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Way Back Wednesdays: The Smashing Pumpkins – ‘Cherub Rock’

February 9, 2022 — Leave a comment
Pictured: Billy Corgan (Lead Vocals/Chief Songwriter/Producer), James Iha (Bass Guitar), Jeff Schroeder (Keyboard/Rhythm Guitar) & Jimmy Chamberlain (Drums/Percussion) in a press shot for ‘Cyr’ (2020) (Photo via PR)

Good Afternoon to you! This is Jacob Braybrooke, and I’m here to deliver a ‘Smashing’ new entry into our exhaustive library of weekly ‘Way Back Wednesdays’ posts on the blog as we remember some of the seminal sounds of the past with another daily track on the blog, given how it has always been my day-to-day pleasure to write up about a different piece of music every day! TNA promoter, of all surprising side hustles, Billy Corgan is a 90’s-leaning songwriter with an artistic drive who always puts a great effort into the visual aspects and the guitar effects within his material. Although some of his Smashing Pumpkins work has varied in quality, he is still going today and, as I’ve mentioned on the blog in previous relevant posts, he is never without inherently uninteresting ideas and one of his risks paid off neatly with ‘Cherub Rock’, a 1993 hit that was taken from his band’s second studio album – ‘Siamese Dream’ – that was unveiled to the globe as the first single from the release at the time. It was nominated for a Grammy Award for ‘Best Hard Rock Performance’ and it was later covered by Rochester-based indie rock band Roses Are Red in 2005. ‘Cherub Rock’ was one of the last songs to be written for ‘Siamese Dream’ and it peaked at #31 in the UK Singles Chart. The influences and lyrics of ‘Siamese Dream’ stood out among other Alt-Rock releases at the time despite recording sessions fraught with high tensions and some difficulties, and it was regarded as one of the most critically-acclaimed alternative albums of the 90’s by institutions like Rolling Stone. Let’s revisit ‘Cherub Rock’ below.

Although ‘Cherub Rock’ was not as widely marketable or commercially successful as ‘Today’ by critics upon its initial release, it remains to be a fan favourite and it was given a new lease of fresh life during the 00’s when it was included on the playable soundtracks of popular rhythm action video game franchises like ‘Guitar Hero’ and ‘Rocksmith’ available for multiple console platforms. Starting off with marching drums that remind me of The Red Hot Chilli Peppers, who arrived on the scene a bit later on, that morphs into a prominent set of guitar riffs that have a heavy Grunge aura to them, we thrust defiantly into fuzzy and soft instrumentation that is energetic and driving in its excess of feedback. This glitched delivery has a clear Shoegaze element that also points towards My Bloody Valentine or Ride with the textually thick balance of hypnotic Post-Punk and high-cadence melodic precursor to mid-90’s Brit-Pop. Lyrically, Corgan relates to his own relationship with the ‘Indie’ music community of the 90’s and his perceptions within the larger media, with forceful lyrics like “Doesn’t matter what you believe in/Stay cool” that encourages you to follow your instincts as an artistic matter and “Hipsters unite/Come align for the big fight to rock for you” that carry his determined ethos to bring rag-tag gangs together to enjoy music socially and within a communal environment that is free for you to express yourself in as an artist or audience member, with a bad-tempered hook of “Let me out” that mirror the relationship of a songwriter and a record label getting sour as towering creative differences ware on. Corgan delivers one of his most fiesty vocal performances and the soaring guitar solo is a highlight in showcasing his skills as a guitar player. What is interesting is how he recorded the prominent effect section of his guitar parts by recording the music to two different tapes at simultaneous fashion, and he clearly alters the speed of one of his tapes. What this means is that it makes the effects feel as though they are not really coming from the guitar, leaning into his Shoegaze influences most directly. Overall, ‘Cherub Rock’ still sounds great as the lyrics ring true, the instrumentation is more diverse than it may feel at first glance, and you have a well-informed vocal performance by Corgan who layers his furious songwriting on top of the stellar drums and the distortion-drenched guitar melodies to build up a cascading wall of sound around him as to convey his emotions with a swelling buoyancy. Drifting through Shoegaze, Alternative Rock, Electronica, Psych-Rock, Prog-Punk and Dream Rock through a vicious cycle that is paced coherently, ‘Cherub Rock’ could represent Corgan at his most creative and most visually detailed.

Pictured: Cover Artwork for ‘Siamese Dream’ (LP) (Released on July 27th, 1993) (via Virgin/EMI Records)

If you’re looking to smash some more pumpkins, you’ve come to the right place. You can get festive with my write-up of the rare track ‘Christmas Time’ from 1997 here: https://onetrackatatime.home.blog/2021/12/19/santas-scuzz-sundays-the-smashing-pumpkins-christmas-time/. You can dive into some of Corgan’s latest material with ‘Wyttch’, a promotional single taken from his 2020 album ‘Cyr’ here: https://onetrackatatime.home.blog/2020/11/27/todays-track-the-smashing-pumpkins-wyttch/. Or take a trip to the moon with my older assessment of ‘Tonight, Tonight’ with this post: https://onetrackatatime.home.blog/2019/10/27/scuzz-sundays-the-smashing-pumpkins-tonight-tonight/.

Pictured: Cover Art for ‘Mellan Collie and The Infinite Sadness’ (LP) (Released in 1995) (via Virgin/EMI Records)

Thank you for checking out my latest post, and it is always a pleasure to join you in remembering the creatives who bought the excellently produced LP ‘Mellan Collie and The Infinite Sadness’ to the world in the 90’s. I’ll be back tomorrow, however, with a large emphasis on fresh new music as I introduce you to a very interesting Berlin-based Experimental Rock musician who made a name for themselves as a part of LA’s LGBT community of underground producers. They have performed alongside Charli XCX and Flume, and they’ve received positive support from the likes of Mixmag.

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Scuzz Sundays: Catatonia – ‘Road Rage’

January 9, 2022 — Leave a comment
Pictured: Cover Artwork for ‘International Velvet’ (LP) (Released on February 2nd, 1998) (via Blanco y Negro)

Good Morning to you! This is Jacob Braybrooke, and it’s time for me to get right down to business with another weekly installment of ‘Scuzz Sundays’ on the blog, given that it’s always my day-to-day pleasure to write up about a different piece of music every day! One of the few female-led bands to gain attention on TV networks like Kerrang and Scuzz back in the late-1990’s, unfortunately, was Catatonia. Known for their political edge, Catatonia were one of the post-Britpop acts who found fame in the UK charts in a similar timeframe to peers like Ocean Colour Scene and Embrace that catapulted lead vocalist Cerys Matthews to mainstream attention during the time. A key part of the Cool Cymru movement in 90’s UK music, Matthews was notable for being disagreeable with the music press who would label her band as an ‘Indie Rock’ project because her goal was only to ever write Pop Music. Sadly, their time in the spotlight was a little short-lived compared to peers like Athlete or Gomez because Matthews entered rehab in 2001 for drinking and smoking following a list of negative reports regarding her habits in tabloid newspapers and gossip magazine columns, leading to some commercial disappointment with her later albums until the group decided to disband in 2001. However, the band had top 40 singles like ‘Mulder and Scully’ and ‘I Am The Mob’ that all received strong radio airplay and sales success. One of their most popular singles is ‘Road Rage’, a track that peaked within the Top 5 of the UK Singles Charts and was actually certified as silver. Their debut album – ‘International Velvet’ was also nominated for the Mercury Prize and went to the top spot of the UK Album Charts before being certified as Triple Platinum, which is still no mean feat at all. Matthews went on to collaborate on ‘Baby, It’s Cold Outside’ with unimitable Welsh legend Tom Jones, and the band also performed the title track from ‘International Velvet’ at the opening ceremony of the 1999 Rugby World Cup in Cardiff and so although the band sadly came to an end quite soon after starting, they had a string of success. So, let’s remember their Q Award-winning single ‘Road Rage’ below.

Matthews and Roberts would often share the writing duties between them for producing Catatonia tracks, and Matthews would also be highlighted for her use of metaphors in her songwriting in ways that would typically be compared to poetry, and ‘Road Rage’ was no exception to the rule. She says the song was written about the trial of Tracie Andrews, who killed her boyfriend Lee Harvey, and told the police it was a ‘road rage attack’ and even appealed on UK news to find his imaginary killer before she was found guilty of murder in a Birmingham Crown Court during 1998, of which Matthews later based her own lyrics around the case. Another tradition for Catatonia began near the time of ‘Road Rage’ as well, where Matthews would really project her voice to recite rolling R’s that were too fast and furious for the ear to really make out for the most part, as you may have noticed on this track already. Starting off with a somber voice that recalls “If all you’ve got to do today is find peace of mind, Come round if you can take a piece of mine” over the top of a gradually crawling Drum groove that comes off as seductive and a slowly ascending bass guitar riff, before a burst of melodic lead guitar riffs heighten the energy with the hook of “You should be taking it easy on yourself” in the pre-chorus, before the vocals become more snarling in texture for the chorus as Matthews chants “It’s all over the front page/You’re giving me road rage” as she mixes metaphors of the time’s contemporary current affairs with the simple theme of dwindling in a combative relationship, a theme that would likely connect with more mid-aged listeners of the track. All in all, it hasn’t aged badly as the subtle changes in pace feel neatly woven into the fabric of the lyricism and the mixing of pop culture references with more memorable melodies feels equally tidy. For me, the drums get a little on the tedious side and there’s not really an explosive guitar riff that really packs a punch in the track, but it feels radio-friendly and there’s just enough attitude found within Matthews’ voice to feel strident and powerful amongst her issues with the love interest. A confident, if comfortable, piece by Catatonia that brought memorable melodies to bleak subject matter clearly.

Pictured: Cerys Matthews (Lead Vocals), Mark Roberts (Lead Guitar), Paul Jones (Bass Guitar), Owen Powell (Rhythm Guitar) and Aled Richards (Drums/Percussion/Occasional Backing Vocals) (1998) (Photo via BBC.co.uk)

That brings us to the bottom of the page for the day, and I’ll be back tomorrow to kick off another week’s worth of new posts to bring light to the bland January season. We start off with a splendid track of scientific proportions that was released in the latter half of 2021 by a fascinating super-group comprised of current British poet laureate Simon Armitage, multi-instrumentalist Patrick Pearson and musician Richard Walters.

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