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Scuzz Sundays: Fear Factory – “Cars – Remix”

May 30, 2021 — Leave a comment

A momentary flash in the Metal pan for the old Lightning McQueen. It’s Scuzz Sunday!

  • Pictured: Cover Artwork for “Obsolete” (LP) (Released on July 28, 1998) (via Roadrunner Records)

Good Morning to you – it’s Jacob Braybrooke here, and it’s time for your weekly Scuzz Sundays throwback – the time of the week where we mix it up with a re-evaluation of a Pop-Punk anthem from the late-1990’s up to the mid-2000’s. The LA-based US Heavy Metal band with no original members left in it’s line-up, apart from guitarist Dino Cazares, the million-selling band Fear Factory were highly influential on the global Metal scene in the mid-to-late 1990’s for the Groove Metal and the Industrial Metal sub-genres. Of course, their line-up woes haven’t really stopped them, despite a legal dispute between the original members and the current members over it’s legitimacy in a battle – with two albums still being released after the case was opened. ‘Cars’ was originally performed by Gary Numan in 1979, and Fear Factory would perform a cover of ‘Cars’ as an encore for their live tours. Then-frontman, Burton C. Bell, eventually got in touch with Numan’s management after word spread, who flew Numan out to the Vancouver studio for a three-day span to record a Spoken Word piece for the introduction of ‘Obsolete’, the associated album that ‘Cars – Remix’ was conceived for, in 1998. In this rendition, Numan performs a duet with Bell on the track. It was crucial in catapulting Fear Factory to attention in the mainstream eye, and it led to ‘Obsolete’ becoming Fear Factory’s highest-selling album, with over 750,000 units shifted, as of 2001. It also landed a place at #16 on the Mainstream Rock chart in the US. Let’s revisit the Stanley Kubrick-esque Sci-Fi music video down below.

“There was a chance that it could introduce me to a new generation of people who didn’t know my history” said the super-cult UK Synth-Pop spearhead Gary Numan, who originally felt apprehensive about working with Fear Factory at the time, because he perceived it as dated music. It proved to be a fruitful collaboration, with Numan telling the press: “And that can be useful, because my music’s got a lot heavier and darker anyway”, in the same interview. He also said the band were “brilliant, really easy to work with. They didn’t have a bad word to say about anyone” after recording the reworking of ‘Cars’ with them. It served to bring both parties to audiences that were wider than their fan followings, as the uncharacteristically bright Synth-led rendition contrasts with the metal progressives reputation for fast-moving and grinding Metal music. However, you could argue that the heavy use of the synthesizer and the other harsh, electronic blueprints correspond with the qualities of the band’s Industrial roots. The electronics are powerful, with the familiarity of the original track giving room for the more chant-led vocals to breathe. “Here in my car, I feel safest of all, I can lock all my doors” and “Here in my car, When the image breaks down, Will you visit me, please” are delivered melodically, as propulsive guitar riffs and lengthy, sustained Synth chords keep the psychedelic atmosphere rolling along. The rest feels simple, with light Dance music elements that keep the Heavy metal roots from getting too aggressive, and it still sounds predominantly like an 80’s Pop record, when you come to really think of it. Some Industrial-like riffing comes into play, and the drums have a slightly increased edge to them, but most of the original framework of Numan’s retro production remain intact. Overall, I quite enjoyed my time with this. The tempo is nice and the sound never feels overly produced at any one time. However, I did feel the band were playing it safe to a point. Their cover, although involving Numan, doesn’t really stray too far from the formula of Numan’s original, and so it didn’t do anything to suprise me. For the most part, however, the fusion of the electronic Synth-Pop original and the slight edge to the Metal-infused elements are definitely worth a spin. It’s also funny to think that re-workings like this are coming back into fashion too, with the recent Paul McCartney reimagining and Moby’s ‘Reprise’ album allowing artists to put a twist on their original work. It’s holding up fairly well in the present day, for that reason, too. Overall, it’s not brilliant, but it was a fun switch-off cover that should still appeal to a sizeable pool of listeners.

  • Pictured: Burton C. Bell (Lead Vocals/Keyboard), Dino Cazares (Guitars/Backing Vocals), Tony Campos (Bass Guitar/Backing Vocals) and Mike Heller (Drums/Percussion) (2015) (Photo by Stephanie Cabral)

That’s all for now! Tomorrow is Bank Holiday Monday, and so I’m going to take you back to 2005 with a rarity that fits neither ‘Way Back Wednesdays’ or ‘Scuzz Sundays’ in it’s theme – and so it should make for a refreshing change to my regular output. This single comes from Miles Tackett’s Funk collective project who covered The Mohawks ‘Champ’ in 2005 for the video game soundtrack of ‘Tony Hawk’s American Wasteland’ for the Gamecube, PS2, Nintendo DS and the original Xbox. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

New Album Release Friday: Mustafa – “Ali”

May 28, 2021 — Leave a comment

When Smoke Rises, we’re left with a “Brimful of Asha” on the 45. Time for a new post!

  • Pictured: Mustafa performing ‘Air Forces’ for a COLORS session (2021) (via COLORS/YouTube.com)

Good Morning to you! It’s Jacob Braybrooke here – and it’s time for me to get typing up for your daily track on the blog, as per usual, because it’s always my day-to-day pleasure to write up about a different piece of music every day! I believe we’ve made it to Friday once again, meaning there’s a new batch of releases ready for you to buy, download or stream. Some of this week’s notable new releases come from UK indie favourites Easy Life and Sports Team, among the debut solo record from New Young Pony Club’s Lou Hayter (Watch this space for more on that). The obvious choice for me to have gone for would have probably been ‘Cavalcade’ from the cult influential Math-Rock group Black Midi, however, here’s something else that piqued my interest. ‘Ali’ was the lead single from ‘When Smoke Rises’, the debut solo album from Mustafa The Poet, a Canadian poet once known as a member of the Halal rap collective. Since then, he’s rubbed his shoulders with several celebrities. He once wrote a poem that popular actress Emilia Clarke wore on a dress to a Vogue fashion event. His poems have been shared by Drake on Instagram, and he was appointed to Justin Trudeau’s Youth Advisory Council to advise the Canadian government on youth muslim policies. Described as “Inner City folk music” by the Poet himself, Mustafa co-wrote the new album with James Blake, Sampha, Jamie XX, and a few others. Check out ‘Ali’ below.

‘When Smoke Rises’ arrives today on Mustafa’s own label, Regent Park Songs, as a tribute to Toronoto’s Regent Park community, and, in 2017, he started exploring the Canadian hip-hop communities with his own documentary. ‘Remember Me, Toronto’, which discusses the loss of artists through gun violence and systemic racism in his area over the past decade, was a documentary he created in 2019. ‘Ali’ serves as an expansion of these ideas, as a dedication to his friend, Ali Rizeig, who was devastatingly shot dead and killed four years ago outside of his house, and Mustafa feels a lot of regret for, in his perspective, failing to persuade his friend to depart from the home that sadly prompted the shocking event. Mustafa laments the life that Ali could have had, reciting poetry like “Ali, you know our hearts were at their fullest/Ali, there were no words to stop the bullets” and “Now it’s only me that needs to save himself/Feel like I can’t be here while you’re in that realm” and he raises the question of whether he grieved enough, or paid homage to Ali enough in his own life and actions, with further poetic readings like “I see you on your sisters shirt/And it’s hard to mask the hurt/And it’s hard to mask your worth” as he plagues the lyrics with prayers for his friend’s survival that will be left unanswered. The instrumentation is quite folk-tinged, as Ali chips away on an acoustic guitar with his wordplay, and spacious gaps in the guitar riffs add some pauses for emotional effect. The Drums mimic a heartbeat, the slow riffs on the Piano feel withdrawn, and the use of reverb on his voice for the refrain towards the end, followed by a sample of his friend speaking, really hammers the point home with a deep, convincing amount of weight. Looking at the good, I felt very moved by it. His voice is crisp and golden, and the songwriting gives me chills in it’s echoes of Joni Mitchell or Leonard Cohen. There’s an intimate space to the plucked guitar rhythms, and the light shavings of R&B is a suitable tone for the very serious lyrical matter. If I were to offer a little bit of constructive criticism, I found the instrumental to get slightly bland by the end, and it may have been improved by a little more oomph musically here or there. That said, I want to point out that I feel the cover artwork is very good. It depicts Mustafa very much as a secondary character or a piece of the ambience, and so that’s a brave reminder that Mustafa hasn’t really conceived the full-length project just for himself. On the whole, I think the pro’s are certainly enough to outweigh the con’s, and I enjoyed my time listening to ‘Ali’. It’s a very emotionally-driven piece of music, and Mustafa is representing his ethnic minority, to the wider press and in the media, in a way that sticks up for them, which is quite a significant thing to take away from it too.

  • Pictured: Cover Art for ‘When The Smoke Rises’ (Released on May 28, 2021) (via Regent Park Songs)

That’s all for now – Thanks, as always, for reaching the end and supporting content creators like myself. We’re going for a ‘Pure Pop moment’ to continue the Bank Holiday weekend in style tomorrow. I’ve kind-of already given the clue away, as we take a closer look at the debut solo album from a prominent figure in the London Nu-Disco and House music scene which has certainly been a long time coming. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Way Back Wednesdays: Moby – “Porcelain”

May 26, 2021 — Leave a comment

I’d be horrified to hear what took place in his 2020 Quaran-Dreams. Let’s go Way Back!

  • Pictured: Cover Art for “Play” (LP) (Released on May 17, 1999) (via Mute Records/V2 Records/Virgin)

Good Morning to you! My name is Jacob Braybrooke, and it’s time for me to get typing up for today’s track on the blog, just like always, because it’s still my day-to-day pleasure to write about a different piece of music every day! Moby’s ‘Reprise’ comes out on Friday, the 19th studio album release from the 90’s EDM cornerstone Richard Melville Hall, which features new reworkings of orchestral and acoustic variations of some of his favourite tracks with numerous guest artists joining him. The guest list includes Gregory Porter, Kris Kristofferson, Skylar Grey, Jim James and others. So, to coincide with the release of that project later this week, I thought it would be a great time to revisit the original version of Moby’s highest-charting single for ‘Way Back Wednesdays’, as it was certainly one of the sounds of the past that influenced the present. ‘Porcelain’ reached #5 on the UK Singles Chart following it’s release as a single in June 2000. One of the few tracks on his 1999 breakthrough ‘Play’ to feature his own vocals, Hall wrote ‘Porcelain’ as a rather melancholic electronic/classical blend of production with lyrics reflecting on the recent break-up of a relationship. The album would have been exposed absolutely everywhere back in the day, and I read an interesting statistic online that each track from the album has been used in a film, TV series or advert of some kind. Check out the Jonas Åkerlund-directed video below.

In addition to his career writing and producing music, Hall is also a notable Vegan who heavily supports humanitarian aid and animal rights programmes. He’s drawn a fair share of criticism over the decades for his political views and thee different stories in the press concerning him, but he was, before July 2020, the owner of Little Pine, a Vegan restaurant in Los Angeles, and the Circle V non-meat food festival. You can read more about his life and career in the two memoir books that he’s authored: 2016’s ‘Porcelain: A Memoir’ and 2019’s ‘Then It Fell Apart’. The title track of his first memoir was a very important release in bringing electronic music to the mainstream eye. From this, you can hear a chilling and emotional atmosphere of experiencing the vigorous emotions of an ideal romantic scenario never quite materializing, as lines like “I never meant to hurt you/I never meant to lie/So, this is goodbye?/This is goodbye” start by questioning the flaws of the situation, before a light call-and-response form of vocal affirms the decision and mutually agrees with it. Dreams is also a common theme of the lyrics, with the two verses starting with lyrics like “In my dreams I’m jealous all the time/When I wake, I’m going out of my mind” and “In my dreams, I’m dying all the time/Then I wake, it’s kaleidoscopic mind” as the fragile mood of the fluttering String sections, evoking a cinematic affair, gradually turn into a more soothing affair, with twinkling Piano melodies that are more melodic. There’s also a Trip-Hop influence that flows very nicely throughout the moods, with the distorted vocals of “To tell the truth, you’ve never wanted me” being dressed up in a very soft Hip-Hop breakbeat production that reminds me of Boards Of Canada or Joey Pecoraro, and a soulful backing vocal created through a sample that I believe goes “Hey, Woman, It’s alright, go on” that gets looped over the top of the techno evolutionary sounds, and this part just emphasizes the themes of the vocals and the simple points of the personal reflection being made. The track may have got a little over-exposed over the day, including it’s notable use in a scene of 2000’s ‘The Beach’, and so I can definitely see why you may have grown tired of it, and some of the more radio-friendly cuts on ‘Play’ may have perhaps been a little too close to comfort to his contemporaries of the time. However, I do certainly think that ‘Porcelain’ is a more interesting track than it possibly appears on the surface. A fragility can be felt in both the shaky vocal delivery and the wavering moods of the instrumentals within the piece, and it’s surprisingly varied in it’s sampling that evokes diverse genres. It’s also important to remind ourselves sometimes, as well, that it was a big hit and that it did cross over to the charts of the mainstream. I’m not particularly a huge fan of Moby emotionally, but I’ve always found him to be an interesting chap who has made some fascinating music, although the consistency of it’s quality hasn’t always landed with me every time. As for ‘Porcelain’, it was definitely an influential example of how to framework some fragility with sympathetic musicality, and it’s partially made by the rather understated, sublime vocal performance from Hall himself. It’s pretty beautiful.

  • Pictured: Moby (aka Richard Melville Hall) in a promotional shoot (2019) (Photo Credit: Mo Kaufer)

Eons ago on the blog, we also looked at ‘Power Is Taken’ from Moby, a much more rave-oriented single that would eventually appear on last year’s album, ‘All Visible Objects’. If that sounds cool to you, why not give me a few views here?: https://onetrackatatime.home.blog/2020/03/07/todays-track-moby-power-is-taken/

  • Pictured: Cover Art for “Power Is Taken” (Single) (Released on January 14, 2020) (via Mute Records)

That’s it for another throwback! As always, on Friday, we’re going to be sampling one of the weekend’s notable album releases. As for tomorrow, I’ve got some brand new music to share with you. It comes from an emerging Manchester-based indie rock singer-songwriter signed to Memphis Industries, where he will be releasing his forthcoming second LP, ‘Mircale’, next month. His 2019 debut album, ‘A Dream Is U’, garnered critical acclaim from global publications such as Uncut, Paste Magazine and The Line Of Best Fit. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Way Back Wednesday: Alexei Sayle – “Ullo John! Gotta New Motor?”

May 19, 2021 — Leave a comment

The British stand-up comedian taking no wind out of their Sayles. Let’s go Way Back!

  • Pictured: Cover Art for “Ullo John! Gotta New Motor?” (Single) (1984) (Springtime/Island Records)

Good Morning to you! It’s Jacob Braybrooke here, as per usual, and it’s time for you to read all about your daily track on the blog, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Today, we are revisiting the unlikely UK Top 20 chart success that was ‘Ullo John! Gotta New Motor?’ from Alexei Sayle. Sayle is a stand-up comic and novelist from Anfield, Liverpool – and a popular one at that. In 2007, he was voted by Channel 4 viewers as the 18th greatest gagster of all-time on their ‘100 Greatest Stand-Ups’ programme in 2007. He’s famous for his work in Shakespeare’s ‘The Tempest’ on the West End, his ‘Imaginary Sandwich Bar’ radio comedy on BBC Radio 4, and his often surrealist comedy routines in TV comedy programmes like ‘The Young Ones’ and his appearances in the ‘Carry On’ series of films. ‘Ullo John, Gotta New Motor?’ was originally released in 1982, before receiving mainstream attention when it was re-released in 1984. Sayle produced the track with Clive Langer and Alan Winstanley, who have produced for Madness and Elvis Costello. The 12-inch Vinyl single package also saw many different versions arrive at shop shelves thanks to it’s profanities. He released two other albums prior to this single, and so it wasn’t a completely random venture into music. Sayle released two follow-up singles that were included on ‘Panic’, his third and final album, which is a parody of Michael Jackson’s ‘Off The Wall’ of 1979. See if John’s Gotta New Motor yet below!

By the time that ‘Ullo John! Gotta New Motor?’ was re-issued in 1984, Sayle had starred in the popular BBC sitcom ‘The Young Ones’ and the ITV sitcom ‘Whoops Apocalypse’, which explains the better commercial luck the second time around. There has also been loads of different re-workings of the track, and a re-working from Ian Dury was ordered by Toshiba for an advertisement in 1985 because promoters started to spot the success of the single. Set to a Synthpop or soft Funk backdrop with some New-Wave synths and a few guitar licks, Sayle proceeds to perform a Spoken Word or light Rap set of sentences playing the character of a loudmouthed Liverpuddlian. The lyrics are generally a mix of banal absurdity and seemingly unconnected jokes, with off-kilter references to Barry Manilow, Bongo Drums, Avon representatives and Billy Joel taking up the picture. “Is there life on Mars?/Is there life in Peckham” is my favourite line, but “I keep tropical fish/In my underpants” and “Ere you wanna brown ale/Mine’s a light and bitter” are good moments too. There isn’t much that you can sensibly compare this record too, but there’s a playful sensibility of Ian Dury here, an abstract jumble of puns that remind me of Dry Cleaning, and it’s all dressed up in a Monty Python or Horrible Histories sense of British wit and humor in obscurity. There’s no chorus, no story, and seemingly no point, but Sayle is mocking a stretched Cockney banter that people used to talk in a certain manner around the city nearer back to the time. It’s a bit obsolete now, but Sayle pulls it off with an enthusiastic performance and a musical backdrop that uses distorted vocal effects and delay pedals to warp things a little and add to the bizzare humor. There’s not much musically here and it’s not an artistic masterpiece of complex multi-layered art, but it was never trying to be. I couldn’t really understand most of the lyrics without looking them up, but this adds a little depth to the vocals. Overall, it’s still a fun throwback to the times when comedians recorded Novelty singles around BBC Comic Relief time to assert themselves as a comedic force and that’s rather quaint these days. That said, I probably wouldn’t be asking for Michael McIntyre to record a Metal-themed parody about his Wheel, although a Novelty single from Rev Richard Coles would make sense due to his past experience as a member of Communards. It’s still a track that had me laughing though, and I’m probably going to be sorry when I find myself repeating it around the kitchen all day tomorrow. I’m sure you will be too.

  • Pictured: Alexei Sayle pictured in an article for The Irish Mirror (2016) (Photo Credit: The Daily Mirror)

That’s all for now! Tomorrow, I’ve got some new music to share with you from an emerging female solo act from Los Angeles who describes herself as a “Jazz School drop-out” who is now making her very own Rock music independently. The 22 year old singer-songwriter may have just a handful of releases out there in the world, but she’s also known for working with her childhood friend, Marinelli, on lyrics that have pointed observation and self-deprecating pop culture references about the surreality of growing up. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: James Righton – “Release Party”

May 17, 2021 — Leave a comment

Following last year’s debut LP, it’s certainly not time yet for a Right-off. New post time!

  • Pictured: Cover for “Deewee 050 – Foundations” (Compilation) (Released on May 7, 2021) (via Deewee)

Good Morning to you! My name is Jacob Braybrooke, and it’s time to make a start to the new week with Monday’s daily track on the blog, as always, since it’s my day-to-day pleasure to write up about a different piece of music every day! Last Saturday, we looked at Charlotte Adigery’s new single from the ‘Foundations’ compilation album that was put together by the DEEWEE label owned by Soulwax & 2 Many DJ’s for release on May 7th. Stratford-born singer-songwriter James Righton has followed in her footsteps, by releasing an exclusive new track for the project of his own. In case you are not familiar, Righton used to be the lead Vocalist and Keyboard player of Klaxons, a ‘New Rave’ band who scored a Mercury Prize win and a few hits in the charts during the mid-2000’s. Since then, he recorded under the ‘Shock Machine’ project that saw him work with director Saam Farahmand. He released his debut album, ‘The Performer’, last March on the DEEWEE label. It’s an album that received generally positive reviews, and an album which I rather really liked too. It looks at the guise of being a ‘Performer’ where one minute you’re playing pop star and the next you’re fathering two children. It does so under an engaging 70’s Neo-Psychedelic Pop sound mixed with delightful String sections and Baroque influences. Righton posted on social media, “Release Party was written in my garage during Lockdown before, completed at DEEWEE studio with Dave & Steph [Dewaele] of Soulwax and 2 Many DJ’s, working together remotely”, about this latest single. Give it a taster down below.

One fun fact about James Righton that you may never guess is that, of all people, he is married to Keira Knightley. The two began dating back in 2011, and were married in the south of France in 2016. Now living in the Islington district of London, they have two children together. Back to the subject at hand, the new bassline-grooving single makes commentary on “tension and release, and the dreams and fantasies we make”, according to Righton, who added that said “Party” is to be confirmed at a later date, hinting that a disco following the easing of Covid-19 restrictions was crucial to his concept of the euphoric Nu-Disco offering. Starting off with a fragmented 80’s Synth line and a propulsive Disco drum machine sequence that wavers and meanders to create a polished electronic groove that feels ready for a retro-futurist dance, his familiar voice greets us with lines like “I wanna see you honey/I wanna meet you on the street” and “There’s no time for us to waste/The precious/Let’s move to the beat now” which add a very instructive vocal to the soundtrack of the party you could be having. Righton’s vocals carry some essence of George Michael in the 80’s, as there’s a sense of flirtation to his mid-tempo tone and spacious breaths, while the chord progression of the track struts and sways it’s way along it’s near five-minute duration. The key hook of “I can feel the release” is kept basic and vague, but a bobbing Keyboard bass creates a slick build and drop-in that adds a lot of shine to the main section. While it may be easy to dismiss compilation-exclusive singles as throwaway efforts or quick promotions, the recent tracks from James Righton and Charlotte Adigery are simultaneously proving otherwise. On Righton’s latest, he continues to establish his name as one of UK Pop’s most criminally underlooked of the scene. He does what he does very well on ‘Release Party’ in making undeniable Pop that has something to it, as opposed to sounding generic and too safe. The smaller touches harken back to Prince of the 90s in the funky Synth undertones, while the erotic quality of his vocals make me think of Lou Hayter. Inspired Pop that’s distinctive and sounds great, and just has something about it, rather than just begging for a quick hit.

  • Pictured: James Righton in Paris, France to promote “The Performer” (2020) (Photo via DEEWEE)

That may be all that I have to say for now. However, if you liked the sound of this, or if you’re new to James Righton and you’re interested in hearing more of him, why not start with my analysis of his single ‘Edie’ from last year’s solo LP, ‘The Performer’? Check it out right here: https://onetrackatatime.home.blog/2020/04/02/todays-track-james-righton-edie/

  • Pictured: Cover Artwork for “The Performer” (LP) (Released on 20th March, 2020) (via DEEWEE)

That’s it for now! I’ll be back tomorrow to introduce you to a recent discovery of mine, who described himself as “A guy called Joey from Michigan who makes music for your emotions” in his own artist biography. His latest album, ‘Old Time Radio’, releases this Friday on the Los Angeles-based independent label Alpha Pup Records. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Scuzz Sundays: Disturbed – “Land Of Confusion”

May 16, 2021 — Leave a comment

Can you feel that? Get ready. Say it with me now. OHWAHAHAHOH! It’s Scuzz Sunday!

  • Pictured: CD/Vinyl Bundle set for “The Sickness” (2X LP) (2000) (Photo by MetalKingdom.Net(

Good Afternoon to you! My name is Jacob Braybrooke, and it’s time for the return of our weekly throwback to the Pop-Punk of yore, that being from the late-90’s to the mid-00’s, to see what quality or value has been left behind, as we pop out of a brief hiatus. What better way to pick up where we left off than with a little Disturbed? Since getting ‘Down With The Sickness’ from 1994, the Chicago Heavy Metal veterans have released two live albums and sold their way to over 17 million copies of their albums worldwide, comfortably placing them among Slipknot or Metallica in Metal crossover success stories. In the UK, Disturbed are perhaps best known for conceiving their own unlikely Top 20 hit in the form of a 2015 cover of Simon & Garfunkel’s ‘The Sound Of Silence’ that was originally written between 1963 and 1964. Another notable cover from Disturbed was their 2006 rendition of ‘Land Of Confusion’, which was originally performed by Genesis for their album, ‘Invisible Touch’, in 1986. Disturbed’s version was a single taken from their 2005 album, ‘Ten Thousand Fists’, which became their second #1 debut atop the Billboard 200 in the US. Let’s revisit the music video below.

‘Ten Thousand Fists’ marked a catalyst for change on Disturbed’s part. It was their first album not to feature the former bassist, John Moyer, who was replaced by Steve Kmak, among their lineup. It was also their first album to feature their ‘The Guy’ mascot on it’s cover artwork, who popped up appearances in their music videos and accompanying art work in the years since, and, along with that, it was their first album release not to include a ‘Parental Advisory’ sticker on the front sleeve. Remember those? A metal cover of Genesis’s famous 80’s Rock tune that saw them parody Spitting Image in the music video, Disturbed’s version of ‘Land Of Confusion’ trades in the electronic enhancements for the loud Punk direction. The echo of Peter Gabriel’s vocals can still be somewhat heard, however, in the upbeat mood that Disturbed vocalist David Draiman uses. It’s not inherently too different to the Genesis version, but it just uses heavier chords and a more angry emotional tone. Draiman puts the memorable original’s hooks of “This is the world we live in/And these are the hands we’re given” and “Oh, Superman, where are you now?/When everything’s gone wrong somehow” into a more ferocious pitch. It wouldn’t be a Disturbed anthem without the croaking vocal delivery of choking sounds during the post-bridge section, and the guitar work feels more visceral than Genesis’s version. The chord progression feels less telegraphed, with sudden changes in tempo and Draiman sounds like a sort-of comic book Super-Villian instructing us all to make the world a better place as he matches the upbeat Drum beats. The guitar solo in the middle has a nice Classical Rock feel to it, reminding me of short-lived acts of the era like Angel Witch in the process. Although this one is a bit on the ‘corny’ side overall, it still feels much like the tune we all originally know that was composed by Genesis back in their heyday. Disturbed do a solid job of remaining faithful to the original version, and it makes for a fun time overall because the melodic remnants of the original version remain intact. A fun take that does it’s job and its short & sweet enough to not overstay it’s welcome.

  • Pictured: Cover Art for “Immortalized” (LP) (Released on August 21st, 2015) (via Warner Bros. Records)

That’s all I have time to offer you today – but I’ve still got plenty of new music to get chatting about this week. It all starts off as we enter a new week tomorrow, as we follow-up on our recent Charlotte Adigery post with another one of the exclusive tracks to the DEEWEE label’s new ‘Foundations’ compilation album release. It comes from an equally gifted English singer-songwriter who was once the Keyboardist of the mid-00’s wonders Klaxons, and is married to, of all people, Keira Knightley! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Way Back Wednesdays: The Lightning Seeds – “Pure”

May 5, 2021 — Leave a comment

I’m going to keep this pure – It’s one of my Dad’s favourite bands! Let’s go Way Back…

  • Pictured: Cover Artwork for “Cloudcuckooland” (LP) (Released on January 29, 1990) (via Ghetto)

Good Morning to you! My name is Jacob Braybrooke, and it’s time for me to take a moment out of my deadline work-filled day for an in-depth look at one of the seminal sounds of the past that has influenced those of the present, because it’s always my day-to-day pleasure to write up about a different piece of music every day! For those of you who perhaps don’t listen to much music or radio, you would probably know The Lightning Seeds best from their work with comedian David Baddiel and presenter Frank Skinner on classic UK footie anthem ‘Three Lions’, which has reached the top of the UK Singles Chart on three different occasions since it’s release due to the World Cup. Up to that point, however, the then-emerging Liverpool indie trio experienced commercial success ahead of the Baggy Brit-Pop era of the 1990’s. Case in point is their debut single, ‘Pure’, which was the first track which vocalist Ian Broudie had “completely written and sung, ever” and it reached #16 on the UK Singles Chart. Not too shabby for a first effort, right? At the time, it was mostly a solo project for Broudie, who followed up on his first crossover chart hit with the release of his debut album, ‘Cloudcuckooland’, to US chart success in 1990. Let’s revisit the video for ‘Pure’ below.

It was only when 1994’s ‘Jollification’ was released when Broudie decided to expand his project of The Lightning Seeds to a full-fledged touring band, with the band’s most famous line-up joining him. Before signing to Epic Records, Broudie had his roots set in small Noise-Punk 70’s bands and became better known a producer rather than a musician, contributing to work for acts like Echo & The Bunnymen and The Fall, prior to embarking on the trip of The Lightning Seeds in 1989. ‘Pure’ saw Broudie spring to mainstream radio consciousness for the first time after the initial run of 200 copies of ‘Pure’ on physical formats proved too little for the demand. Mixing catchy pop hooks with a youthful, simple innocence, Broudie made a hit out of a happy pop tune with the appealing instrumentation. The chorus, and the refrain of “Don’t sell the dreams you should be keeping, Pure and simple every time” is very memorable and easy to relate to, with verses that are written from the viewpoint of a burgeoning relationship with the purest of sweet love sentiments, despite our narrator seeming to be in a little state of doubt where nothing seems impossible. His vocals are shaky and veering towards the nervous side, but they add solid effect to the overall performance, where the expressions of the vocals are, you’re going to hate me for this, pure and simple every time. Musically, we’re being treated to slightly psychedelic Horns, the gentle strumming of the bass guitar, and the three-note synth sequences that all do their job and don’t ever overstay their welcome. There’s not a great deal to it instrumentally, but the sum of it’s parts each play out nicely with a pretty, birdsong-like structure. It’s a very radio-friendly tune, but everything is tied together neatly, and there’s a nice twist to the upbeat mood where the lyrics become more of an ode to the beauty that never lasts. Sure, it’s one of my Dad’s rock tunes, but I’d take it over Coldplay any day.

  • Pictured: The Lightning Seeds with comedian David Baddiel (1996) (Photo by Alamy/The Irish Sun)

That’s all for now – but I’ll be back tomorrow for more musical musings. Join me then for an in-depth look at some new music from one of Brit-Pop’s most promising modern inventors. The now-duo were formed in Sunderland in 2004, and have a brand new album out now on Memphis Industries. The band have been nominated for the Mercury Prize and, at times, have been joined by members of Maximo Park and The Futureheads in their line-up. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Scuzz Sundays: The Union Underground – “Turn Me On Mr. Deadman”

May 2, 2021 — Leave a comment

From Death Valley, weighing in at 309 pounds, it’s The Undertaker! It’s Scuzz Sunday!

  • Pictured: Cover Art for “…An Education In Rebellion) (Released on July 18, 2000) (via Columbia Records)

Good Evening to you! It’s been a deadline-filled weekend for me, but I have only just found the time for your weekly weekend throwback to the Scuzz TV days of old, as we take an in-depth look back at one of the old Pop-Punk staples from the late-1990’s through to the mid-00’s. The combination between Pop-Punk and Pro Wrestling has occasionally been a rather bizzare one, and nowhere has this been more exemplified than by the short-lived San Antonio Nu-Metal project The Union Underground, whose band members left an indelible mark on the promotional ties between the Pro Wrestling world and the mainstream music world, despite only actually releasing one album on a major label. A second LP has been teased by the Texas outfit since 2018, but we’re still waiting. If you’re familiar with the WWE product in the mid-2000’s, ‘Turn Me On Mr Deadman” will be instantly recognizable to you, since it was used as the theme tune for Raw between early 2002 and late 2006. It also did decent business commercially, landing a #11 spot on the Mainstream Rock Tracks chart in the US. The associated album, ‘An Education In Rebellion’ explored personal teenhood topics for the band’s members, and followed an entirely self-produced debut EP that sold them more than 5,000 copies. Prepare for nostalgia with “Turn Me On Mr. Deadman” below.

“I’d bet my bottom dollar this band will be around 10 years from now” were the famous last words about The Union Underground that then-Columbia A&R executive John Weakland used to describe Columbia’s acquisition of the group, hot on the tails of a first album which stayed on the American album charts somehow for four months. What happened? Well, the sister label that technically owned them, Portrait, an imprint of Columbia folded, and so each of the band’s members decided to go their seperate ways and pursue different projects, each to varying degrees of success. This leaves ‘Turn Me On Mr. Deadman’ to be the most glaring example of what they had to offer, at this point, with aggressive lyrics vaguely about rebellion living in a spirit of youthful angst and Power-Pop driven bass riffs to boot. Vocals like “Penetrate all the simple minds, They adore what a bore, how they stand in line” and “What;s my drug of choice/It’s okay, when they pay, they say I got the voice” float over the top of a push-and-pull lead guitar hook and the chorus explodes with viscerality and tension, with plenty of F-bombs for good measure. There’s shades of classic Metal bands like Megadeth and Judas Priest thrown in there, as a clear Pop influence drives the violent melodies and the most definitely loud vocals forwards with little regard for holding back. It remains unclear what exactly the lyrics are expressing, however, and the rhythms seem to be lacking in much variation. There’s some fun to be had here, but if you’re looking for innovative forays into unexplored territory here, it certainly isn’t the record you’re after. I thought the band had a surprisingly nice chemistry together though, and the producers certainly know how to create some effective build-up’s for the big riffs. It was quite catchy, overall. However, the “middle finger” sentiments of the lyrics feel half-baked, the rhythms feel too recycled and too often, and there’s just almost zero substance for me to latch onto. Pay up, Mr. Weakland – You made a bet…

  • Pictured: Bryan Scott (Lead Vocals/Rhythm Guitar), Patrick Kennison (Lead Guitar/Backing Vocals), John Moyer (Bass Guitar/Backing Vocals) and Josh Memelo (Drums) (2002) (Photo via Discogs.com)

That’s all I’ve got time for, and, besides, the four episodes of my two documentaries that I’ve got left to do are sadly not going to produce themselves. I’ll be sure to dedicate an hour or so from my hectic schedule to provide you some introductions to a new artist tomorrow, however, who mixes Drum ‘N’ Bass with Neo-Soul, and comes by way of Leeds and Manchester. Her latest EP has just been released on HIJINXX – which is also the name of the DIY youth street art side project that she operates. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: The Chemical Brothers – “The Darkness That You Fear”

May 1, 2021 — Leave a comment

Trust the Brothers – because the Brothers are gonna work it out. Time for a new post!

  • Pictured: The Chemical Brothers (Tom Rowlands & Ed Simmons) (2019) (Photo by EMI Records/Virgin)

Good Morning to you! I’m Jacob Braybrooke and, as per usual, it’s time for me to get typing up for your daily track on the blog, because it’s my day-to-day pleasure to do so! Fresh off the announcement that 90’s Big Beat dance crossover stars The Chemical Brothers will be performing at festivals like Creamfields and TRNSMT later this year, a surprising new single has already been released, ‘The Darkness That You Fear’, their first piece of new material since the critical success of 2019’s ‘No Geography’ LP which won Best Dance/Electronic Album at the 63rd Annual Grammy Awards last year. It’s a little unclear as to whether a full-length follow-up to that excellent album is nearing completion, but it has been a fairly quick turn-around from the British music legends that sees them already getting back to work. The duo’s Tom Rowlands comments of the new track, “The Darkness That You Fear is a hopeful piece of music. When we found the combination of the different voices worked set to the flow of the music, it made us feel optimistic – like it was something we wanted to share” on the message of the new release, which is accompanied by a psychedelic, festival-themed music video from the Bristol-based director Ruffmercy, who has also worked with guys like DJ Shadow and Run The Jewels. Let’s wash ‘The Darkness That You Fear’ away below.

Previously signed to Astralwerks, Rowlands and Simmons have recently jumped ship to major label Republic Records, whose chief executive Glenn Mendlinger, who brought the duo’s new track to the dancefloor, comments “The Darkness That You Fear marks the return of the mighty Chemical Brothers. It is a classic Chemical Brothers opus that is psychedelic, lush and full of optimism. Tom and Ed prove they are pioneers of the genre with this uplifting track that is perfectly timed as the world comes out of darkness into light and colour” in their public statements. ‘Psychedelic’ and ‘Lush’ are similar to the words that I’d use to describe the new track, as a slightly eerie vocal sample leads the tone and atmosphere of the sprawling single. The recurring hook of “Let your heart see the colors all around you” comes across as more of a prayer than a reflective piece, leading to a more soulful undertone created by the vocal sample used in the bridge. Instrumentally, a Funk-inflicted backbeat takes the lead as the more shimmering synth melodies begin to overlap a shaky opening vocal sequence. The chorus of-sorts is a rhythmic, smooth section where the production goes for an old-school, 90’s dub party vibe of optimism and positivity. I particularly like the flickering synths break towards the final stretch of the track, before a final explosion of colour and energy points towards a brighter future. It feels like a solid tribute to the festivals that have all been cancelled and axed over the last year, with an accessible yet meticulous assortment of glowing and pretty sounds. A fantastic track that once again reminds us why The Chemical Brothers are so good at what they do, and boasts a simple message that holds cultural meaning and expression at it’s core. I’ll “Push The Button” on this – the one that’s labelled “Repeat” all summer long.

  • Pictured: The Chemical Brothers at Glastonbury Festival (2019) (Photo by Herbert P. Oczeret/EPA)

There’s ‘No Geography’ as to whether we’ve supported the ‘Block Rockin Beats’ of the Manchester icons, and so you can check out my retro review of UK #1 single ‘Let Forever Be’ featuring Liam Gallagher here: https://onetrackatatime.home.blog/2019/11/11/todays-track-the-chemical-brothers-feat-liam-gallagher-let-forever-be/. Or, if you’re a fan of 2002’s ‘Star Guitar’ then ‘Hey Boy, Hey Girl’, here we go: https://onetrackatatime.home.blog/2019/08/31/todays-track-the-chemical-brothers-star-guitar/

  • Pictured: Cover Artwork for “No Geography” (LP) (Released on April 12, 2019) (via Virgin/EMI Records)

That’s all for today – But feel free to join me again tomorrow for another new addition to our ‘Scuzz Sundays’ library of the past Pop-Punk throwbacks to THAT phase from our younger years. Tomorrow’s entry comes from a Texas Nu-Metal project with only one major label album to their credits. In March 2002, one of their tracks was famously used for then-WWF’s (and now WWE’s) Raw weekly television programme theme tune until October 2006. If you liked what you just read, why not follow the blog to get notified when every daily new post is up and like the Facebook page here: https://www.facebook.com/OneTrackAtATime/

New Album Release Fridays: Dropkick Murphys – “Queen Of Suffolk County”

April 30, 2021 — Leave a comment

Did you know The Stranglers used to be an 8-piece? The Suffolk Eight. New post time!

  • Pictured: Cover Artwork for “Turn Up That Dial” (LP) (Released on April 30th, 2021) (via Born & Bred)

Good Morning to you! My name is Jacob Braybrooke, and it’s time for me to get typing up for your daily track on the blog, as per usual, because it’s always my day-to-day pleasure to write up about a different piece of music every day! A bundle of new releases arrive today – including the new fairground-inspired double album from The Coral, the debut LP from the modern LGBTQ+ icon Girl In Red, a new outing from Gojira (the French Metal band who hold the record for the loudest concert ever recorded at the Stade De France), and, if loudness is your thing, the new outing from the Brit Award winning rock duo Royal Blood may tip your fancy. It’s not a far cry from the ever-charismatic Dropkick Murphys either, who are releasing their tenth studio effort, ‘Turn Up That Dial’, today, as always, through their Born & Bred label. Since 1996, the Celtic Punk band from Massachusetts have earned three Top 10 albums on the Billboard Top 100 chart, generated half a billion streaming figures, and released a near double platinum hit in ‘I’m Shipping Up To Boston’, and so it’s not been shabby business for them at all. There’s some brilliant track titles on the new album, I must say, which Dropkick Murphys have confirmed goes for a lighter tone than previous offerings, including the likes of ‘Middle Finger’ and ‘Mick Jones Nicked My Pudding’ in the recording. There’s also ‘Queen Of Suffolk County’, which has a music video, below.

“When the COVID-19 pandemic hit and things were so down, more than ever, we thought, nobody wants to hear an album about how bad 2020 was in 2021” were the exact words that leader Ken Casey used to promote the new album, one which celebrates the importance of a good sing along in music, and the title of ‘Turn Up That Dial’ really embodies the style of the music in it’s namesake, with tracks like ‘Queen Of Suffolk County’ playing on the relief from worry that comes when you “turn up that dial” on the speakers and blast your phobia away. The playful personality of the group is on show as per usual, with lyrics that recollect stories about a knife-toting local femme fatale, with Casey advising “You best stay out of her way, You know she’s here to stay” and “She don’t joke, and she don’t play” over the top of a usual and traditional Celtic soundscape, with an ounce of rock coming in for the chorus. The verses are on the lighter side as Bagpipe melodies and a slower Banjo melody gives way to witty lyrics like “She had style, she had grace, She had a knife and she had a mace” and “She was fire, she was lust, she was the devil, with a bit of angel dust” that paint a vivid picture of this character hailing from their local area, who had a penchant for taking what was hers. It almost feels quite nostalgic in places, with the past tense of the vocals and the up-tempo pacing making for a cheerful, playful anthem. I like all the one-liners, and it’s ultimately not something that they’re relying on you to take too seriously. I don’t think I have ever listened to a full album from Dropkick Murphys front to back, but I’ve always enjoyed the odd tracks that I’ve heard from them before because they’re very charismatic as performers and the simplicity of their joyful sounds cheers you up when you’ve had a few bad days. Overall, while there’s nothing too experimental or unpredictable about this, it feels perfectly solid and it’s an enjoyable track to listen to. The humor is on-point, and the simple formula of the music is one that works and comforts. Also, to be frank, I think it’s fair to say that we’ve all known a wild character like the ‘Queen Of Suffolk County’.

  • Pictured: Ken Casey (Lead Vocals, Bass Guitar), Matt Kelly (Bodhran), Al Barr (Backing Vocals), James Lynch (Lead Guitar), Tim Brennan (Accordion, Mandolin, Tin Whistle), Scruffy Wallace (Bagpipes) and Mark Geanakakis (Drums) (2018) (Photo via PR)

Here’s one to save as a bookmark and come back to when the festive season rolls around again, it’s my post about the seasonal Dropkick Murphys single ‘The Season’s Upon Us’, and you can check it out here: https://onetrackatatime.home.blog/2019/12/23/todays-track-dropkick-murphys-the-seasons-upon-us/

  • Pictured: Cover Art for “Signed And Sealed In Blood” (Released on January 8, 2013) (via Born & Bred)

That’s all for now – but tomorrow’s post comes by way of a household name. A famous electronic dance music duo who have just released a new track, and were originally called ‘The Dust Brothers’ when they started out in 1995 before they had to change this moniker due to the existence of a different musical act with that same name. They have also seen international success, winning six Grammy Awards in the US. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/