Last month I announced the end of the In Memoriam column. The reaction, by comments and messages via email and Facebook, surprised me. I had been under the impression, acquired by the few comments they received and the very average hits recorded, that the feature was only mildly popular (which serves to stress the importance to comment on posts in features you enjoy).

The labour required for the In Memoriam feature remains prohibitive, but by cutting out what really took a lot of time – researching and collating the music and pictures – I can still provide a list, and at least some tunes, of the month’s music deaths.

The headline death of the month was that of Etta James on January 20, just three days after the death of the man who discovered her, R&B legend Johnny Otis. The father of Shuggie Otis, Johnny Otis was the son of Greek immigrants to the US (his real name was Ioannis Alexandros Veliotes) who decided to live and work in the black community. Along the way Otis produced Big Mama Thornton’s Hound Dog, and discovered artists such as Esther Philips, Jackie Wilson and Hank Ballard.

January 17 was a sad day indeed for soul fans – much of the month was (and the passing of Don Cornelius on Wednesday didn’t lighten things up much). On the same day Johnny Otis went, a day after Jimmy Castor’s departure, Leroy Taylor of New Birth and Walter Gaines of The Originals (you might remember their Baby I’m For Real on Motown) passed away.

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Robert Dickey, 72, Bobby of James & Bobby Purify, on December 29
James & Bobby Purify – I’m Your Puppet (1966)

Fred Milano, 72, singer with Dion and The Belmonts, on January 1
Dion and the Belmonts – A Teenager in Love (1959, as backing singer)

Larry “Rhino” Reinhardt, 63, guitarist with Iron Butterfly and Captain Beyond, on January 2

Ian Bargh, 76, Canadian jazz pianist, on January 2

Bob Weston, 64, briefly guitarist with Fleetwood Mac, found on January 3

Kerry McGregor, 37, British singer and X-Factor contestant, on January 4

Tom Ardolino, 56, drummer of rock band NRBQ, on January 6
NRBQ – Boys In The City (1972)

Nicole Bogner, 27, singer of Austrian metal band Visions of Atlantis, on January 6

Dave Alexander, 73, blues singer and pianist, suicide on January 8

Bridie Gallagher, 87, Irish singer, on January 9

Ruth Fernandez, 92, pioneering Puerto Rican singer, on January 9

Ernie Carson, 74, Dixieland jazz musician, on January 9

Cliff Portwood, 74, English-born Australian singer and former professional football player, on January 10

Edgar Kaiser Jr, 69, soft-rock singer, on January 11

Charlie Collins, 78, member of Roy Acuff’s Smoky Mountain Boys, on January 12

Phil Kraus, 94, jazz percussionist and drummer, on January 13
Sarah Vaughan – Street Of Dreams (1949, as drummer)

Robbie France, 52, drummer (Skunk Anansie, Diamond Head, UFO, Ellis, Beggs, & Howard), on January 14
Skunk Anansie – Weak (1994, as writer and drummer)

Pee Wee Moultrie, 89, member of Hank Williams’ Drifting Cowboys, on January 15

Terry Dolan, 68, singer and guitarist of 1960s folk-rock group Terry & the Pirates, on January 15

Jimmy Castor, 71, R&B and funk saxophonist, on January 16
Jimmy Castor Bunch – Troglodyte (Cave Man) (1972)
Jimmy Castor Bunch – Bertha Butt Boogie (1975)

Johnny Otis, 90, R&B singer, songwriter and producer, on January 17
Johnny Otis – Willy And Hand Jive (1958)
Etta James – The Wallflowerr (a.k.a. Roll With Me Henry) (1955, as producer and co-writer)

Leroy Taylor, 67, funk bassist of funk-soul group New Birth, on January 17
The New Birth – Brand New Lover (1970)

Walter Gaines, founder and baritone of soul group The Originals, on January 17
The Originals – Why When Love Is Gone (1969)

Al Urban, 77, rockabilly singer and songwriter, on January 18

Winston Riley, 65, Jamaican reggae musician and producer, on January 19

Etta James, 73, R&B and blues legend, on January 20
Etta James – Stop The Wedding (1962)
Etta James – Don’t Go To Strangers (1995)

Larry Butler, 69, country music producer, songwriter and musician, on January 20
B. J. Thomas – Hey Won’t You Play Another Done Somebody Wrong Song (1975, as co-writer)

John Levy, 99, jazz double-bassist and manager (Nancy Wilson, Cannonball Adderley,  Ramsey Lewis a.o.), on January 20
Don Byas & Big Bill Broonzy – You Go To My Head (1945, as bassist)

Dick Kniss, 74, bassist for Peter, Paul and Mary,  John Denver a.o., on January 25
John Denver – Sunshine On My Shoulder (1971, as co-writer)

Mark Reale, 56, founder and guitarist of heavy metal group Riot, on January 25

Clare Fischer, 83, jazz and pop composer, arranger and keyboardist, on January 26

Todd Buffa, 59, singer of jazz group Rare Silk, on January 27
Rare Silk – New York Afternoon (1983)

Leslie Carter, 25, pop singer and sister of Nick and Aaron Carter, on January 31

King Stitt, 71, Jamaican ska singer, on January 31

Mike Kelley, 57, artist and musician with cult rock band Destroy All Monsters, suicide on January 31

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Last weekend I was strolling around Cape Town’s Waterfront – a brilliant place despite being aggressively touristy around which all kinds of normal harbour functions are taking place – when I passed a structure I have walked by many, many times over the years: a garage type of thing in which is parked a quick response boat run by the National Sea Rescue Institute (although I have lived by the sea for all but three years of my life, I am rather clueless in matters of maritime jargon). This time, the boat garage – which is probably not its correct appelation – looked different: the sun shone just so as to create a mirror effect against this ordinarily unremarkable structure I had not seen before. I had my camera with me, and it is that this point that my boring story of a leisurely Saturday walk assumes some kind of relevance.

Suddenly, somebody in Ohio whom I’ve never met and have exchanged perhaps a couple of dozen of comments with came to mind. As I looked at the structure, I thought: “Oh, Dane from the All Eyes And Ears blog would definitely take a picture of that.” The geometry of the structure and the effect of the reflection of a boat and a building on the glass through which one can see the sea rescue speedboat seemed to me just the kind of thing one might find on Dane’s blog, if Ohio was at the seaside. So, inspired by Dane I took the picture below, which I think is pretty good. Of course I could never claim to have as astute an eye for detail as Dane has, though I have taken some photos I am rather proud of. Perhaps I’ll post some of them at some point. I think it is quite remarkable, however, that a blogger in far away Ohio should have spontaneously entered my mind during an afternoon walk, and inspired me to take a particular photo.

And, in keeping with Dane’s concept of posting a song to illustrate an illustration:

Procol Harum – A Salty Dog

Somebody once asked me: “What do get out this blogging thing?” My immediate answer was: “To share the music,” just about restraining myself from rounding off my statement with an emphatic “maan”. My friend knows me as an obsessive mix-tape distributor, and so my agenda was understood. I might have added that I get a kick out of writing about music, hoping my prose and insights find as much favour as the music I discuss. And I love it that blogging puts me in touch with fellow music obsessives, some of whom I would love to have a beer with if I ever find myself in Minnesota, Georgia, Bielefeld, London, Slawit or wherever.

There is another reward to blogging: receiving comments. Any writer thrives on feedback. Unless you are Stephen King, Michael Moore or you blog on US elections, the writer never gets enough of that. For the blogging writer, feedback comes through comments. When a post gets few or, God forbid, no comments, the blogger feels very much alone and unsure of whether that post was spectacularly misjudged or just impoverished in quality. On a music blog, a song might get more than a hundred downloads within a couple of days, and three people might comment – mostly fellow bloggers (whom I wish to thank explicitly), two of whom already have all the songs you posted.

I asked another friend (well, the other friend), who is a blog trawler and enthusiastic downloader of music. “Do you leave comments on blogs you download from?” I asked. “Er, no, not really.” “Why not?” “Don’t know, sometimes I’m in a rush and forget. And sometimes the blogger has said everything already so well, I don’t have anything useful to add.” And sometimes my friend feels intimidated, as if congratulating the blogger on an excellent post is like telling JM Coetzee: “Well done, nice bit of writing. Props, pal.” I understand my friend. There are blogs I enjoy reading, but I have nothing constructive to add. I am grateful that I have learned something new, or that I’ve been entertained, but don’t think just to say “thanks”. And to say “thanks” to every single post on the blogs I read regularly would seem a little silly.

And yet, it would be a good habit to get into. I certainly do appreciate any comment, even if it’s just a note of thanks for a song, or a brief reaction to my writing, or even a bit of criticism. Just to make me feel that I’m not whispering in the wind. OK, Google Analytics shows me I’m not, but it would be nice if some of the other 98,72% of visitors took two minutes to say hello…

And to entice them, here are a few songs that have absolutely nothing to do with comments on blogs, other than a tenuous relationship in their title…

Wilco – Comment (live).mp3
John Mayer – Say.mp3
Bee Gees – I’ve Gotta Get A Message To You.mp3
Rosie Thomas & Sufjan Stevens – Say Hello.mp3*
Lisa Loeb – What Am I Supposed To Say.mp3
The Lemonheads – If I Could Talk I’d Tell You.mp3

Jay Brennan – At First Sight.mp3
Jay Brennan – Half-Boyfriend.mp3
Jay Brennan – Housewife.mp3 (all three direct download links)
To start off, three tracks from an exciting new artist in the genre of “guys with guitars named like schoolteachers”. The alternative title for the genre would be singer-songwriter, but that has become a bit of a dirty word (unjustly so). I am sharing the above tracks at the invitation of Jay Brannan’s record company, where he is stablemates with the absolutely wonderful Rosie Thomas. And Brannan does channel the Thomas/Damien Jurado/Sufjan Stevens vibe, right down to the engaging lyrics which ask you to pay attention (just listen to Housewife – video here). His debut album, goddamned, will be released on July 1. I’m looking forward to hear more of Brannan’s songs; on evidence of these three songs, it could well be contender for my year-end list.

The Weepies – All Good Things.mp3
The Weepies – Can’t Go Back Now.mp3
I have bigged up the Weepies since I started this blog. The new album, Hideaway, came out in April, and has been on regular rotation ever since I got hold of it. It’s one of those albums I play when I survey my music, and have no idea what I fancy; the default go-to album de jour. The Weepies – Deb Talan and Steve Tannen – have produced a richer sound than previously without straying too far from their acoustic roots. This is a very warm album; I sort of imagine it like having good coffee and freshly baked waffles on a sunny Saturday morning.

Kathleen Edwards – I Make The Dough, You Get The Glory.mp3
I featured Kathleen Edwards (and Deb Talan) in the Songbirds series. So I was really looking forward to her new album, Asking For Flowers. At the first listen, I was a little disappointed. Second, third listen…same. I was about to write off the album when Indie Pop Ian virtually instructed me to give it a few more chances. Seeing as he is a man of refined taste who shares my love for the Songbirds, I did. And, boy, was he right, and I wrong. This is a mesmerising album with fantastic lyrics and a great alt.country bent. Forgive me, Kathleen, for doubting you. Come December, this may well be in the top 3 of my albums of the year.

Weezer – Heart Songs.mp3
Some say Weezer are living off the greatness of two albums they made in the ’90s. I think that’s a little harsh. The last set was, in my view, pretty good (Perfect Situation is a top notch song). So I approached the new album with hope, and some trepidation. Because Weezer albums can be quite poor, too. The new album, nicknamed the Red Album, falls in between the two extremes. There are a few tracks that beg to be skipped, and others that are a joy. I particularly like Heart Songs, in which Rivers Cuomo tabulates all the artists who influenced him, from childhood to stardom: Gordon Lightfoot, Eddie Rabbitt, Springsteen, Grover Washington, Abba, Devo, Quiet Riot, Judas Priest and so on – though I think he might be confusing Debbie Gibson with Tiffany…

Death Cab For Cutie – Talking Bird.mp3
And yet another album I had been looking forward to. I was gratified to read The Quietus giving it a positive review (more surprisingly, The Quietus didn’t rip the new Coldplay album to shreds, as I had expected and, indeed, hoped). Death Cabs’ Narrow Stairs is a fine, richly textured album which rewards repeated listens. It satisfies my occasional desire for a Death Cab fix – for now. The rub is this: Narrow Stairs does not have the stand-out tracks of 2005′s Plans (I’ll Follow You Into The Dark, Soul Meets Body), and as an Indie symphony does not quite reach 2002′s Transatlanticism‘s lofty level. So I wonder if in, say, three years time, I will listen to Narrow Stairs instead of these two albums (or, indeed, some of the earlier ones, such as We Have the Facts And We’re Voting Yes from 2000). Maybe it’s too early to say: I will continue to play Narrow Stairs in the hope that it will lodge itself permanently in my head. It just might.

Neil Diamond – Act Like A Man.mp3
The regular reader will know that I hold Neil Diamond in high esteem. His early phase marks him out as a giant in songwriting. I can do without his Streisand-duetting period, but in 2005 he released the quite wonderful 12 Songs, produced by Rick Rubin (who did such fantastic work with Johnny Cash on his American series). Diamond has teamed up again with Rubin on Home Before Dark. Where 12 Songs was a whisper, the new album sounds more like early Neil Diamond, albeit without the stadium singalong stompers like Sweet Caroline. Act Like A Man is one of the tracks that recall the raw Diamond of old. There are a couple of songs on the new album that fail to hit the spot, but most of it is a solid and very listenable.

Micah P. Hinson – Throw The Stone.mp3
I played this album with Any Minor Dude sitting next to me (playing a football manager game). He looked up from guiding Manchester United to greater glories and pointed out that he liked what he was hearing: Micah P. Hinson and the Red Empire Orchestra (Any Minor Dude also endorsed Jay Brannan, by the way). Sounds like Johnny Cash, he said. And he is quite right, of course. In fact, throw in Nick Cave and Steve Earle, and you have Hinson’s sound. The album is coming out in mid-July, so I trust that the buzz is going to build. This album deserves it.

Luciano Pavarotti – Nessun Dorma.mp3
It is a cruel irony that football suddenly became hugely popular after the worst World Cup since 1962. Italia ’90 was mostly dire, a few bright exceptions such as the performances by Cameroon and West Germany apart. And in many ways the marketing explosion that followed Italia ’90 has corrupted football. I don’t know how much we can blame old Pavarotten for it, but the decision to adopt a rousing bit of opera (from Puccini’s unfinished opera Turandot) as the World Cup’s theme song surely helped persuade the snobs who previously regarded football as a sport for yobs and the working classes that it could be socially acceptable, even desirable.

Pelé & Gracinha – Meu Mundo é Uma Bola.mp3
From the most famous tenor to the most famous football player. Normally when one thinks of football players recording music, one recoils in horror (remember Kevin Keegan’s Smokie-esque 1979 hit Head Over Heels, or Diamond Lights by Glenn & Chris, who should have insisted on being credited as Hoddle & Waddle). Not so with the greatest footballer of all time, who actually had musical talent. Old pictures from Santos or Brazil tours often show him with guitar in hand, practising some bossa nova number or other. So in 1977 he finally released a single, a duet with somebody called Gracinha. His collaborators are redoubtable: Sergio Mendes and Gerry Mulligan. It’s a fine song which in 1998 merited inclusion among the greats of the genre in a quite comprehensive compilation titled 40 Years Of Bossa Nova.

New Order – World In Motion.mp3
One would not have immediately connected the residents of the Hacienda with football culture, yet here they were, recording a theme song for England’s 1990 World Cup campaign, doubtless inspiring the team to give their best World Cup performance outside their sceptre’d isle. Since losing that 1990 semi-final on penalties, England have had a hilarious run of misadventures, usually involving penalty shoot-outs (so what were Chelsea thinking when they picked an English player to take the potentially match-winning penalty in the “Champions” “League” final?). That run of failure has reached an amusing climax with England’s failure to qualify for Euro ’08. I may be gloating, but on a personal level I feel a tinge of regret because the absence of John Terry and his pals in Switzerland and Austria also means a deprivation in the supply of the genius match reports by the great David Stubbs, writing in the character of a superannuated upperclass imperialist with a non-too-subtle bigoted bent. Read some of them here.

Die Toten Hosen – Bayern.mp3
Many followers of the English Pemier League complain about only the big four clubs having a chance of winning the league (well, three really). Spare a thought then for the German Bundesliga, where only one club dominates, the satanic incarnation that is FC Bayern München. Occasionally Bayern will have a poor season, and Werder Bremen or VfB Stuttgart get a turn to become Meister (and Schalke 04 to finish second), but you can be assured that next season Bayern will be back on top. For the past 30 years or so, Bayern have successfully followed a strategy of buying the best players from other clubs – not to strengthen their squad, but to weaken that of their competitors. Bayern are rightly hated by anyone who does not support them. Die Toten Hosen, Germany’s equivalent of Green Day, wrote a catchy song about that hatred. In it, the singer imagines himself as a prodigious football talent who would reject Bayern’s approaches on principle. He observes that playing for Bayern is a certain way to spoil one’s good character, and asks: “What kind of parents must one have to be so stupid as to sign a contract with that shit club”. The song fades out with an energetic chant pledging: “We would never go to FC Bayern”. It is a pity that Lukas Podolski and Miroslav Klose weren’t fans of Die Toten Hosen (literally, The Dead Trousers).

Sportfreunde Stiller – 54-74-90-2006.mp3
And from Munich, Sportfreunde Stiller recorded the unofficial German World Cup anthem for 2006. Catchy though it is, it’s not threatening to break into the pantheon of rock classics. But it captures the German mood during the World Cup (I was lucky to spend two weeks in Munich during that time). The numbers 54, 74, 90 refer to the years in which (West) Germany won the World Cup; 2006 expresses the hope for “a sensation” (and unfancied Germany came pretty close to cause one). The Sportfreunde – an old-fashioned term for the gymnastic clubs which were very much part of the German culture in the 19th century – rightly point out that the win in 1954 was “a miracle”, in 1974 “luck” and in ’90 “the deserved reward”. After Germany finished 3rd in 2006, the band re-recorded the song to reflect the same optimism for Germany’s success in 2010 in South Africa.

Deutsche Fußball Nationalmanschaft – Fussball ist unser Leben.mp3
I posted this opus last year, as part of the Time Travel series. At the time I wrote about it: “The >World Cup 1974 song of the West German football squad. The title eschews cliché in favour of positing a theory designed to solve the ultimate philosophical conundrum, which has exercised the greatest minds throughout history. “Football is our life”. The concise simplicity of this statement must have shamed Liverpool’s legendary Bill Shankly — the man who made famous the borrowed phrase about football being more important than life and death — to such ends that he immediately announced his resignation, doubtlessly upon hearing the meaning of life revealed by these sons of Goethe, Schiller and Mann. The tune is crap, though.” The clumsy phrasing suggests that I wrote the paragraph in a haste and without much editing (as I often do, I must confess), but I stand by the sentiments.

442 – Come On England.mp3
The attentive reader of this blog might have noticed that I not only exhibit excellent musical taste most of the time, but am also a casual collector of shockingly bad songs. By that I don’t mean that I have a folder reserved for the likes of My Humps or My Heart Will Go On. Such songs are awful, of course, but not in a way that invites an ironic appreciation or makes your jaw drop at the audacity of somebody actually having thought it a good idea to record it (such as Crispin Glover’s breathtaking version of These Boots Are Made Fir Walking on the first mix of Singing Actors). Come On England, recorded for Englands Euro ’04 campaign, falls somewhere between jawdropper and My Humps. It is a cover, of sorts, of Dexys Midnight Runners’ Come On Eileen – a song whose reputation has suffered unduly as a result of being played “ironically” at weddings and being ripped off by purveyors of fuckbucketry such as 442. If this is the quality of music written in support of England these days, then the team’s hilarious failure to qualify for Euro ’08 is not surprising and indeed welcome.

TKZee & Benni McCarthy – Shibobo.mp3
Benni McCarthy currently plays for Blackburn Rovers. His two most famous moments were the goals he scored for FC Porto in the Champions League against Manchester United, thanks to which Porto went on to knock out United and eventually win the competition. Born in Cape Town, Benni would not have listened to much township music as a kid; his social milieu would have been infused with soul/R&B, rap, jazz fusion and the sounds of the Kaapse Klopse in the city’s coloured community (it’s the designation the “mixed-race” members of that former apartheid classification tend to use; though there is still debate about its legitimacy). Somewhere along the line, McCarthy (who had just joined Ajax Amsterdam) picked up a taste for kwaito, the dance music of the townships, and teamed up in a rapping capacity with one of the biggest names in the genre, TKZee. Recorded for the World Cup ’98, Shibobo (a South African term for the football trickery known as the nutmeg) became the fastest selling South African single of all time. In downloads terms, it’s also one of the most popular songs I’ve posted.

Manchester United – Move Move Move (The Red Tribe).mp3
Manchester United – Come On You Reds.mp3
I have exercised a preferential option for Manchester United ever since I first became interested in English football, as a nine-year-old in Germany. The impulse was not gloryhunting though; I was watching highlights from a game, and the team in red was playing good football. The commentator identified the team in red as having just been promoted, so I thought they were plucky underdogs. Ah well. Oddly, it was greater fun to be a United fan before the long era of success began in the ’90s; when crunching out a lucky win at Birmingham was a source of joy, not of relief. Often I wish I was a Tottenham supporter instead. I might have been one, had I not followed English football before I lived in London in the mid-80s. Living initially in Finsbury Park, Tottenham were a local team, and the first game I went to see in England was at White Heart Lane (2-2 against West Ham, Boxing Day ’84). Anyway, Manchester United might be winning all manner of trophies, but they probably are never going to be in the running for a Mercury Prize. Come On You Reds, from 1994, was a collaboration with Status Quo (how uncool is that?) with all the horribleness a mix of two-chord rock and football chanting implies. Two years later, United went for a dance track which might well be the nadir of the genre with Move Move Move.

West Ham Utd – I’m Forever Blowing Bubbles.mp3
Not the Michael Jackson song. West Ham might have been impressive in that game against Tottenham on Boxing Day ’84, coming from 2-0 down, but soon after I heard that the slippery runway in Munich song was very popular down Boleyn Ground. So I never liked them much. But you have to admire a club that has sung the same anthem for 80 years, as West Ham have with I’m Forever Blowing Bubbles. Originally a Broadway show tune from 1918, the song was introduced to West Ham in the late 1920s in homage of a player nicknamed Bubbles, one Billy Murray. West Ham also reminds me of the times I met the Man Utd legend George Best, who used to patronise the restaurant where I was working as as waiter. One conversation I remember vividly, involving that Sunday’s game between West Ham and Man Utd. Best, who was at that game, gave me a match summary, and we both bemoaned how crap Man Utd were playing and commiserated with each other about Bryan Robson’s latest injury.

For more football-related music and Euro ’08 blogging, visit the excellent 200percent blog.

I find the idea of a double very spooky indeed (as would, presumably, my look-alike). I once saw a spitting image of myself sitting at a bar. It was disconcerting observing this incredibly handsome man. Like myself, he his excess of charm, wit and intelligence was observably steaming through his delicate pores. I did not approach him, of course, taking heed of Doc Brown’s warning to Marty McFly and the dangers of upsetting the time continuum. Perhaps that handsome specimen of a man was my future self on a time travelling mission. Which might mean I’ll become a barfly. A good-looking barfly. Not Mickey O’Rourke. Or perhaps my future self had the sense to obtain a sports almanach. What did Doc Brown say about that again?

I suppose meeting my exact double would put to test the promise I (a vain man who favours unrealistic ego boosts over self-deprecation) make to my mirror image every morning: “Hmmm, I would do you.”

Kid Creole & the Coconuts – I’m A Wonderful Thing, Baby.mp3
Michael Jackson – Man In The Mirror.mp3
De La Soul – Me, Myself And I.mp3*

But thus reminded of the Redskins, I dug out a few Redskins songs. My memories of the mid-80s agit pop/punk/soul band flying the red flag were fond, but had become vague with the passage of time. Somehow they were buried among so many other ’80s treasures. But my goodness, Bring It Down (This Insane Thing) is a fantastic song. I’ve played it on loop for the past couple of things (when my current Lemonheads mood allows, anyway). And the vaguely Motown-ish Keep On Keepin’ On; ah, what memories! Down with Thatcher! Down with apartheid! To the barricades, comrades, to the barricades!

And for good measure, I’ve found a live version of the Redskins’ cover of Billy Bragg’s harrowing song about domestic abuse. I think the Redskins’ take is superior to Bragg’s, a statement that is not made carelessly, though the reference to Bragg as “Neil Kinnock’s publicity officer” tickles me. The German sentence in the introduction means: “This is a song for all the men who think it is clever to beat up their women.”

For all you need to know about the Redskins, check out the comprehensive unofficial website, whence I stole the cover of the Melody Maker.

So, here for your dancable socialist soul-punk needs, The Redskins. They really meant it, maaan:

The Redskins – Bring It Down (This Insane Thing).mp3
The Redskins – Keep On Keepin’ On.mp3
The Redskins – Let’s Make It Work.mp3
The Redskins – Levi Stubbs’ Tears (live in Munich).mp3

And if you came here looking for info on the Washington sporting club, welcome. I might not offer much by way of gridiron, but have a cup of coffee, look at around, and enjoy the music.

Tift Merritt – Keep You Happy.mp3
Tift Merritt – Morning Is My Destination.mp3
I can’t claim to know much about Tift Merritt. The new album, Another Country, is her third. I have not heard the previous albums, but the buzz has been good. Another Country may become Merritt’s breakthrough album. Merritt swings between country, alt.country and folk-pop, which places her alongside the adorable Mindy Smith, another singer who is receiving attention only in her 30s. Another Country is a gentle but engaging exercise, one for Sunday mornings. Keep You Happy, with its Wilcoesque guitar, has a depth which may at first not be apparent, while Morning Is My Destination fuses alt.country sounds (even more Wilco guitar here) with classic country rock.
Tift Merritt on MySpace

Landon Pigg – Falling In Love At A Coffee Shop.mp3
Another singer-songwriter with shaggy hair and a funny name… His 2006 solo album, titled LP, was a pleasant folk-pop effort, but lacked a killer track. Pigg delivers such a track with Falling In Love At A Coffee Shop, an entirely sweet acoustic song which will doubtless end up on the soundtrack of a quirky independent movie (think Garden State). This is a song that should have featured in the Love Songs for Every Situation series (guess in which part). I hope the coffee shop in question an independent joint, not bloody Starbucks. And I hope that Pigg won’t sell his soul by letting Starbucks use this song for an advertising campaign; the song is far too lovely to be tainted by the stink of capitalist globalisation.

Tristan Prettyman – Madly.mp3
I loved Tristan’s 2005 debut album, Twentythree, a slice of California Dreaming which was trumped last year by Colbie Caillat’s entirely lovable album. I had sort of hoped that Tristan would in turn trump Colbie with more of the same. Instead, on her second album, Hello, Tristan suggests musical growth, and a welcome country influence. The beach vibe is still evident (see Madly), but many tracks are darker and more complex than those on the debut (California Girl sounds nothing like the title suggests). At first I was thrown by this; my expectations thrown, I was disappointed after the first listen. Having put the thing on rotation for a bit, I’m falling for it. (More Tristan Prettyman here)

Joshua Radin & Ingrid Michaelson – Sky.mp3
Joshua Radin’s We Were Here album was my album of 2006. I love the man’s gentle voice, his Drake-channelling acoustic sound, and I really enjoy his lyrics. I’ve read that Radin’s soft sound was forced by their production in a NYC flat. Sky, his new duet with the wonderful Ingrid Michaelson is upbeat and poppier than previous material. The rest of the four-song Unclear Sky EP (an iTunes special described by the singer as a teaser for the upcoming album) is more like the Radin we know, understated and intimate. Lovely Tonight, which should be on the CD later this year, is a gorgeous duet with Catherine Feeny, one of my favourite songbirds (whom I featured here), featuring guitar work by Ryan Adams. (More Joshua Radin here and here)

Counting Crows – When I Dream Of Michelangelo.mp3
Adam Duritz and pals are releasing their first studio album in five years, following the critical failure Hard Candy. Actually, there was much that is good on Hard Candy, though the true quality of some of the tracks revealed themselves only when performed live, as the fine New Amsterdam live album showed. Listening to Counting Crows albums requires patience; not unlike hearing an album by their spiritual godfathers, The Band. On my first listen, I didn’t much like the new album, Saturday Nights And Sunday Mornings. After the second listen, I liked it better. A few listens further, and I’m sold on much of the album. Apparently the first, rockier half is a band effort, while the second, more reflective half is something of a Duritz solo project (as if anyone ever remembers any of the other Crows). The tracks I’m posting are the immediate stand-outs; the former a rock tune in the manner of The Band, the latter a slow-burner in the manner of, er, The Band.
Counting Crows homepage

Laura Veirs – Saltbreakers.mp3
Laura Veirs – Pink Light.mp3
A few days ago I announced on my Facebook status that I was becoming hypnotised by Laura Veirs’ Pink Light (it’s the oddly familiar guitar hook and those handclaps). And this morning I woke up with Saltbreakers playing on loop in my head, especially the backing chorus, which I’ve seen described as “sea shanty-like”. The whole Saltbreakers album, released a year ago, is captivating and quite gorgeous in its indie-alternative-folk-pop vibe. And, obviously, dangerously catchy.

Ali G – Ali G Meets Posh Spice And Beckham.mp3
Ali G has been eclipsed by Borat, who was much funnier in small doses than in a feature film. This interview with Victoria Beckham and her little pet monkey is Baron Cohen at the height of his game. He makes Posh repeat what football fans used to allege about her supposed unlocking of the tradesman’s entrance. When he sets up David with a poor joke, it is not the punchline that makes us laugh, but the way David walked into it. And through it all, Victoria handles it with grace, making me almost like her.

Chris Rock – Real People Of Ignorance (Friend of a Rap Star).mp3
Chris Rock – Real People Of Ignorance (Tattoo).mp3
Chris Rock – Tip Your Hat To Whitey (Pineapple).mp3
Chris Rock – Tip Your Hat To Whitey (Jamaica).mp3
Chris Rock – Tip Your Hat To Whitey (Mars).mp3
Five short skits from Chris Rock’s Never Scared album, a collection of stand-up and skits. While I regard Chris Rock as the funniest and most penetrative stand-up comedian of his generation, his skits are a mixed bag. The five on offer here, however, are very good indeed. Rock’s backing vocals on the “Real People Of Ignorance” bits are total genius — hear his comments on nightvision goggles and the purposelessness of vaginal tattooes (and those in Sanskrit). The Friend of a Rap Star one comes from an earlier post.

Jim Norton – Michael Jackson Is The Artist Of The Millennium
Be warned: Jim Norton smacks you in the face with some entirely inappropriate gags. You may laugh because it is funny, but even then you gasp and think: “He didn’t say that, did he?” Michael Jackson is, of course, an easy target. Britney Spears, another target in this bit, was not yet the pitiable wreck she is now. With Norton, one understands after a while that the offensive lines, often self-deprecating, are merely gratuitous, not representing an agenda or manifesto. By Norton ascribing shocking conduct to himself, he opens his way to be as shocking and scathing about the targets of his jokes. Still, fuckin’ hell, man!

Patton Oswalt – You Are Allowed 20 Birthday Parties.mp3
Patton Oswald is only marginally less ready to offend than Jim Norton. His CV lends him some credibility: voices for various versions of Grand Theft Auto; appearances in several movies and TV shows, and a voice appearance in the Pixar movie Ratatoullie. His routine is laced with pitchblack humour, offset by a certain self-deprecating geek charm (indeed, self-deprecation is a popular technique among contemporary comedians. Übergeek Woody Allen used to it great effect in his stand-up days).

Eddie Izzard – Americans.mp3
Eddie Izzard – The Future.mp3
When I big up Chris Rock as the finest stand-up comedian of his generation, I feel a need to send an apology to that cross-dressing genius Eddie Izzard. I love Izzard’s voice and delivery, but it is his way of weaving a narrative — not unlike that other giant of British standup, Billy Connolly — which merits total admiration. So it was quite difficult to cull a couple of tracks out of the context of that narrative. Izzard’s humour is insightful, playing with absurd concepts and the surreal, rather than turning to aggressive sarcasm for laughs.

Paul F Tompkins – Cherry Picking.mp3
A veteran of TV comedy programming, Paul F Tompkins’ debut album Impersonal is a bit of a hit-and-miss affair. Some bits, like this one, are very amusing; others seem to try too hard in their stretch for surreal humour. But Tompkins’ delivery is likable — you feel that you are in the company of somebody who will make you laugh at some point; and sooner than later he does. And even the chuckle-free bits hold the listeners interest because Tompkins knows how to tell a story. Sides will remain unsplit, but one is not likely to regret the time spent listening to Tompkins’ brand of observational humour.

Bill Hicks – On The Bright Side.mp3
This is from the Shock & Awe album, recorded in Oxford. While Izzard is an Englishman speaking to an American audience, so is Hicks the Yank trying to explain his country to an English audience, and trying to make sense of Britain. This is not Hicks at the top of his game – for one thing, he’s is far less aggro and much more laid back than on other recordings — but even Hicks not at his best is preferable to many other comedians. Just two years after this show was recorded, Hicks died of pancreatic cancer,

on February 26, 1994. While he never attained great fame, his influence on any number of contemporary comedians, including some featured here, is evident.

Peter Sellers – Party Political Speech.mp3
I have said it before: Peter Sellers is not by any stretch of the imagination a favourite comedian. I find absolutely nothing mirth-inducing about “Birdy Nam Nam”, and the Goon Show leaves me cold, other than to acknowledge the debt owed to it by Monty Python and everything that took influence from that ensemble. But when Sellers was cooking, he really was great. His satire of a political speech which is high on pomposity and empty of content might sound dated in delivery, but remains relevant today. And on the subject of politics: what is the fucking matter with fucking Ohio? Bush in 2004; HRC in ’08?

Once Upon A Time In America is a film about nostalgia and loss, of melancholy brought on by missed opportunity, betrayal, and loss of love. The score captures that melancholy, interspersed with the jauntiness of good times. As Noodles (Robert de Niro) encounters the bitter-sweet memories, he tries to resist the impulse to be haunted by them. If he were to hear the panpipes of the score, he’d join the viewer in experiencing just that emotion.

Rarely is a score as much a character in its film as is Morricone’s greatest masterpiece. Violent a film as Once Upon A Time In America is, the music is is at once powerful and tender. “Deborah’s Theme”, the hymn to unfulfilled love, evokes a yearning and sadness which may move to tears even the listener who has not seen the film. When the soundtrack livens up to record a light mood, these moments are brief and quickly followed by more of the sad sounds — achingly beautiful, to dabble in cliché — of loss and nostalgia.

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