NEW: Noel Gallagher's High Flying Birds - 'Do The Damage'

This brilliant uptempo offering was originally on the B-side of Noel Gallagher's single 'In The Heat Of The Moment', and can also be found on the deluxe edition of Noel's new album 'Chasing Yesterday'.

Of 'Do The Damage' Noel said: "It might be the 23rd best song I ever wrote. It was - for about a year - gonna be the opening track on the album until the 22nd best song I ever wrote appeared..." Good to have you back, Chief.

Read a review of the superb 'Chasing Yesterday' HERE.

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REWIND: Cast - 'Sandstorm'

One of the most unfairly dismissed bands of the 90s, Liverpool four-piece Cast released four albums between 1995 and 2001 before splitting. They reformed in 2010 and returned with a fifth LP 'Troubled Times', which you can read a review of HERE. Earlier this year, the first four albums were all re-released as deluxe editions, which also included all of the bsides as well as lots of rare and unreleased tracks. Read an epic overview of those reissues HERE, where their classic 1995 debut 'All Change' is described as an album that "shows how a great melody can make a few basic chords and not the most original of styles sound fresh, exciting and very much like the product of magic. 

The terrific psychedelic-tinged rocker 'Sandstorm' is still as exciting and empowering nearly two decades later, and on this remaster that fantastic guitar solo seems to stand out more. Without a doubt, a true anthem of the period. It was the first Cast song I ever heard, and I seem to remember seeing it first on The ITV Chart Show, before going out to Bath that same day and buying the cassette single.

The album shot to No. 7 in the UK charts, reaching double platinum and went on to become the fastest selling debut album in the history of the Polydor label, outselling the likes of The Jimi Hendrix Experience, The Who and The Jam. 'Sandstorm' itself reached number 8 in the UK singles chart. Having reformed in the late 90's, Cast are due to release a new album at some point in 2015.

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REWIND: The Supernaturals - 'I Wasn't Built To Get Up'

After reacquainting myself with the first two albums from 90s Scottish combo The Supernaturals, I presumed that they had no plans to reform. So imagine my surprise when a few months ago I found out that the band have new album out in April, and that they'd been playing together again since 2012. I'd refer to The Supernaturals as more of a "post-Britpop" group, as they fitted in with the style and sound but arrived on the scene too late. They were bloody good too, taking inspiration from Brian Wilson and The Beach Boys rather than The Beatles or The Kinks. A five piece from Glasgow, the band were signed to Parlophone Records in 1996, scoring five Top 40 entries in the UK Singles Chart between '96 and '98. Best known for their hit 'Smile', in May of 1997 they released their debut LP 'It Doesn't Matter Anymore', (a Number 9 chart entry) but personally I prefer the 1998 follow-up 'A Tune A Day'. It was released during the same week that I went to see the band at the Fleece And Firkin in Bristol where they were supported by Carrie. Great days. After that album only reached #21 following a lack of promotion, they were dropped by their label before re-emerging four years later with their third, synth-flavoured effort 'What We Did Last Summer'. The band soon split after that. '360' is their first new material in over a decade, and sees the original line-up returning to their original sound and style, as reflected by the album's title. Sadly, it hasn't turned out to be a very strong comeback and my forthcoming album review will not be an encouraging one. So here's the sort of song that I want to remember the band for, rather than their lacking new stuff.

A press release states: "Written and recorded over the previous 2 years at Gorbals Sound studios in Glasgow, the album ranges from the skiffle beat of 'My Sweet George' to the satirical whimsy of 'Air Hostess', with the balladry of 'Zombie' and many points in between. The band hark back to their Sixties roots in what is a resounding return to form with their knack for offbeat, wry story telling welded to classic melodies. The cover of the album, the shoreline of the Firth of Clyde, refers to the sea journey undertaken in the last song on the album, 360." More details can be found at their website and Facebook page, which are both linked below. In the meantime, here is a single of theirs that brings back wonderful memories of being a teenager in the late 90s, and a song that I can relate to in many ways. It reached number 25 in the UK singles chart when it was released back in 1998.

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NEW: The Charlatans - 'Keep Enough'

The eleven tracks that make up The Charlatans' 12th album mark something of a new chapter for this remarkable group. There aren't many bands who have been through as much turmoil and there are even fewer that have managed to survive. Yet after over 25 years after their formation, they are back with one of their strongest pieces of work to date. ‘Modern Nature’ is their first album since 2010's 'Who We Touch' and the first to be released since the sad death of drummer Jon Brookes in 2012. But rather than dwell on their bad luck, the band have once again triumphed over tragedy with a stellar set of tracks coloured with melancholic sunshine, soul vibes and subtle shades of funk. In their own words: “songs that made us happy.” Sumptuous guitar hook and swooning strings make for a stunning combination on the gorgeous Curtis Mayfield-esque 'Keep Enough', which is just one of many amazing tracks on this LP. Read the full album review HERE.

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REWIND: Dodgy - 'So Let Me Go Far'

90s nostalgists like myself remember a time when the singles charts were a world of diversity. One of the many great singles making the Top 40 in 1995 included 'So Let Me Go Far' by the power pop trio Dodgy. The track can be found on their brilliant 'Homegrown' album, which was released the previous year in 1994. Dodgy split in 1999, and reformed almost a decade later. After releasing their acclaimed 2012 comeback album 'Stand Upright In A Cool Place', the band are currently working on their fifth studio LP, which is due for release at some point this year on the Cherry Red label.

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NEW: Muse - 'Dead Inside'

Following on from the storming 'Psycho', Muse have unveiled another track from their upcoming new album 'Drones'. 

Matt Bellamy explains the new song 'Dead Inside', where alongside the guitars, something of a Visage-meets-Bowie feel creates a creeping sense of unease: "This is where the story of the album begins, where the protagonist loses hope and becomes 'Dead Inside', therefore vulnerable to the dark forces introduced in 'Psycho' and which ensue over the next few songs on the album, before eventually defecting, revolting and overcoming these dark forces later in the story." 

'Drones' will be released on June 8 and is co-produced by Muse and Robert John 'Mutt' Lange. 

REWIND: The Lightning Seeds - 'Change'

Here's another indie classic that graced the singles charts 20 years ago. 'Change' by the Lightning Seeds: breezy carefree indie-pop at its best. This song was the second single to be released from their 1994 album 'Jollification' and is one of my favourite Lightning Seeds tracks. Having not released anything new since 2009's 'Four Winds', a while ago I wondered if Ian Broudie would return with another album anytime soon... After asking the question to the man himself via Twitter, Broudie soon replied, confirming that there will "definitely be new material this year". Great news.

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REVIEW: The Charlatans - 'Modern Nature' (BMG Chrysalis Records)

There aren't many bands who have been through as much turmoil as The Charlatans, and there are even fewer that have managed to survive. Yet after over 25 years after their formation, they are back with one of their strongest pieces of work to date. ‘Modern Nature’ is their first album since 2010's 'Who We Touch' and the first to be released since the sad death of drummer Jon Brookes in 2012. But rather than dwell on their bad luck, the band have once again triumphed over tragedy with a stellar set of tracks coloured with melancholic sunshine, soul vibes and subtle shades of funk. In their own words: “songs that made us happy.”

The eleven tracks that make up their 12th album mark something of a new chapter for this remarkable group, and feature contributions from the band’s three temporary drummers - Peter Salisbury ex of The Verve, Stephen Morris of New Order and Gabriel Gurnsey of Factory Floor. It begins in brooding fashion with the ghostly power of 'Talking In Tones', a contrast to the hazy sunshine that radiates from the sweet West Coast soul of the definite grower 'So Oh'. Breezy funk verses and a joyous chorus light up the glorious 'Come Home Baby', while a sumptuous guitar hook and swooning strings make for a stunning combination on the gorgeous Curtis Mayfield-esque 'Keep Enough', as do the baggy vibes and haunting harmonies of the infectious 'In The Tall Grass'. It's hard not to fall in love with the mysterious and beautiful 'Emilie', another helping of classic Charlatans that easily stands alongside any of their best loved songs. 

Complete with a killer bassline and an urgent disco rhythm, album centrepiece 'Let The Good Times Be Never Ending' makes you realise that this record isn't about mourning, more about celebrating life. That is with the exception of the desolate 'I Want You To Know', which casts a dark mood over the album and finds The Charlatans at their most emotionally intense. The mood is lifted back up as 'Lean In' strides with a vibrant swagger before the wonderfully uplifting 'Trouble Understanding' delivers something that's cathartic and introspective in equal measures. 'Lot To Say' is a sweet helping of psychedelic soul that concludes the record in blissful fashion, with Tim Burgess's vocal playing a key part in a truly captivating arrangement.

Packed full of the things that make The Charlatans so special, while also picking up new influences and moving forwards with great optimism, 'Modern Nature' is a joy to listen to. More proof that grief can inspire absolute magic. 9/10

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NEW: Idlewild - 'Collect Yourself'

Scottish indie legends Idlewild recently returned after a six year hiatus with their seventh studio album, and it doesn't disappoint. Sturdy opening track 'Collect Yourself' bursts in with hungry vigour, matching the slinky groove of its verse with a joyous chorus and a fattened riff that packs one hell of a punch. But don't let it fool you into thinking that the band have returned to the heavier sound of their early days, as the remainder of 'Everything Ever Written' demonstrates the sort of wisdom that comes with natural maturity. Read why in the rest of my album review HERE.

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REWIND: Paul Weller - 'Brushed'

Paul Weller has announced the release of his 12th solo album, which will be released in May and titled 'Saturn’s Pattern'. Described as “defiantly 21st century” and "modern psychedelic music", it's his first LP since 2012’s 'Sonik Kicks'. Weller has also said that the album is “certainly progressive in the literal sense of the word”. You can already hear a few traks via his Facbook and Twitter pages, which are linked below/ Until then here's a very underrated single from 1997, which is in fact the first Weller CD I ever bought. Taken from his 1997 album 'Heavy Soul', the superb 'Brushed' reached number 14 in the charts. 'Heavy Soul' would have been a number 1 album had it not been for a technicality involving five photos from the CD booklet being reproduced as postcards in the Special Edition release, which meant that sales of the Special Edition did not count towards the album's sales as the postcards were classed as free gifts. Not fair.

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NEW: Noel Gallagher's High Flying Birds - 'Ballad Of The Mighty I'

New? Well new-ish. Thought I'd better feature it before it's "newness" expires too much. I'm still enjoying 'Chasing Yesterday' the excellent second solo album from Noel Gallagher, which features the most recent single, 'Ballad Of The Mighty I'. The song also features Smiths legend Johnny Marr. "He just arrived with two guitars and a bag of effects pedals" says Noel, "And I have to say, he’s unbelievable. He’s way up there, on another level to the rest of us. The result is a burst of energy that helped make 'Ballad Of The Mighty I' one of the best songs I've ever written." This fine helping of shadowy power-disco provides another example of the interesting twists and turns and unpredictable chord changes that Noel wouldn't have even attempted in the 90s. Featuring some effortlessly brilliant guitar from Johnny Marr, it's a fine ending to a stellar piece of work. Read the full album review HERE.

The LP was produced by Noel himself: “I didn’t like it to be honest" said Noel regarding producing solo for the first time, "I’d taken it to my producer, Dave Sardy, who has worked with me for the last 10 years and for whatever reasons he couldn’t do it… I enjoyed the freedom with it but I didn’t enjoy managing the sessions. The end product is great but it was a pain in the arse,” he said. Noel described the album's sound as “very eclectic... You could take a pair of tracks and play them together and think, ‘fucking hell, he’s gone insane, what’s he done there’ but then you could take another pair of tracks and think ‘well it sounds like a rock ‘n’ roll album’” said Gallagher.

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REWIND: Manic Street Preachers - No Surface All Feeling

Today's Rewind selection is the closing track from the Manic Street Preachers astonishing 1996 album 'Everything Must Go'. The album was the first to be released following the disappearance of Richey Edwards, and featured lyrics left behind by the missing lyrical genius. This track however was worded by Nicky Wire, and provided a powerful and poignant climax to the seminal LP. The album reached number 2 in the UK charts and won a Brit Award for Best Album, with the band also winning Best Band that same year.

If anyone reading this has never experienced the brilliance of 'Everything Must Go', sort that out now.

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NEW: Blur - 'Lonesome Street'

Blur have unveiled the third song to be taken from their upcoming eighth studio album 'The Magic Whip'. The album opener 'Lonesome Street' may have been conceived in Hong Kong, but it's as British as it gets. It's characterised by three different elements: a jaunty, insanely catchy verse that harks back to the days of 'Modern Life Is Rubbish', brief spells of melancholy that carry on from Damon's 'Everyday Robots' LP from last year, and a Graham-sung bit of cockney-psychedelica highly reminiscent of legendary loon Syd Barrett singing something written by Madness.

Considering the way these new songs were recorded, I had doubts about the new album and was worried that it wouldn't live up to my massively high expectations. You can read my thoughts on that HERE. But now, having heard a low-quality recording of the band playing the album in full at a secret gig on Friday night (March 20) I can already tell that 'The Magic Whip' is going to be a very special treat indeed. Bringing familiar elements from their past into the 21st century and often utilizing a greater sense of space, this may very well be the greatest comeback record of all time, and that is not an exaggeration. What can be more exciting that your favourite band returning with their first proper album in 16 years? 

'The Magic Whip' is released on April 27.

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REVIEW: Idlewild - 'Everything Ever Written' (Empty Words Records)

Scottish indie legends Idlewild return after a six year hiatus with their seventh studio album, and it doesn't disappoint. Sturdy opening track 'Collect Yourself' bursts in with hungry vigour, matching the slinky groove of its verse with a joyous chorus and a fattened riff that packs one hell of a punch. But don't let it fool you into thinking that the band have returned to the heavier sound of their early days, as the remainder of 'Everything Ever Written' demonstrates the sort of wisdom that comes with natural maturity. The steady 'Come On Ghost' is an effective marriage of folk and classic rock, 'So Many Things To Decide' evokes the sleepy charm of remote Scottish countryside, and the brilliant 'Nothing I Can Do About It' mixes melancholy with infectious resonance to provide one of the highlights of not just this album, but the group's career.

The reflective 'Every Little Means Trust' is the record's lighters-in-the-air moment, while centrepiece '(Use It) If You Can Use It' is a bright grower that develops into a surprising, almost Krautrock-esque jam before breaking the volume levels towards its massive climax. After the gracefully decorated 'Like A Clown', another one of the record's best tracks arrives with the excellent 'On Another Planet', an uptempo blast of much-needed energy that's more reminiscent of early Idlewild than anything else here. 'All Things Different' brings unexpected spells of saxophone and rich piano to compliment its endearing lyrical imagery, and the lovely 'Radium Girl' thrives with some nice melotron, another bold uplifting chorus and effortlessly brilliant basslines from new recruit Andrew Mitchell. With its fine instrumentation and dark elegance, 'Left Like Roses' is another treat, and the sparse, beautifully arranged closer 'Utopia' bathes in a wondrous ambience which frames Roddy Woomble's glorious voice so well.


'Eveything Ever Written' is possibly a couple of tracks too long, and could have made more of an impression as a slightly shorter album, however its high points are marvellous. Listeners will need a patient ear to fully appreciate this alluring piece of work which combines the wistful quality of Woomble's solo work with the power of vintage Idlewild, but such patience will be rewarded. 8/10

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REWIND: Sleeper - 'Inbetweener'

A few weeks ago on the RW/FF website HERE, this was the song I picked as my favourite new entry of the week from 22 January 1995. The bouncy excitement and carefree attitude of Britpop can be heard all over Sleeper's magnificent 'Inbetweener', which I'm definitely going to have to choose as my 'jam' of the week. The song was taken from their debut album 'Smart', while the video parodied the grocery store-set ITV game show Supermarket Sweep and featured the programme's presenter Dale Winton. Formed in 1993, the band had eight UK Top 40 hit singles and three UK Top 10 albums before splitting in 1998. Singer Louise Wener is now a successful novelist. 'Inbetweener' was featured on the brilliant 'True Brit' compilation that I purchased in summer '96, but the wonderful 'What Do I Do Now' was the first thing of theirs that I heard, thanks to it being included on one of the tapes that Smash Hits used to give away free with the magazine. Yes, I was STILL buying Smash Hits in 1996, but immediately ceased reading it in 1997 after they gave Radiohead's incredible 'Paranoid Android' a bad review, while their Single Of The Week was Hanson's 'MmmBop'.

NEW: Gaz Coombes - 'Detroit'

Following on from 2012's 'Here Come The Bombs', the second LP from ex Supergrass frontman Gaz Coombes sees him settling into life as a solo artist by breaking down the sort of boundaries that would have proved more difficult for a guitar trio. From it, the spacious highlight 'Detroit' runs on an easy moving kinetic pace, countering dark lyrics with dazzling melodies and the anthemic power of its magnificent chorus.

Experimenting and moving forwards while never misplacing that gift for brilliant songwriting, 'Matador' is the most vital and consistent Coombes record has delivered in at least a decade. Aside from a few contributions from drummer Loz Colbert and keyboardist brother Charlie Coombes, all the instruments on the album were played by Gaz himself, and it looks like this new independence and increased creative control has paid off. Read my full album review HERE.

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REWIND: Primal Scream - 'Accelerator'

Just over 15 years ago, Primal Scream released their sixth studio album, the heavy, dissonant 'XTRMNTR', which reached number 3 in the album chart. "All vowels are fascist, man, everyone knows that" said Bobby Gillespie when explaining the consonant-heavy title. Whether vowels are indeed fascist is yet to be proven, but there's no doubt than on their 2000 album, the Scream were getting heavily political. I couldn't help but get excited after reading interviews where Bobby would talk of wanting to make revolutionary music, especially since their previous album 1997's 'Vanishing Point' had changed the way I listened to an appreciated music. 

Attacking government, police, and multinational corporations. the sound of the album is much more aggressive and forceful than much of the group's previous output. It was the final album to be out out by the influential Creation Records, which closed down just before its January 2000 release. The highly-charged fuzz-punk firebomb 'Accelerator' later became the last single to be released on the label, and went to number 34 in September 2000. 15 years after its release 'XTRMNTR' is regarded by critics as one of the greatest albums of the 21st century so far, with the NME naming it as the 3rd best album of the noughties. 

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NEW: Paul Weller - 'White Sky'

The Modfather himself Paul Weller returns with his brand new album 'Saturn's Pattern' on May 11. It will be his 12th studio album and the first since 2012's 'Sonik Kicks'. It will comprise of nine tracks, including this heaving blast of space-age blues-rock that Weller has unveiled as the first taste of the LP.

"I think it's one of the best things I've done. And it's been a pleasure doing it. There's been no headaches," Weller said. "I can't compare it to any of my other albums. I think it's different not just for me, but different from what else is around. It's been pretty quick, really. We did a bit of work before the summer, then I took a break because I was out on the road. We started back in October. It's taken us a couple of months, maybe." Excitingly, 'Saturn’s Pattern' features a “kazoo through a fuzzbox” and was recorded with his usual bandmates Steve Cradock and Andy Lewis, as well as members of psychedelic jazz group Syd Arthur. Weller has said that the album is "certainly progressive in the literal sense of the word. It's defiantly 21st Century music." 

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REWIND: Gene - 'Haunted By You'

Every week on my other music site RW/FF, I take a look back at the songs entering the UK singles chart 20 years ago in 1995. A few weeks ago (in an article you an find HERE) I looked back at the chart from March 5 1995, and picked a golden great from the Britpop scene as my favourite entry of the week, the number 32 'Haunted By You', from the marvellous Gene. Often dismissed as Smiths wannabes, the more attentive always knew that there was a lot more to them than that, although 'Haunted By You' does remind me of a more sentimental 'What Difference Does It Make'. Gene went on to release four studio albums before eventually disbanding in 2004. Those albums were all reissued last year with lots of bonus material, and a full review of the whole collection can be found HERE. Meanwhile, frontman Martin Rossiter released his long awaited debut solo album 'The Defenestation Of St Martin' in 2012, which turned out to be a wonderful record. More about that HERE.

NEW: Blur - 'There Are Too Many Of Us'

As the release of Blur's long waited comeback album 'The Magic Whip' draws nearer, two things happened today. Firstly, the band played the whole album in full to a crowd of just a few hundred people at the Mode venue in London, with various Twitter users declaring the new songs to be brilliant. Secondly, the group premiered the second track to be taken from the album along with a rather lo-fi video. Unlike the previous 'Go Out', the dark, mournful grower 'There Are Too Many Of Us' proves that Blur aren't simply replicating their old sound'.

Kicking off with military snares and symphonic keyboards, it's an odd an unexpected intro which begins to grow as soon as the guitar enters along with Damon Albarn's enchantingly melancholic vocal and a well arranged musical backdrop. Moody and atmospherically cloudy, it suggests that the new LP will be a rather eclectic piece of work

Produced by Stephen Street, 'The Magic Whip' will be released on April 27 and is the first album Blur have recorded as a four piece in over 16 years. Listen to the refreshingly noisy 'Go Out' and read my thoughts about the upcoming release of 'The Magic Whip' HERE.

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REWIND: Astrid - 'Distance'

One of my favourite bands from the late 90s post-Britpop era, and one who should have enjoyed a lot more commercial success than they did. I class this as one of the great lost classics of the decade.

I first heard the Scottish four-piece Astrid when their magnificent 'Distance' single was played on The Evening Session back in 1998. I have been a fan ever since. 'Distance' is a glorious slice of melancholic indie pop, simple, direct and ever so addictive. It was the lead track on their 'Hi-Fi Lo-Fi' EP, which was produced by the legendary Edwyn Collins and released via the Fantastic Plastic label in a lovely cardboard outer sleeve. Astrid went on to release three albums before splitting in the mid 2000s. While drummer Neil Payne joined Texas, and bassist Gareth Russell went on to be a member of Idlewild, frontman Willie Campbell continued with the bands Our Small Capital and The Open Day Rotation, before launching a solo career. Guitarist/songwriter Charlie Clark has also been releasing his own solo material, which includes the wonderful 'Feel Something' EP from 2013. Fittingly it was released on AED Records, which is of course run by Edwyn Collins. His next project will be the debut release from Broken Arrow, a duo formed with the highly talented vocalist Brandi Emma. Prior to that, there will soon be a 7" single that Charlie recorded with his buddies Dash And Eric. It will be released under the name Charlie Clark And The Majestic 12 on Manimal Vinyl in both the UK and US, and will feature a brilliant leadx track called 'The Devil's Pulpit'. A while ago, I spoke to Charlie about his life, music and his time in Astrid, in an exclusive interview that you can read HERE...

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NEW: The Charlatans - 'Emilie'

An absolute stunner taken from the new album 'Modern Nature'. There aren't many bands who have been through as much turmoil as The Charlatans, and there are even fewer that have managed to survive. Yet after over 25 years after their formation, they are back with one of their strongest pieces of work to date. ‘Modern Nature’ is their first album since 2010's 'Who We Touch' and the first to be released since the sad death of drummer Jon Brookes in 2012. But rather than dwell on their bad luck, the band have once again triumphed over tragedy with a stellar set of tracks coloured with melancholic sunshine, soul vibes and subtle shades of funk. In their own words: “songs that made us happy.” Read the full album review HERE. It's hard not to fall in love with the mysterious and beautiful 'Emilie', another helping of classic Charlatans that easily stands alongside any of their best loved songs. 

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REWIND: Cornershop - 'Good To Be On The Road Back Home'

The other day I decided to dust off my CD copy of Cornershop's 1997 album 'When I Was Born For The 7th Time' and give it a play for the first time in bloody ages. Like the majority of people I discovered the duo when a Norman Cook remix of 'Brimful Of Asha' became a massive radio staple, and entered the charts at number 1. After enjoying the follow up single 'Sleep On The Left Side' (which didn't enjoy the same level of commercial success) I knew I had to investigate the album, which I bought in 1998 from a sale that Woolworths had on at the time. An eclectic album blending Indian music, funk, hip hop, country, indie and psychedelica together with surprising ease, those who only knew the big hit certainly missed out on some fine music. Luckily I didn't, which is how the marvellous 'Good To Be On The Road Back Home' became my favourite song on the album...

Frontman Tjinder Singh described the recording process as "very intense. There was a lot of smoking going on, it was a very relaxed time, and very enjoyable all the way through. At the end, our engineer had to go for medical assistance. He got freaked out. He smoked so much and then he stopped and he went loopy. He was on medication. His body couldn't take it."

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NEW: Stephen Jones - 'No Cameras'

Although many people won't have any idea of what happened to Babybird since the chart hits of the 90s, Sheffield cult hero Stephen Jones has actually been releasing a huge amount of new music via his Bandcamp page over the last couple of years or so. In fact this most prolific musician seems to put something new out every week. But this new album entitled 'Meloncholy' is particularly notable for being the first album of "music and words" since the final Babybird album 'The Pleasures Of Self Destruction' from 2012. Apparently "a new name to replace "Babybird" would have been used" for this album but is "being kept secret for a future release". One of the album's highlights comes with the sparse, ambient wonder of the breathtaking 'No Cameras' where Jones's vocal, drops of piano and a splendid arrangement combine to work magic. It may very well be the most beautiful song he's ever made. Read the full album review HERE, where you can also stream and download 'Melancholy'.

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REWIND: Black Grape - 'Reverend Black Grape'

After going to the Bahamas and blowing a fortune of their record company's money on drugs, the Happy Mondays released the disappointing 'Yes Please' in 1992 and split the following year. A new start was in order, and with that Shaun Ryder and Bez formed Black Grape with rappers Paul "Kermit" Leveridge and Carl "Psycho" McCarthy, drummer Jed Lynch (like Leveridge, a former member of Ruthless Rap Assassins), and guitarist Paul "Wags" Wagstaff. Their 1995 debut 'It's Great When You're Straight Yeah' reached number 1 in the UK album charts and was hailed as a triumphant return to form for Ryder and Bez.  

The infectious first single 'Reverend Black Grape' even outsold the biggest Happy Mondays single 'Step On', and gave the band the first of three Top 20 hits. Things that stick in my mind regarding this song include my Auntie Julie telling me that it reminded her of one of the counting songs from Sesame Street, and a radio DJ saying that Ryder's vocal soun,.cc

13ded like Grandpa from The Simpsons. And of course there are those ridiculously sublime lyrics which include the opening line "there's nothing more sinister than ministers in dresses"...  

The band's second album 'Stupid Stupid Stupid' wasn't so well received, and in 1998 Shaun Ryder gradually sacked the whole group one by one. However in 2010, they reformed for a one-off gig, with a slimmed down line-up consisting of Ryder, Kermit and producer Danny Saber. 

With the classic line-up of the Happy Mondays busy touring and Ryder recently finishing his second solo album, I didn't expect to hear that Black Grape would be reforming. However the news has been confirmed, and the band will be playing an 800-capacity homeless and anti-fracking benefit gig at Old Granada Studios in Manchester on April 11. Festival appearances and a full tour are soon to be announced, and new material is even a possibility. Ryder said "We went into rehearsals and we’ve got a great band together: Dan (Saber), Mikey (Shine), and some great sessions guys. I went in with Kermit and they’d got six songs down; me and Kermit did our bit and it was like we’d be practicing for 20 years. It was like putting an old pair of comfy shoes on. It’s like that with the Mondays; it’s just a pleasure now. Age, maturity, we can enjoy what we’re doing. No treadmill bullshit." Ryder puts his newfound flurry of activity down to "the Superman jab", a testosterone replacement therapy injection. He said: "It's a mixture of enjoying life and also I have testosterone injections that make me feel like a 21-year-old... I'm a dad, and I get to do that right this time around. Last time around, you're making your career and you're a kid yourself."

NEW: Ash - 'Cocoon'

After the 'A-Z Series' from a few years ago turned out to be a disappointment, I wasn't expecting much from the new single from Northern Irish indie rock heroes Ash. But it's turned out to be an impressive thing that suggests something of a return to form from the trio. Their last proper album was 2007's 'Twilight Of The Innocents', making it 8 years since their previous full-length. 'Kablammo!' will be the band's sixth album, and is released at some point over the next few months. Drummer Rick McMurray has described 'Cocoon' as "Ash at their frenetic best: a wall of guitars and a shot of adrenaline with a sweet melodic chaser... Having this much fun crammed into two and a half minutes is probably illegal." Rick also spoke about the album: "After a wait of eight years, and a long string of singles, we've gone on to do what we said we would never do again: we've only gone and recorded a brand new album! We set out to capture the live essence of Ash, the closest sonic predecessor would be 2004's 'Meltdown', with the songwriting of the Free All Angels singles."

"We've stripped away the electronic overtones of the A-Z Series and made a streamlined blazing guitar record. On every song you can hear what makes this band tick, our beating (atomic) heart. It's a visceral expression of what has driven us since 1992. Passion, melody and Ash."

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REVIEW: 'A Curious Life' film screening and Levellers acoustic set - 07/03/2015, The Forum, Bath

On a busy Saturday night in the city centre of Bath, lots of people mostly over the age of 30 have gathered at The Forum, a wonderfully preserved Art Deco cinema built in the 1930's. Inside the auditorium, what looks like a full house takes their seats to watch 'A Curious Life', a film documenting the lives of UK folk-punk legends the Levellers. 


Directed by former Chumbawamba member Dunstan Bruce, it's more of an insight into the lives of the group rather than a comprehensive document of their career. Billed as a tale of "25 years of subsidised dysfunctionality", a lot of the band's story is told by the film's central character, the band's bassist/artist/archivist Jeremy Cunningham. As well as a highly entertaining appearance from Jeremy's proud parents, the film goes shopping with the bassist for vintage whiskey, and takes a look at their early years as part of the anarcho punk scene, their gradual self-built success, the impact of their classic 1991 album 'Levelling The Land', their triumphs at Glastonbury, as well as the band's notoriously volatile relationship with the music press. We also get a look inside The Metway, an old factory in Brighton that the band made into their own self-contained headquarters and recording space, plus a moving scene featuring guitarist Simon Friend starting a new life living on a barge following the deaths of his partner Jude and his mother.


With Jeremy discussing his highly destructive drug habits, the film turns its attention to how the band bounced back after going off the rails in the late 90s. While it doesn't profile their return to form with their recent albums, it does document their continued success on the live circuit and their increasingly successful, corporate-free 'Beautiful Days' festival which is held each year in Devon. Band members and associates explain the secrets behind the band's longevity, and frontman Mark Chadwick's anecdotes sum up the spirit of the group brilliantly. At just 78 minutes long, you get the feeling that more could have been explained about each album to make up a clearer account of the highs and lows, but 'A Curious Life' takes a different and far more intimate approach. However if you're looking for a full, in-depth history of the Levellers, THIS lengthy article I wrote last year does the job nicely.

Following a humourous and enlightening audience Q and A session with Bruce and Jeremy, the band appear for an acoustic set. Well, acoustic except for the presence of Matt Savage's keyboards. They begin with perfect renditions of 'The Boatman' and 'The Road', which inspire sections of the audience to leave their seats and dance their way to the front, to the displeasure of the limited amount of venue staff. Everyone is told to go back to their seats until later, and as it turns out, for good reason.


Admittedly, the seated venue isn't what I'm used to when watching the Levellers either. But unlike being packed in amongst a sweaty crowd, one can better appreciate the intricacies of the band's slower, more reflective material when seated comfortably in a setting like this. The subtle details of the magnificent early EP track 'Hard Fight' benefit from the increased degree of concentration between the audience and band, while a lovely 'Confess' proves that even under-par albums like 2005 'Truth And Lies' still had their stand out moments. Simon takes the microphone for the beautifully touching 'Alone In The Darkness', a song sandwiched between the elegant 'Edge Of The World' and the brutal drama of '61 Minutes Of Pleading', two numbers plucked from the unfairly dismissed 2000 "drug record" 'Hello Pig'. 'Elation', usually played solo by Simon as a fiery acoustic ballad, is instead performed exactly as it was on 1997's 'Mouth To Mouth', while 'After The Hurricane' demonstrates how the band have matured without losing any of their passion. A spellbinding 'Maid Of The River' reminds you that the 1995 number 1 album 'Zeitgeist' is now 20 years old, and begging to be played in full on an anniversary tour.

The pace is upped and the energy increased for a resonant blast through 'Barrel Of A Gun', which immediately tempts the crowd from their seats once again. And after a superb 'Truth Is', a riotous 'Dirty Davey' and an equally charged 'Burford Stomp', a large percentage of the seats are empty as the front of the stage fills up. The band reappear for a hugely enjoyable encore of 'Carry Me', before the frantic energy of 'What You Know''s climax sends the assembled crowd into a frenzy one last time.

Not the first memorable night I've enjoyed with the Levellers, and probably not the last, but certainly a different experience, and a rewarding one that really demonstrated their versatility.

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