Jenny Lewis & The Watson Twins LIVE

Oh the fun. Let's try a new way to get to the Lowry. Actually the end result was inconclusive as getting slightly lost, although not by much, did mean that we really couldn't come up with any true comparison. Still, we got there and in plenty of time too.

So off to Pizza Express it was. Although really considering all that they really do is Pizza it was a bit of a surpise to be met with the words "there's a table, but there will be a 45 minute wait for food." 45 minutes? It's a Pizza for god's sake. Anyway, we settled down, Gee watched the bintage pass by and then he came up with the statement "they look like the Watson Twins". Of course, knowing Gee I decided to ignore him, so he tried again and lo and behold it was indeed the Watson Twins enetering the same pizzeria as we were in...and then the excitement level raised a little bit higher as we then realised that Jenny Lewis was in the hiz-ooos as well. First impressions were of just how tiny she is.

After considering killing one of her band on the staircase we finished our meal (with Gee's credit card bouncing to much embarassment) and went into the great outdoors to do our paparazzi bit and wait for her to come out. One of the Watson Twins came out first and was very sweet. In fact she was so sweet that I refused to use my pre-planned joke on her (I was hoping one of them would say "are you going to the show tonight" and then I could have said "show, what show?" And yes I know that is lame, but it would have kept the tradition up). Hell, as soon as any woman links arms with me I'm putty.

So then there was another half an hour wait...only for Gee to go and spoil it by upsetting the lovely Miss Lewis to the extent that she refused to pose for a picture. Of course I am joking. We have since found out she's not really keen on posing for pics and the Dean is cool with that, especially as she was so sweet with both of us, shaking hands and having a good little chat with us. And even almost stroking my chest (ok, I admit she merely pointed in the general direction of my chest and admired my "The Like" pin badge). Of course initially you get a bit upset that she wouldn't pose for a pic, but you can totally accept the fact, especially as she was indeed so nice to us. And as I said to Gee at the time, I've forgiven women who've done a lot worse to me in the past ;-).

Anyway. We decided to watch the support act on the TV in the bar (nice touch by the Lowry there) and then casually made our way to our front row, dead centre, seats. And from thereon in there was, quite simply, one hell of a show in progress. I was a bit frightened to use my camera and after two songs I was absolutely shit scared as Jenny seemed to give me one of the most evil looks I've ever seen...I even turned to Gee and said "she's scaring me" but seconds later she mouthed me an "hello" and I was at peace with the world.

This was better than Gee getting a wave from Heidi. As well as the afforementioned hello, I got a few more nice smiles, a couple of "thank you's" and some applause for my percussion playing...ok, maybe not the last one, but we did all join in on percussion with some coins.

Of course, this is supposed to be a music page, so I suppose I'd better stop boring you with tales of my "sexual frisson" with Miss Lewis and get on with the music. And if the previous concert earlier in the year was excellent, this managed to go a couple of notches higher. Spellbinding at ever turn, there were magical renditions of most of the Rabbit Fur Coat album (with only Handle With Care once again missing), the highlights of which were "You Are What You Love", "Born Secular" and "Rise Up With Fists". There was also a beautiful solo rendition of "Rabbit Fur Coat" which almost brought tears to my eyes.

Throw in some quality new songs, including that one about "Jonny Killed Mom" (or something like that) and the one that was described as being about trying to work out the precise moment that Mariah Carey became a slut and once again Lewis and the Watson Twins delivered one of the best concerts I've ever seen. Yes, once again it really was THAT good. Roll on the next time.

Giant Drag LIVE

Well damn you Poolstock Lane. Damn you to hell. The one weeknight concert that I don't drive to and we meet absolutely NO traffic jams whatsoever. Wonderful.

A relatively easy journey in then, and then off to yet another "all you can eat" Chinese buffet restaurant. Although there was the added touch of class you rarely see as they has deep-fried battered salmon as one of the starter choices. Then it was off to a Witherspoons (which for once actually had some Magners in stock) to attempt to chat up some bar-staff and then through the rough streets of Manchester to the Night & Day venue.

By day a cafe, by night a "pumping" musical venue of choice. One which made me feel distincly "uncool" in comparison to all the hip chaps and chicks in attendance. Mind you, the venue also had its fair share of qumquats in as well. It also soup of the day, which was Tomato & Strawbery! TOMATO AND STRAWBERRY!!! What's up with that?

Anyways, support act Foreign Bodies were ok in a "they'll look good on CD-UK" (or perhaps I should say Popworld these days) way. Or maybe one of those much sought after spots on the O.C. Still, they were quite good without ever really managing to completely enthrall me, but I did shake on of them by the hand for some reason, so I'll wish them all the best.

So onto the main event. And let me get this out of the way right from the off. I'm in love with Annie Hardy. She's a complete and utter barmpot for sure, but you know that's the way I like 'em. I'm not quite sure of course whether the quirky, stand-up comedian style character she came across as on stage was entirely "organic" but what the hell. Although if I saw what I thought I saw, some woman did seem to walk out after Hardy had proclaimed that "it's great to see that people with Aids have made it here tonight...Aids is so gnarly".

The songs were kicking though. How the fella manages to play the drums and the synths at the same time is beyond me, and it is quite an impressive achievment. Higlights included "This Isn't It" "YFLD" and "a new song called "Drugs" but to be honest, the whole thing was pretty damn fine.

The "encore" saw the band not going off, and started with them apologising, tongue in cheek, for not playing the last two songs earlier but that they leave them till last so that everyone stays to the end! And what a finale it was. Their version of Chris Issak's Wicked Game probably sounds like a bad idea on paper, but they make the tune their own, and this was followed by Kevin Is Gay, (or Kevin WAS Gay as Annie informed us), whose daft title belies it's brilliance.

It is, of course, inpossible for a two piece band to completely capture the sound of the album, but they had the energy and the excitement in full spades. Perhaps in years to come, Annie won't have to introduce future singles as "our latest top 1 million Billboard smash hit."

Single Releases 17/04/06

SOS (Rhianna) - Yes, so it seems like this is officially out this week, so downloads may have got it to the top 5 last week. And it's still brilliant. Read my other review if you need to.

This Isnt It (Giant Drag) - Well it may not be "it", but this is still a bloody fantastic song. And, as "off the point" as it may be, how unbelievably cute is Annie in the video to this?

All Night Disco Party (Brakes) - Is this really getting a re-release? I'm sure that when Brakes were completely underwhelming me when supporting Editors, that this was supposed to be their big hit. Well it was rubbish then, is rubbish now and will always be rubbish. To be fair though, it's probably the best track of theirs I have heard.

Spiders Web (Katie Melua) - Taking of songs that were pants live....this is the ever classic tune that had me, Gee and Dave rolling in the aisles with laughter when she debuted it live on tour. It's not got any better in the meantime either.

Music Is Power (Richard Ashcroft) - You know I am conscious that most weeks I seem to just criticise 95% of the singles I review, and I do try to be a little more positive. But then I get faced with something like this. It's just not very good is it? And the fact that Dickie has in the past dome some cracking tunes makes this even more unpalatable. Put some passion back into it Richard please. Turn off the auto-pilot and give us something with feeling.

Dreams (Deep Dish feat. Stevie Nicks) - Another week, another pointless disco dancing remix of a classic tune. One the one hand you could argue that at least this keeps the original singer on board...on the other hand you could argue that this makes the Corrs' version seem cutting edge.

Losing (Tina Dico) - Yes you are love. And this won't help you to start winning. Like everything she does it's not bad, but it's fairly unremarkable.

Look At Me Now (Faders) - Well credit to them for continuing to plug away over here. It's never going to work, so they'd better hope that the American success continues. This isn't an awful tune by any stretch of the imagination but then again it isn't a good tune by any stretch of the imagination.

Cosy Prisons (A-Ha) - If their last single was a bit of a welcome return, this sees the law of diminishing returns applying. It's not bad, but lets put it this way, in another 20 years time you'll still be listening to Take On Me rather than this.

Dance Dance (Fall Out Boy) - What can I say? It's not my cup of tea but they seem to be quite popular these days. Bit high pitched though.

The Yeah Yeah Yeah Song (Flaming Lips) - Ok, so you know its likely to be weird (and boy is it) but you can always rely on the Lips to come up with at least a few storming tracks every time they release an album...and this is one of those. The moralistic question and answer style lyrics could grate in lesser hands, but you never lose the feeling during this that the Lips know exactly how preposterous they are constantly on the verge of being. Which add up for fun, fun, fun.

Lie To Me (Daniel Powter) - Who is worse do you reckon? Powter or Blunt? In my book at least Blunt has a little spark of personality and verve going for him...two traits that seem to have been surgically removed from DP. So really even if you haven't heard this, you'll know exactly how dull it sounds.

From Paris To Berlin (Infernal) - It's little more than your usual thumping Euro disco tune I know, but it is one hell of a catchy thumping Euro disco tune.

Never Wanna Say (Soundbwoy Ent Ft. Doctor) - Say what? Anyway against my better judgement this isn't too bad. It's certainly nice to see a UK slant on the whole R'n'B thing actually being something different and not a watered down attempt to be American.

APPARENTLY there is also a new Snow Patrol track available on download from Friday, but don't expect me to be listening to it.

Death Cab For Cutie - Plans

Death Cab For Cutie are one of those bands I would normally avoid simply because of their name; indeed, this album came out in the UK last August and completely bypassed me. Indeed it was only upon giving their recent single "Crooked Teeth" a review that I happened upon a copy of this. (In case Atlantic Records are reading this lets say nothing else than "thanks EG").

Of course, the question amongst long-term fans seems to be whether or not this major label leap has made for a better DCFC or not? Well as I've never heard them before I cannot comment, but I can say that Plans is a wonderful little record.

My first impression was that Death Cab are somehow the missing link between Jimmy Eats World and Coldplay. Plans mixes the emo sound with a more plaintive and mellow sound and indeed when it works well, such as on the sublime What Sarah Said, where by the lines "But I'm thinking of what Sarah said/That love is watching someone die" come out, you're almost on the verge of tears, the results are spectacular. You get the feeling that if Chris Martin had come up with this, you'd have a multi-million seller on your hands.

And this is not the only stand out moment. In fact the other two stand out moments for me effectively highlight just how varied Death Cab seem to be able to be. Soul Meets Body is perhaps a little too melodramatic for it's own good, but it's one the most ambitious track on the album. It takes a while to get going, but when it does, the results are impressive. However it's followed by an even better track in I Will Follow You Into The Dark, which has nothing but an acoustic guitar for backing. The story maybe the age old fear of losing a lover rearing it's ugly head, but its simple delivery produces something that is genuinely affecting.

However it's not all as good as this. Someday You Will Be Loved is a fairly catchy melody that's ruined by some of the most mawkish and cringe-worthy lyrics you'll ever here; Different Names for the Same Thing is another ambitious musical production, which is definately too melodramtic and spends far too much time going nowhere in particular.

Still the overall impression is good, with the good stuff far outweighing the dross. And whilst sometimes I did find myself wishing for them to pick up the pace somewhat and offer something different, when they get it right, there are few that could do it any better and its definately good enough to ensure I'll be taking the time to check out their back catalogue.

The Streets - The Hardest Way To Make An Easy Living

Such is the life of a successful recording artist. Feted as the "voice of the people", Mike Skinner took The Streets from an underground cult to a national phenomenon with the classic album A Grand Don't Come For Free. But of course, the success led to a massive change in Skinner's personal life.

And so now, his new album presents the less glamorous side of fame and fortune...and some critics are getting snotty. Of course, they'd have probably have been even more snotty if the millionaire (if he still has any of his money left...and after listening to the new album there are moments when you wonder if he does) superstar had done another album about losing a thousand pounds, not getting your video back to the rental shop on time and chatting up women in kebab shops.

Of course this does, to be fair, raise an issue. Skinner found his fame as a "voice of the people" but much like Jarvis Cocker discovered after A Different Class, its difficult to maintain that when celebrity hits. (And to go off on a tangent, it will be interesting to see how the Arctic Monkeys tackle this particular problem).

So out go the tales mentioned above and in come ones of dalliances with pop stars, an unhealthy spread betting habit and "pranging" out on copious amounts of cocaine. And the result is a mixed bag. Skinner just about avoids the "woe is me" rockstar angst that can tire you out very quickly thanks to the fact that a lot of the lyrics display Skinner's trademark verve and wit...even if on occasions he seems to have fogotten about providing them with a tune.

There is also the unavoidable fact that a lot of the album compares unfavourably with his previous effort. When You Wasn't Famous is funny, but not as funny as You're Fit And You Know It; Never Went To Church is a touching ode to Skinner's deceased father, but it's not half the tune that Dry Your Eyes was.

Still when it's good, such as Can't Con An Honest John and War Of The Sexes, you sense that Skinner may well already be winning the internal battle that wages on inside of him.

Getting back to the Pulp analogy, this is certainly no "This Is Hardcore" but neither is it a complete dud. There are enough flashes of Skinner's genius to suggest that this may only be a temporary low point on the road and that there is still another classic album in him. If I were you, I'd snatch the high points off I-Tunes and leave the rest on the shelf.

Rhianna - SOS

Is this out this week? Have I really messed up? Or is it just going to crack the top 20 on downloads alone this weekend?

Anyway, just in case I have missed its release date, here are the salient points.

* It's really rather good. In fact it's the best pop single since Biology.
* No really, I know it's Rhianna, and I know that she's rubbish, but believe me, this is one of the best pop singles of the decade so far.
* No, honestly it is.
* It manages to sample Soft Cell's Tainted Love and sound better than it would have done if Mylo had thought of the idea, so it must be one of the best pop singles in ages.
* It's rather good indeed.
* It's so good if Rachel Stevens had done it, it could ALMOST have saved her pop career.
* Oh, and the video is fantastic too.

Hope that clears everything up.

Singles Releases 10/04/06

No Promises (Shayne Ward) - No promises that you aren't going to "do a Gareth Gates"? Or heaven forbid "do a Michelle McManus"? But anyway. It's dull, of course it is, but it's no more dull than hundreds of other "pop" tunes of its ilk. I mean seriously, is it any more offensive than Westlife? And on the plus side there's only one of him.

Better Do Better (Hard-Fi) - Well to be honest all objectivity goes out of the window with this lot. I cannot stand 'em. And to be honest, I cannot stand this song. Rumours abound that they've "relocated" to America in a bid to crack the US market. I for one wish them ever success and hope they stay there.

The Hardest Part (Coldplay) - Now this is another place where all objectivity should go out of the window. I don't like Coldplay. In fact I cannot stand them. But they kinda swung me around with the Kraftwerk sample in "Talk", well at least to the extent that I wondered whether I had been a bit too harsh. Of course, I haven't. They are dull. But against all the odds, and even though this is one of the dullest of the dull in their cannon by all accounts, I actually almost like this. I mean, and whisper this quietly, I was whistling along to the song when they played it on Radio 2 this morning....

I Feel It (Lorraine) - I feel it too. Lazy reviewers will call them the new A-Ha. I would never stoop that low. But if you cross their epic sound with the pop sensibilities of Pet Shop Boys, you are in the right ball park for how good this single is.

Unpredictable (Jamie Foxx) - Touche Jamie. Because I'm pretty sure you know full well that this average, generic R'n'B tune is about as far from unpredictable as you can get. He likes his bitches and he's well versed in getting jiggy with them. How novel.

Kids With Guns/El Manana (Gorillaz) - There seems to be a grand total of me and Miquita Oliver who don't like the Gorillaz. And as you would expect from the fourth single from Demon Days the quality is down from previous efforts. What else can I say?

Here We Go (Trina ft. Kelly Rowland) - It seems like every week there is something like this. Still at least this has a bit of novelty value in its humour, although that soon begins to grate.

Crooked Teeth (Death Cab For Cutie) - Oh the irony of the band name; it never fails to get to me. In years to come you may look back on this tune as one that reminds you of summer 2006. Me? Well I'll have probably forgotten all about it, but the dark lyrical undertones make this an interesting one...one which almost makes me want to take a little time getting to know them better.

Crosses (Jose Gonzales) - Delicate and sweet...but also pretty average.

C'mon Get It On (Studio B) - Surely you've heard their "smash" hit I See Girls... Yes, you have? Congratulations then because as this one is exactly the same as that one you don't need to listen to this and you can spend those extra 4 minutes of your life doing something worthwhile.

Message In A Bottle (Filterfunk) - To quote Popjustice "...that Filterfunk single is absolutely fucking terrible...". And I for one am not going to argue with that point of view.

Single Reviews 03/04/06

Crazy (Gnarls Barkley) - Ok, so there is little point reviewing this considering it has just made history and become the first song to hit number one on downloads alone, but I can't very well ignore it. I like it, but every time I hear it I get this sneaking suspicion that it's not quite as good as I would like it to be if you catch my drift.

Why Wont You Give Me Your Love (The Zutons) - Upon first listen this was a cracker. But sadly, repeat listens have somewhat laid the tune bare for what it really is. It's decent, but it's not all that good. Which in a funny way kind of sums up my whole thoughts on the Zutons themselves.

One (Mary J Blige & U2) - A pop band does a dodgy cover and it's the end of the musical world as we know it...Mary J Blige murders the U2 "classic" and it's the greatest thing ever. Listen, if you want to hear a version of this song that really is excellent, check out Johnny Cash's stab at it. Then you really will see how crap this effort is.

The Fallen (Franz Ferdinand) - Ok so here is the FF chart. I loved their 2nd album when it came out, cooled on it considerably and currently think it is way better than I gave it credit for when I had a downer on them. And as luck would have it this is one of the stand out tracks on it You Could... as well. Add in a cracking "B" side and you can't really go wrong.

Speechless (MishMash) - The Scissor Sisters have a lot to answer for. I dare say without their success, this would never have left the drawing board...and we'd have been a whole lot better off.

Wigwam (Wigwam) - Betty Boo. It's been a long time coming, but finally she's back on the scene...ok, so it's hardly up there with Jesus rising from the dead, but back in the day Betty Boo was relatively entertaining (and Sharon, if you read this it's not too late to give me back my Betty Boo album) and throw in one of the geezer's from Blur and you have a great "comeback" single. Ok, so it's throwaway pop, but I defy you not to be singing along when you hear it.

Creepin' Up The Backstairs (The Fratellis) - "Indie" it may be, but there is on hell of a catchy pop melody lurking around in this one.

The Blues Are Still Blue (Belle & Sebastian) - It's got a retro sound that I can't quite love, but all the same this is a perfectly pleasant pop tune.

Laffy Taffy (DL4) - Terrible. Quite possibly the worst record so far this year. Yes, it's THAT bad.

White Russian Galazy (The Crimea) - Ok, so I believe this is a re-release, but then this is a song that deserves one. An overlooked gem, so please Britain, don't make the same mistake twice.

Concert List Update

The ones in RED have been and gone

11th Feburary - Jenny Lewis - Manchester Academy 3
27th February - Editors - Manchester Academy
1st March - Fun Lovin' Criminals - Liverpool Academy
2nd March - Gemma Hayes - Liverpool Academy 3
9th March - The Like - Manchester Academy 3
18th March - Sugababes - Liverpool Philarmonic Hall
30th March - Depeche Mode - MEN Arena, Manchester
20th April - Giant Drag - Night & Day Cafe, Manchester
23rd April - Jenny Lewis - The Lowry, Salford
25th April - Flaming Lips - Apollo, Manchester
28th April - Buddy (the musical)- The Lowry, Salford
22nd May - Divine Comedy - Manchester MDH
27th May - Girls Aloud - MEN Arena, Manchester
30th May - Nerina Pallot - The Lowry, Salford
2nd July - Pet Shop Boys - Summer Pops, Liverpool

Be Your Own Pet - Be Your Own Pet

15 tracks in a little over half an hour...these guys certainly don't hang about. Which in it's own little way is very much a good thing.

This is the sound of teenage America, but could really be from the point of view of any teenager. BYOP are not for grand statements on the state of the universe (not yet anyway); this, rather exhilarating, album is more concerned with those unimportant things that nevertheless take on great importance when you're young. Take the following line from Bog... "I want a kitty cat my boyfriend wants a dog, We got into a fight I drowned him in the bog" ...hardly Bono espousing on the latest crisis is it?

But really, you're unlikely to pay too much attention to the lyrics anyway. The comparisons to Yeah Yeah Yeahs are obvious (if not entirely fair) and this is unlikely to be an album kicking up a storm on Radio 2 anytime in the near future. However, if you can stand the noise, October First Account being one of the rare melodic exceptions to the general rule here, and are looking for a punky, exciting blast of fun, you could do much worse than check this out.

Sure after a while everything seems to blend into one, but overall this is a dynamic and exciting record which deserves to be heard.

Liz Phair - Somebody's Miracle

Poor old Liz. She got sick of not selling very many records so hooked up with The Matrix for 2003's eponymous effort...and promptly didn't sell many records whilst at the very same time alienating her core fanbase to an alarming degree.

I for one enjoyed Liz Phair, not least because if we are to be subjected to Lavigne-esqe rock on every corner it might as well be from someone who knows what they are doing and can supply the lyrical edge missing from so much of the banal "by the numbers" rock we get force-fed these days.

The problem is that Somebody's Miracle is more of the same, except without the, dare I say it, novelty value that her previous effort had.

That's not to say that I didn't (or don't) enjoy it. Indeed in a funny kind of way it's exactly the kind of record I would have preferred from Sheryl Crow instead of the somewhat lamentable Wildflower. Tracks like Leap Of Innoncence and Got My Own Thing are perfectly catchy mainstream pop songs, however at times Phair's limitations are all too apparent. Her voice simply isn't suited to the over-produced sound evident here and, worse, the album even makes Phair sound boring, which long time fans know couldn't be further from the truth.

Any number of packaged female rock teens could have been given these songs and the result would have been more than respectable. But when an artist like Liz Phair gives us this the only feeling is one of disappointment. Somebody's Miracle is not a bad record per se, but it doesn't come close to what you would expect from an artist of her quality.

Depeche Mode LIVE

Tea at the Old Orleans again, but without the women trying to chat me up. Well I say trying to chat "me" up, but really women never try and chat me up. But anyways. The only other noteable thing was the fact I had some Tennessee toffee Ice Cream on my waffle. Sadly there was no Z sauce or anything like that.

Anyway, thanks to the modern wonders of stupid road planners in my home town, by the time tea was over, it was just on 9 o'clock when we got to the MEN, just in time to catch the end of the "specially produced" DJ mix that was playing.

On first impressions the stage looked more like a U2 knock-off than anything else (although as I remarked to my mate, if you were sat at the back of the cavernous MEN it probably looked like the greatest thing ever) but once the lights dimmed I have to admit it looked pretty impressive.

The first thing that struck me was just how camp the band were. Martin Gore was wearing some kind of, well...what can I describe it as...like a wooly hat but that was shaped like a mohican hair-do, oh and he also wore a pair of Angel wings! Dave Gahan was more saratorially dressed but he was mincing about on stage in a manner that would have made PJW proud. As for that other chap (Andrew Fletcher) well he looked completely out of place behind his desk and at some points seemed to be doing nothing whatsoever.

Still, all this, I am sure, is boring you to death. You want to hear about the music. Well that was as good as you would expect. New tracks didn't seem out of place (although were not as warmly received as the older classics) and they ran through as representative a set list of their long career as you could expect. Personal highlights were Behind The Wheel, A Question Of Time and Never Let Me Down Again. But the icing on the cake were Everything Counts and Enjoy The Silence, the latter of which is one of the best tunes EVER!!!

So really the feeling is much like the one I had last year when watching REM. Whilst nothing more than a casual fan of the band, I thoroughly enjoyed the concert and am glad I took the plunge to go and see them. But having seen them once, I think that's enough for me.

Single Releases 27/03/06

I was away earlier in the week, so this is a shortened version of the singles reviews this week, not least because I can't be bothered seeking out all those hot new hits.

Your Kisses Are Wasted On Me (The Pipettes) - Luckily though, I caught this on XFM Manchester last night (and thank you god for blessing us with that radio station). It's catchy and a whole lotta fun. Whether it will get annoying in time is not something I could bet against at this moment, but for now it does the job.

All Sparks (Editors) - As ever with these guys, at least from my point of view, this is good but not great. But it beats the pants off any similar competition.

When You Wasn't Famous (The Streets) - Ignoring the genius of the John Shuttleworth backing track, the big question surrounding this is just who is that delectable pop tart who Mike Skinner did the nasty with? Any ideas? To be honest, I don't care as long as it's not my Nadine. Anyway, this is yet another absolutely class Streets song and its really whetted my appetite for the album.

Black Sweat (Prince) - Somewhat of a return to form for the pop midget. Goes to show that when he puts his mind to it, he can still go.

Naive (The Kooks) - Well at least its an upbeat number hey?

You Have Killed Me (Morrissey) - Well you certainly know from the very first listen that this is a Morrissey tune. I'll listen to it on the radio, but I won't be buying it.

Raoul (The Automatic) - Nonsense, fun and disco bits...what more could I ask for in a pop tune . This is rather good indeed.

So really, apologies to The Secret Machines, David Gray and the Guillemots, but that's as far as I go this week.

Single Releases 20/03/06

Nature's Law (Embrace) - Well I don't know how they keep getting away with it. I truly am lost for words? Is it terrible? No. Is it in any way memorable? No. I just can't get worked up about this at all either way.

Heart In A Cage (The Strokes) - Ok so they were destined to never really live up to the hype surrounding "This Is It" but this isn't too bad. It's not going to save rock music or anything like this, but it is good.

Bounce, Move, Shake, Stop (MPV) - Do Reel 2 Real (or was it Real 2 Reel) and the Mad Stuntman know about this one? Are they getting any royalties? If not, they should be. Anyway, this is a nice little dancy bop ditty, but its far too unoriginal to really hit the mark.

To And Fro (Mattafix) - As you might suspect from these boys, this is dull beyond belief.

Stupid Girls (Pink) - So let me get this straight. It's ok to parade your flesh in a music video despite criticising people who do that kind of thing as long as you are being "ironic". But just remember, whatever you do, don't call her POP. I'm sorry, but this is the kind of piss-take that Eminem could do in his sleep and he'd do a much better job of it. Still I dare say that won't stop it being a mega-hit.

Ms. New Booty (Bubba Sparxxx) - A song about the delight of ladies' arses. And really, after the travesty that was Black Eyed Peas and "My Humps" we need this kind of cleasning song. As bad as it may be....

Our Truth (Lacuna Coil) - This is another one of those that if you've heard of them and you like them...well you'll like this. If you haven't, or you don't like them, then this won't change your mind.

Gold Lion (The Yeah Yeah Yeahs) - Finally they do something which justifies the hype. It starts off all mellow and descends into noisy chaos...and it's also rather brilliant.

Temperature (Sean Paul) - Please. Can people stop buying his records. Thanks.

So Sick (Ne-Yo) - Firmly from the R-Kelly side of R'n'B, this at least has the distinction in being far less naueseous than the piss-lovin' RK ever is.

Grillz (Nelly ft. Paul Wall, Ali & Gipp) - They certainly share the workload don't they these rappers? I have to say though that this is the right side of funky and is actually quite funny. So it's one to listen to, if not actually buy.

Mothers Day EP (G4) - As if the runaway train known as G4 couldn't get any worse, they go and record "Barcelona"...with Lesley Garrett. Don't you dare buy this for your mother. Buy her something good instead.

Love 80's (Lupen Crook) - Well the picture on his Myspace page is enough to put me off, but the tune itself isn't too bad. But really, this isn't going to be huge. Worth checking out if you have a spare 5 minutes though.

Sugababes LIVE

Well the day starts off well. Everton beat Villa. Tottenham beat Birmingham (and drop Stalteri - which proves that Martin Jol takes notice of me) and I drink five pints of the Guinness. Throw in another all you can eat Chinese buffet (although where were the Deep Fried Crab Sticks I ask you?) and England losing in the Six Nations (unpatriotic that may be, but it was funny) and even the fact of me being, shall we say, "ill" outside the palatial Philharmonic hall cannot ruin the build up.

We missed the support act, one Shawn Emmanuel or something, but I dare say that was no great loss. As usual there was the slight embarassment that you're sat in the middle of a load of 10 year olds (although there were a smattering of non-parent oldies like ourselves dotted about) but hey, I've done this enough times now to let all that wash over me.

So it was onto the concert itself.

The good news is that the new girl Amelle fitted in very nicely and the 'Babes were as professional and competent as you would expect them to be.

The bad news, for me anyway, was the fact that other than a raised platform bit and three slightly bizarre boxes later on in the evening, there was very little going on AND the concert only lasted just over an hour.

These bad things were made worse by the fact that last time I saw the Sugababes, there was a hell of a lot more going on onstage (the bit with the bed, the pole dancing etc.) and they did a lot more songs. I know that the fact that the new girl has joined probably meant that they didn't have the time to either learn more of the songs or put on a more elaborate show but really when you are paying £21.50 (plus booking) for a ticket it's not really my problem.

Don't get me wrong; what they did was great, and they have some classic pop tunes in the cannon. Amelle proved to be a great addition to the band and all three looked like they were having a good time. But really I couldn't help feeling short-changed. And the fact that they made no real effort to inform us that Red Dress and Push The Button were the encore seems to me to suggest that they knew they weren't exactly putting their best foot forward.

And also, I have to mention that it is slightly surreal seeing the 'Babes do Overload and Run For Cover when there is only one of the people who actually sung on that left. It's like seeing Gerry Marsden on one of those 60's reunion tours without the Pacemakers :-)

The Best Of...THE SUGABABES

Ages since I've done a best of, but I'm sat at home bored, and as I'm going watching the 'Babes tomorrow, here is the top 10 list of their best songs, IN MY OPINION :-D

10) Round Round - Ok, so it sounds like three completely different songs thrown together but in their defence it sounds like three completely different GOOD songs.
9) Shape - Loses a few places due to the Sting thing, but this is a nice soothing ballad.
8) Virgin Sexy - The one non-single track to make the list (which in itself tells you a great deal about the Sugabaes weaknesses in my opinion) and I'm fully aware it is maybe the rememberence of the poll dancing they did to this one on their last tour that makes it stick in my mind.
7) New Year - Sometimes the Great British record buying public just get it so wrong. Why this wasn't Christmas number one or something I will never know.
6) In The Middle - Again, is it the memory of Heidi in the video that pushes this one so high up the list? Quite possibly.
5) Stronger - It's nice. It's lovely. I love it.
4) Push The Button - What can I say? One of the best pop tunes of 2005.
3) Run For Cover - Moody without being souless, this is another one that was criminally ignored at the time.
2) Overload - What a debut single. In fact it was probably TOO good. I only wish in hindsight that the Sugababes had carried on along this trajectory...
1) Hole In The Head - ...although that would have probably meant that we would have missed this beauty. Pop perfection.

The New Pet Shop Boys Single

Well, I've just heard the long awaited I'm With Stupid and I have to say....

I'm quite impressed!

It took a couple of listens (as it usually does with these kind of things) but it's good. It's not quite the out and out stomper that I had been kind of hoping for, but hey, it's a new Pet Shop Boys single, so you know I'm going to be happy! :-D

It's more akin to their late 80's stuff than the out and out "poptacular" that was Very and certainly whets my appetite for the album Fundamental. Whether it's going to be quite the song that plants them firmly back in the top 10...well I don't know about that.

Single Releases 13/03/06

Whole Lotta History (Girls Aloud)- Ok. You all know my feelings about this one. For a start its a ballad, and the only decent ballad they've ever done was See The Day...and even that wasn't very good. Heaven knows why they had to release another ballad as a single straight after that one. I can see what they are tyring to do, but really you need a better song than this to do it.

Another Place To Fall (KT Tunstall)- Now this is a good song...but come on peeps, it's the FIFTH from the album. If you ask me, they should never have bothered releasing Under The Weather, because this is a great track...but it's overkill.

Walk Away (Kelly Clarkson) - She seems a game lass and she's done quite well for herself although I still, of course, fail to see how she's made it quite so big. Having said that, I quite like this one, but I have to say...she's looks bloody awful in the video. Oh and it sounds a bit like Word Up by Cameo!!!

Fly (Hilary Duff)- I quite like this one, but I have one small problem with it...it was in my top 60 singles of 2004. This is now 2006. So no matter how they repackage her stuff in the UK, this to me is still an old, old song and therefore I must lament it's release.

Pump It (Black Eyed Peas)- Yet another BEP tune that I quite like but that wouldn't tempt me into buying their album. The Pulp Fiction "miserlou" tune in the background is a stroke of genius though.

No Way Back (Foo Fighters) - Come on Dave, put a bit of effort into it mate. This is your "by the numbers" rock tune that the Foos can churn out in their sleep. I want more from them.

Wisemen (James Blunt)- Another completely non-offensive track from the Chicken lover. The sort of thing I'd listen to on the radio if it came on, but not something I would buy for myself.

Beautiful World (Sara Jorge) - Ooh, me likey this. The sort of song that would be a HUGE hit if Kylie did it (and would probably fail to get Rachel Stevens in the charts :-D) but that will sadly probably sink without trace. Top quality pop.

There It Go (Jules Santana) - Erm quite. Not my cup of tea at all really. Another one of those "rap" things with no discernable tune.

Make A Move On Me (Joey Negro) - One of those "retro" dance tunes I shouldn't really like but I actually do. This is the kind of cracking tune that seemed to be out every week in the mid 90's that we sadly don't see much of these days. I defy anyone not to be caught up with the dancing groove upon hearing this one.

Just (Mark Ronson ft Alex Greenwald)- Well Radiohead have never sounded better have they? ;-) Ok, in all seriousness, this is quite funky but is still nothing more than a novelty record wrapped up in pretensious clothes. It's good, but is there any real need for it?

Advenutre (Be Your Own Pet) - They have the front woman to melt a thousand indie hearts, and finally they have the tune to back it up. A little bit Pixies, a little bit Garbage and a whole lot of fun. It won't be a hit, but why should I care about little things like that when the tune is so good?

Suffer Well (Depeche Mode) - This is a bit like the Editors would sound if they were a little bit more electronic. It's quite good and harks back to some of their mid-career classics, although sadly it doesn't match up to anything from, say, Violator.

Piece Of My Heart (Beverley Knight) - Why bother sticking the boot into poor Bev when Popjustice has just done it better than I could ever hope to. And I quote "it does not matter whether you are 'the voice' or 'the greatest singer of your generation' if you are boring and useless as a popstar."

The Like - What I Say And What I Mean

Yes, I've reviewed this before (check out the November 2005 archives) but its finally got its UK release, complete with new foxy looking cover and bonus track.

So yes, the package looks more "marketable" than the US version. The extra track, Split Enz cover version One Step Ahead is also a stormer (and is actually one of the best things they've done in my opinion) so really a winning package has just got that slightly bit better than it already was.

Buy it now! :-D

New Concert List

The ones in RED have been and gone

11th Feburary - Jenny Lewis - Manchester Academy 3
27th February - Editors - Manchester Academy
1st March - Fun Lovin' Criminals - Liverpool Academy
2nd March - Gemma Hayes - Liverpool Academy 3
9th March - The Like - Manchester Academy 3
18th March - Sugababes - Liverpool Philarmonic Hall
30th March - Depeche Mode - MEN Areaa, Manchester
20th April - Giant Drag - Night & Day Cafe, Manchester
23rd April - Jenny Lewis - The Lowry, Salford
25th April - Flaming Lips - Apollo, Manchester
28th April - Buddy (the musical)- The Lowry, Salford
27th May - Girls Aloud - MEN Arena, Manchester
30th May - Nerina Pallot - The Lowry, Salford

The Like LIVE

I love Poolstock Lane. An hour's journey to Manchester is all well and good, but when it takes you the first half of that hour to get the first three or four miles, its pretty bloody annoying.

Anyway. As usual the proper festivities kicked off in the Oxford. Bottles of Magners quickly moved onto Corky's (in my defence, they had the Creme Egg flavour in). Then came what I shall refer to as an unfortunate incident in the Kebab shop. All I will say is that the man really could have let us have the seats we'd been waiting for and saved a whole lot of shenanigans.

So we made it to the venue, avoiding being lynched on the way there, just in time to see the support act Dirty Circus finishing their set. Sadly, a little trouble with exactly what time it was meant that we'd arrived in time to see the first of THREE support acts, with the headliners still 2 hours away...

Thankfully not only did this early arrival mean we could get to the front without having to push anyone out of the way, it also meant that we caught two rather decent support acts. The Adventures of Loki were a power-punk-pop trio with shades of Ash and The Subways about them. They also had a very cute drummer. Which can't be bad. Then it was the turn of Bright Space, who have the pretty boy look to be a hit on CD-UK, plus the tunes to back it up. They're a hell of a lot better than the likes of Orson anyway.

And with that, the time had flown by and it was time for the main event. And what a main event it was. Maybe it was the copious amount of alcohol, maybe it was being closer to the front of a standing only gig than I've ever been for years or maybe it really was the most enjoyable night of my concert going life.

As soon as some guy shouted out "get naked" and Z replied "no, you get naked. If somebody doesn't get naked, I'm not playing" you realised you were in for a fun night. And credit to that curly haired guy in front of me for taking his shirt off and throwing it onto the stage.

The crowd were really into it (the girls seemed genuinely surprised and touched at the resounding reception they received) and it's not every concert night where you see the band asking their bouncers not to hit the guy who stole three tee-shirts from them too hard.

Highlights of the night included the two singles, What I Say And What I Mean and June Gloom, as well as the Split Enz cover One Step Ahead and, my personal favourite, Too Late. And yeah, I am fully aware I kinda lost it during that last one, and probably acted akin to the numpty at the Gemma Hayes concert (although I didn't bash into anyone) but by that point I was completely enthralled.

It got better though when, after the set, the lovely ladies came out to mingle with the fans. Whilst Gee was too drunk to really know what was going on, at least he kept his hands steady enough to do the honours behind the camera for me so I could procure the neccessary shots for the Dean Hall Of Fame.



Tennessee was very sweet, and she's as cute as a button. Sorry Nadine, but I think you're going to have to find someone else now. Charlotte was also very sweet, as was Z (and as is the tradition made a comment about my nice, (red), marker pen). As I was drunk I was being awfully polite in a kind of foppish Hugh Grant manner, but it went down well.



Prior to the concert I liked The Like, but now i REALLY like The Like. They are, quite simply, bloody fantastic.



Oh, and by the way Gee...sorry about that "tattoo" on your hand mate ;-)

Shakira - Oral Fixation Vol. 2

The woman is quite barmy. Endearingly so. But what people tend to dismiss, or ignore altogether, is that fact that in a world filled with by-the-numbers pop by pretty faces Shakira is not content to follow the path well-trodden. No, she wants to come up with something unique. Until now, this attitude has been watered down for her "English" releases, but now, with Oral Fixation Vol. 2, Shakira has finally let loose for the English speaking world.

Take the opening track How Do You Do; what other pop artist would dream of starting their album with a souped up version of the Lord's prayer sung by some form of Gergorian choir? I think you know the answer is no-one. But the madness doesn't stop there. Stacatto guitars, and a chorus seemingly embellished with backing vocals from a baby...and yes, we're still only on the first track!

Things don't calm down either. Lead single Don't Bother is pretty much a "Whenever Wherever 2006" lyrically, although with added bile (and really love, you don't need to move to a communist country to please me, Wigan will do). Album-ender Timor sees a childrens choir pitted against synth drums that were already out of fashion in the 1980's whilst Your Embrace isn't a million miles away from the modern Nashville sound.

When it works, Animal City or Hey You, Shakira's bold attempts to defy catergorisation lead to some perfect pop monents. However it would be fair to say that she doesn't always hit the mark. Illegal, featuring the smooth guitar skills of Carlos Santana, is one such example and Something is just a trifle dull.

So whilst this is a little hit and miss, such a scatter-gun approach is always likely to be. But considering just how safe most pop stars play it these days such an approach should be welcomed (especially as you wonder just how the record company let her get away with it). There's nothing else quite like a Shakira record, and I wouldn't have it any other way.

Single Releases - 06/03/06

June Gloom (The Like) - They've been on the Dean-dar for a good while now thanks to my good buddy Gee, but it has to be said that this isn't one of their best. Of course Tennessee looks unbelievably cute in the video (a fact I may just have to mention to her on Thursday if I get the chance) and it's not a bad tune, I just fail to see how it can be a hit when the superior What I Say And What I Mean failed to trouble the top 250. Still, people should buy it anyway just for the Leonard Cohen cover...oh and because it's three hot chicks playing rock music; what's not to like people?

Touch The Sky (Kanye West) - I still maintain the guy is not a very good rapper. But when he produces a sound like this, even if it is courtesy of the Curtis Mayfield sample/riff/whatever the technical term is these days for plaugurism, who really cares that we'd be better off if he produced this kind of stuff for a guy who could really rap instead of doing it himself.

Red Dress (Sugababes) - The "debut" single for the 3,243th line up of the band and thankfully although it is a bit "all over the place" it's one hundred times better than the turgid album version. It once again goes to prove that whilst the Sugababes might have an upsetting knack for bad albums on the whole, the day when their greatest hits CD emerges will see an all time classic pop collection within our midst (but the Girls Aloud Greatest Hits - due in November 2006 ;-) - will still be better).

Industry (The Modern) - With its synthy 80's style vibe, this is the kind of thing I really like and the male verse/female chorus brings to mind the Human League. This is the kind of thing Girls Aloud could do quite well, and that's quite a compliament from me. It's also a bit "Bis" esque, which is another reason for me to love it.

Waste A Moment (Fightstar) - Charlie from Busted, you can keep doing songs like this till the cows come home, but people will never love you like they did when they were in Busted. Although really, is this any worse than Son Of Dork?

Photograph (Jamie Cullum) - You know what, I'll come clean. I couldn't even be arsed trying to listen to this. So I'll guess. If you like Cullum, you'll probably love this. If you think he's, well, a bit rubbish, I doubt this will change your mind.

One Wish (Ray-J) - Just for the fact that he called his album Raydiation, I'm going to reccommend this. (Even though really it's not very good).

Unbelievable (Craig David) - Unbelievable that you were ever seriously considered as a bright musical hope who would be having hit after hit for years to come Craig? The sound of an artist treading water, or the sound of an artist who doesn't really know how to do anything else...you decide. Still, at least he's not as bad as Daniel Bedingfield is he? I wonder if in 40 years time they'll have a "Solid Silver 2000 Show" (you know like the 60's ones they do with Gerry And The Pacemakers now) with the likes of Craig David and Daniel Bedingfield? And perhaps more pertinantly...would anyone bother turning up?

Because I Want To (Placebo) - Well its definately Placebo. You can tell that straight away. Whether it's of any relevance to the music fan today who doesn't already like Placebo is another question, but this is track that will surely please their fans.

Billie Jean (Michael Jackson) - Take your bets on whether the whole "Elvis" thing will be quietly pensioned off due to poor sales, but don't deny that this is one of THE all-time top pop singles, EVER! And as such, it's better than anything else released this week singles wise.

Rise Up With Fists (Jenny Lewis) - ...well I'll take that back. Billie Jean is still the best pop single of the week, but this is THE best single of the week. Is it gospel, is it country, is it pop....or is it a compellingly unique mixture of everything and more? I know this probably won't chart in the top 40, but it should. It really should.

Undercover (Gemma Hayes) - This is a lovely track from the much underrated The Roads Don't Love You album. Hopefully the Radio 2 support will ensure a modest hit, and lots of success for the album as a result.

Incredible (Shapeshifters) - Remember Lola's Theme? Well that was quite good. This, on the other hand, isn't.

Like You (Bow Wow feat Ciara) - Does anyone else remember the days when he was Lil Bow Wow? Anyway, this is a cracking chorus surrounded by a dull song.

Geek In The Pink (Jason Mraz) - This is the kind of thing you just know the Americans will lap up. Sadly for Jason, I don't think us Brits really need another Maroon 5 style act to love, despite the fact I think this is quite a catchy little number.

Gemma Hayes LIVE

A much easier drive into Liverpool this time, although seeing the gritting lorries on the road at 4 in the afternoon doesn't fill you with confidence for the drive home. Few bottles of Magners (isn't that becoming a new tradition) down the throat, nice £8.50 all you can eat Chinese buffet (loving the deep-fried crab sticks) and then it was once again a mighty difficult task to find a car-parking space anywhere near the Liverpool Academy venue.

Still at least on this occasion we were closer than we were for FLC. Got to the venue in plenty of time and so for the second time in a week we managed to catch the support act. Now if that had been a mistake on Monday night, it was a huge stroke of luck on this occasion. Not that Duke Special looked up to much as he wandered on stage, but it didn't take long for me to rememeber that old adage "never judge a book by it's cover." I shall definately be checking them out when their headline tour hits the North West.



And so then it was onto Gemma herself...or at least it was once a multitude of technical problems were sorted (of a fashion mind you; the problems seemed to resurface throughout the night). She also apologised for having a bad cold, but to be honest, it's not something you would have noticed as she performed with the vim and vigour of someone 100% healthy.



There really wasn't a duff track in the set. Whether it was the slightly more edgy, rockier tracks from her first album or the more introspective cuts from her latest album, everything was done with aplomb. Highlights included Back Of My Hand (my favourite Gemma Track), forthcoming single Undercover or the Reckless Eric cover Whole Wild Word. However it's not just rocking out with the band where Gemma excels. Her solo rendition of Evening Sun (even with the "I'm going to kill that fucking snare" incident) was proof that Gemma really is a talent.



Other British/Irish female singer-songwriters may sell more records but, and whisper this quietly, Gemma may be the best of the bunch. Nights like this certainly make you think so.

Concert 2006 List - Update

11th Feburary - Jenny Lewis - Manchester Academy 3
27th February - Editors - Manchester Academy
1st March - Fun Lovin' Criminals - Liverpool Academy
2nd March - Gemma Hayes - Liverpool Academy 3
9th March - The Like - Manchester Academy 3
18th March - Sugababes - Liverpool Philarmonic Hall
30th March - Depeche Mode - MEN Areaa, Manchester
20th April - Giant Drag - Night & Day Cafe, Manchester
25th April - Flaming Lips - Apollo, Manchester
28th April - Buddy (the musical)- The Lowry, Salford
27th May - Girls Aloud - MEN Arena, Manchester
30th May - Nerina Pallot - The Lowry, Salford

Giant Drag - Hearts And Unicorns

Giant Drag are essentially Annie Hardy (singer/guitarist) and Micha Calbrase (drummer/keyboardist) and success, of a kind, came as far back as 2004 in the UK with their well received EP, Lemona, three tracks of which are contained on this really rather good debut album, including the stand out from that EP This Isn't It.

It's clear now, as it was then, that Hardy is the group's trump card. Mixing Liz Phair, PJ Harvey and Kim Deal into one intriguing package, Hardy is every bit the star, even if some live performances have suggested she's the reluctant star. Calbrase seems pretty much an after-thought but is every bit as important to Giant Drag as, say, Meg White is to the White Stripes.

The tunes themselves bring a hundred and one different artists to mind. My Bloody Valentine seem to be the critics favourite reference post, but there are touches of the Breeders, the Pixies, the Beach Boys and Nirvana at times. The latter comparison particularly fits given some of the dark and twisted lyrics espoused by Hardy, especially prevalent in tunes such as YFLMD....which actually stands for "you fuck like my dad".

The album is a bit of mish-mash at times, but there is more than enough quality to keep anybody satisfied and despite some low-brow song titles, the afforementioned YFLMD, My Dick Sucks and Kevin Is Gay, the whole thing is quite a wonderful experience. Hell even the cover of Chris Isaak's Wicked Game works well!

They have the tunes, they have the lyrics and they have the frontwoman with oodles star-quality to spare...they should be huge in 2006.

Fun Lovin Criminals LIVE

Once again it was time for the Huey roadshow to hit the town. An hellacious drive to Liverpool (thanks to the football international) momentarily dampened spirits, but then a pub with a supply of Magners was found and it is a well known fact that that is a drink that cures all known ills.

Onto the venue, which had rather confusingly changed it's point of entry, and the immediate shock was that the previously roomy Liverpool Academy 1 was half cordoned off, no doubt down to poor advance ticket slaes one must suspect. But little things like that make no difference once the FLC get on the stage.

As ever Huey was coolness personified as FLC rattled through most of their big hits. The highlights of the set included Mi Corazon (a "romantic" song about a woman, Huey admitted, who couldn't stand the sight of him), Loco and, of course the classic songs from the FLC cannon Scooby Snacks and, for the finale, The Fun Lovin' Criminal. Unexpected bonuses came from Ben E.King and Led Zepplin covers which were better than you might expect.

As ever Huey was on top form inbetween the songs and as ever, anything he does is watchable. Like the Editors concert, this was pretty much the same songs I'd alread seen FLC do live, but in a marked contrast to that experience, the extended FLC back-catalogue and Huey's all-round showmanship made this yet another unforgettable FLC experience.

Single Releases 27/02/06

After a few barren weeks for singles, FINALLY the UK is getting some good tunes this week, although as you might expect, there is some pretty bloody awful stuff out there as well. Hold onto the rails at all times folks.

All Too Human (The Rakes) - Cheeky disco tinged pop...well almost. It's a cracking little tune though.

Don't Bother (Shakira) - The return of the English-speaking Shakira at last. It's been YEARS since Laundry Service, but this is a welcome return. Yes she's still as nutty as ever, but she can come up with a catchy pop tune every day of the week. Its also got its fair share of wacky lyrics, although none that quite match up with the majesty of the small and humble breasts kind.

Beep (Pussycat Dolls) - Wow. What a comeback from the turgid Stick Wit U. This is top quality pop heaven. Cheeky, sassy and catchy. Everything a modern pop tune should be.

Moodswings (Charlotte Church) - This on the other hand isn't. Why oh why haven't the people in charge of Charlotte's pop career given her some better tunes? Apart from Crazy Chick, her output has been pretty dire, and I don't see this tune helping her out very much either.

Standing On My Own Again (Graham Coxon) - This proves that despite all those lo-fi tendencies and the like which often seem to overshadow the tunes on a Graham Coxon record, he can pull out a classic when he wants to. Of course, it's not going to sell in huge quantities I suppose, but this is too good to ignore.

Move Along (All American Rejects) - Move along indeed. Nothing to see, or hear, here. It's one of those that will probably go down a storm with people who like this kind of thing, but the rest of us will just look on unconvinced.

Better Together (Jack Johnson) - What can I say? Does absolutely nothing for me. I just don't get how this guy is so popular. This isn't a "bad" track per se, but its a completely forgettable one.

Over And Over (Hot Chip) - Single of the week by a bloody mile. In fact it's probably the best single of the year so far by a bloody mile. It's the sort of thing you hear once and then it just lodges in your brain forever and a day. Bouncy breezy electro pop with an indie sensibility, check this out now or hold your head in shame. Seriously, this is awesome.

He's Fit (The Lovebites) - In the tradition of 21st Century Girls and Hepburn here comes another bunch of girls who play their own instruments and everything. They couldn't be trying harder to be the female Busted or McFly and whilst this doesn't quite match up to the best that those two could come up with (I don't care what you think of me, Busted and McFly have done some pretty catchy tunes) it drives along pleasantly enough, but I doubt they've a long career ahead of them on the basis of this.

Alone With The TV (The Mitchell Brothers) - Not Grant and Phil sadly. This does nothing for me, and goes to prove that however much Mike Skinner may want to expand his empire Eminem style, he's still got someway to go.

The Boy Who Ran Away (Mystery Jets) - Oh I bet the NME love this one don't they? Average stuff for me. Neither particularily good, nor particularily bad. It just exists.

No Tommorrow (Orson) - I'm sorry, but the video for this just puts me right off. The bloke looks like a right prick. But having said that, the tune is enough to put me off on its own. It's alright taking bits of Madness, Ordinary Boys and No Doubt, but at least have the deceny to rob the good bits in future mate.

Watchin' (Freemasons feat. Amanda Wilson) - *YAWN*. More dance music for people with short attention spans. Next!

Rock With You (Michael Jackson) - Well his attempt to do an Elvis is failing spectacularily. But I supose they're on the release lists now, so we're going to get them all anyway. You probably already know this, so make up your own damn mind on it :)

Chico Time (Chico) - Good god. Let us all pray he never marries one (or both) of the Cheeky Girls.

Editors LIVE

Well the usual Poolstock Lane dash on a weeknight wasn't too bad, and despite the annoying pain in my ankle, which soon progressed to slightly more than an annoyance, things were looking good.

The trip to the Oxford ended in tears though as, despite the fact that I could blatantly see that they had at least six bottles of Magners left, the barmaid insisted that they'd sold out of it. Yes love, we really couldn't see that you were saving it for Billy Connolly at the end of the bar...but I digress.

We got to the venue shockingly early (that is the support act had yet to start) and from the off this was a terrible move. Not only did it leave us with nearly an hour and a half until the main event, it meant that I had to listen to the abomination that are Brakes. I'm sure they thought that 20-second "songs" were funny, but I just thought they were abysmal. Once or twice they even treated us to proper songs....they were only marginally less abysmal. Seriously, if I never hear them again it will still be too soon.

Still the Editors would save the day for sure, and they did. Much like the last time I saw them headline they rattled through the album, although this time we were treated to some b-sides, some new tracks and something they'd written with Elbow. Sadly, it was only the new track Blood that really lived up to the highlights of the Back Room album.

And in reality, therein lied the problem of the night. As good as it was, the sense of deja vu, in that this was the third time I've seen them, meant that there was nothing to really make it stand out. It was a good night, and featured some great performances, but it was all something I'd seen before. But for anyone who hasn't seen them, they still remain an act worth catching.

Dolly Parton - Those Were The Days

Dolly Parton...doing cover versions of her favourite 60's and 70's songs...and joined by a plethora of special guests such as Norah Jones and Keith Urban...it hardly fills one with feelings of joy does it? Especially when you add in the reports that this is Dolly's "anti-war" album, a move which is particularily brave for a country and western act. Indeed I still don't think the Dixie Chicks have quite recovered from their anti-war backlash.

Fear not though, as the result is not as unimaginably bad as you might fear. Quietly Dolly has undergone a renaissance recently, ever since 2000's Grass Is Blue, and whilst this is not the bluegrass we have come to expect from Dolly recently the emphasis is still very much on the acoustic. And therein lies the problem. Some of the tracks are perfectly pleasant but few show any real spark or imagination. Exceptions though are to be found. Me & Bobby McGee (a song perfect for the Parton treatment) and If I Were A Carpenter, which almost outranks the Johnny Cash version, which give old classics a vivid, if again a not entirely fresh, update.

For the most part the tunes are handled respectfully and for those who like this sort of thing, you probably won't be disappointed. The anti-war doctrine will probably pass most casual listeners by as well which probably proves that for all her bluster, Parton knows where her bed lies. And hey, at least her version of Imagine is a hell of a lot better than Madonna's...

Ray Davies - Other People's Lives

About 10 years ago, Ray Davies was playing at the Bridgewater Hall in Manchester, and me and my mate decided to hang around the venue from mid-day in the hope of meeting the man himself. Three hours, and a five pack of Hamlet cigars, later Ray finally arrived at the venue and seemed genuinely surprised that two teenagers would be so keen to meet him. A couple of signed records, and a nice little perv over his dolly bird (who must have only been a couple of years older than me), later and the meeting was over, but my impression of Davies as one of Britain's greats had been confirmed. Quite what this has to do with a review I don't know, although cleverly the long wait to meet the man himself can equate with the even longer wait for a solo album!

It's 13 years since the last Kinks studio album...in fact it's over 40 years since You Really Got Me (a tune I once rather foolishly attempted at Karaoke in Ibiza) hit the top of the UK Charts. But in all that time Ray Davies has never released a "proper" solo album. There was Storytellers (covered with Kinks songs) but as for a brand new collection of new songs...nothing (unless you are counting the TC soundtrack to Return To Waterloo-which I'm not). Which is all the more surprising when you consider that Davies is legitimately one of Britain's greatest songwriters, but is perhaps not surprising at all when one considers the wealth of The Kink's back catalogue.

In an ideal world a listener could arrive at this blissfully unaware of Davies' history and judge it on its own merits, but before you've even got the CD out of it's case you are raedy to compare the result to the Kinks, and the comparison can never be a good one for his 2006 release.

The immediate thing to notice is that for all intents and purposes, musically this is as if the last 30 years have never happened, but its not a bad thing, especially when the lyrics are as strong as ever in some cases. It seems almost fitting that this album is released in the slipstream of the Arctic Monkeys success, sharing that wonderfully eccentric, thoroughly English vernacular that makes the Monkeys stand out so much.

Next Door Neighbours is a Davies' classic, serving up a wry slice of suburban life in a way that no other songwriter could possibly match up to, whilst Is There Life After Breakfast is just as good. The Tourist, with its vaguely flamenco backbeat, is another entertaining set piece as well. All this proves that, in places, Davies is still peerless lyrically, although sadly he doesn't always hit such heights. Stand Up Comic is crude and somewhat heavy handed, which is a disappointment to say the least; the old (or should I say younger) Davies would have rustled up something with a bit more subtlty and class for sure.

Ironically, the same critiscims that can be tossed towards the Arctic Monkeys can be levelled here. The lyrics are (mostly) superb, but the music is less so. But whilst in some respects this is a patchy album, there are plenty of touches that remind us just what a national treasure Ray Davies really is. And in the end, whilst this is certainly no The Kinks Are the Village Green Preservation Society, you can't help but feel glad that Davies is finally back amongst us, even if it will still be the Kinks songs that I think I'll still be listening to 40 years from now.

Sugababes Cover The Arctic Monkeys

That's right, the Sugababes have marked the advent of their 431st line-up with a cover of the Artic Monkeys "classic" I Bet You Look Good On The Dancefloor.

And ladies and gentlemen, I'm telling you now it's a "classic." I can only hope that much like Travis doing "Hit Me Baby One More Time" led to numerous rock bands proving their "humour" by covering pop classics that pop bands will now return the favour.

I eagerly await Girls Aloud's take on Kaiser Chief's Everyday I Love You Less and Less and Rachel Stevens tackling something by Coldplay....actually, disregard that last one.

Singles Releases 20/02/06

Is It Just Me? (The Darkness) - No Justin it isn't. We've ALL realised that the joke has worn sorely thin. Still, remember the good times. Like when you got invited to the Brits instead of having to watch them on TV. This is the final nail in the coffin I fear.

Ultimatum (Shaggy) - Well surprise surpise but this isn't that bad for a Shaggy tune. In fact the only bit that spoils it is Shaggy himself. Other than the fact he's rubbish at rapping and has an annoying delivery this is quite a good tune.

I Want You To Stay (Maximo Park) - Well I thought I didn't "get" Maximo Park when I heard their other stuff, but things seem to be going slightly downhill here. I just don't get what the fuss is all about and this does nothing to enlighten me. At least their other tunes had a bit of fun about them, this is just boring.

It's A Hit (We Are Scientists)- Another decent WAS single, completely outshone by the funny video. But I do get the feeling that this "wacky for wackiness' sake" shtick may well get tiresome before long.

Valentine (The Delays) - I can't work out whether this is entirely serious or not. Are they really serious? I mean MTV2 are playing the video so I suppose this really must be serious. But to me it's like a boyband trying to get credibility with a bit of an indie-disco romp...and failing miserably.

Put Your Records On (Corrine Bailey Rae) - Ah the curse of being hyped so much means that you really are stuggling to live up to the hype from day one. I can sense those that see this kind of thing as making a stand for "real" music will be lapping this one up, but I for one think there is a lot of work to do if Rae is really to stand out.

Sorry (Madonna) - Now Hung Up was good for a while but gradually got annoying, but not to worry becuase Madonna has some other crackers up her sleeve, including this wonderful slice of dance pop. Starting off like It's A Sin, before cascading off into further brilliance. This is the kind of modern pop song that should be held up as an example to all. And of course the wonderful Pet Shop Boys maxi-mix is just the icing on the cake.

In The Key Of C (Jim Noir) - Well if the Super Furry Animals were doing a children's television theme tune it might turn out a little something like this...which is pretty damn good. The cheerful tune makes a nice contrast to Noir's morose voice, and whilst I wouldn't neccesarily want to listen to this one over and over, I would recommend that you check it out.

Crazy (Simple Plan) - Well, this just isn't my thing at all. Those Blink 182 fans needing their fix could do worse than check this out, but the rest of us can steer well clear.

Amazing (Westlife) - Yes, it IS an up-tempo one from the boys. No, it's NOT amazing and in fact doesn't even approach passable. Although lets face it, it's still a million times better than You Raise Me Up.

After All This Time (Simon Webbe) - Seriously, what have we done to deserve this. Still none of the Blue soloists will be troubling us for long, and I think Simon's 15 minutes is just about up.

Rapture Riders (Blondie Vs The Doors) - Well as these novelty things go, this is entertaining enough and will probably be a smash cult hit (if it isn't already) but really it is a pretty pointless exercise all around. Still, any one who likes either song will be able to while away four or so minutes quite pleasantly.

Dont Stop Till You Get Enough/Thriller (Michael Jackson) - Ok, so we may not all be convinced about his personal activities, but forget about that for a moment and think back to the days when MJ was purely the most exciting music act in the charts. Don't Stop Till You Get Enough is the sound of MJ breaking through, Thriller is the sound of a man on the top of his game. You can argue all you want about the man himself, but you can't question his musical talent (at least for the first part of his solo career anyway).

There are a few more singles out this week as well I think, but I can't really be bothered trudging the bottom of the barrel anymore! :D

Singles Releases 13/02/06

First Word Is The Hardest (Four Day Hombre) - It starts off sounding a little like Coldplay, but don't worry....it gets better. It does also build into a bit of a creschendo, but frankly is a bit too dull for my tastes.

Long Time Coming (Humanzi) - It really is considering that I didn't stay around to watch them at that Club NME night The Like were playing at. It's not bad, but doesn't really do anything for me. The trendy indies will probably love it though.

Back Again (Dilated Peoples) - There seems to be an awful lot going on in this one, to remarkably little effect. Completely indistinguishable from all this kind of thing.

I See You, You See Me (The Magic Numbers) - Truth be told, I've never really "got" the Magic Numbers. Pleasant enough but hardly brilliant. Which to me sums up this single, one of their quieter moments. It's alright, but my Magic Numbers album will still be staying untouched on the shelf.

One More Night Alone (Friday Hill) - Good god. Come back Blazing Squad all is forgiven. Well almost...

Heartbreak Hotel (Elvis Presley) - Now this is more like it. One of my favourite EP tracks, and an absolute genuine Grade A Classic.

Stay (Beulah) - Well if Katie Melua can be successful, there certainly has to be hope for Beulah. This is a soft and mellow song which is probably all over Radio 2 as I type. Put it this way, worse songs of this ilk have been huge.

Ride A White Horse (Goldfrapp) - Come on guys, what's the fuss? It's alright, like most of the recent Goldfrapp output, but its hardly earth-shatteringly brilliant is it? Must do better.

Back Again (Boy Kill Boy) - I've tried to give this a listen, but I just don't like it. I cannot for the life of me see the reason why this is so highly regarded.

Walk The Line (MOVIE REVIEW)

See, we have a little departure here. But only a little one. I won't be reviewing movies on a regular basis, but where they have a strong musical connection I shall be imparting my thoughts to you (which means that at some point I will get around to passing on my thoughts on Dig!).

I'm a big Johnny Cash fan, and was impressed with the soundtrack album greatly. Of course nothing on the silver-screen could ever possibly quite live up to the Icon that was Johhnny Cash, but this is a film that for the most part does a damn fine job.

It's a bit slow to get going though; sure the loss of his brother was important and needs addressing, but the section after that, leading up to his audition at Sun Records does drag a bit. From there however the pace picks up and rarely lets go.

Pheonix is a surprisingly authentic Johnny Cash (as much as anyone but the man himself could be) but it is Witherspoon that steals the show, and it's probably Witherspoon who will find herself with a Best Actress Oscar. Phenoix may suffer because of the Jamie Foxx success of last year.

Even if you are not a big fan of Johnny Cash, this is still a great film. For all the music, at heart this is a love story. And its one which is impeccably acted and will drag you in every step of the way.

Jenny Lewis LIVE

Well it's been a bit of a wait, but the first concert of 2006 finally came around. Anticipation was high, what with Jenny's Rabbit Fur Coat album being rather fantastic, but what would it be like live, in the comfy Manchester Academy 3?

Stocking up on Magners and Corky's meant we only caught the last few songs of the support act, Jonathan Rice. He was, frankly, a bit dull, although singing along to that "we are all in the desert and gonig to die" or whatever the hell it was did liven up the proceedings a litte.

Having been handed a "song sheet" for Jenny Lewis, (and The Watson Twins - I should be fair here), upon our entry to the building I was at a loss as to know quite what to expect. As it turned out the song sheets seemed little more than an excuse to collect e-mail addresses for Jenny's mailing list, but they did give a hint at the eerie and dark tones that would pervade the rest of the evening.

Lewis and the twins made their entrance through the crowd (as I bemoaned the fact that they were on the side where EVERY other time I've been to the venue I've stood, but not tonight oh no....) singing the album opener Run Devil Run. From that moment on, I was captivated.

Most of the album was recreated (minus Handle With Care sadly) to a positively spine-tingling effect and there was a genuine dark and eerie tone throughout with only Jenny's funny banter in between some of the songs lightening the mood in any way. But this is not to say it was a depressing evening; far from it. This was uplifting and vaguely spiritual evening which brought to life an already brilliant album and made for one of the best concerts I have ever been to.

By the time Jonathan Rice shared the mic for the closing song, Cold Jordan, there was little else to do but bask in the glory of a spellbinding night out. Rilo Kiley fans better watch out, because if she's this good on her own, she might never need to go back.

Ashlee Simpson - I Am Me

Poor Ashlee. She has a dipsy sister who is more "famous" than she is, she was "caught out" when a backing tape went wrong on Saturday Night Live and is generally thought to be something of a, well, madam. She's also not classified as "real"...not even in the sense of an Avril Lavigne or Kelly Clarkson. Which is daft; Clarkson's "rockier" edge was marketing rather than musically led, and whilst Lavigne might be able to strum out a tune, virtually all her songs have a plethora of "co-writers".

So before listening to the album, three quarters of the world has already made their mind up about it. And indeed, another percentage of those people who would give it a chance would only ever admit to the "package" being respectable, with the insinuation that Ashlee had either very little to do with it, or is the weak link in the production.

But of course, you know I am not going to be like that; I'm going to give it a chance.

Right from the start, the package screams out that Ashlee has gone "dark". The vivid colours of the Autobiography album are gone, replaced with forboding black (although really, Ashlee must be the only person in history to have signified a "darker image" by dyeing her hair blonde) and "moody" portraits. But what about the music?

Lead single Boyfriend is the kind of catchy pop-rock tune that's seemingly in vogue right now and if the Lohan-bating reports are true, it represents something just as "real" as anything James Blunt or KT Tunstall could come up with. Title Track I Am Me is in a similar vein, and should see the kids pogo-ing up and down with glee and Eyes Wide Open folows suit.

But as is often the case with albums like this, it's the more poppier moments that stand out. L.O.V.E. is a spunky, reggae tingged feminist manefesto which is certain to reach out to all the ladies dancing around their handbags. It's also a little too much "Stefani" esqe to gain any real critical favour. The same could be said of Burning Up which again could be a hidden track from Love Angel Music Baby. That's not to say both songs aren't good, but they perhaps lack the originality to really stand out from the pack.

And then there is the ballads, some of which aren't as bad as you might fear. Beautifully Broken could be Oasis gone pop, whilst Catch Me When I Fall, inspired by the SNL disaster, is actually quite touching in the final analysis.

The problem with the album is pretty much outlined above; Ashlee may proclaim "I Am Me" loudly, but does she actually know which "me" she is? Taking inspiration from many places, but never quite finding her own distinct style, Ashlee has seemingly tried to please everyone, but may end up pleasing very few. Which is a shame. There are worse records out there, and certain tracks would be met with widespread critical acclaim if someone more "in" had done them. Looked at in isolation, this is a good "pop" album but sadly for Ashlee, few will look at it that way.

But Ashlee, if you ever read this, I still love you ;-)

Single Releases 06/02/06

Sugar We're Going Down (Fall Out Boy) - Well I suppose the void left by Blink-182 has to be filled somehow and this fills it rather, erm, respectably. I can see this being a huge hit with its demographic, but that doesn't mean its anything special.

Woman In Love (Liz McClarnon) - Now don't get me wrong, I'm all for pop music. But really, coming back with this as your big "solo" debut doesn't bode well at all does it. "Well Liz, we'd love to have a new song as your debut, but to be honest, nobody really likes you. And unless we do a cover you're going to go the same way as Rachel Stevens." That said the song isn't as completely dreadful as the concept would make you fear

Flame (Bell XI) - On first listen I thought that this was trying to be a little too clever for its own good, but repeat listens really led me to like this one very much. Very funky and offers something a little different; it also has an insanely catchy chorus about marshmallows and has hand-claps. Now can you ask for anything better than that?

Do You Ever Think Of Me (Antony Costa) - Antony, no I don't. No worse than Lee Ryan or that other bloke, but you've kinda missed the boat son.

You Got The Love (The Source Ft Candi Staton) - Much like Knight Rider or The A-Team I have fond memories of this tune. Like watching either of those programmes today, this makes you wonder what you ever saw in it in the first place. Maybe it's just the completely pointless remix, but this just doesn't cut the mustard in 2006.

Turn This Thing Around (El Presidente) - Now here is a band I can't make my mind up about; they're not bad, but I always hear them and think some record industry think-tank has seen the success of Scissor Sisters and Franz Ferdinand and decided that an amalgamation of the two would be a great idea. I know they've been around for years and worked really hard and all that, but I can't help the impression they give me. And anyways, its "pop" music for people who don't want to admit to liking "pop".

Grow (Kubb) - Erm, I'm sure this is what "real" music should sound like fellas, but it's just a tad too dull for my liking.

The Other Side Of My Heart Attack (The Liars) - This has got a kind of Phil Spector vibe going on here, which is about the only point of interest I can come up with. It's "worthy" perhaps, but that doesn't stop it being another dull one.

All These Things I Hate (Bullet For My Valentine) - Once again there's a demographic that will love this, and you have to say that as far as these things go it's not too bad at all. It's a million times better than Limp Bizkit, and for these small mercies we should be thankful.

Friend Or Foe (tATu) - Dave Stewart wrote it; Sting plays bass on it; Bryan Adams shot the photographs for the single cover...AND STILL THE SONG IS QUITE GOOD! Of course that won't be good enough for some, and admittedly the song isn't a patch on some that tATu have given us before. Still this is not too bad at all.

Eyes On You (Jessica Moon) - The one with Amir Khan in the video. That was released in September and did very little. So go figure out whether this one is good or not for youself.

Relight My Fire (Take That) - Why, oh why? It's not a bad song of course, but have you heard the remix? Steer clear and remember the good old days folks.

The Weakness In Me (Keisha White) - It's slow and mellow time and whilst this is perfectly respectable it lacks that little spark that would set it apart from the chasing pack. This is unlikely to be her breakthrough.

Thunder In My Heart Again (Meck feat. Leo Sayer) - Please, someone...anyone. Stop this dreadful craze for this kind of "remix". Where will it end? I can't take anymore.

Singles Releases 30/01//06

Boyfriend (Ashlee Simpson) - Ok, lets get this one out of the way straight from the off. It's brilliant. No, really it is. You can keep your Avril Lavigne, you can keep your Kelly Clarkson, hell you can keep whomever you want. I'll keep Ashlee. From the opening guitar riff to the last note, this is catchy rock-pop at it's finest. It's not got whinging lyrics, it doesn't attempt to be "deep", it's just a rollocking rip-roaring ride. Plus I can listen to it and imagine that Ashlee's singing it to Nadine, although obviously I want her to steal me. So this is the kind of "honest, nothing's going on" stage of the relationship :D

Hustler's Ambition (50 Cent) - Eminem does a shockingly decent film and backs it up with perhaps his career best song (Lose Yourself). Curtis Jackson, on the other hand, comes up with a poorly received film and this turgid song. Whatever the sample is, well that is cool...the rest is the kind of macho rubbish you'd expect from Fiddy.

Ladyflash (The Go! Team)- This would be a nice tune to be chilling out to in the back garden in the middle of summer with a few nice ice-cold Bud's by your side. Consequently it feels a little out of place in Ice-cold February. Having said that, I like it...I like it a lot. But it never quite lives up to the song that it could be.

Beast & The Harlot (Avenged Sevenfold) - I tried to listen this on their website, but frankly the set up scared me witless. So basically if this is your kind of thing, you'll love it. I didn't.

When I Think Of You (Lee Ryan) - We all know the young lad is a bit of an idiot. Although let's be fair, this is a perfectly pleasant little ditty, albeit one that shows no originality whatsoever. Still, I don't suppose his Blue fans will care about that.

Run It (Chris Brown ft. Juelz Santana) - This starts off a little like Usher's "Yeah" which is one of his least annoying songs. I have to say that this sort of tune is not really my thing at all, but as the genre goes it's quite good and I do love that 1980's throwback bit somewhere in the middle.

Beautiful Soul (Jesse McCartney) - This lad annoys me, purely from his "this is an advertisment" promo on the Box. Ok, so you really love meeting all the underage girls who want to stick their hands down your pants...? Well done son. I'll make a bet with you Jesse. If you keep releasing crap like this even the impressionable little girls will see through you.

Welcome To Wherever You Are (Bon Jovi) - Well at a push I suppose it's not bad. I mean its the same "slow" song they've been doing for the last 20 years, but I dont suppose that's about to put their legions of fans off is it?

Conceived (Beth Orton) - I have three Beth Orton albums, and I don't really know why. She's not bad at all but I never really listen to any of her songs. But this is definately one of her best songs to date. A nice piano driven melody which the cynics may say is a play for the James Blunt/KT Tunstall wedge of the market but personally I'll give her the benefit of the doubt. A welcome return.

Perfume (Sparks) - I've always had a soft spot for the Mael's. I wasn't actually sure whether this is the single or not as I thought it was scheduled to be the wonderfully titled "Dick Around" but all the sites seem to confirm it's this one although none can seem to agree on the release date. Still the spiel on Gut Records website says it all..."Thirty girls’ names, thirty brands of perfume. Only on a Sparks record." Utter brilliance.

Yard Of Blonde Girls (Micah P Hinson)- A Jeff Buckley cover I believe. It's got a kind of quirky charm I suppose, but to be honest I won't be listening to it again.

Walk The Line - Original Soundtrack

The first problem to overcome with this CD is quite simple. The majority of the songs may be Johnny Cash classics, but are they in any way relevant when Johnny Cash himself is not singing them?

The answer, whilst leaning towards no, is actually more of a maybe. For a start, Joaquin Phoenix is certainly no Johnny Cash but that is not to say that he is without merits as a gravelled country singer. Although he can't hope to bring the gravitas to the songs that Cash did, he does make a pretty decent stab at things and if you can ignore, or push to oneside, the spectre of Johnny himself there is much to enjoy. In particular the versions of Cry Cry Cry, Folsom Prison Blues and Ring Of Fire have a modern charm which is hard to resist.

So then it's onto Reese Witherspoon. Some claim she has an impossible task in attempting to emulate June Carter-Cash...well I wouldn't neccesarily agree. I've never been a fan of Carter-Cash and feel without the Carter and Cash legacies to keep her going she'd have been long-forgotten. So Wildwood Flower and Jukebox Blues are pretty good efforts which don't prove embarassing at all by any standards.

The other cast recordings are a hotch potch. The version of Lewis Boogie is dreadful, souding every inch the performance parody that probably wasn't the idea, whilst That's Allright Mama and You're My Baby are the kind of tunes to really set your foot tapping, respectfully carried out with the minimum of fuss.

The album closes with the Pheonix/Witherspoon duet Jackson which fizzles with chemistry and tension and proves that for the singing element of the movie alone, both deserve their oscar nominations.

So all in all, whilst struggling to find a "need" to have this CD, I cannot deny that it is a success on many levels. Credit to Pheonix and Witherspoon for rising to the challenge, and credit to prodcuer T Bone Burnett for fashioning a modern, but more importanly respectful, take on some Cash classics.

If you're a Cash fan then give this a try, you might find yourself pleasantly surprised. If you're not a Cash fan but want to check him out on the strength of the film, there are worse places to start, but really your attention should be focussed towards discovering his Sun Recordings, or the American recordings, which became his final legacy.