The Pipettes LIVE

Well wouldn't you know it, I got stuck on Poolstock again. "Grrr" and all that.

Fairly straightforward trip to Manchester after that though and only the one circular path around the G-Mex this time to find parking for the wonderful Life Cafe.

And, as is becoming quite the habit these days, a pre-show drink turned into yet another episode of "Female Pop Stars stalk Matt & Alan" as this week we were "joined" by the Pipettes. Who are bloody lovely might I add. Little was I to know that this would be the best view I got of them all-night, but more of that later. ( I should also point out that we were also joined at one point by one of the support acts, the 1990's - but we didn't know who they were at that point).

So anyways, it was off to the venue in time to catch the last of the first support act. I can't remember their names off hand, (i'll check and EDIT it in later) but they were ok, if you like the sound of a Weezer-esque band who aren't as good as Weezer. The second support act, the afforementioned 1990's, were actually quite good. They certainly got my feet stomping on quite a few occasions, and really there aren't enough rock bands who "whoooooo" during their songs (and yes, I did attempt to "whoooo" along with them). One to perhaps look out for.

So onto the main event...not that I could see the stage. Some amongst us may like the sweaty close up atmosphere of a gig like this, and whilst I'm not immune to swaying in the thronging masses, there's not much joy when you're at a venue where if you're not in the first two rows you can hardly see a damn thing.

Still, despite that minor irritant (which I somewhat negated with a perilous balancing act on the mixing desk) you couldn't really complain about the concert itself. Of course I'm quite familiar with a lot of the tracks already (ahh, the wonders of the internet) but there weren't any tracks that were let downs.

Particular favourites would have been the sublime singles Dirty Mind, Your Kisses Are Wasted On Me and Pull Shapes, along with Why Did You Stay, Tell Me What and the ever delightful We Are The Pipettes. Sure the concert was short (clocking in somewhere in the region of 35 minutes) and, yes, the Pipettes are somewhat of a one-trick pony, but when they're as good as this, all that doesn't really matter. So much so, that I've already booked tickets for the September tour. I'd advise you to do the same whilst you still can...the Pipettes are about to go massive.

Julie Roberts - Men & Mascara

You see once in a while, normally when I'm in HMV or some other such establishment that actually sells Country records other than Johnny Cash or the Dixie Chicks, I get an urge...an urge to buy a Country album. In the mid to late 90's I did it quite a lot (man, I wish they still had CMT on in the UK) but that's tailed off over the years, mainly because I can buy enough crap I wouldn't normally do off Amazon and the such like.

But this week, the urge got me again. And for little other reason than the fact I saw her on the front of a Country magazine and she shares my last name, I found myself purchasing the latest album by Julie Roberts, the cringeworthily titled Men & Mascara. In fact, and I kid you not, I knew before I'd even played the CD that "men and mascara always run" would be a lyric. And I wasn't disappointed.

So really you could say that you know what you are getting before you even stick this CD in the player. But then something strange happens; you stick it in and its not the usual knee slapping Nashville hoe-down that you would expect from a pretty face. In fact if this album has a theme it's heartbreak. And it's heartbreak so lyrically nailed on that you can't help but get sucked into the record. Even the upbeat songs, such as the rather catchy First To Never Know, hide yet more heartbreak.

Men are bastards who only want sex, but women can't help themselves from falling in love seems to be the underlying message. And whilst it may not be the message you would want to teach the children of the world, the effect is producing a record that is far removed from the cliched Nashville world we have come to expect. Yes, sonically the album could be by any one of the identikit beauties trying to make their way in Country music (and in a way that will surely help the record to gain favour with the Country radio stations), but this is a record that forges an identity of it's own.

Country enough to appeal to that market, but sassy and vibrant enough to deserve to find a wider market, this turns out to be quite the delight.

Nouvelle Vague - Band A Parte

See on the one hand, the first Nouvelle Vauge album was quite the gem and so you greatly look forward to hearing the second. But on the other hand, when you get to the nitty gritty, are the Vague not just one-trick ponies who might rapidly wear out their welcome?

Well as ever, the answer lies somewhere in between. There is little change in the "bossa nova covers of classic (and some not-so-classic) songs" and those that there is, such as the addition of a male singer for a crack at Blondie's Heart Of Glass and Siouxsie and The Banshees' Israel, seem little more than blatant attempts to stretch the formula ever thinner.

But then you hear something as sweepingly beautiful as their take on Yazoo's Don't Go, something as startingly different to the original as Bauhaus' Bela Lugoi's Dead, or something as daringly disrespectful as covering New Order's Blue Monday and you realise that even if for a brief moment, Nouvelle Vague are capable of something very special indeed.

Not all the tracks can't match up of course, Fade To Grey being a particular disappointment, but on the swingometer of quality, there's more on the plus side than the negative. For the most part, you know what you're getting and if you've heard the first album then there is little that will surprise you. Still, if you liked the first album, then you'l like this. And no doubt you'll be hearing a few of these tunes on a TV advert near you quite soon.

Just My Luck

Ok, so this isn't a film site, but having reviewed Walk The Line due to it's Johnny Cash theme, why not take the time to review Just My Luck, which might also be known as "McFly's attempt to break America".

You might say I'm quite the afficianado of Lindsay Lohan films. They span the path from brilliance (Mean Girls) to utter shite (Herbie:Fully Loaded) via diversionary fun (Freaky Friday).

Now this is supposed to be her first "adult" role, although I cannot see why it's been labelled as that. It's got McFly in it for god's sake, and is hardly a million script miles from the afforementioned Freaky Friday. That said it is a million miles away from the "quality" of that one.

Lohan does her best, but is unable to save what is, essentially, an unlikeable character. And if I, who shall we say likes Miss Lohan a fair bit, don't like her character, then I can't see many others doing so either. Although to be fair, Lohan does a great job during the middle when her luck has disappeared, so much so that you, well ok, I was quite angry when she decided to steal her luck back.

I'm not spoiling too much of the film here (firstly because it's so bleeding obvious what's going to happen the moment you start watching and secondly I can't see too many people who read this ever seeing the film anyway), but basically Lohan is very lucky, then she kisses some bloke, at a Masquerade ball, who's not so lucky and then wouldn't you just know, their luck swaps. Thankfully for McFly this bloke is their manager and then they get a recording deal (although quite why a Notorious BIG "playa" boss of a record label would be signing McFly is never explained) as a result of this new found luck. Then Lohan works out that this nice bloke is the one who took her luck she sneaks in for a snog and then runs off. Of course this means one of McFly goes missing, but lo and behold, Lohan's conscience saves the day, she kisses the bloke back, and the day is well and truly saved.

Lohan tries, but is hamstrung by a weak script which whilst having it's moments never really convinces. There's no real sexual chemistry between Lohan and the male lead (they should have put me up there, THEN the sparks would have flown) and for all the hoohah McFly are hardly in it (and when they are they are invariably playing Five Colours In Her Hair...which is a decent enough pop tune, but starts to grate the 43rd time you've heard it in an hour) although they are likeable enough without ever actually showing any talent for acting.

Of course after this assasination on the flim, I did quite enjoy it and the 90 or so minutes flew by, but unlike the absolutely superb Mean Girls, I don't think I'll be in a rush to see this one again.

Pet Shop Boys LIVE

So, it was off to the Liverpool Summer Pops for the only North-West date the Pet Shop Boys appear to have planned for 2006 (although a conversation with some foxy woman prior to the show lead me to believe that a "full" UK tour will return to these shores sometime after the US tour this fall.

The support act were Client. Who were alright, but not brilliant and were more memorable for the fact that the lead singer was the woman who used to be the lead singer for Dubstar. Who back in the day were one of my faves.

Anyway, enough of that and on with the main show. We had great seats (almost perfect seats for a Chris Lowe fan) and the atmosphere was definately good. The lights went down and the theme to Psycho swirled around the arena.

After a slew of look-a-likes had fooled most of the crowd (but not me - with my side on view I could see all the backstage shenanigans) the boys came out and, surprisingly, belted straight into Psychological. Now as a scene-setter for Fundamentalism, this track does it job; as a scene-setter for a concert it was less suitable. Still as soon as the next track, Left To My Own Devices, kicked in, all was forgiven.

From that point, the crowd were in the palm of their hands. With Fundamental being somewhat of a return to form this meant that even the new tracks were met with delight. I'm With Stupid baited Bush and Blair as ever, the twitching curtains that made up the backdrop to Suburbia were a touch of genius (even if I don't really like the song itself all that much) and a great version of Minimal was followed by the welcome return of Shopping to the PSB live set list.

A superb version of Rent was only marred by the fact that it was sung without Neil on stage (one can only presume technical malfunctions with the set) and then it was into the camp covers section of the show with the ever wonderful Always On My Mind followed by a somewhat muted Where The Streets Have No Name.

Then, as has become the custom these days, we were treated to the acoustic portion of the evening, this time with Home and Dry getting the honours. Unlike the Tower Of London gigs however, this was the only acoustic song of the night and then, probably because the BBC had sued the song in the Football coverage, we got Numb, which was well received.

Dreaming Of The Queen was another well received album track before the place came unglued for West End Girls. The party atmosphere continued for The Sodom And Gomorrah Show (as the boys playfully brought a real live drummer on the stage) and Opportunities, before the show ended with Integral.

Of course there was just enough time for the encore, ushered in with the David Morales mix of So Hard (great tune), which took in It's A Sin and, of course, Go West.

Whilst never threatening to live up to the pagentry of Performance, this was still one hell of a show. The set was understated, but functional and the boys themselves appeared to be having a great time. Neil even stated the crowd was superb. Chris even managed to crack a couple of smiles, and wave at me. Sure, it's not Heidi at the Apolo, but its good enough for me.

Few shows will see 20 years of classic pop hits crammed into them, and add in some bonuses for the more hard-core fan and you have, quite simply, a triumph. The Pet Shop Boys live shows have often been labelled as show over substance, but this concert proved that the Boys have substance to burn. You may think I'm biased but if there's been a consistenly better pop act of the past 20 years, I'd like to see them. Once again, this was a majestic triumph.

Single Releases 03/07/06

Well as I won't be around early next week, here's an early (and somewhat brief) look at the singles on release on Monday.

WORLD HOLD ON (BOB SINCLAR) - More whistles from the French bloke. It's ok, but as with most "dance" artists these days, as you've heard his other tune, you pretty much know how this one goes.

A LITTLE LESS SIXTEEN CANDLES, A LITTLE MORE TOUCH ME (FALL OUT BOY) - Great title...average song...Ok, I lied. It's a bloody terrible title as well.

SHEILA (JAMIE T) - He's got quite the buzz around him as Jamie T and to an extent this both shows why he does have that buzz and why it's also not quite justified yet.

EANIE MEANIE (JIM NOIR) - See now as a snippet on a TV advert this is quite wonderful. As a stand-alone song, it's just ok.

SMILE (LILY ALLEN) - Well I've been banging on about her for ages, and finally it's a proper single release for Lily. This is great, nice and summery, and the B-Side (Cheryl Tweedy) is quite a treat too.

PULL SHAPES (PIPETTES) - I like the Pipettes. Having said that, this isn't quite as good as the superb "Your Kisses Are Wasted On Me" but it's near enough to be another quite brilliant single.

IN THE MORNING (RAZORLIGHT) - First of all, what the hell is old Johnny boy wearing in the video to this? Bizarre. Anyway, this is quite a catchy tune which at various points almost goes "disco"...which sadly is reminscent of Shed Seven.

ON THE RADIO (REGINA SPEKTOR) - A nice "proper" introduction to Regina, although not quite as "off-the-wall" as her other stuff.

Single Releases 26/06/06

Stripper (Soho Dolls) - Well this is just absolutely fantastic. Seriously it is. It's Ladytron meets Kraftwerk, and I absolutely bloody love it. So watch it fail to chart! :D

Weekend Without Makeup (The Long Blondes) - This is also fantastic. Its unashamedly retro, and I like it!

That Old Pair Of Jeans (Fatboy Slim) - A slightly different tune than you would expect Norm to come up with to shill his Greatest Hits album. It's good, but nowhere near good enough to move, say, Rockafella Skank from your brain.

Breakaway (Kelly Clarkson) - If there is one thing I cannot understand it's the success Kelly Clarkson has. She's not bad, far from it, but neither can I see why she's just, well, so huge. Case in point, this is a decent enough song, but isn't anywhere near the level of, say, The Veronica's or Katy Rose.

Sexy Love (Ne Yo) - Erm, quite.

Buttonz (Pussycat Dolls ft Big Snoop Dogg) - Now you see, whilst fully admitting that the PCD are scraping the bottom of the barrel talent wise, you can't deny that Don't Cha and Beep are quality pop tunes. This however is a bit rubbish. In fact, it's a lot rubbish.

She Moves In Her Own Way (The Kooks) - I don't really like the Kooks. But I have to say this is quite a merry and jolly little ditty that I quite like. Still, that new McFly one is better.

Made-Up Love Song #43 (Guillemots) - I never really know what to make of willfuly eccentric bands like the Guillemots. And after this track I'm still not sure what's going on. But this is a nice track albeit one where you think that there's just a little too much going on.

White Collar Boy (Belle And Sebastian) - Jaunty indie-pop, just as you'd expect really. As ever with B&S, for me the law of diminishing returns applies.

Enough Cryin (Mary J Blige) - Enough indeed. I didn't think she could "top" the disaster that was One. I was wrong.

Black Holes And Revelations - Muse

Truth be known, despite their pretensious epic prog-rock sounds, I've always had a soft spot for Muse. True, I can never really stomach a full album from the boys, but they can always be guaranteed to come up with something worthwhile, such as the delightful Sunburn or the pumping Stockholm Syndrome.

So of course, whilst I welcome a new Muse album, I'm hardly the kind of person who's eagerly awaiting it. Still, new single Supermassive Black Hole is one of the singles of the year so far. Yes it owes a debt of gratitude to Britney's Do Somethin' and whilst that may upset some people, it actually intrigues me. In one foul swoop Muse show just how idiotic those Radiohead comparisions were - these boys know how to have fun.

Sadly there's nothing quite up to the standard of that on this album, but there are some tunes that come very close. Exo-Politics is driven by bombastic drums and a swirling sci-fi background noise whilst Assassin sounds like the opening soundtrack to a pulsating thriller and is another one, dare I say it, that you could dance to. Map Of The Problematique is even better, with echo's of what the Pet Shop Boys might sound like if they went "prog-rock".

The album has it's mellow moments too; City Of Delusion does sound somewhat like a Radiohead rip-off but Soldier's Poem proves once and for all that behind the bombsatic production values, Muse do have the tunes.

Of course, just to assure us that the over-the-top ridiculousness is still there, the album ends with Knights Of Cydonia, which comes across (thanks to its use of horse galloping sound effects) as the kind of thing you'd hear on a 21st Century John Wayne Cowboy film and ends in a thrilling and nasty guitar breakdown which leaves you breathless for more.

Whether more ardent fans will agree I don't know, but for me this is Muse's most thrilling and complete collection yet.

Personal File - Johnny Cash

As Johnny Cash's son was clearing out his old recording studio, he came across hundreds of "unreleased" songs (no doubt more of which will be heard in the non-too distant future). The most intriguing by all accounts were a selection titled "Personal File" from which all 49 brand new tracks on this collection are taken from.

Recorded mostly in 1973/74 (although some tracks on the collection were recorded as late as 1982), these feature Johnny Cash and his guitar. Nothing else. Most of the songs (but not all) are covers, spanning a century (or more) of music. And all seem to have special relevance for the Man In Black. Indeed its probable, as one listens, that Cash never intended these songs for public consumption, but the decision to release them is a welcome one indeed.

This is Cash the storyteller at work and there is a real sense of what made the man throughout this excellent compilation. Many songs are preceeded with tales of why he was chosing to sing them, or why they meant so much to him. On disc one, the overall effect is almost like a personal "evening" with Johnny Cash, as you alone listen to him whilst drinking an ice cold beer on the porch. On disc two, with its heavy religious and spritual tone, it's like eavesdropping on Cash's conversation with the man upstairs.

Of course, if you don't like Johnny Cash, this collection is not for you. But if you've ever liked the man or the music, this is an experience you simply cannot afford to miss. The film Walk The Line did a halfway decent job of portraying Johnny Cash the man, but this collection takes you right to the heart of him. It's proof that despite all the hype, Johnny Cash truly is an icon and a legend.

Single Releases 19/06/06

Supermassive Black Hole (Muse) - Or also known as the moment that Muse went "pop"; (Popjustice were right, this does sound a bit like Britney's "Do Something"). But that's no bad thing. Of course the Muse fans will insist it's the usual Muse stuff, but we know differently. This is class in a glass as someone might say. They've never sounded better (and contrary to popular belief, I do quite like Muse in a "I'd listen but never buy" kind of way, so I'm not just loving them now they're "pop").

Blood (Editors) - Yes, its a good song. But isn't this the 37th time it's been released or something? New balls please.

Valerie (The Zutons) - To be honest this one underwhelmed me on the album (indeed, as did much of the album) and whilst it's alright, it's not exactly brilliant.

X (Liberty X) - Well at least Jessica looks nice in the video. But that seriously is the only plus point about this awful record. Xtraordinary? Xcruciating more like it. The "X" are outstaying their welcome by a long, long time now.

Rooftops (Lost Prophets) - Look, I quite enjoy listening to the two Lost Prophets albums I have from time to time. They're hardly ones that I keep at the top of my "listening list" but occasionally I'll see them on the shelf, think "oh, they're quite good" and give them a spin. This is much like the rest of their output (with the exception of that pretty wonderful Shinobi Dragon whatever track) in that I quite enjoy it whilst listening to it, yet have no desire to hear it again once I have.

Turn Into (Yeah Yeah Yeahs) - Two in a row. Two absolutely cracking singles in a row. Whatever next? They're starting to live up to the hype now.

Ain't No Other Man (Christina Aguilera) - The C-Dawg is back. And she still owes me £4.50. Anyways, this is quite good, in a jazzy upbeat kind of way. And should be enough to see off Beyonce in this summer's battle of the bints. (And by the way, someone please tell Beyonce that "B'Day" is not a good title for an album).

Kick Push (Lupe Fiasco) - Surprisingly good this one. It has a breezy summer vibe and some cracking horns and really should be a big hit now the sun is out.

Extravaganza (Jamie Foxx ft Kanye West) - Somebody please get Jamie Foxx a clue, or at least put someone in charge of him who will tell him that his music is rubbish. It's always a pleasure to see Kanye up in the grill, but that's the only plus point about this track.

Infra Red (Placebo) - As you would expect from Brian and the boys. Still, they've definately had a bit of an upswing at the moment and this is a decent track which will at least please the rabid fans I would think.

Dirty Little Secret (All American Rejects) - Yes, you've heard this kind of thing before, but when it's as bright and breezy as this is, it's churlish to complain.

Mas Que Nada (Sergio Mendes ft. Black Eyed Peas) - What next, Taboo rapping to the Birdie Song? Fergie getting down to a bit of Agadoo? Apl giving up his day job as England's left back to rap over the Minder theme tune? Will I Am teaming up with David Hasslehoff? Seriously though, is there any tune/sample the BEP won't use? To be honest, I'd rather listen to the proper version, without all the rapping.

She's Attracted To (The Young Knives) - Well I' m sorry, but any song about the pitfalls of your girlfriend's mum being attracted to you is an instant classic in my book. Especially when in real life, girlfriends mother's don't tend to like me very much. And as if that wasn't enought, it has a la la la la la style singalong in it. Genius.

Desperado (Journey South) - Oh. My. God. Kill me now.

Don't Mistake Me (Keisha White) - Well bless her for trying anyway.

An Easier Affair (George Michael) - Surprisingly this isn't as bad as you might fear, but neither is it anywhere near a return to the kind of form that made George a superstar. Still, it's quite catchy and should go down well with his fans.

Stranger In Moscow (Michael Jackson) - Interesting Matt-Fact here, this is the only MJ single I ever bought. That is all.

The Ditty Bops - Moon Over The Freeway

Swing, rag-time, folk, vaudeville...all terms that could be used to pigeon-hole The Ditty Bops, and all terms that wouldn't come close to giving you an accurate description of the music they do. It's all of those and more. Indeed you might find out more about them by noting that they are "cycling" across America to support the promotion of this album.

But all this wilfull "eclectism" would be pretty off-putting if it wasn't for the fact that the album itself is actually a rather damn fine slice of fun and joyous pop. The two singers (Abby DeWald and Amanda Barrett) have the vocal harmonies down pat, and are distinct rather than just blending together, and add in some saloon style honky-tonk piano (courtesy of producer Mitchell Froom) and you have a record that instantly grabs you and exports you to another world.

There is the slight nagging feeling that the Ditty Bops are one trick ponies, much like, say, The Ravonettes on Pretty In Black, but, much like that particular record as well, when the one-trick is so good, it's churlish to complain, especially as the record fills it's entire 35 minutes or so with wonderful songs.

Personal highlights for me would include Fish to Fry and the fiddle-driven Get Up 'N Go, but really there isn't one song on the entire album that I wouldn't want to listen to again and again. Its perhaps a little too "off-the-wall" to gain any semblance of major success, but that shouldn't detract one iota from what is a really good record, albeit one that may not sound so appealing once the hot summer days have turned into the autumnal dark nights. And again, you may find yourself getting a little less enamoured if you listen to it too many times, but whilst the rush sticks around, this is simply delightful.

Jewel - Goodbye Alice In Wonderland

I seem to be pretty much in the minority. I thought Jewel's last album, the almost universally panned 03/04, was actually quite good. Of course the problem was that it wasn't the Jewel "sound" everybody wanted from her, a fact she acknowledged to some degree in the inlay notes for that album. And it's a fact she's acknowledging again in the inlay notes to the new album Goodbye Alice In Wonderland where, amongst telling us that the album is the story of her life and follows a linear narrative, she almost apologises for somewhat going back to her roots.

The funny thing is though that it's the more "pop" moments on this album that are the standout tracks. Again and Again, Only One Too and Words Get In The Way are hits in the making; joyful, playful and catchy...everything you could ask for and more.

It's the more serious notes that don't impress as much. For a singer who's lyrics are such a strong focal point (witness the poetry book she published) this album proves once again that Jewel has a tendancy to be a little too autobiographical and cloying for her own good. Good Day, in particular, has all the hallmarks of a dreadful Jewel track (and to be fair, there are a few of those in the canon) with its insipid lyrics being almost embarassingly precious and narcissistic.

Still the odd duff track should not detract from what is probably the strongest collection of Jewel tracks yet. The attempt for a linear narrative would proably pass by most people if Jewel hadn't mentioned it herself, but it does make for a coherent and satisfying whole. My only problem is that after the shockingly daring and different 03/04, Jewel has gone back to playing it safe, and whilst the end result is definately one of the better albums of her career, it's sad in some ways to think what might have been if she'd torn off the shackles once more.

Single Releases 12/06/06

Hips Don't Lie (Shakira feat Wyclef Jean) - This is great, but I'm STILL pissed off that it wasn't on the album. And now I see they are re-releasing the album with this as a bonus track. I wouldn't care but it's only the SECOND single from the bloody album. That said, it is a cracker.

So Under Pressure (Danni Minogue) - Well it's a hell of lot better than some of the crap she foists on us, I'll give her that.

I Am Not My Hair (India Arie) - Hmm, what can I say other than I don't like it.

Miss Murder (AFI) - I know that there are thousands of kids who love this kind of shite, I am most definately not one of them.

Lucky Like That (Clea) - Lucky to see out the year with a record deal you mean.

Diva Lady (The Divine Comedy) - Another Neil Hannon classic, which will no doubt spectacularly fail to set the charts alight. Still, what do the general public know anyway?

On The Radio (The Concretes) - I likes this one.

Henrietta (The Fratelli's) - They've still not quite come up with a song as genius as their band name, but this is pretty close. In fact, it's pretty bloody brilliant.

Who Says You Can't Go Home (Bon Jovi) - Who would ever have thought that Bon Jovi would go all Drum 'n' Bass on our asses? Of course, I am kidding. This is exactly as you would expect a Bon Jovi song to sound like. Whether that is any good or not depends on your view of the band themselves I suppose.

Coming Undone (Korn) - Ditto. It's not bad, but it's hardly a bolt out of the blue from the Korn boys.

Devil In A Midnight Mass (Billy Talent) - Until they sort out their hair, I'm not taking them seriously .

Why You Wanna (T.I.) - Is this better or worse than the Crystal Waters original? Well as both are pretty poor, who knows.

Catherine Feeny - Hurricane Glass

Well for once at a concert (Martha Wainwright) I turned up in time for the support act, who turned out to be Catherine Feeny. She was quite good, although as I mentioned in my concert review, it's never easy making a qualified judgement on an artist doing a solo show. You don't have any idea how their sound transfers to the record.

Still, I liked what I saw enough to check out the album. Much like Nerina Pallot with Fires, there will be a lot of people saying this is her "debut" when in fact it is a belated follow up to her self-titled 2003 album. Still there is no doubt that the time is right for a female singer-songwriter, and Feeny is one of the best of the "new" breed.

It's lazy to compare the latest act to their predecessors, but there is no doubt that fans of Sheryl Crow and Suzanne Vega would find much to like on this album...and indeed anyone who thinks Sandi Thom is the second coming of Jesus might like to check out what a really good album actually sounds like.

Accessible enough to grab you on the first listen, the tracks bear up well to repeated plays with the melancholy aspect of the songs tugging at your heart strings. However, despite the melancholy and introspection on display, the album is never dull or depressing.

Mr Blue is delightfully bittersweet, and Always Tonight hides its tormented lyrics behind a warm acoustic glow. And as if to prove she can rock out, the title track shows Sheryl Crow just what she might like to do next after the pretty insipid Wildflower.

It's pretty much a given that at this stage of it's life, Hurricane Glass isn't going to sell anywhere near as many copies as Sandi Thom's Smile...It Confuses People, but it's also very clear that this is ten times the album that will ever be.

Single Releases 05/06/06

Maneater (Nelly Furtado) - Ok so it's finally out in the shops, and I know I've been banging on about it for ages, but it really is bloody brilliant. Sod Gnarls Barkley, this really is the best single of the year so far.

Follow Me Home (Sugababes) - This, on the other hand, isn't. But then I've never been a fan of dull pop ballads. Still it will keep them in the public eye until they surprise me with another Hole In The Head/Push The Button type stomper.

Sooner Or Later (Duncan James) - Yes Duncan, except it should be sooner rather than later. As in sooner rather than later you are going to realise that this just isn't going to work. I thought the other clowns were bad enough, but even Anthony Costa's record was better than this.

The Youngest Was The Most Loved (Morrissey) - Erm, well you know me and the Mozza. I mean it's not a bad track, but where exactly it's any different to his last four singles or so is beyond me.

World At Your Feet (Embrace) - Just to prove that the FA have as much clue about other industries as they do about running the national game they choose Embrace to deliver the rousing and anthemic official England World Cup song. I'm just surprised anyone was, well, surprised when this turned out to be dull and boring. I mean it's akin to asking Ted Bundy to chaperone your teenage daughter.

Say Somethin' (Mariah Carey) - Or just continue pushing the boundaries of how little clothes you can wear without it being obscene. Although really, it is already obscene. Anyway, this is not a bad tune but why don't you play the "when did Mariah Carey become a slut" game with me and Jenny Lewis sometime.

Never Went To Church (The Streets) - Much like "When You Wasn't Famous" was a poor man's "You're Fit And You Know It", this is a poor man's "Dry Your Eyes." Which isn't to say its a particularly bad song, it's just not a very good one.

Monster (The Automatic) - Not bad, but not all that great.

Dance In My Blood (Men Women & Children) - Absoultely barmy, but very very catchy. With a chorus you won't get out of your head for days.

Sing It Out (Hope Of The States) - I love this, DESPITE the fact that Zane Lowe is always banging on about how great it is. So if I love it even with that "recommendation" on it's back, this must be good, right?

Not Ready To Make Nice (The Dixie Chicks) - Well you could have fooled me! Anyways, whereas once the Dixie's were a welcome breath of fresh air to the Nashville scene now they are just as air-brushed and strangled as any number of good looking Country women.

Anysound (The Vines) - Hardly earth shattering, but a welcome return for the band.

Sandi Thom - Smile...It Confuses People

First things first, as far as I am concerned I Wish I Was A Punk Rocker is perhaps the worst number one in quite some time (yes, even worse than It's Chico Time) and has perhaps some of the worst, most cringeworthy lyrics this side of a Katie Melua b-side. So really, I'm not coming at this album from the best of places am I?

But to be fair, there's nothing quite as bad as that effort on this debut album but that's not to say that this is anywhere near approaching anything other than mediocre.

When Horsepower Meant What It Said repeats the Black Horse & Cherry Tree trick of the lead single, to slightly better effect, even if the lyrics still are terrible. Lonely Girl is the kind of ballad that wouldn't be out of place as the "mum and dad" track on a Sugababes album and is then followed by Sunset Borderline, which isn't even that good and is hamstrung by yet more pitible lyrics.

But then, at track 5 a change comes over me. Ok, it's hardly the best song ever but it has one of the catchiest radio-friendly choruses I've heard in quite some time...sadly however it's the lone high spot. In fact most of the rest sounds no better than what you might expect from any tom, dick or harry in your local pub on Acoustic night (a fact that Sandi could almost be seen to acknowledge on the 30 years behind the times The Human Jukebox).

And therein lies the rub. To come anywhere near justifying the PR hype, this would have to be something special, or at least aspire to that. This doesn't. This is music by the numbers. Someone, somewhere has seen the success of a KT Tunstall and decided to replicate it, albeit minus any of the heart, soul and genuine emotion that makes Tunstall a star.

Still, the Radio 2 audience will love it, and I suspect that that's the only bottom line that matters at this moment in time.

Martha Wainwright LIVE

No Pizza Express this time (you can't have Pizza two nights in a row can you? - well, not that I had pizza the night before, but you get my drift) but a nice little Mexican Steak house instead.

Which was all going perfectly until the Ice Cream...when a chill to kill all chills came over me and seriously left me below-par. Anyway, you don't want to hear about my illness do you?

We got to the Lowry in time for the announcement that the support act was about to start. As it was female, and teasely, we decided to mosey on in. Her name was Catherine Feeney and she was quite good. Of course it's difficult to form a definative opinion of an act you've never heard of when they perform such a pared down set as Feeney did, but I enjoyed it and have since enjoyed listening to the full version of some of the songs on her myspace page. One to look out for.

Indeed, I would have gone over to her during the interval but by then I was feeling seriously ill and thought it best not to go over and be sick on her or something.

So then it was onto Martha. And Martha, well she's just Martha. Within seconds she had the audience in stitches, "this wasn't supposed to be some kind of fucking comedy show", but much like Nerina Pallot in the same venue the night before the funny and witty banter would have meant nothing without the songs, which were as excellent as ever.

Most of the "Martha Wainwright" album was done as well as some brand new tracks, all of which whetted the appetite for her upcoming follow up. There was also a special guest appearance by Thea Gilmore for a couple of tracks, which was a nice surprise.

Whilst seemingly acknowledging herself that she's not for everyone ("I can see why I get a 'reputation'") in a way that makes her all the more special. In a world where artistic "integrity" is seemingly lost in the rush to sell a million records, its refreshing to see a female artist completly willing to do things her own way. And on the evidence of tonight's show, long may she continue to do so.

Nerina Pallot LIVE

Well it seems like someone from the Lowry must indeed have a deal with the Pizza Express dudes, because for the second Lowry concert in a row, we found ourselves having a meal with the artist we were going to see.

Ok, "having a meal" is a bit misleading. "In the same restaurant" would be more appropriate, but as Nerina had the Lasagne just like me, the phrase "I had Lasagne with Nerina Pallot" may be misleading, but you can't say I'm not telling the truth. ;-)

And another point, before we even get to the venue, since when has Nerina been so small? It threw me at first because despite having met her on a few occasions, I never realised she was so tiny. Anyway...

Over to the venue it was, where I spent £1 on some Nerina Pallot stickers, which I now seem to have lost. Ah well, at least I got some badges. There was just time for Gee to fail to respond to being chatter up, us to notice that "Mandy" from Hollyoaks was in the hiz-ous and for me to fail to get over to Andy but then wave to him anyway before we settled into our row E seats.

And from that point on, well what can I say. In a year of great concerts so far, this was another superb one to add to the list. She kicked off with one of my favourites, If I Know You, and there wasn't a duff or dull moment from that point onwards.

It wasn't only the songs either. Unlike a lot of modern day "pop-stars" Nerina has intelligencee and humour to burn. I doubt there will be many other concerts in which the star regales you with tales of shopping, accessories, hermit crabs, Alice Cooper, the Mercruy Music Prize, red wine, Faith Hill, god and Rachel Stevens just to name some of the topics covered. In fact the only really unneccesary thing was the bit about Spurs. No need for that love.

Of course there was also the Suzanne Vega reference, which even though it probably blatantly wasn't directed at me, could actually have been a reference to me so I'll count it ;-)

Still all of this would have been pretty superfluous if not for the quality of the songs. It was nice to hear a couple of DFS (Dear Frustrated Superstar, not the sofa showroom) tracks, and the version of Confide In Me is a classic. Throw in "I'm Gonna Be Your Man" (a "new" track that prior to this show she seemingly didn't want to sing when I was at a gig) and "Grace" and you had the unmistakable experience of a performer at the very top of her game.

And with any luck, this just might be the beginning of something really big.

Single Releases 29/05/06

Don't have much time this week for my usual in-depth reviews. So it's time for the rapid-fire reviews round.

Is It Any Wonder (Keane) - Better than their other stuff.

Who Knew? (Pink) - Turgid.

Trouble Sleeping (Corinne Bailey Rae) - Dull.

All Over Again (Ronan Keating ft Kate Rusby) - Better than you'd expect.

Faster Kill Pussycat (Paul Oakenfold ft Brittany Murphy) - Awesome.

Fury (Prince) - Auto-pilot Prince, but better than when he was a squiggle.

Checkmarks (The Academy Is) - Not bad.

And It Feels Like (LeAnn Rhimes) - Not going to do a "Can't Fight The Moonlight".

Excuse All The Blood (Betty Curse) - I can't help liking this.

Girlshaped Lovedrug (Gomez) - Infuriating.

The Like LIVE

...again :D

Although if Z-Berg's "Goodbye...forever" comments at the end of the show are in any way symptomatic of anything then it may well have been the last time we'll ever see them!

A few nice bottles of Magners with some "Down" fans in the Oxford and we headed to the venue right on doors opening time...and found ourselves once again right at the front. I took the executive decision to stand on the left hand side for once, although really I should have stood in the middle to get a better view of my Tennessee. It did mean however that I was able to get a lot of nice pictures of Charlotte, some of which are reproduced here.

Still I managed to baffle the stage-guy (who seemed quite surprised when I muttered out loud as he put the set-lists down that the girls weren't doing Too Late) and fail miserably to chat up those two French birds.

Hilarity ensued from the onset as Tennessee, in a perfect Spinal Tap-esque style, couldn't find her way to her drum kit! I think the set list was as it was last week which was a minor disappointment, but I love 'em anyway.

There seemed a bit of joviality going on, especially when Z-Berg started playing the wrong song and it was another enjoyable night. It was also notable that it was being filmed (for Channel M - come on Telewest, get your act together) not least beacuse one of the camera men was right beside me. It then became even more apparent that he was occasionally filming me, probably because I seemed to be the only person there who actually knew who The Like are, so anyone with that channel, be sure to check out The Like when they're on and let me know if I do indeed appear.

Of course, this being the Gee's favourite band the frivolity didn't end when the set did. I tried to grab Charlotte's set list, but couldn't. Thank the lord that he made Gee so tall as he was able to reach over and get it for me. An aborted look for the merchandise table later and we found ourselves back in the venue itself.

I cornered Tennessee to sign my set list (and I hope she didn't hear me swearing, if indeed I did swear) but she was as sweet as ever. Then I wandered over to get Charlotte to sign not only my set-list but also the CD booklets I hadn't been able to get signed by her last week. Then, despite saying I wouldn't smile the next time I had my picture taken I did indeed smile and, as you can see below, managed to once again look like a complete gifford.

Then, in a highly deflating moment if your name is Gee, Z-Berg recognised me (it's the pens) and flashed a cheeky smile and what have you at me. I think, in something I haven't done for about 10 years, I winked back at her. Of course someone had to borrow my magical pens again and after a last gasp effort to get young Xav to have his pictures taken with them (he wouldn't) it was off to the Pizza place (stopping only to steal a Cara Dillon poster) and then back home.

Another top night of entertainment. Let's hope they come back soon.

Girls Aloud LIVE

Exactly a year to the day after the sublime "front row" Girls Aloud experience it was time for the Manchester date of the Girls' first (and no doubt last) Arena tour.

An early start (in the pub for 3pm, not including my pre-meeting Brocket liquid lunch) meant that I was suitably oiled for the show itself. And once again, if I dare be so vain as to say so myself, the ticketmaster pulled through with some cracking seats which, if I didn't know that my camera has a crap flash, would have made me regret not taking my camera.

Now we all know that I've been on a bit of a downer as regards the Girls, but I stand by it. Disregarding the quality music, the Off The Record documentary did the girls no favours by not only showing them at their worst, but also stripping away any mistique they had and revealing them to be ever so slightly dull. Although if you were to take the time to check out my 2005 concert reviews, I pretty much said the same thing then. As a five-piece manufactured pop act they have a certain brilliance...as "stars" in their own right they are pretty unremarkable.

Still, it seems as if the Girls Aloud "team" realise this. Banter inbetween the songs is kept to a minimum (and is more often that not limited to the usual banal "is everybody still having a great time?" stuff) and for the most part the songs are aloud to speak for themselves. Which is no bad thing.

Kicking off with Biology, a good idea being that it's one of the best songs of the 21st Century so far, the Girls started off in a, high concept here, Chemistry lab with one of the dancers overdosing on medicine at one point. Anyway...killer versions of No Good Advice and Waiting followed, and this part of the set was finished off with a less than stellar version of Love Machine (but more on my general gripes at the end).

Then we switched to bikini tops and hot pants for what one could term the "Hot Summer" portion of the concert. So inevitably this bit kicked off with Long Hot Summer, which once again proved that it's not as bad a song as people make out, before, as ever pop band who's ever sung a ballad these days has to, they proved they could really "sing" by doing a largely acoustic version of Whole Lotta History. Watch Me Go followed and then they played this section's trump card, the cover version of I Predict A Riot. The Kaiser Chiefs have never sounded better, even if a band who say "shit" in at least two of their songs and have lyrics like "a PHD with her legs apart" somewhat surprsingly refused to say the word "condom", instead replacing it with "bus." Way to go; regale impressionable young girls with tales of cheap tarts and whores, but whatever you do, don't mention condoms.

Off it was for another costume change, and a beautiful version of See The Day. Sound Of The Underground then followed, to a great reaction before they annoyed me completely by a superfluous "musicals" medley. Off for another costume change and the jewel in the crown of The Show. Models and Racy Lacy raced by, to be finished off with I'll Stand By You. And yes, ISBY is pretty ropey on record, but live, you have to give credit here, it's pretty powerful.

The encore finally sent me wild by starting off with Wild Horses, but then they annoyed me by only doing about a third of it before it morphed into Wake Me Up. Finish off with Xavi's favourite Jump and you have a pretty good evening's entertainment. The snotty critics won't like it at all of course, but music isn't purely about erstwhile singer-songwriters plucking their guitars to morose tunes. And as an afficianado of pop extravaganza's, I've seen few arena shows that matched this one for entertainment.

Of course, I cannot be wholly positive. As ever the eternal quandry of having to have a live band for a show proved problematic (I want to hear, for example, Love Machine as a pop record, not one bastardised by being played "properly") and again, in between the songs the girls show little personality. Still I doubt many in the audience cared, or even noticed. I doubt anyone went away from the MEN disappointed. And lets face it, will there be another concert this year where you can hear 5 (No Good Advice, The Show, Wake Me Up, Love Machine, Biology) classic pop singles in one night? With the exception of the Pet Shop Boys probably not....

The Raconteurs - Broken Boy Soldiers

I suppose I come to this from a pretty unique persepective. I don't particularly care for Jack White and his White Stripes, and I've never really heard all that much of Brendan Benson. So really, the whole "supergroup" thing completey passes me by.

Much like Gnarls Barkley, the problem with the album is that the single, Steady As She Goes, is the best thing on it by a mile; the good news however is that, very much unlike Gnarls Barkley, its not the only good track on there.

Together is a mellow and atmospheric effort, even if it is undermined by the kind of 6th Form Poetry lyrics you'd expect from Coldplay, and Intimate Secretary manages to draw together the Kinks and the Beatles for three and a half minutes of great fun.

Still there is no real feeling from this collection that The Raconteurs have any unique sound of their own. If someone told me this was a long lost collection from some 70's rock band, I'd have believed them. And whilst "homage" is not always such a bad thing, when it's done in a mediocre fashion, as a good half of this album is, then the results aren't really worth listening to...much like a good half of this album.

So in the final analysis its good, but far from great, and there is just far too much filler (which is even more criminal given the brevity of the album). Given that it's a "side-project" you could almost forgive them but given the superb single it all ends up being a vast disappointment more than anything else.

Gnarls Barkely - St Elsewhere

First things first, Crazy. I know I was a bit down on it in my single reviews, but it is a fantastic pop single and you can't argue with 8 weeks (and counting) at number one can you?

But therein lies the problem. Crazy is a fantastic slice of pop (and ladies and gentlemen, just like the new Muse single it is indeed pop) and will indeed be remembered as one of the singles of 2006. The problem is that nothing at all comes remotely close to matching it.

Smiley Faces is decent but aside from that there's not really anything else I feel the urge to go back to. Overhyped, underimaginative and only as big as they are over here because they are American.

I'd write more, but to be honest I don't think you'd find "*INSERT SONG TITLE HERE* is pretty crap" repeated ad nauseum very interesting to read.

Single Releases 22/05/06

What a decent week for singles this is folks.

Everybody's Gone To War (Nerina Pallot) - Not only is this a brilliant song and well worthy of the great success it's surely going to have, it also brings a nice warm feeling to my heart. I've liked Nerina since her first album totally and utterly bombed, so seeing this chart highly (Top 20 according to early estimates) will fill me utterly with joy; joy of a kind not witnessed since the clamour for her CD's at that Suzanne Vega concert. Plus, they quoted me on the TOTP website about this. "Single of the week by miles".

Up All Night (Matt Willis) - So the fat one (was he even fat? I don't think he was was he) decided to do exactly the same type of music with Son Of Dork....the posh Tory voting one thought he was being cool by doing all his death metal noise stuff...so what is left for the other one. Well on the basis of this he may just be the one who "does a Robbie" and leaves the others for dead.

Nine 2 Five (The Ordinary Boys ft. Lady Sovereign)- Look, I still think that Preston is a bit of a nob, but he's giving Lady Sov a bit of a boost which is fine by me. Even if Lily Allen makes Lady Sov look rubbish, I still like her. And I like this tune too if you take the pointless extra verse off where young Prezza is moaning.

The Otherside (Breaks Co-Op) - Journalist integrity goes out the window here. Zane Lowe has something to do with him, and if there is one man I hate on this planet, well let's just say he's right up there.

Girlfriend (The Darkness) - Aww, bless em. Still trying to make a go of it. You have to admire a tryer, even if what they are trying with is a great big fat slice of sub-par Bon Jovi mediocrity.

Sin Sin Sin (Robbie Williams) - This is the sort of thing that will tide him over very nicely until he does that album with the Pet Shop Boys that he keeps threatening to do. Go on Robbie, you know it makes sense.

Fill My Little World (The Feeling) - Sorry I just don't see why these guys are getting the critical acclaim that they are. They're just dull.

Upside Down (Jack Johnson) - Speaking of critical acclaim I can't understand here is Jack Johnson. He's dull. He's a one trick pony. Why bother listening to any more than one of his songs?

Country Girl (Primal Scream) - AKA the sound of Bobby Gillespie on auto-pilot. The video and song remind me of a Rolling Stones late 90's effort, and that was crap too.

I Wish I Was A Punk Rocker (Sandi Thom) - I'm a bit put-off by the whole "concerts in the bedroom" thing (or was it basements, I forget) because whilst a smart marketing move, does it really make the music any more worthy? The answer is no. This is a decent enough tune, but there are far better "undiscovered" acts out there.

Skip To The End (The Futureheads) - And that's what I did.

You Can't Fool Me Dennis (The Mystery Jets) - No you can't Dennis. You may wish me to dimiss this tune but I'm not going to. This is actually shockingly decent.

Pet Shop Boys - Fundamental

Yes I haven't been this excited by an album since Chemistry...so the track by track rundown in BACK bey-beh.

1. Psychological
The most blatantly Kraftwerk-esque song they've ever done (with the possible exception of the David Morales So Hard mix) and a nice slow-burning start to the album.
2. The Sodom and Gomorrah show
Ever since someone pointed out to me that you can sing the chorus to Disco 2000 over the introduction music that's all I can think about in regards this song. It's a reet stomper though.
3. I made my excuses and left
Oh this is such a sad song. I'm not quite sure what the opening two minutes of instrumental have to do with anything but this is one of those mellow "you don't really love me" songs that PSB can do so well.
4. Minimal
The next single and I can see the radio friendly appeal of this one. I can just see everyone walking down the street singing M-I-N-I-M-A-L to themselves.
5. Numb
The inclusion of this reeks of contractual obligations. The idea of the boys writing a song with Dianne Warren was intriguing, but as it becomes clear that she merely gave them this track the end result is pretty underwhelming.
6. God willing
It's like Please all over again. Most bands would have this kind of thing as an introduction. But PSB are not "most bands" and so have this as an interlude.
7. Luna Park
If there is a better ballad in the PSB canon than this, I can't think of it at this time. Gorgeous from start to finish.
8. I'm with Stupid
Their best single in over a decade, and remarkably it's one of the weaker tracks on the album. Which is not to say this is anywhere near a bad track
9. Casanova in hell
Erm, although this is an interesting track I'm not sure it's all that good. The lyrics can get pretty cringeworthy and its hard to take this track seriously after the orchestral instrumentation that follows the line "he couldn't get an errection".
10. Twentieth century
I love this one. The hushed vocals and the mellow, yet danceable, beat make this a real winner in my book.
11. Indefinite leave to remain
Who else in pop music could write a song like this which marries the idea of a love affair and asylum seekers? It's genius folks.
12. Integral
This is the album's absolute disco stomper and really should be a single. It probably won't (I doubt we'll get to a third single this time around) but it's an absolutely stunning end to a cracking album.

FUNDAMENTALISM Bonus Disk
This is the best collection of remixes they've ever released in my opinion, and the Richard X produced Fugitive is probably the best track on the whole collection (and may well be the only western pop song ever sung from the perspective of a terrorist). Well worth the extra £4 or so it will cost you to get the special edition.

So overall this is a triumph. It's sort of the missing link between Very and Behaviour style wise and with only one complete miss it's their most complete album since 1993's Very. In fact it's up there with the best they've ever done. Welcome back boys.

The Divine Comedy LIVE

So back it was on the East-Lancs road. Poolstock was so ram-packed that I didn't even make it to that road as I took another route which wasn't quite so packed. I know, your're thinking to yourself, "why doesn't he always go that other way then", but believe me folks, its not that simple.

So to the Oxford it was. They told me they had no Magners when it was clear there were at least 15 bottles of it on the shelf. I didn't cause a scene though, and it was perhaps as well because by the time I'd got off the Stella's and had me some Coca-Cola, I ended up winning two prizes in the World Cup draw; a whistle and a rattle. COME ON INGERLUND!!!!

Anyway, we got to the venue just in time to miss the support act and that was ram-packed too. Despite having the bastard child of the Kooks and the Flaming Lips in front of me, I could occasionally see the stage. Not that that really mattered though for two reasons; a) it wasn't teasely so who cares about the view and b) the music was that good that it made no difference!

I suppose you can say it's a sign of quality when a concert filled with "new" tracks is still brilliant. Occasionally, as on record, the songs drifted off course a little too much but new songs such as Diva Lady, A Lady Of A Certain Age and To Die A Virgin are instant Neil Hannon classics. Add those to some earlier classics (including the incomparable Something For The Weekend) and you have a great night of poptastic fun. When Mr Hannon is on form like this, he's irresistable.

The Like LIVE

Thankfully the vestiges of the Big Run had cleared and it was a painless trip to Manchester for the first concert of the mad fortnight.

A quick walk to the venue to see what time The Like were on was a waste of time due to the fact that there were no signs up but the walk back to the Oxford did gain us yet another Moso Moso celebrity spotting. Yes, the lovely Tennessee and Charlotte were obvioulsy going over for some stewed bean curd or something. We didn't go over to them (not least because I wasn't drunk yet) although Daz Sampson did try and thrust his miniscule Like badge in their general direction hoping they would notice....they didn't.

After getting caned on the golf game at the pub (losing all three rounds) it was gone seven o'clock and I thought we'd better check if the times were up at the venue yet. And a good bloody job it was too that we did check seeing that The Like were on at the terribly early time of 7.15pm.

I'd not even returned from the pisser by the time they were on stage, and it seemed that there were about 4 of us in the audience who actually knew who the girls were. A fact that actually got us recognition from Charlotte herself. There was some dude at the front bopping up and down, who she thanked for knowing who they were, and then when Gee and I waved as well, she said hello to us. Sure it's not quite up there with Courtney Cox in that Springsteen video, but I'll take it.

The set was short (half an hour or so) and they didn't do my favourite (Too Late) but it was a good little show as you would expect.

Of course we had to stick around afterwards to try and get our bits and pieces signed but it wasn't looking good. Thankfully I didn't listen to Gee and leave once the second support act came on because there was the lovely Tennessee at the bar living out some Artic Monkeys fantasy by having a Smirnoff Ice. Which she paid for herself may I add!

Anyways, I went over and asked her to sign my CD booklets and then she went off in search of Z-Berg to do the same, but Z was busy being chatted up by the Gee. Then there was the comedy of Gee's fancy new gold pen being rubbish. Ok, it wasn't rubbish and just needed some work to get it going, but after the story of how Gee was so glad he'd unwrapped these bloody pens before taking them to the concert, it was funny to see that he'd forgotten to check the working parts of the pen beforehand.

Of course, this was The Like so the pen-related buffoonery didn't stop there. More and more people came up to Z-Berg (Tennesse had buggered off by this point) to ask her to sign stuff, but I seemed to be the only person within a 10 mile radius to actually have a pen worthy of the job. So there was the repeated hilarity of Z keeping coming up to me asking me for my pen and giving me the kind of fluttering eyelashes look that sends me weak at the knees.

Then it was time for the picture, and all credit to the Gee for ONCE AGAIN managing to not work my camera properly first time around which meant more quality time with my arms around a nice young lady. Although once again as you can see below, I look like a complete and utter gifford.

So that was that, back home for just after half 9 after a good fun night out. Roll on next week, "upstairs" if you will.....

The Zutons - Tired Of Hanging Around

First things first, I've never really liked The Zutons. I dismissed them as Coral clones in the beginning (not that I ever liked The Coral) and although the odd single occasionally catches my ear I can never really bring myself to like them.

Indeed my one abiding memory of seeing them support REM at Old Trafford Cricket Ground is the sound of them being taunted by a large vocal group of Mancunians.

So really I'm probably not the best person to be reviewing a Zutons long player. But you know me, I won't let my preconceptions get in the way of giving it a fair listen.

The lead single, Why Won't You Give Me Your Love, was decent, and benefitted from the increased vocal presence of saxophonist Abi Harding. Oh Stacey (Look What You’ve Done!) is another grower and is perhaps the most "upbeat" track on the disc. Valerie is another nice track, and a decent enough single, but after that things get a little less decent.

Too much of the rest sounds like The Zutons trying to be someone else and there is just far too much of the "woe is me" style ramblings about the pressure after delivering one hit record. The title track is a turgid slice of rock, and It's The Little Things We Do isn't much better and indeed may have some of the worst lyrics you have ever heard in a pop song.

So all in all, I still don't "get" The Zutons. Too much of this album meanders around without ever quite reaching any discernable destination.

Corinne Bailey Rae - Corinne Bailey Rae

I do catch up with all the hot trends eventually you know.

Anyway, I waited a long time to get around to listening to this, which as we know is "the" sound of 2006. But really, once you strip away the hype is it really up to much? Well as ever the answer is not a black and white one.

The first thing is obviously the voice. And yes, it is a great voice. In fact it's a voice that is worthy of all the hype...which makes it all the more disappointing that the album as a whole is ultimately unworthy of the hype.

It's not that it's a bad album, just that on the whole its a fairly unremarkable one in terms of the songs themselves. Bland just about covers it. If you were being particularily unkind, the phrase "musak" would spring to mind. Despite her wonderful voice the whole thing sounds remarkably souless, as if the bottom line is the money rather than any other more artistic motivation. Many will point the finger at the record company (as they perphaps well should) but we must not lose sight of the fact that Rae has been a willing part of the scheme. She has co-writes on all of the tracks and has perhaps compromised artisic integrity in the short-term with the hope that in the future that she can really break out.

Or maybe its just that her talent really doesn't stretch any further than having a good voice. Stranger things have happened.

I for one hope that this is just somewhat of a false start, albeit a fairly lucrative one. Although the album is at times souless and languid, you get the sense that it won't require major surgery for Rae to come up with something really special, more of a nip and tuck procedure. Whether or not we'll ever see it is not a question that is mine to answer.

Single Releases 15/05/06

There's very little of any worth out this week so whilst for once I have the time to do lengthy reviews in this section, I really don't have the inspiration in front of me to do so. So this will be short and sweet.

What I Say And What I Mean (The Like) - What more can I say? The Like are officially AWESOME, and this is their best tune. You really should buy it.

Bright Idea (Orson) - Next time you ponder on the greatness of Myspace as a way for new talent to break through, please remember that Myspace was also largely responsible for publicising this load of old crap. Orson? Orfull more like it...

Touch It (Busta Rhymes) - Someone has forgotten the tune methinks.

First Time (Sunbock) - An 80's tune revisited, with a video resplendent with huge breasted women bouncing about...am I the only one getting sick of things like this these days?

Say I (Christina Milian) - Ha ha ha ha. "I'm Gangsta Me, honest." Sure you are love...sure you are. Still you can't sell any records as an R'n'B-lite nymph so you might as well have a crack at this.

Throw It All Away (Zero 7) - Pleasant, but hardly memorable.

The Adventure (Angels And Airwaves) - Blink 182 fella joins forces with some other less well known "superstars" to come up with the kind of thing that The Darkness might come up with if they weren't such a joke.

Whoa' (Lil Kim) - Proof posititve that a glossy makeover (or in this case an Anne Robinson style reconstruction) and a tit job aren't just ways of making it in the "pop" industry. You can also carve out an R'n'B/Rap career out of those ammendments as well. Well, inbetween your stints in prison of course.

The Great Escape (Morning Runner) - Despite having listened to this about two minutes ago, I can't remember what it sounds like.

MORE Pet Shop Boys

I know, I know. You're getting bored of all this PSB talk (don't worry, there's only a couple of weeks left to the album now) but I've just had a sneaky peak of a couple of album tracks from Fundamental.

The Sodom & Gomorrah Show is the kind of track that is everything Release could have been instead of the slightly dull album it turned out to be. Sun, sex and sin indeed!

Integral is a bit like I'm With Stupid in the sense that it's definately got that 80's feel to it, which is no bad thing when the track is as good as it is. In fact if you ask me, they'll be mad not to release this as a single (although it is true that Minimal has been confirmed as single number 2) as it is that good.

So that's three of the best tracks they've done in a decade already! :D

Single Releases 08/06/05

ALIENOID STARMONICA (EP) (THE ALIENS) - Take a few members of the Beta Band, throw in a totally bizarre opening two minutes of noise and sprinkle with a smidgen of country Americana and what do you get? The opening track of this EP. So all in all it's fun and fresh but it's hard to tell if its as good as it thinks it is.

MANCHESTER (BEAUTIFUL SOUTH) - Well there aren't very many surprises held within this one. Needless to say it's got that jaunty feel you'd expect from the Beautiful South without ever being as good as those songs you remember them doing in the past.

SAY AFTER ME (BIC RUNGA) - She's huge in her native New Zealand but then I suppose that's not exactly difficult in the overall scheme of things is it. Although have I even got the right person in mind here? Anyway...she's huge somewhere but I can't see her being huge over here. This is decent enough but like a lot of tracks this week it doesn't have the spark that distinguishes it from the pack.

SUZIE (BOY KILL BOY) - I saw them perform this on 1 Leicster Square. Which incidentally may be one of the worst programmes I've ever seen. Russell Grant (or whatever your name is), please do us all a favour and give up. Anyway the song itself is rather decent although never does quite enough to really excite me.

LUCKY GUY (CHARLOTTE COOPER) - Hmm, you get quite excited when you hear mention that this Essex teenager was "discovered" by the Beach Boys...then you realise it's by the Beach Boys that nobody remembers (although to be fair it does point out that she's "met" Brian Wilson a few times). You should also be aware that the release date for this single keeps getting put further and further back (to the extent that I'm not even sure if it's out yet, or even is due out this week). Still, its no worse than Joss Stone in pilot mode. In fact I can honestly say as these things go, it's not half bad.

YOU SAID (CHIKINKI) - Seems to me that they can't quite make their minds up whether they are indie or electronic. It's not a bad tune, but it is ever so slightly schizo.

TEENAGE LIFE (DAZ SAMPSON) - Oh. My. God. Well I suppose it IS daft enough to give us a chance at Eurovision...but this is pretty odious stuff. It's borderline, well, lets just say that any performance of this I've seen has left a queasy feeling behind me.

HIDEAWAY (DELAYS) - Seriously, are the Delay's someone's idea of a practical joke?

DO DAT DIDDLY DING DANG (THE FAT COWBOY AND DJ DOG) - The one, and indeed only, "positive" I can come up with about this abysmal excuse for a novelty record is that at least the backing singers wear cowboy hats. And you know how I love a woman in a cowboy hat.

YOU & I (GRAHAM COXON) - The law of diminishing returns again here. It's quite a good song, but nowhere near as good as the previous single. Still, I do like it.

THAT'LL BE THE DAY (GREGORY DARLING) - Wow. What can I say? This is something pretty special indeed. Pop-rock at its absolute finest. This shimmies and shines like a bright summer's day. I implore you to check it out.

BOY FROM SCHOOL (HOT CHIP) - A huge disappointment after the sheer brilliance of Over And Over. It's not bad, but it lacks the pizzaz and spark that made Over And Over one of the best singles of the year so far.

GOODNIGHT & GO (IMOGEN HEAP) - I quite liked Frou Frou in their own little way, but this is a track which polarises me. On the one hand its nowhere near as daring or "off the wall" as you might have hoped for, being as it is a fairly innofensive pop ditty (as heard on the OC no less). But there is a certain something about it that warms the cockles of my heart. So a tenative thumbs up.

PLAY IT FOR TODAY (LEGENDS) - No kidding, but the record company describes this single (along with the B-side) as "two smash hits for the gay dance floor." No really, that is the EXACT quote. So I suppose if you are gay, and like to dance, you are going to love this one...

CONTROL MYSELF (LL COOL J Ft. JENNIFER LOPEZ) - Is there a more useless musical combination than these two? I mean the song itself isn't that bad but its all so cold and calculating that you can't help hating it.

EMOTIONAL JUNKMAIL (MISS BLACK AMERICA) - Three minutes of pure "indie-punk" heaven. I cannot really reccommend this enough.

DEAD FASHION BRIGADE (EP) (NEIL LEYTON) - All I've heard is "Fires" which is a perfectly hummable, but instantly forgettable, slice of MOR rock.

I'M WITH STUPID (PET SHOP BOYS) - Well what can I say? It's merely a pleasure just to have the boys back in town. It's not their best ever, but it's still pretty damn good, and probably their best single since 1993's Can You Forgive Her. Hopefully this will see the boys back in the top 10 (although I'm not holding my breath too much on that score).

LONG DISTANCE CALL (PHOENIX) - Erm, its not too bad. Whether it's quite enough to make me stick around to see them after The Like have strutted their stuff I don't know. But it's passable.

CRY BABY CRY (SANTANA Ft. SEAN PAUL & JOSS STONE) - Santana, Sean Paul AND Joss Stone...all on ONE record? Man, it was touch and go whether I even dared to listen to this given just how much exciting talent is on there. In the end I thought I'd better risk the excitement, and boy am I glad I did. Seriously though, I can't think of anything worse than having to listen to this again.

LOST IN YOU (SHELLEY POOLE) - Yes, the same woman who used to be in Alisha's Attic. And yes, Alisha's Attic were great. If only for the whole "which one's fitter" discussion that could take over a whole dinner time. This is no "I Am, I Feel" but its still a bloody corking poppy tune, which, lets face it, is destined to go completely unnoticed. Sadly.

KEEP US TOGETHER (STARSAILOR) - Oh maybe you'd be better splitting up. I mean come on, its says something when Starsailor make Embrace look vital and thrilling.

I SHOULD GET UP (TEDDY THOMPSON) - Does this make me upset I missed TT when he supported Martha Wainwright? Well not quite, but it might make the Gee man a little upset given it's Crowded House esque feel. Listenable but not exactly unmissable.

BLACK & WHITE (THE UPPER ROOM) - They're from Brighton don't you know and that's an "in" place these days isn't it? You know the "scene". Well the one thing about a "scene" is that when a "scene" gains fame, not only do you get the good bits of the "scene" breaking through, you get the mediocre bits too. And this my friends, is medicore all the way. Try putting a modicum of spark into your next release boys.

Metric - Live It Out

I don't know much about Metric (not a surprising admission as this album was out at the back end of 2005) but I recently caught the rather barmy video for Monster Hospital on MTV2 and it stuck in my head. Then a couple of weeks later I was flicking through the music channels and happened upon MTV Dance, which were playing a different Metric song which sounded nothing like the afformentioned MH.

Now that little story in its own way tells you quite a lot about Metric. "Heavy" and indie enough to get on the MTV2 playlist, but upbeat and "dancey" enough to get onto MTV Dance. Now this may in itself sound like a horrifying melange, but don't worry...the end result is pretty bloody spectacular.

Take opening track Empty for instance; for the first two minutes or so it's what you could call a synth "mood" piece but then, without much warning, grunge guitars kick in and the whole thing is taken up about three hundred notches in one easy manouever.

And from there, things stay very high on the quality-o-meter. Highlights for me include Poster Of A Girl and Glass Ceiling, but in all honesty its hard to identify a real duff track.

Whilst never quite as clever as it thinks it is, this is still a great album to, you know, dance to. A rock band not afraid to have fun...whatever next? Maybe there is hope after all.

And of course, it doesn't hurt that lead singer Emily Haines is quite the star-in-the making.

Pet Shop Boys

Well the time for Fundamental, the 9th studio album, from the Pet Shop Boys is nearly upon us. So what better time to bring back that old "lists" phase I went through a while back and give my definative ranking of the PSB studio album cannon.


8. Release (2002)
There is no such thing as a bad PSB album (Disco 2 notwithstanding) but this was a disappointment. Really when a band changes their longstanding sound as fundamentally as the boys did here, the results have to be spectacular to be successful, and this falls well short of spectacular. Some have labelled this as "PSB chanelling the Smiths", although this may have more to do with the guitar playing guest Johnny Marr than any other concern. There are a number of highlights to treasure though; Home and Dry is good, as it the almost Oasis-lite I Get Along. The irony is that the standout track, Here, is the most true to the old PSB ethos. But really there is no excuse for Love Is A Catastrophe or Birthday Boy which have to be two of the worst PSB tracks ever.


7. Nightlife (1998)
Bring along some hip dance producers to help out and you have the simultaneous effect of producing both the most "modern" album in the PSB canon, and also the one that bears least repeated listenings. The sad thing is that from tracks 1 to 7, this is shaping up to be a classic Pet Shop Boys album but from thereon in it's a slippy ride into mediocrity. I Don't Know What You Want But I Can't Give It Anymore and You Only Tell Me You Love Me When You're Drunk are two of the best post-Discography singles by the boys and Radiophonic has to be one of the best singles-that-never-were in the PSB catalogue. But Boy Strange reminds you of David Bowie at his worst, In Denial has to be the most cringeworthy songs ever (made even worse by the fact it features Kylie) and New York City Boy is camp nonsense that really should never have seen the light of day. And now, eight years on, the whole thing sounds outdated and really hasn't aged all that well.


6. Bilingual (1995)
Much like the album that followed it, this is very much a tale of two halves. The first five tracks are all very good but the album doesn't follow these up with anything that matches them. Although thankfully it doesn't descend into the mire in quite the same way that Nightlife does. In Se A Vida E and Before the album has two quite wonderful, but different from the expected, PSB singles, and despite a lot of people thinking otherwise, I've always enjoyed the likes of Metamorphosis and To Step Aside. But Red Letter Day may well be the worst single the boys have ever released and Up Against It and The Survivors are exactly the kind of drivel you'd least expect from the PSB.


5. Introspective (1988)
It may only be six songs long (or short) but those six songs pack in more fantastic pop than many artists do in a whole career. True I've never cared for the basic version of Left To My Own Devices on here, and I've never really liked It's Alright, but in I'm Not Scared, Domino Dancing, I Want a Dog and Always On My Mind you've ample examples of what Neil Tennant described as the PSB "imperial" phase.


4. Please (1986)
The debut, and whilst most people would only remember West End Girls and the fantastic, but often very misunderstood Opportunities, there is a lot more to reccommend on here than just those. Love Comes Quickly is a gorgeous synth ballad and remains one of the most criminally underated PSB songs they've done and tracks like I Want A Lover and Why Don't We Live Together are still wonderful to this day. The only blot on the album is Suburbia, a song I've never really liked and one which on the album manages to be worse than the souped-up single version that was subequently released.


3. Behaviour (1990)
The critical masterpiece, but the commercial disappointment. It's certainly a mile away from the over-the-top pomposity of the likes of It's A Sin, but that doesn't mean that it doesn't deserve the many plaudits it's received. Being Boring is perhaps the finest PSB song there is but it's far from the only highlight on this superb album. My particular favourites would include The End Of The World, To Face The Truth and So Hard. The one "fast-forward" moment for me would be My October Symphony but the rest of it is pure gold.


2. Actually (1987)
What's not to like about this one. Three top two hits (It's A Sin, What Have I Done To Deserve This? and Heart), a further top ten hit (Rent) and some of the best PSB album tracks (Kings Cross, One More Chance and It Couldn't Happen Here) in existance. There isn't a duff moment on here and its easy to see why with this release that PSB could, at the time, conceivably be seen as one of the biggest Pop act's in the world.

1. Very (1993)
So it may be a slightly controversial choice, but this is my list damn it. I suppose in a way I will always have a fond memory of Very because it was the first PSB album where I was an avid fan of the boys as it came out. But really this remains my favourite because no matter how many times I hear it I have no trouble listening to it from start to finish without skipping a thing. Can You Forgive Her combines two classic PSB traits of over-the-top production and biting, but hilaroius, lyrics. Go West may be camp, but its also fantastically catchy. In fact I really can't pick a duff tune from this collection either.

OTHER NOTES:
Just for the sake of it, I'll pass comment on a few other PSB albums and bits & pieces.

Pop Art is definately the better deal than Discography, simply because you've twice the amount of classic songs, even more so if you get the three disc collection with the bonus "mix" cd. Although I must admit that Discography is in one sense slighty the better as it contains fewer "duff" tracks. As far as the Disco series goes, 1 was brilliant, 2 was god damn awful and 3 was somewhere in between. Alternative, their B-sides collection, is better than most artists could come up with for a singles collection. Relentless (the "dance" music bonus album which came with some copies of Very is also superb. All the Further Listening collections that came with the album reissues in 2001 have their moments, but are more for the avid fan than the curious observer. The OST to their musical Closer To Heaven is one for the completist only, as is the Battleship Potempkin soundtrack (although that is the better of the two).

Nerina Pallot - Fires

Yes it was on of my top albums of 2006, but yes it has been re-released.

The track order is slightly shuffled around (but really, doesn't everybody just reorder the tracks how they want anyway these days) and there is a general sprucing up of the songs.

There's also some added strings bits on songs like Idaho. Which is good.

The new re-release does just enough to smarten the songs up without taking away from what made the album so great in the first place.

So if you haven't already taken my previous advice and bought this, then make amends and buy it now.

And there's no sign of either Nelly Furtado or Taboo, which can only be a good thing.

Single Releases 01/05/06

Haven't got the time for a full run down, but as the Premiership season is nearly over, what better way to run down this week's releases, but in a Premiership League Table styleee....

CHAMPIONS
You Are What You Love (Jenny Lewis)

CHAMPIONS LEAGUE QUALIFIERS
Dani California (Red Hot Chilli Peppers)
Lost And Found (Feeder)
Nobody Move, Nobody Get Hurt (We Are Scientists)

UEFA CUP PLACES
My Patch (Jim Noir)
But It's Better If You Do (Panic! At The Disco)

TOP HALF RESPECTABILITY
Fly Me Away (Goldfrapp)
Can't Exist (Joseph Arthur)
Hoppipola (Sigur Ros) *
Shot Away (Pawn Shop)

MID TABLE SAFETY
Remember The Time (Michael Jackson)
When The Stars Go Blue (Tim McGraw)
Broke (Captain)
Photograph (Jamie Columbo)

NARROW RELEGATION ESCAPE
Nat King Cole (Adam Green)
Waters Of Nazereth (Justice)
Somebody's Watching Me (Beatfreakz)

RELEGATED
Hangin Around (Big Brovaz)
I'm Sprung (T-Pain)
Remain (Kubb)

* They'd scrape a UEFA cup spot through the FA cup route

The Flaming Lips LIVE

Well wouldn't you know it...it was my turn to drive and Poolstock was jammed to buggery again. Still, by some amazing coincidence I managed to arrive at just about the same time as the Gee man was getting off his train. Still that's where the plan went tits up. Sure we got to the Apollo in plenty of time and got a nice parking spot but disaster struck when the nearby chippy was shut.

Please bear in mind that I had not had any dinner, and my entire day's consumption had been a total of a Chunky Peanut Butter Kit Kat and a big bottle of Lucozade. A quick walk around found nothing else except for a pleasant little pub, so my evening meal consisted of a few pints of lager coupled with a packet of Salt & Vinegar crisps and a packet of Pork Scratchings.

We got to the venue itself to see that we'd missed The Go Team supporting, which was a shame I suppose. We were upstairs on row GG (oh the hilarity) and I was rather taken with the KT Tunstall look-a-like a few rows in front of us.

So on with the show...and what a show it was. Starting off with Wayne Coyne in a giant see through inflatable balloon surfing over the crowd...you know you are in for a fun night. People dressed as Santa and aliens...smoke machines bellowing...tons of orange baloons being let loose...it was all there folks.

As for the songs...well for a start there wasn't many of them. Of course when the songs are great (Race For The Prize, Yoshimi, She Don't Use Jelly etc.) you don't need all the trimmings, but there were occasions when you felt that all the extra-curricular activity was covering some pretty mediocre songs.

Don't get me wrong, I had a great night and there is certainly nothing quite like a Flaming Lips concert, but you just wonder whether or not the Lips could captivate the audience in quite the same way with a more "conventional" (i.e. dull ;)) show. Still, in this kind of form, the Flaming Lips are one of those bands you just have to see at least once in your lifetime.

Single Releases 24/04/06

You're All I Have (Snow Patrol) - Look, I said last week I wasn't going to listen to this...and I still haven't.

The View From The Afternoon (Arctic Monkeys) - The only "old" track on the Who The F**k Are The Arctic Monkeys EP. To be frank, the whole "let's release an EP that isn't eligible for the charts" thing strikes me as just as calculating as the latest manufactured pop band shilling their latest release.

Who Am I? (Will Young) - First things first, it's a pretty funny video. But, and this is a big but, the funny video cannot take away the fact that the song is pretty dull.

Bang Bang! You're Dead (Dirty Pretty Things) - Well as if the coked-up junkie wasn't putting enough nails in his coffin himself, along comes Carl Barat to knock a possible fatal nail to the coffin of Pete Doherty's career. Because quite simply, this is around three minutes of indie pop bliss and happens to be better than anything from the Libertines and/or Babyshambles that has preceeded it. Yes it's hardly a million miles away from those two "bands" but more importantly its tighter and better than anything he's done before. So what will be Doherty's excuse now?

Killing Loneliness (HIM) - It's Goth Jim, but not as we know it. Well ok. It is exactly as we know it. It's one of those that if this is your kind of thing then you'll love it...if not, steer clear.

Yo! Excuse Me Miss (Chris Brown) - I've heard worse; lets just leave it at that.

Steady As She Goes (The Raconteurs) - Logically, despite the obvious star power of Jack White and Brendan Benson, this is a clash of styles that shouldn't work. But wouldn't you know it, the end result is something quite fantastic indeed. For once, believe the hype!

Stoned In Love (Chicane feat. Tom Jones) - On the one hand this is a by-the-numbers dance track; on the other hand there is a certain something that elevates it slightly above the norm. Maybe its the guitars, maybe its Tom Jones, but this certainly had me almost bopping along to it.

Dig Your Own Grave EP (Test Icicles) - The worst band name ever? Possibly. Still the song's aren't too band and for sheer wealth of features alone (this is one of those dual disc efforts and comes replete with all kinds of goodies) you have to at least give them credit for putting together a good package.

Don't Blame Your Daughter (The Cardigans) - Well I do remember this from the album...it's smooth, mellow, haunting and above all completely unsuited to life as a pop single. Don't get me wrong; it's a good track. But it will sadly sink without trace as a single.