Join With Us - The Feeling

Contrary to common belief, I don't hate The Feeling. Granted I see no particular reason why they're so popular. Maybe it's becuase is a musical world where everyone seems at pains to be seen as credible, The Feeling toss that all aside in order to serve up catchy pop tunes.

The influences (ELO, Supertramp, Queen) are as clearly evident this time around as they were on Twelve Steps From Home which means that fans of the debut album are likely to continue their love affair with the band whilst those who, well, hate them are going to find nothing to change their minds.

The title track encapsulates the whole, ahem, feeling in five minutes. Some will find the mix of tick-tocking clocks, Queen-esque guitar solos and show tune hystrionics (the end is disturbingly similar to the Phantom Of The Opera gone heavy metal) hugely appealing and catchy, others might think it's a case of throwing everything but the sink at the kitchen wall but finding out that none of it sticks.

There's probably enough in the way of decent pop hits to ensure that they don't go the way of Orson (who's recent album famously sold less than 10,000 copies in the UK) or the Scissor Sisters (with even Jake Shears lamenting the flop of Ta Dah) but the law of diminishing returns is already being applied.

Get The Gore - Gore Gore Girls

A late review somewhat as this was released last June, but it's only recently hit my stereo. The Gore Gore Girls have been called "the Ronettes with guitars" which certainly makes them one to delve into, even if in the final assessment that proclamation might fit their ambitions but not their product.

It's not that the comparison has no merits, just that they never come close to matching that kind of power. Their garage-punk sound is certainly entertaining in small doses, but even with an album that clocks in at less than 40 minutes in duration, by the end of it you're starting to think that it's all beginning to sound depressingly similar.

Obscure cover version Where Evil Grows is a highlight as is the pumping Voodoo Doll; the sad thing is that for large parts of the album the songs are decent, but not particularly memorable.

One for curiosity value only.

The Von Bondies LIVE

I love these early finishes at my new job. It meant an easy trip into the big city, and the chance to ride on that Manchester Eye/Wheel thing. Very entertaining.

As was the pre-game meal, at Old Orleans. No blue cheese this time though.

We arrived at the Night & Day in time to catch the back end of We Fight Apes. Apparently they were late starting, which was a pity because if they'd started on time we'd have probably have missed them. It's not that they were dreadful, but they were just plain weird. Some of the lyrics were unrepeatable on a blog families can read, and those that weren't were just baffling. Not the worst support act ever I suppose but far from the best.

So then it was time for the Von Bondies. If there's one worry with going to see a loud rock band who you've never seen before it's the chance that they might just go for "loud" at the expense of anything else. Thankfully the Bondies eschewed that route; the tunes were well and truly intact.
The highlights from Pawn Shoppe Heart were all there and in a nice change of circumstances the new songs went down just as well. If their intention was to restablish themselves after a long abscence, they went a long way towards doing that. Not only was it good, but it was even better than I was hoping it would be. And who can ask for more than that?

And I swear I would have had my photo taken with the guys in the band if they'd still been around when I met the girls. Honestly...

Get Awkward - Be Your Own Pet

Oh, Jemima Pearl. How I am in love with you. You're too young of course, but you're just the kind of spunky, fiesty girl I end up with in real life (only to be tossed to the kerb when they realise how boring and dull I am - and let's be honest, most women find out I'm boring long before...well let's leave it there). Matt likes mental women. That's a Lucy Porter fact for you.

If there was one problem with Be Your Own Pet's, pretty awesome, debut album it was that on a couple of occasions it was just a little to focussed on being a loud mess for it's own good. Thankfully Get Awkward rectifies that small problem and then some.

It keeps everything that was exciting about the self-titled debut and adds even more killer tunes and hooks. Pearl has a much better voice than the first album lead you to believe and she's also taken on the lyric writing on this occasion, which leads to even more nonsense about teenage problems that completely go over my head but lead to an exhillarating experience.

Once again it's only about half an hour long (which is a good thing as you all should know) but not a moment is wasted.

The only depressing note is learning that record company executives demanded three tracks were taken off the album for being "too violent." If they are half as good as most of what was allowed to slip through the coroprate net we're missing out on a treat for sure.

September - September

Having been accused on Amazon of not doing enough research about albums, (although really how much research do you need to do to know that Adele is a trifle dull), I decided that I should find out about Petra Markland, aka September, before reviewing this album.

And basically this is her first American album, containing tracks taken from her last two Studio releases in her native Sweden.

And as it's Sweedish pop you can pretty much guess what you're going to get from this. And whilst it's not exactly reinventing the pop wheel it's catchy pop (it's even released on a label called "Catchy tunes" which must be the most awesome thing ever.

It's a little bit Infernal, a little bit Cascada but without being as, well, crap as those. If Kylie wasn't bothered about being cool and just wanted to release some fantastic pop songs which will have the crowd buzzing this is the sort of thing she would come up with. I mean come on, she has a sample of Bette Davis' Eyes on one track (as an aside it shocked me to find out, back in the day that that wasn't a Rod Stewart track.

And come on, there's something to be said for a lady who looks like the result of a Sienna Miller/Sarah Harding cross breeding experiment.

Will I be still listening to this album in a decade's time? Probably not. But it's a fun and catchy album which should appeal to pop fiends of all ages.

Jukebox - Cat Power

Riding the crest of a wave, commercially at least, after the fantastic The Greatest album, it's not particularly suprising that Chan Marshall would be somewhat contrary and follow it up with a covers album (the second of her career). Even the one new song on the album is very much inspired by Bob Dylan. And she's also one of the few musicians who would cover one of their own songs in the midst of such a project!

Her previous effort, The Covers Album, proved that Cat Power can certainly be relied on for some great "interpretations" of famous songs and there are a number of tracks on Jukebox that back that up.

New York, New York is transformed into a slinky blues number, and her take on Hank Williams Rambling Woman is, quite simply, breath-taking. A crack at another legendary Country act with the Highwaymen's Silver Stallion is similarly excellent

Sadly however the album as a whole doesn't quite match up to the sum of it's best moments, with a few too many obvious moments. You can see why Marshall would want to attempt Joni Mitchell or Janis Joplin songs, but she plays them too straight and injects too little of herself into these tracks.

There's also a slight disappointment that there has been little change in pace since The Greatest. As, well, great as that was Marshall is usually a girl for new tricks. Here she's trod the same path again.

This is a good album, no question, but falls a little short of greatness. For those already in love with Cat Power this is an album you'll want to hear and you will enjoy. Those looking for an entry point might want to check out The Greatest first.

Alas I Cannot Swim - Laura Marling

If only because Laura Marling isn't another female singer-songwriter jumping on the Amy Winehouse bandwagon this album is like a breath of fresh air.

It's also refreshing that the teenage Marling doesn't sound, lyrically at least, her age. The likes of Adele and Amy Macdonald can instantly be identified as teenagers by some of their lyrics; Marling, on the other hand has a lyrical poise that defies her tender years.

Of course all of this is both a blessing and a curse in some ways; although one cannot say that Marling has been without her well-placed hype, her folk stylings mean that she's not got half the attention that the likes of Adele or Duffy have recieved as 2008 has kicked into gear. It's understandable, mainly due to the fact that her style is not neccesarily fit for Radio 1's target audience, so it perhaps a minor miracle that she's got the mainstream airplay she has at all.

The appeal of Marling lies somewhat in her simplicity. Background noises are left in the mix and her laughter can still be heard. But don't let the simplicity fool you; this is a darker record than her "contemporaries" have delivered. Indeed the pervading theme is the expression of acute heartbreak, a theme that Marling portrays with a lyrical sense that, again, belies her years.

It's not going to appeal to everyone and it is fair to say that it lacks the "mainstream" qualities that more hyped performers bring to the table. It's also fair to say that not everything quite hits the mark either. But there is more success than there is (relative) failure and there is certainly enough to suggest that Marling is rare talent. And like the best vintage wine, there is the definite feelining that Marling is going to improve with age.

We're In The Music Biz - Robots In Disguise.

It would be easy to dismiss Robots In Disguise as a novelty upon a cursory glance. The Mighty Boosh appearances, the title of the album, the fake names, the fact that the two girls are, upon closer inspection, merely covered in body paint on the front cover...it would indeed be easy to lump this together as a kind of in-joke.

And if one might not be able to quite shake the feeling when listening to We're In The Music Biz that you're only a small part of an elaborate joke, it would be unfair to say that this spoils the music.

The tongue-in-cheek lyrics, the memorable melodies and the thumping basslines all add up to something which is very enjoyable indeed. Granted it might all get a little too cleverly comic for it's own good at times (only The Tears and I Don't Have A God could be termed in anyway as "serious") and some people may well find it irritating in anything more than small doses. Still its a fun album that shows some great pop sensibilities and that's more than enough for me.

The Golden Age - American Music Club

They split up to little fanfare, got back together to perhaps even less fanfare and then title their "comeback album" as The Golden Age. I can only assume that the rumour isn't true; American's "do" irony after all.

There's musicianship on display, to be fair, but why oh why is everthing so relentlessly dull? At least ten of the thirteen tracks seem to be interchangeable, and when they're as, well, boring as they are that's not a good thing.

Maybe I'm missing the point. Maybe this 9th studio album will appeal to long-term fans of the band. All I can say is that it doesn't appeal to me in the slightest.

For a better sounding take on 70's AOR you might as well check out The Feeling. At least they have a sense of fun.

Ivy York - Ivy York

Well young Ivy is certainly not going to get the hype that other female songwriters are going to get, but that might be no bad thing.

Of course it would be a pity if this album sank without a trace; dreamy, heartfelt and catchy - those are buzzwords which would, in a musical world with any justive, propel Ivy York into the hearts and minds of both the critics and the record buying public.

Admittedly those of you who think that Dido is the devil incarnate are probably not going to be amused by the gentle, whimsical, floating melodies on display (with a touch more "Indie" than Dido could ever muster I must add) here but those that lament general indifference that meets someone like St Etienne these days will find a lot to enjoy here.

She has a great voice and good songs; the only slight letdown is that 12 tracks of it is just a little bit too "samey" for comfort. Perhaps one to delve into the best tracks of (In Your Arms and Forces Of Nature to name but two) rather than devour as a whole, but all the same it is an enjoyable experience. Indeed, if the likes of Jo Wiley really had their finger on the pulse (instead of letting their Radio 1 playlist producers guide their fingers to what they think is the pulse) this is the kind of thing they might go a little crazy over.

Made In The Dark - Hot Chip

Let's just start this off by saying I liked Hot Chip before it was cool to like them.

All joking aside, Hot Chip are one of those bands that you can almost always rely on for a cracking single or two, but need to make some use of your skip button when listening to an album of theirs.

Can Made In The Dark, their third album, buck that trend?

Well, no. But that's is a good thing as well as slightly disappointing thing. Disappointing because as ever you are left with the feeling that Hot Chip are falling just that little bit short of genuine greatness but a good thing becuase at least you have another handful of cracking tunes to add to your Hot Chip compilation.

Ready For The Floor (NOT actually written for Kylie, despite what you may have heard, but offered to her AFTER the boys had already written it) is a case in point. Whilst not up to the standards of Over And Over, it is a cracking, and bizarre, choice as the lead single. Don't Dance is another cracker, and is on par with something Timbaland could toss out at his best (and believe me, that's a compliament).

All too often though, the songs don't quite grab you as they suggest they will and some of this maybe down to the fact that Hot Chip are just that little bit too wilfully obtuse, trying to fit too much into each song in an attempt to prove how good they are. With a little slowing down in terms of their ideas, Hot Chip might yet prove able to match their music with their obvious, and commendable, ambition.

19 - Adele

Well what a way to start the return of the Album reviews.

I don't care if one of my best mates works with her Dad (true story - made even funnier by the fact that when her dad mentioned this to my mate his reaction was "who?") I have to call it like I see it . Or hear it.

I hate Chasing Pavements. I'd probably hate it if it wasn't on Radio 1 every 13 minutes (approximately), although that doesn't help matters.

So it wasn't with the lightest of hearts that I plonked the CD into the player and cranked it up. And my opinion...? Well it's not too bad. Granted I don't particularly like it all that much, but neither did I rush out of my comfortable listening position to turn it straight off. Indeed there are odd occasions when I'm throughly enjoying what I'm listening too. Brief occasions I would admit but nevertheless that's more than I expected.

Her "other" single Hometown Glory is quite delightful, with its memorable piano led backing and My Same is the one "upbeat" moment that stands out from the pack with it's jazz stylings. Two decent songs though do not make a memorable album. Some compare her to Amy Winehouse; I'm more inclined to compare her to Joss Stone.

It's an accomplished album in terms of the music, but seems too "accomplished", or should I say, contrived. Like most of Joss Stone's ouevere, there is that nagging feeling that this is music by record industry committee. As a result it's difficult to hate the album, but even more difficult to love it. Without the hype this would just be another in a long line of "ok" female singer-songwriter albums vying for your attention.

Amy Macdonald LIVE

I told you. Amy Macdonald has definately undergone the "tarting up" process that most female artists go through after an initial burst of success. Now my mate Alan thinks it's only natural she'd want to have shiny new hairdo once playing to bigger crowds; me? Well I'm more cynical.

I'm not for one minute suggesting she's gone all Aguillera on us, but you can definately see the polish.

None of which has any bearing on the concert itself of course. The only real difference from 2007's show was a slightly more boisterous (and bigger) crowd. The songs sounded as good as they did last time and she looked to be having a whale of a time. And whilst I fail to see how Macdonald could generate quite the enthusiam in people that some of the crowd definately had, there was little that you could criticise.

That is until she brought out someone who may or may not have been a part of Ocean Colour Scene...and then murdered one of OCS's songs. A misguided choice at best. But then again, I hate Ocean Colour Scene (they were the Hoosiers of their day) so I'm not exactly an impartial observer on that score.

Anyway, it was another good night and proof that Macdonald may well be around for the long-term.

Laura Veirs LIVE

No, I'm not dead. I've just been busy. I can promise that CD reviews will be back very very soon.

In the mean time the first concert of the 2008 season kicked off with the lovely Laura Veirs at the palatial Night & Day in Manchester.

My new job means that driving to concerts has now become a much more pleasent experience than it once was. I even got to Manchester before the Gee, which doesn't often happen.

We got turned away from our favourite Chinese restaurant, so went to a cheaper one. We were done with that ridiculously early so it was off to Bar Roque for a few drinks, and a very buxom barmaid, and a short session in the Wetherspoons before heading to the sold out venue.

The "shit to flies" rule was in place again; all I will say is that if you're such a big fan of an artist that you scream out applause after every song you could at least deign to listen to some of the songs in question and not talk all the way through them!

That aside, Veirs, in a solo slot, was on top form, despite what now seems the customary Night & Day sound problems (they really should get that sorted out), as she belted out songs from nearly all her albums (she hates the first one don't you know) to the delight of the crowd.

An acquired taste she most certainly may be, but if you "get" her, there's a lot to be delighted by.

She was absolutely lovely to speak to as well; of course I just had to slip into Hugh Grant Posh Englishman mode again didn't I?

Top 75 Singles Of 2007

75. Off The Hook (CSS)
I “discovered” CSS yonks before they became cool, so it was all a bit passé in 2007. I’m only jesting; this is a fantastic dance-a-long stomper.
74. Girlfriend (Avril Lavigne)
Showing a sense of humour far from the sullen and, frankly, miserable persona she shows in interviews this one had the trendies spitting out their dummies but lets not forget that Avril Lavigne is a pop-star, and this was a fantastic pop single.
73. The Girls (Calvin Harris)
Great retro-electro pop.
72. You Are The One (Shiny Toy Guns)
Never likely to be huge stars, despite the hype from well placed sources, but that doesn’t really matter does it. A cracker.
71. Pussy’Ole (Dizzee Rascal)
People STILL don’t believe me but Dizzie Rascal is brilliant. This is a great, if rather rude, banger.
70. Perfect (Mason Vs Princess Superstar)
Against my better judgement perhaps I like Princess Superstar so it was nice to see her get some recognition beyond the, frankly, dreadful Bad Babysitter with this dance smash.
69. My Velocity (Maximo Park)
The rise of Maximo Park in my estimation in 2007 should prove once and for all that I’m not biased. I couldn’t care for them when they first hit the scene but that changed with this great single.
68. Saltbreakers (Laura Veirs)
Veirs at her ethereal best.
67. Golden Skans (Klaxons)
The Klaxons annoy me, not least given the proclamation from the Mercury Awards judges that they’d picked their album because it was a fresh sound! Yes. An album of 80’s sounding relics is bang on isn’t it. That said, Golden Skans is a fantastic song.
66. I Wish I Could Have Loved You More (Candie Payne)
Proof in one foul swoop that the hype was largely justified.
65. Misery Business (Paramore)
Underwhelmed by the album I may have been, but to hear this song once was to have the infectious chorus lodged in your brain.
64. 4 In The Morning (Gwen Stefani)
She took her time releasing perhaps the best track off her disastrous last album but she finally got around to doing so. If only someone could reign her in a bit and make sure her album is full of more songs like this than the dreadful likes of Wind It Up she could well hit top form again.
63. Peg (Nerina Pallot)
Pointless cover version to tide over the gap between albums this may have been, but even Popjustice had to admit how good this track was.
62. Do It Again (Chemical Brothers)
Inconsistent they may be over a full album, but you can always guarantee at least one stormer of a single from these boys. This was this years.
61. Men’s Needs (The Cribs)
The fact remains that the guys are funnier on TV appearances than they are good on record, it would nevertheless be churlish to ignore this track.
60. Fidelity (Regina Spektor)
BBC Radio 2 airplay meant that even my old boss was proclaiming Regina’s greatness in 2007. Long term fans knew how good she was prior to that.
59. Low Happening (Howling Bells)
A song I couldn’t find for ages as I’d mistaken (read that as drunkenly) tapped it into my mobile phone as Howling BALLS late one night. That it never left my head in the meantime is a clue to how good it is.
58. Prescilla (Bat For Lashes)
A haunting tune with a naggingly catchy chorus.
57. Sad Song (Au Revoir Simone)
They're not quite the sum of their parts but this is a sweet little electo ditty that I just love.
56. While You Were Sleeping (Elvis Perkins)
One of those songs that never got the acclaim it deserved.
55. Ice Cream (New Young Pony Club)
Live they were disappointing but on record they just scream "hit". Of course its not their fault that the general public are idiots.
54. Merrymaking At My Place (Calvin Harris)
Ignore the fact that its an LCD rip-off; its a damn catchy tune.
53. Shut Up & Drive (Rhianna)
About three hundred times better than that bloody Umb-er-ella-ella-ella one this was perhaps the sexiest pop song of 2007.
52. Sexy In Latin (Little Man Tate)
Not bad at all for what, for all intents and purposes, are a shit band.
51. It’s Getting Boring By The Sea (Blood Red Shoes)
One of my tips for 2007 and no doubt tips for 2008 given their low-key year in many respect. A stomper.
50. Terra Firms (The Young Knives)
"Fake rabbit, real snake" has to be one of the lyrics of the year. The really really crap opening bit did have me worried though on first listen.
49. Don’t Let Him Waste Your Time (Jarvis Cocker)
Proof that Jarvis still has it.
48. When I’m Here With You (Sarah Nixey)
If the Pet Shop Boys were female, they'd sound a little something like this.
47. Valencia (The Decemberists)
So good even Radio 2 picked it up.
46. Keep Your Hands Off My Girl (Good Charlotte)
Good Charlotte are shit, but this works on the "monkeys can write Shakespere" principle. It's really rather good.
45. Gotta Work (Amerie)
Another "better than Beyonce" track from Amerie.
44. The Bomb (New Young Pony Club)
In an alternative world NYPC are having number one hits all over the world.
43. I Wish I Was Someone Better (Blood Red Shoes)
With songs like this stardom surely awaits them in 2008.
42. Jimmy (MIA)
It was as if Boney M were still with us on this camp classic. I’m not sure she meant it to be camp, but that’s how these things can go.
41. Gilt Complex (Sons & Daughters)
A great teaser for 2008's upcoming album.
40. Tonight The Streets Are Ours (Richard Hawley)
The one moment where I saw where the hype was coming from.
39. Take Control (Amerie)
She's here again. Amerie really is fanstastic you know.
38. Oh MJ! (The Little Ones)
One of my tips for 2007, they of course didn't do very much but this is a great song that did pick up some airplay.
37. Heatseeker (The Hedrons)
Ignore the Oasis nod and just recognise this is a pumping tune.
36. Saving My Face (KT Tunstall)
The singles buying public may be avoiding her, but this is still a class song.
35. Books From Boxes (Maximo Park)
I know exactly what is going on in the lyrics of this song despite the fact they have nothing to do with me whatsoever.
34. Oh My God (Mark Ronson feat. Lilly Allen)
The best thing you can ever attribute, in however small a dose, to the Kaiser Chiefs.
33. Let Me Know (Roisin Murphy)
This time around Murphy remembered the killer dance tunes and this was a great one to “bop” to. See I’m still with all the kids lingo you know.
32. Don’t Lose Yourself (Laura Veirs)
Veirs is one of the great singer-songwriters of her generation.
31. Tony The Beat (The Sounds)
Catchy, intelligent pop. So naturally the general public largely ignored it.
30. Direct Hit (Art Brut)
It wasn’t a Direct Hit but it was proof that for all Art Brut’s arch sophistication, they know how to bang out a great guitar led tune.
29. Boring (The Pierces)
The best Bond theme they’ve never had.
28. Shine (Take That)
The fact that it became the theme tune for Morrisions in 2007 hurt it slightly but it’s proof that if only Take That weren’t so obsessed with being Coldplay they could be ace once again.
27. Let’s Dance To Joy Division (The Wombats)
Almost like the anti-Hoosiers, this song was one of those that I didn’t really want to like at first but then I gave in and embraced it.
26. One Kiss Don’t Make A Summer (Lucky Soul)
Sublimely sweet.
25. Crush (Amerie)
Amerie was perhaps the most consistent singles artist of the year. And this was her best.
24. Thou Shalt Always Kill (Dan Le Sac Vs Scroobius Pip)
If only for the fact it takes the piss out of the NME this is a winner.
23. One More Chance (Candie Payne)
Mark Ronson beefed this one up a bit for a crack at chart stardom. Of course it didn’t come but more proof that Candie Payne has real talent.
22. You Can’t Rap (Example)
You’re white and you’re from Fulham indeed. Funny + catchy = memorable.
21. A House Is Not A Home (Field Music)
The first great single of 2007, and the best single you’ve probably never heard from the year.
20. Acceptable In The 80’s (Calvin Harris)
At one time this would have been one of the front-runners for the number one spot but it’s not Harris fault that there have been so many top-class songs this year.
19. Teddypicker (Arctic Monkeys)
My favourite track off the album so naturally I was pleased when this became a single.
18. Alfie (Lily Allen)
As 2007 came to a close I was getting bored of Lily Allen but you cannot deny the catchy “puppet on a string” tune that this was.
17. She’s Madonna (Robbie Williams & The Pet Shop Boys)
The curse of PSB strikes again as Robbie’s success disappears down the pan. That ignores the fact that Rudebox was his best and most exciting album and that this was a superb single.
16. This Ain’t A Scene, It’s An Arms Race (Fall Out Boy)
In four minutes Fall Out Boy went from a bunch of no-name Emo’s into a band I really rather quite like.
15. Silver Lining (Rilo Kiley)
As one of the standouts on the album, this had to be sneaked into the list.
14. Hold On (KT Tunstall)
I’m still not sure why it took KT six months to get the tune right on this one but I love this song. Which is even more bizarre because at first I didn’t really care for it.
13. Birds (Kate Nash)
This song makes me cry. Even now, 6 months or so after it’s release. This is the proper version by the way, not the “improved” album version.
12. Chelsea (Steffy)
Ok so superstardom never happened in 2007, although Stefy Rae did have the ultimate experience of meeting me, but this is still a brilliant song.
11. Stop Me (Mark Ronson)
Better than the original! Well those that know me will know I’ve never been a Smiths fan but this was proof of what a genius Mark Ronson is.
10. What’s A Girl To Do (Bats For Lashes)
From the first moment I heard the intro to this I was entranced.
9. 1,2,3,4 (Feist)
It took an advert for the wonderful Feist to gain recognition but her higher profile as a result in 2007 only confirmed what we all knew anyway.
8. Call The Shots (Girls Aloud)
I don’t care what you might say to me, Sexy No No No was pretty average and completely forgot the tune. This on the other hand was a superbly pitched slice of pop.
7. Giddy Stratospheres (The Long Blondes)
I’ve not just put this here because Kate Jackson is a complete fox you know.
6. Potential Break Up Song (Aly & AJ)
Rarely do American’s do “pop” quite as superbly as this.
5. Song #2 (Sebrero)
The best Eurovision song ever? Maybe not quite but they’ve not had anything this good since the days of Abba.
4. Song 4 Mutya (Groove Armada feat Muyta Buena)
Muyta Buena’s album was an atrocity. Thankfully Groove Armada provided her with one great song.
3. Foundations (Kate Nash)
At her worst Nash can seem, thanks to rushed production of the album, a Lily Allen knock off. At her best, like she is here, she’s unbeatable. Some criticise her lyrics, but no-one else encapsulated the end of a relationship as well as this in 2007.
2. Give It To Me (Timbaland, Nelly Furtado & Justin Timberlake)
How much of a “Timbaland” record this is in terms of his “singing” is of course open to question but it IS one of the best and catchiest records he’s ever been involved in, and that covers some ground.
1. The Beat That My Heart Skipped (Dan Le Sac Vs Scroobius Pip)
Quite simply no other single released in 2007 had the impact on me that this one did. It’s a sad state of affairs when muppets like Just Jack are feted on high and this wonderful duo are largely ignored.

Jenny Owen Youngs LIVE

You might have thought that a near two hour journey to Manchester would have been a portent for a bad evening (fact fans, it should take about 45 minutes tops) but after one of those stupendous Chinese buffet things (where the waitress was getting rather concerned about just how many pints we were having - for the record we only had four each) we sauntered across to the Night & Day.

Not many people were in, for the first time that I've ever been there they'd left tables and chairs out for people, so after catching the end of support act Dave House's (Air pressener in all of my houses) spot we leisurely made our way to front row spots. And as an aside, we didn't block anyone's view, it was just that there was a raft of space near the stage.

Jenny Owen Youngs was, quite simply, fantastic. Despite the fact she was suffering from a cold (and if I'm being honest, you wouldn't have known from her performance) and thus warned off anyone who "wanted to make out" with her afterwards, and despite some dodgy leads, sound systems, she put on a superb performance.

She was funny too. One particular highlight was "this guitar is fucking me in the ass." Which admittedly doesn't sound funny when written down like that but regardless it had me in stitches. It's hard to pick a highlight from the actual set as everything was just spot on.

She mingled with the public afterwards, asking Jazz Hands to take her to Paris and was just as delightful in that setting as well. All in all, a rather wonderful ending to the concerts of 2007. Roll on 2008.

Scouting For Girls LIVE

I know it's been a bit quiet around here lately but I've been a busy man; meeting a Playboy playmate has been just one way to pass the time recently. (No, really. That is the gospel truth).

But amongst all the fun I did have time to check out Scouting For Girls.

I want to say it depressed me greatly. To be honest, they're not very good. Admittedly place them side by side with the Hoosiers (just to pluck something from thin air there) and Scouting For Girls are the second coming of The Beatles.

I did however, have fun. How much of this was due to me being wasted on booze is open to question but despite the fact that the adulation for the band seemed wasted when you consider the populace virtually ignored Ben Folds Five back in the day one cannot be too churlish.

The girls in the crowd would have been out doing the rounds as sperm receptors and the lads would no doubt have been smashing car windows if they hadn't been having such a grand time with this concert.

So whilst I can hardly say it was great, everyone else seemed to be enjoying their pretty little heads off. And who am I to argue with that?

Hits & Rarities - Sheryl Crow

Just what you wanted isn't it? ANOTHER Sheryl Crow hits compilation. Ok, so the unkind amongst you might suggest that this is preferable to a new collection akin to the underwhelming Wildflower album, but closer inspection reveals this is merely a stop-gap until her new album hits the shelves in early 2008.

On the plus side it is more comprehensive than the last one (witness the inclusion of Tomorrow Never Dies for a start) but that also means that we have to put up with a guest appearance by the ever lovable Sting.

It's difficult to slate the album in terms of its quality, although it is a definite step down from the "Very Best Of Sheryl Crow" given that it adds on some less than stellar tracks. As for the second CD of rarities, it's a decent addition to your Sheryl Crow collection, but not in any way an essential one.

If you've not got a Sheryl Crow album in your collection, this, at least in terms of value for money, is the better compilation to buy. But if you've got the last one this is of no value whatsoever.

A New Hope - Minipop

Minipop might be the wrong name for the band because their sound is anything but small.

At times Minipop can sound like your typical shoegazing indie nonsense, yes, but they've got that little extra that sets them apart from the rest of the pack.

There's little doubt that lead singer Tricia Kanne voice is ethereal and dreamlike and adds a rich layer to the band's sound, but the tunes themselves are great as well. At times they remind me of The Like (and any long-term readers will know that I will regard that as a good thing), at others there is the hint of Stars.

Not everthing on the album reaches the heights that tracks such as Someone To Love and Butterflies do, but overall this is still a very good effort indeed. Certainly worth tracking down.

Heaven, Heartache and the Power of Love - Trisha Yearwood

Trisha Yearwood was one of the first country stars that I liked, way back in the mid 1990's. This is her 12th studio album, her first for a new label, and it's as if nothing has changed.

And realistically, nothing much has, her 2005 marriage to Garth Brooks aside.

But that doesn't need to be a criticism, because Yearwood had good old fashioned country and western nailed down a long, long time ago.

Equally adept at up-tempo numbers, such as the title track, as she is at the ballads, the pick of those being Help Me, Yearwood once again proves her vocal talent on this great album. She rarely disappoints, but this time she's excelled.