Matthew Sweet & Susanna Hoffs - Under The Covers Vol 1

Inspired by the last Bangles album, I have been looking again at Susanna Hoffs’s extra curricula catalogue but this time with some foreboding.  I did this once before following The Bangles’ break-up in 1989 and bought her solo effort ‘When You’re a Boy’ but it didn’t do much for me, hence the slight anxiety.  But this time I have chanced upon her collaboration with producer and multi-instrumentalist, Matthew Sweet and this time it was worth the money.

Sweet and Hoffs, or Sid ‘n’ Susie as they are billing themselves, have tapped into their love of the 60s and 70s and created a series of ‘Under the Covers’ releases (two volumes to date).  Volume 1 spans the 1960s and mixes well known songs like ‘Monday Monday’ and ‘Alone Again Or’ with lesser known efforts from the big hitters of the day like the Beach Boys (‘The Warmth of the Sun’), The Zombies (‘Care of Cell 44’) and a killer version of The Beatles’ ‘And Your Bird Can Sing’.

The prickly subject of covers has been aired numerous times in this blog and it bears stating here that these are not deliberate re-workings of the original songs but more loving reconstructions, done with infinite care in a totally modern environment – no analogue and sticky tape here.  What really sets them apart from the blueprints is the vocal performances which are nothing short of awesome from both Ms Hoffs and Mr Sweet and despite having vocal tones at opposite ends of the scale they combine beautifully.  You can almost hear the fun they had doing these songs which are clearly close to their collective hearts.

Dare I say that Hoffs’ take on ‘Who Knows where the Time Goes’ is on a par with Sandy Denny’s original?  It works, yet somehow you don’t expect an American voice to gel with Fairport’s quintessentially English folk sound.  Sweet struggles a bit with the Wilson falsetto on ‘Warmth of the Sun’ but his rasping performance of Neil Young’s ‘Cinnamon Girl’ is a great cut, as is his interpretation of The Who’s ‘The Kids are Alright’.  Let’s face it, this is not high art in the accepted sense but nor is it downmarket karaoke but something in between.  Mainly, it’s a fun record made by people with talent and a real love of their subject matter and one that I shall return to on a regular basis.

So with Volume 1 in the bag, I may well have to have a look at Volume 2 which majors on the 1970s.  I couldn’t resist having a listen to their take on a surprising choice of Yes’s ‘I’ve Seen All Good People/Your Move’, and am staggered to report that if Susanna Hoffs is not the next Yes singer, I’ll eat…something.  She really nails it.  Is there nothing she can’t sing?  And with Clapton’s ‘Bell Bottom Blues’ and ‘You’re So Vain’ on the setlist, I don’t think I’ll be resisting for long.

The Bangles - Sweetheart of the Sun

The one thing you could not accuse The Bangles of is being prolific when it comes to output.  Since their reformation in 2000 they have only managed two albums, the quite wonderful and still my fav Bangles album ever, ‘Doll Revolution’ (2003) and now ‘Sweetheart of the Sun’.  In fact, I nearly missed ‘Sweetheart’ completely as having been tipped off as far back as 2010, or was it 2009, that it was ‘imminent’, I’d mentally gone to sleep and only spotted that it had finally been released at the back end of last year when trawling through Amazon.

So was it worth the wait?  In truth, yes, but with caveats.  In a nutshell, it starts well with the mid-tempo ‘Anna Lee’, rather loses its way in the middle and then picks up again towards the end. So 8/9 of the 12 songs are fine but the remaining few are a bit under whelming.  Whilst this is undoubtedly a fine album, I can’t help missing the quirky and sombre-voiced contributions from bassist Michael Steele, who has retired from the music biz and does not appear on this album, the first not to feature her.  The result is that the remaining three chop up song writing and vocal chores amongst them and each gets a bigger slice of the pie.

Certainly, Susanna, Vicki and Debbi have more compatible writing styles which means that the album as a whole sounds more consistent and the majority of the songs are classic west coast jangly pop at its best, but it does miss the experimental and slightly more edgy contribution that Steele brought to the table.  Interestingly, it seems that drummer Debbi Peterson has taken on part of her mantle and produced some of the more interesting songs such as the delightfully poignant ‘One of Two’.  Elsewhere, you can always rely on Susanna Hoffs to produce a one or two decent ballads and Vicki Peterson to chip in a couple of individual efforts and provide those curious sub-Neil Young blustery solos.

In fact the self-written material is generally very good but it’s the covers that let the side down, which is unusual as the band are very adept at covering others’ material.  This time around, we have Todd Rungren’s ‘Open My Eyes’ (originally recorded by The Nazz in 1968) and Carter-Lewis and the Southerners’ ‘Sweet Tender Romance’ (from 1963) which are given the usual Bangles-o-risation treatment, but sadly these are not a patch on past covers like ‘Hazy Shade of Winter’, ‘Manic Monday’ and ‘If She Knew What She Wants’.

Musically, the album is dominated by two pervading influences: country rock and the aura of the late sixties.  Some of the songs have a countrified feel with pedal steel guitar and folksy harmonies; others have a definite psychedelic lilt with Indian tinged guitar figures and the ghost of Jefferson Airplane and Love hovering over them.  The penultimate song on the album, the beautiful ‘Through Your Eyes’ could quite easily have been lifted from the sessions for Crosby Stills and Nash’s 1969 debut such are the awesome vocal harmony arrangements.  Time has not dimmed those voices and they still harmonise with real aplomb.

So whilst not quite as diverse as its predecessor, ‘Doll Revolution’, this album is still a worthwhile addition to the Bangles’ catalogue.  It shows a determined move away from trying to ‘modernise’ their sound and instead it builds on their strengths of strident retro guitars and Beach Boy harmonies and reinforces their modern psychedelic take on today’s music structures, evoking a late sixties mood which I rather like.  In truth it is still growing on me.  A keeper.

Download Problems (Part 2)

Last post I told the tale of why half my downloaded songs have gone to the great gig in the sky. I also mentioned that I had been forced to buy a selected few again and I’ll bet you were wondering what they were? No? Tough, ‘cause I’m going to tell you anyway. I mean, what are blogs for? In no particular order:



‘It’s My Life’ – No Doubt

Despite liking the classic Talk Talk version the first time around, this is such a great interpretation that I couldn’t resist it. Gwen Stefani’s vocal is spot on and the arrangement, although not much different from the original, just brims with energy. I seem to remember that the video was good too, with Gwen hamming it up as a knife wielding murderess.



‘Light Flight’ – Pentangle

This was the theme to the late 60s TV drama, ‘Take Three Girls’ and is typical of the high profile folk music had around that period. The melody is quite extraordinarily complicated (in a similar vein to Joni Mitchell’s work at that time) and beautifully sung by the hugely under-rated Jacqui McShee. All this against some fine acoustic instrumental backing by Messrs Renbourn, Jansch, Cox and Thompson. Real musicians made music back then. Beards optional.

‘Sail on Sailor’ – The Beach Boys

I’m a Beach Boys fan, but not of their later efforts. This comes from their 1973 album ‘Holland’ and is one of Brian Wilson’s last great songs. Not his best but so simple yet so endearing. I wouldn’t give ‘Holland’ houseroom but can’t live without this one. Those effortless harmonies on the bridge get me every time.

‘The Fear’ – Lily Allen

Buying this song saves me from having to buy yet another unwanted album, which all told, is what downloading is all about. I do rate this song with its knowing lyric and soaring chorus but would hate to have to buy the entire (and almost inevitably disappointing) album just to get it. Technology has some benefits after all.

‘Wild Horses’ – The Sundays

The Sundays’ somewhat bleak guitar, bass & drums style suits this Jagger/Richards song perfectly. Harriet Wheeler’s vocal is a little stained but somehow this only adds to the yearning quality. I still can’t separate it from its use in the emotionally charged final moments of the ‘The Prom’ (BtVS Ep20, Season 3)…sniff.

‘Everything I Wanted’ – The Bangles

In a move not seen since the 1960s, this single release was not included on a Bangles album, but only collected on their ‘Greatest Hits’ release – hence this purchase. Another adrenaline fuelled 4 minutes punctuated by a stunning a Capella middle section. Love them.

So that’s it. These are the thoughts that led to my paying another 89 pence each for the downloads. Last of the big spenders, eh?

Best of the Noughties

Bloody hell!  Here we are again.  Where did the year go? Looks like I blinked and missed it again. Even worse, looking at the calendar shows that it is nearly 2010 and that actually, a whole decade seems to have got behind us since those millennium celebrations, without so much as a by your leave.  Perhaps now is the time to have a look back at some of my personal favourite moments from the last 10 years?  Oh, all right then...

PJ Harvey – Stories From the City Stories From the Sea (2000). The decade got off to a cracking start with this effort from Polly Jean who suddenly discovered tunes but remembered to wrap them up in her finest edgy, raw and emotional playing.

REM – Reveal (2001). Possibly my favourite REM album to date having a symphonic ‘Pet Sounds’ ambience to it and some tunes that even Brian Wilson would’ve approved of. Consistent and accomplished if perhaps lacking a little in energy, but then ‘Accelerate’ didn’t turn out that well, did it?

Aimee Mann – Lost in Space (2002). Poor old Aimee. She just never seems to get the recognition she deserves and yet this is another fine album in a long line of fine albums packed with hummable tunes and astute lyrics. If only people would take notice.

Bangles – Doll Revolution (2003). Like the eighties had never gone away, the girls regrouped and produced what may yet be their best album ever. Time apart had given them space to grow musically and grow up emotionally. The result is this sparkling collection of songs given the classic updated psychedelic treatment overlaid with breathtaking harmonies.

Keane – Hopes and Fears (2004). Keane seem to have lost their way now but this debut is still as fresh as a daisy boasting gorgeous melodies, passionate vocals and a real sense of togetherness as a musical outfit. There was an endearing earnestness about them then that is still attractive now.

Sing-Sing – Sing-Sing and I (2005). The final curtain for Emma Anderson? Sing-Sing is no more and she has disappeared without trace leaving behind this little gem. The ex-shoegazer expands her palette to include trance-like ambients, heartbreaking ballads and jaunty sing-a-longs all wrapped up in stylised arrangements. Fab.

Nerina Pallot – Fires (2006). The Uk’s great unsung talent and answer to Tori Amos issues a bunch of superior singer-songwriter fare on her own label following being unceremoniously ditched by Polydor. Forget ‘The X Factor’, THIS is real talent.  Also, 'Real Late Starter' is on the bench as first substitute in my 'Song For Me' list.

Kim Wilde – Never Say Never (2006). The blonde-next-door returns from the garden as her 50th year beckons and produces a stunner of an album. New material rubs shoulders with reworks of old well-loved songs like they were long lost siblings. Guitars howl and drums reverberate in what could well be my favourite album of the decade. Pity the UK ignored it but the Europeans love it…and they’re right.

Lady Gaga – The Fame (2008). The new Madonna crashes the scene in the usual way: masses of outrageous sexual imagery and even more ridiculous costumes. The trouble is, she can play and she can write a great tune – ‘Just Dance’, ‘Poker Face’…the list goes on. Can she keep this up? Only time will tell.

Ting Tings – We Started Nothing (2008). The Mancunian duo has risen in meteoric style this year and although this is not an all time great album, it shows enough pep to give them the benefit of the doubt. Can’t wait to see what happens next.

Bat For Lashes – Two Suns (2009). Brighton’s Natasha Khan and her exemplary band have created a beautiful ambient world full of strange exotic instruments and shifting rhythms. Their Glastonbury appearance was quite mesmerising.

Little Boots – Hands (2009). Bolstered by a series of YouTube ‘at home’ videos, Victoria Hesketh has showed herself to be a rising star destined for the top. Blessed with a prodigious song writing talent, her down to earth personality was not best served by a slightly over-produced album. Yet the promise is there – no doubt about it.

Well, that’s it for this year. I’m off for a well earned break. I’ll see you all in the New Year. In the meantime have a look at Bloggerhythms' list - different and provocative!  Happy Christmas!

Tickets! Anyone Want Tickets...?

Some posts ago, I protested that I couldn’t really give an answer to the vexed question of my favourite gig of all time. This was based on the premise that I couldn’t remember them all and even if I could, it was impossible to go back in time and inhabit your younger self to ‘feel the moment’ as it were. Well, since then I have made a concerted effort to create a list of gigs attended and have surprised myself by recalling, with the help of ticket stubs and old diaries, just under 100 occasions where I tried to make myself permanently deaf! There are bound to be more but for the time being this list will suffice. Now, trying to remember them all in any detail is a much more difficult task owing either to too much alcohol at the time or lack of memory now (or both really).

Nevertheless here is a list of 11 gigs that I feel were definitely a fun night out. They may not be the best gigs I have attended but they are events for which I have real memories rather than hindsight imaginings. Nor do they always feature the biggest bands or the best venues but each has a place in my hall of fame.

Curved Air (Hatfield Polytechnic 1972) – My first ever gig. Truly awe-inspiring despite having to leave during the set due to parental curfew. (Huh! How rock ‘n’ roll!) Set me on the path to music as an unpaid career.
Argent (St Albans Civic 1974) – One of my favourite bands of the early 70s. This was one of their last appearances before Russ Ballard left. In the days when musicianship counted for something.
Split Enz (St Albans Civic 1976) – Tim Finn’s weird and wonderful band before little brother Neil took them away from the avant-garde and onto the path of commercial pop.
Talking Heads (Hemel Hempstead Pavilion 1978) – A night throbbing with massive rhythmic integrity and psychosis from a band at their prime.
Martha and the Muffins (Nashville 1979) – Before they were famous, playing the back room at the Nashville pub and filling it with sweaty energy.
The Bangles (Town and Country Club 1985) – 4th July gig gave it a certain poignancy. Who said women can’t play? One of my favourite live bands...ever.
The Smiths (Royal Albert Hall 1986) – Better than I thought it would be. Great tunes and Morrissey on top form complementing the grandeur of the venue.
Siouxsie and the Banshees (Royal Albert Hall 1986) – my favourite of all the gigs of theirs I attended (and there were many). ‘Nightshift’ rules!
Ghost Dance (Riverside Studios Hammersmith 1987) – A solo outing on a whim to see an unknown I’d picked out of the NME and turning out to be one of the best nights of my life. You live for these moments.
All About Eve (Astoria 1988) – Another great live band melding some old fashioned guitar histrionics with Julianne Regan’s fabulous voice.
Go-Go’s (Shepherds Bush Empire 1994) – With The Bangles’ Vicki Peterson filling in for a pregnant Charlotte Caffey, and Belinda Carlisle back in the fold, how could they fail?

So, there you have it and not a mention of Pink Floyd at Knebworth 1975, nor Queen in Hyde Park 1976 but then I never really enjoyed outdoor events. Perhaps I’ll dig out a few more intimate venue favourite gigs for a future post. Or maybe the worst gigs...

Return to Bangleonia

There are some bands that seem destined to be consistently misrepresented by their own publicity and ultimate success.

Take Californian all-girl band, The Bangles for example. You will probably know this lot for one or more of the following 1980s tunes:
'Manic Monday'
'Walk Like an Egyptian'
'Eternal Flame'

All these songs have two factors in common. First they are all, in large part, sung by Susanna Hoffs and second, they are all songs that I, as a fan, probably wouldn’t turn a hair if I never heard again – with the possible exception of 'Eternal Flame' provided it is not the Atomic Kitten version. But sadly they are basically the public face of The Bangles giving the distinct impression of a somewhat dippy lightweight west coast pop band led by Hoffs and backed up by a bunch of unknown others.

But it’s not true. Have a look at their albums, any of them, and what do we find? An endless selection of kooky ballads sung by Susanna Hoffs? No. What we find is a diversity of pop ballads, folksy 1960s psychedelia, gutsy rockers and vocal harmony tour-de-forces all written by Vicki or Debbie Peterson, Susanna Hoffs and Michael Steele in roughly equal proportion and a sprinkling of well arranged covers. The lead vocals are split democratically between all four of them and each makes a substantial case for being the lead vocalist per se whilst the others provide multi-harmony backing. My particular favourite is drummer Debbie Peterson who brings a real edge to her vocal chores.

In fact, all their 1980s albums contain a whole swathe of up-tempo rockers (usually contributed by Vicki Peterson, the senior songwriter) where jangling or spiky guitars meet Debbie’s pounding drums. My guess is that many people who bought these albums were a little taken aback, given their PR.

It is a sad fact that it was the public perception that Hoffs was the band leader (and by implication the ‘talented one’) that drove a knife through them and split them up in 1989. But nothing could be further from the truth.

Live on stage the truth becomes apparent. Live, they are one of the most enjoyable bands I have ever seen and I saw them three times during the 1980s. Check out their new DVD ‘Return to Bangleonia’ (Region 1 only, sadly) which features their reunion gig in 2000, and you will see what I mean. What this tells of is a versatile, entertaining band comprising four consummate musicians who sing and play beautifully, but who, more importantly, contribute equally to the greater-than-the-sum-of-the-parts whole. Moreover, the quality of the bulk of the set transcends the ‘Hits’ and makes you begin to wonder why the buying public support the sort of kitsch that is ‘Walk like an Egyptian’.

Hmm…it seems singles have a lot to answer for.